A
BIBLIOGRAPHICAL AND CRITICAL ACCOUNT
OF THE
arestt Zoolkt  in toe gnghio  language,
ALPHABETICALLY ARRANGED.








A  BIBLIOGRAPHICAL AND  CRITICAL
ACCOUNT OF THE RAREST BOOKS
IN THE ENGLISH LANGUAGE
ALPHABETICALLY ARRANGED
WHICH DURING THE LAST FIFTY YEARS HAVE COME UNDER
THE OBSERVATION OF
J. PAYNE COLLIER F.S.A.
IN FOUR VOLUMES
VOL. IV
NEW YORK
DAVID G. FRANCIS 506 BROADWAY
CHARLES SCRIBNER & CO. 124 GRAND ST.
1866




CAMBRIDGE: PRINTED BY H. O. HOUGHTON AND COMPANY.




ihtiogtira       t  %trunt
OF
EARLY ENGLISH LITERATURE.
SABIE, FRANCIS. - Adam's Complaint. The Olde Worldes
Tragedie. David and Bathsheba. A Jove Musa. — Imprinted at London by Richard Johnes, at the Rose
and Crowne next above Saipt Andrewes Church.in
Holborne.  1596.  4to.
This production is by an author who ambitiously attempted all
kinds of verse, — Francis Sabie. He began with blank-verse
in 1595, when he reproduced Robert Greene's "Pandosto, the
Triumph of Time " (afterwards called "Dorastus and Fawnia ")
under the title of " The Fisherman's Tale." In the same year
came out " Pan his Pipe," consisting chiefly of English hexameters; and in 1596 he published the work in our hands in rhyming
stanzas. He had no great success in any department. He rendered Greene's pretty novel almost wearisome. He displayed no
skill in classical measures, which he fancied were especially adapted
to pastorals, because they had been used by Virgil; and his rhymes
are only tolerable. He seems to have taken up the sacred subject
of 1" Adam's Complaint," &c., because he had failed in his profane
experiments.'
The dedication, signed Francis Sabie, is in twelve lines to the
Bishop of Peterborough, Dr. Howland, though what claim he had
upon that prelate does not appear.l We will give a few quota1 From the Registers of the Stationers' Company, in an entry that has
never been noticed, we find that Francis Sablie was a schoolmaster at
VOL. IV.               1




2              J3ibtioraptl)ktt a!tccount of
tions, not for any great merit they possess, but because no specimens have hitherto been anywhere printed.  Sabie's blank-verse
and his hexameters, on the other hand, have received more attention than they deserve.l "Adam's Complaint" opens thus: —
"New formed Adam of the reddish earth,
Exilde from Eden, Paradice of pleasure,
By Gods decree cast down to woes from mirth,
From lasting joyes to sorrowes out of measure,
Fetch'd many a sigh, comparing his estate
With happie blisse, which he forewent of late."
It may be too nice to object to the tautology of " happy bliss,"
especially in Sabie's case, with whom it is a not unfrequent ornament; and after calling upon his Muse "to rowse herself," as if
in fear that her aid might not be sufficient, he implores "great
Jehovah, heaven's great architect," to direct his " fainting Muse,"
while she essays i" the horrors to rehearse " of the task he has undertaken.  Adam then narrates his fall and its consequences, not
very charitably, or gallantly, laying the blame upon his wife: —
" O wretched Evah! mankinds deadly foe,
Accursed Grandame, most ungentle mother,
Sin-causing woman, bringer of mans woe,
Woe to thy selfe, and woe unto all other!
Thy mighty maker, in his just displeasure,
Hath multiplied thy sorrowes out of measure."
In the end Adam foresees the redemption of man through a
vista of thousands of years, and is rapturously grateful for it.
The "Old World's Tragedy" is the story of the Flood; and
after some pieces of exaggerated description we arrive at this
bathos: —
Lichfield, and in 1587 bound his son Edmond apprentice to Robert Cullen,
Stationer: -' 12 Junij Edmond Sabie. sonn of Francis Sable of Lichefield in the countie of
RSafford, Scholuaister, hath putt himself apprentise to Robert Cullen, citizen and
stationer of London, for the terme of seven yeres from the date hereof."
The usual fee of 2s. 6d. was paid to the Company on the occasion. It
is not stated whether the father was a clergyman as well as a schoolmaster. It seems probable that he was so, although we do not meet with
Sabie's name in the records of either University.
1 See Brit. Bibl. I. 489, 497. Poet. Decam. I. 137, &c.




(Qarl.  fnaglis]   Iiterature.                  3
"Some upon roofes and turrets high did clime:
One takes the highest mountain he can see;
Another sits a fishing in a tree."
We are also told that, —
"Twise twenty dayes, as blacke as any cole,
The murthering raine distilled from the Pole;"
and when the earth was covered with waters, that
"The Dolphins woonder under watrie floods
To see faire turrets and; thicke growing woods:
In steed of sacrifice on Altars faire,
Sit seemly Marmaydes combing of their haire;
In Churches eke, their Organists now wanting,
Melodious Odes and ditties now recanting."
This etymological use of the verb to "recant" is not usual,
though we have it in Spenser in a sort of double sense, -" Till
he recanted had his wicked rhymes."
Sabie's compound epithets are now and then amusing; "bristlebearing boar" is not bad, but we have also the following:"The silly Lambe was, with the ravening Wolfe,
Drown'd in the vast no-pitie-taking gulfe."
"Stark" is well applied in describing the beasts leaving the ark;
but perhaps Sabie was helped to it, as Dryden admits that sometimes he had been, by the rhyme. The huge creatures
" Alive on earth came forthwith from the arke,
There stretcht their limmes, unweldy yet, and starke."
In the third portion of the work, which relates to David and
Bathsheba, (here, though not on the title-page, called Beersheba,)
the author is not very sparing of "the man after God's own heart."
He first describes David's vain conflict with himself:" And now begins the combatant assault
Betweene the willing flesh and nilling spirit;
The flesh alluring him unto the fault,
The spirit tells him of a dreadful merit;
And, in the end, flesh conquered the spirit.
He sends, she came, he woos, she gave consent,
And did the deed, not fearing to be shent."
Just afterwards Sabie thus reproaches David:" Oblivious Prophet, call to minde thine oth:
Thou vowdst to keepe the covenant of the Lord,




4               3 ibtiograplti)at 2mount of
More sweet, thou saydst, then combe or honey both,
More deare then Gems which Tagus doth afford:
Thou brag'dst thou joyedst only in his word.
Chose he not thee his tender lambes to keepe,
And, like a Wolfe, wilt thou devoure the sheep? "
Ultimately David, having " warbled out an ode," repents, and
the last stanza is, -
"Thus did the Psalmist warble out his plaints,
And ceaseth not from day to day to mone:
His heart with anguish of his sorrowe faints,
And still he kneels before his maker's throne;
At midnight sends he manie a grievous grone.
So did his God in mercie on him looke,
And all his sinnes did race out of his booke.
Finis. F. S."
SACK-FULL OF NEws. -- The Sackfull of News -  Some
Lyes and some Truths.   Printed  at London  by T.
Cotes for F. Grove and are to be sold at his Shop
on Snow Hill, neare the Saracins head. 1640. 8vo.
B. L.
This is a reimpression of an old jest-book, certainly in existence
anterior to the year 1575, when we find it mentioned by Langham
in his " Letter from Kenilworth," as part of the library of Captain
Cox, -"the Churl and the Burd, the'peaven wise Masters, the
wife lapt in a Morels skin, the sak full of nuez, the Seargeaunt
that became a Fryar," &c.; (see Vol. II. p. 228.) It had been entered in the Stationers' Registers, and no doubt printed, almost at
the commencement of the existence of the Company, in the following terms, the date being 1557-58: —
" To John Kynge these bokes folowynge, called a nose gaye; the scole
howse of women; and also a sackefull of newes....  xijd."
Again, in the year 1581-82, on the 15th January, we find John
Charlwood paying for the registration of a number of works, including "A pennyworth of witte; A hundred merry tales; Adam
Bell; The banishment of Cupid; Crowley's Epigrams; A Fox
Tale; Kinge Pontus; Robin Conscience; A proude wyves p[ate]r




ICtartl   ( ng ilgl j;ittrature.           5
n[oste]r; A Sackefull of newes; Sr. Eglamore," &c. There was,
it is true, an early drama so named, which a company of players
was prevented from acting on the 5th of September, 1557, (Hist.
Engl. Dram. Poetry and the Stage, I. 162,) but it is quite clear,'from the company in which the " Sack-full of News." was placed
by Kynge, as well as Charlwood, that they entered the Jest-book
and not the Drama. Five years afterwards, 5th September, 1587,
it was entered to Edward White in this form: -
"Edward White. Rd of him for a sackcfull of newes, being an old copie,
which the said Eward is ordered to have printed by Abell Jeffes
vjd."
It was, in all probability, called "an old copy," because it was
to be a reimpression of the work that had been licensed to Kynge
in 1558, and to Charlwood in 1582. How many reimpressions it
went through between 1557 and 1673 it is vain to speculate; but
at the latter date it still bore the title of " The Sack-full of Newes,"
although the second part of the title, as we find it in 1640, in the
edition under consideration, was dropped. It was probably meant,
in the poetical license of popular literature of the reign of Charles
I., that "' news" and "truths" should'be taken as rhymes; and
whether such was the title it anciently bore must remain uncertain, until, by some chance, a copy of an earlier date than the one
we have used be discovered.
We take it for granted that the number and character of the
jests were the same in all editions. We are sure that they are the
same in the only two known impressions of 1640 and 1673, without even a verbal variation. Differences of spelling were of course
to be expected, but even these are few, and in no respect change
the meaning of a single sentence. The main discordance is, that
in the copy of 1640 the jests are numbered, while in that of 1673
they are not numbered. We quote the second as one of the shortest, and certainly one of the best. It speaks of times anterior to
the Reformation, thus affording some proof of the antiquity of the
collection.
"2. Another.
"There was a fryer in London which did use to goe often to the house
of an old woman, but ever when he came to her house she hid away all
the meate she had. On a time this Fryer came to her house bringing
certain companie with him, and demaunded of the wife if she had any




6              J3ibtiogra pJiat   ltccount of
meat? And she said nay. Well, quoth the fryer, have you not a whetstone? Yea, quoth the woman, what will you do with it? Mary, qd he,
I would make meate thereof. Then she brought the whetstone. He
asked her likewise if she had not a frying pan? Yea, said she; but what
the divell will you do therewith? Mary, said the Fryer you shall see by
and by what I will doe with it. And when he had the pan, he set it on
the fire, and put the whetstone therein. Cocks body, said the woman,
you will burn the pan. No, no, quod the fryer; if you will give me some
eggs it will not burn at all. But she would have had the pan from him
when that she saw it was in danger; yet he would not let her, but still
urged her to fetch him some eggs, which she did. Tush! said the Fryer,
here are not enow: go fetch me ten or twelve. So the good wife was
constrayned to fetch more for feare lest the pan should burn: and when
he had them he put them in the pan. Now, qd he, if you have no butter
the pan will burn and the eggs to[o]. So the good wife being very loth
to have her pan burnt and her egges lost, she fetcht him a dish of butter,
the which he put into the pan, and made good meate thereof, and brought
it to the table, saying much good may it doe you, my masters; now may
you say you have eaten of a buttered whetstone. Whereat all the company laughed, but the woman was exceeding angrie because the Fryer
had subtilly beguiled her of her meate."
Another very ancient jest in this little volume is the 13th, which
may carry us as far back as to the year 1537, when the interlude
of "Thersites" was written, though it was not printed until
between the years 1550 and 1563. We quote the punning jest
first from" the Sack-full of News ":-' 13 Another.
"A man there was that had a child borne in the north Countrey, and
upon a time this man had certain guests, and he prepared sallets and
other meate for them; and bid his boy go into the cellar and take the sallet there (meaning the herbs) and lay them in a platter, and put vineger
and oile thereto. Now the boy had never seen a sallet eaten in his Countrey; but he went, and looking about the cellar at last he espied a rusty
sallet of steel sticking on the wall, and said to him selfe, What will my
master doe with this in a platter? So downe he took it, and put it into
a platter and put oile and vineger unto it, and brought it to the table.
Why, thou knave (quoth his master) I bid thee bring the herbes which
we call a sallet. Now, by my sires sawle (said the boy) I did never see
such in my countrey. Whereat the guests laughed heartily."
This equivoque is more humorously and pointedly put in
" Thersites," in a dialogue between the hero and Mulciber, whom
Thersites employs to make him a new suit of armor.




aurl!  wengli8s  ~iterattur.?
Thersites. Nowe, I pray to Jupiter that thou dye a cuckolde:
I meane a sallet with which men doe fight.
Mulciber. It is a small tastinge of a mannes mighte
That he shoulde, for any matter,
Fyght with a few herbes in a platter:
No greate laude shoulde folowe that victorye.
Therlsites. Goddes passion, Mulciber, where is thy wit and memory?
I wold have a sallet made of stele.
llulciber. Whye, syr, in your stomacke longe you shall it fele,
For stele is harde to digest."
Thus we see how curiously, and appositely, one old book sometimes illustrates another. The whole number of jests in the
edition of 1640 is twenty-two, and they were not increased in
1673. Of the drama of " The Sack-full of News," which the
players at the Boar's Head in Aldgate were anxious to represent
in the reigni of Queen Mary, we can give no account, as it is not
now in existence: the copy used by the actors was seized by the
Lord Mayor of that day, and forwarded immediately to the Privy
Council. As there is nothing dramatic in the Jest-book, we may
presume that the similarity was only in the popular name.
SAKER, AUSTEN. - Narbonus. The Laberynth of Libertie. Very pleasant for young Gentlemen to peruse,
and passing profitable for them to prosecute. Wherein is contained the discommodities that insue by following the lust of a mans will in youth: and the goodnesse he after gayneth, being beaten with his owne
rod, and pricked with the peevishnesse of his owne
conscience in age.  Written by Austen Saker of New
Inne. - Imprinted at London by Richard Jhones, and
are to be solde at his shop overagainst S. Sepulchres
Church without Newgate. 1580. 4to. B. L. 135
leaves.
We never saw or heard of more than a single copy of this
unrecorded romance. It was entered at Stationers' Hall on the




8            J3libiogrjatpi ai  7lrcount of
8th March, 1579-80, in a peculiar manner, and the clerk obviously could not read or understand the hard word with which
the title commences. The form was this:"viij die Marcij.
"Richard Jones. Lycenced unto him a booke intituled the  -   of libertye, written by Augustine Saker, gent. upon the said Richard Jones
his promise to bringe the wholle impression thereof into the hall, in
case it be disliked when it is printed. By me Richarde Jones.
Xijd and a copy."
In the margin a note is added stating that " this book is intituled the Labirinth of Libertye," and hitherto all that has been
known of it was derived merely from the entry; (Herbert, Typ.
Ant. p. 1053.) It is in two parts, each, perhaps for the sake of
speed, by a different printer. We have given the general titlepage above, and the title-page of Part II. runs in these explanatory terms: "Narbonus.  The seconde parte of the Lust of
Libertie. Wherin is conteyned the hap of Narbonus, beeing a
Souldioure: his returne out of Spayne, and the successe of his
love betweene him and Fidelia. And lastly his life at the Emperoures Court, with other actions which happenned to his friend
Phemocles. By the same Authour. A. S. -Imprinted at London by Willyam How for Richard Johnes. 1580." The probability therefore is, that Jones, wishing to publish the work in a
hurry, would not wait until his own types were disengaged fiom
the first part, and employed How to print the second part for him.
In the dedication of four pages to Sir Thomas Parrat, Knight,
the author speaks of himself as a young man, or at all events as
a young author, but we know no more of him: -- "Expect not,
then, I beseech you, of this plant, but of two yeares grafting, so
much fruite as from the tree of twentie yeares growing; for the
apprentice must cast any bill before he keepe his maisters booke;
and the shoemaker must learne to fashion a latchet before he sowe
on a laste. So this simple author must lie in Diogenes tub before
his writing like his owne fantasye, and put on Socrates gowne
before his dooings please all favours." Afterwards he terms himself "a rusticall writer," perhaps living in the country, and is
not sparing of alliteration, which he clearly considered a valuable
ornament of style. " No marveile," he observes, " if amongst many




(EartV  Ongtisl)  Literatnre.               9
readers some prove riders; but let them laugh to see if I will
lowre."
In an address of two pages " to the gentlemen Readers," he
tells them that he had long paused to consider whether he should
give his " troublesome trashe" to a printer; but at last, he adds,
"I thought my booke might as well lie in a shop, as other ballads
which stand at sale," and he therefore handed over the MS. of
his first production to a stationer. In the commencement the
scene is laid int Vienna, but the author obviously means London,
and describes its manners; especially touching upon the public
theatres, which at that date (1580) had recently been constructed.  In one place he remarks, "the Theatres could not
stand except Narbonus were there, nor the plaies goe forwarde
unlesse he trimmed the stage:" this we take to be an early authority for the fact, that young gallants delighted to display themselves and their gay apparel by sitting on stools upon the stage.
Elsewhere Saker warns young people of all things to shun plays
and players. 1" Thou mayst for recreation use the Tennis Courtes,
and the dauncing schole to refresh thy weary spirits; but the
Theatres in any wise refraine, and all such mischevous motions."
This was just the period when the Curtain and the Theatre, as it
was called in Shoreditch, and the private playhouse in the Blackfriars, (built about 1576 or 1577,) to say nothing of the temporary
stages in inn-yai-ds, were absolutely proscribed by the Puritans.
Saker also cautions his readers against gaming and sharpers,
and gives an account of the various kinds of false dice then in
use, some of which were afterwards enumerated by more popular
writers. He says: "Here walked another mannerly mate with a
paire of blanckes, and a paire of flattes, a pair of langrets, and
a paire of stopt dice, a paire of barde quater treis, and other
dice of vauntage."
The first part of Narbonus concludes with a promise of the
second part, as if it had been originally intended to publish them
separately.
The story, from the beginning to the end, is excessively tedious,
ill conducted, and barren of incidents, while no interest is felt for
either hero or heroine. The events are supposed to take place
soon after the abdication of Charles V., for one of the persons in




10            t3ibtiograpqicTa1  Lc count of
the narrative remarks: "I commend our noble Emperour, Charles,
for his prowesse, but I blame his wisedome in this respect; in
youth so noble a servitour, and now to take in age the courtesie
of a cloyster." There is not a scrap of verse of any kind throughout the 269 pages to which the first and second parts extend: the
prose is stiff and stilted, and alliteration comes in, now and then,
as a sort of relief and lightening of the burden of the narrative.
At the end Saker seems to have felt that he must have wearied
his reader, and in " the Authors conclusion," which winds up the
work, he deprecates severity of criticism, and promises something
better if Narbonus be received with favor. He signs it " Finis.
A. S.," but we never hear of him afterwards: even his name does
not occur in our bibliography.
SALTER, THOMAS. -  A  Mirrhor mete for all Mothers,
Matrones and Maidens, intituled the Mirrhor of lIodestie, no lesse profitable and pleasant, then necessarie
to bee read and practised. A pretie and pithie Dialogue betweene Mercurie and Vertue. - Imprinted at
London for Edward White, at the little Northdore of
Paules at the Signe of the Gun. 8vo. B. L. 34
leaves.
We never inspected more than a solitary copy of this prose
puritanical production, but in the new edition of Lowndes (Bibl.
Mllan. p. 2180) we are informed, we think erroneously, that two
are in existence. It is on many accounts highly curious and
amusing, giving us much information regarding the education and
habits of young ladies at the date of its publication, probably
1579-80, when it was entered by White at Stationers' Hall. E.
W. (probably Edward White) dedicated it to Lady Anne Lodge,
the'wife of Sir Thomas, at one period Lord Mayor of London,
and whose son, Thomas Lodge, figures so conspicuously in our
second volume, as dramatist, novelist, and lyric poet. The name
of the author of the " Mirrhor of Modestie " does not appear until
near the conclusion, when it intervenes thus, -




