The history of English poetry: from the close of the eleventh to the commencement of the eighteenth century. To which are prefixed, two dissertations. ... By Thomas Warton, ... [pt.3]

SECT. XL.

BUT, as scholars began to direct their attention to our ver∣nacular poetry, many more of the antient poets now ap∣peared in English verse. Before the year 1600, Homer, Mu∣saeus, Virgil, Horace, Ovid, and Martial, were translated. In∣deed most of these versions were published before the year 1580. For the sake of presenting a connected display of these early translators, I am obliged to trespass, in a slight degree, on that chronological order which it has been my prescribed and con∣stant method to observe. In the mean time we must remember, that their versions, while they contributed to familiarise the ideas of the antient poets to English readers, improved our lan∣guage and versification; and that in a general view, they ought to be considered as valuable and important accessions to the stock of our poetical literature. These were the classics of Shakespeare.

I shall begin with those that were tran••lated first in the reign of Elisabeth. But I must premise, that this inquiry will neces∣sarily draw with it many other notices much to our purpose, and which could not otherwise have been so conveniently disposed and displayed.

Thomas Phaier, already mentioned as the writer of the story of OWEN GLENDOUR in the MIRROUR OF MAGISTRATES, a native of Pembrokeshire, educated at Oxford, a student of Lincoln's Inn, and an advocate to the council for the Marches of Wales, but afterwards doctorated in medicine at Oxford, translated the seven first books of the Eneid of Virgil, on his retirement to his patrimonial seat in the forest of Kilgarran

in Pembrokeshire, in the years 1555, 1556, 1557. They were printed at London in 1558, for Ihon Kyngston, and dedi∣cated to queen Mary a 1.1. He afterwards finished the eighth book on the tenth of September, within forty days, in 1558. The ninth, in thirty days, in 1560. Dying at Kilgarran the same year, he lived only to begin the tenth b 1.2. All that was thus done by Phaier, one William Wightman published in 1562, with a dedication to sir Nicholas Bacon,

"The nyne first books of the Eneidos of Virgil conuerted into English verse by Thomas Phaer doctour of physick, &c c 1.3."

The imperfect work was at length completed, with Maphaeus's supplemental or thirteenth book, in 1583, by Thomas Twyne, a native of Canterbury, a physician of Lewes in Sussex, educated in both universities, an admirer of the mysterious philosophy of John Dee, and patro∣nised by lord Buckhurst the poet d 1.4. The ninth, tenth, eleventh,

and twelfth books, were finished at London in 1573 e 1.5. The whole was printed at London in 1584, with a dedication, dated that year from Lewes, to Robert Sackville f 1.6, the eldest son of lord Buckhurst, who lived in the dissolved monastery of the Clu∣niacs at Lewes g 1.7. So well received was this work, that it was followed by three new editions in 1596 h 1.8, 1607, and 1620 i 1.9. Soon after the last-mentioned period, it became obsolete and was forgotten k 1.10.

Phaier undertook this translation for the defence, to use his own phrase, of the English language, which had been by too many deemed incapable of elegance and propriety, and for the

"honest recreation of you the nobilitie, gentlemen, and ladies, who studie in Latine."

He adds,

"By mee first this gate is set open. If now the young writers will uouchsafe to enter, they may finde in this language both large and abvndant camps [fields] of uarietie, wherein they may gather innumerable sortes of most beavtifull flowers, figures, and phrases, not only to supply the imperfection of mee, but also to garnish all kinds of their own verses with a more cleane and compen∣diovs order of meeter than heretofore hath bene accustomed l 1.11."

Phaier has omitted, misrepresented, and paraphrased many pas∣sages; but his performance in every respect is evidently superior to Twyne's continuation. The measure is the fourteen-footed

Alexandrine of Sternhold and Hopkins. I will give a short specimen from the siege of Troy, in the second book. Venus addresses her son Eneas.

Thou to thy parents hest take heede, dread not, my minde obey: In yonder place, where stones from stones, and bildings huge to sway, Thou seest, and mixt with dust and smoke thicke stremes of reekings rise, Himselfe the god Neptùne that side doth furne in wondersm 1.12 wise; With forke threetinde the wall vproots, foundations allto shakes•• And quite from vnder soile the towne, with groundworks all vprakes. On yonder side with Furies most, dame Iuno fiercely stands, The gates she keeps, and from the ships the Greeks, her friendly bands, In armour girt she calles. Lo! there againe where Pallas sits, on fortes and castle-towres, With Gorgons eyes, in lightning cloudes inclosed grim she lowres. The father-god himselfe to Greeks their mights and courage steres, Himselfe against the Troyan blood both gods and armour reres. Betake thee to thy flight, my sonne, thy labours ende procure, I will thee neuer faile, but thee to resting place assure. She said, and through the darke night-shade herselfe she drew from sight: Appeare the grisly faces then, Troyes en'mies vgly dight.

The popular ear, from its familiarity, was tuned to this mea∣sure. It was now used in most works of length and gravity, but seems to have been consecrated to translation. Whatever absolute and original dignity it may boast, at present it is almost

ridiculous, from an unavoidable association of ideas, and because it necessarily recalls the tone of the versification of the puritans. I suspect it might have acquired a degreee of importance and reverence, from the imaginary merit of its being the established poetic vehicle of scripture, and its adoption into the celebration of divine service.

I take this opportunity of observing, that I have seen an old bal∣lad called GADS-HILL by Faire, that is probably our translator Phaier. In the Registers of the Stationers, among seven Ballettes licenced to William Bedell and Richard Lante, one is entitled

"The Robery at Gads hill,"

under the year 1558 n 1.13. I know not how far it might contribute to illustrate Shakespeare's HENRY THE FOURTH. The title is promising.

After the associated labours of Phaier and Twyne, it is hard to say what could induce Robert Stanyhurst, a native of Dublin, to translate the four first books of the Eneid into English hexa∣meters, which he printed at London, in 1583, and dedicated to his brother Peter Plunket, the learned baron of Dusanay in Ireland o 1.14. Stanyhurst at this time was living at Leyden, having left England for some time on account of the change 〈◊〉〈◊〉 religion. In the choice of his measure, he is more unfortunate than his predecessors, and in other respects succeeded worse. It may be remarked, that Meres, in his WITS TREASURIE, printed in 1598, among the learned translators, mentions only

"Phaier, for Virgil's Aeneads p 1.15."

And William Webbe, in his DISCOURSE

OF ENGLISH POETS printed in 1586 q 1.16, entirely omits our author, and places Phaier at the Head of all the English translators r 1.17. Thomas Nashe, in his APOLOGY OF PIERCE PENNILESSE, printed in 1593, observes, that

"Stanyhurst the otherwise learned, trod a foul, lumbring, boisterous, wal∣lowing measure in his translation of Virgil.—He had neuer been praised by Gabriel Harveys 1.18 for his labour, if therein he had not been so famously absurdt 1.19."

Harvey, Spenser's friend, was one of the chief patrons, if not the inventor, of the Eng∣lish hexameter, here used by Stanyhurst. I will give a specimen in the first four lines of the second book.

With tentiue listning each wight was setled in harkning; Then father Aeneas chronicled from loftie bed hautie: You bid me, O princesse, to scarifie a festered old sore, How that the Troians were prest by the Grecian armie u 1.20.

With all this foolish pedantry, Stanyhurst was certainly a scholar. But in this translation he calls Chorebus, one of the Trojan chiefs, a bedlamite, he says that old Priam girded on his sword Morglay, the name of a sword in the Gothic romances, that Dido would have been glad to have been brought to bed even of a cockney, a Dandiprat hopthumb, and that Jupiter, in kissing his daughter, bust his pretty prating parrot. He was ad∣mitted at University college, in 1563, where he wrote a system

of logic in his eighteenth year w 1.21. Having taken one degree, he became successively a student at Furnival's and Lincoln's Inn. He has left many theological, philosophical, and historical books. In one of his EPITAPHS called COMMVNE DEFUNCTORUM, he mentions Julietta, Shakespeare's Juliet, among the celebrated heroines x 1.22. The title, and some of the lines, deserve to be cited, as they shew the poetical squabbles about the English hexa∣meter.

An Epitaph against rhyme, entituled COMMVNE DE∣FUNCTORUM such as our vnlearned Rithmours accustomably make vpon the death of euerie Tom Tyler, as if it were a last for euerie one his foote, in which the quantities of syllables are not to be heeded."

—

A Sara for goodnesse, a great Bellona for budgenesse, For myldnesse Anna, for chastitye godlye Susanna. Hester in a good shift, a Iudith stoute at a dead lift: Also IULIETTA, with Dido rich Cleopatra: With sundrie namelesse, and women many more blamelesse, &c y 1.23.

His Latin DESCRIPTIO HIBERNIAE, translated into English, appears in the first volume of Hollinshed's Chronicles, printed in 1583. He is styled by Camden,

"Eruditissimus ille nobilis Richardus Stanihurstus z 1.24."

He is said to have been caressed for his literature and politeness by many foreign princes a 1.25. He died at Brussels in 1618 b 1.26.

Abraham Fleming, brother to Samuel c 1.27, published a version of the BUCOLICS of Virgil, in 1575, with notes, and a dedica∣tion to Peter Osborne esquire. This is the title,

"The BUKO∣LIKES of P. Virgilius Maro, with alphabeticall Annotations, &c. Drawne into plaine and familiar Englishe verse by Abr. Fleming student, &c. London by John Charlewood, &c. 1575."

His plan was to give a plain and literal tran∣slation, verse for verse. These are the five first lines of the tenth Eclogue.

O Arethusa, graunt this labour be my last indeede! A few songes vnto Gallo, but let them Lycoris reede: Needes must I singe to Gallo mine, what man would songes deny? So when thou ronnest vnder Sicane seas, where froth doth fry, Let not that bytter Doris of the salte streame mingle make.

Fourteen years afterwards, in 1589, the same author pub∣lished a new version both of the BUCOLICS and GEORGICS of

Virgil, with notes, which he dedicated to John Whitgift archbishop of Canterbury d 1.28. This is commonly said and sup∣posed to be in blank verse, but it is in the regular Alexandrine without rhyme. It is entitled,

"The BUKOLIKES of P. Vir∣gilius Maro, &c. otherwise called his pastoralls or Shepherds Meetings. Together with his GEORGICS, or Ruralls, &c. All newly translated into English verse by A. F. At London by T. O. for T. Woodcocke, &c. 1589."

I exhibit the five first verses of the fourth Eclogue.

O Muses of Sicilia ile, let's greater matters singe! Shrubs, groves, and bushes lowe, delight and please not every man: If we do singe of woodes, the woods be worthy of a con∣sul. Nowe is the last age come, whereof Sybilla's verse fore∣told; And now the Virgin come againe, and Saturnes kingdom come.

The fourth Georgic thus begins.

O my Mecenas, now will I dispatch forthwith to shew The heauenly gifts, or benefits, of airie honie sweet. Look on this piece of worke likewise, as thou hast on the rest.

Abraham Fleming supervised, corrected, and enlarged the second edition of Hollinshed's chronicle in 1585 e 1.29. He tran∣slated Aelian's VARIOUS HISTORY into English in 1576, which he dedicated to Goodman dean of Westminster,

"Aelian's Registre

of Hystories by Abraham Fleming f 1.30."

