Chapter IV (4)

HUDSON, THOMAS. _The Historie of Judith_ in
forme of a Poeme. Translated from Du Bartas.
8vo. 1584 | *

HUME, ALEXANDER. _Hymnes, or Sacred Songes_,
wherein the right Use of Poesie may be
espied. Edin. 4to. 1599

HUNNIS, WILLIAM. _A Hyve full of Hunnye_,
contayning the firste booke of Moses called
Genesis. 4to. 1578 | * *

_A Handfull of Honisuckles._ 1578 | *

_Seven Sobs of a Sorrowfull Soule for
Sinne_, &c. &c. 24to. 1585 | *

JACKSON, RICHARD. _The Battle of Floddon_
in nine fits.[689:A] 1564 |

JENEY, THOMAS. _A Discours of the present
troobles in Fraunce_, and miseries of this
time, compyled by Peter Ronsard, gentilman
of Vandome;—translated by Thomas Jeney,
gentilman. 4to. 1568

JENYNGES, EDWARD. _The Notable Hystory of
Two Faithfull Lovers_, named Alfagus and
Archelaus. Whearin is declared the true
figure of amytie and freyndship. 4to. 1574

JOHNSON, RICHARD. _The Nine Worthies of
London._ 4to. 1592 | *

_Anglorum Lachrymæ_, in a sad passion,
complayning the death of our late Queene
Elizabeth. 4to. 1603 | *

KELLY, EDMUND. _Poems_ on Chemistry, and
on the Philosophers Stone.[689:B] 1591 | * *

KEMPE, WILLIAM. _A Dutifull Invective_
against the moste haynous treasons of
Ballard and Babington, &c. 4to. 1587 | *

KENDALL, TIMOTHY. "_Flowers of Epigrammes_,
out of sundrie the most singular authors,
as well auncient as late writers." To which,
as a second part, are added _Trifles_, by
Timothie Kendal, devised and written (for
the moste part) at sundrie tymes in his yong
and tender age. 16mo.[690:A] 1577 |

KNELL, THOMAS. _An Epitaph_ on the life and
death of D. Boner, sometime unworthy Bishop
of London, &c. 8vo. 1569

_Answere_ to the most heretical and
trayterous papistical bil, cast in the
streets of Northampton, &c. 1570

KYFFIN, MAURICE. _The Blessednes of
Brytaine_, or a celebration of the Queene's
holyday, &c. 4to. 1587 | *

LEIGHTON, SIR WILLIAM. _The Teares or
Lamentations_ of a Sorrowfull Soule. 4to. 1613 | *

LEVER, CHRISTOPHER. _Queene Elizabeth's
Teares_; or Her resolute bearing the
Christian Crosse, &c. 4to. 1607 | *

LINCHE, RICHARD. _The Fountaine of Ancient
Fiction._ Wherein is lively depictured the
Images and Statues of the Gods of the
Ancients, &c. Done out of Italian into
English. Verse and Prose. 4to.[691:A] 1599 * |

LISLE, WILLIAM. _Babilon_, a part of the
seconde weeke of Guillaume de Saluste
Seigneur du Bartas, with the Commentarie,
and marginall notes of S. G. S. 1596 | * *

_The Colonyes of Bartas_, with the
commentarye of S. G. S.[691:B] 1597 | * *

LLOYD, LODOWICK. _The Pilgrimage of
Queenes._[691:C] 1573 | *

_Hilaria_: or the triumphant feast for the
fift of August. 1607 | *

LOK, HENRY. _The Booke of Ecclesiastes_;
and Sundry Christian Passions, contayned in
two hundred Sonnets. 4to.[692:A] 1597 | * * *

LOVELL, THOMAS. _A Dialogue between Custome
and Veritie_, concerning the use and abuse
of dauncing and minstrelsie. 8vo. 1581

MARBECK, JOHN. _The Holie Historie of King
David._ 4to. 1579

MARKHAM, GERVASE. _The Poem of Poems_, or
Sion's Muse, contayning the divine song of
king Saloman, devided into eight eclogues.
8vo. 1595 |

_The Most Honorable Tragedy_ of Sir
Richard Grenvill knight; a heroick poem.
8vo. 1595 |

"_Devoreux._ Vertues Tears for the losse
of the most Christian King Henry, third
of that name, king of Fraunce; and the
untimely death of the most noble and
heroicall gentleman, Walter Devoreux."
From the French of Madam Geneuuesne
Petau Maulette. 4to. 1597 * |

_The Tears of the Beloved_, or the
Lamentation of St. John, containing the
death and passion of Christ. 4to. 1600 |

_Marie Magdalens Lamentations_ for the
losse of her Master Jesus. 4to.[692:B] 1601 |

_Ariosto's Satyres._ 4to.[692:C] 1608

_The Famous Whore, or Noble Curtizan_,
conteining the lamentable complaint of
Paulina, the famous Roman curtezan,
sometimes Mrs. unto the great cardinall
Hypolito, of Est. 4to. 1609 |

MAXWELL, JAMES. _The Laudable Life, and
Deplorable Death_, of our late peerlesse
Prince Henry, &c. 4to. 1612 | *

MIDDLETON, CHRISTOPHER. _The Historie of
Heaven_, containing the poetical fictions
of all the starres in the firmament. 4to. 1596

_The Legend of Humphrey Duke of
Gloucester_, 4to. 1600

MIDDLETON, THOMAS. _The Wisdome of Solomon_
paraphrased, 4to. 1597

MONTGOMERY, ALEXANDER. _The Cherrie and
the Slae_, Edin. 4to.[693:A] 1595 * * |

MUNCASTER, RICHARD. _Nœnia Consolans_, or
a comforting complaint. Latin and English.
4to. 1603 | *

MUNDAY, ANTHONY. _The Mirrour of
Mutabilitie._ Selected out of the sacred
Scriptures. 4to. 1579 | *

_The Pain of Pleasure._ 4to. 1580 | *

_The Fountayne of Fame._ 4to. 1580 | *

_The Sweet Sobbes and Amorous Complaints_
of Sheppardes and Nymphes. 1583 | *

_Munday's Strangest Adventure_ that ever
happened. 4to. 1601 | *

MURRAY, DAVID. "_The Tragicall Death of
Sophonisba_;" in seven line stanzas, to
which is added _Cœlia_: containing certaine
Sonets. 12mo.[694:A] 1611 * |

NEWTON, THOMAS. _Atropoion Delion_: or the
Death of Delia, with the teares of her
funerall. 4to. 1603 |

_A Pleasant New History_: or, a fragrant
posie made of three flowers, rosa,
rosalynd, and rosemary.[694:B] 1604 |

NICHOLSON, SAMUEL. _Acolastus_, his after
witte. 4to. 1600

NIXON, ANTHONY. _The Christian Navy_,
wherein is playnely described the perfect
course to sayle to the haven of happiness.
4to. 1602

NORDEN, JOHN. _The Storehouse of Varieties_,
an elegiacall poeme. 4to. 1601 |

_A Pensive Soules Delight._ 4to. 1603

_The Labyrinth of Mans Life_, or Vertues
Delyght, and Envie's Opposite.[694:C]
4to. 1614 | *

