[691:A] This writer transcends mediocrity in consequence of the singular purity and harmony of his diction and versification. The subsequent lines, forming the prior part of a sonnet, have the air of being written rather in the 19th than the 16th century:—
[691:B] For an account of this author, and of a poem of his printed in 1631, see Wood's Fasti, vol. i. col. 147; and Censura Literaria, vol. i. p. 291.
[691:C] A poem in Alexandrines, printed at the end of the first edition of his "Pilgrimage of Princes."
[692:A] The 200 Sonnets are followed by 100, entitled "Sundry affectionate Sonets of a feeling conscience;" by 20, called "An Introdution to peculiar prayers," and by 59, termed "Sonnets of the Author to divers." In "The Return from Parnassus," Lok is thus, not undeservedly, sentenced to oblivion:—"Locke and Hudson, sleep you, quiet shavers, among the shavings of the press, and let your books lie in some old nook amongst old boots and shoes: so, you may avoid my censure."—Ancient British Drama, vol. i. p. 49.
[692:B] This is attributed to Markham on the authority of Mr. Haslewood. See British Bibliographer, No. IV. p. 381.
[692:C] Mr. Park conceives this translation to be the production of Robert Tofte, rather than of Markham.—Ritson's Bibliographia, p. 274, note.
[693:A] It is to be regretted that no complete edition of the Works of Montgomery has hitherto been published. Those printed by Foulis and Urie in 1751 and 1754, are very imperfect; but might soon be rendered faithful by consulting the manuscript collection of Montgomery's Poems, presented by Drummond to the University of Edinburgh. This MS., extending to 158 pages 4to., contains, beside odes, psalms, and epitaphs, 70 sonnets, written on the Petrarcan model; and, if we may judge from the six published by Mr. Irving, exhibiting a considerable portion of poetic vigour. The Cherrie and the Slae, which, as the critic just mentioned observes, "has maintained its popularity for the space of two hundred years," must be pronounced in some of its parts, beautiful, and, as a whole, much above mediocrity. Sibbald has printed ten of our author's poems in the third volume of his Chronicle of Scottish Poetry.
[694:A] The Sonnets of Murray appeared five years anterior to those of Drummond, and though not equal to the effusions of the bard of Hawthornden, are yet entitled to the praise of skilful construction and frequently of poetic expression. A copy is now seldom to be met with; but specimens may be found in Campbell's History of Poetry in Scotland, and in Censura Literaria, vol. x. p. 374, 375.
[694:B] This poet, who, in the former part of his life, practised as a physician, at Butley, in Cheshire, was a Latin poet of some eminence, and one of the translators of Seneca's Tragedies, published in 1581.
[694:C] For a specimen of this poem, see Beloe's Anecdotes, vol. ii. p. 104.
[694:D] Though said to be the fourth edition, this copy is supposed by Mr. Neve to be really the first impression. (See Cursory Remarks on Ancient English Poets, 1789, p. 27.) Few poems have been more popular than Overbury's "Wife;" owing partly to the good sense with which it abounds, and partly to the interesting and tragic circumstances which accompanied the author's fate. It was speedily and frequently imitated; in 1614, appeared "The Husband. A poeme expressed in a compleat man," by an anonymous writer; in 1616, "A Select Second Husband for Sir Thomas Overburie's Wife," by John Davies of Hereford; in 1619, "The Description of a Good Wife," by Richard Brathwaite; and in the same year, "A Happy Husband, or Directions for a Maid to chuse her Mate," by Patrick Hannay. These pieces are inferior to their prototype, which, though not displaying much poetic inspiration, is written with elegance and perspicuity.
[695:A] This work is a composition of verse and prose. Mr. Douce terms Parkes a "writer of great ability and poetical talents, though undeservedly obscure." Vide Illustrations, vol. ii. p. 75.
[695:B] Warton, in the Fragment of his fourth volume of the History of English Poetry, remarks at p. 73, that many of Parrot's epigrams "are worthy to be revived in modern collections." The Laquei contain many of the epigrams which he had previously published.
[696:A] Peele, who will afterwards be noticed as a dramatic poet, may be classed with Scoggan, Skelton, and Tarleton, as a buffoon and jester. He died before 1598, and his "Merrie conceited Jests" were published in 4to. in 1627.