%carlv  (Anglsol  fiterature.                11
"Finis qd Thomas Salter
Ne qa ne lae,"
between the principal subject and a short dialogue, of which we
shall say more presently, held by Mercury and Virtue: at the
close of that colloquy Salter only places his initials, T. S.  An
introductory "Epistle to all Mothers, Matrones, and Maidens of
England" is not subscribed, and the main purpose of it is to
impress upon them " the greate abuse that, by the default of good
bringing up, many of our Englishe Maidens doe daiely runne
into, to the great reproche of their Parentes, hartes grief of their
kinsfolke, infamie of their persones, and (whiche is moste to be
lamented) losse of their soules." This theme Salter follows up
with great zeal and edification in the body of his work, and ere
long we arrive at the following censure of the mode in which
"unwise fathers "educated their daughters.
"' Before I passe farther, I will staye to shew the use of many unwise
Fathers, who beyng more daintye and effeminate in following their pleasures, then wise and diligent in seeking the profite of their Daughters, doe
give them, so sone as they have any understandyng in reading or spellyng, to. cone, and learne by hart bookes, ballades, songes, sonettes and
ditties of daliance, excityng their memories thereby, beyng then moste
apt to retayne for ever that whiche is taught them, &c. therefore I would
wish our good Matrone to eschew such use as a pestilent infection."
He quotes, as might be expected, the examples of Claudia,
Portia, and Lucretia; and addressing himself especially to
mothers, he exhorts them  "to remove detestable dangers from
yong maidens," and on no account to "permit them  to have
acquaintaunce with kitchine servauntes, or such idle housewives
as commonly, and of custome, doe thrust them selves into the
familiarities of those of good callyng." He inveighs against such
parents even as allow their daughters to read " Prudentio, Prospero, Juvenco, Pawlino, and Nazianzeno," because in that case
they will be sure to deviate into " the lascivious bookes of Ovide,
Catullus, Propertius, Tibullus, and in Virgill of Eneas and Dido,
and amonge the Greeke poettes of the filthie love (if I maie
terme it love) of the Goddes themselves, and their wicked adulteries and abhominable fornications, as in Homer and suche like."
It is to be hoped that his own work would not fall in their way,
for if it did, it would at least show young ladies where impurities
were to be found.  He adds here:




12           W3ibtiograpbiTral   Ircount of
"For such as compare the small profit of learnyng with the greate hurt
and domag% that commeth to them by the same, shall sone perceive (although that they remaine obstinate therein) how far more convenient the
Distaffe and Spindle, Nedle and Thimble were for them, with good and
honest reputation, then the skill of well using a penne, or wrightyng a
loftie vearce with diffame and dishonour."
Elsewhere he shows that he has not much admiration for what
he, nevertheless, well calls "lofty verse" (and Milton, long after
him, "lofty rhyme "), but does not omit to inform us, in the following brief paragraph, the sort of reading to which he would
limit the fair sex. " And yet, notwithstandyng al this, I would
not have a maiden altogether forbidden or restrained from reading, for so muche as the same is not onely profitable to wise and
vertuous women, but also a riche and precious jewell; but I would
have her, if she reade, to reade no other bookes but suche as bee
written by godlie Fathers to our instruction and soules healthe,
and not suche lascivious Songes, filthie Ballades and undecent
bookes as be moste commonly, now a daies, sette to sale." He
does not exclude Plutarch, nor even " Boccas," from their studies;
but he, of course, means Boccaccio's De prceclaris Mulieribus,
not his variegated "Decameron."  He would especially have
girls taught household duties, to see that "the chambers are kept
cleanly," and even to note how the servants "laye leven" for
baking the bread of the family.
All this is enforced with considerable enlargement and reduplication, after which we arrive at "A  pretie pithie Dialogue
betwene Mercurie and Vertue," - made by T. S., which occupies
the last nine pages, and betrays considerable cleverness, both
satirical and ironical. He supposes Virtue " poorely apparrelled,"
anid " evill intreated both of Gods and men, and in this wise disdained and abandoned," to petition Jupiter for redress of grievances; and it seems odd that, even in an invention of the kind,
so severe a Puritan should allow himself to treat the heathen gods
and goddesses as really existing beings, and capable of influencing and regulating the affairs of mankind. Mercury is sent down
by Jupiter to hear the complaint of Virtue, who especially directs
her attack against Fortune, who, besides other offences, had
called Virtue "a presumptuous callot."  Mercury can give the
unfortunate lady no hope of better usage in the world, particu



Q(artl   (fnglitlj  iiterature.               13
larly since she was at enmity with Fortune; on which Virtue
remarks, -
" Vertue. Ah! then I see how it will ensue. I must nedes retourne
and hide my self for ever, as one disdained and rejected of all.
"Mercurie. Vertue, adiew."
And so the discussion closes.
A few years after the appearance of Salter's work, the famous
Robert Greene published, as one of his first experiments in
authorship, an octavo tract, of a very different character but
under the same name, " The Myrrour of Modestie."  It relates
solely to the story of Susanna and the Elders, and the whole titlepage is this: —
" The Myrrour of Modestie, wherein appeareth, as in a perfect Glasse,
howe the Lorde delivereth the innocent from all imminent perils, and
plagueth the bloud thirstie hypocrites with deserved punishments. Shewing that the graie heades of dooting adulterers shall not go with grace to
the grave, neither shall the righteous be forsaken in the daie of trouble.
By R. G. Maister of Artes. - Imprinted at London by Roger Warde, dwelling at the signe of the Talbot neere unto Holburne Conduit. 1584."
Greene only put his initials to his address to the Readers, but
signed his name at length to the dedication to " Ladie Margaret,
Countesse of Darbie"; and therein seems to refer to Salter's
" Mirror of Modestie," observing, "I excuse my selfe with the
answere that Varro made when he offred Ennius workes to the
Emperour: I give you, quoth he, another mans picture, but freshlie flourished with mine owne coulours." Here, too, he calls his
own production the " Mirrour of Chastitie," as if at that time he
meant to avoid the title Salter had previously chosen; and he
afterwards varies it again, calling his performance "A princeu;e
Mirrour of peerelesse Modestie."  We are not about here to
enter into a particular examination of Greene's little volume, but
as it was one of his earliest productions, we will quote a sentence
or two from it, in order to show that, even at that date, his style
was in a manner fixed, and such as he afterwards very much
adhered to.
"Nowe, Susanna seeking oftentimes to be solitarie, whither to muse
upon hir worldlie businesse, or to meditate upon some heavenlie motions,
I know not, but it was hir custome continuallie about noone to walke
into hir husbandes garden, which was heard adjoining to the house, and




14              Bibtiograplrl at 2ccount of
most pleasantlie scituate, seeming a second paradise, for the most frnitefull trees and flagrant flowers that there passing curiouslie were planted.
These two elders, seeing hir dailie to passe awaie the time with.walking
in that pleasant plot, noting the exquisite perfection of hir bodie, and how
she was adorned with most singular gifts of nature, began to fixe their
eies uppon the forme of hir feature, and to be snared within the fetters of
lust: lascivious concupiscence had alreadie charmed their thoughts, and
they were droonken sodenlie with the dregs of filthie desire: they were
scorched with the beames of hir beautie, and were inflamed towardes hir
with inordinate affection: fond fancie had alreadie given them the foyle,
and their aged haire yeelded unto vanitie, so that they tourned awaie their
minds from God, and durst not lift uppe their eies to heaven, least it
should be a witnesse of their wickednesse, or a corasive to their guiltie
conscience; for the remembraunce of God is a terrour to the unrighteous,
and the sight of his creatures a stinge to the minde of the reprobate."
In this strain he goes through the incidents of the story, never
pausing to check the luxuriance of his expressions, or the indelicacy of his descriptions, adapting his story to the approbation of
the more severe, and his style to the gratification of his younger
readers.
Mr. Dyce, in his account of Robert Greene prefixed to his
Works, p. xxxiv., tells us (as before noticed, Vol. II. p. 87,) that' the date of the earliest of his publications yet discovered is
1584." It is not easy to reconcile this statement with the date of
Greene's "Mamillia," which was printed in 1583, 4to. At that
time he called himself only' graduate in Cambridge," so that he
had not then become, as he did soon afterwards, also a graduate
of Oxford.  According to the excellent authority of Messrs.
Cooper (Ath. Cantabr. II. 127), Greene took his degree of M. A.
at Clare Hall in 1583, having been matriculated on 26th November, 1575, at St. John's. As early as 20th March, 1581, he had
written a ballad entitled, " Youth seeing all his ways so troublesome, abandoning virtue and leaning to vice, recalleth his former
follies with an inward repentance." In the entry of it at Stationers' "Iall his Christian name was not inserted, and "By Greene"
was interlined, as if the fact had been subsequently ascertained.
This information also will be new to Mr. Dyce, who, as he mentions Greene's "Mamillia," 1583, committed a mere oversight
when he asserted that the earliest of Greene's known publications
was in 1584.




fartn  (Englisl fiterature.                15
SAMPSON, THOMAS. -  Fortunes Fashion, Pourtrayed in
the troubles of the Ladie Elizabeth Gray, wife to Edward the fourth. Written by Tho. Sampson. - London, Printed for William Jones, and are to be sold
at his shop at Whitecrosse streete end by the Church.
1613. 4to. 24 leaves.
The worst thing about this poem is its title, for it is by no
means a contemptible piece of versification, in six-line stanzas.
More than three copies of it have not survived, and though the
facts are mainly derived from Stow and other chroniclers, they
are not unpoetically narrated, and it was expedient that some
facts should be historically stated.  That Sampson did not slavishly follow authorities is evident, when we find that he makes
the Queen entirely acquit her husband of infidelity as regards
Jane Shore and others. Of the author nothing is known, but he
dedicates his work to his "many waies indeered friend Mr.
Henry Pilkington of Gadsby in the county of Leicester, gentleman," and expresses his conviction that the name of that friend
will shield his work " against the many find-faults that this age is
pestered with." To this is added a historical " Argument," and
the poem opens with these stanzas:"Sometime I was, unhappie was the time
Wherein I livd, and never tasted joyes
That did not wither ere they were in prime;
Honors are such uncertaine fading toyes.
I was king Edwards wife, a wofull Queene,
As in this history may plaine be seene.
"0, had my love in my first choice remaind,
How happie had I bene, from griefe how free!
Of wofull haps I never had complaind,
But that must needs be that the fates decree.
The Cottage seated in the dale below
Stands safe, when highest towers do overthrow."
The Queen afterwards bitterly laments the loss of her first husband "slain on Henry's part," but observes that Cupid having
another dart for her, she became the wife of Edward IV.  Of
king-maker Warwick she says, that he was




16             Iibtliograpjicat 2Lcaount of
" A valiant Knight and fortunate in warre,
Ulysses-like for prudent policie;
Yet this did all his other vertues marre,
And was a blot to his posteritie,
That right or wrong, he car'd not how it was,
But as he would so things should come to passe."
To the birth of Edward V., under circumstances of much sorrow and deprivation, she thus adverts: —
" Where was my cloth of state, my canopie,
Ladies of honor to attend my will?
Where my rich hangings of rare tapestrie,
The stateliest banquets that device or skill
Could set before us? where the songs of mirth
To tell the world we joy'd a Princes birth? "
Although he touches upon many points that had found their
way to the stage in the most popular drama of the day, Sampson
never alludes to Shakspeare and to the applauses he was obtaining; in this respect pursuing a very contrary course to that which
Christopher Brooke had taken in his very able poem, " The Ghost
of Richard the Third," (see Vol. I. p. 114.) Thomas Heywood
also had produced an excellent play upon the same incidents
treated in Sampson's performance, but that also he passes over
without notice.  Of Richard the Third and his usurpation he
thus speaks: —
"When thus the Boare had seiz'd into his hand
Them whom he thought were objects in his way,
He did not long in doubtfull censure stand,
But fell to action without all delay;
Foreknowing well that he that acts an evill
Must neither thinke on God, nor feare the Devill. * *
"Then did usurping Richard claime the Crowne;
And by the help of Buckingham he gain'd
The regall Seate, not caring who went downe
So he might hit the marke whereat he aim'd.
The Crowne by bloud and tyrannie he won,
To friend or foe regardlesse what was done."
In spite of the marriage of her daughter with Richmond, after
the battle of Bosworth, the Queen complains that in the second
year of the reign of Henry VII. she was deprived of most of her




K~iatzll   fngtis    Kitfraturt.           17
lands and revenues, and was dismissed to end her days in the
Abbey of Bermondsey. It does not appear, until very near the
conclusion of' the poem, that Sampson was prompted in its contents by a vision with which he was favored by the dead Queen;
and then we learn, on her own authority, that she had reserved
wealth sufficient for the foundation of Queen's College, Cambridge.
Just before the close the writer introduces some well-worded, but
not very novel, reflections upon the decline of greatness, among
which is the following, referring to a remarkable saying by the
predecessor of James I.:" If such the world in former times hath beene,
That highest states most subject were to fall,
How true said she that late was Englands Queene,
When she her selfe at that time was in thrall,
Loe! yonder milk-maid lives more merrily
Then I that am of noble progenie."
Opposite the above Sampson put the subsequent note in his
margin: "It was the saying of Queene Elizabeth, when she was
prisoner in the time of Queen Mary." 1 The chief fault of his
production is, that it is too prosaic; but our notion is, that the
author was an old man at the time he wrote, and that he bore too
much in mind similar heavy narrations in " The Mirror for Magistrates," which had been reprinted, with important additions by
Richard Niccols, (see Vol. III. p. 45, &c.,) only three years before.
SAVILE, HENRY. —A  Libell of Spanish Lies: Found at
the Sacke of Cales, discoursing the fight in the West
Indies twixt the English Navie, being fourteene Ships
and Pinasses, and the fleete of twentie saile of the
king of Spaines, and of the death of Sir Francis Drake.
With an answere  briefely confuting the Spanish lies,
1 She seems to have been fond of the allusion to milkmaids, for, after
the trial of Mary Queen of Scots, she wrote to her victim, that, " if they
had been two milkmaids with pails upon their arms," she would never
have thought of depriving her of life. See Nicolas's "Life of Davison,"
p. 52.
VOL. IV.              2




s18          tBibliobgraprirat 2trfount of
and a short relation of the fight according to truth,
written by Henry Savile Esquire, employed Captaine in
one of her Majesties Shippes, in  the same service
against the Spaniard. And also an Approbation of this
discourse by Sir Thomas Baskervile, then Generall of
the English fleete in that service: Avowing the maintenance thereof, personally in Armes against Don Bernaldino, if hee shall take exceptions to that which is
heere set downe, touching the fight twixt both Navies,
or justifie that which he hath most falsely reported in
his vaine printed letter.  proverb. 19. ver. 9.  A false
witnes shall not bee unpunished, and he that speaketh
lies shall perish. - London Printed by John Windet,
dwelling by Pauls Wharfe at the signe of the Crosse
Keyes, and are there to be'solde.  1596.  4to.  26
leaves.
There are two copies of this very rare historical tract in the
British Museum, both imperfect, one of them wanting the four last
pages, the other having lost half a leaf, while the marginal notes
are cut into. There is also a copy in the Bodleian Library: that
from which the above title is transcribed is therefore the fourth.
It has a woodcut of a sphere at the back of the title-page, and of a
ship in full sail on the last leaf.
The most interesting portion of it relates to the acts and ends
of those two great naval heroes, Sir Francis Drake and Sir John
Hawkins, both of whom died in the course of the voyage to which
the tract applies. The origin of the publication appears to have
been this:- At the siege and sack of Cadiz, under the Earl of
Essex and others, a Spanish printed letter, from Don Bernaldino
Delgadillo de Avellanado to Dr. Peter Flores, "President of the
Contraction House for the Indies," fell into the hands of the English; and it was found to give a most false account of an engagement, or engagements, with the English fleet in the West Indies
commanded by Drake and Hawkins. Capt. Savile undertook to
answer it, denying or refuting the "lies" seriatim, and stating
what he asserted and knew to be the truth. These " Spanish lies"




(farl     (ffngli~  ittratur.            19
appear to have been six in number, all separately stated and exposed in the tract, followed by an account of " the meeting of our
English Navie and the Spanish fleete, and the order of our encounter"; and this again by "Thomas Baskervile, Knight, his
approbation to this Booke," - where he maintains the truth of all
that Savile had written, and challenges the Spaniard to single
combat, if he persevered in his falsehood.
The Spaniard in his printed letter had stated, among other
things, that Sir Francis Drake had died "for grief that he had
lost so many barks and men." Savile denies that he had lost
more than one small pinnace, and thus proceeds: " This, I thinks
in wise men's judgements, will seeme a seely cause to moove a
man [to] sorrowe to death. For true it is, Sir Fraunces Drake
dyed of the Flixe, which hee had growne uppon him eight daies
before his death, and yeelded up his spirite, like a Christian, to
his creatour quietly in his Cabbin. And when the Generall shall
survey his losses, he shall finde it more then the losse of the English, and the most of his destroyed by the bullet: But the death
of' Sir Fraunces Drake was of so great comfort unto the Spaniard,
that it was thought to be a sufficient amendes, although their whole
fleete had been utterly lost."
As to the place where Drake expired, Savile says, just before
the above, in answering the first lie: " For it had been sufficient
to have said that Fraunces Drake was certainly dead, without
publishing the lye in print by naming Nombre de Dios: for it is
most certaine Sir Fraunces Drake dyed twixt the Island of Scouda and Porte-bella. But the Generall being ravished with the
suddaine joy of this report, as a man that had escaped a great
daunger of the enemie, doeth breake out into an insolent kind of
bragging of his valour at Sea, and heaping one lye upon another,
doth not cease untill he hath drawne them into sequences, and so
doth commende them unto Peter, the Doctor, as censour of his
learned worke."
The pamphlet does not seem a very successful answer; and Savile commits the error of magnifying the Spanish misstatements
into needless importance. The letter of Don Bernaldino, which
is given in Spanish and English, seems, in our day, hardly worth
the notice that is taken of it; but at that date the death of Drake,




20          tUibtiograpl)idal   2count of
and the real cause of it, were attracting unusual interest and attention. Sir John Hawkins had been treasurer of the Navy, and
several of his official letters are extant; one of them, dated 1583,
is before us.
SAVIOLO, VINCENTIO. - Vincentio Saviolo his Practise.
In two Bookes. The first intreating the use of the
Rapier and Dagger. The second, of Honor and honorable Quarrels. Both interlaced with sundrie pleasant Discourses, not unfit for all Gentlemen and Captaines that professe Armes. At London, Printed for
William  Mattes, &c.  1595.  4to.  152 leaves.
This is the work to which Touchstone, in "As you like it," Act
V. sc. 4, makes such obvious allusion, his reference being to that
division which is headed, " Of the manner and diversitie of Lies."
These are, " Lies certaine," " conditional lies,"' lies in general,"
" lies in particular," and "foolish lies."
It appears that Saviolo was an Italian fencing-master, born at
Padua, patronized and employed by Lord Essex. In the address
"t to the Reader," which succeeds the dedication, he speaks of his
foreign birth and travels. " The first book," which is conducted
in dialogue, is furnished with a number of woodcuts, perhaps from
Italian designs, to illustrate the employment of the rapier and
dagger.
The whole is dedicated to the Earl of Essex, the author professing to have been "bound by the bounty" of "the English
Achilles."  He laments that he had not "copie [i. e. plenty] of
English to have expressed his meaning as he would."
"The second book " has a separate preface, in which the author
apologizes for his insufficiency, and it bears the date of 1594, the
year, perhaps, in which it was originally intended to bring out the
whole work. The last chapter relates to "the nobility of Women,"
which no doubt was introduced for the sake of the panegyric upon
Queen Elizabeth, with which it enabled Saviolo to conclude.