OVERBURY, SIR THOMAS. A Wife: now the
Widdow of Sir Thomas Overburye: being a
most exquisite and singular poem of the
Choise of a Wife. 4to. 4th edition.[694:D] 1614 * |

PARKES, WILLIAM. _The Curtaine-Drawer of
the World_: or, the Chamberlaine of that
great Inne of Iniquity, &c. 4to.[695:A] 1612 * |

PARROT, HENRY. _The Mouse Trap._
Consisting of 100 Epigrams. 4to. 1606 |

_The More the Merrier_: containing
three-score and odde headlesse epigrams,
&c. 4to. 1608 |

"_Epigrams._" Containing 160. 4to. 1608 |

_Laquei Ridiculosi_: or Springes for
Woodcoks. In 2 books. 12mo.[695:B] 1613 |

PARTRIDGE, JOHN. _The Most Famouse and
Worthie Historie_ of the worthy Lady
Pandavola, &c. 8vo. 1566

_The Worthye Historie_ of the most noble
and valiaunt knight Plasidas, &c. 8vo. 1566

_The Notable Historie_ of two famous
princes Astianax and Polixona. 8vo. 1566

PAYNE, CHRISTOPHER. _Christenmas-Carrolles_ 1569

PEACHAM, HENRY. _Minerva Britanna_, or a
Garden of Heroical Devises. 4to. 1612 * |

PEELE, GEORGE. _A Farewell_, entituled to
the famous and fortunate generalls of our
English forces: Sir John Norris and Syr
Francis Drake, knights, &c. Whereunto is
annexed a tale of Troy. 4to. 1589 | *

_Polyhymnia_ describing the honourable
triumphs at tylt, before her Majestie,
&c. 4to. 1590 | *

_The Honour of the Garter_: displaced
in a poeme gratulatorie, &c. 4to.[696:A] 1593 | *

PEEND, THOMAS DE LA. _The Pleasant Fable of
Hermaphroditus and Salmacis._ 8vo. 1565 | *

_The Historie of John Lord Mandozze._
From the Spanish. 12mo.[696:B] 1565 | *

PERCY, WILLIAM. _Sonnets to the fairest
Cælia._ 4to. 1594 | * *

PETOWE, HENRY. The Second Part of the Loves
of Hero and Leander, &c. 4to. 1598 | *

_Philochasander and Elanira_ the faire
Lady of Britaine, &c. 4to.[696:C] 1599 | *

_Elizabetha quasi vivans_, Elizas
funerall, &c. 4to. 1603

_The Whipping of Runawaies._ 1603

PETT, PETER. _Times Journey_ to seek his
Daughter Truth, and Truths letter to Fame,
of England's excellencie. 4to. 1599

PHILLIP, JOHN. _A Rare and Strange
Historicall Novell_ of Cleomenes and
Sophonisba, surnamed Juliet; very pleasant
to reade. 8vo. 1577

_A Commemoration_ of the Right Noble and
Vertuous Ladye Margrit Duglases Good
Grace, Countes of Lennox, &c.[696:D] 1578 | *

PHISTON, WILLIAM. _A Lamentacion of
Englande_, for the Right Reverent Father
in God, John Ivele, Doctor of Divinitie:
and Bisshop of Sarisburie. 8vo.[697:A] 1571 | *

_The Welspring of Wittie Conceights_,
4to.[697:B] 1584 | *

PLAT, HUGH. _The Floures of Philosophie_,
with the Pleasures of Poetrie annexed to
them, &c. 8vo.[697:C] 1572 | *

POWELL, THOMAS. _The Passionate Poet_, with
a description of the Thracian Ismarus, in
verse. 4to. 1601

PRESTON, THOMAS. _A Geliflower_ or swete
marygolde, wherein the frutes of teranny
you may beholde. 1569 | *

PRICKET, ROBERT. _A Souldier's Wish_ unto
his Sovereign Lord, King James. 4to. 1603 | *

PROCTOR, THOMAS. _Pretie Pamphlets._
4to.[697:D] 1578 * |

PUTTENHAM, GEORGE. _Partheniades._[697:E] 1579 | *

RAMSEY, LAURENCE. _Ramsie's Farewell_ to his
late lord and master therle of Leicester 1588

RANKINS, WILLIAM. _Seven Satyres_, &c. 1596

RAYNOLDS, JOHN. _Dolarny's Primerose_; or
the first part of the Passionate Hermit,
&c. Written by a Practitioner in Poesie and
a stranger amongst Poets. 4to.[698:A] 1606 * |

RICE, RICHARD. _An Invective_ against vices
taken for vertue: gathered out of the
Scriptures, &c. 8vo. 1581

ROBINSON, RICHARD. _The Rewarde of
Wickednesse_, discoursing the sundrye
monstrous abuses of wicked and ungodly
Worldelings, &c. 4to. 1574 | * *

_A Dyall of Dayly Contemplacion_, or
divine Exercise of the Mind, &c. Verse
and Prose.[698:B] 1578 | * *

ROLLAND, JOHN. _Ane Treatise callit the
Court of Venus_, devidit into four Buikes.
Edin. 4to. 1575

_The Sevin Seages_, translatit out of
Prois into Scottis meiter. Edin.
4to.[698:C] 1578 |

ROSSE, J. _The Author's Teares_ upon the
death of his honorable freende Sir William
Sackvile knight of the ordre de la Colade
in Fraunce: sonne to the right ho. the
lorde Buckhurst Anno Dni.[699:A] 1592 * |

ROUS, FRANCIS. _Thule, or Vertues Historie._
In two books. The first booke 4to. 1598

ROWLAND, SAMUEL. 1. _The Betraying of
Christ_, &c. 4to. 1598

2. _The Famous History of_ Guy Earle of
Warwicke. 4to.

3. _The Letting of Humours Blood_ in the
head-vaine: &c. 4to.[699:B] 1600

4. _Looke to it for ile stabbe ye._
4to. 1604

5. _Democritus._ 1607

6. _Humors Looking-Glasse._ 8vo. 1608

7. _Hell Broke Loose_, &c. 4to.