[696:B] An ample analysis of "The Historie of Lord Mandozze," has been given in the British Bibliographer, No. X. p. 523.; and No. XI. p. 587. Of the poetry of this very rare version, little laudatory can be said.
[696:C] Of this scarce poem, unknown to Ritson, the reader will find a description by Mr. Haslewood in the British Bibliographer, No. III. p. 214.
[696:D] Mr. Beloe conjectures this "Commemoration," not noticed by Ritson, to have been the production of a writer different from the John Phillip of the Bibliographia (p. 299.), and assigns for his reason, the signature, at the conclusion, namely, John Phyllips; but it is remarkable that the inscription, copied by Mr. Beloe, runs thus: "To all Right Noble, Honorable, Godlye and Worshipfull Ladyes, John Phillip wisheth," &c. a variation in the orthography which warrants an inference as to their identity. Vide Beloe, vol. ii. p. 111. et seq.
[697:A] Mr. Haslewood supposes this poem to have been written by William Phiston, of London, Student; who is considered by Herbert, p. 1012., as the same person mentioned by Warton, vol. iii. p. 308. under the appellation of W. Phist.—See Brit. Bibliogr. vol. v. p. 569.
[697:B] Ritson, in his Bibliographia, says, that no one except Warton appears to have met with this publication; extracts from it, however, may be found in the Monthly Mirror, vol. xiv. p. 17.
[697:C] These Flowers are the production of one of the most celebrated agriculturists of the 16th century, the author of the "Jewell House of Art and Nature;" the "Paradise of Flora;" the "Garden of Eden," &c. &c.; but, in his poetical capacity, they prove, as Mr. Park remarks, that he "did not attain to 'a plat of rising ground in the territory of Parnassus.'"—Censura Lit. vol. viii. p. 7.
[697:D] These are printed in the latter part of the miscellany, entitled "A Gorgeous Gallery of Gallant Inventions."
[697:E] Beside these verses in honour of Elizabeth, Puttenham wrote the "Isle of Great Britain," a little brief romance; "Elpine," an eclogue; "Minerva," an hymn; and, throughout his "Arte of Poesie," are interspersed a number of verses, epigrams, epitaphs, translations, imitations, &c. Mr. Haslewood has prefixed a copy of the Partheniades to his reprint of "The Arte of English Poesie," 1811.
[698:A] For specimens of this poem, the British Bibliographer, No. II. p. 153., may be consulted. Why it was called Dolarny's Primerose does not appear. Reynolds possesses some merit as a descriptive poet.
[698:B] Of this work, not mentioned by Ritson, an account has been given by Mr. Haslewood in Censura Literaria, vol. iv. p. 241. The "Rewarde of Wickednesse" is written on the plan of the "Mirror for Magistrates," and was composed during the author's night-watches as one of the sentinels employed to guard the unfortunate Mary Queen of Scots. Robinson is supposed to be author of "The ruffull tragedy of Hemidos and Thelay," licensed in 1570.
[698:C] To Sibbald's Chronicle of Scottish Poetry, vol. iii. p. 287., and to Restituta, No. III. p. 177., I refer the reader for the only account which I can recollect of this obscure writer. Irving and Pinkerton merely mention the titles of his poems. Mr. Gillies, in a very interesting article in the Restituta, has given us an ample specimen of his "Seven Sages."
[699:A] Ritson says, that this is "a poem in 168 six-line stanzas, of considerable merit, and with great defects: a 4to. MS. in the possession of Francis Douce, Esq."—Vide Bibliographia Poetica, p. 315.
[699:B] Several extracts from this work, consisting of seven satires, have been given by Warton in his Fragment of Vol. IV. See also Censura Literaria, vol. vi. p. 277.; and Beloe's Anecdotes, vol. ii. p. 125., where further notices of this medley may be found. It went through subsequent editions in 1607 and 1611.
[699:C] This poem and the three succeeding are not recorded by Ritson. See Censura Lit. vol. ii. p. 150., in an article by Mr. Gilchrist.
[699:D] For a description of this copy see Brit. Bibliogr., No. V. p. 548.