He published also Certaine select epistles of Cicero into English, in 1576 g 1.31. And, in the same year, he imparted to our countrymen a fuller idea of the elegance of the antient epistle, by his

"PANOPLIE OF EPISTLES from Tully, Isocrates, Pliny, and others, printed at London 1576 h 1.32."

He translated Synesius's Greek PANE∣GYRIC on BALDNESS, which had been brought into vogue by Erasmus's MORIAE ENCOMIUM i 1.33. Among some other pieces, he Englished many celebrated books written in Latin about the fifteenth century and at the restoration of learning, which was a frequent practice, after it became fashionable to compose in English, and our writers had begun to find the force and use of their own tongue k 1.34. Sir William Cordall, the queen's solicitor∣general, was his chief patron l 1.35.

William Webbe, who is styled a graduate, translated the GEORGICS into English verse, as he himself informs us in the DISCOURSE OF ENGLISH POETRIE, lately quoted, and printed in 1586 m 1.36. And in the same discourse, which was written in

defence of the new fashion of English hexameters, he has given us his own version of two of Virgil's BUCOLIC••, written in that unnatural and impracticable mode of versification n 1.37. I must not forget here, that the same Webbe ranks Abraham Fleming as a translator, after Barnabie Googe the translator of Palinge∣nius's ZODIAC, not without a compliment to the poetry and the learning of his brother Samuel, whose excellent Inventions, he adds, had not yet been made public.

Abraham Fraunce, in 1591, translated Virgil's ALEXIS into English hexameters, verse for verse, which he calls The lamenta∣tion of Corydon for the love of Alexis o 1.38. It must be owned, that the selection of this particular Eclogue from all the ten for an English version, is somewhat extraordinary. But in the reign of queen Elisabeth, I could point out whole sets of sonnets written with this sort of attachment, for which perhaps it will be but an inadequate apology, that they are free from direct impurity of expression and open immodesty of sentiment. Such at least is our observance of external propriety, and so strong the princi∣ples of a general decorum, that a writer of the present age who was to print love-verses in this style, would be severely re∣proached, and universally proscribed. I will instance only in the AFFECTIONATE SHEPHERD of Richard Barnefielde, printed in 1595. Here, through the course of twenty sonnets, not in∣elegant, and which were exceedingly popular, the poet bewails his unsuccessful love for a beautiful youth, by the name of Ga∣nimede, in a strain of the most tender passion, yet with profes∣sions of the chastest affection p 1.39. Many descriptions and incidents

which have a like complexion, may be found in the futile novels of Lodge and Lilly.

Fraunce is also the writer of a book, with the affected an•• unmeaning title of the

"ARCADIAN RHETORIKE, or the pre∣ceptes of Rhetoricke made plaine by examples, Greeke, La∣tyne, Englisshe, Italyan, Frenche, and Spanishe."

It was printed in 1588, and is valuable for its English examples q 1.40.

In consequence of the versions of Virgil's Bucolics, a piece appeared in 1584, called

"A Comoedie of Titerus and Gala∣thea r 1.41."

I suppose this to be Lilly's play called GALLATHEA, played before the queen at Greenwich on New Year's day by the choristers of saint Pauls.

It will perhaps be sufficient barely to mention Spenser's CU∣LEX, which is a vague and arbitrary paraphrase, of a poem not properly belonging to Virgil. From the testimony of many early Latin writers it may be justly concluded, that Virgil wrote an elegant poem with this title. Nor is it improbable that in the CU••EX at present attributed to Virgil, some very few of the ori∣ginal phrases, and even verses, may remain, under the accumu∣lated incrustation of critics, imitators, interpolators, and para∣phrasts, which corrupts what it conceals. But the texture, the character, and substance, of the genuine poem is almost entirely lost. The CEIRIS, or the fable of Nisus and Scylla, which fol∣lows, although never mentioned by any writer of antiquity, has much fairer pretensions to genuineness. At least the CEIRIS, al∣lowing for uncommon depravations of time and transcription, ap∣pears in its present state to be a poem of the Augustan age, and is perhaps the identical piece dedicated to the Messala whose patronage it solicits. It has that rotundity of versification, which seems to have been studied after the Roman poetry emerged from barbarism.

It has a general simplicity, and often a native strength, of colouring; nor is it tinctured, except by the casual innova∣tion of grammarians, with those sophistications both of senti∣ment and expression, which afterwards of course took place among the Roman poets, and which would have betrayed a re∣cent forgery. It seems to be the work of a young poet: but its digressions and descriptions which are often too prolix, are not only the marks of a young poet, but of early poetry. It is interspersed with many lines, now in the Eclogues, Georgics, and Eneid. Here is an argument which seems to assign it to Virgil. A cotemporary poet would not have ventured to steal from poems so well known. It was natural, at least allowable, for Virgil to steal from a performance of his youth, on which he did not set any great value, and which he did not scruple to rob of a few ornaments, deserving a better place. This consideration excludes Cornelius Gallus, to whom Fontanini, with much acute criti∣cism, has ascribed the CEIRIS. Nor, for the reason given, would Virgil have stolen from Gallus. The writer has at least the art of Virgil, in either suppressing, or throwing into shade, the trite and uninteresting incidents of the common fabulous history of Scylla, which were incapable of decoration, or had been preoccupied by other poets. The dialogue between the young princess Scylla, who is deeply in love, and her nurse, has much of the pathos of Virgil. There are some traces which discover an imitation of Lucretius: but on the whole, the struc∣ture of the verses, and the predominant cast and manner of the composition, exactly resemble the ARGONAUTICA of Catullus, or the EPITHALAMIUM of PELEUS AND THETIS. I will instance in the following passage, in which every thing is distinctly and circumstantially touched, and in an affected pomp of numbers. He is alluding to the stole of Minerva, interwoven with the battle of the giants, and exhibited at Athens in the magnificent Panathenaic festival. The classical reader will perceive one or two interpolations: and lament, that this rich piece of embroidery

has suffered a little from being unskilfully darned by another and a more modern artificer.

Sed magno intexens, si fas est dicere, peplo, Qualis Erectheis olim portatur Athenis, Debita cum castae ••olvuntur vota Minervae, Tardaque confecto redeunt quinquennia lustro, Cum levis alterno Zephyrus concrebuit Euro, Et prono gravidum provexit pondere cursum. Felix ille dies, felix et dicitur annus: Felices qui talem annum videre, diemque! Ergo Palladiae texuntur in ordine pugnae: Magna Gigantaeis ornantur pepla tropaeis, Horrida sanguineo pinguntur praelia cocco. Additur aurata dejectus cuspide Typho, Qui prius Ossaeis consternens aethera saxis, Emathio celsum duplicabat vertice Olympum. Tale deae velum solemni in tempore portant s 1.42.

The same stately march of hexameters is observable in Tibul∣lus's tedious panegyric on Messala: a poem, which, if it should not be believed to be of Tibullus's hand, may at least, from this reasoning be adjudged to his age. We are sure that Ca∣tullus could not have been the author of the CEIRIS, as Mes∣sala, to whom it is inscribed, was born but a very few years be∣fore the death of Catullus. One of the chief circumstances of the story is a purple lock of hair, which grew on the head of Nisus king of Megara, and on the preservation of which the safety of that city, now besieged by Minos, king of Crete, en∣tirely depended. Scylla, Nisus's daughter, falls in love with Minos, whom she sees from the walls of Megara: she finds means to cut off this sacred ringlet, the city is taken, and she is married to Minos. I am of opinion that Tibullus, in the fol∣lowing passage, alludes to the CEIRIS, then newly published,

and which he points out by this leading and fundamental fiction of Nisus's purple lock.

Pieridas, pueri, doctos et amate poetas; Aurea nec superent munera Pieridas! CARMINE PURPUREA est Nisi coma: carmina ni sint, Ex humero Pelopis non nituisset ebur t 1.43.

Tibullus here, in recommending the study of the poets to the Roman youth, illustrates the power of poetry; and, for this purpose, with much address he selects a familiar instance from a piece recently written, perhaps by one of his friends.

Spenser seems to have shewn a particular regard to these two little poems, supposed to be the work of Virgil's younger years. Of the CULEX he has left a paraphrase, under the title of VIR∣GIL'S GNAT, dedicated to lord Leicester, who died in 1588. It was printed without a title page at the end of the

"TEARES OF THE MUSES, by Ed. Sp. London, imprinted for Wil∣liam Ponsonbie dwelling in Paules church-yard at the sign of the bishops head, 1591 u 1.44."

From the CEIRIS he has copied a long passage, which forms the first part of the legend of Brito∣mart in the third book of the FAIRY QUEEN.

Although the story of MEDEA existed in Guido de Columna, and perhaps other modern writers in Latin, yet we seem to have had a version of Valerius Flaccus in 1565. For in that year, I know not if in verse or prose, was entered to Purfoote,

"The story of Jason, how he gotte the golden flece, and howe he did begyle Media [Medea], oute of Laten into Englisshe by Nycholas Whyte w 1.45."

Of the translator Whyte, I know no∣thing more.

Of Ovid's METAMORPHOSIS, the four first books were tran∣slated by Arthur Golding in 1565 x 1.46.

"The fyrst fower bookes of the Metamorphosis owte of Latin into English meter by

Arthur Golding, gentleman, &c. Imprinted at London by Wil∣lyam Seres 1565 y 1.47."

But soon afterwards he printed the whole, or,

"The xv. Bookes of P. Ouidius Naso entytuled METAMOR∣PHOSIS, translated out of Latin into English meetre, by Ar∣thur Golding Gentleman. A worke uery pleasant and delec∣table. Lond. 1575."

William Seres was the printer, as be∣fore z 1.48. This work became a favorite, and was reprinted in 1587, 1603, and 1612 a 1.49. The dedication, an epistle in verse, is to Robert earl of Leicester, and dated at Berwick, April 20, 1567. In the metrical Preface to the Reader, which immediately fol∣lows, he apologises for having named so many fictitious and heathen gods. This apology seems to be intended for the weaker puritans b 1.50. His style is poetical and spirited, and his versifi∣cation clear: his manner ornamental and diffuse, yet with a sufficient observance of the original. On the whole, I think him a better poet and a better translator than Phaier. This will appear from a few of the first lines of the second book, which his readers took for a description of an enchanted castle.

The princely pallace of the Sun, stood gorgeous to behold, On stately pillars builded high, of yellow burnisht gold; Beset with sparkling carbuncles, that like to fire did shine, The roofe was framed curiously, of yuorie pure and fine. The two-doore-leves of siluer clere, a radiant light did cast: But yet the cunning workemanship of thinges therein far past The stuffe whereof the doores were made: for there a perfect plat Had Vulcane drawne of all the world, both of the sourges that

Embrace the earth with winding waves, and of the stedfast ground, And of the heauen itself also, that both encloseth round. And first and foremost of the sea, the gods thereof did stand, Loude-sounding Tryton, with his shrill and writhen trumpe in hand, Unstable Protew, changing aye his figure and his hue, From shape to shape a thousand sights, as list him to renue.— In purple robe, and royall throne of emerauds freshe and greene, Did Phoebus sit, and on each hand stood wayting well beseene, Dayes, Months, Yeeres, Ages, Seasons, Times, and eke the equall Houres; There stood the SPRINGTIME, with a crowne of fresh and fra∣grant floures: There wayted SUMMER naked starke, all saue a wheaten hat: And AUTUMNE smerde with treading grapes late at the pressing∣vat: And lastly, quaking for the colde, stood WINTER all forlorne, With rugged head as white as doue, and garments al to torne; Forladenc 1.51 with the isycles, that dangled vp and downe, Upon his gray and hoarie beard, and snowie frozen crowne. The Sunne thus sitting in the midst, did cast his piercing eye, &c.