arlt  1fnglti1 fittcratur,.              21
SAXONY, THE DUIIE OF.-  A Defiance to Fortune.  Proclaimed by Andrugio, noble Duke of Saxony, declaring his miseries, and continually crossed with unconstant
Fortune, the banishment of himselfe, his wife and children.  Whereunto is adjoyned the honorable Warres
of Galastino, Duke of MJillaine, in revenge of his wrongs,
upon the trayterous Saxons. Wherin is noted a myrrour of noble patience &c.  Written by H. R. - Printed
at London for John Proctor, and are to be sold at his
shop upon Holborne bridge. 1590. 4to. B. L. 16
leaves.
What is most remarkable about this romance, is, that the narrative is very continuous, regular, and not uninteresting. The
adventures of the hero are not extravagant, nor improbable, and
the story has no connection with celestial or diabolical agency.
In fact, it is a mere prose novel, not ill calculated to give entertainment to the readers of such incidents. At the same time the
style offers nothing noticeable, and we have no suggestion to
make as to the ownership of the initials H. R. upon the titlepage, and at the end of the dedication "to the worshipful William
Borough, Esquire, comptroller of her Majesties Navy." He had
been an officer of distinction in the Queen's Fleet, and in 1583
had been very successful against the pirates who at that date infested the English seas. Stow's Ann., edit. 1605, p. 1175.
H. R. tells the " courteous Reader" that he had published his
work, most unwillingly, at the instance of friends, who made him
seem as bold as the craven, in one of the battles of Edward III.,
whose courageous horse, against the will of the rider, carried him
into the thickest of the encounter.  Here H. R., nevertheless,
promises to finish the subject he had thus commenced; but we
never hear more of Andrugio, Duke of Saxony, the hero, or of
his wife gusania, the daughter of a miller, who had tended him
when wounded and left for dead by banditti. The writer is
an imitator of Greene, especially in the extemporal invention of
stones, birds, fishes, &c., that would answer his purpose in a simile.
Thus we have "the stone quacious that freeseth within when it
fryeth without," and "' the hawke that will never be called to that




22            JibiOgriinapl) Zat   ltctount of
lure, wherein the pennes of a Camelion are pricked." It is the
first and only time we hear that a chameleon was then clothed
with feathers.
It is useless to pursue in any detail the progress of the story;
but after Andrugio has fallen in love with Susania, he is sent by
his father to the University of Sienna, where he forms a fiiendship with the heir to the Duke of Milan. And here we may remark upon the utter disregard of geographical correctness, for
Saxony, to the Dukedom of which Andrugio soon succeeds, is represented as contiguous to the Dukedom of Milan; and when the
hero is expelled from his territory by two usurpers, those usurpers
are overthrown and suppressed by Galastino of Milan, Andrugio's faithful friend. Galastino also preserves the lives of Andrugio's wife and children, and after various adventures conquers
the Dukedom of Saxony for Alphonsus, the son of Andrugio and
Susania.  The author hardly supports the dignity of his hero, for
he makes him fly from his enemies, and hide from them in a wood
for the space of thirteen years, while his wife is lamenting his loss,
and while his son Alphonsus is making rapid progress to manhood.
This part of the narrative ends with the restoration of Susania
and Alphonsus, before anything has been heard of the retreat of
Andrugio, who has taken upon himself the life, if not the habit, of
a hermit. The following passage, where the Duchess Susania is
watching and waiting for the preparations of Galastino for the recovery of Saxony, may be taken as a fair specimen of the writer's
style as a novelist:" The Duchesse, for whose sake those preparations were made, conceived such joy at the same, that she thought every moneth a yeare and
every day a moneth, until she saw to what happy end the Dukes pretended jorney would happen unto, often commending in her heart the
faithfulnesse of the Duke of Millaine to his friend. In recounting whereof
she shed mony bitter teares for Andrugio, her beloved lord and husband,
sometime exclaiming against the Gods and men for his losse who so dearely
she loved. The remembrance of whom was likely divers times to bereave
her of life; yet in the midst of her sorrowes, when she beheld the yoong
Prince, a lively picture of the exiled Duke, how often with sweet irnbracings woulde she kisse the tender youth, bathing his tender cheeks with
teares, distilling in aboundance thorow extreame griefe of heart from her
eies, hoping yet, before death should shut those eyes of hers, to see him
and once again to injoy his companie."




tfartn  fngtisb  ittrature.               23
The story, as far as it goes, may be said to be divided into two
portions: 1. that part of it which relates to the early life of
Andrugio and the usurpation of his dukedom; 2. that which
belongs to the wars of Galastino, entirely undertaken to revenge
his friend upon his triumphant enemies. In the latter the hero
has nothing to do; but we may more than guess that in the
sequel of the narrative (which has not reached us, if it were ever
printed) Andrugio came forth from his solitude, and, while disguised and unknown, importantly contributed to the victory which
restored him, in the end, to his dukedom. The great fault of the
piece is the tedious length of some of the speeches, but this was
a defect belonging to all romance-writers of the period. They
caught it chiefly from the old "' Amadis de Gaule"; but it is nowhere more apparent than in some of Robert Greene's pieces,
where the characters patiently argue every question, pro and con,
and, even then, sometimes arrive at no conclusion.
SCHOOL OF SLOVENRY. - The Schoole of Slovenrie: or
Cato  turnd  wrong side outward.  Translated out of
Latine into English verse, to the use of all English
Christendomne, except Court and Cittie. By R. F. Gent.
- London Printed by Valentine Simmes &c. 1605.
4to. 79 leaves.
Very few copies of this translation exist; but one, we are informed, bears the date of 1604. Of the translator nothing is
known but what he himself tells us in his Epistle " To all that can
write and reade and cast accompt," which follows the title-page.
" In the minority of my grammar-schollership," he states, " I was
induced by those, whom dutie might not withstand, to unmaske
these Roman manners, and put them on an English face.
The truth is, this translation was halfe printed ere I knew who
had it:'so that, quo fata trahunt, without prevention or correction, the fooles bolt must needes be shot." Afterwards he excuses
himself further by stating, that " it is a punies translation only ";
and soliciting indulgence for the species of verse he chose,
namely, lines of fourteen syllables each, and supporting himself by




24            tibltigraphiral taccount of
the authority of Golding, and Phaer, and Twyne, who had rendered Ovid and Virgil "into as indigest and breathlesse a kind
of verse." This epistle is subscribed " R. F. Gent. and no more,"
as if the author might have been more had he wished it. The
initials are not those of any known author of the period, excepting
Francis Rous, provost of Eton, who published " Thule, or Vertues
Historie," in 1598, and is not very likely to have had anything to
do with this translation.l
All the rest of the production is translation, and in verse, commencing with "the Preface of Frederike Dedekind, to maister
Simon Bing, Secretarie of Hassia," which fills thirteen widely
printed pages. When Swift wrote his 1" Directions to Servants,"
as well as his " Polite Conversation," he evidently had the original
of this book in his mind. It was printed in London, 12mlo, 1661,
under the title of " Grobianus et Grobiana, de Morum  Simnplicitate Libri tres."  It is not at all likely that R. F.'s translation had
ever been met with by Swift, but another, printed at London in
1739, was expressly dedicated to him. The original was published
in a complete shape at Frankfort in 1584, but parts of it had
previously appeared in 1549, 1552, and 1558.
Dr. Nott does not seem to have been aware, when he wrote the
note on a passage in his reprint of Dekker's " Gull's Hornbook,"
1609, p. 4, that an English version of " Grobianus et Grobiana"
had appeared in print only fobur years earlier. Dekker's obligation to it is pointed out in Vol. I. p. 253. The work before us
consists of three books, divided into thirty chapters.
What follows will show the general style in which R. F. executed his task, although a good deal of grossness is here and
there to be complained of, fully warranted, however, by his
original. It is from Book II. Chapter 2, entitled, "' What manners
and gestures the guest ought to observe in eating: ""'As soone as ere thou spi'st some dishes on the table stand,
Be sure that thou, before the rest, thrust in thy greedie hand.
Snatch that you like; I told you so before -you know it well:
1 We have accidentally omitted to observe, what will naturally occur
to everybody, that R. F. cannot be taken as the initials of Francis Rous,
unless, as was not very unusual at that date, he reversed them on the
title-page for the sake of better concealment.




49arlQ  (~1181t0) gitet~Xirtll.             25
It is but labour lost that I againe the same should tell.
That which I once have told to you you never should refuse,
But in each place and companie you boldly must it use.
"And whatsoever meate your hoste unto the boorde doth send,
Although you cannot choose but very much the taste commend,
Yet finde therein something or other that mislikes your minde,
And, though it can deserve no blame, be sure some fault to finde.' This is too salt, and this too fresh, and this is too much rost;
This is too sowre, and this too sweete: your cooke's to blame, mine
host.'
And speake so lowde that all may heare thee which are then in place,
For by this meanes thou maist in jeast the carefull cooke disgrace.
And by this tricke thou wilt deserve a civill yonker's name,
And happy is he nowadayes which can attaine such fame. * * *
"When thou art set, devoure as much as thou with health canst eate;
Thou therefore wert to dinner bid, to helpe away his meate.
Thrust in as much into thy throate as thou canst snatch or catch,
And with the gobbets which thou eatst thy jaws and belly stretch.
If with thy meate thou burne thy mouth, then cloake it craftely,
That others may, as well as thou, partake that miserie.
"To throw thy meate from out thy mouth into the dish againe
I dare not bid thee, for it is too clownish and too plaine."
Such, however, was not Dr. Johnson's advice, nor his practice.
Dedekind's hero came within the Doctor's class of "fools who
would have swallowed it."
We make another extract from Chapter 7 of' the same Book,
where the author describes what ought to be the conduct of a
man of spirit and promise, who, with his companions, has freely
partaken of any intoxicating beverage: -
" And if you heare that any man is gone unto his bed,
Because the wine had long before (poore man!) possest his head,
Then have a care that from his bed you straitway call him backe,
And make him come perforce, although his garments he do lacke:
And then beginne afreshe great store of strongest wine to take,
And diinke it off, therewith thy selfe more pleasant for to make.
Then break the pots and windows all: this cannot much offend,
For this next day the glazier shall have something for to mend. * * *
Upon the benches and the tables boldly thou maiest go;
Nay, which is more, I give thee leave all these to overthrow:
In briefe with formes throwne up and downe thou oughtst the harth to
breake,
Before one word of thy departure thou beginst to speake."




26           JBibtiograpl)tal   ttIcont of
The work ends on sign. S 4 b, with " the Author's Conclusion
to Master Simon Bing, wheirein he showeth all the intent and
practise of this present worke."
SCOTT, THOMAS. - Philomythie or Philomythologie, wherin outlandish Birds, Beasts and Fishes are taught to
speake true English plainely. By Tho. Scott, Gent.
&c.  London for Francis Constable &c.  1616. 8vo.
89 leaves.
This is the first edition of a curious, but not very intelligible
book. The author seems to have been so fearful lest his satire
should be considered personal and individual, that ambiguity
often renders him incomprehensible. The present copy differs
from some others in the circumstance that the second title-page,
on sign. F 2, " Certaine Pieces of this Age paraboliz'd," is dated
1615, and not 1616. The first title-page is engraved by R.
Elstracke; and in an address "to the Reader" (which follows
" Sarcasmos Mundo " and other preliminary poems) we meet with
the following mention of Spenser:"If Spencer were now living to report
His Mother Hubberts tale, there would be sport
To see him in a blanket tost, and mounted
Up to the starrs, and yet no starre accounted."
This shows clearly that Spenser by his " Mother Hubberd's
Tale " had given such offence, that, had he been living in 1616,
he would have run the risk of being " tossed in a blanket."  It
seems probable that it was " called in" on account of the severity
of its satire and personal allusions; but a question has arisen
whether a notice of the " Tale of Mother Hubburd " in " The
Ant and the Nightingale," 1604, which unquestionably was highly
disapproved, applies to Spenser's satirical apologue, or to some
tract published under nearly the same title. The reason for the
latter opinion is, that, as "Mother Hubberd's Tale " has come
down to us, it contains nothing about " rugged bears," or " the
lamentable downfall of the old wife's platters." This is true;




farls   fngli64  Citerature.                  27
but that may have been the very part of the poem which most offended, and was therefore afterwards erased by Spenser. Still, we
are of opinion that the writer of " The Ant and the Nightingale"
did not refer to Spenser, but to some imitator; and we are confirmed in this belief by a second allusion to " Mother Hubburd"
in another tract which the same author, T. M., also printed in
1604, called " The Black Book," which contains the following
words: "And to confirm this resolution the more, each slipped
downe his stocking, baring his right knee, and so began to drinke
a health halfe as deepe as Mother Hubburds cellar, that she
was called in for selling her working bottle-ale to bookbinders, and
spurting the froth upon Courtier's noses."  Here again there is
nothing of' the kind in Spenser's "Mother Hubberd's Tale";
and we may conclude, with tolerable certainty, that some lost
publication, with a title similar to that of Spenser, and purposely
adopted for the sake of his popularity, was intended by T. M.
Scott professes himself afraid to follow the example of Spenser.
The second portion of his work contains four emblematical engravings, which may also doubtless be assigned to Elstracke.
The most remarkable poem is entitled " Regalis Justitia Jacobi,"
in which Scott celebrates the impartial justice of King James, in
refusing to pardon Lord Sanquhar, or Sanquier, for the deliberate
murder of Turner, the celebrated fencer, in 1612, as may be
seen in Wilson's History of that reign. Turner had himself
killed an adversary named Dunn in 1602, by piercing him to the
brain through the eye, (see Hist. Engl. Dram. Poetry, I. 326,)
and the animosity of Lord Sanquhar was occasioned by the loss
of an eye while fencing with Turner.  Scott alludes as follows to
these incidents: -
"This silly Fencer, in his ignorance bold,
Thinks his submissive sorrow will suffice
For that unhappy thrust at Sanquier's eyes;
And, begging pardon, seemes to have it then.
What foole dares trust the unseal'd words of men?
Yet Turner will: a reconciled foe
Seemes a true friend to him would have him so.
He thinks (now Dunne is dead) to die in peace,
But blood cries out for blood," &c.
On p. 126 is a blank for some part of the copy which the




28             JBibtiogrpplirtal t   count of
printer had lost, "the Author being far from London," but it is
promised that the defect shall be supplied in the next impression.
The second edition did not make its appearance until 1622, and
there was a third in 1640. The author's style is diffuse and
wordy, and his satire, where it is intelligible, far from pungent.
SENECA, L. A. - L. A. Seneca the Philosopher, his Booke
of Consolation to Marcia.  Translated into an English
Poem. - London. Printed by E. P. for Henry Seile
&c.  163a.  4to.  24 leaves.
This production has been attributed to Sir R. Freeman, but
erroneously, for an existing copy has a special dedication to the
Earl of Bridgewater, subscribed "Most devoted to your Vertues,
1R. C.," the letters R. C. being MS., and the whole leaf containing
the dedication being specially prefixed to the book, and of a larger
size. The initials are added in MS., probably because the writer
originally meant his work to be entirely anonymous, and not even
thus far to subscribe the dedication. The following is a part of
this unpublished address:"How well your life doth hit the triple white,
Whose goodnesse, gravenesse, greatnesse all delight.
May that bright name shine uneclipsed here,
Whom all his Country justly holds most deere! "
At the back of the title-page the translator requests the reader
not to mar his verses in the reading; and whoever R. C. might be,
he writes with considerable facility. He thus commences his tenth
chapter: -' These goods of fortune that about us shine,
As children, honours, riches and a fine
And noble wife, fair palaces, and store
Of suitors, that attend us at our doore,
With all things else that are frout fortune sent,
Are ornaments, not given us but lent.
Our scene therewith is for the time adorn'd,
Then to the owners backe they are return'd:
Some stay a day, some more, few to the end.
We cannot boast them ours what others lend.
The use is ours during the owners will:




T~aco1~2  QE(fngt~tl    Ktteratur,.         29
What's borrow'd for uncertaine time must still
Be ready without strife to be repay'd:
No debtor should his creditor upbray'd."
Thomas Lodge translated the whole of Seneca, 1614, folio, and
the copy he presented to his friend Dekker is now before us.
SERVINGMEN. -  A  Health to the Gentlemanly profession
of Servingmen: or the Servingmans Comfort: with
other thinges not impertinent to the Premisses, as well
pleasant as profitable to the courteous Reader.
Felix qui socii navim periisse procellis
Cum vidit in tutumflectit sua carbasa portum.
- Imprinted at London by W. W. 1598. 4to. B. L.
37 leaves.
This is an important Shakspearean tract, of which we only know
of one or two copies. Its connection with our great dramatist's
works was pointed out by Dr. Farmer many years ago, and there
can be no doubt that the same joke, and in nearly the same terms,
is found both in the tract under consideration, and in " Love's Labours Lost," Act III. sc. 1. The coincidence has been mentioned
in every annotated edition of the comedy.
The initials at the end of " The Epistle to the gentle Reader,
of what estate or calling soever," would point to either Jervis
Markham or John Marston; but to the first they cannot belong,
because he had commenced author in 1595, and J. M. tells us that
this " Health to the gentlemanly profession of Servingmen," 1598,
was his earliest production, " being primogeniti -- the first batch
of my baking."  Marston may indeed have been the writer of it,
but it is very unlikely, even supposing the character of a Servingman, in which it is written, to have been merely assumed: his
"Pygmalion's Image and Certain Satires," however, came out with
the same date of 1598.1 We do not believe that it was by either
1 The late Mr. Miller informed us that he had in his possession two distinct editions of Marston's Satires in 1599, a fact which shows their popularity. We never saw more than one impression of 1599, but Mr. Miller
was too accurate to be mistaken. The Satires certainly created a sensation when first published.