[699:E] Curious specimens from this publication have been given by Mr. Haslewood in the Brit. Bibliographer, No. X. p. 549.
[700:A] Of this voluminous pamphleteer, five more pieces are enumerated by Ritson, published posterior to 1616. Though a rapid and careless writer, he occasionally exhibits considerable vigour, and has often satirized with spirit the manners and follies of his period. He may be justly classed as surmounting mediocrity, and he is therefore designated as such at the close of this article.
[700:B] This poem, and the Fisherman's Tale, are written in blank verse, a species of composition in which Sabie had been preceded by Surrey, Gascoigne, Turberville, Riche, Peele, Higgins, Blenerhasset, Aske, Vallans, Greene, Breton, Chapman, Marlowe, &c. A copious analysis of these pieces has been given by Mr. Haslewood in No. V. of the British Bibliographer, from p. 488. to 503.; but neither the genius nor the versification of Sabie merit much notice: his Pan, however, contains some beautiful rhymed lines.
[700:C] Annexed, says Ritson, to his "Hours of Recreation or after dinners," 1576, 8vo.
[700:D] The "Four Paradoxes" occupy four portions, each consisting of 18 six-line stanzas, and the whole is terminated by three additional ones, entitled his "Resolution." The specimens of this poem adduced by Mr. Park in Censura Literaria, vol. iii. and iv., speak highly in its favour, and seem to justify the following encomium:—"There is much manly observation, forcible truth, apt simile, and moral pith in the poem itself; and it leaves a lingering desire upon the mind, to obtain some knowledge of a writer, whose meritorious production was unheralded by any contemporary verse-man, and whose name remains unrecorded by any poetical biographer."—Vol. iii. p. 376.
[701:A] An accurate account of this volume, which was republished in 1622 and 1640, may be found in Censura Literaria, vol. iii, p. 381. "From the great disparity of merit between this and the preceding article," observes Mr. Park, "there is little reason to suppose them by the same author, though they bear the same name."
[701:B] A perfect copy of this miserable collection of poems, consisting of sonnets, elegies, odes, odellets, &c. was purchased, at a sale, by Mr. Triphook for twelve guineas. The only copy before known was without a title, from which Ritson has given a full account, though, at the same time, he terms the author an "arrogant and absurd coxcomb," and condemns him for his "wretched style, profligate plagiarism, ridiculous pedantry, and unnatural conceit."—Vide Bib. Poetica, p. 337. et seq.
[701:C] An ample and interesting description of Stanyhurst, and his translation, will be found in Censura Literaria, vol. iv. pp. 225. 354., the production of Mr. Haslewood. Nash has not exaggerated when, alluding to this poet, he says, "whose heroical poetry infired, I should say inspired, with an hexameter furye, recalled to life whatever hissed barbarism hath been buried this hundred yeare; and revived by his ragged quill such carterly varietie, as no hedge plowman in a countrie but would have held as the extremitie of clownerie: a patterne whereof I will propound to your judgment, as near as I can, being part of one of his descriptions of a tempest, which is thus:—
Nash's Preface to Greene's Arcadia.
[702:A] Storer's Life of Wolsey, which is about to be reprinted, has a claim upon our attention, both for its matter and manner: he was a contributor also to "England's Helicon," and has been highly extolled by his friend Fitzgeffrey, in Affanis, lib. i.
[702:B] The most interesting part of this volume, from the nature of its subject, is "Ane schort Treatise conteining some Reulis and Cautelis to be observit and eschewit in Scottis Poesie," in which the regal critic observes, that "sindrie hes written of it in English," an assertion which would lead to the supposition that some of our earliest critics had perished; for Gascoigne's "Certayne Notes of Instruction concerning the making of Verse or Rhyme," 1575, appears now to be the only piece of criticism on poetic composition which preceded James's "Essayes."
[702:C] The Poetical Exercises contain but two poems,—the "Furies," translated from Du Bartas, and "The Lepanto," an original piece. Several minor poems, introduced into his own works and those of others, some sonnets and a translation of the psalms, were written by James after his accession to the English throne.