But I cannot resist the pleasure of transcribing a few more lines, from the transformation of Athamas and Ino, in the fourth book. Tisiphone addresses Juno d 1.52.

The hatefull hag Tisiphone, with hoarie ruffled heare e 1.53, Remouing from her face the snakes, that loosely dangled theare, Said thus, &c.

He proceeds,

The furious fiend Tisiphone, doth cloth her out of hand, In garment streaming gory blood, and taketh in her hand

A burning cressete 1.54 steept in blood, and girdeth her about With wreathed snakes, and so goes forth, and at her going out, Feare, terror, griefe, and pensiuenesse, for company she tooke, And also madnesse with his flaight and gastly-staring looke. Within the house of Athamas no sooner foote she set, But that the postes began to quake, and doores looke blacke as iet. The sunne withdrewe him: Athamas and eke his wife were cast With ougly sightes in such a feare, that out of doores agast They would have fled. There stood the fiend, and stopt their passage out; And splayingf 1.55 foorth her filthy armes beknit with snakes about, Did tosse and waue her hatefull head. The swarme of scaled snakes Did make an yrksome noyce to heare, as she her tresses shakes. About her shoulders some did craule, some trayling downe her brest, Did hisse, and spit out poison greene, and spirt with tongues infest. Then from amid her haire two snakes, with venymd hand she drew, Of which she one at Athamas, and one at Ino threw. The snakes did craule about their brests, inspiring in their heart Most grieuous motions of the minde: the body had no smart Of any wound: it was the minde that felt the cruell stinges. A poyson made in syrup-wise, she also with her brings, The filthy ••ome of Cerberus, the casting of the snake Echidna, bred among the fennes, about the Stygian lake. Desire of gadding forth abroad, Forgetfullness of minde, Delight in mischie••e, Woodnesse g 1.56, Tears, and Purpose whole inclinde To cruell murther: all the which, she did together grinde. And mingling them with new-shed blood, she boyled them in brasse, And stird them with a hemlock stalke. Now while that Athamas

And Ino stood, and quakt for feare, this poyson ranke and fell She turned into both their brests, and made their hearts to swell. Then whisking often round about her head, her balefull brand, She made it soone, by gathering winde, to kindle in her hand. Thus, as it were in tryumph-wi••e, accomplishing her hest, To duskie Pluto's emptie realme, she gets her home to rest, And putteth off the snarled snakes that girded-in her brest.

We have here almost as horrid a mixture as the ingredients in Macbeth's cauldron. In these lines there is much enthusiasm, and the character of original composition. The abruptnesses of the text are judiciously retained, and perhaps improved. The translator seems to have felt Ovid's imagery, and this perhaps is an imagery in which Ovid excells.

Golding's version of the METAMORPHOSIS kept its ground, till Sandys's English Ovid appeared in 1632. I know not who was the author of what is called a ballet, perhaps a translation from the Metamorphosis, licenced to John Charlewood, in 1569,

"The vnfortunate ende of Iphis sonne vnto Teucer kynge of Troye h 1.57."

Nor must I omit The tragicall and lamentable

"Historie of two faythfull mates Ceyx kynge of Thrachine, and Alcione his wife, drawen into English meeter by William Hubbard, 1569 i 1.58."

In stanzas.

Golding was of a gentleman's family, a native of London, and lived with secretary Cecil at his house in the Strand k 1.59. Among his patrons, as we may collect from his dedications, were also sir Walter Mildmay, William lord Cobham, Henry earl of Huntington, lord Leicester, sir Christopher Hatton, lord Oxford, and Robert earl of Essex. He was connected with sir Philip

Sydney: for he finished an English translation of Philip Mornay's treatise in French on the Truth of Christianity, which had been begun by Sydney, and was published in 1587 l 1.60. He enlarged our knowledge of the treasures of antiquity by publishing English translations, of Justin's History in 1564 m 1.61, of Cesar's Commentaries in 1565 n 1.62, of Seneca's BENEFITS in 1577 o 1.63, and of the GEO∣GRAPHY of Pomponius Mela, and the POLYHISTORY of Soli∣nus, in 1587, and 1590 p 1.64. He has left versions of many mo∣dern Latin writers, which then had their use, and suited the condition and opinions of the times; and which are now for∣gotten, by the introduction of better books, and the general change of the system of knowledge. I think his only original work is an account of an Earthquake in 1580. Of his original poetry I recollect nothing more, than an encomiastic copy of verses prefixed to Baret's ALVEARE published in 1580. It may be regretted, that he gave so much of his time to translation. In GEORGE GASCOIGNE'S PRINCELY PLEASURES OF KENIL∣WORTH-CASTLE, an entertainment in the year 1575, he seems to have been a writer of some of the verses,

"The deuise of the Ladie of the Lake also was master Hunnes—The verses, as I think, were penned, some by master Hunnes, some by master Ferrers, and some by master Goldingham q 1.65."

The want of exactness through haste or carelessness, in writing or pronouncing names, even by cotemporaries, is a common fault, especially in our old writers; and I suspect Golding is intended in the last name r 1.66. He is ranked among the celebrated transla∣tors by Webbe and Meres.

The learned Ascham wishes that some of these translators had used blank verse instead of rhyme. But by blank verse, he seems to mean the English hexameter or some other Latin measure. He says,

"Indeed, Chauser, Thomas Norton of Bristow, my Lord of Surry, M. Wiat, Thomas Phaier, and other gentle∣men, in translating Ouide, Palingenius, and Seneca, haue gone as farre to their great praise as the coppy they followed could cary them. But if such good wittes, and forward di∣ligence, had been directed to followe the best examples, and not haue beene caryed by tyme and custome to content them∣selves with that barbarous and rude Ryming, amongest theyr other woorthye prayses which they haue iustly deserued, this had not been the least, to be counted among men of learning and skill, more like vnto the Grecians than the Gothians in handling of theyr verse s 1.67."

The sentiments of another cotem∣porary critic on this subject were somewhat different.

"In queene Maries time florished abou•• any other doctour Phaier, one that was learned, and excellently well translated into English verse heroicall, certaine bookes of Virgil's Aeneidos. Since him followed maister Arthur Golding, who with no less commendation turned into English meetre the Metamorphosis of Ouide, and that other doctour who made the supplement to those bookes of Virgil's Aeneidos, which maister Phaier left vndoone."

Again, he commends

"Phaier and Golding, for a learned and well connected verse, specially in translation cleare, and uery faithfully answering their authours intent t 1.68."

I learn from Coxeter's notes, that the FASTI were translated into English verse before the year 1570. If so, the many little pieces now current on the subject of LUCRETIA, although her legend is in Chaucer, might immediately originate from this source. In 1568, occurs, a Ballett called

"the grevious com∣playnt of Lucrece u 1.69."

And afterwards, in the year 1569, is

licenced to James Robertes,

"A ballet of the death of Lu∣cryssia w 1.70."

There is also a ballad of the legend of Lucrece, printed in 1576. These publications might give rise to Shake∣speare's RAPE OF LUCRECE, which appeared in 1594. At this period of our poetry, we find the same subject occupying the at∣tention of the public for many years, and successively presented in new and various forms by different poets. Lucretia was the grand example of conjugal fidelity throughout the Gothic ages x 1.71.

The fable of Salmacis and Hermaphroditus, in the fourth book of the METAMORPHOSIS, was translated by Thomas Peend, or De la Peend, in 1565 y 1.72. I have seen it only among Antony Wood's books in the Ashmolean Museum. An Epistle is prefixed, addressed to Nicolas Saint Leger esquire, from the writer's studie in Chancery-lane opposite Serjeant's-inn. At the end of which, is an explanation of certain poetical words occurring in the poem. In the preface he tells us, that he had translated great part of the METAMORPHOSIS; but that he abandoned his de∣sign, on hearing that another, undoubtedly Golding, was en∣gaged in the same undertaking. Peend has a recommendatory

poem prefixed to Studley's version of Seneca's AGAMEMNON, in 1566. In 1562, was licenced

"the boke of Perymus and Thesbye,"

copied perhaps in the MIDSUMMER NIGHTS DREAM. I suppose a translation from Ovid's fable of Pyramus and Thisbe z 1.73.

The fable of Narcissus had been translated, and printed sepa∣rately in 1560, by a nameless author,

"The fable of Ovid treting of Narcissus translated out of Latin into English mytre, with a moral thereunto, very plesante to rede, Lond. 1560 a 1.74."

The translator's name was luckily suppressed. But at the close of the work are his initials,

"Finis. T. H."

Annexed to the fable is a moralisation of twice the length

in the octave stanza. Almost every narrative was antiently supposed or made to be allegorical, and to contain a moral meaning. I have enlarged on this subject in the DISSERTA∣TION ON THE GESTA ROMANORUM. In the reign of Elisa∣beth, a popular ballad had no sooner been circulated, than it was converted into a practical instruction, and followed by its MORALISATION. The old registers of the Stationers afford numerous instances of this custom, which was encouraged by the encrease of puritanism b 1.75. Hence in Randolph's MUSE'S

LOOKING-GLASS, where two pu••itans are made spectators of a play, a player, to reconcile them in some degree to a theatre, promises to moralise the plot: and one of them answers,

—That MORALIZING I do approve: it may be for instruction c 1.76.

Ovid's IBIS was translated, and illustrated with annotations, by Thomas Underdowne, born, and I suppose educated, at Ox∣ford. It was printed at London in 1569 d 1.77, with a dedication to Thomas Sackville, lord Buckhurst, the author of GORDOBUC, and entitled,

"Ouid his inuective against Ibis Translated into meeter, whereunto is added by the translator a short draught of all the stories and tales contayned therein uery pleasant to read. Imprinted at London by T. East and H. Middleton, Anno Domini 1569."

The notes are large and historical. There was a second edition by Binneman in 1577 e 1.78. This is the first stanza.

Whole fiftie yeares be gone and past Since I alyue haue been Yet of my Muse ere now there hath No armed verse be seene.

The same author opened a new field of romance, and which seems partly to have suggested sir Philip Sydney's ARCADIA, in translating into English prose the ten books of Heliodorus's Ethiopic history, in 1577 f 1.79. This work, the beginning of

which was afterwards versified by Abraham Fraunce in 1591, is dedicated to Edward earl of Oxford. The knights and dames of chivalry, sir Tristram and Bel Isoulde, now began to give place to new lovers and intrigues: and our author published the Excellent historie of Theseus and Ariadne, most probably suggested by Ovid, which was printed at London in 1566 g 1.80.