30             tibtiograpliral  ZtIcolnt of
Markham or Marston, but by some clever author with the same
initials, who was not what he pretends to be, when he assures us
that he received " five marks and a livery" annually, as the ordinary wages of a man-servant.
His style is a little rambling and diffuse, but lively and unpretending; and in the outset he undertakes a threefold task: first,
"to what end it [i. e. servingmanship] was ordained; " secondly,
" how flourishing was the prime of this profession;" and thirdly,
"the ruin and decay of this ancient building." He does not do
much towards the performance of the second part of his title-page,
"the Servingmans Comfort," because throughout, and especially
at the close, he shows his unhappy state of dependence, and his
final neglect and misery. He mentions the gentlemanlike qualifications for a worthy attendant upon a man of wealth and rank,
and insists that " the Clowne, the Sloven, and Tom Althummes
are as farre unfit for this profession, as Tarletons Toys for Paules
Pulpit." In one place J. M. thus describes the duties of a servingman:" The gentleman receaved even a gentleman into his service, and therefore did limit him to no other labour then belonged to him selfe, as to
helpe him readie in the morning, to brush his aparrel, Cloake, Hatte,
Girdle on other garment, trusse his poyntes, fetch him water to wash and
other such like necessaries. - His Maister thus made ready, yf it pleased
him to walke abrode, then to take his liverie and weapon to attende him,
being himselfe ready, handsome and well appoynted: at his returne, yf it
pleased him to eate, then with all diligence decently and comely to bring
his meate to the table, and thereon in seemely sort being placed, with a
reverend regarde to attende him, placing and displacing dysshes at the
first or seconde course according as occasion shall serve, tyll time commaunde to take away: which done, grace sayd, and the table taken up,
the plate presently conveyed into the pantrie, the Haul summons this
consort of companions (upon payne to dine with Duke Humfrie, or kisse
the Hares foote) to appeare at the first call, where a song is to be sung,
the undersong or holding whereof is, It is merrie in Haul wthen Beardes
wagge all."
One point he presses strongly is the ruin of the servingman's
profession in consequence of the death of Liberality, whom he
personifies; 1 and he introduces a clever poem upon the subject,
1 This poem on the death of Liberality cannot fail to remind us of
Richard Barnfield's more serious and lengthened effusion on the same
subject - " The Complaint of Poetrie for the death of Liberalitie,"




from which some stanzas might perhaps be advantageously omitted, but which we prefer to give entire, as we are not aware that
it has ever been extracted, or even mentioned: --
"Cease, Sunne, to lende thy glorious shine,
Moone, darkned be as cloudy night;
Starres, stay your streaming lights divine,
That wonted were to shine so bright:
Weepe, woofull wightes, and wayle with me
For dead is Liberalitie!
" You, Fire, Water, Earth and Ayre,
And what remaynes at your commaunde
Foules, Fysh or els be fyld with care,
And marke the summe of my demaund:
Weepe, weepe, I say, and wayle with me
For dead is Liberalitie.
"You silver streames that wont to flow
Upon the bankes of Helicon;
You sacred Nimphes, whose stately show
which came out in the same year; (see Vol. 1. p. 59.) We make a brief
quotation from it in proof of the general similarity: —
" But Liberalitie is dead and gone,
And Avarice usurps true Bounties seat.
For her it is I make this endlesse mone,
Whose praises worth no pen can well repeat.
Sweet Liberalitie, adiew for ever,
For Poetrie againe shall see thee never!
" Never againe shall I thy presence see,
Never againe shall I thy bountie tast;
Never againe shall I accepted bee,
Never againe shal I be so embract:
Never againe shall I the bad recall;
Never againe shall I be lov'd of all.
" Thou wast the Nurse whose bountie gave me sucke;
Thou wast the Sunne whose beames did lend me light;
Thou wast the Tree whose fruit I still did plucke 
Thou wast the Patron to maintaine my right.
Through thee I liv'd, on thee I did relie;
In thee I joy'd, and now for thee I die! "
We are to bear in mind that the whole of this, and much more, is put
into the mouth of Poetry. In point of mere sprightly cleverness it seems
to us that J. M. has the advantage.  His effusion is much shorter and
lighter, and it wants Barnfield's serious variety.




32             Jiibliograpt)rtal at    trount of
Bedinid the bright of Phaeton;
Weepe, weepe, I say, and wayle with me
For dead is Liberalitie.
"If Due-desert to Court resort,
Expecting largely for his payne,
The Prince he findes then alamort,
No love, his labour is spent in vayne:
May he not then come wayle with me?
Yes; dead is Liberalitie.
"The paringes from the Princes fruite,
That silie groomes were wont to feede,
Now Potentates for them make suite,
True Gascoine sayth, the Lord hath neede.
Weepe, therefore, weepe, and wayle with me,
For dead is Liberalitie.
"The Courtly crew of noble mindes
Would give rewarde for every legge:
To crouch and kneele now duetie bindes,
Though Suitor nought but right doth begge:
Weepe, therefore, weepe, and wayle with me,
For dead is Liberalitie.
"When Countreys causes did require
Each Nobleman to keepe his house,
Then Blewcoates had what they desyre,
Good cheare and many a full carouse:
But now, not as it wont to be,
For dead is Liberalitie.
"The Haul boordes-ende is taken up,
No dogges do differ for the bones;
Blacke Jacke is left, now glasse or cup:
It makes me sigh with many grones,
To thinke what was now thus to be
By death of Liberalitie.
"Where are the Farmes that wont to flve
Rent-free by service well deserved?
Where is that kinde. Annuitie,
That men in age from want preserved'?
What, do you looke for wont to be?
No, dead is Liberalitie.
"What Squire now but rackes his rentes,
And what he hath who will give more?




Qald   ~Entlisl)  Viterature.                  33
The giffe gaffe promise he repentes:
The Lord hath neede, surceasse therefore.
Weepe, weepe, for now you well may see
That dead is Liberalitie.
"The golden worlde is past and gone,
The Iron age hath runne his race:
The lumpe of Lead is left alone
To presse the poore in every place:
Nought els is left but miserie,
Since death of Liberalitie.
"Weepe, weepe, for so the case requires;
The worlde hath lost her second Sunne:
This is the summe of my desires,
To ende where earst I have begunne.
Even still I say, Come wayle with me
The death of Liberalitie.
J. M. gives us another and much shorter song on a favorite subject, the decay of hospitality, from which we extract only the concluding stanza: -
" And where the Porters lodge did yeelde beefe bread and beere,
The Kitchen, Haul and Parlor to[o] now wantes it twice a yeere:
Now Servingmen may sing, adue you golden dayes!
Meere miserie hath taken place where plentie purchast prayse."
He then subjoins the anecdote about "guerdon" and "remuneration," which we need not repeat, seeing that it has been so
often printed; and towards the conclusion he despondingly asks
what a Servingman is to do in his extremity'
"What shall he then do? Shall he make his appearance at Gaddes
Hill, Shooters Hill, Salisbury playne or Newmarket heath, to sit in commission and examine passengers? Not so, for then yf he mistake but a
worde, "Stande" for " Goodmorow," he shall straight, whereas he did
attende, be attended with more men then his Maister kept, and preferred to
a better house then ever his father buylded for him, though not so holsome."
FinallyS he prints as prose the old saying which in fact is
verse: -
"A Bakers wyfe may byte of a bunne,
A Brewers wyfe may drinke of a tunne,
And a Fishmongers wyfe may feede of a Cunger,
But a Servingmans wyfe may starve for hunger."
VOL. IV.            3




34             ibliorappt)ical  2tccount of
In close connection with this subject we may here refer to a very
scarce poem by a person who subscribes himself William Bas, and
who was perhaps the father of the William Basse whose " Great
Brittaine's Sunnes-set," 1613, we have reviewed in our first volume, p. 70. The two were clearly not the same person, nor is the
style of the one at all like that of the other. William Bas, as he
spells his name, published in 1602, 4to, " Sword and Buckler or
the Serving-mans Defence," in six-line stanzas, easily as well as
pointedly written, and with much the same purpose as the prose
tract of J. M. which preceded the poem by four years. Bas, too,
like J. M., professes to be in service; and to show the similarity of
some of the ideas in the one and in the other, we will quote only
a couple of stanzas. William Bas says:"But in these times (alas, poore serving-men)
How cheape a credit are we growne into!
With what enforcing taxes, now and then,
This envious world doth our estates pursue!
How poore, alas! are we ordained to be,
How ill regarded in our povertie!
"What duty, what obedience daily now
Our hard commanders looke for at our hands!
And yet how deadly cold their bounties grow,
And how unconstant all their favour stands!
How much we hazard for how little gaine,
How fraile our state, how meane our entertaine!"
There are seventy-five such stanzas in the whole, and they are
not dedicated to any great man of the day, but "to the honest
and faithful Brotherhood of True-hearts, all the old and young
Serving-men of England." This address is in five stanzas, signed
William Bas, and there are two others " to the Reader."
SHAKESPEARE, WILLIAM.-Lucrece.-At London, Printed
by N. 0. for John Harison. 1607. 8vo. 32 leaves.
This is the fourth known edition of Shakspeare's " Tarquin and
Lucrece"; the first appeared in 1594, the second in 1598, the




rut4l    Enstglis)  iterature.            35
third in 1600.1 Malone mentions that he had also "heard of editions in 1596 and 1602," but their existence is more than doubtful,
for no copies with such dates have ever been brought to light.
He tells us that all the copies, after that of 1594, were in sextodecimo, (Ritson, Bibl. Poet. 329, asserts that the edition of 1598
is in 4to,) but in fact the size is 8vo. Mistakes of the kind have
been made, with respect to other productions, by not attending to
the circumstance that the old folio, quarto, and octavo were of the
size of foolscap, or, as Thomas Nash calls it in his " Have with
you to Saffron-Walden," of "pot-paper," folded more or less frequently.  The signatures of the edition in our hands show the
error.
It is also stated by Malone (Shaksp. by Boswell, XX. p. 100),
that the edition of 1607 is " the most correct of all those that preceded"; but he should have remarked, nevertheless, that it and
"those that preceded" were printed fobr the same stationer or
bookseller as the earliest copy of 1594, to whom it was entered on
the Stationers' Books on the 9th of May of that year, under the
title of "The Ravyshment of Lucrece." The edition of 1607
was also the last published during the life of the author, unless we
suppose one of 1616 (printed by T. S. for Roger Jackson) to
have come out lefore the 23d of April in that year. Malone adds,
that the "more modern editions" "' appear manifestly to have
been printed from that of 1607 "; but in his notes to the poem he
has failed in establishing this position, and a correct examination
shows some important variations. Thus, on sign. A 5 b, we have
these lines in the edition of 1607 before us:"Till sable night, mother of dread and feare,
Uppon the world dim darknesse doth display,
And in her vaulty prison stowes the day;"
which precisely accords with the copy of 1594; while in those of
1616, 1624, &c. the passage stands thus:"Till sable night, sad source of dread and feare,
1 We ought to have called it " Lucrece" only, and so it continued to be
entitled until 1616, when it was republished as " The Rape of Lucrece, by
Mr. William Shakespeare, newly revised." It was then printed at London by T. S. for Roger Jackson, in 8vo, 32 leaves.




86             B      blptbiograpi al    Ltcount of
Upon the world dim darkness doth display,
And in her vaulty prison shuts the day."
Malone must have collated very carelessly; for, in reference to
the last line of the fifth stanza of the poem, he tells us that all the
" modern editions," varying from the " old copy," read, -
"From thievish cares, because it is his own,"
when in the edition before us, as well as in that of 1624, it stands
as in the "old copy ":"From theevish eares, because it is his owne."
Again, Malone asserts that the modern editions close the twentythird stanza thus: -
" To slanderous tongues and wretched hateful lays;"
whereas, in fact, in the copies of 1607 and 1624, the line stands, -
" To sclanderous tongues & wretched hatefull daies."
The edition of 1607 sometimes restores the old reading of 1594,
which had been corrupted in the two intermediate impressions;
and the following is an instance. The line, —
" 0, thatprone lust should stain so pure a bed,"
is changed in the copy of 1600 to,"0, thatproud lust should stain so pure a bed,"
and restored in the edition of 1607 to the true text of the author.
In some subsequent impressions the epithet prone is changed to
fowl.  On sign. C 7, edit. 1607, is this passage: -
"No man inveighe against the withered flower,
But chide rough winter," &c.
Malone maintains that all the editions, excepting the first, have
inveighs and chides, but this corruption is not introduced even into
the impression of 1624. Again, farther on, he states that " all the
modern editions " read the line"As lagging souls before the northern blast,"
instead of "As lagging fowls," &c. The edition of 1607 has, "As
lagging fowls."
It would be easy to point out other proof's of the same hastiness
of condemnation. Sometimes the edition of 1607 may be of use
in another respect. Malone would mend the last line of the eighth
stanza of the poem thus:"Virtue would stain that or with silver white;"




&artl   (fngtlisl jiteratnre.            37
introducing a poor conceit on the difference between or (gold),
and silver. Now the oldest copy has it ore, which was then the
common mode of spelling the abbreviation of' over, i. e. o'er, the
meaning of Shakspeare being clearly, -
"Virtue would stain that o'er with silver white;"
and in the copy of 1607, followed by that of 1624, this plain
meaning is enforced by an apostrophe:" Vertue would stain that o're with silver white."
Later in the poem, where Lucrece is lamenting her fate, and
that her compelled offence was the destruction of the honor of
her husband, she exclaims, -
"Yet I am guilty of thy honour's wreck;"
an obvious reading, and supported by every authority, ancient or
modern; yet Malone has altered the text to, -
"' Yet I am guiltless of thy honour's wreck,"
entirely mistaking Shakspeare's meaning, and attempting afterwards to vindicate his blunder.
What has been advanced tends to the conviction that the copy
of 1607 is of much value, sometimes restoring the old and true
reading which had been abandoned in 1600, and at others illustrating the real sense of disputed passages. It is more true to
assert that the editions of 1616, 1624, &c. followed the text of
that of 1600, than that furnished by the edition of 1607. Every
old impression deserves to be most minutely and critically examined.
SHAKESPEARE, WILLIAM.-A Banquet of Jeasts or Change
of Cheare. Being a collection of Moderne Jests. Witty
Jeeres. Pleasant Taunts. Merry Tales. Never before Imprinted. — London, Printed for Richard Royston, and are to be sold at his shop in Ivie-Lane next
the Exchequer-Office. 1630. 8vo. 107 leaves.
This volume of Jests has sometimes, in later impressions, had
the name of Archee, i. e. Archibald Armstrong, Charles the




38             1Mbli0btiorapt)iat 2Lccoltt of
First's Jester, prefixed to it; 1 but we have given as our heading,
the name of Shakspeare, not only because he is mentioned with
peculiar honor in one of them, but because so many of the jests
or anecdotes are theatrical.  Another of them  relates to William
Kempe, the great comedian, who figured in Dogberry, Peter, &c.;
a third, to William Rowley, the dramatic author and actor; and
several more to various matters connected with plays, players,
and playhouses. We are to recollect that, when the book was
printed, Shakspeare had been dead fourteen years; and the principal, if not the only value of the anecdote is, not that he was
himself personally concerned in it, but that it shows the height,
breadth, and strength of the reputation that had survived him.
In the interval between his death and the publication of the
" Banquet of Jests," in 1630, the first folio of his works had
appeared, and in 1632 it was reprinted.  The "jest" is placed
under the heading of " Stratford upon Avon," in 1630, and is
inserted upon p. 157.  It is, moreover, the first time Shakspeare
has been spoken of in print in connection with his native town: -
"One travelling through Stratford upon Avon, a Towne most remarkable
for the birth of famous William Shakespeare, and walking in the Church
to doe his devotion, espyed a thing there worthy observation, which
was a tombestone, laid more then three hundred years agoe, on which
was ingraven an Epitaph to this purpose, " I, Thomas such a one, and
1 We have not seen any such edition, but Lowndes (Bibl. Man.) points
out two so called in 1639 and 1657. Such was not the case in 1634, (an
edition not noticed by bibliographers,) when it was still entitled " A Banquet of Jests," and the number was increased from 195 to 261. A peculiar feature in the edition of 1634 is, that the following lines, mentioning
various preceding popular collections, and terming it " the fourth impression," face the title-page: —
"The Printer to the Reader.
" Since, Reader, I before have found thee kinde,
Expect this fourth impression more refinde;
The coorser cates that might the feast disgrace
Left out: And better served in in their place.
Pasquels conceits are poore, and Scoggins dry,
Skeltons meere rime, once read, but now laid by:
Peeles Jests are old, and Tarletons are growne stale.
These neither bark nor bite, nor scratch, nor raile.
Banquets were made for laughter, not for teares:
Such are our sportive Taunts, Tales, Jests and Jeeres."




(farlt      fnggLis1  Citeraturc.             39
Elizabeth my wife here under lye buried; and know, Reader, I, R. C. and
I, Chrystoph Q, are alive at this houre to witnesse it."
We do not recollect to have seen the above anywhere alluded
to, and its sole value obviously is what we have pointed out, with
reference to the extent and permanence of the reputation of our
gieat dramatist at an early date after his demise. Another
"jest," so to call it, shows the sort of disrepute in which players
in general were then held. Here again the anecdote is in itself
of no value.
-" Of an Oatemeale-man.
"An Oatemeale-man, a rich fellow, fell at some difference with a Comedian about the towne, and began to upbraid him with his profession, and
according to the small talent of wit hee had, came hotly upon him with
the common objection: "If, saith he, all men were of my mind, you
should keepe your doores shut, and find your galleries empty, and then
you would bee more poore and lesse proud." " I believe it, said the other;
so, if every man would, as I could find in my heart to doe, that is, to forsweare the eating of Puddings and Pottage, who would be more poore
and lesse proud then the Oatemeale man? "
We next give a passage which relates to the celebrated
William Kempe, and records a fact in his life with which we were
not previously acquainted.  The accident, we may imagine, happened on the stage, when the comedian was interposing between
two combatants. It is headed "a cleanly lie," meaning, probably,
a most obvious and self-contradicting falsehood.
"' Will. Kempe, by a mischance, was with a sword run quite through the
leg: a Country Gentleman, comming to visit him, asked him how he
came by that mischance? He told him, and withal, "troth, saith he, I
received the hurt just eight weekes since, and I have line of it this quarter of a yeare, and never stirr'd out of my chamber."
Kempe was jeering the " country gentleman," to see how much
and how fast he would swallow. The next quotation we shall
make is of a more elaborate character, and comes properly under
the denomination of "a jest."  It is headed: —
"71. Of Rapeseed.
"A handsome young fellow, having seene a play at the Curtaine, comes
to William Rowley, after the Play was done, and entreated him, if his
leisure served, that hee might give him a pottle of wine to bee better acquainted with him. He thankt him and told him, if hee pleased, to goe
as farre as the Kings Head at Spittlegate, hee would, as soone as he had




40             JLBibliograplial  ILrronont of
made himselfe ready, follow him and accept of his kindnesse. He did so,
but the wine seeming tedious betwixt two, and the rather because the
yong fellow could entertaine no discourse, Rowly beckoned to an honest
fellow over the way to come and keepe them company; who promised to
be with them instantly. But not comming at the second or third calling,
at last he appeares in the roome, where William Rowly begins to chide
him because he had staid so long. Hee presently craved pardon, and
begins to excuse himselfe, that hee had been abroad to buy Rapeseed, and
that he staid to feede his birds. At every word of Rapeseed the man rose
from the table with a changed countenance, being very much discontented, and said, Mr. Rowly, I came in curtesie to desire your acquaintance, and to bestow the wine upon you, not thinking you would have
called this fellow up to taunt mee so bitterly. They wondering what he
meant, hee proceeded: Tis true indeed the last session I was arraigned at
Newgate for a Rape, but, I thank God, I came off like an honest man,
little thinking to bee twitted of it here. Both began to excuse themselves,
as not knowing any such thing, as well they might. But he that gave
the offence, thinking the better to expresse his innocence - Young Gentleman, saith he, to expresse how farre I was from wronging you, looke
you here, as I have Rapeseed in one pocket for one bird, so here is Hempe
seed on this side for another. At which word Hempseed, saith the young
man, Why, Villaine, doest thou thinke I have deserved hanging? and
tooke up the pot to fling at his head, but his hand was stayed; and as
errour and mistake begun the quarrell, so wine ended it."
Thus it appears that the young gull had made W. Rowley's
acquaintance by seeing him  perform  at the Curtain Theatre,
which had been in the occupation of various companies of players
since about the year 1575, when it was constructed. It may be
doubted whether Rowley was living at the time theatres were
silenced in 1647, but we know that he was residing in Cripplegate in 1637, and that he had previously belonged to the Companies of the Prince and of the Duke of York. In the work
before us we first meet with the epigram upon old Philemon
Holland and his translation of Suetonius; but as he was still a
busy man with his pen in 1630, (not having died till 1636,) his
namne is not given.
"One that had translated many books and volumes, at length publishing the history of Suetonius Tranquillus in English, a pleasant Gentleman
writ this distick -
Philemon with Translations doth so fill us,
He will not let Suetonius bee Tranquillus."




