Annus mirabilis, The year of wonders, 1666 an historical poem containing the progress and various successes of our naval war with Holland, under the conduct of His Highness Prince Rupert, and His Grace the Duke of Albemarl : and describing the fire of London / by John Dryden, Esq.
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- Annus mirabilis, The year of wonders, 1666 an historical poem containing the progress and various successes of our naval war with Holland, under the conduct of His Highness Prince Rupert, and His Grace the Duke of Albemarl : and describing the fire of London / by John Dryden, Esq.
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- Dryden, John, 1631-1700.
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- London :: Printed for Henry Herringman ...,
- 1667.
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- Great Britain -- History -- Charles II, 1660-1685 -- Poetry.
- London (England) -- Fire, 1666 -- Poetry.
- Great Britain -- History -- Charles II, 1660-1685 -- Poetry.
- London (England) -- Fire, 1666 -- Poetry.
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"Annus mirabilis, The year of wonders, 1666 an historical poem containing the progress and various successes of our naval war with Holland, under the conduct of His Highness Prince Rupert, and His Grace the Duke of Albemarl : and describing the fire of London / by John Dryden, Esq." In the digital collection Early English Books Online. https://name.umdl.umich.edu/a36598.0001.001. University of Michigan Library Digital Collections. Accessed June 7, 2025.
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ANNVS MIRABILIS: The Year of WONDERS, 1666.
AN HISTORICAL POEM: CONTAINING The Progress and various Successes of our Naval War with Holland, under the Conduct of His Highness Prince RUPERT, and His Grace the Duke of ALBEMAR••.
And describing THE FIRE OF LONDON.
By JOHN DRYDEN, Esq
〈…〉〈…〉, an homines latius impera•••• 〈◊〉〈◊〉. Trajan. Imperator. ad Pl••n.
〈1 line〉〈1 line〉 V••rg
London, Printed for Henry Herringman, at the An∣chor in the Lower Walk of the N•••• Exchange. 1667.
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TO THE METROPOLIS OF GREAT BRITAIN, The most Renowned and late Flourishing CITY of LONDON, I•• its REPRESENTATIVES The LORD MAYOR and Court of ALDERMEN, the SHERIFS and COMMON COUNCIL of it.
AS perhaps I am the first who ever presented a work of this nature to the Metropolis of any Nation, so is it likewise consonant to Ju∣stice, that he who was to give the first Example of such a Dedication should begin it
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with that City, which has set a pattern to all others of true Loyalty, invincible Courage and unshaken Constancy. Other Cities have been prais'd for the same Virtues, but I am much deceiv'd if any have so dearly purchas'd their reputation; their fame has been won them by cheap∣er trials then an expensive, though necessary, War, a con∣suming Pestilence, and a more consuming Fire. To submit your selves with that humili∣ty to the Judgments of Hea∣ven, and at the same time to raise your selves with that
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vigour above all humane Ene∣mies; to be combated at once from above and from below, to be struck down and to tri∣umph; I know not whether such trials have been ever pa∣rallel'd in any Nation, the re∣solution and successes of them never can be. Never had Prince or People more mutu∣al reason to love each other, if suffering for each other can indear affection. You have come together a pair of match∣less Lovers, through many difficulties; He, through a long Exile, various traverses of Fortune, and the interposition
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of many Rivals, who violent∣ly ravish'd and with-held You from Him: And certain∣ly you have had your share in sufferings. But Provi∣dence has cast upon you want of Trade, that you might appear bountiful to your Country's necessities; and the rest of your afflictions are not more the effects of God's displeasure, (frequent exam∣ples of them having been in the Reign of the most excel∣lent Princes) then occasions for the manifesting of your Christian and Civil virtues. To you therefore this Year of
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Wonders is justly dedicated, because you have made it so. You who are to stand a won∣der to all Years and Ages, and who have built your selves an immortal Monument on your own ruines. You are now a Phoenix in her ashes, and, as far as Humanity can approach, a great Emblem of the suffering Deity. But Heaven never made so much Piety and Vertue to leave it miserable. I have heard indeed of some vertuous persons who have ended un∣fortunately, but never of any vertuous Nation: Providence is engag'd too deeply, when
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the cause becomes so general. And I cannot imagine it has resolv'd the ruine of that peo∣ple at home, which it has bles∣sed abroad with such successes. I am therefore to conclude, that your sufferings are at an end; and that one part of my Poem has not been more an History of your destruction, then the other a Prophecy of your restoration. The accom∣plishment of which happiness, as it is the wish of all true English-men, so is by none more passionately desired then by
The greatest of your Admirers, and most humble of your Servants, JOHN DRYDEN.