The ELEGIES of Ovid, which convey the obscenities of the brothel in elegant language, but are seldom tinctured with the sentiments of a serious and melancholy love, were translated by Christopher Marlowe belowmentioned, and printed at Middle∣burgh without date. This book was ordered to be burnt at Stationers hall, in 1599, by command of the archbishop of Canterbury and the bishop of London h 1.81.

Ovid's REMEDY OF LOVE had an anonymous translator in 1599 i 1.82. But this version was printed the next year under the title of

"Ovidius Naso his REMEDIE OF LOVE, translated and entituled to the youth of England, by F. L. London 1600 k 1.83."

The HEROICAL EPISTLES of Ovid, with Sabinus's Answers, were set out and translated by Thomas Turberville, a celebrated writer of poems in the reign of queen Elisabeth, and of whom more will be said in his proper place l 1.84. This version was printed in 1567, and followed by two editions m 1.85. It is dedicated to Thomas Howard viscount Byndon n 1.86. Six of the Epistles are

rendered in blank verse. The rest in four-lined stanzas. The printer is John Charlewood, who appears to have been printer to the family of Howard, and probably was retained as a do∣mestic for that liberal purpose in Arundel-house, the seat of ele∣gance and literature till Cromwell's usurpation o 1.87. Turberville was a polite scholar, and some of the passages are not unhappily turned. From Penelope to Ulysses.

To thee that lingrest all too long Thy wife, Vlysses, sends: 'Gaine write not, but by quicke returne For absence make amendes.— O that the surging seas had drencht That hatefull letcher tho', When he to Lacedaemon came Inbarkt, and wrought our woe!

I add here, that Mantuan, who had acquired the rank of a classic, was also versified by Turberville in 1594 p 1.88.

Coxeter says, that he had seen one of Ovid's Epistles transla∣ted by Robert earl of Essex. This I have never seen; and, if it could be recovered, I trust it would only be valued as a curio∣sity. A few of his sonnets are in the Ashmolean Museum, which have no marks of poetic genius. He is a vigorous and elegant writer of prose. But if Essex was no poet, few noblemen of his age were more courted by poets. From Spenser to the lowest rhymer he was the subject of numerous sonnets, or popular bal∣lads. I will not except Sydney. I could produce evidence to prove, that he scarce ever went out of England, or even left London, on the most frivolous enterprise, without a pastoral in his praise, or a panegyric in metre, which were sold and sung in

the streets. Having interested himself in the fashionable poetry of the times, he was placed high in the ideal Arcadia now just established: and among other instances which might be brought, on his return from Portugal in 1589, he was complimented with a poem, called

"An Egloge gratulatorie entituled to the right honorable and renowned shepherd of Albions Arcadie Robert earl of Essex and for his returne lately into England q 1.89."

This is a light in which lord Essex is seldom viewed. I know not if the queen's fatal partiality, or his own inherent attractions, his love of literature, his heroism, integrity, and generosity, qualities which abundantly overbalance his presumption, his vanity, and impetuosity, had the greater share in dictating these praises. If adulation were any where justifiable, it must be when paid to the man who endeavoured to save Spenser from starving in the streets of Dublin, and who buried him in West∣minster-abbey with becoming solemnity. Spenser was persecuted by Burleigh, because he was patronised by Essex.

Thomas Churchyard, who will occur again, rendered the three first of the TRISTIA, which he dedicated to sir Christo∣pher Hatton, and printed at London in 1580 r 1.90.

Among Coxeter's papers is mentioned the ballet of Helen's epistle to Paris, from Ovid, in 1570, by B. G. I suspect this B. G. to be the author of a poem called

"A booke intituled a new tra∣gicall historye of too lovers,"

as it is entered in the register of the Stationers, where it is licenced to Alexander Lacy, under the year 1563 s 1.91. Ames recites this piece as written by Ber. Gar.

perhaps Bernard Gardiner f 1.92. Unless Gar, which I do not think, be the full name. The title of BALLET was often applied to poems of considerable length. Thus in the register of the Sta∣tioners, Sackville's LEGEND OF BUCKINGHAM, a part of the MIRROUR OF MAGISTRATES, is recited, under the year 1557, among a great number of ballads, some of which seem to be properly so styled, and entitled,

"The murninge of Edward duke of Buckynham."

Unless we suppose this to be a po∣pular epitome of Sackville's poem, then just published u 1.93. A ro∣mance, or History, versified, so as to form a book or pamphlet, was sometimes called a ballad. As

"A ballett entituled an history of Alexander Campaspe and Apelles, and of the fayth∣full fryndeshippe betweene theym,

printed for Colwell, in 1565 w 1.94. This was from the grand romance of Alexander x 1.95. Some∣times a Ballad is a work in prose. I cannot say whether,

"A ballet intitled the incorraggen all kynde of men to the reedy∣fyinge and buyldynge Poules steeple againe,"

printed in 1564 y 1.96, was a pathetic ditty, or a pious homily, or both. A play or interlude was sometimes called a ballet, as,

"A Ballet intituled AN ENTERLUDE, The cruel detter by Wayer,"

printed for Colwell, in 1565 z 1.97. Religious subjects were frequently called by this vague and indiscriminating name. In 1561, was pub∣lished

"A new ballet of iiij commandements a 1.98."

That is, four of the Ten Commandments in metre. Again, among many others of the same kind, as puritanism gained ground,

"A

ballet intituled the xvij^th chapter of the iiij^th [second] boke of Kynges b 1.99."

And I remember to have seen, of the same period, a Ballet of the first chapter of Genesis. And John Hall, above∣mentioned, wrote or compiled in 1564,

"The COURTE OF VERTUE, contaynynge many holy or spretuall songes, sonettes, psalmes, balletts, and shorte sentences, as well of holy scrip∣tures, as others c 1.100."

It is extraordinary, that Horace's ODES should not have been translated within the period of which we are speaking d 1.101. In the year 1566, Thomas Drant published, what he called,

"A MEDICINABLE MORALL, that is, the two bookes of Horace his satyres Englished, according to the prescription of saint Hierome, &c e 1.102. London, for Thomas Marshe, 1566 f 1.103."

It is dedicated to

"my Lady Bacon and my Lady Cecill fauourers of learning and vertue."

The following year appeared,

"Horace his Arte of Poetrie, Pistles, and Satyrs Englished, and to the earle of Ormounte by Thomas Drant addressed g 1.104. Imprinted at London in Fletestrete nere to S. Dunstones churche, by Thomas Marshe, 1567 h 1.105."

This version is very paraphrastic,

and sometimes parodical. In the address to the reader prefixed, our translator says of his Horace,

"I haue translated him sum∣tymes at randun. And nowe at this last time welnye worde for worde, and lyne for lyne. And it is maruaile that I, be∣ing in all myne oth••r speaches so playne and perceauable, should here desyer or not shun to be harde, so farre forth as I can kepe the lerninge and sayinges of the author."

What follows is too curious not to be transcribed, as it is a picture of the popular learning, and a ridicule of the idle narratives, of the reign of queen Elisabeth.

"But I feare me a number do so thincke of thys booke, as I was aunswered by a prynter not long agone: Though sayth he, sir, your boke be wyse and ful of learnyng, yet peradventure it wyl not be saleable: Sig∣nifying indeede, that flim flames, and gue gawes, be they neuer so sleight and slender, are sooner rapte vp thenne are those which be lettered and clarkly makings. And no doubt the cause that bookes of learnynge seme so hard is, because such and so greate a scull of amarouse [amorous] pamphlets haue so preoccupyed the eyes and eares of men, that a multy∣tude beleue ther is none other style or phrase ells worthe gra∣mercy i 1.106. No bookes so ryfe or so frindly red, as be these

bokes.—But if the settyng out of the wanton tricks of a payre of louers, as for example let theym be cauled sir Chaunticleare and dame Partilote, to tell howe their firste combination of loue began, howe their eyes floted, and howe they anchered, their beames mingled one with the others bewtye. Then, of their perplexed thowghts, their throwes, their fancies, their dryrie driftes, now interrupted now vnper∣fyted, their loue days, their sugred words, and their sugred ioyes. Afterward, howe enuyous fortune, through this chop or that chaunce, turned their bless to bale, seuerynge two such bewtiful faces and dewtiful hearts. Last, at partynge, to ad-to an oration or twane, interchangeably had betwixt the two wobegone persons, the one thicke powderd with manly passionat pangs, the other watered with womanish teares.

Then to shryne them vp to god Cupid, and make martirres of them both, and therwyth an ende of the matter."

After∣wards, reverting to the peculiar difficulty of his own attempt, he adds,

"Neyther any man which can iudge, can iudge it one and the like laboure to translate Horace, and to make and translate a loue booke, a shril tragedye, or a smoth and plat∣leuyled poesye. Thys can I trulye say of myne owne expe∣ryence, that I can soner translate twelve verses out of the Greeke Homer than sixe out Horace."

Horace's satirical writings, and even his Odes, are undoubtedly more difficult to translate than the narrations of epic poetry, which depend more on things than words: no•• is it to be expected, that his satires and epistles should be happily rendered into English at this in∣fancy of style and taste, when his delicate turns could not be expressed, his humour and his urbanity justly relished, and his good sense and observations on life understood. Drant seems to have succeeded best in the exquisite Epistle to Tibullus, which I will therefore give entire.

To Albius Tibullus, a deuisor k 1.107.

Tybullus, frend and gentle iudge Of all that I do clatter l 1.108, What dost thou all this while abroade, How might I learne the matter? Dost thou inuente such worthy workes As Cassius' poemes passe? Or doste thou closelie creeping lurck•• Amid the wholsom grasse? Addicted to philosop••ie, Contemning not a whitte That'sm 1.109 seemlie for an honest man, And for a man of witte n 1.110.

Not thou a bodie without breast! The goddes made thee t' excell In shape, the gods haue lent thee goodes, And arte to vse them well. What better thing vnto her childe Can wish the mother kinde? Than wisedome, and, in fyled frame p 1.111, To vtter owte his minde: To haue fayre fauoure, fame enoughe, And perfect staye, and health; Things trim at will, and not to feele The emptie ebb of wealth. Twixt hope to haue, and care to kepe, Twixt feare and wrathe, awaye Consumes the time: eche daye that cummes, Thinke it the latter daye. The hower that cummes unlooked for Shall cum more welcum aye. Thou shalt Me fynde fat and well fed, As pubbleq 1.112 as may be; And, when thou wilt, a merie mate, To laughe and chat with thee r 1.113.

Drant undertook this version in the character of a grave divine, and as a teacher of morality. He was educated at saint John's college in Cambridge; where he was graduated in theology, in the year 1569 s 1.114. The same year he was appointed prebendary of Chichester and of saint Pauls. The following year he was in∣stal••ed archdeacon of Lewes in the cathedral of Chichester. These preferments he probably procured by the interest of Grin∣dall archbishop of York, of whom he was a domestic chaplain t 1.115.