Bar         (~ng1itsl) fiterature.           41
It is most likely that this joke is considerably older than 1630,
because Holland's translation of Suetonius came out as early as
1606. We extract the following merely because it relates to the
old tapestry of the House of Lords, which was unfortunately consumed in 1834.
"' Two ancient Captaines, looking upon the rich hangings of Eighty
Eight, observing in the border thereof the faces of the prime Commanders
and Gentlemen of note that had beene in the service, " Well, saith the
one to the other, if every one had his right, my face might have had the
honor to have bin placed before some that I see; for, I am sure,'I was engaged in the hottest incounter."  To whom the other replyed" Content
thy selfe, Captaine; tis well knowne thou art an old souldier, and reserved
for another hanging."
There were two or three later editions of this "Banquet of
Jests," (we have seen them in 1636 and 1642,) but we know of
no earlier impression than that of 1630. The editor subscribes
himself "Anonimos," and only professes to have "' gathered them
from the mouths of others." The table of contents shows them
to be 195 in number, and it is followed by some rather clever
verses, in which the writer promises that no such good cheer shall
be found in Bartholomew Fair, adding, in a farewell address to
his little volume, -
" I wish it may not be your lots
(Poore Pupes) to be rent by sots,
Or such as will stop mustard pots."
Here " poore Pupes" must be an error of the press for "' poore
Paper "; but in general the book is better printed than might be
expected.
SHARPE, ROGER. -  More Fooles yet.  Written by R. S.
-At London Printed by Thomas Castleton and are to
be sold  at his shop without Cripplegate.   An. 1610.
4to.,18 leaves.
Had not Roger Sharpe subscribed the address " to the Reader,"
in thirty-six lines, with his names at length, we might have been
inclined, until we read the collection of Epigrams, to have supposed
that it was by Samuel Rowlands, with his initials reversed. The




42               ibtiblogrpiIral   lttccount of
truth, however, is, that there is not one production upon the thirtysix pages that is good enough for the author of " Tis merry when
Gossips meet," " Humour's Ordinary," &c. There was a dramatist
of the name of Lewis Sharpe, who wrote one play published in
1640; and whether Roger Sharpe was any relation to him, we
have no means of knowing. Only two copies of "More Fooles
yet" have been recorded, and the production requires notice
rather for its extreme rarity than for any merit it possesses. In
his preliminary lines the author refers to incorrigible rogues who
cannot be controlled by religion nor the law, and, Dogberry-like,
wisely lets them alone. He observes, -
"Therefore since milde perswasion cannot moove them,
Nor reprehension, whosoere reproove them,
Nor Lawes severity nor Justice sword,
I will not to reclaime them wast a word:
Nor will I taxe their vice, because I see
They will persist in spight of you or mee;
And so I leave them to their damned rules.
I will not deale with villaines, but with fooles."
A new page is headed, " More Fooles yet, Love's Metamorphosis "; but there seems to be no connection between the two;
and we take it that "Love's Metamorphosis" was only added,
because in 1601 a play with that title, attributed to the celebrated
John Lily, had been printed. The earliest epigram by Sharpe
that deserves any notice is the following, called "A confident
Cuckold," meaning a confiding one: —
"You wrong Zelopio to repute him so:
Tell me that he is jealous? faith, Sir, no.
He will permit his wife to see a Play,
And let her drinke with Captaines by the way;
Will give her leave to walke to Westminster
To see the Tombes and monuments are there;
Will suffer her to drinke and stay out late,
To be led home by each associate.
This proves him confident; and which is more,
When his wife knocks, himselfe will looke to the doore.
And wot you why Zelopio seems content?
She keepes the house, keepes him, and paies the rent."
Sharpe makes various other attacks upon complying and submissive husbands, and in the last of the ensuing couplets mentions




BarlQ  C~ng~le1) Jittttature.                43
a most popular tune, which has been used in the old interlude of
"'Tom Tiler and his Wife," in T. Heywood's " Woman killed
with Kindness," 1607, in Brathwaite's " Shepherds Tales," 1623,
and in Henry Bold's Poems, 1685,- so that it continued a favorite for considerably more than a century: —
" When John Cornutus doth his wife reproove
For being false and faithles to her love,
His wife, to smooth the wrinckles on his brow,
Doth stop his mouth with John come kisse me now."
Houses visited by the plague, and so pointed out by public inscriptions, are thus mentioned under the heading "A charitable
Clowne": -
"RGusticus, an honest country swayne,
Whose education simple was and plaine,
Having surveyd the Citie round about,
Emptyed his purse, and so went trudging out:
But by the way he saw, and much respected,
A doore belonging to a house infected,
Whereon was plac't (as'tis the custome still)
Lord, hare mercie upon us! This sad bill
The sot perusde; and having read, he swore
All London was ungodly but that doore.
Here dwells some vertue yet, sayes he, for this
A most devout religious saying is:
And thus he wisht, with putting off his hatte,
That every doore had such a bill as that."
"Fortune favours Fooles " is a new sort of half-title to the few
later pages, and from them we copy the succeeding stanza, only
because it is an early allusion to the corpulency of Falstaff: -
" How Falstafe like doth sweld Vitrosus looke,
As though his paunch did foster every sinne,
And sweares [that] he is injured by this booke:
His worth is taxt, he hath abused byn.
Swell still, Virosus; burst with emulation:
I neither taxe thy vice, nor reputation."
Four lines, called" "Conclusion," dismiss, with great contempt,
" the idle Zanies of this age," the author having no sort of suspicion that by his itch for scribbling verses he had, in a manner,
entitled himself to a place among them.




44             flibfiograpbaic     2accotunt of
SHAVING. - The treatyse answerynge the boke of Berdes.
Compyled by Collyn clowte, dedycatyd to Barnarde
barber dwellynge in Banbery. -  [Colophon]  1R. W.
ad imprimendum  solum.  8vo.  8 leaves.
Only a single copy of this curious and droll tract is extant,
and that, unluckily, is imperfect. It wants a leaf, that is to say
two pages, so that how the poetical portion of the work commences we cannot ascertain. Still, it ought not to be passed
over without notice, in order that, if a second copy should ever
be discovered, it may be identified, and prized according to its
value.
R. W. in the colophon are the initials of Robert Wyer, the
printer, who put forth many singular works with and without
dates, but who exercised his art between the years 1531 and
1542, so that the " noble king," prayed for near the end of this
"Treatise," was Henry VIII. As for the subject, it appears that
Dr. Andrew Borde, the physician, philosopher, and humorist, had
advocated the fitness of shaving, and had made an attack upon
the wearers of beards, which the latter resented. A person of
the name of Barnes (whose name occurs on the last page of this
tract) undertook the defence of beards, and executed his task in
a number of comic stanzas, the point of many of which is now, of
course, lost. They are illustrated by a couple of woodcuts, on
the title-page, being the figures of Collyn Clowte, Andrew Borde,
and a lady; while the next page contains a representation of
Cock Lorell and his boat, with these lines:"To drynke with me be not a ferde,
For here, ye se, groweth never a berde.
I am a Foole of Cocke lorellys bote.
Calling al knaves to pull therin a rope."
They have reference to one of Dr. Borde's arguments against
beards, viz., that they were kept so filthy, that he objected to drink
after any man who wore one. To this point the vindication by
Barnes (if indeed he were the author) is mainly directed, but it
also includes other matters connected with " valours excrement,"
and the wearers of it. Barnes explains how it happened that
Borde became an enemy to beards, asserting that when the latter




Q0arlt   Onglifl)  iitcrature.               45
was at Montpelier, (where the writer also happened to be at the
same time,) the Doctor got so drunk that he was put to bed, and
then, wearing a large beard, he was sick over it, and next morning had it shaved off by a barber, in order to get rid of the
nuisance.  This fact is narrated in " the preface or the pystle"
which follows the title-page, and in a preliminary " treatyse made
answerynge the treatyse of doctor Borde upon Berdes."
The beginning of the poem, as already stated, is lost, owing to
the imperfectness of the book; but what remains commences with
a reference to Borde's resolution  "not to drink with bearded
men," and afterwards it proceeds thus: -
" Of berdes he sayth ther coii no gaynes,
And berdes quycknyth not the braynes.
Lo! how in Physyke he taketh paynes:
Hie merytes a busshel of brewers graynes.
He warneth also every estate
To avoyde berdes for fere of debate:
If men lyke hym shuld use to prate,
His warnyng then shuld come to late.
I fere not."
Every stanza is in this form, and each ends with "I fere not,"
or nearly equivalent words. Some portion of the poem is too
coarse and dirty for extraction. It is divided into two parts, and
the second stanza of "the seconde parte of that Songe " contains
a mention of Cock Lorell and his boat.' A berde upon his over lyppe,
Ye saye, wyll be a proper tryppe,
Wherby ye shall the better skyppe.
Go your wayes; I dare let you slyppe,
Where as be many more,
I thynke by XX score
In cocke lorelles bote before,
Ye may take a nore.
I fere it not."
The humorous satire called "' Cock Lorell's Boat," we need
hardly say, was originally printed by Wynkyn de Worde, and has
been four times reprinted in our day. The last page of the tract
in hand is headed " Barnes in the defence of the Berde," and as
it consists of only seven lines, we extract it.




46           j3ibliograpbiral  rLccount of
"Barnes, I say, yf thou be shent
Bycause thou wantyst eloquence,
Desyre them that thyne entent
May stonde all tymes for thy defence:
Consyderynge that thy hole pretence
Was more desyrous of unyte,
Then to envent curyosyte."
The whole was composed merely as a piece of pleasantry, and,
although we may not relish some of the coarse humor, it no doubt
answered the purpose for which it was written. Skelton died in
1629, or we might fancy he had a hand in it.
SHEPHERDS TALES. - Shepherds Tales, Containing Satyres, Eglogues and Odes. By R. B. Esquire. - London Printed for Richard Whitakers.  1623.  8vo.
This work is in fact the same as "Natures Embassie or the
Wilde mans Measures," which Brathwayte published with the date
of 1621; but as the work does not appear to have sold well under
that title, Whitaker, the Stationer, (or Whitakers, as the name is
here given,) had a new title-page printed, dating it 1623. The
four other title-pages in the course of the volume remain unaltered, and severally bear date in 1621. The pagination continues
as far as p. 26, then begins afresh, and continues as far as 264,
with new signatures.
This is a circumstance we have not seen noticed by bibliographers, nor the fact, which is here apparent, that Brathwayte was in
some way "kinsman" to Sir Richard Hutton, one of the puisne
judges of the Court of Common Pleas. The book is dedicated,
not to " Sir T. H. the elder Knight," as is the case with the impression of 1621, but to the son of Sir Richard Hutton.
The volume displays much talent, and possesses much variety,
and various songs and tunes are mentioned in different parts of it.
Among them are, " Peggie Ramsie," " Spaniletto," " the Venetto,"
"John, come Kisse me," " Wilson's Fancy," and " Touch me
gently." The most lively and attractive performance is thus entitled: —" The Shepheards Holyday, reduced in apt measures to




Qa~tr  ~Qnnatlif).iteraturte.            47
Hobbinolls Galliard, or John to the May-pole."  It is E musical
dialogue between a Shepherd and  Shepherdess, Y pso and
Marina, and opens thus spiritedly: —
Mopso. "Come, Marina, let's away,
For both Bride and Bridegroome stay.
Fie for shame! Are swaines so long
Pinning of their head-geare on?
Praythee, see
None but wee
Mongst the Swaines are left unreadie.
Fie! make hast,
Bride is past:
Follow me, and I will lead thee.
Mar. "On, my lovely Mopsus, on.
I am readie all is done:
From my head unto my foote
I am fitted each way to't.
Buskins gay,
Gowne of gray,
Best that all our flocks do render:
Hat of stroe,
Platted through;
Cherrie lip, and middle slender."
And so they proceed through many more stanzas than we have
room to insert, though all very animated, and pleasantly descriptive of country life. In one of her replies the Shepherdess is
rather bold in her invitation, and free in her talk. This is the last
poem in the division properly called " Shepherd's Tales."
SHERLEY, SIR ANTHONY. — Sir Antony Sherley his Relation of his Travels into Persia. The dangers, and
distresses, which befell him in his passage, both by
sea and'land, and his strange and unexpected deliverances. His magnificent Entertainemrent in Persia, his
honourable imployment there-hence as Embassadour
to the Princes of Christendonme, the cause of his disappointment therein, with his advice to his brother, Sir




48            3Biblio grapjicdl  lcount of
Robert Sherley &c. Penned by Sr. Antony Sherley,
and recommended to his brother, Sr. Robert Sherley
&c. - London Printed for Nathaniell Butter, and
Joseph Bagfet.  1613.  4to.  74 leaves.
This narrative relates to the same expedition as that regarding which William Parry wrote a tract in 1601, (see Vol. III. p.
140,) which was published in some haste in order that the parties
might avail themselves of the interest excited by the return of
Sir Anthony Sherley to Europe. The latter part of Parry's
account may be said to make up for the meagreness of the conclusion of this " Relation," as we have it from the pen of Sir
Anthony Sherley, supposing, as there is every reason to believe,
that he was the author of the tract the title of which is above
given.
In an address " To the Reader," not subscribed with name or
initials, we are informed that the work was drawn up at the
instance of a gentleman who had had many interrupted conferences with Sir Anthony.-" On the entreaty of the said Gentleman, for the better satisfying of himselfe and such others of his
friends as might be desirous, out of their curiosity, to understand
the whole progresse, dependance, and prosecution of the said voyage into Persia, hee obtained of the Persian Embassadour a copy
of this discourse, penned by his Brother Sir Anthony Sherley (as
it seemeth) since his returne out of Persia into Europe, for the
better satisfaction of his friends, and preserving the memory of so
memorable an action."
What is headed " The true History of Sir Anthony Sherleys
Travels into Persia, penned by himselfe," commences with a
statement of his employment in Italy in the first instance, by the
Earl of Essex, whom, according to Sherley, he made the especial
object of his imitation. He says of the unfortunate nobleman:-' Amongst which, as there was not a subject of more worthinesse and
vertue for such examples to grow from, then the ever-living honour and
condigne estimation, the Earle of Essex, as my reverence and regard to
his rare qualities was exceeding, so I desired (as much as my humility
might answere with such an eminency) to make him the patterne of my
civill life, and from him to draw a worthy modell of all my actions. And
as my true love to him did transforme me from my many imperfections,




jartl    Engisl%)   Cittratret.              49
to bee, as it were, an imitator of his vertues, so his affection was such to
mee, that hee was not onely contented I should do so, but in the true
noblenesse of his minde gave me liberally the best treasure of his minde
in counselling mee, his fortune to helpe mee forward, and his very care
to beare mee up in all those courses which might give honour to my selfe,
and indeed worthy the name of his friend."
The mission from the Earl of Essex to Italy not succeeding as
was desired, the Earl dispatched Sherley and his younger brother
into Persia; but it does not at all distinctly appear for what purpose, until we get far into the tract, when we find that the object
was to stir the Persian government up against that ancient enemy,
the Turk.
They set sail from Venice for Aleppo on 24th May, 1599; and
Sir Anthony dismisses briefly the affair regarding which Parry
goes into some descriptive detail, namely, the beating of an Italian
on board the ship for abusing Queen Elizabeth, which incident
brought Sir Anthony and his followers into various. troubles, from
which they narrowly escaped.
Afterwards Sir Anthony goes at great length into his journey
and proceedings; but few things are more remarkable in the narrative than the precision with which he gives the various tedious
speeches, not only his own, but those of Abas, the King of Persia,
his Vizier, and other Ministers. They are all in the first person,
as if every word had been written down at the time; and yet Sir
Anthony repeatedly states that in his conferences he was obliged
to resort to the aid of an interpreter. According to his own story
he was received in Persia, rather as if he-had been a monarch
than an envoy; and the Persian King treated him to the full
with as much respect and ceremony as Sherley displayed towards
the King. Nevertheless, it is admitted that Sir Anthony failed
here also in his object; fobr Abas, though at first willing to adopt
the advice for making war against the Turk, seems afterwards to
have been dissuaded by his ministers from so hazardous and
unprovoked.an undertaking, in opposition to existing treaties.
In the end Abas was content to employ Sir Anthony as his own
ambassador to the Christian Princes of Europe, and for this purpose commanded two of his own nobility to accompany him; but,
for some cause not very clearly explained, this matter was not
brought to bear satisfactorily, and Sir Anthony quitted Persia,
VOL. IV.              4




50           btibliogratpral 2acounit of
leaving his brother Robert behind him, as he intimates, in consequence of the affection borne to him by Abas, and as a sort of
surety for the stipulated return of the self-important Sir Anthony.
The later portion of the tract is mainly devoted to the instructions given by Sir Anthony to his brother, who remained behind
him, and it is very evident that Sir Anthony thought very well,of his own sagacity in these directions. Throughout there is a,considerable display of conceit and vanity on the part of the
writer: he uses many grandiloquent and affected terms, and all
~that he says and does is very patiently recorded, while Italic type
is not unfrequently used to enforce and emphasize his axioms of,prudence and policy, as well as his moral reflections. Towards
the close of his residence in Persia he was much annoyed by a
friar, who obtruded himself upon him, but he does not quite support the bad character Parry had given of the same ecclesiastic.
The whole may not unfitly be called a glorification of the Sher-;eys.
SIDNEY, SIR PHILrP.-  The Covntesse of Pemlbrokes Arcadia, written by Sir Philippe Sidnei. - London Printed
for William Ponsonbie. Anno Domini, 1590. 4to.  363
leaves.
There are few books of greater rarity than this first edition of
Sidney's "Arcadia " in 4to. We never saw more than one perfect
and two imperfect copies of it. The crest, arms, and supporters
of the Sidneys occupy the centre of the title-page, the shield
surrounded by the garter of St. George, and the motto of the
family, Quo fata vocant, underneath.
It may reasonably be doubted whether this romance was not
actually in print before Puttenham's " Art of English Poesie,"
which came out with the date of 1589, (" At London Printed by
Richard Field," &c.,) because on p. 204 of that elaborate work
we read as follows: " Sir Philip Sidney in the description of his
mistresse excellently well handled this figure of resemblaunce by
imagerie, as ye may see in his booke of Archadia."  We have
nowhere seen this point adverted to, but Puttenham's readers




Warlt    Eng1ib  Citerature.                  a1
could hardly have " seen " the illustration he alludes to in the
"Arcadia," if it had not then been published. It is, however, to
be borne in mind that manuscript copies of it were in circulation,
from one of which, indeed, Ponsonby procured to be printed the
4to impression, the title of which  stands at the head of the
present article.  There certainly had been an intention to put it
to press late in 1586, soon after Sidney's death, as is proved by
the subsequent letter from Fulke Greville to Sir Francis Walsingham (the father of Sidney's widow) indorsed by Walsingham's
secretary "November 1586."  The handwriting is very difficult,
and some of the expressions rather obscure, but it is very curious
with reference to the work before us, and is well worth deciphering: it is addressed " To the Right honorable Sr. francis Walsingham," and we give it exactly as it stands in the original:-' Sr, this day one ponsonby, a bookebynder in poles church yard, came
to me, and told me, that ther was one in hand to print Sr. Philip Sydneys
old arcadia, asking me yf it were done with your honors cons[ent] or any
other of his frendes? I told him, to my knowledge, no: then he advysed
me to give w[ar]ninge of it, ether to the archbishope or doctor Cosen,
who have, as he says, a copy of it to peruse to that end.
" Sr, I am loth to renew his memory unto you, but yeat in this I must
presume, for I have sent my Lady, your daughter, at her request, a correction of that old one, done 4 or 5 years since, which he left in trust with
me, wherof ther is no more copies, and fitter to be printed then that first
which is so common: notwithstanding even that to be amended by a direction sett down undre his own hand, how and why; so as in many
respects, espetially the care of printing of it is to be don with more deliberation. Besydes, he hathe most excellently translated, among div[ers]
other notable workes monsieur du Plessis book againste Atheisme, which
is sinse don by an other; so as both in respect of lov betwen Plessis and
him, besydes other affinities in ther courses, but espetially Sr. Philips uncomparable judgement, I think fit ther be made a stey of that mercenary
book, so that Sr. Philip might have all thos religious wor[ks] which ar
worthily dew to his lyfe and death.
"Many other works, as Bartas his Spanyard, 40 of the spalm[s] translated into myter &c., which requyre the care of his frends; not to amend,
for I think it falls within the reach of no man living, but only to see to
the paper and other common errors of mercenary printing. Gayn ther
wilbe, no doubt to be disposed by you, let it be to the poorest of his servants: I desyre only care to be had of his honor, who, I fear, hath caried
the honor of thes latter ages with him.