8. _Doctor Merrieman_, or nothing but
mirth. 4to. 1609

9. _Martin Markal_, beadle of Bridewell.
4to. 1610

10. _The Knave of Clubs_, or 'tis merrie
when Knaves meet. 4to. 1611

11. _The Knave of Hearts._ 4to.[699:C]

12. _More Knaves Yet_; the Knaves of
Spades and Diamonds. 4to.[699:D] 1613

13. _The Melancholie Knight._ 4to.[699:E] 1615

14. _Tis Merrie when Gossips Meet_; newly
enlarged, with divers songs. 4to.[700:A] * |

SABIE, FRANCIS. _Pan his Pipe_: conteyning
three pastorall Eglogues in Englyshe
hexameter; with other delightfull verses.
4to. 1595 * |

_The Fissher-mans Tale_: of the famous
Actes, Life and love of Cassander a
Grecian Knight. 4to. 1595 |

_Floras Fortune._ The second part and
finishing of the Fisherman's Tale,
&c.[700:B] 1595 |

SAKER, AUG. _The Labirinth of Liberty._ 1579

SAMPSON, THOMAS. _Fortune's Fashion_,
Pourtrayed in the troubles of the Ladie
Elizabeth Gray, wife to Edward the Fourth.
4to. 1613 | *

SANDFORD, JAMES. _Certayne Poems_ dedicated
to the queenes moste excellent majestie.
8vo.[700:C] 1576

SCOLOKER, ANTHONY. _Daiphantus_, or the
Passions of Love, 4to. 1604

SCOT, GREGORY. _A Briefe Treatise_ agaynst
certaine errors of the Romish Church. 12mo. 1570

SCOTT, THOMAS. _Four Paradoxes_: of Arte,
of Lawe, of Warre, of Service. Small
8vo.[700:D] 1602 * * |

SCOTT, THOMAS. _Phylomythie_, or
Philomythologie: wherein Outlandish Birds,
Beasts, and Fishes, are taught to speake
true English plainely.[701:A] 1616 | *

SMITH, JUD. _A Misticall Devise_ of the
spirituall and godly love between Christ the
spouse, and the Church or congregation.
Firste made by the wise prince Salomon, and
now newly set forth in Verse, &c. Small
8vo. 1575 | * *

SMITH, WILLIAM. _Chloris_, or the complaint
of the passionate despised shepheard. 4to. 1596

SOOTHERN, JOHN. _Pandora_, the Musique of
the Beautie of his Mistresse Diana.
4to.[701:B] 1584 | * * * * *

STANYHURST, RICHARD. _The First Four Bookes
of Virgil's Æneis_, translated into English
heroicall verse by Richard Stanyhurst: with
other poeticall devises thereto annexed.
4to.[701:C] 1583 | * * * * * *

STORER, THOMAS. _The Life and Death of
Thomas Wolsey_, cardinall, divided into
three parts: his aspiring, triumph, and
death. 4to.[702:A] 1599 * |

STUBBS, PHILIP. _A View of Vanitie_, and
Allarum to England, or retrait from sinne.
8vo. 1582 | *

STEWART, JAMES THE FIRST, KING OF ENGLAND.
_The Essayes of a Prentise_ in the Divine
Art of Poesie. 4to. Edin.[702:B] 1584 | *

_His Majesties Poeticall Exercises_ at
Vacant Houres. 4to. Edin.[702:C] 1591 | *

TARLTON, RICHARD. _Toyes_: in Verse. 1576

_Tragicall Treatises_, conteyninge sundrie
discourses and pretie conceipts, bothe in
prose and verse. 1577

_Tarlton's Repentance_, or his farewell to
his frendes in his sickness, a little
before his deathe.[702:D] 1589

TAYLOR, JOHN. _Heaven's Blessing and Earth's
Joy_, &c. on the marriage of Frederick Count
Palatine, and the Princess Elizabeth;
including Epithalamia, &c. 1613 | * *

_The Nipping or Snipping of Abuses_, or
the Wool-gathering of Wit.[703:A] 1614 | * *

TOFTE, ROBERTE. _Two Tales_ translated out
of Ariosto, &c. With certaine other Italian
stanzas and proverbes. 4to. 1597 | *

_Laura._ The toyes of a traveller; or the
feast of fancie, divided into 3 parts.
4to. 1597

_Orlando Inamorato._ The three first
bookes, &c. Done into English heroicall
verse. 4to. 1598

_Alba_, the month's minde of a melancholy
lover. 8vo. 1598

_Honours Academy_, or the famous pastorall
of the faire shepherdesse Julietta. Verse
and prose. Folio. 1610 |

_The Fruits of Jealousie._ Contayning the
disastrous Chance of two English Lovers,
overthrowne through meere Conceit of
Jealousie. 4to.[703:B] 1615 | * *

TREEGO, WILLIAM. _A Daintie Nosegay_ of
divers smelles, containing many pretie
ditties to diverse effects. 1577

TUDOR, ELIZABETH, QUEEN OF ENGLAND. _Two
Little Anthemes_, or things in meeter of hir
majestie.[704:A] 1578 | *

TURNER, RICHARD. _Nosce Te_
(_Humors._)[704:B] 1607

TWYNE, THOMAS. _The whole _xij_ Bookes of
the Œneidos of Virgill_. Whereof the first
ix. and part of the tenth, were converted
into English meeter by Thomas Phaër esquier,
and the residue supplied, and the whole
worke together newly set forth, by Thomas
Twyne gentleman. 4to. 1573 | *

TYE, CHRISTOPHER. _A Notable Historye_ of
Nastagio and Traversari, no less pitiefull
than pleasaunt, translated out of Italian
into English. 12mo. 1569

UNDERDOWNE, THOMAS. _Ovid his Invective_
against Ibis. 8vo. 1569 * |

_The Excellent Historye_ of Theseus and
Ariadne, &c. Written in English Meeter.
8vo. 1566 * |

VALLANS, WILLIAM. _A Tale of Two Swannes_,
&c. 4to. 1590

VENNARD, RICHARD. "_The Miracle of Nature_,"
and other poems. 4to.[705:A] 1601

VERSTEGAN, RICHARD. _Odes_: in imitation of
the Seaven Penitential Psalms. With sundry
other poemes and Ditties, tending to
devotion and pietie. 8vo. 1601 | *

WARREN, WILLIAM. _A Pleasant New Fancie_, of
a fondling's device, intituled and cald, The
nurcerie of names, &c. 4to. 1581

WEBBE, WILLIAM. _The First and Second
Eclogues of Virgil._ In English hexameters,
and printed in his "Discourse of English
Poetrie." 1586 | *

WEBSTER, WILLIAM. _The Moste Pleasant and
Delightful Historie_ of Curan, a prince of
Danske, and the fayre princesse Argentill,
&c. 4to.[705:B] | *

WEDDERBURN. _Ane Compendious Booke of Godly
and Spirituall Songs_, collectit out of
sundrie partes of the Scripture, with sundrie
of other Ballates changed out of Prophane
Sanges, for avoyding of Sinne and Harlotrie.
12mo. Edin.[705:C] 1597 | *

WEEVER, JOHN. _A Little Book of Epigrams._
8vo. 1599

_The Mirror of Martyrs_, or the life and
death of that thrice valiant capitaine and
most godly martyre, Sir John Oldcastle
knight, lord Cobham. 18mo. 1601

WENMAN, THOMAS, _The Legend of Mary, Queen
of Scots_, with other Poems.[706:A] 1601 |

WHARTON, JOHN. _Wharton's Dreame_:
conteyninge an invective agaynst certaine
abhominable caterpillars, &c. 4to. 1578

WHETSTONE, GEORGE. _The Rocke of Regard_:
divided into foure parts. The first, the
Castle of Delight, &c. The second, the
Garden of Unthriftinesse, &c. The thirde,
the Arbour of Virtue, &c.; and the fourth,
the Orchard of Repentance, 4to.[706:B] 1576 | *