He was a tolerable Latin poet. He translated the ECCLE∣SIASTES into Latin hexameters, which he dedicated to sir Thomas Henneage, a common and a liberal patron of these times, and printed at London in 1572 u 1.116. At the beginning and end of this work, are six smaller pieces in Latin verse. Among these are the first sixteen lines of a paraphrase on the book of JOB. He has two miscellanies of Latin poetry extant, the one entitled SYLVA, dedicated to queen Elisabeth, and the other POEMATA VARIA ET EXTERNA. The last was printed at Paris, from which circumstance we may conclude that he tra∣velled w 1.117. In the SYLVA, he mentions his new version of David's psalms, I suppose in English versex 1.118. In the same collection, he says he had begun to translate the Iliad, but had gone no further than the fourth book y 1.119. He mentions also his version of the Greek EPIGRAMS of Gregory Nazianzen z 1.120. But we are at a loss to discover, whether the latter were English or Latin versions. The indefatigably inquisitive bishop Tanner has collect••d

our translator's Sermons, six in number, which are more to be valued for their type than their doctrine, and at present are of little more use, than to fill the catalogue of the typogra∣phical antiquary a 1.121. Two of them were preached at saint Mary's hospital b 1.122. Drant's latest publication is dated in 1572.

Historical ballads occur about this period with the initials T. D. These may easily be mistaken for Thomas Drant, but they stand for Thomas Deloney, a famous ballad writer of these times, mentioned by Kemp, one of the original actors in Shake∣speare's plays, in his NINE DAIES WONDER. Kemp's mira∣culous morris-dance, performed in nine days from London to Norwich, had been misrepresented in the popular ballads, and he thus remonstrates against some of their authors.

"I haue made a priuie search what priuate jig-monger of your jolly number had been the author of these abhominable ballets written of me. I was told it was the great ballade maker T. D. or Thomas Deloney, chronicler of the memorable Lives of the SIX YEOMEN OF THE WEST, JACK OF NEWBERY c 1.123, THE GENTLE CRAFT d 1.124, and such like honest men, omitted

by Stowe, Hollinshed, Grafton, Hall, Froysart, and the rest of those welldeseruing writers e 1.125."

I am informed from some manuscript authorities, that in the year 1571, Drant printed an English translation from Tully, which he called, The chosen eloquent oration of Marcus Tullius Cicero for the poet Archias, selected from his orations, and now first published in English f 1.126. I have never seen this version, but I am of opinion that the translator might have made a more happy choice. For in this favorite piece of superficial declamation, the specious orator, when he is led to a formal defence of the value and dignity of poetry, instead of illustrating his subject by insisting on the higher utilities of poetry, its political nature, and its importance to society, enlarges only on the immortality which the art confers, on the poetic faculty being communi∣cated by divine inspiration, on the public honours paid to Homer and Ennius, on the esteem with which poets were regarded by Alexander and Themistocles, on the wonderful phenomenon of an extemporaneous ••ffusion of a great number of verses, and even recurs to the trite and obvious topics of a school-boy in saying, that poems are a pleasant relief after fatigue of the mind, and that hard rocks and savage beasts have been moved by the power of song. A modern philosopher would have considered such a subject with more penetration, comprehension, and force of reflection. His excuse must be, that he was uttering a popular harangue.

Notes

• a 1.1

  In quarto. Bl. Lett. At the end of the seventh book is this colophon,

  "Per Thomam Phaer in foresta Kilgerran fi∣nitum iij. Decembris. Anno 1557. Opus xij dierum."

  And at the end of every book is a similar colophon, to the same pur∣pose. The first book was finished in ele∣ven days, in 1555. The second in twenty days, in the same year. The third in twenty days, in the same year. The fourth in fifteen days, in 1556. The fifth in twenty-four days, on May the third, in 1557,

  "post periculum eius Karmerdini,"

  i. e. at Caermarthen. The sixth in twenty days, in 1557.

  Phaier has left many large works in his several professions of law and medicine. He is pathetically lamented by sir Tho∣mas Chaloner as a most skilful physician, ENCOM. p. 356. Lond. 1579. 4to. He has a recommendatory English poem pre∣fixed to Philip Betham's MILITARY PRE∣CEPTS, translated from the Latin of James earl of Purlilias, dedicated to lord Studley, Lond. 1544. 4to. For E. Whitchurch.

  There is an entry to Pur••oot in 1566, for printing

  "serten verses of Cupydo by Mr. Fayre [Phaier]."

  REGISTR. STA∣TION. A. fol. 154. a.
• b 1.2

  Ex coloph. ut supr.
• c 1.3

  In quarto. Bl. Lett. For Rowland Hall.
• d 1.4

  See supr. p. 287. His father was John Twyne of Bolington in Hampshire, an eminent a••tiquary, author of the Com∣mentary DE REBUS ALBIONICIS, &c. Lond. 1590. It is addressed to, and pub∣lished by, with an epistle, his said son THOMAS. Laurence, a fellow of All Souls and a civilian, and John Twyne, both THOMAS's brothers, have copies of verses prefixed to several cotemporary books, a∣bout the reign of queen Elisabeth. THO∣MAS wrote and translated many tracts, which it would be superfluous and tedious to enumerate here. To his BREVIARIE OF BRITAINE, a translation from the Latin of Humphrey Lhuyd, in 1573, are prefixed recommendatory verses, by Browne pre∣bendary, and Grant the learned school∣master, of Westminster, Llodowyke Lloyd a poet in the PARADISE OF DAINTIE DE∣VISES, and his two brothers, aforesaid, Lau∣rence and John.

  Our translator, THOMAS TWYNE, died in 1613, aged 70, and was buried in the chancel of saint Anne's church at Lewes, where his epitaph of fourteen verses still, I believe, remains on a brass plate affixed to the eastern wall.

  Large antiquarian and historical manu∣script collections, by the father JOHN TWYNE, are now in Corpus Christi library at Oxford. In his COLLECTANEA VARIA, (ibid. vol. iii. fol. 2.) he says he had writ∣ten the Lives of T. Robethon, T. Lupset, Rad. Barnes, T. Eliot, R. Sampson, T. Wriothesle, Gul Paget, G. Day, Joh. Christopherson, N. Wooton. He is in Le∣land's ENCOMIA, p. 83.
• e 1.5

  Coloph. ut supr.
• f 1.6

  In quarto. Bl. Lett. For Abraham Veale.
• g 1.7

  Now ruined. But to this day called, Lord's Place.
• h 1.8

  For Thomas Creed.
• i 1.9

  All in quarto. Bl. Lett. In the edi∣tion of 1607, printed at London by Tho∣m••s Creede, it is said to

  "be newly set forth for the delight of such as are studious in poetrie."
• k 1.10

  In 1562, are entered with Nicholas England

  "the fyrste and ix parte of Vir∣gill."

  REGISTR. STATION. A. fol. 85. a. I suppose Phaier's first nine books of the Eneid. And, in 1561-2, with W. Copland, the

  "booke of Virgill in 4to."

  Ibid. fol. 73. b. See REGISTR. C. fol. 8. a. sub ann. 1595.
• l 1.11

  See

  "Maister Phaer's Conclusion to his interpretation of the Aeneidos of Virgil, by him conuerted into English ver••e."
• m 1.12

  Wonderous.
• n 1.13

  REGISTR. A. fol. 32. b. See Cla∣vell's RECANTATION, a poem in quarto, Lond. 1634. Clavell was a robber, and here recites his own adventures on the high-way. His first depredations are on Gad's-hill. See fol. 1.
• o 1.14

  In octavo. Licenced to Binneman, Jan. 24. 1582.

  "By a copie printed at Lei∣den."

  REGISTR. STATION. B. fol. 192. b. At the end of the Virgil are the four first of David's psalms Englished in Latin measures, p. 82. Then follow

  "Certayne Poetical Conceits (in Latyn and Eng∣lish) Lond. 1583."

  Afterwards are print∣ed Epitaphs written by our author, both in Latin and English. The first, in Latin, is on James earl of Ormond, who died at Ely-house, Octob. 18. 1546. There is an∣ot••er on his father, James Stanyhurst, Re∣corder of Dublin, who died, aged 51, Dec. 27, 1573. With translations from More's Epigrams. Stanyhurst has a copy of recommendatory verses prefixed to Vers∣tegan's RESTITUTION OF DECAYED IN∣TELLIGENCE, Antwerp, 1605. 4to.
• p 1.15

  Fol. 289. p. 2.
• q 1.16

  For John Charlewood. But there is a former edition for Walley, 1585, 4to. I know not to which translation of Virgil, Puttenham in THE ART•• OF ENGLISH POESIE refers, where he says,

  "And as one who translating certaine bookes of Virgil's AENEIDOS into English meetre, said, that Aeneas was fayne to trudge out of Troy, which terme became better to be spoken of a beggar, or of a rouge or a lackey, &c."

  Lib. iii. ch. xxiii. p. 229.
• r 1.17

  Fol. 9.
• s 1.18

  Gabriell Harvey, in his FOURE LET∣TERS AND CERTAINE SONNETS, says,

  "I cordially recommend to the deare louers of the Muses, and namely to the pro∣fessed sonnes of the same, Edmond Spencer, Richard Stanihurst, Abraham Fraunce, Thomas Watson, Samuell Da∣niel, Thomas Nashe, and the rest, whom I affectionately thancke for their studious endeuours commendably employed in enriching and polishing their natiue tongue, &c."

  LETT. iii. p. 29. Lond. 1592. 4to.
• t 1.19

  Signat. B.
• u 1.20

  Fol. 21.
• w 1.21

  "Harmonia ••ive Catena Dialectica in Porphyrianas constitutiones,"

  a commen∣tary on Porphyry's ISAGOGE. Lond. 1570. fol. Campion, then of S. John's college, afterwards the Jesuit, to whom it was com∣municated in manuscript, says of the au∣thor,

  "Mirifice laetatus sum, esse adoles∣centem in academia nostra, tali familia, eruditione, probitate, cujus extrema pue∣ritia cum multis laudabili maturita••e vi∣ris certare possit."

  EPISTOL. edit. In∣goldstat. 1602. fol. 50. Four or five of Campion's EPISTLES are addressed to Sta∣nyhurst.
• x 1.22

  Meres mentions Stanyhurst and Ga∣briel Harvey, as

  "Jambical poets."

  Ubi supr. fol. 282. p. 2. Stanyhurst translated some epigrams of sir Thomas More. They are at the end of his Virgil.
• y 1.23

  At the end of his Virgil. SIGNAT•• H iij. He mentions the friends Damon and Pythias in the same piece.
• z 1.24

  In HI••••RNIA. Com. WEST••MEATH.
• a 1.25

  In the title of his H••BDOMADA MA∣RIANA he styles himself

  "Serenissimorum principum SAC••LLANUS."

  That is, Al∣bert archduke of Austria and his princess Isabell. Antw. 1609. 8vo.
• b 1.26

  Coxeter says a miscellany was printed in the latter end of Elisabeth's reign

  "by R. S. that is, R. Stanyhurst."

  I pre∣sume he may probably mean, a collection called

  "The PHOENIX NEST, Built vp with most rare and re••ined workes of noble men, woorthy knights, gallant gentlemen, Masters of Art, and braue schollars. Full of varietie, excellent in∣uention, and singvlar delight, &c. Sett forth by R. S. of the Inner Temple gentleman. Imprinted at London by John Jackson, 1593."