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An account of the ensuing Poem, in a LETTER to th•• Honorable, Sir ROBERT HOVVARD.
SIR,
I Am so many ways oblig'd to you, and so little able to return your favours, that, like those who owe too much, I can onely live by getting farther into your debt. You have not onely been careful of my Fortune, which was the effect of your Nobleness, but you have been sollicitous of my Reputation, which is that of your Kindnes••. It is not long since I gave you the trouble of perusing a Play for me, and now, in∣stead of an acknowl••dgment, I have given you a greater, in the correction of a Poem. But since you are to bear this persecution, I will at least give you the encourage∣ment of a Martyr, you could never suffer in a nobler cause. For I have chosen the most heroick Subject which any Poet could desire: I have t••ken upon me to d••scribe the motives, the beginning, progr••ss and suc∣cesses of a most just and necess••ry War; in it, the care, management and prudence of our King; the conduct and valour of a Royal Admiral, and of two incom∣parable Generals; the invincible courage of our Cap∣tains and Sea men, and three glorious Victories, the result of all. After this I have, in the Fire, the most deplorable, but withall the greatest Argument that can be imagin'd: the destructio•• being so swift, so sud∣den, to vast and miserable, as nothing can parallel in Story. The former part of this Poem, relating to the War, is but a due expiation for my not serving my King and Country in it. All Gentlemen are almost
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oblig'd to it: And I know no reason we should give that advantage to the Commonalty of England to be for most in brave actions, which the Noblesse of France would never suffer in their Peasants. I should not have written this but to a Person, who has been ever forward to appear in all employments, whither his Ho∣nour and Generosity have call'd him. The latter part of my Poem, which describes the Fire, I owe first to the Piety and Fatherly Affection of our Monarch to his suffering Subjects; an••, in the second place, to the courage, loyalty and magnanimity of the City: both which were so conspicuous, that I have wanted words to celebrate them as they deserve. I have call'd my Poem Historical, not Epick, though both the Actions and Actors are as much Heroick, as any Poem can contain. But since the Action is not properly one, nor that accomplish'd in the last successes, I have judg'd it too bold a Title for a few Stanza's, which are little more in number then a single Iliad, or the longest of the Aen••ids. For this reason, (I mean not of length, but broken action, ti'd too severely to the Laws of History) I am apt to agree with those who rank Lucan rather among Historians in Verse, then Epique Poets: In whose room, if I am not deceiv'd, Silius Italicus, though a worse Writer, may more justly be admitted. I have chosen to write my Poem in Quatrains or Stan∣za's of four in alternate rhyme, because I have ever judg'd them more noble, and of greater dignity, both fro the sound and number, then any other Verse in use amongst us; in which I am sure I have your approba∣tion.
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The learned Languages have, certainly, a great advantage of us, in not being tied to the slavery of any Rhyme; and were less constrain'd in the quantity of every syllable, which they might vary with Spondaees or Dactiles, besides so many other helps of Grammati∣cal Figures, for the lengthning or abbreviation of them, then the Modern are in the close of that one Syl∣lable, which often confines, and more often corrup••s the sense of all the rest. But in this necessity of our Rhymes, I have always found the couplet Verse most easie, (though not so proper for this occasion) for there the work is sooner at an end, every two lines concluding the labour of the Poet: but in Quattrains he is to carry it farther on; and not onely so, but to bear along in his head the troublesome sense of four lines together. For those who write correctly in this kind must needs ac∣knowledge, that the last line of the Stanza is to be consider'd in the composition of the first. Neither can we give our s••lves the liberty of making any part of a Verse for the sake of Rhyme, or concluding with a word which is not currant English, or using the variety of Female Rhymes, all which our Fathers practis'd; and for the Female Rhymes, they are still in use amongst other Nations: with the Italian in every line, with the Spaniard promiscuously, with the French alternately, as those who have read the Alarique, the Pucelle, or any of their latter Poems, will agree with me. And be∣sides this, they write in Alexandrins, or Verses of six feet, such as amongst us is the old Translation of Ho∣mer, by Chapman; all which, by lengthning of their
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Chain, makes the sphere of their activity the larger. I have dwelt too long upon the choice of my Stanza, which you may remember is much better defended in the Preface to Gondibert, and therefore I will hasten to acquaint you with my endeavours in the writing. In general I will onely say, I have never yet seen the description of any Naval Fight in the proper terms which are us'd at Sea; and if there be any such in an∣other Language, as that of Lucan in the third of his Pharsalia, yet I could not prevail my self of it in the English; the terms of Arts in every ••ongue bearing more of the Idiom of it then any other words. We hear, indeed, among our Poets, of the thundring of Guns, the smoke, the disorder and the slaughter; but all these are common notions. And certainly as those who, in a Logical dispute, keep in general terms, would hide a fallacy, so those who do it in any Poetical description would vail their ignorance.