52            Jibtiograpljcal  2caont of
" Sr. perdon me, I make this the busines of my lofe, and desyre God to
shew that he is your God. From my Lodge, not well, this day in hast,
"Your honors
"FOULK GREVILL.
"Sr. I had wayted on you my selfe for answer,
because I am jelous of tyme in it, but in trothe
I am nothing well. Good Sr. think of it."
The above letter (which we copied some years ago from the
original, then in the State Paper Office) shows that what was
called the "old Arcadia" was in 1586 a common manuscript, and
that Sidney's friend, Fulk Greville, was apprehensive that it
would be printed for the mercenary profit of a stationer; whereas,
if it were to be published, he naturally wished it to have its author's
last corrections, and that the "gain" should be divided by Sir
Francis Walsingham among the poorest of Sidney's servants. It
appears also that Sidney, before he went to Flanders, had placed
in Greville's hands a corrected copy of the " old Arcadia," which
copy he had forwarded to Lady Sidney. A year and three
quarters after the date of Greville's letter, Ponsonby had obtained the authority of the Archbishop of Canterbury for the publication of the work; so that we are to presume that the manuscript from which he printed was then considered a good one,
although in the 4to of 1590 it differs very materially from the
"4 Arcadia," as it subsequently appeared in the folio of 1593: the
terms of the Ponsonby's entry of it at Stationers' Hall, in 1588,
were these: -
" 23 Augusti. [1588]
"Wm. Ponsonby. Rd. of him for a booke of Sr. Php. Sidneys makinge,
intitled Arcadia: authorised under the Archb. Cante hand.... vjd."
When printed, it bore the date of 1590; so that again about a
year and a half elapsed before what had been licensed appeared
in type, and was purchasable by general readers. It does not
seem at all likely that the "Arcadia " should have come out previously in any printed form, however imperfect; and when Puttenhbm referred to it in 1589, as a source of illustration on the
point he was advancing, he must either have spoken of a manuscript then in ordinary circulation, (for Greville says that they were
common,) or of the printed copy as it had been entered by Ponsonby in August, 1588, and as it was published by him with the
date of 1590.




tarl~ t    lingilo  fiterature.           53
There is no name of printer on the title-page of 1590. Ponsonby was not a typographer but a stationer, and when he published a work, he employed* somebody else to put it in type. He
availed himself of the services of John Wolfe when he put forth
the first three books of Spenser's "Fairy Queen," in the same
year that he put forth Sidney's "Arcadia"; and it is not likely
that Wolfe, in his small office, would have been able to set up two
such important and long works at the same time. Our belief,
therefore, is, after a close inspection of the type used, that, although he is not named, Richard Field, who had been apprentice
to Vautrollier, and had married his master's daughter, was the
printer of the first 4to edition of the "Arcadia." Field, as we
have pointed out, was also the printer of Puttenham's "Arte of
English Poesie," and in this way it is not impossible that Puttenham may have obtained a sight of the sheets of the "Arcadia"
some time before they were published in the volume of 1590.
This speculation, if well founded, would put an end to the difficulty arising out of the fact that Puttenham, in 1589, referred his
readers to. a book which bears the date of 1590. The entry of
Puttenham's book at Stationers' Hall was three months later than
that of the "Arcadia." There would of course be a great demand for Sidney's "Arcadia," and its appearance may therefore
have been hastened, while the work of Puttenham may have been
postponed in its favor, though actually bearing date a year earlier.
Sidney's "Arcadia" and Spenser's "Fairy Queen" were in
the press at the same moment, and for the same publisher: it is
very possible, therefore, that our great romantic poet may have
looked over the sheets of our great romantic prose-writer; and
by whom the "Arcadia " was really edited, before it was published
in 1590, is not at all known. We can hardly suppose that Spenser would have had time, even if he had the inclination, to perform
this duty, while busied with his own great work; but whoever did
it added the-following information on the page immediately succeeding the dedication of the "Arcadia" by Sidney to his sister,
Lady Pembroke.
" The division and summing up of the Chapters was not of Sir Philip
Sidneis dooing, but adventured by the over-seer of the print, for the more
ease of the Readers. He therfore submits himselfe to their judgement,




54             3ibltiofgratplrat  2terrount of
and [if] his labour answere not the worthines of the booke, desireth pardon for it. As also if any defect be found in the Eclogues, which although
they were of Sir Phillip Sidneis writing, yet were not perused by him, but
left till the worke had bene finished, that then choise should have bene
made, which should have bene taken, and in what manner brought in. At
this time they have bene chosen and disposed as the over-seer thought best."
It is quite certain that the family and friends of Sidney were
little satisfied with the work as it appeared in 1590, and the
scarcity of copies of the 4to may in part be owing to the calling in
and suppressing of them. The very paragraph, above quoted,
was probably an after-thought to excuse the imperfection of the
"Arcadia" in that shape. The only complete copy we ever saw
certainly has it; but in another, wanting the printed dedication,
which was supplied in manuscript, it was not found. It is possible
that the copyist omitted it for the sake of brevity; but as in itself
it is short, that does not seem likely. Our notion is, that some of
the quarto impressions were without it, and that it was not added
until the family and friends of the author interposed, and thus
very conveniently occupied a page that would otherwise have been
blank.
We have given the exact title-page of the 4to (1590) at the
head of our article, and the brief dedication that comes upon the
next leaf was repeated (with only trifling literal variations) in
the folio impressions of 1593 and 1598, both published by Ponsonby. The copy of 1598 professes to have been " now the third
time published "; but in the next year Waldegrave of Edinburgh
put forth an impression, which he called the third, and which, finding its way to London, occasioned a dispute between Ponsonby
and John Harrison: regarding it, we find the following memorandum in the Registers at Stationers' Hall, which has never, we
think, been quoted: -
"21 July 1601. John Harrison the younger, in a cause betweene him
and Ponsonby, confessed he had Vli of the bookes of Arcadia, printed in
Scotland or elsewhere by Waldegrave."
What was the consequence of this confession, whether John
Harrison the younger was fined, or whether he was ordered to
give up the five pounds' worth of copies to Ponsonby, is not stated
in the same record. By an indorsement on the letter of Thomas
Wsash to Sir Robert Cotton (MSS. Jul. C III) it appears that the




~art        Ongltisb fittrature.            55
price of a copy of the "Arcadia " was then six shillings and sixpence; but in all probability, judging from the date, the writer
was speaking of the folio of 1593, and not of the 4to of 1590.
It is a mistake to say that " not a few original poems are found
in the 4to, which were not reprinted when the Countess of Pembroke revised the whole," as they appear in the folios of 1593 and
1598. The main difference is, that their places are changed, - not
that there are more in the 4tos than in the folios, for while some
are omitted, as many are added. In one of his notes to his translation of Ariosto in 1590, Sir John Harington complains that a
sonnet written by Sidney, had, "by what mishap he knew not,"
been omitted in the 4to "Arcadia" of the same year.  He gives
it thus:
" Who doth desire that chast his wife should be,
First be he true, for truth doth truth deserve:
Then be he such as she his worth may see,
And alwayes one credit with her preserve:
Not toying kind, nor causlesly unkind,
Not stirring thoughts nor yet denying right:
Not spying faults, nor in plaine errors blind;
Never hard hand, nor ever reins too light.
As far from want, as far from vain expence;
Tone doth enforce, the tother doth entice.
Allow good company, but drive from thence,
All filthy mouths that glory in their vice,
This done, thou hast no more; but leave the rest
To nature, fortune, time and womans brest."
This excellent poem is certainly not in the 4to "Arcadia" of
1590, but the Countess of Pembroke had the good taste and good
sense to insert it in the folio of 1598, p. 380, the only material difference being that there, in the last line, " vertue" is substituted
for nature as Harington gives it.
In the 4to before us, the whole work is divided into three Books,.
and those Books into chapters.  The first Book has nineteen
chapters, the second twenty-nine chapters, and the third nineteen
chapters. There is no Finis, or words equivalent to it, at the end
of the volume, but three asterisks to indicate that the work was
incomplete.
What Lady Pembroke did towards finishing her brother's work




56            V3ibliograpt)ical   2rcount of
may be seen only by a comparison of the 4to, 1590, with the second
edition in folio, 1593, where, after Sidney's dedication, comes an
address "' To the Reader," subscribed H. S., avowing the manner
in which her Ladyship had perfected what had been left incomplete. Among the additions, we may presume on the authority
of manuscripts left in her hands and in those of Sidney's friends,
is the Epitaph upon Argalus and Parthenia. In the 4to, 1590, a
blank space was left for it on folio 311 b, and in some copies it
has been partly supplied in writing of the time; but the whole of
it, consisting of only eight lines, may be seen in Book 3 of the
later impressions: it occurs on p. 294 of the folio of 1598. Lady
Pembroke, instead of including the whole "Arcadia" in three
Books, as in 1590, divided it, rather unequally, into five Books
in 1593.
SIDNEY, SIR PHILIP. -  An Apologie for Poetrie.  Written by the right noble, vertuous, and learned, Sir Phillip Sidney, Knight.  Odi profanum  vulgus, et arceo. —
At London, Printed for Henry Olney &c. Anno 1595.
4to. 42 leaves.
This is the first edition of Sir Philip Sidney's "Apologie for
Poetry," which in 1598 was appended to his "Arcadia," under the
title of the " Defence of Poesie." The Edward Wotton, spoken
of in the commencement, is there merely designated by his initials,
and the " foure Sonnets written by Henrie Constable to Sir Phillip
Sidney's soule," which follow the title-page, were omitted, and
never reprinted. The last is the happiest, and may be taken as
a happy specimen of Constable's powers. (For a review of Constable's " Diana," 1592, see Vol. 1. p. 187.)
"Great Alexander then did well declare
How great was his united Kingdomes might,
When ev'ry Captaine of his Army might,
After his death, with mighty Kings compare:
So now we see, after thy death, how far
Thou dost in worth surpasse each other Knight,
When we admire him as no mortall wight,
In whom the least of all thy vertues are.




(fctrt    ni5   6    Kitertlaturt..657
One did of Macedon the King become,
Another sat in the Egiptian throne,
But onely Alexanders selfe had all:
So eurteous some, and some be liberall,
Some witty, wise, valiaunt, and learned some,
But King of all the vertues thou alone.
"HENRY CONSTABLE."
The third of the sonnets prefixed to the work before us has the
peculiarity of being in the measure of twelve syllables, although
the form of a sonnet is still preserved. Constable had an extraordinary reputation, but what he has left behind him hardly warrants the praise bestowed upon him in the old play, " The Return
from Parnassus," 1606, in a couplet, which will remind the reader
of a beautiful passage in Milton's" Comus ":"Sweet Constable doth take the wond'ring ear,
And lays it up in willing prisonment."
Anthony Wood says that Constable had been " not unfitly
ranked with Sir Edward Dyer," by whom no separate poetical
work in verse is known,l excepting " Sixe Idillia," translated from
Theocritus, and printed by Joseph Barnes at Oxford in 8vo, 1588;
for which see Vol. I. p. 292.
rANDEr. -  A  plaine description of the Auncient Petigree of Dame Slaunder, togither with her Coheires
md fellowe members, Lying, Flattering, Backebyting,
-lbeing the Divels deare darlinges), Playnly and Pithely
described and set forth in their colours from  their first
descent, of what linage and kinred  they  came  off.
Eyther of them severally in his place set forth, as
thou mayest reade hereafter.
I wil not be ashamed to defend a freend, neither will I hide my
selfe from him, though he should do me harme. Eccle. 22.
— Imprinted at London by John Harrison. 1573.
8vo. B. L.  64 leaves.
No criticism of this singular production is anywhere to be found.
1 On p. 75 of Vol. III. we have reviewed Dyer's prose paradox, "The
Praise of Nothing," printed in 1585.




58             1Bibtioarapbicdal    rrount of
In opposition to the words of the author's motto, he does "hide
himself," for it is anonymous, though dedicated " To the right
worshipfull and my especiall deare freend and Vallentine, Mistresse F. S. in all humblenes of dutie your accepted partner and
allotted Vallentine wisheth all grace," &c. Moreover, an address
from " The Printer to the Reader " warns him not to apply initials
to individuals.
The whole is divided into five parts, and is rather more of a
religious and moral treatise than the title promises. However, the
writer has no objection to draw illustrations from the Stage, and
recognizes " comedies and interludes." Thus in the beginning of
"the second part" he says: —
" First selaunder is an accusation made for hatred, unknowen to him
that is accused, wherein the accuser is not called to give answer, or to
denye anything; and this definition standeth on three persons, even like
as matters of Comedie doe. * *'* And first of all, if you list, let us bring
the Capten of the Interlude, and ring leader, which is the maker of this
selaunder. "
Afterwards we read as follows: -
"It is not possible to expresse how readie Dame Selaunder is, and how
much she prevaileth, if she meete with one that is desirous to heare her;
for if evil report and light of credence never meet, there could never so
much harme be done by Dame Selaunder; but when these two companions meete, then beginneth the mischief, and at their departure then there
is - Iheare say so, but say nothing that 1 told you so; for 1 tel it you for
meere good wil, and therefore would be loth to hear of it again; for I know
my tale, and tales maister, but I like not to come tofending and proving: and
with this persuasion departeth the backbiting selaunderer."
The subject would easily have enabled a clever writer to be
amusing; but towards the close the author becomes more scriptural, though not without allusions also to profane history. He
urges a diligent perusal of the Bible as a remedy for slander, and
winds up with a text from 2 Maccabees xv. 38: "If I have done
well, and as is fitting the story," &c.
SLATYER, WILLIAM. -  The Psalmes of David in 4 Languages and  in 4 Parts.   Set to  the  Tunes of our
Church: with Corrections. By W. S. - London Printed




f~arlm   ~nglsii-l  ~iteratnre.          59
by P. Stent at the white horse in Guiltspur streete
&c. n. d.  12mo.  35 leaves.
Opposite an engraved architectural title is "the true Portraiture
of the learned Mr. William Slater, D. D.," but his real name, and
that which he himself signed in existing MSS., was Slatyer. The
Epistle to the Reader is also subscribed Wil. Slatyer: this is a
long rambling introduction, in which the author refers to the translations of the Psalms by Sandys and by James I., to whose Queen
Slatyer had been chaplain; and he states that with some alteration, as far as English was concerned, he had adopted the "vulgarly
received and publickly authorized translation." The four languages in which he gives the Psalms, are Hebrew, Greek, Latin,
and English. After the Epistle there is another engraved titlepage, by which this volume should appear to be only "Pars prima"
of the intended work. Opposite to it are forty-two English lines,
headed FrontispiciiEnarraco. This undated impression seems to
have escaped notice, but there were reimpressions of it in 1643
and 1652.
SMITH, JOHN. -A  Description of New England: or the
Observations and Discoveries of Captain John Smith,
(Admirall of that Country) in the North of America,
in the year of our Lord 1614: with the successe of
sixe Ships that went the next yeare 1615 &c. -At
London Printed by Humfrey Lownes for Robert Clerke
&c.  1616.  4to.  40 leaves.
The copy of this work preserved at Bridgewater House was obviously a presentation to Lord Chancellor Ellesmere, and on the
inside of the cover is written, "My L. Chanseler," no doubt in
Captaip Smith's hand: at the top of the title-page is printed,
" For the Right Honourable the Lord Elesmere, Lord High Chancelor of England." We know of no other exemplar with the same
peculiarity; but it is not unlikely that the author had a certain
number of copies struck off for persons of rank about the Court,
with similar and separate printed directions, and the title-page




60          i3btiograpji) at 2cronnt of
thus distinguished is pasted in, and the ordinary title-page removed.
The dedication is to Prince Charles, followed by addresses to
the King's Council, and to the New-England Adventurers: to
these succeed verses in praise of the author, by John Davies of
Hereford, J. Codrinton, N. Smith, R. Gunnell, George Wither,
and Rawly Croshaw.  Michael and William Phettiplace, and
Richard Whiting, who had served under Captain Smith, also prefix verses; and others (which perhaps came too late) are added'
at the conclusion, signed Ed. Robinson, and Thomas Carlton, who
call the author their " honest captain." We need not enter into
it, but the general object of the tract is to show the advantages
likely to arise to adventurers in New England. We have noticed
another tract upon the same subject, the authorship of which is
disputed between Captain Smith and Thomas Watson, under the
heading VIRGINIA.
SMITH, SIR THOMAS. - Sir Thomas Smithes Voiage and
Entertainment in Rushia.  With the tragicall ends of
two Emperors, and one Empresse, within one Moneth
during his being there: And the miraculous preservation of the now raigning Emperor, esteemed dead for
18 yeares.
Si quid novisti rectius istis
Candidus impertie si non, His utere mecum.
- Printed  at London for Nathanyell Butter, 1605.
4to. 47 leaves.
This account reads as if it had been drawn up by one of the
persons who attended Sir Thomas Smith in his embassy; but, in
an address " to the Reader," the writer speaks of the scattered
and Contradictory information that had got into circulation on the
subject, and adds: " But I, taking the truth from the mouths of
divers gentlemen that went in the Journey, and having some good
notes bestowed upon me in writing, wrought them into this body,
because neither thou shouldst be abused with false reports, nor




(arct        (fnagitrl;iterature.           61
the Voyage receive slaunder."  Farther on he tells us, that he had
done so without the consent of Sir T. Smith, or of anybody else.
Nevertheless, the details are often very particular, and no doubt
in most cases authentic, but obviously put together and printed in
great haste. The writer was some person, not ill acquainted with
the literature of the time, whom Butter, the publisher, employed.
He often makes excursions a little out of his way, in order to allude
to persons and publications of the time, in this style mentioning
Sidney, Fulk Greville, and Ben Jonson by their names.
" Oh, for some excellent pen-man to deplore their state: but he which
would lively, naturally, or indeed poetically, delyneate or enumerate
these occurrents, shall either lead you thereunto by a poeticall spirit, as
could well, if well he might, the dead-living, life-giving Sydney, Prince
of Poesie; or deifie you with the Lord Salustius devinity, or in the earthdeploring sententious high rapt Tragedie with the noble Foulk Grevill,
not onely give you the Idea, but the soule of the acting Idea; as well
could, if so he would, the elaborate English Horace, that gives number,
weight and measure to every word, to teach the reader by his industries,
even our Lawreat, worthy Benjamen, whose Muze approves him with (our
mother) the Ebrew signification to bee the elder Sonne, and happely to
have been the childe of Sorrow. It were worthy so excellent rare witt:
for my selfe I am neither Apollo nor Apelles, no nor any heire to the
Muses; yet happely a younger brother, though I have as little bequeathed
me as many elder brothers and right borne heires gain by them: but
Hic labor, Hoc opus est."
In the following passage, in an earlier part of the tract, the author or compiler, among other matters, speaks of Prince Plangus
in Sidney's " Arcadia," and of the Earl of Essex.
"It might be fitting for me to speake somewhat of this famous river
[Volga] as is, I think, for length and bredth any (one) excepted in the
world; but so many excellent writers, as in the worthy labors of Master
Richard Hacklyute, have made particular mention therof, as it induseth
me to leave the description of this river and towne to those that have
largely and painfully wrote of such things; especially M. Doct. Fletchers
true relation, sometime Ambas. to this Emperor. The 21 of September
we went from Yeri-slane, being well accompanied from the Citty, passing
through Shefet'scoy (where wee lay) and dwels an English gentleman
named Georg Garland, sometime servant to that noble but unfortunate E.
of Essex, of whom many through the world do make in divers kinds, but
(as that learned and heroycall Poet Sir Phil Sidney speaks of Prince
Plangus) never any can make but honorable mention."