  4to. But I take this R. S. to be Richard Stapylton, who has a copy of verses prefixed to Greene's MA∣MILLIA, printed in 1593. Bl. Lett. By the way, in this miscellany there is a piece by

  "W. S. Gent."

  p. 77. Perhaps by William Shakespeare. But I rather think by William Smyth, whose

  "CLORIS, or the Complaynt of the Passion of the despised Sheppard,"

  was licenced to E. Bolifaunt, Oct. 5, 1596. REGISTR. STA∣TION. C. fol. 14. a. The initials W. S. are subscribed to

  "Corin's dreame of his faire CHLORIS,"

  in ENGLANDS HELI∣CON. (Signat. H. edit. 1614,) And pre∣fixed to the tragedy of LOCRINE, edit. 1595. Also

  "A booke called AMOURS by J. (or G.) D. with certen other Son∣netts by W. S."

  is entered to Eleazar Edgar, Jan. 3, 1599. REGISTR. C. fol. 55. a. The initials W. S. are subscribed to a copy of verses prefixed to N. Breton's WIL OF WIT, &c. 1606. 4to.
• c 1.27

  They were both born in London. Thinne apud Hollinsh. vol. ii. 1590. Sa∣muel wrote an elegant Latin Life of queen Mary, never printed. He has a Latin re∣commendatory poem prefixed to Edward Grant's SPICILEGIUM of the Greek tonge, a Dialogue, dedicated to Lord Burleigh, and printed at London in 1575. 8vo.
• d 1.28

  The Bucolics and Georgics, I think these, are entered, 1600. REGISTR. STAT. See also under 1595, ibid.
• e 1.29

  His brother Samuel assisted in com∣piling the INDEX•• a very laborious work, and made other improvements.
• f 1.30

  In quarto.
• g 1.31

  Lond. in quarto.
• h 1.32

  Quarto. For Ralph Newbery.
• i 1.33

  Lond. 1579. 12mo. At the end, is his FABLE of HERMES.
• k 1.34

  See supr. p. 260•• Among his ori∣ginal pieces are,

  "A memorial of the cha∣ritable almes deedes of William Lambe, gentleman of the chapel under Henry 8th, and citizen of London, Lond. 1580. 8vo.—The Battel between the Virtues and Vices•• Lond. 1582. 8vo.—The Diamant of Devotion in six parts, Lond. 1586. 12mo.—The Cun∣dyt of Comfort, for Denham, 1579."

  He prefixed a recommendatory Latin poem in iambics to the VO••AGE of Dennis Set∣tle, a retainer of the earl of Cumberland, and the companion of Martin Frobisher, Lond. 1577. 12mo. Another, in English, to Kendal's FLOWRES OF EPIGRAMMES, Lond. 1577. 12mo. Another to John Ba∣ret's ALVEARE, or quadruple Lexicon of English, Latin, Greek, and French. Dedi∣cated to Lord Burleigh, Lond. 1580. fol. edit. 2. [See MUS. ASHMOL. Oxon. 835.] Another to W. Whetstone's ROCK OF RE∣GARD. I take this opportunity of obser∣ving, that the works of one John Flem∣ing an antient English poet, are in Dubliu∣college library, of which I have no farther notice, than that they are numbered, 304. See REGISTR. STATION. B. fol. 160. a. 171. a. 168. a.
• l 1.35

  His PANOPLIE is dedicated to Cor∣dall. See LIFE OF SIR THOMAS POPE, p. 226. edit. 2.
• m 1.36

  For the sake of juxtaposition, I ob∣serve here, that Virgil's Bucolics and fourth Georgic were translated by one Mr. Brim∣sly, and licenced to Man, Sept. 3, 1619. REGISTR. STATION. C. fol. 305. a. And the

  "second parte of Virgill's Aeneids in English, translated by sir Thomas Wroth knight,"

  Apr. 4, 1620. Ibid. fol. 313. b.
• n 1.37

  In 1594, Richard Jones published

  "PAN HIS PIPE, conteyninge Three Pas∣torall Eglog•• in Englyshe hexamiter with other delightfull verses."

  Licenced Jan. 3. R••GISTR. STATION•• B. fol. 316. b.
• o 1.38

  At the end of the countesse of Pembroke's J••y-church, in the same measure, Lond. 8vo. He wrote also in the same verse, The lam••ntation of Amyntas for the death of Phillis•• Lond. 1587. 4to. He translated i••to English hexameters the beginning of H••liodorus's ETHIOPICS. Lond. 1591. 8vo.
• p 1.39

  At London, for H. Lownes, 1596. 16mo. Another edition appeared the same year, with hi•• CYNTHIA and Legend of CASSANDRA. For the same, 1596. 16mo. In the preface of this second edition he apologises for his Sonnets,

  "I will vn∣shaddow my conceit: being nothing else but an imitation of Virgill in the second Eclogue of ALEXIS."

  But I find,

  "CYN∣THIA with certeyne SONNETTES and the Legend of CASSANDRA,"

  entered to H. Lownes•• Jan. 1••, 1594. REGISTR. STA∣TION. B. fol. 317. a.
• q 1.40

  Entered to T. Gubbyn and T. New∣man, Jun. 11, 1588. REGISTR. STATION. B. fol. 229. b.
• r 1.41

  Entered April 1, to Cawood. Ibid. fol. 203. b. Lilly's GALATEA, however, appears to be entered as a new copy to T. Man, Oct. 1, 1591. Ibid. fol. 280. b.
• s 1.42

  Ver. 21. seq.
• t 1.43

  ELEG. Lib. i. iv. 61.
• u 1.44

  In quarto. White Lett. Containing twenty-four leaves.
• w 1.45

  REGISTR. STATION. A. fol. 134. a.
• x 1.46

  Lond. Bl. Lett. 4to.
• y 1.47

  It is entered

  "A boke entituled Ovi∣dii Metamorphoses."

  REGISTR. STA∣TION. A. fol. 117. b.
• z 1.48

  Bl. Lett. 4to. It is supposed that there were earlier editions, viz. 1567, and 1576. The last i•• mentioned in Coxeter's papers, who saw it in Dr. Rawlinson's collection.
• a 1.49

  All in Bl. Lett. 4to. That of 1603, by W. W. Of 1612, by Thomas Purfoot.
• b 1.50

  Afterwards he says, of his author,

  And now I have him made so well ac∣quainted with our toong, As that he may in English verse as in his owne be soong, Wherein although for plesant stile, I can∣not make account, &c.
• c 1.51

  Ove••lad••n.
• d 1.52

  Fol. 50. a. edit. 1603.
• e 1.53

  Hair.
• e 1.54

  A torch. The word is used by Milton.
• f 1.55

  Displaying.
• g 1.56

  Madness.
• h 1.57

  REGISTR. STATION. A. ••ol. 186. a. See Malone's SUPPL. SHAKESP. i. 60. seq.
• i 1.58

  Impr at London, by W. Howe for R. Johnes. Bl. Lett. 12mo. In eight leaves
• k 1.59

  His dedication to the four first books of Ovid is from Cecil-house, 1564. See his Dedication to his English version of Peter A••etine's WAR OF ITALY WITH THE GOTHS, Lond. 1563. 12mo. To this he has prefixed a long preface on the causes of the irruption of the Goths into Italy. He appears to have also lived in the parish of All Saints ad murum, London-wall, in 1577. EPIST. prefixed to his SENECA. His POSTILS of Chytraeus are dedicated from Pauls Belchamp t•• sir W. Mildmay, March 10, 1570.
• l 1.60

  In quarto. It was afterwards corrected and printed by Thomas Wilcox, 1604.
• m 1.61

  Lond. 4to. Again 1578. There is the PSALTER in English, printed with Henry Middleton, by Arthur Golding. Lond. 1571. 4to.
• n 1.62

  The Dedication to Cecil is dated from Pauls Belchamp, 12 Octob. Lond. 12mo. Again, 1590. There was a translation by Tipto••t earl of Worcester, printed by Ra••∣••all. No date. I suppose about 1530.
• o 1.63

  Lond. 4to. To sir Christopher Hatton.
• p 1.64

  Lond. 4to.
• q 1.65

  Signat. B ij.
• r 1.66

  But I must observe, that one Henry Goldingham is mentioned as a gesticulator, and one who was to perform Arion on a dolphin's back, in some spectacle before queen Elisabeth. M••••RY PASSAGES AND JEASTS, MSS. HARL. 6395. One B. Goldingham is an actor and a poet, in 1579. in the pageant before queen Elisa∣beth at Norwich. Hollinsh. C••RON. iii. f. 1298. col. 1.
• s 1.67

  Fol. 52. a. 53. b. edit. 1589. 4to.
• t 1.68

  Puttenham's A••TE O•• ENGLISH PO••∣SIE, Lond. 1589. 4to. Lib. i. ch. 30. fol. 49. 51.
• u 1.69

  REGISTR. STATION. A. fol. 174. a. To John Alde. The story might however have been taken from Livy: as was

  "The Tragedy of Appiu•• and Virginia,"

  inverse. This, reprinted in 1575, is entered to R. Jones, in 1567. Ibid. fol. 163. a. And there is the Terannye of judge Apius, a ballad, in 1569. Ibid. fol. 184. b.
• w 1.70

  REGISTR. A. fol. 192. b.
• x 1.71

  It is remarkable, that the sign of Ber∣thelette the king's printer in Fleet-street, who flourished about 1540, was the Lucre∣tia, or as he writes it, LUCRETIA ROMANA.

  There is another Lucretia belonging to our old poetic story. Laneham, in his Narrative of the queen's visit at Kenil∣worth-castle in 1575, mentions among the favorite story-books

  "Lucres and Euria∣lus."

  p. 34. This is,

  "A boke of ij lovers Euryalus and Lucressie [Lucretia] pleasaunte and dilectable,"

  entered to T. Norton, in 1569. REGISTR. STATION. A. fol. 189. a. Again, under the title of

  "A booke entituled the excellent historye of Euryalus and Lucretia,"

  to T. Creede, Oct. 19, 1596. REGISTR. C. fol. 14. b. This story was first written in Latin prose, and partly from a real event, about the year 1440, by Aeneas Sylvius, then im∣perial poet and secretary, afterwards pope Pius the second. It may be seen in EPIS∣TOLARUM LACONICARUM ET SELEC∣TARUM FARRAGINES DUAE, collected by Gilbertus Cognatus, and printed at Basil, 1554. 12mo. (See FARRAG. ii. p. 386.) In the course of the narrative, Lucretia is compared by her lover to Polyxena, Venus, and AEMILIA. The last is the Emilia of Boccace's Theseid, or Palamon and Ar∣cite. p. 481.
• y 1.72

  It is licenced to Colwell that year, with the title of the

  "pleasaunte fable of Ovide intituled Salmacis and Herma∣phroditus."