Descriptas servare vices operumque colores Cur ego, si nequeo ignoroque, poeta salutor?For my own part, if I had little knowledge of the Sea, yet I have thought it no shame to learn: and if I have made some few mistakes, 'tis onely, as you can bear me witness, because I have wanted opportunity to correct them, the whole Poem being first written, and now sent you from a place, where I have not so much as the converse of any Sea-man. Yet, though the trouble I had in writing it was great, it was more then recom∣pens'd by the pleasure; I found my self so warm in ce∣lebrating the praises of military men, two such espe∣••ially
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as the Prince and General, that it is no wonder ••f they inspir'd me with thoughts above my ordinary ••evel. And I am well satisfi'd, that as they are incom∣••arably the best subject I have ever had, excepting ••nely the Royal Family; so also, that this I have written of them is much better then what I have per∣form'd on any other. I have been forc'd to help out other Arguments, but this has been bountiful to me; ••hey have been low and barren of praise, and I have ex∣••alted them, and made them fruitful: but here— Omnia Sponte suâ reddit justissima tellus. I have had a large, a fair and a pleasant field, so fertile, that, without my cultivating, it has given me two Harvests in a S••mmer, and in both oppress'd the Reaper. All other greatness in subjects is onely counterfeit, it will not endure the test of danger; the greatness of Arms is onely real: other greatness burdens a Nation with 〈◊〉〈◊〉 weight, this supports it with its strength. And as it is the happiness of the Age, so is it the peculiar good∣ness of the best of Kings, that we may praise his Sub∣jects without offending him: doubtless it proceeds from a just confidence of his own vertue, which the lustre of no other can be so great as to darken in him: for the Good or the Valiant are never safely prais'd under a ••ad or a degenerate Prince. But to retu••n from this digression to a farther account of my Poem, I must crave leave to tell you, that as I have endeavour'd to adorn it with noble thoughts, so much more to express those thoughts with elocution. The composition of all Poems is or ought to be of wit, and wit in the Poet, or
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wit writing, (if you will give me leave to use a Schoo•• distinction) is no other then the faculty of imaginatio•• in the writer, which, like a nimble Spaniel, beats ove•• and ranges through the field of Memory, till i•• springs the Quarry it hunted after; or, without meta∣phor, which searches over all the memory for the species or Idea's of those things which it designs to represent▪ Wit written, is that which is well defin'd, the happy result of thought, or product of that imagination. But to proceed from wit in the general notion of it, to the proper wit of an Heroick or Historical Poem, I judge it chiefly to consist in the delightful imaging of per∣sons, actions, p••ssions, or things. 'Tis not the jerk o•• sting of an Epigram, nor the seeming contradiction of a poor Antithesis, (the delight of an ill judging Au∣dience in a Play of Rhyme) nor the gingle of a more poor Paranomasia: neither is it so much the morality of a grave sentence, affected by Lucan, but more spar∣ingly used by Virgil; but it is some lively and apt de∣scription, dress'd in such colours of speech, that it sets before your eyes the absent object, as perfectly and more delightfully then nature. So then, the first happiness of the Poet's imagination is properly Invention, or finding of the thought; the second is Fancy, or the va∣riation, driving or moulding of that thought, as the judgment represents it proper to the subject; the third is Elocution, or the Art of clothing and adorning that thought so found and varied, in apt, significant and sounding words: the quickness of the Imagination is seen in the Invention, the fertility in the Fancy, and
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the accuracy in the Expression. For the two first of these Ovid is famous amongst the Poets, for the latter Virgil. Ovid images more often the movements and affections of the mind, either combating between two contrary passions, or extremely discompos'd by one: his words therefore are the least part of his care, for he pictures Nature in disorder, with which the study and choice of words is inconsistent. This is the proper wit of Dialogue or Discourse, and, consequently, of the Drama, where all that is said is to be suppos'd the effect of sudden thought; which, though it ex∣cludes not the quickness of wit in repartees, yet ad∣mits not a too curious election of words, too frequent allusions, or use of Tropes, or, in fine, any thing that showes remoteness of thought, or labour in the Writer. On the other side, Virgil speaks not so often to us in the person of another, like Ovid, but in his own, he re∣lates almost all things as from himself, and thereby gains more liberty then the other, to express his thoughts with all the graces of elocution, to write more figuratively, and to confess, as well the labour as the force of his imagination. Though he describes his Dido well and naturally, in the violence of her pas∣sions, yet he must yield in that to the Myrrha, the Bi∣blis, the Althaea, of Ovid; for, as great an admirer of him as I am, I must acknowledge, that, if I see not more of their Souls then I see of Dido's, at least I have a greater concernment for them: and that con∣vinces me that Ovid has touch'd those tender strokes more delica••ely then Virgil could. But when Action