_A Report of the Vertues_ of the right
valiant and worthy knight S. Frauncis,
Lord Russell, 4to.[706:C] 1585 | *

WHITNEY, GEOFFREY. _A Choice of Emblemes_,
and other devises. 4to. 1586 | *

_Fables or Epigrams._ 4to.[706:D] 1586

WILKINSON, EDWARD. _Isahac's Inheritance_;
dew to ovr high and mightie Prince, James
the sixt of Scotland, &c. 4to. 1603 | *

WILLET, ANDREW. _Sacrorum Emblematum_
centura una, in Latin and English verse.
4to.[706:E]

WILLYMAT, WILLIAM. _A Princes Looking
Glasse_, or a Princes Direction, &c. 4to. 1603 | *

WYRLEY, WILLIAM. _Lord Chandos._ The
glorious life and honourable death of Sir
John Chandos, &c. 4to. 1592 | * *

_Capitall de Buz._ The honourable life and
languishing death of Sir John de Gralhy
Capitall de Buz. 4to.[707:A] 1592 | * *

YATES, JAMES. _The Castell of Courtesie_,
whereunto is adjoyned The Holde of
Humilitie; with the Chariot of Chastitie
thereunto annexed. Also a Dialogue betweene
Age and Youth; and other matters herein
conteined. 4to.[707:B] 1582 | *

YONG, BARTHOLOMEW. _Diana of George of
Montemayer._ Translated out of Spanish into
English. Prose and Verse. Folio.[707:C] 1598 * |

ZOUCHE, RICHARD. _The Dove_, or Passages of
Cosmography, by Richard Zouche, Civilian of
New College, in Oxford.[707:D] 1613 |

Several articles in this table, it will be observed, are without any mark designating their merit in the scale, a defalcation which has occurred from our not having been able to procure either the works themselves, or even specimens of them, a circumstance not exciting wonder, if we consider the extreme rarity of the greater part of the pieces which form the catalogue.

Another result which may immediately strike the reader will be, that of _one hundred and ninety-three_ poets included in this list, so few should have risen even one degree above mediocrity, and so many should have fallen below it; but it should be recollected that the nobler bards, amounting to _forty_, had been previously enumerated, and that poetic excellence is, at all times, of very rare attainment.

The most legitimate subject of admiration, indeed, arising from a review of these details, is the extraordinary fecundity of the Shakspearean era; that in the course of fifty-two years, and independent of any consideration of dramatic effort, or of the various contributors to collections of poetry, nearly _two hundred and thirty-three_ bards in the miscellaneous department should have been produced: and these, not the writers of scattered or insulated verses, but the publishers of their own collected works.

A still more heightened conception of the fertility of the period will accrue from a survey of its numerous POETICAL MISCELLANIES, a species of publication which constitutes a remarkable feature of the age.

Before the reign of Elizabeth, only one production of the kind had made its appearance, namely, the Collection, called by Tottel "The Poems of Uncertaine Auctors," and appended to his edition of Surrey and Wyat in 1557. But, during the first year after the accession of our maiden queen, appeared the MIRROUR for MAGISTRATES, a quarto volume containing nineteen legends or characters drawn from English history. The plan originated with Sackville, who, not finding leisure to write more than an Induction and the Legend of Henry Duke of Buckingham, transferred the completion of the work to _Richard Baldwyne_ and _George Ferrers_, who were further assisted in its prosecution by _Churchyard_, _Phayer_, _Skelton_, _Dolman_, _Seagers_, and _Cavyl_. A second edition, of what may be termed Baldwyne's Mirrour, was printed in 1563, with the addition of eight legends; a third issued from the press in 1571, and a fourth in 1575. With the exception of Sackville's two pieces, on which an eulogium has already been given, mediocrity may be said to characterise the productions of Baldwyne and his associates.

In the same year which produced the fourth edition of Baldwyne's Collection, a new series of Legends was published in 4to. by _John Higgins_, which, commencing at an earlier period than his predecessor's work, he entitled "The firste Part of the Mirour for Magistrates." This portion commences, after an Induction, with the legend of King Albanact, the youngest son of Brutus, and terminates with that of Lord Irenglas, "slayne about the yeere before Christ;" including seventeen histories, the sole composition of Higgins. It was reprinted, with little or no alteration, in 1578, and occasioned Baldwyne's prior publication to be called "The Last Part."

The year 1578, however, not only produced this second impression of Higgins's Mirrour, but witnessed a fifth and separate edition of Baldwyne's labours, with the addition of two legends, and an intermediate part written by _Thomas Blener-Hasset_, containing _twelve_ stories, and entitled "The Seconde part of the Mirrour of Magistrates, conteining the falles of the infortunate Princes of this Lande: from the Conquest of Cæsar unto the commyng of Duke William the Conquerer," 4to.

A much more complete edition of this very curious collection of of poetic biography at length appeared in 1587, under the care of Higgins, who, blending Baldwyne's pieces with his own former publications, and adding greatly to both parts, produced a quarto volume consisting of seventy-three legends.

Enlarged and improved as this impression must necessarily be deemed, it was still further augmented, and, in fact, digested anew by Richard Niccols, who, in 1610, published his copy of the work with the following title: "_A Mirrour for Magistrates_, being a true Chronicle-history of the untimely falles of such unfortunate princes and men of note as have happened since the first entrance of Brute into this Iland untill this our age. Newly enlarged with a last part called a _Winter Night's Vision_, being an addition of such Tragedies especially famous as are exempted, in the former Historie, with a poem annexed called _England's Eliza_."

Niccols's edition forms a thick quarto of eight hundred and seventy-five pages, including ninety legends, and embracing, with the exception of four pieces, all the parts previously published, in chronological order, and super-adding an induction and ten poems of his own composition. He has taken the liberty, however, of modernising and abbreviating some of the earliest stories, with the view of rendering the series more acceptable to his contemporaries.

Of the _Mirror for Magistrates_, the poetical merit must, of course, be various and discrepant. Sackville stands pre-eminent and apart, the author, indeed, of a poem, which, for strength and distinctness of imagery, is almost unrivalled. Next, but with many a length between, Niccols claims our attention for sweetness of versification, perspicuity of diction, and occasional flights of fancy. In his legend of Richard the Third, he is evidently indebted to Shakspeare, and his poem assumes, on that account, a higher imaginative tone. The other writers of this bulky collection are as much inferior to Niccols, as he is to Sackville. The best production of Higgins is his legend of Queen Cordelia; and from Baldwyne and Ferrers, a few stanzas, animated by the breath of poetry, might be quoted; but Blener-Hasset seldom, if ever, reaches mediocrity.