[702:D] Of this far-famed comedian and jester, Fuller says, that "when Queen Elizabeth was serious (I dare not say sullen) and out of good humour, he could undumpish her at his pleasure. Her highest favourites would in some cases go to Tarlton before they would go to the Queen, and he was their usher to prepare their advantageous accession to her. In a word, he told the Queen more of her faults than most of her chaplains, and cured her melancholy better than all her physicians." Indeed, in the language of a contemporary,
Vide Ritson Bibl. p. 359.
[703:A] Of this voluminous scribbler, whose rhyming spirit, remarks Granger, did not evaporate with his youth, who held the pen much longer than he did the oar, and who was the poetaster of half a century, I have only been able to insert two of his earliest productions, the remainder being subsequent to 1616, and extending to 1653. He was thirty-two when Shakspeare died; and "the waterman," observes Mr. Chalmers, "must have often sculled Shakspeare, who is said to have lived on The Bankside."—Apology, p. 101.
[703:B] The Fruites of Jealousie, a long poem in octave measure, may be found at the close of The Blazon of Jealousie, translated from the Italian of Varchi, of which an account is given in Censura Literaria, vol. iv. p. 403.
[704:A] Beside these anthems, which were licensed to her printer, Christ. Barker, Nov. 15., her Majesty wrote a variety of small pieces, some of which have been preserved by Hentzner, Puttenham, and Soothern, and reprinted by Percy, Ellis, and Ritson. The fourteenth Psalm also, and the Speech of the Chorus in the second Act of the Hercules Œtæus of Seneca, have been published by Mr. Park, the latter poem being a specimen of blank verse.—Vide Park's Royal and Noble Authors, vol. i. p. 102.
Of the execrable flattery which was systematically bestowed on this monarch, the following eulogium upon her poetry, is a curious instance. After enumerating the best poets of his age, Puttenham thus proceeds:—"But last in recitall and first in degree is the Queene our soveraigne Lady, whose learned, delicate, noble Muse, easily surmounteth all the rest that have written before her time or since, for sence, sweetnesse and subtillitie, be it Ode, Elegie, Epigram, or any other kinde of poeme, Heroick, Lyricke, wherein it shall please her Majestie to employ her penne, even by as much oddes as her owne excellent estate and degree exceedeth all the rest of her most humble vassalls."—The Arte of English Poesie, reprint, p. 51.
[704:B] A Collection of Epigrams.
[705:A] These poems were published in a tract entitled "The Right Way to Heaven, and the true testimony of a faithfull and loyall subject," 1601.
[705:B] This copy is without date, but a second edition was printed in 1617; it is a miserable paraphrase of Warner's exquisite episode.
[705:C] Of this Collection Lord Hailes published a specimen in 1765; in 1801, Mr. J. Gr. Dalyell reprinted the whole, with the Scotish poems of the 16th century. Edin. 2 vols. 12mo.; and Mr. Irving has given some notices of the author in his Scotish poets, 2 vols. 8vo. 1804.
[706:A] Wenman's Legend and Poems have lately been printed by Mr. Fry, in an octavo volume, from a quarto manuscript of 52 leaves. The Legend appears to have been intended for insertion in the Mirror for Magistrates.
[706:B] For a very full account of "The Rocke of Regard," by Mr. Park, see Censura Lit. vol. v. p. 1.
[706:C] This poem of 90 seven-line stanzas, is annexed to Bindley's "Mirror of True Honour and Christian Nobility," &c. 1585. 4to.
[706:D] Of Whitney's Emblemes, which, being printed at Leyden, is a very rare book, a description will be found in Censura Lit. vol. v. p. 233.
[706:E] Willet's Emblems were written before 1598, as Meres alludes to them in his "Palladis Tamia."
[707:A] These biographical poems were added to the author's "True use of Armorie," 1592, 4to. Of the first poem an extract is given in Censura Lit. vol. i. p. 149, 150.
[707:B] A copy of these poems, apparently unique, is in the possession of Mr. Park, who has communicated a description of it in Censura Lit. vol. iii. p. 175.
[707:C] This romance, which abounds with poetry, is of the pastoral species; it is written on the plan of Sidney's Arcadia, and, like it, exhibits many beautiful passages both in prose and verse: twenty-seven of its poetical effusions have been inserted in "England's Helicon," and several have been lately reprinted in "Restituta," No. VII. accompanied by some interesting remarks from the pen of Sir Egerton Brydges.