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or Persons are to be describ'd, when any such Image is to beset before u••, how bold, how maste••ly are the strokes of Virgil! we see the objects he represents us with in their native figures, in their proper motion••; but we so see them, as our own eyes could never have beheld them so beautiful in themselves. We see the Soul of the Poet, like that universal one of which he speaks, informing and moving through all his ••i∣ctures, Totamque in••usa per artus mens agitat mo∣tem, & magno se corpore miscet; we behold him embellishing his Images, as he makes Venus breath∣ing beauty upon her son. Aeneas.
—lumenque juventae Purpureum, & laetos oculis afflârat honores: Quale manus addunt Ebori decus, aut ubi flavo Argentum, pariusve lapis circundatur auro.
See his ••empest, his Funeral ••ports, his Combat of Turnus and Aeneas, and in his Georgicks, which I esteem the Divinest part of all this writings, the Plague, the Country, the Battle of Bulls, the labour of the Bees, and those many other excellent Images of Nature, most of which are neither great in them∣selves, nor have any natural ornament to bear them•• up: but the words wherewith he describes them are so excellent, that it might be well appli'd to him which was said by Ovid, Materiam superabat•• opus: the very sound of his words has often somewhat that i•• connatural to the subject, and while we read him, we sit, as in a ••lay, beholding the Scenes of what he repre∣sents. To perform this, he made frequent use of Tropes
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which you know change the nature of a known word, by applying it to some other signification: and this is it which Horace means in this Epistle to the Pisos.
Dixeris egregie notum si callida verbum Reddiderit junctura novum—But I am sensible I have presum'd too far, to enter∣tain you with a rude discourse of that Art, which you both know so well, and put into practise with so much happiness. Yet before I leave Virgil, I must own the vanity to tell you, and by you the world, that he has been my Master in this Poem: I have followed him every where, I know not with what success, but I am sure with diligence enough: my Images are many of them copied from him, and the rest are imitations of him. My expressions also are as near as the Idioms of the two Languages would admit of in translation. And this, Sir, I have done with that boldness, for which I will stand accomptable to any of our little Cri∣ticks, who, perhaps, are not better acquainted with him then I am. Upon your first perusal of this Poem, you have taken notice of some words which I have in∣novated (if it be too bold for me to say re••in'd) upon his Latin; which, as I offer not to introduce into Eng∣lish prose, so I hope they are neither improper, nor al∣together unelegant in Verse; and, in this, Horace will again defend me.
Et nova, ••fictaque nuper habebunt verba fidem, si Graeco fonte cadant, parcè detorta—The inference is exceeding plain; for if a Roman Poet might have liberty to coin a word, supposing onely that
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it was derived from the Greek, we put into a Latin termination, and that he us'd this liberty but seldom, and with modesty: How much more justly may I chal∣lenge that privilege to do it with the same praerequi∣sits, from the best and most judicious of Latin Writers? In some places, where either the fancy, or the words, were his, or any others, I have noted it in the Margin, that I might not seem a Plagiary: in others I have neglected it, to avoid as well the tediousness, as the af∣fectation of doing it t••o often. Such descriptions or images, well wrought, which I promise no•• for mine, are, as I have said, the adequate delight of heroick Poesie, for they beget admiration, which is its proper object; as the images of the Burlesque, which is contra∣ry to this, by the same reason beget laughter; for the one shows Nature beautified, as in the picture of a fair Woman, which we all admire; the other shows her de∣formed, as in that of a Lazar, or of a fool with di∣storted face and antique gestures, at which we cannot forbear to laugh, because it is a deviation from Na∣ture. But though the same images serve equally for the Epique Poesie, and for the Historique and Pane∣gyrique, which are branches of it, yet a several sort of Sculpture is to be used in them: if some of them are to be like those of Juvenal, Stantes in curribus Aemiliani, Heroes drawn in their triumphal Chariots, and in their full proportion; others are to be like that of Virgil, Spi••antia mollius aera: there is somewhat more of s••ftness and tenderness to be shown in them. You will soon find I write not this without concern.