The popularity of this work, and its influence on our national poetry throughout the reigns of Elizabeth and James the First, were very considerable. Even in its earliest and most unfinished state it had attracted the admiration of Sir Philip Sidney, who says, "I account the Mirrour of Magistrates, meetely furnished of beautiful partes[710:A];" and in its last and most perfect form, it seems to have been considered as a book necessary to the accomplished gentleman; for in Chapman's Comedy, entitled _May-Day_, and printed in 1611, a character versed in the elegant literature of the time, is described as "One that has read Marcus Aurelius, Gesta Romanorum, and the _Mirrour of Magistrates_."[711:A]

That this Collection contributed to accelerate the progress of dramatic poetry, and to familiarise the events of our history, there can be little doubt, if we reflect that, previous to its appearance, historical plays were scarcely known; that its pages present us with innumerable specimens of dramatic speeches, incidents, and characters, and that it has thrown into a metrical form the most interesting passages of the ancient chroniclers, a medium through which the best parts of those massive compilations soon descended to the lower orders of society.

The next work which calls for our attention is THE PARADYSE OF DAYNTY DEVISES, originally published in 1576 with the following title:—"The Paradyse of daynty devises, aptly furnished with sundry pithie and learned inventions: devised and written for the most part by M. Edwards, sometimes of her Majesties Chappel: the rest by sundry learned Gentlemen, both of honor, and worshippe: viz.

S. Barnarde. Jasper Heywood.
E. O. F. K.
L. Vaux. M. Bewe.
D. S. R. Hill.
M. Yloop, with others.

Imprinted at London, by Henry Disle, dwellyng in Paules Church-yard, at the South west doore of Saint Paules Church, and are there to be solde," 4to.

Though, until the late re-print by Sir Egerton Brydges, this miscellany had become extremely rare[711:B], yet numerous editions of it were called for during the first thirty years of its existence. In 1577, and 1578, Disle again published it in quarto, and it is remarkable for being the only book of his printing which has reached the present age. The edition of 1578 differs, in some respects, from the preceding, and from all, in including a poem by George Whetstone, no where else discoverable.

A fourth edition, from the press of Disle, appeared in 1580, varying so greatly from the earlier copies, that it omits eighteen poems contained in the first impression, and substitutes eighteen others in their place.

In 1585, the public attention was fixed on a fifth edition by Edward White, who also republished the work in 1596 and 1600 in 4to. The two latter impressions were printed by Edward Allde for White, and exhibit some variations from the copy of 1580, omitting four pieces in that edition, and adding seven new ones. Beside these, there was an edition, without date, printed by Allde for White, and constituting an _eighth_ impression.

That a Collection which ran through so many editions in so short a period, must possess a considerable share of merit, will be a natural inference; nor will the readers of the Reprint lately published be disappointed in such an expectation. It is true that the _Paradise of Daintie Devises_ contains no piece of such high poetic character as the _Induction_ of Sackville; for its contributions are chiefly on subjects of an ethic and didactic cast; but it displays a vast variety of short compositions, on love, friendship, and adversity; on the consolations of a contented mind, on the instability of human pleasures, and on many of the minor morals and events of life. These are expressed, in many instances, with simplicity and vigour, and often with a flow of versification and perspicuity of diction, which, considering the age of their production, is truly remarkable. If no splendour of imagery, or sublimity of sentiment, arrest the attention, it cannot be denied that several of these poems make their way to the heart, by attractions resulting from a clear perception, that the writers wrote from their own unadulterated feelings, from the instant pressure of what they suffered or enjoyed.

Of the contributors to this Miscellany, which, in its most perfect state, consists of one hundred and twenty-four poems, more than one half was communicated by six individuals; by Lord Vaux fourteen pieces; by Richard Edwardes fourteen; by William Hunnis twelve; by Francis Kinwelmarsh ten; by Jasper Heywood eight; and by the Earl of Oxford seven.

The compositions of Lord Vaux, are uniformly of a moral and pensive cast, and breathe a spirit of religion and resignation often truly touching, and sometimes bordering on the sublime. Of this description more particularly are the poems entitled "Of the instabilitie of youth;" "Of a contented mind;" and on "Beying asked the occasion of his white head," from the last of which a few lines will afford a pleasing specimen of the pathetic tone and unaffected style of this noble bard:—

"These heeres of age are messingers,
Whiche bidd me fast, repent and praie:
Thei be of death the harbingers,
That doeth prepare and dresse the waie,
Wherefore I joye that you mai see,
Upon my head such heeres to bee.

Thei be the line that lead the length,
How farre my race was for to ronne:
Thei saie my yongth is fledde with strength,
And how old age is well begonne.
The whiche I feele, and you maie see,
Upon my head such lines to bee."[713:A]

Of a character still higher for poetic power are the effusions of Richard Edwards, who excels alike in descriptive, ethic, and pathetic strains. Of the first, his two pieces called "May" and "I may not" are, with the exception of the third stanza of the latter poem, very striking instances; of the second, he has afforded us several proofs; and of the last, his lines on the maxim of Terence, _Amantium iræ amoris redintegratio est_, form one of the most lovely exemplifications in the language. Of the opening stanza it is scarcely possible to resist giving a transcription:—

"In going to my naked bed, as one that would have slept,
I heard a wife syng to her child, that long before had wept:
She sighed sore and sang full sore, to bryng the babe to rest,
That would not rest but cried still in suckyng at her brest:
She was full wearie of her watche, and grieved with her child,
She rocked it and rated it, untill on her it smilde:
Then did she saie nowe have I founde the proverbe true to prove,
The fallyng out of faithfull frends renewing is of love."[714:A]

"The happiness of the illustration," remarks Sir Egerton Brydges, "the facility, elegance, and tenderness of the language, and the exquisite turn of the whole, are above commendation; and show to what occasional polish and refinement our literature even then had arrived. Yet has the treasure which this gem adorned, lain buried and inaccessible, except to a few curious collectors, for at least a century and an half."[714:B]

Edwards has a song of four stanzas "In commendation of Musick,"[714:C] of which the first has been quoted by Shakspeare in _Romeo and Juliet_[714:D], affording a proof, if any were wanted, that the madrigals of Edwards were very popular in their day.

Of the poetry of _William Hunnis_ the more remarkable features are a peculiar flow of versification, and a delicate turn upon the words, which approximate his songs, in an extraordinary degree, to the standard of the present age. By dividing his lines of sixteen syllables into two, this similarity becomes more apparent; for instance,—

"When first mine eyes did view and mark
Thy beauty fair for to behold,
And when mine eares gan first to hark
The pleasant words that thou me told;
I would as then I had been free
From ears to hear and eyes to see.

And when in mind I did consent
To follow thus my fancy's will,
And when my heart did first relent
To taste such bait myself to spill,
I would my heart had been as thine,
Or else thy heart as soft as mine.[715:A]

* * * * *

O flatterer false, thou traitor born,
What mischief more might thou devise,
Than thy dear friend to have in scorn,
And him to wound in sundry wise?
Which still a friend pretends to be,
And art not so by proof I see.
Fie, fie, upon such treachery."[715:B]

From the ten contributions by Kinwelmarsh, three may be selected as pleasing, both from their sentiment and melody, viz. "On learning;" "All thinges are vain," which is a truly beautiful poem; and "The complaint of a Sinner."[715:C] Neither the productions of Heywood, nor of the Earl of Oxford, surmount mediocrity.