[707:D] For a specimen of this poem, which "is a concise geographical description of three-quarters of the world, Asia, Africa, and Europe, in the manner of Dionysius," and which Mr. Beloe believes to be unique, see his Anecdotes, vol. ii. p. 74.
[710:A] Sidney's Works, 7th edit., fol., 1629, p. 561.
[711:A] May-Day; a wittie comedie. Divers times acted at "The Blacke Fryers;" 4to. Act iii. fol. 39.
[711:B] A copy of this Miscellany, of the edition of 1580, sold at the Roxburghe Sale, for 55l. 13s.!
[713:A] Reprint by Sir Egerton Brydges, 1810. p. 44.
[714:A] Reprint, p. 42.
[714:B] Preface to his reprint, p. vi.
[714:C] Reprint, p. 55.
[714:D] Reed's Shakspeare, vol. xx. p. 222. Act iv. sc. 5.
[715:A] Reprint, p. 57, 58.
[715:B] Ibid. p. 66.
[715:C] Ibid. p. 14. 37. 87.
[716:A] Vide Heliconia, Part I. Advertisement.
[717:A] For a notable instance of this figure, we refer the reader to "The Lover in Bondage," at p. 50. of Mr. Park's reprint. Not Holofernes himself could more "affect the letter."
[717:B] Quoted by Mr. Park in the Advertisement to his reprint.
[718:A] Heliconia, Part II. p. 85.
[720:A] Heliconia, Part III. Advertisement.
[723:A] England's Helicon, reprint of 1812, Introduction, p. xx. xxi. xxii.
[724:A] Preface, pp. 8, 9. This Collection of Hayward's had three different titles; the last dated 1741. The second edition is called "The Quintissence of English Poetry."
[727:A] The curious Preface, from which we have given this long extract, is only to be found in the first edition of the Belvedere; its omission in the second is a singular defect, as it certainly forms the most interesting part of the impression of 1600.
[727:B] See Malone's Inquiry.
[728:A] Supplement to Shakspeare, vol. i. p. 732.
[730:A] See Censura Literaria, vol. i. p. 229.
[732:A] Vide Morley's Plaine and easie Introduction to Practical Musick.
[733:A] For specimens of these interesting collections, I refer my reader to Censura Literaria, vol. ix. p. 1. et seq.; vol. x. pp. 179. 294.; and to the British Bibliographer, No. IV. p. 343.; No. V. p. 563.; No. VI. p. 59.; No. IX. p. 427.; No. XI. p. 652.; No. XII. p. 48.; and No. XV. p. 386. A well-chosen selection from the now scarce volumes of these Professors of Vocal Music would be a valuable present to the lovers of English poetry.
END OF THE FIRST VOLUME
Printed by A. Strahan,
Printers-Street, London.
Passages of this drama, which are illustrated in this work.
| Act | i. | scene | 3., | ii. | 424. |
| Act | ii. | scene | 1., | i. | 108. 175. ii. 434. |
| scene | 2., | i. | 143. 159. | ||
| scene | 5., | ii. | 434. | ||
| scene | 7., | ii. | 434. | ||
| Act | iii. | scene | 2., | ii. | 107. 425. |
| Act | iv. | scene | 10., | i. | 362. |
| scene | 12., | ii. | 192. | ||
Passages of this drama which are illustrated in the present work.
| Act | i. | scene | 4., | i. | 129. |
| Act | ii. | scene | 3., | i. | 338. |
| Act | iii. | scene | 9., | i. | 138. |
| Act | iv. | scene | 10., | i. | 308. |
Passages of this drama which are illustrated in the present work.
| Act | i. | scene | 2., | i. | 301. |
| Act | ii. | scene | 1., | i. | 367. 403. |
| scene | 7., | i. | 55. ii. 102. | ||
| Act | iii. | scene | 2., | ii. | 115. |
| scene | 3., | i. | 580. | ||
| scene | 4., | i. | 556. | ||
| Act | iv. | scene | 1., | i. | 580. ii. 157. |
| Act | v. | scene | 4., | i. | 288. ii. 159. |
| The Epilogue, | i. | 218. | |||