  REGISTR. STATION. A. fol. 135. a.
• z 1.73

  In quarto. Lond. for T. Hackett. Bl. Lett.
• a 1.74

  REGISTR. STATION. A. fol. 92. a. To William Griffiths. I know not whe∣ther the following were regular versions of Ovid, or poems formed from his works now circulating in English. Such as,

  "the Ballet of Pygmalion,"

  to R. Jones, in 1568. Ibid. fol. 176. a. Afterwards re∣printed and a favorite story. There is the

  "Ballet of Pygmalion,"

  in 1568. Ibid. fol. 176. a.—

  "A ballet intituled the Gol∣den Apple,"

  to W. Pickering, in 1568. Ibid. fol. 175. a.—

  "A ballet intituled Hercules and his Ende,"

  to W. Grif∣fiths, in 1563. Ibid. fol. 102. b. There is also, which yet may be referred to an∣other source,

  "A ballet intituled the His∣tory of Troilus, whose troth had well been tryed,"

  to Purfoote, in 1565. Ibid. fol. 134. b. This occurs again in 1581, and 1608. The same may be said of the

  "History of the tow [two] mooste noble prynces of the worlde Astio••ax and Po∣lixene [Astyanax] of Troy,"

  to T. Hac∣kett, in 1565. Ibid. fol. 139. a. Again, in 1567,

  "the ballet of Acrisious"

  that is, Acrisius the father of Dan••e•• Ibid. fol. 177. b. Also,

  "A ballet of the mesy∣rable state of king Medas,"

  or Midas, in 1569. Ibid. fol. 185. b. These are a few and early instances out of many. Of the METAMORPHOSIS of PIGMALIONS IMAGE, by Marston, printed 1598, and alluded to by Shakespeare, [MEAS. MEAS. iii. 2.] more will be said hereafter.

  There is likewise, which may be refer∣red hither, a

  "booke intitled Procris and Ce∣phalus divided into four parts,"

  licen∣ced Oct. 22, 1598, to J. Wolfe, perhaps a play, and probably ridiculed in the MID∣SUMMER NIGHT'S DREAM, under the ti∣tle Shefalus and Procrus. REGISTR. STA∣TION. B. fol. 302•• a.

  There is also, at least originating from the English Ovid, a pastoral play, pre∣sented by the queen's choir-boys, Peele's ARRAIGNEMENT OF PARIS, in 1584. And I have seen a little novel on that subject, with the same compliment to the queen, by Dickenson, in 1593. By the way, some passages are transferred from that novel into another written by Dickenson••

  "ARISBAS, Euphues amidst his slumbers, or Cupid's Iourney to hell, &c. By J. D. Lond. For T. Creede, 1594. 4to."

  One of them, where Pomona falls in love with a beautiful boy named Hyalus, is as follows. Signat. E 3.

  "She, desirous to winne him with ouer-cloying kindnesse, sed him with apples, gaue him plumes, presented him peares. Having made this entrance into her future solace, she would vse oft his company, kisse him, coll him, check him, chucke him, walke with him, weepe for him, in the ••ields, neere the fountaines, sit with him, ••ue to him, omitting no kindes of dalliance to to woe him, &c."

  I have selected this passage, because I think it was recollected by Shakespeare in the MIDSUMMER NIGHT'S DREAM, where he describes the caresses bestowed by the queen of the fairies on her loved boy, ACT v. Sc. i.

  Come sit thee down upon this flowery bed While I thy amiable cheeks do coy, And stick musk roses in thy sleek smooth head.— I have a ventrous fairy that shall seek The squirrel's hoard, &c.

  See also, ACT ii. Sc. i. In the ARRAIGNE∣MENT OF PARIS just mentioned, we have the same subject and language.

  Playes with Amyntas lu••ty boye, and coyes him in the dales.

  To return. There is, to omit later in∣stances,

  "A proper ballet dialogue-wise between Troylus and Cressida,"

  Jun. 23, in 1581. REGISTR. STATION. B. fol. 180. b.

  "Endimion a••d Phebe,"

  a booke, to John Busbye, April 12, 1595. Ibid. fol. 131•• b. A ballad,

  "a mirror meete for wanton and insolent dames by example of Medusa kinge of Phorcius his daugh∣ter."

  Feb. 13, 1577. Ibid. fol. 145. b.

  "The History of Glau••us and Scylla,"

  to R. Jones, Sept. 22, 1589. Ibid fol. 248. b. Narcissus and Phaeton were turned into plays before 1610. See Heywood's APO∣LOG. ACTORS. Lilly's SAPPHO and PHAO, ENDIMION, and MIDAS, are almost too well known to be enumerated her••. The two last, with his GALATH••A, were li∣cenced to T. Man, Oct. 1, 1590. [But see supr. p. 406.] Of PENELOPES WEBBE, un∣less Greene's, I can say nothing, licenced to E. Aggas, Jun. 26, 1587. Ibid. fol. 219. b. Among Harrington's EPIGRAMS, is one entitled,

  "Ouid's Confession tran∣slated into English for General Norreyes, 1593."

  EPIGR. 85. lib. iii. Of this I know no more. The subject of this note might be much further illustrated.
• b 1.75

  As,

  "Maukin was a Coventry mayde,"

  moralised in 1563. REGISTR. A. fol. 102. a. With a thousand others. I have seen other moralisations of Ovid's stories by the puritans. One by W. K. or William Kethe, a Scotch divine, no unready rhymer, men∣tioned above, p. 305. In our singing∣psalms, the psalms 70, 104, 122, 125, 134, are signatured with W. K. or William Kethe. These initials have been hitherto undecyphered. At the end of Knox's AP∣PELLATION to the Scotch bishops, printed at Geneva in 1558, is psalm 93•• turned into metre by W. Kethe. 12mo. He wrote, about the same time, A ball••d on the fall of the whore of Babylon, called

  "Tye the m••re Tom-boy."

  See supr. p. 170. n. And Strype, ANN. REF. vol. ii. B. i. ch. 11. pag. 102. edit. 1725. Another is by J. K. or John Kepyer, mentioned above as another coadjutor of Sternhold and Hop∣kins, (see supr. p. 186.) and who occurs in

  "The ARBOR OF AMITIE, wherein is comprised plesaunt poems and pretie poe••ies, set foorth by Thomas Howell gentleman, anno 1568."

  Imprinted at London, J. H. Denham, 12mo. Bl. Lett. Dedicated to ladie Anne Talbot. Among the recommendatory copies is one signed, John Keeper, student. See also

  "J. K. to his friend H."

  fol. 27. a. And

  "H. to K."

  ibid. Again, fol. 33. b. 34. a. and 38, 39, &c.
• c 1.76

  ACT i. SC. ii. edit. Oxf. 1638. 4to. Again, Mrs. Flowerdew says,

  "Pray, sir, continue the MORALIZING."

  ACT iii. SC. ••.
• d 1.77

  See REGISTR. STATION. A. fol. 177. b.
• e 1.78

  Both are in octavo. Salma••••s and Hermaphroditus was translated by F. Beau∣mont, 1602. He also translated part of Ovid's REMEDY OF LOVE. As did sir T. Overbury the whole soon afterwards, Lond. 1620. 8vo. But I believe there is a former editi••n, no date. 8vo.
• f 1.79

  Bl Lett. Lo d. 4to. A second edi∣tion appeared in 1587. But in 1••68••9, there is an entry to Francis Coldocke to print

  "a boke entit•• the end of the x^th boke"

  of Heliodorus's Ethiopics. RE∣GISTR. STATION. A. fol. 178. b.
• g 1.80

  In octavo. Bl. Lett.
• h 1.81

  REGISTR. STATION. C. fol. 316. a. b. There were two impressions.
• i 1.82

  Dec. 25. REGISTR. STATION. C. fol. 55. a. To Brown and Jagger. Under the same year occur, Ovydes Epistles in Englyshe, and Ovydes Metamorphoses in Englyshe. Ibid. fol. 57. a. There seems to have been some difficulty in procuring a licence for the

  "Comedie of Sappho,"

  Apr. 6, 1583. REGISTR. B. fol. 198. b.
• k 1.83

  In quarto.
• l 1.84

  "The Heroycall Epistles of the learn∣ed poet Publius Naso in English verse, set out and translated by George Tur∣berville gentleman, with Aulus Sabi∣nus answere to certain of the same."

  Lond. for Henry Denham, 1••67. 12mo.
• m 1.85

  In 1569 and 1600. All at Lond. Bl. Lett.
• n 1.86

  I find entered to Henry Denham, in 1565-6, a boke called

  "the fyrste epestle of Ovide."

  REGISTR. STATION. A. fol. 148. b. Again the same year, to the same,

  "An epestle of Ovide beynge the iiij^th epestle."

  Ibid. fol. 149. a. In the same year, to the same, the rest of Ovid's Epis∣t••es. Ibid. fol. 152. a. There is

  "A booke entit. Oenone to Paris, wherein is deciphered the extremitie of Love, &c."

  To R. Jones, May 17, 1594. REGISTR. B. fol. 307. b.
• o 1.87

  In the Defensative against the poyson of supposed prophesies, written by Henry Ho∣ward, afterwards earl of Northampton and lord privy-seal, and printed (4to.) in 1583, the printer, John Charlewood, styles him∣self printer to Philip earl of Arundel. And in many others of his books, he calls him∣self printer to lord Arundel. Otherwise, he lived in Barbican, at the sign of the Half eagle and Key.
• p 1.88

  The four first Eclogues of Mantuan, I suppose in English, were entered to Binneman in 1566. REGISTR. STATION. A. fol. 151. b. And

  "the rest of the eg∣loggs of Mantuan,"

  to the same, in 1566. Ibid. fol. 154. b.
• q 1.89

  Licenced to R. Jones, Aug. 1, 1589. REGISTR. STATION. B. fol. 246. b.
• r 1.90

  In quarto. An entry appears in 1577, and 1591. REGISTR. STATION.
• s 1.91

  REGISTR. A. fol. 102. It was reprint∣ed, in 1568, for Griffiths, ibid. fol. 174. b. Again, the s••me year, for R. Jones,

  "The ballet intituled the story of ij fayth∣full lovers."

  Ibid. fol. 177. b. Again, for R. Tottell, in 1564,

  "A tragicall his∣torye that happened betweene ij Eng∣lishe lovers."

  Ibid. fol. 118. a. I know not if this be

  "The famooste and notable history of two faythfull lover•• named Alfayns and Archelaus in myter,"

  for Colwell, in 1565. Ibid fol. 133. a. There is also

  "A proper historye of ij Duche lovers,"

  for Purfoote, in 1567. Ibid. fol. 163. a. Also,

  "The moste famous history of ij Span••she lovers,"

  to R. Jones, in 1569. Ibid. fol. 192. b. A poem, called The tragical history of DI∣DACO AND VIOLENTA, was printed in 1576.
• f 1.92

  HIST. PRINT. 532. 551.
• u 1.93

  I will exhibit the mode of entry more at large.

  "To John Kynge THESE BOOKES FOLOWYNGE, Called A Nosegaye, The scole howse of women, and also a Sacke full of Ne••ves"

  Then another paragraph begins,

  "To Mr. John Wallis, and Mrs. Toye, these BALLETS FOLOWYNGE, that ys to saye,—."

  Then follow a∣bout forty pieces, among which is this of the Duke of Buckingham. REGISTR. A. fol. 22. a. But in these records, BOOK and BALLET are often promiscuously used.
• w 1.94

  REGISTR. STATION. A. fol. 137. b.
• x 1.95

  There is, printed in 1565,

  "A bal∣let intituled Apelles and Pygmalyne, to the tune of the fyrst Apelles."