62             IBibtiograpltpial   trrount of
The whole of this is evidently confused and corrupt, though
a meaning can be made out of it. Many other sentences in the
tract are in the same predicament, and the abbreviations may
show with what speed the materials were put together.
On the second page is an anecdote of Henry Howard, Earl of
Northampton, which is not much in his favor.
" But the king wondering that the detention there would be so long (for
Sir Thomas said it would be full xv moneths by reason of the winters
cruelty, whose frosts were so extream, that the seas were not at those
times navigable) pleasantly said —It seemes then that Sir Thomas goes
from the Sun: —upon which the Earle of Northampton, standing by, replyed -He must needes go from the Sunne, departing from his resplendant Ma. —At which the King smiled, giving Sir Thomas his hand to
kisse, and bestowing the like grace upon all the gentlem. that were for
the voyage."
The author refers afterwards to the "Quadrones of the Lord of
Pibrac," and thus inserts four lines of translated quotation from
them: "Petit source ont les grosses Rivieres," &c.
"Even as from smallest springs the greatest rivers rise,
So those that rore aloud, and proud at first,
Runne seldom farre; for soon their glorie dies
In some neere Bogg, by their self-furie burst."
Subsequently we have another highly laudatory, but strangely
jumbled, allusion to the Earl of Essex, in these terms: -
"For our being at Colmigro, it was not much unlike (for the strangenes
of reports, troublesomnes of the State, and mutable events of time) to
that one and the only unhappie day of the unfortunate (too sudden rysing)
Earle of Essex; wherein most mens mindes, for as many dayes as wee
weekes, weare bewondered as much with the not well directed beginning,
as the unhallowed successe or the bemoaned (oh be it ever lamentable,
such conclusions, but as farre different in the rarenes as the goodnes between them) ill-advised, well-intended, ever good resolutions in the one, illintended work enacted, never-good-conclusions in the other: One as the
unhappie time-falling of a great Noble, with some others: but by the
gdbodnes of God and the gratiousnes of our renowned King, within short
and memorable time restored in his posteritie and theires. The other the
fatall and finall overthrow of a mightie Emperour and his posteritie and
familie, never till the Resurrection to be raysed: and then, oh then! it is
to be feared to a terrible Judgement for their high-offending, Heaven-crying sinnes."




(eart!  (QnngtLisj   itcrature.             63
There is a good deal of this rhapsodical matter interspersed, but
the personal allusions, as in the above instance, as far as the sense
can be made out, are interesting. In one place we have the following not very apposite mention of " Hamlet."
"That his fathers Empire and Government was but as the poeticall furie
in a Stage-action, compleat, yet with horrid and wofull tragedies; a first,
but no second to any Hamlet; and that now Revenge, just revenge, was
comming with his sworde drawne against him, his royall Mother, and
dearest Sister, to fill up those murdering sceanes; the embryon whereof
was long since modeld, yea digested (but unlawfully and too-too vively)
by his dead selfe-murdering Father."
Shakspeare's " Hamlet" had been brought out two or three
years before this tract was published; but it may be doubted
whether the reference be not to the older play on the same story,
which Lodge had noticed in 1596 in his "Wits Misery and the
Worlds Madness," when he spoke of "the ghost who cried so
miserably at the Theatre, Hamlet, revenge!" That tragedy of
" Hamlet" had been acted at Henslowe's Theatre on 9th June,
1594, and was not then a new play; (Diary, p. 35.)  We see, by
the reference above quoted from the tract in our hands, that it
had not gone out of recollection in 1605, in spite of the superior
attraction and areater novelty of Shakspeare's drama. It it possible, too, that there had been a second part to the old tragedy.
SMITH, WALTER. -  XII mery Jests of the wyddow Edyth.
This lying widow, false and craftie,
Late i Englad hath decevied many,
Both man and woman of every degree,
As well of the spirituall, as temporaltie,
Lordes, Knights and Gentlemen also,
Yemen, Groomes, and that not long ago;
For in the time of King Henry the eight
She hath used many a suttle sleight,
What with lieng, weepyng and laughyng,
Dissemblyng, boastyng and flatteryng,
As by this Booke hereafter doth appere,




64            tIBib1iograptat 2trcconnt of
Who so list the matter now for to here:
No fayned stories, but matter in deed,
Of xii of her Jestes here may ye reede.
Now newly printed this present yeare
For such as delite mery Jests for to here.
1573.  4to.  B. L.  32 leaves.
The above is the whole of the title-page of a tract, of which no
older copy is now known, although Ames records (and Herbert
and Dibdin refer to no other authority) that it was originally
printed by John Rastell in 1525. (Dibd. Typ. Ant. III. 87.) It
does not seem as if Ames had copied the lines on the title-page
correctly, for, independently of the two last lines, which may have
been added in 1573, he omitted the tenth line, so that " laughyng"
has no corresponding rhyme.  There are also other variations,
besides the differences of spelling; and as a copy of Rastell's edition (once in the Harleian Library, and included in the Catalogue)
is not now forthcoming, we are compelled to take the whole matter upon the. representation of Richard Johnes, who printed the
edition of 1573: at the end of it we read as follows: -
"FINIS. by Walter Smith
Imprinted at London, in Fleetlane
by Richard Johnes."
On the leaf next to the title-page we meet with " The Contentes
of these xii mery Jestes folowyng"; and as the work has only
been mentioned, never quoted, by bibliographers and antiquaries,
we subjoin the list exactly as it stands: —
" The first mery Jest declareth how this faire and merye Mayden was
maryed to one Thomas Ellys, and how she ran away with another, by
whom she had a bastard Doughter; and how she deceived a Gentleman,
bearynge him in hand, how her Doughter was heire to faire Landes and
great Richesse.
"The second merye Jest: how this lying Edyth made a poore man to
unthatch his house, bearyng him in hand that she would cover it with
Lead; and how she deceived a Barbour, makyng him beleeve she was a
widow, and had great aboundance of Gooddes.
" The thyrd mery Jest: how this wydow Edyth deceived her Hoste at
Hormynger, and her Hoste at Brandonfery, and borowed money of them
both; and also one mayster Guy, of whome she borowed iiii Marke.
" The fourth mery Jest: how this wydow Edyth deceived a Doctor of




(earlt    Englis4;ittratuir.                65
divinitie, at S. Thomas of Akers in London, of v Nobles he layd out for
her, and how she gave hym the slyp.
"The fifth merye Jest: how this wydow Edyth deceived a man and his
wife that were ryding on Pylgremage, of iiii Nobles yt they laid out for
her; and how she deceived a Scrivener in Lddon, whose name was M.
Rowse.' " The sixt merye Jest: how this wydow Edyth deceived a Draper in
L6don of a new Gowne, and a new Kyrtell; and how she sent him for a
nest of Gobblets and other Plate to that Scrivener whome she had deceived afore.
" The vii mery Jest: how she deceived a servet of Sir Thomas Nevells
who, in hope to have her in Mariage, wt. all her great Richesse, kepte her
company tyl al his money was spent, and then she tooke her flight and
forsooke him.
" The eight mery Jest: how this wydow Edyth deceyved a Servant of
the Byshop of Rochesters, with her coggynge and boastynge of her great
Richesse, who like wise thought to have had her in Maryage.
" The ix mery Jest: how she deceived a Lord, sotyme Earle of Arudell;
and how he sent v of his men servantes and a handmaid to beare her company and fetch her Doughter, who, as she boasted, was an heire to great
Landes.
"' The tenth merye Jest: how she deceived three yong men of Chelsey,
that were servantes to Syr Thomas More, and were all three suters unto
her for Maryage; and what mischaunce happened unto her.
"The xi mery Jest: how she deceived three yong men of the Lord
Legates servants with her great lying, crakyng, and boastyng of her great
Treasure and Juelles.
"The xii merye Jest: how this wydow Edyth deceyved the good man
of the three Cuppes in Holburne, and one John Cotes; and how they
both ryd with her to S. Albons to oversee her houses and landes, and how
they were rewarded."
" The Preface," following the above list, is in verse, and relates
how Edyth's father, John Hankyn, had three wives, and then
died, leaving a daughter by the last.  The mother brought up the
girl in all kinds of artifice and roguery, and she afterwards took a
husband herself:
"Thomas Ellys she maryed for a yeare or two,'And then left him, and away dyd go
With a servant of the Erle of Wyltshyre,
The which payd her well her hyre.
By hym in advoutry a childe she had,
Which dyed when it was but a lad:
VOL. IV.               5




66              Bibltiograplirtal       lcount of
Than her Lemman cast her up,
Go where she wold, gup, queane, gup!"
There is no doubt that she was a real personage; and Walter
Smith, the author of these tales, admits that he had suffered by
her.  The "Jests," or stories of her iniquities, vary in length
from one to thirteen pages.  They have little humor, but a good
deal of coarseness and indecency. The following, No. 3, is one
of the least exceptionable:"This wydowe she walked withouten fere,
Till that she came to Hormynger,
Within two myles of S. Edmunds bery,
And there she abode, full jocunde and mery,
For the space fully of vj weekes day,
And borrowed money there as she lay.
Her old lyes she occupyed still;
The people gave credence her untyll:
At Thetford she sayd her stuffe lay,
Which false was proved upon a day.
Than one master Lee committed her to ward,
And little or naught she dyd it regard.
On the vj day after delivered she was,
And at her owne lyberty to passe and repasse.
Then straight way she tooke to Brandonfery,
In all her lyfe was she never so mery;
And there she borrowed of her Hoste
Thirteene shillings, with mickle boste:
Of her great substance which she sayd she had.
To Bradefolde straight her Hoste she lad,
Where she sayde that she dwelled as than;
And when she came thyther, she fild him a can
Full with good Ale, and sayd he was welcome
For his thirteene shillings: she bad him bum,
And laughed tyghe; no more could he have.
An oth he sware, so God hym save,
The Justice should know of her deceyt,
A, whore! (quod he) heyt, whore, heyt!
The Justice name was master Lee:
He sent her to Saint Edmonds berye,
And there in the Jayle halfe a yeare
She continued without good cheare;
But after she was delivered out
Upon a day withouten doubt.




(Earl    fnglitl   fiterature.                67
My Lorde Abbot commaunded it should so bee,
When he was remembred of his.charitye.
From thence she departed, and to Coulme she come,
Wherwith her lyes all and some
She sudjorned, and was at borde
In a house of my Lorde Oxenforde,
Wherin a servant of his owne did dwell,
Which brewed bere, but none to sell.
The Brewer was called John Douchmon,
With whom vj dayes she dyd won:
Then after to Stretford at the Bow
She repayred right as I trow,
And vij dayes there she abode
Spreding her lyes all abrode.
In which tyme one maister Gye,
Supposing nought that she did lye,
And trustyng of her to have some good
Fowre Marks, by the swete roode,
He lent her out of his purs anon,
And asked ay when she wold gon
To the place where her goods were layd,
Which was at Barking (as she sayd).
Master Guy and his sister both
To ride with her they were not loth,
Ne grudged nothing, till they perceived
That she had theru falsly deceived.
Then master Guy, with egre moode,
In the place there as they stoode,
Raft her both Kyrtle and gowne,
And in her Peticote to the Towne
He sent her forth. Mahound her save!
For his iiij Marks no more could lie have."
Such incidents are common in these tales, and they are not
narrated with much spirit or vivacity. The eighth, respecting the
trick she played the Bishop of Rochester's servant, is shorter than
the rest, and we quote it as a further specimen of a highly curious
book that has hitherto had little attention paid to it:"The Wydow northward tooke her way,
And came to Rochester the next day;
And there within a little space
To a yongman, that servant was
Unto the Byshop in the Towne,
She promised him date and downe




68            J3ibltiorapl)iTa   2tcaount of
On that condition he would wed,
And keepe her company at boord and in bed.
This yongman was glad and light:
Now, thought he, I shal be made a knight
By the meanes of this gentlewomans store:
Gramercy Fortune! I can no more.
He permytted in hast to be assembled
With her at the church, and there resembled,
Or joyned in one flesh, that is dying,
And two soules evermore livyng.
Good cheare he made her in her Inne,
And eke he would not never blinne,
Tyl he had brought her to his Lorde,
Before whom they were at accorde,
Upon a condition maryed to be;
Which condition was, if that she
Could performe all that she had sayd,
He wolde then marry her: it should not be delayd.
Here upon they departed and forth went.
On the morrow my Lorde for her sent
To dyne with him, and to commen further.
Then was she gone: but when and whether
No wyght any worde of her could tell;
But yet she walked to my Lorde of Arundell."
It is beyond question that the original edition by John Rastell
was formerly in the Harleian Collection, where it must have been
seen and used by Ames, who gives the following as its colophon:
" Emprinted at London at the sygne of the meremayde at Pollis
gate next chepesyde by J. Rastell. 23 March MvCxxv." According to Rastell, the widow was " still living" when he printed her
adventures.
SMITH, WILLIAM. — Chloris, or the  Complaint of the
passionate despised Shepheard. By William Smith. -
Imprinted at London, by Edm. Bollifant.l 1596. 4to.
15 leaves.
The most remarkable circumstance about this very rare book
(only three copies of it have ever been mentioned) is, that it is,
1 He was not a typographer who was much employed at the close of the
seventeenth century.




V1arlt    (fnglsll Kittraturr.               69
not indeed dedicated to, but addressed to Spenser, who must
have given encouragement to the author to print his creditable
sonnets to an unknown mistress, whom he calls Chloris. Regarding Smith we have no information excepting that he was not the
writer of the play printed in 1615 under the title of ".Hector of
Germany," although it has been assigned to William Smith in all
lists, - last in Lowndes' Bibl. lMan. edit. 1863, p. 2431. This
mistake arose out of the initial of the Christian name of both;
but " Chloris," as we see above, was by William, and " Hector of
Germany" was by Wentworth Smith.  They were, however, contemporaries, but the talent of William  Smith appears to have
been entirely undramatic, while Wentworth Smith was the author
of several plays imputed of old to Shakspeare.  William  Smith
could write verse, but it hardly ascended to the rank of poetry,
while Spenser seems to have been anxious to promote the success
of a juvenile aspirant, who more than once speaks of his " maiden
Muse," and of " the young-hatched" offspring of his brain.  Two
sonnets, addressed " To the most excellent and learned Shepheard
Collin Cloute," immediately follow the title-page, and we quote
them:"Collin, my deere and most entire beloved,
My muse audatious stoupes hir pitch to thee,
Desiring that thy patience be not moved
By these rude lines, [that] written heere you see.
Faine would my muse, whom cruell love hath wronged,
Shroud hir love labors under thy protection,
And I my selfe with ardent zeale have longed,
That thou mightst knowe to thee my true affection.
Therefore, good Collin, graciously accept
A few sad sonnets which my muse hath framed:
Though they but newly from the shell are crept,
Suffer them not by envie to be blamed;
But underneath the shadow of thy wings
Give warmth to these yong-hatched orphan things.
"Gife warmth to these yoong-hatched orphan things,
Which chill with cold to thee for succour creepe:
They of my studie are the budding springs,
Longer I cannot them in silence keepe.
They will be gadding, sore against my minde;
But, curteous shepheard, if they run astray




70              3tibtiograpl t gcount I:f
Conduct them, that they may the path way finde,
And teach them how the meane observe they may.
Thou shalt them ken by their discording notes:
Their weedes are plaine, such as poore shepheards weare,
Unshapen, torne and ragged are their cotes;
Yet foorth they wandring are devoid of feare.
They wich have tasted of the muses spring
I hope will smile upon the tunes they sing.
Finis. W. SMITH."
These are followed by forty-nine love-effusions of the same
measure, (with one exception, which found its way into "England's Helicon," edit. 1600, sign. M 2 b,) but before we quote a
specimen from them, we will extract a third sonnet to Spenser,
(the last in the volume, and numbered 50,) which, however, merits
attention chiefly on account of the poet (here called Colin, and
not Collin) spoken of in it. It runs thus, not unmusically:"Colin, I know that in thy loftie wit
Thou wilt but laugh at these my youthfull lines:
Content I am they should in silence sit,
Obscurd from light, to sing their sad designes;
But that it pleased thy grave shepheardhood
The Patron of my maiden verse to bee,
When I in doubt of raging Envie stood,
And now I waigh not who shall Chloris see:
For fruit before it comes to full perfection
But blossome is, as every man doth know:
So these being bloomes, and under thy protection,
In time, I hope, to ripenes more will grow.
And so I leave thee to thy woorthy muse,
Desiring thee all faults heere to excuse."
Spenser was, no doubt, at this date in a forbearing and approving mood, for he had published his own Amoretti in the year
preceding.  Of course the two works will not bear an instant's
comparison, and Smith endeavors to make up for the absence of'
real inspiration and genuine feeling (in which Spenser abounds)
by artificial ornaments, and by the frequency of classical allusions. As an example of a sonnet with fewer of these impeding
aids, we extract that numbered 39:"The stately Lion and the furious Beare
The skill of man doth alter from their kinde,




larml   (fngltto    Ctrrattl lr.            71
For where before they wilde and savage were
By art both tame and meeke you shall them finde.
The Elephant, although a mighty beast,
A man may rule according to his skill;
The lustie horse obaieth our beheast
For with the curbe you may him guide at will:
Although the flint most hard containes the fire,
By force we do his vertue soone obtaine,
For with a steele you shall have your desire.
Thus man may all things by industry gaine;
Onely a woman, if she list not love,
No art nor force can unto pitie move."
Certainly Smith's " art " was not of a kind and degree to move
much pity in any lady who was a judge of the real excellence of
poetry, its fire and its fervor; and he owns that his complexion,
"' which was black," did not suit the taste of Chloris. We are
inclined to think that Smith's best production is the six-andtwenty lines called " Corins Dreame of his faire Chloris," which
obtained for him a place in both editions of " England's Helicon,"
1600 and 1614.1 Most of the sonnet-writers of that day, with
the great exceptions of Shakspeare and Spenser, were more or
less imitators of each other —the main difference being the
degree of imitation.
SONGS AND AIRS. - Two Bookes of Ayres. The first
conteyning Divine  and  Morall Songs: The  second,
light Conceits of Lovers. To be sung to the Lute or
Viols, in two three and foure Parts: or by one Voyce
to an Instrument. Composed by Thomas Campion.
-London:  Printed  by Tho. Snodham, for Mathew
Lownes, and J. Browne.  Cum Privilegio.  Folio.  25
leaves.
Both theawords and music of this work were the production of
Thomas Campion, who in 1602 had printed "Observations in
1 It is only subscribed W. S., and is found on the reverse of sign. M 2 of
the edition of" England's, Helicon," in 1600. There are several variations
between the printed copies of 1596 and 1600, but they are not worth pointing out, as they do not affect the meaning of the poet.