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Some who have seen a paper of Verses which I wrote last year to her Highness the Dutchess, have accus'd them of that onely thing I could defend in them; they have said I did humi serpere, that I wa••ted not onely height of fancy, but dignity of words to set it off; I might well answer with that of Horace, Nunc non erat his locus, I knew I address'd them to a Lady, and accordingly I affected the softness of expression, and the smoothness of measure, rather then the height of thought; and in what I did endeavour, it is no va∣nity to say, I have succeeded, I detest arrogance, but there is some difference betwixt that and a just defence. But I will not farther bribe your candour, or the Rea∣ders. I leave them to speak for me, and, if they can, to make out that character, not pretending to a greater, which I have given them.
Verses to her Highness the DUTCHESS, on the memorable Victory gain'd by the DUKE against the Hollanders, June the 3. 1665. and on Her Iourney after∣wards into the North.
MADAM,
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And now, Sir, 'tis time I should relieve you from the tedious length of this account. You have better and more profitable employment for your hours, and I wrong the Publick to de••ain you longer. In conclusio••,
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I must leave my Poem to you with all its faults, which hope to find fewer in the printing by your emendations I know you are not of the number of those, of whom th•• younger Pliny speaks, Nec sunt parum multi qu•• carpere amicos suos judicium vocant; I am rathe•• too secure of you on that side. Your candour in pardon∣ing my errors may make you more remiss in correctin•• them; if you will not withall consider that they come int•• the world with your approbation, and through you•• hands. I beg from you the greatest favor you can con••e•••• upon an absent person, since I repose upon your manage∣ment what is dearest to me, my Fame and Reputation & therefore I hope it will stir you up to make my Poem fairer by many of your blots; if not, you know the stor•• of the Gamester who married the rich man's daughter•• and when her father denyed the portion, christned 〈◊〉〈◊〉 the children by his sirname, that if, in conclusion, the must beg, they should do so by one name, as well as 〈◊〉〈◊〉 the other. But since the reproach of my faults wi•••• light on you, 'tis but reason I should do you that justic•• to the Readers, to let them know that if there be an•• thing tolerable in this Poem, they owe the Argumen•• to your choice, the writing to your encouragement, th•• correction to your judgment, and the care of it to you•• friendship, to which he must ever acknowledge himsel•• to owe all things, who is,
SIR,
The most obedient and most faithful of your Servants,IOHN DRYDEN.
From Charleton in Wiltshire, Novem. 10. 1666.
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To the Readers.
NOtwithstanding the diligence which has been used in my ab∣sence, some faults have escap'd the Pr••ss: and I have so many 〈◊〉〈◊〉 my own to answ•••• for, that I am not willing to be charg'd with those ••f the 〈◊〉〈◊〉. I have onely noted the grossest of them, not such as by 〈…〉〈…〉 have consou••ded the se••se, but such as by mistaken wo••ds ••ave corrupted it.
ERRATA.
PAge 4. line 3. for an read 〈◊〉〈◊〉 page 5. in the Not••s, read thus, ponti armenta & mag••as pascit, &c. page 8. line 2. for under∣••ook▪ read 〈◊〉〈◊〉▪ page 10. in the 〈◊〉〈◊〉, for nau••••agiunt est read 〈…〉〈…〉 page 15. line 3. 〈◊〉〈◊〉 read a loud. ibid. line 10. ••or in distant order read in dreadful ••••der. page 33. line 3. for own ••ead one. ibid. line 16. read, and as the Surgeons. page 41. in the ••ote to the second S••anza, for 〈◊〉〈◊〉 vicis, read solisque vias. page 47. line 3. for flots read flats. page 49. line 15. for Verro read Va••ro. page 53. line 5. for smiles read smile. ibid. line 11. for falling 〈◊〉〈◊〉 p••••ling. ibid. line 7. for open read tender. ibid. in the note, for ac••ru∣de••et read accenderet. page 63 line 2. for night has read night-••ags.