  Ibid. fol. 140. b. And, under the year 1565,

  "A ballet of kynge Polliceute [f. Polyeuc∣tes] to the tune of Appelles."

  Ibid. fol. 133. b. Also,

  "The Songe of Appelles,"

  in the same year. Ibid. fol. 138. a. By the way, Lilly's Campaspe, first printed in 1591, might originate from these pieces.
• y 1.96

  Ibid. fol. 116. a.
• z 1.97

  Ibid. fol. 138. a.
• a 1.98

  Ibid. fol. 75. b.
• b 1.99

  Ibid. fol. 166. a.
• c 1.100

  For T. Marshe. Ibid. fol. 118. b. [See supr. p. 181.]
• d 1.101

  I believe they were first translated by sir Thomas Hawkins, knight, in 1625.
• e 1.102

  That is, Quod malum est muta, quod bonum est prode, from his Epistle to Ru••inus.
• f 1.103

  At the end of this translation, are,

  "The waylings of the prophet Hiere∣miah done into Englishe verse. Also Epigrammes. T. Drant, A••tidoti saluta∣ris amator. Perused and allowed accord∣yng to the queenes maiesties iniunctions."

  Of the Epigrams, four are in English, and seven in Latin. This book is said to be authorised by the bishop of London. RE∣GISTR. STATION. A. fol. 140. b. I know not whether or no the EPIGRAMS were not printed separate: for in 1567, is li∣cenced to T. Marshe,

  "A boke intituled Epygrams and Sentences spirituall by Draunte."

  Ibid. fol. 165. a. The ar∣gument of the JEREMIAH, which he com∣pared with the Hebrew and the Septuagint, begins,

  Jerusalem is iustlie plagude, And left disconsolate, The queene of townes the prince of realmes Deuested from her state.

  In 1586, Mar. 11, are entered to J. Wolfe,

  "LAMENTATION OF JEREMYE in prose and meeter in English, with Tremel∣lius's Annotations to the prose."

  RE∣GISTR. STATION. B. fol. 216. a. See Donne's POEMS, p. 306. seq. edit. 1633. 4to.
• g 1.104

  With a Greek motto.
• h 1.105

  In quarto. Bl. L••tt. In the front of the Dedication he styles himself

  "Maister of Arte, and Student in Diuinitye."

  There is a licence in 1566-7, to Henry Week••s for

  "Orace epestles in Engli••she."

  REGISTR. STATION. A. fol. 155. a•• And there is an entry of the EPISTLES in 1591. REGISTR. B. I find also entered to Colwell,

  "The fyrste twoo satars and peysels of Orace Englesshed by Lewis Evans schoolemaister,"

  in 1564. REGISTR. A. fol. 121. a. This piece is not catalogued among Evans's works in Wood, ATH. OXON. i. 178. Nor in Tanner, BIBL. p. 270.
• i 1.106

  We have this passage in a poem called PASQUILL'S MADNESSE, Lond. 1600. 4to. fol. 36.

  And tell prose writers, stories are so stale, That pennie ballads make a better s••le.

  And in Burton's Melancholy, ••ol. 122. edit. 1624.

  "If they reade a booke at any time '••is an English Cronicle, sir Huon of Bourdeaux, or Amadis de Gaule, a playe booke, or some pamphle••t of newes."

  Hollinshed's and Stowe's CRONICLES became at length the only fashionable reading. In The Guls Hornbook, it is said,

  "The top [the leads] of saint Paules containes more names than Stowe's Cronicle."

  Lond. 1609. 4to. p. 21. Bl. Lett. That the ladies now began to read novels we find from this passage,

  "Let them learne plaine workes of all kinde, so they take heed of too open seaming. Insteade of songes and musicke, let them learne cookerie and laundrie. And in∣stead of reading sir Philip Sidney's AR∣CADIA, let them reade the Gr••undes of good Huswi••••ry. I like not a female poe∣tesse at any hand.—Th••re is a pretty way of breeding young maides in an Ex∣change-shop, or Saint Martines le Grand. But many of them gett such a ••oolish trick with carrying their band-box to gentlemens chambers, &c."

  TOM OF ALL TRADES, or the plaine Path way to Preferment. &c." By Thomas Powell, Lond. 1631. 4to. p. 47, 48.

  Female writers of poetry seem to have now been growing common: for, in his ARTE OF ENGLISH POESIE, Puttenham says,

  "Darke worde, or doubtfull speach, are not so narrowly to be looked vpon in a large poeme, nor specially in the pretie poesies and deuises of Ladies and Gentlewomen-makers, [poetesses,] whom we would not haue too precise poets, least with their shrewd wits, when they were married, they might become a lit∣tle too fantasticall wiues."

  Lib. iii. ch. xxi. p. 209. Decker, in the GULS HORN∣BOOK, written in 1609, in the chapter How a gallant should behave himself in a play-house, mentions the necessity of hoard∣ing up a quantity of play-scraps, to be rea∣dy for the attacks of the

  "Arcadian and Euphuised gentlewomen."

  Ch. vi. p. 27. seq. Edward Hake, in A Touchstone for this time present, speaking of the education of young ladies, says, that the girl is

  "ey∣ther altogither kept from exercises of good learning, and knowledge of good letters, or el••e she is so nouseled in AMO∣ROU•• bookes, vaine STORIES, and ••onde trifeling fancies, &c."

  Lond. by Tho∣mas Hacket, 1574, 12mo. SIGNAT. C 4. He adds, after many severe censures on the impiety of dancing, that

  "the sub∣staunce which is consumed in twoo yeares space vppon the apparaill of one meane gentlemans daughter, o•• vppon the daughter or wife of one citizen, woulde bee sufficient to finde a poore student in the vniuersitye by the space of foure or five yeares at the least."

  Ibid. SIGNAT. D 2. But if girls are bred to learning, he says,

  "It is for no other ende, but to make them companions of carpet knights, and giglots for amorous louers."

  Ibid. SIGNAT. C 4. Gabriel Harvey, in his elegy DE AULICA, or character of the Maid of Honour, says, among many other requisite accomplishments,

  Saltet item, pingatque eadem, DOCTUM∣QUE POEMA Pangat, nec Musas nesciat illa meas.

  See his GRATULATIONES VALDINENSES, Lond. Binneman, 1578. 4to. Lib. iv. p. 21. He adds, that she should have in her library, Chaucer, lord Surrey, and Gas∣coign••, together with some medical books. Ibid. p. 22.
• k 1.107

  An inventor, a poet.
• l 1.108

  He means to express the loose and rough ver••ification of the SERMONES.
• m 1.109

  That which is.
• n 1.110

  Knowledge, wisdom. Sapient••••
• p 1.111

  Having a comely person. Or, to speak with elegance.
• q 1.112

  I have never seen this word, which is perhaps provincial. The sense is obvious.
• r 1.113

  Signat. C iiij.
• s 1.114

  Catal. Grad. Cant. MS.
• t 1.115

  MS. Tann.
• u 1.116

  For Thomas Daye. In quarto. The title is,

  "In Solomonis regis ECCLESIAS∣TEM, seu de Vanitate mundi Concio∣nem, paraphrasis poetica. Lond. per Joan. Dayum 1572."

  There is an entry to Richard Fielde of the

  "Ecclesiastes in Englishe verse."

  Nov. 11, 1596. RE∣GISTR. STATION. C. fol. 15. a. And, by Thomas Granger, to W. Jones, Apr. 30, 1620. Ibid. fol. 313. b.
• w 1.117

  Drant has two Latin poems prefixed to Nevill's KETTUS, 1575. 4to. Another, to John Seton's LOGIC with Peter Carter's annotations, Lond. 1574. 12mo. And to the other editions. [Seton was of saint John's in Cambridge, chaplain to bishop Gardiner for seven years, and highly es∣teemed by him. Made D. D. in 1544. Installed prebendary of Winchester, Mar. 19, 1553. Rector of Henton in Hamp∣shire, being then forty-two years old, and B. D. See A. Wood, MS. C. 287. He is extolled by Leland for his distinguished excellence both in the classics and philoso∣phy. He published much Latin poetry. See Strype's ELIZ. p. 242. Carter was also of S. John's in Cambridge.] Ano∣ther, with one in English, to John Sadler's English version of Vegetius's TACTICS, done at the request of sir Edmund Brude∣nell, and addressed to the earl of Bedford, Lond. 1572. 4to. He has a Latin epitaph, or elegy, on the death of doctor Cuthbert Scot, designed bishop of Chester, but de∣posed by queen Elisabeth for popery, who died a fugitive at Louvaine, Lond. 1565. He probably wrote this piece abroad. There is licenced to T. Marsh, in 1565,

  "An Epigrame of the death of Cuthbert Skotte by Roger Sherlock, and replyed agaynste by Thomas Drant."

  REGISTR. STATION. A. fol. 134. b. A Latin copy of verses, DE SEIPSO, is prefixed to his HORACE.
• x 1.118

  Fol. 56.
• y 1.119

  Fol. 75.
• z 1.120

  Fol. 50.
• a 1.121

  Codd. Tanner Oxon. Two are dedi∣cated to Thomas Heneage. Three to sir Francis Knollys. Date of the earliest, 1569. Of the latest, 1572. In that preach∣ed at court 1569, he tells the ladies, he can give them a better cloathing than any to be found in the queen's wardrobe: and mentions the speedy downfal of their

  "high plumy heads."

  Signat. K v. Lond. 1570. 12mo. I find the following note by bishop Tanner.

  "Thomae Drantae An∣gli Andvordingamii PRAESUL. Dedicat. to Archbishop Grindal. PR. DED.—Illuxit ad extremum dies ille."

  —I pre∣sume, that under the word Andvording∣••amii is concealed our author's n••tive place. His father's name was Thomas.
• b 1.122

  At saint Maries Spittle. In the statutes of many of the antient colleges at Oxford and Cambridge, it is ordered, that the candidates in divinity shall preach a ser∣mo••, not only at Paul's-cross, but at saint Mary's Hospital in Bishopsgate-street,

  "ad Hospitale beatae Mariae."
• c 1.123

  Entered to T. Myllington, Mar. 7, 1596. REGISTR. STATION. C. fol. 20. b.
• d 1.124

  I presume he means, an anonymous comedy called

  "THE SHOEMAKERS HO∣LYDAY or the GENTLE CRAFT. With the humorous li••e of sir John Eyre shoe∣maker, and Lord Mayor of London."

  Acted before the queen on New Year's Day by Lord Nottingham's players. I have an edition, Lond. for J. Wright, 1618. Bl. Lett. 4to. Prefixed are the first and second THREE MAN'S SONGS. But there is an old prose history in quarto called the GENTLE CRAFT, which I suppose is the subject of Harrington's Epigram,

  "Of a Booke called the GENTLE CRAFT."

  B. iv. 11.

  "A Booke called the GENTL•• CRAFTE intreating of Shoemakers,"

  is entered to Ralph Blore, Oct. 19, 1597. REGISTR. STATION. C. fol. 25. a. See also ibid. fol. 63. a.
• e 1.125

  Edit. 1600. 4to. SIGNAT. D 2.
• f 1.126

  MSS. Coxeter.