Of the remaining writers who assisted in forming this collection, _M. Bew_ has written five pieces; _Arthur Bourcher_, one; _M. Candish_, one; _Thos. Churchyard_, one; _G. Gashe_, one; _Richard Hill_, seven; _Lodowick Lloyd_, one; _T. Marshall_, two; _Barnaby Rich_, one; _D. Sands_, five; _M. Thorn_, two; _Yloop_, two, and there are five with the signature of _My lucke is losse_. There are sixteen poems also with initials only subjoined, and seven anonymous contributions. Most of these consist of moral precepts versified, and, though little entitled to the appellation of poetry, from any display either of imagery or invention, are yet of high value as developing the progress both of literary and intellectual cultivation.

The popularity of Edwards's Miscellany produced, two years afterward, another collection of a similar kind, under the title of "A GORGIOUS GALLERY OF GALLANT INVENTIONS. Garnished and decked with Divers Dayntie Devises, right delicate and delightfull, to recreate eche modest minde withall. First framed and fashioned in sundrie formes, by Divers Worthy Workemen of late dayes: and now joyned together and builded up: By T. P. Imprinted at London, for Richard Jones. 1578."

Of this work, "one copy only," relates Mr. Park, "is known to have survived the depredation of time. This was purchased by Dr. Farmer, with the choice poetical stores of Mr. Wynne, which had been formed in the seventeenth century by Mr. Narcissus Luttrell. At Dr. Farmer's book-sale this _unique_ was procured by Mr. Malone; from whose communicative kindness a transcript was obtained, which furnished the present reprint. One hiatus, occasioned by the loss of a leaf, occurs at p. 102, which it will be hopeless to supply, unless some chance copy should be lurking in the corner of a musty chest, a family-library, or neglected lumber-closet; though, in consequence of the estimation in which all antiquated rarities are now held, even such hiding-places have become very assiduously explored."[716:A]

By the Initials T. P. we are to understand _Thomas Proctor_, the editor of this "Gorgious Gallery," and who has been noticed in the preceding table on account of his "Pretie Pamphlets," which commence at p. 125 of Mr. Park's Reprint. His verses following this title are numerous, and in various metres, and indicate him to have been no mean observer of life and manners. If he display little of the fancy of the poet, he is not often deficient in moral weight of sentiment, and though not remarkable for either the melody or correctness of his versification, he may be considered as having passed the limits of mediocrity.

Of the other contributors our information is so scanty, that we can only mention _Anthony Munday_ and _Owen Royden_, and this in consequence of the first having prefixed a copy of verses "In commendation of this Gallery," and the second a more elaborate poem, "To the curious company of Sycophants." It is probable that they were both coadjutors in the body of the work.

The "Gorgious Gallery of Gallant Inventions" consists of seventy-four poems, and some, especially the "History of Pyramus and Thisbie," of considerable length. Too many of them are written in drawling couplets of fourteen syllables in a line, and with too flagrant a partiality for the meretricious garb of alliteration.[717:A] There appears to be also too little variety in the selection of topics, and some of the pieces are reprinted from "Tottel's Miscellany" and the "Paradyse of Dayntie Devises." It must be pronounced, indeed, inferior to these its predecessors in the essential points of invention, harmony of metre, and versatility of style, though it seems to have shared with them no small portion of popular favour; for Nashe, in his life of Jacke Wilton, 1594, alluding to the Gardens of Rome, says, that "to tell you of their rare pleasures, their baths, their vineyards, their galleries, were to write a second part of the _Gorgious Gallerie of Gallant Devices_."[717:B]

In 1584 was published, in 16mo., "A HANDEFULL OF PLEASANT DELITES: containing Sundrie new Sonets and delectable Histories in divers kindes of meeter. Newly devised to the newest tunes, that are now in use to be sung: everie sonet orderly pointed to his proper tune. With new additions of certain songs, to verie late devised notes, not commonly knowen, nor used heretofore. By Clement Robinson: and divers others. At London, printed by Richard Jhones: dwelling at the signe of the Rose and Crowne, neare Holburne Bridge."

Only one copy of the printed original of this Miscellany, which is in the Marquis of Blandford's library, is supposed to be in existence. The editor, Clement Robinson, if all the pieces unappropriated to others, be of his composition, must be deemed worthy of high praise for numerous productions of great lyric sweetness in point of versification, and composed in a vein of much perspicuity with regard to diction. His associates, as far as we have any authority from the work itself, amount only to five; and these, with the exception of _Leonard Gibson_, who claims only one piece, consist of names unknown elsewhere in the annals of poetry. Two effusions are attributed to _J. Tomson_; two to _Peter Picks_; one to _Thomas Richardson_, and one to _George Mannington_. This last production, denominated "A sorrowfull Sonet," if we make allowance for a commencement too alliterative, possesses a large share of moral pathos, and unaffected simplicity.[718:A]

Thirty-two poems occupy the pages of this pleasing little volume, among which, at p. 23., is _A New Courtly Sonet of the Lady Greensleeves, to the new tune of Greensleeves_, alluded to by Shakspeare in the _Merry Wives of Windsor_, Act ii. Sc. 1., and which throws some curious light on the female dress of the period.

In point of interest, vivacity, and metrical harmony, this compilation has a decided superiority over the "Gorgious Gallery of Gallant Inventions." It is, in a great measure, formed of ballads and songs, adapted to well-known popular tunes, and, though its poets have been arbitrarily confined in the structure of their verse by the pre-composed music, yet many of their lyrics have a smoothness and sweetness in the composition of their stanzas, which may even arrest the attention of a modern ear.

To the publication of Clement Robinson succeeded, in 1593, "THE PHŒNIX NEST. Built up with the most rare and refined workes of Noblemen, worthy Knights, gallant Gentlemen, Masters of Arts, and brave Scholers. Full of varietie, excellent invention, and singular delight. Never before published. Set foorth by R. S. of the Inner Temple, Gentleman. Imprinted at London, by John Jackson, 4to."

The opening of Mr. Park's "Advertisement" to his Reprint of this Collection includes so much just, and elegantly expressed, criticism on our elder poetry, and on Shakspeare, that we seize with pleasure the opportunity of transferring it to our pages.