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Imprimatur.
Roger L'Estrange
Novem. 22. 1666.
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ANNVS MIRABILIS: The YEAR of WONDERS, MDCLXVI.
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Notes
-
a 10.1
In Eastern Quarries, &c. Precious Sto••es at fi••st are Dew, condens'd and ••ardea'd by the warmth of the Su••, or subt••rran••∣an Fires.
-
b 10.2
Each wexing, &c according to their opinio••, who think that g••eat hea•• of waters under the L••ne is depressed into Tydes by the Moon, towards the Pol••s.
-
c 10.3
Th' Iberian, the Spaniard.
-
d 10.4
Wh•••• Prote••s blows, or Caeruleus Proteus immania pouti ar∣menta, & magnas poscit sub gurg••te Pho••as. Vi••g.
-
* 10.5
The Admiral of Holland.
-
e 10.6
So••thern Climates, Guinny.
-
* 10.7
The attempt at Berghen.
-
f 10.8
Such are, &c, from Petronius. Si, bene calculum ponas ubique naufragiunt est.
-
g 10.9
The German saith. Tacitus saith of them. Nullos morta∣lium side aut armis ante Germanos ••sse.
-
* 10.10
War declar'd by France.
-
* 10.11
Prince Rupert and Duke Albemarl sent to sea.
-
h 10.12
Future people, Examin•• insant••um futurusque populus. Pl•• Jun. in pan. ad Traj.
-
* 10.13
Duke of Albemarl's Battel, first day.
-
i 10.14
Th' Elean, &c. Where the Olimpick Games were celebrated.
-
k 10.15
Lands unfix'd, from Virgil: Credas innare revultas Cycladas, &c.
-
* 10.16
S••cond days Battel.
-
l 10.17
His face, &c, Spem vultu simula•• premit alto c••rde dolor••m. Virg.
-
m 10.18
The simile is Virgil's, Vestigia re••ro improperata refert, &c.
-
n 10.19
Weary waves, Statius Sylv. Nec trucibus fluviis idem sonus: occidit hor••or aeq••oris, ac tenis maria acclinata quiescunt.
-
o 10.20
The third of June, famous for two ••ormer Victories.
-
* 10.21
Third day.
-
* 10.22
Fourth days B••ttel.
-
p 10.23
So glides, &c ••••om Virgil Quum medii nexus, ••xtremoequ•• 〈…〉〈…〉 solvuntur; tar••osque trahit sinus ulti••us orbes, &c.
-
q 10.24
From Horace: Quos opinius fallere & effugere est triumpl••us.
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* 10.25
His Majesty repairs the Fleet.
-
r 10.26
Fervet opus: the same similitude in Virgil.
-
* 10.27
Loyal London d••scrib'd.
-
* 10.28
Dig••ession concerning Shipping and Navigation.
-
s 10.29
Extra anni solisque vicis. Virg.
-
t 10.30
By a more exact knowledge of Longitudes.
-
* 10.31
Apostrophe to the Royal Society.
-
u 10.32
Levat ipse Tridenti, & vastas aperit Syrtes, &c. Virg.
-
* 10.33
Second Battel.
-
w 10.34
P••s••unt quia p••sse videntur. 〈◊〉〈◊〉
-
x 10.35
Patron Saint: St. James, on whose day this victory was gain'd.
-
y 10.36
Philip's Maa••s: Philip the second, of Spain, against whom the Hol••••nders rebelling, were aided by Queen Elizabeth.
-
* 10.37
Burn••ng of the Fleet in the Vly by Sir Robert Holmes.
-
* 10.38
Transitum to the Fire of London.
-
z 10.39
Quum mare quum tellus correptaque regia Coeli, ardeat, &c. Ovid.
-
a 10.40
Like crafty, &c. Haec arte tractaba•• cupidum virum, ut 〈◊〉〈◊〉 animum i••opia accrud••ret.
-
b 10.41
Sigaea igni freta lata relucent. Virg.
-
* 10.42
K••ng's Prayer.
-
* 10.43
Cities request to the King not to leave them.
-
c 10.44
M••xico.
-
d 10.45
Augusta, the old name of London.