"Between the Gorgious Gallery of Gallant Inventions," he remarks, "printed in 1578, and the present miscellany in 1593, an interval of only fifteen years, there will be traced no inconsiderable advance towards poetical elegance and sentimental refinement. Watson, Breton, Peele, and Lodge, contributed very materially to the grace, and melody, and strength, of our amatory, lyric, and satiric verse; while Spenser, Daniel, and Drayton enlarged the sphere of the allegoric, and historic, and descriptive Muse. But the magnitude of the works of the two latter poets, owing to the subjects they unhappily selected, has conduced to deaden that reputation which several of their minor effusions were calculated to keep alive. The very labours which might otherwise have extended their fame, have fatally contracted it. Their ponderous productions are incorporated indeed with the late general collections of British Poets, but where is the poetic amateur who peruses them? They resemble certain drugs in a family-dispensary, which, though seldom if ever taken, still eke out the assemblage. From reading the fair specimens put forth by Mr. Ellis, many may be allured to covet the entire performances of our elder bards: but should these be obtained, they will probably be found (as Mr. Steevens said by the Shakspearian quartos) of little more worth than a squeezed orange. The flowers will appear to have been culled and distilled by the hand of judgment; and the essence of early poetry, like most other essences, will be discovered to lie in a narrow compass. 'Old poets in general,' says Mr. Southey, 'are only valuable because they are old.' It must be allowed that few poems of the Elizabethan æra are likely to afford complete satisfaction to a mere modern reader, from the fastidious delicacy of modern taste. Some antiquated alloy, either from incongruous metaphor or infelicitous expression, will commonly jar upon his mind or ear. The backward footstep of Time will be audible, if not visible. Yet the songs of our unrivalled Shakspeare combine an almost uniform exception to this remark. They are exquisite in thought, feeling, language, and modulation. They blend simplicity with beauty, sentiment with passion, picture with poesy. They unite symmetry of form with consistency of ornament, truth of nature with perfection of art, and must ever furnish models for lyric composition. As a sonnet-writer Shakspeare was not superior to some of his contemporaries: he was certainly inferior to himself. In lighter numbers and in blank verse, peculiar and transcendent was his excellence. His songs never have been surpassed, his dramas never are likely to be."[720:A]

Of the editor of the Phœnix Nest, intended by the initials R. S., no certain information has been obtained. The work has been attributed to _Richard Stanyhurst_, _Richard Stapleton_, and to _Robert Southwell_, by Coxeter, by Warton, and by Waldron; but their claims, founded merely on conjecture, are entitled to little confidence. It is perhaps more interesting to know, that the chief contributors to this miscellany were among the best lyric poets of their age, that _Thomas Watson_, _Nicholas Breton_, and, above all, _Thomas Lodge_, assisted the unknown editor. Not less than sixteen pieces have the initials of this last bard, and many of them are among the most beautiful productions of his genius. Beside these, _George Peele_, _William Smith_, _Matthew Roydon_, Sir _William Herbert_, the _Earl of Oxford_, and several others, aided in completing this elegant volume.

The "Phœnix Nest," which comprehends not less than seventy-nine poems, is certainly one of the most attractive of the Elizabethan miscellanies, whether we regard its style, its versification, or its choice of subject, and will probably be deemed inferior only to "England's Helicon," which, indeed, owes a few of its beauties to this work.

Of the valuable Collection thus mentioned, the first edition made its appearance in 1600, with the following title-page: "ENGLAND'S HELICON.

Casta placent superis
pura cum veste venite,
Et manibus puris
sumite fontis aquam.

At London. Printed by J. R. for John Flasket, and are to be sold in Paules Church-yard, at the signe of the Beare." 4to.

The second edition was published in 1614, and entitled, "England's Helicon, or the Muses Harmony.

The Courts of Kings heare no such straines,
As daily lull the Rusticke Swaines.

London: Printed for Richard More; and are to be sould at his shop in S. Dunstanes Church-yard." 8vo.

England's Helicon, which, in its first impression, contained one hundred and fifty poems, and in its second one hundred and fifty-nine, has the felicity of enrolling among its contributors all the principal poets of its era. These, enumerated alphabetically, are as follow:—_Richard Barnefield_ has two pieces; _Thomas Bastard_, one; _Edmund Bolton_, five; _Nicholas Breton_, eight; _Christopher Brooke_, one; _William Browne_, one; _Henry Constable_, four; _John Davis_, one; _Michael Drayton_, five; Sir _Edward Dyer_, six; _John Ford_, one; _Robert Greene_, seven; _Fulke Grevile_, two; _John Gough_, one; _Howard, Earle of Surrie_, two; _Howell_, one: _William Hunnis_, two; _Thomas Lodge_, ten; _Jervis Markham_, two; _Christopher Marlow_, one; _Earle of Oxenford_, one: _George Peele_, three; Sir _Walter Raleigh_, fourteen; _William Shakspeare_, two; Sir _Philip Sidney_, fourteen; _William Smith_, one; _Edmund Spenser_, three; _Shepherd Tonie_, seven; _Thomas Watson_, five; _John Wootton_, two, and _Bartholomew Yong_, twenty-five. Of anonymous contributions there are sixteen.

Amid this galaxy of bards we cannot fail to distinguish for their decided superiority, the productions of _Breton_, _Greene_, _Lodge_, _Marlow_, and _Raleigh_, which might confer celebrity on any selection. The principal feature, indeed, of England's Helicon is its _pastoral_ beauty, and in this department how few have surpassed, or even equalled, the exquisite strains of Lodge or Marlow!

"It cannot be idle or useless," remarks Sir Egerton Brydges, "to study this early Collection of Pastoral compositions. Here is the fountain of that diction, which has since been employed and expanded in the description of rural scenery. Here are the openings of those reflections on the imagery of nature, in which subsequent poets have so much dealt. They show us to what occasional excellence, both in turn of thought and polish of language, the literature of Queen Elizabeth had arrived; and how little the artificial and incumbered prose of mere scholars of that time exhibits a just specimen of either the sentiment or phrase of the court or people! In the best of these productions, even the accentuation and rhythm scarce differs from that of our days. Lodge and Breton in particular, who are characterised by their simplicity, are striking proofs of this!—

"To such as could enjoy the rough and far-fetched subtlety of metaphysical verses, this Collection must have appeared inexpressibly insipid and contemptible. To those whose business it was to draw similitudes from the most remote recesses of abstruse learning, how childish must seem the delineation of flowers that were open to every eye, and images which found a mirror in every bosom!!

"But, O, how dull is the intricate path of the philosopher, how uninteresting is all the laboured ingenuity of the artist, compared with the simple and touching pleasures which are alike open to the peasant, as to the scholar, the noble, or the monarch! It is in the gift of exquisite senses, and not in the adventitious circumstances of birth and fortune, that one human being excels another!

"The common air, the sun, the skies,
To him are opening Paradise."

"We are delighted to see reflected the same feelings, the same pleasures from the breasts of our ancestors. We hear the voices of those bearded chiefs, whose portraits adorn the pannels of our halls and galleries, still bearing witness to the same natural and eternal truths; still inveighing against the pomp, the fickleness, and the treachery of courts; and uttering the songs of the shepherd and the woodman, in language that defies the changes of time, and speaks to all ages the touching effusions of the heart.

"If some little additional prejudice in favour of these compositions be given by the association in our ideas of their antiquity, if we connect some reverence, and some increased force, with expressions which were in favourite use with those who for two centuries have slept in the grave, the profound moral philosopher will neither blame nor regret this effect. It is among the most generous and most ornamental, if not among the most useful habits of the mind!

"Such are among the claims of this Collection to notice. But the seal that has been hitherto put upon this treasure; the deep oblivion in which the major parts of its contents have for ages been buried, ought to excite curiosity, and impart a generous delight at its revival. Who is there so cold as to be moved with no enthusiasm at drawing the mantle from the figure of Time? For my part, I confess how often I have watched the gradual developement with eager and breathless expectation; and gazed upon the reviving features till my warm fancy gave them a glow and a beauty, which perhaps the reality never in its happiest moments possessed."[723:A]

That very nearly two hundred years should have elapsed between the second and third editions of this miscellany is a striking proof of the neglect to which even the best of our ancient poetry has been hitherto subjected. The rapidly increasing taste of the present age, however, for the reliques of long-departed genius, cannot fail of precluding in future any return of such undeserved obscurity.

In 1600 the industry of Robert Allot presented the public with a large collection of extracts from the most popular poets of his times, under the title of "ENGLAND'S PARNASSUS: or the choysest flowers of our moderne poets, with their poeticall comparisons. Descriptions of Bewties, Personages, Castles, Pallaces, Mountaines, Groves, Seas, Springs, Rivers, &c. Whereunto are annexed other various discourses, both pleasant and profitable." Small 8vo. pp. 510.

Had the editor of this curious volume, beside citing the names of his authors, added the titles of the works from which he culled his specimens, an infinity of trouble would have been saved to subsequent research; yet the deficiency has served, in a peculiar manner, to mark the successful progress of modern bibliography. When Oldys wrote his Preface to Hayward's British Muse, which was first published in 1738, he complains grievously of this omission, observing that most of Allot's poets "were now so obsolete, that not knowing what they wrote, we can have no recourse to their works, if still extant."[724:A] Since this sentence was written, such has been the industry of our literary antiquaries, that almost every poem which Allot laid under contribution in forming his volume, has been ascertained, and rendered accessible to the curious enquirer; and so far from the writers being obsolete, after nearly eighty years have been added to their antiquity, we may venture to affirm that, excepting about half-a-dozen, they are as familiar to us as the poets of the present reign. It is but just, however, to acknowledge that a considerable portion of this intimacy may be ascribed to Allot's book, which, by its numerous passages from bards rendered scarce by neglect, has stimulated the bibliographical enthusiasm of the last twenty years to achieve their detection. An enumeration of the contributors to England's Parnassus, will serve to illustrate and confirm these remarks:—

1. Thomas Achelly.
2. Thomas Bastard.
3. George Chapman.
4. Thomas Churchyard.
5. Henry Constable.
6. Samuel Daniel.
7. John Davies.
8. Thomas Dekkar.
9. Michael Drayton.
10. Edmund Fairfax.
11. Charles Fitzgeffrey.
12. Abraham Fraunce.
13. George Gascoigne.
14. Edward Gilpin.
15. Robert Greene.
16. Sir John Harrington.
17. John Higgins.
18. Thomas Hudson.
19. James, King of Scots.
20. Benjamin Jonson.
21. Thomas Kyd.
22. Thomas Lodge.
23. Gervase Markham.
24. Christopher Marlowe.
25. John Marston.
26. Christopher Middleton.
27. Thomas Nash.
28. Oxford, Earl of.
29. George Peele.
30. Matthew Roydon.
31. Sackville, Lord Buckhurst.
32. William Shakspeare.
33. Edmund Spenser.
34. Thomas Storer.
35. Surrey, Earl of.
36. Sir Philip Sidney.
37. Joshua Sylvester.
38. George Turberville.
39. William Warner.
40. Thomas Watson.
41. John Weever.
42. William Weever.
43. Sir Thomas Wyatt.

Though Oldys has severely blamed the judgment of the editor in his selection of authors and extracts, yet a much more consummate critic, the highly-gifted Warton, considers him as having exhibited taste in his choice, and it must be acknowledged that the volume has preserved many exquisite passages from poets who, but for this selection, had probably been irrecoverably merged in oblivion.

In the same year with England's Parnassus came forth another compilation, to which its editor, _John Bodenham_, gave the following title: "BEL-VEDERE, OR THE GARDEN OF THE MUSES.

Quem referent Musæ vivet, dum robora tellus,
Dum cælum stellas, dum vehit amnis aquas.

Imprinted at London, by F. K. for Hugh Astley, dwelling at Saint Magnus Corner. 1600." Small 8vo. pp. 236.

This collection, which underwent a second impression in 1610, with the omission of its first appellative, Bel-vedere, though it contain a vast number of quotations, is, on two accounts, inferior to the "Parnassus." In the first place, no authors' names are annexed to the extracts, and, in the second, a much greater defect has arisen from the editor's determination to confine his specimens to one or two lines at most, a brevity which almost annihilates the interest of the work. To obviate, however, in some degree, the inconveniences arising from the first of these plans, he has recourse, in his _Proemium_, to the following detail, which, as it gives a very curious narrative of the construction of the book, will have its due value with the reader:—

"Now that every one may be fully satisfied concerning this Garden, that no man doth assume to him-selfe the praise thereof, or can arrogate to his owne deserving those things, which have been derived from so many rare and ingenious spirits; I have set down both how, whence, and where, these flowres had their first springing, till thus they were drawne together into the Muses Garden; that every ground may challenge his owne, each plant his particular, and no one be injured in the justice of his merit.

"First, out of many excellent speeches, spoken to her Majestie, at tiltings, triumphes, maskes, and shewes, and devises perfourmed in prograce: as also out of divers choise ditties sung to her; and some especially, proceeding from her owne most sacred selfe! Here are great store of them digested into their meete places, according as the method of the worke plainly delivereth. Likewise out of private poems, sonnets, ditties, and other wittie conceits, given to her honourable Ladies and vertuous Maids of Honour; according as they could be obtained by sight, or favour of copying, a number of most wittie and singular sentences. Secondly, looke what workes of poetrie have been put to the world's eye, by that learned and right royall king and poet, James King of Scotland; no one sentence of worth hath escaped, but are likewise here reduced into their right roome and place. Next, out of sundrie things extant, and many in private, done by these right honourable persons following:

Thomas, (Henry) Earl of Surrey.
The Lorde Marquesse of Winchester.
Mary Countess of Pembrooke.
Sir Philip Sidney.

"From poems and workes of these noble personages extant:

Edward, Earle of Oxenford.
Ferdinando, Earle of Derby.
Sir Walter Raleigh.
Sir Edward Dyer.
Fulke Grevile, Esq.
Sir John Harrington.

"From divers essayes of their poetrie; some extant among other honourable personages writings, some from private labours and translations.

Edmund Spencer.
Henry Constable, Esq.
Samuel Daniell.
Thomas Lodge, Doctor of Physicke.
Thomas Watson.
Michaell Drayton.
John Davies.
Thomas Hudson.
Henrie Locke, Esq.
John Marstone.
Chr. Marlowe.
Benjn. Johnson.
William Shakspeare.
Thomas Churchyard, Esq.
Tho. Nash.
Tho. Kidde.
Geo. Peele.
Robert Greene.
Josuah Sylvester.
Nicolas Breton.
Gervase Markham.
Thomas Storer.
Robert Wilmot.
Chr. Middleton.
Richard Barnefield.

"These being moderne and extant poets, that have lived together, from many of their extant workes, and some kept in private.