72           Jbibtiograpiiatl 2toaunt of
the Art of English Poesie, wherein it is demonstratively prooved,
and by example confirmed, that the English toong will receive
eight severall kinds of numbers, proper to it selfe." This production was the occasion of Samuel Daniel's "Defence of Ryme,"
which was not first printed in 1603 (as would seem from the
reprint in "Ancient Critical Essays," 4to, 1815), but in 1602,
showing that Daniel lost no time in preparing his reply, which is
a very elegant piece of prose composition. We notice the two
editions of 1602 and 1603, because they vary, a circumstance not
noted by the editor of the reprint of 1815, who was only acquainted with the impression of 1603. Our business here is with
Campion's original poems in the "' Two Bookes of Ayres" now
before us, which are not included in any enumeration of his productions that we have been able to examine.
Very soon after 1590 Campion's talents as a versifier were
appreciated, and in 1593 he was by name applauded by Peele in
the " Prologus" to his poem, " The Honour of the Garter."  We
may here note that one copy of this piece, which we have met
with, had no date at the bottom of the title-page.
The " Two Bookes of Ayres " are separately dedicated, one to
the Earl of Cumberland, and the other to his son and heir. To
the former Campion says: -
" What patron could I chuse, great Lord, but you?
Grave words your years may challenge as their owne,
And every note of music is your due,
Whose house the Muses pallace I have knowne."
To the son he apologizes both for "his notes and rime"; and
in an address to the Reader he observes: "In these English
Ayres I have chiefely aymed to couple my words and notes lovingly together, which will be much for him to do that hath not
power over both."  All we can undertake here is to give a few
specimens of Campion's " words," and the following is, perhaps,
as graceful lyric as can easily be found in our language: —
"Give Beauty all her right;
Shees notto one forme tyed:
Each shape yeelds faire delight,
Where her perfections bide;
Helen, I grant, might pleasing be,
And Rosomond was as sweet as shee.




Qhdart~  (f.ligts    fitcraturr               73
"Some the quicke eye commends,
Some swelling lips and red:
Pale looks have many friends,
Through sacred sweetnesse bred.
Medowes have flowers that pleasure move,
Though Roses are the flowers of love.
"Free Beauty is not bound
To one unmoved clime;
She visits every ground,
And favours every time.
Let the old loves with mine compare,
My soveraigne is as sweet and fayre."
Here we plead guilty to making an emendation in the second
stanza, where " swelling" has been misprinted smelling. In "Antony and Cleopatra," Act II. sc. 2, the reverse error has been committed by putting swell for " smell."  The subsequent song is of a
different character, but very charming, and the close felicitous: —
" There is none, 0! none but you
That from me estrange your sight,
Whom mine eyes affect to view,
Or chained eares heare with delight.
"Other beauties others move
In you I all graces finde:
Such is the effect of love
To make them happy that are kinde.' Women in fraile beauty trust:
Onely seeme you faire to mee,
Yet prove truely kinde and just,
For that may not dissembled be.
"Sweet, afford mee then your sight,
That surveying all your lookes,
Endlesse volumes I may write,
And fill the world with envyed bookes:
"Which when after ages view,
All shall wonder and despaire,
Woman to finde a man so true,
Or man a woman halfe so faire."
Besides more serious pieces, on which we need not dwell, there
is a very lively rustic song, which concludes thus: —




74            t3ibtiora pfiral      atccount of
" Now, you courtly Dames and Knights
That study onely strange delights,
Though you scorne the home-spun gray,
And revell in your rich array;
Though your tongues dissemble deepe,
And can your heads from danger keepe,
Yet for all your pompe and traine,
Securer lives the silly swaine."
Such easy and cheerful words seem, in reading, to inspire their
own music. No date can' be' assigned to the'work in hand, but
we may presume that it was written while the author was young
and his spirits buoyant.l He afterwards became more constrained,
and sometimes harsh, as may be seen in the songs for several
Masques of his composition.  At the end of the " Two Books of
Ayres " is a very curious and interesting list, thus entitled: " A
Catalogue of all the Musicke Bookes that have been printed in
Enaland, eyther for the Lute, Base Violl, Voyces, or other Musicall Instruments." It is upon a large separate folded sheet in
three columns, and comprises nearly 150 distinct publications, beginning with those in folio and proceeding to the quartos, each
alphabetically arranged.  We can only specify a few, but among
them are these: Alfonso's Ayres, Bartlet's Ayres, Coperario's
Ayres, Corkine's Ayres, Cavendish's Ayres, Campion's first, second, third, and fourth bookes, Dowland's four bookes, Daniel's
Ayres, Ford's'Ayres, Jones's Musical Dreame, Jones's Muses
Garden, Morley's Consort, Bathe's Introduction, Bird's set of
Gradualia, East's four Sets, Gibbons' Madrigals, Farmer's Madrigals, Holborne's Gitterne Booke, Ravenscroft's four bookes of
Catches, Wilbie's six Sets, Kirbie's six Parts, Bennet's Madrigals,
Watson's six Parts, Wilkes' Fantastickes, Carlton's five Parts,
Youle's Canzonets, Sir William Leighton's Songs and Sonnets,
Sr. Edwin Sand's Psalmes, &c.
One of Campion's rarest works, of a middle period, (only two
copies of it have come down to us,) was his " Songs of Mourning: bewailing the untimely death of Prince Henry," the music to
1 George Clifford Earl of Cumberland, to whom Campion dedicates the
first of the two books, died in 1605, but his son did not succeed him: he
must have died before his father, whose brother inherited the title.




KarlQ  <nglisl) Vitfrature.                  75
which was not his own, but by John Cooper, who Italianized his
name as Coperario.  They were printed together, in 1613, "for
John Browne;" and we quote only a single specimen, since, in
every respect, the grief and words are too artificial, as if unprompted by genuine grief and sensibility.  The following is
headed"To the most disconsolate Great Britaine.
When pale famine fed on thee
With her insatiate jawes,
When civill broyle set murder free,
Contemning all thy lawes;
When heaven enrag'd consum'd thee so
With plagues, that none thy face could know,
Yet in thy lookes affliction shewed lesse
Than now for one's fitll all thy parts expresse.
"Now thy highest States lament
A Sonne and Brother's losse;
Thy Nobles mourne in discontent,
And rue this fatall crosse.
Thy Commons are with passion sad
To thinke how brave a Prince they had.
If all thy rockes from white to black should turne,
Yet couldst thou not in shew more amply mourne."
This is in a very different style and strain to that which Campion could produce when unfettered by his subject, and allowed
free range to his fancy and imagination. He was an excellent
scholar, as well as a fine poet and an accomplished musician, and
he prefixes to his " Songs of Mourning" some good hexameter
and pentameter lines. They are followed by an English Elegy,
in which the author was evidently not less anxious to propitiate
the living Prince, than to lament the dead one. It requires no
further notice.
SOOWTHERN, JOHN.-  Pandora.   The  Musyque of the
beautie of his mistresse Diana. Composed by John
Soowthern, Gentleman, and dedicated to the right Honorable, Edward Dever, Earle of Oxenford &c. 1584 June
20. Non careo patria, me caret ]lla magis. -  Imprinted




76            J3ibliografpalf)a  2c;ount of
at London for Thomas Hackette, and are to be solde
at his shoppe in Lumbert streete under the Popes
head.  1584.    4to.  B. L.  40 leaves.
The title of this volume has never before been given, and the
only copy known to Ritson was deficient in this respect. One or
two other exemplars, more or less complete, are mentioned by
bibliographers; but the contents are so worthless that we shall
dismiss the work comparatively briefly. We believe that the only
perfect copy was that belonging to Heber, which we have used.
Steevens conjectured that Soowthern, Soothern, or Southern, was
a native of France; but we apprehend that he was English, and
had been educated abroad before he came to this country to follow
his profession as a musician. It has been supposed that Drayton
referred to this rhymster (who scarcely deserves even to be so
called) when, in the first ode of his "Poemes Lyrick and Pastorall" (n. d., but printed soon after the death of Elizabeth) he
thus addressed a person, whose name he spelt -
"Southerne, I long thee spare,
Yet wish thee well to fare,
Who pleased'st greatly,
As first, therefore more rare,
Handling thy harpe neatly."
Here we have no Christian name, and it is impossible to believe
that Drayton would mean to praise anything in Soowthern (if the
same man were intended) but his neat handling of the harp. Whatever may be the value of the lines as a kindly tribute, they have
not hitherto been cited.  Puttenham, in his "Arte of English
Poesie," 1589, does not name Soowthern, but ridicules the affectation, self-conceit, and plagiarism of his productions. His words,
of easy application by those who were acquainted with Soowthern's
style, are the following:-" Another, of reasonable good facilitie in
translation, finding certaine of the hymnes of Pyndarus and of
Ailacreon's Odes, and other Lirickes among the Greekes, very
well translated by Rounsard, the French Poet, and applied to the
honour of a great Prince in France, comes our minion, and translates the same out of French into English, and applies them to
the honour of a great nobleman in England; wherein I commend




~;at-1   ~~tgl ljl  E~itcratur.              77
his reverent minde and duetie, but [tle] doth so impudently robbe
the French Poet, both of his prayse and also of his French termes,
that I cannot so much pitie him, as be angry with him for his injurious dealing; our sayd maker not being ashamed to use these
French wordes, freddon, egar, superbous, filanding, celest, calabrois,
thebanois and a number of others for English wordes, which have
no maner of conformitie with our language, either by custome, or
derivation" (p. 211).
By the "great nobleman " Puttenham  means the Earl of Oxford, to whom, upon his title-page, and in an unusual manner,
Soowthern dedicates his volume. In some verses " to the Reader,"
he tells him to expect only amorous effusions, and not "furious
alarms," from France, Spain, Germany, or Italy; and the following, numbered 5, is a sonnet "to his Diana," so far anticipating
Constable (see Vol. I. p. 18 7) in the name given to his mistress: —
" Of stars and of forrests Dian is the honor,
And to the seas to the Goddesse is the guide:
And she hath Luna, Charon and Eumenide
To make brightnes, to give death, and to cause horror.
And, my warrier, my light shines in thy fayre eyes;
My dread is of thee, the to great excellence:
Thy wordes kyll mee, and thus thou hast the puissance
Of her that rules the flodes, and lightens the skies.
And as sylver Pheb is the aster most clare,
So is thy beauty the beauty the most rare:
Wherefore I call thee Dian for thy beautee,
For thy wisedome and for thy puissance celest.
And yet thou must be but a Goddesse terest,
And onely because of thy great crueltee."
It is just possible to make sense out of this "mingle mangle,"
(as Puttenham afterwards terms Soowthern's barbarous mixture
of languages,) but when the sense is made out, it is not worth the
trouble. Not a little, and certainly the best part of the collection,
is stolen from  Ronsard, without acknowledgment or reference;
but when the author trusts solely to himself' he is merely inane,
and yet ridiculously and despicably self-satisfied. The following
is the opening of one of his "Elegies," and is addressed
"TO THE: GODS.
"When the eye of the world doth washe
His golden shining haire




78             iJbltioirapticat 2Lcomullt of
In the large Occean seas; and that
They have coverd the lyght,
A murmuring repose and a
Restfull and sleepy night
Is spreded both over the earth
The waters and the ayre.
But I chaunge nature then. For than
Dooth my brightest Aurdr,
In a sweete dreame present her selfe.
0 dreame, no dreame! but well,
The Ambrozie, the Nectar, and
The manna Eternell:
And to be breefe, a vision that
I lyke a God adore.
Wherefore farewell, day of night, and
Welcome night waking daye;
And farewell waking of my sleepe,
Welcome sleepe, lyving joye.
But what say I? my wealth is false,
And my evill veritable;
And I plaine of them both, for I
Have in neither delight:
Except ye Gods will short these dayes,
And eternish this night;
And that God that will doo it, shall
Be a God charitable."
We feel confident that no further sample from such a miserable, self-deluded dabbler can be required; but the latter part of
his volume professes to contain "four Epitaphs by the Countes
of Oxenford, after the death of her young sonne, the Lord Bulbecke"; and an " Epitaph made by the Queenes Majestie at the
death of the Princesse Espinoye," together with " Verses, Stanzas,
Hymnes, and Elegies, all dedicated or sent to his Mistresse Diana."
Soowthern was resolved to furnish sufficient variety, and added to
all these what he calls " Odellets," as well as some French rhymes,
which purport to be original; and from  which we judge, that,
alhough an Englishman by birth and name, he, probably, had
had a foreign education. His productions do no credit to either
country.




Qart!  Qnjgtizj  Citeratnre.               79
SOUTHWELL, ROBERT.-Mary Magdalens Funerall Teares.
Jeremiae Cap. VI. verse 26.  Luctum  unigeniti fac tibi
planctum Amarum. -  London, Printed by A. I.  G. C.
1594. 8vo. 47 leaves.
We are the more desirous to notice this, as far as we know,
unique edition of Robert Southwell's earliest printed work, because, although the title of it has been mentioned, (Lowndes,
Bibl. Man. p. 2461, edit. 1863,) it has been incorrectly given,
and the body of the work, as it here exists, has never been examined. It was several times reprinted, in 1607, 1609, 1620, and
1626; the later impressions are very inaccurate, often substituting
one word for another, and otherwise perverting the meaning of
the author. Thus, on the very first page of the edition of 1620,
we are told that the blessed Mary Magdalen loved our Lord more
than " her selfe," when the edition of 1594 shows that selfe was a
misprint for " life"; and just afterwards " owne death " is substituted for " one death," and turnedst for returnedst. Without pursuing this point further, we may add, that in all the accounts
regarding Southwell, even in that by the late Mr. Turnbull,
("Poetical Works of Southwell," 8vo, 1856,) an introductory
address to the Sackville family, which was written by Trussell,
and printed with his name at length in 1596 and several times
afterwards, is assigned to Southwell, under the initials S. W.,
which were assumed in 1594 in the production before us. This
was a blunder into which Mr. Turnbull fell because it had previously been committed by Haslewood, in Censura Literaria, II.
7, edit. 1815.
The name or initials of Southwell were not upon the title-page,
nor annexed to the preliminary matter of the work in our hands;
and we see that even the printer and stationer did not give their
names. A. I., reversed, we may suppose to have been John Allde,
and G. C. Gabriel Cawood. The dedication "To the worshipfull
and vertuous Gentlewoman Mistresse D. A.," and the address
"to the Reader,'" are both subscribed " Your loving friend S. W.,"
though changed to R. S. in subsequent impressions. In the dedication, the author (who, after all, may not have been Southwell,
but some other nameless and zealous Roman Catholic) thus ad



80             Dlibliogrnapt)al a tc 2 ount of
verts to the loose and idle character of the prevailing poetry
of his day; and we may almost fancy that he had in his mind
(though, of course, he does not name it, nor any other performance of the kind) Shakspeare's " Venus and Adonis," which had
come out in the previous year, and had been reprinted at the
very time when the following attack was directed against such
productions. S. W. expresses his hope that his "pleasing theme"
will be welcome to " Mistresse D. A.," and then adds:"For as passion, and especially this of love, is in these daies the chiefe
commaunder of moste mens actions, and the Idol to which both tongues
and pennes doe sacrifice their ill-bestowed labours; so is there nothing
nowe more needefull to bee intreated than how to direct these humours
unto their due courses, and to drawe this floude of affections into the right
chanel. Passions I allowe and loves I approove; onely I woulde wishe
that men would alter their object, and better their intent."
He then calls upon. worthier pens to take up the subject, observing: "And therefore sith the finest wits are now given to write
passionate discourses, I would wish them to make choise of such
passions, as it neither should be shame to utter, nor sinne to feele."
Possibly, to this admonition we may owe such pieces as Nash's
" Christ's Tears," 1 in prose, which was reissued in 1594, or such
poems as Markham's " Syon's Muse," which came out in 1595.
Again, in his address "to the Reader," S. W. (for so he subscribes it) complains of the poets of his day for taking up profane
fables of love, " wisely telling a foolish tale, and carrying a long
lie very smoothly to the end." On these he laments that " exquisite labours" have been bestowed; and of his own Work he
says, using a word we do not recollect to have met with elsewhere,
4' This commoditie, at the least, it will Lcarrie with it, that the
reader may learne to love without improofe of puritie, and teache
his thoughtes either to temper passion in the meane, or to give the
bridle onelie where the excesse cannot be faultie."
He opens his "Mary Magdalen's Funeral Tears" with these
labored sentences:" Amongest other mournefull accidents of the Passion of Christ, that
love presenteth it selfe unto my memorie, with which the blessed Mary
I Of course we refer here only to the "reissue," because the original
edition, without the author's tendered amends to Gabriel Harvey, came
out in 1593, as we have sufficiently explained on p. 16 of Vol. III.




adrl~  Qngti%1Jl iLiteratnre.                   81
Magdalen, loving our Lord more then her life, followed him in his journey
to his death, attending uppon him when his Disciples fled, and being more
willing to die with him then they to live without him. But not finding
the favour to accompanie hym in death, and loathing after him to remaine
in life, the fire of her true affection enflamed her heart, and her enfiamed
heart resolved into uncessant teares, so that burning and bathing betweene love and griefe, she led a life ever dying, and felt a death never
ending. And when he by whom shee lived was dead, and she for whom
hee died enforcedly left alive, shee praised the dead more than the living;
and having lost that light of her life, she desired to dwelle in darknesse
and in the shadow of death, choosing Christes Tombe for her best home,
and his corse for her chiefe comfort. For Mary (as the Evangelist saith)
stoode without at the Tombe weeping."
The above will afford a notion of the artificial, antithetical,
and somewhat inflated style of the whole work: it is in many
respects like a long sermon upon the text from Jeremiah on the
title-page, and as we proceed, we wonder how so much eloquence
can be wound upon so small a foundation.  There is not a scrap
of poetry, strictly so called, from the beginning to the end, but
the writer warms as he proceeds, and in some places works himself up to a high pitch of religious enthusiasm.1  In one place he
apostrophizes Mary Magdalen, and in another, near the end, he
appeals thus earnestly, on her behalf; to the Saviour: —
" O good Jesu! what hath thus estranged thee from her?  Thou hast
heretofore so pitied her tears that, seeing them, thou couldest not refraine
thine. In one of her greatest agonies, for love of her that so much loved
thee, thou didst recall hir ded brother to life, turning her complaint into
unexpected contentment. And we know that thou doest not use to alter
course without cause, nor to chastise without desert. Thou art the first
that invitest and the last that forsakest, never leaving but first left, and
ever offering till thou art refused. How then hath she forfaited thy favor?
or with what trespasse hath she earned thy ill will? That she never left
to love thee, her heart will depose, her hand will subscribe, her toonge
will protest, her teares will testifie, and her seeking doth assure. And,
1 Gabriel Harvey, in 1593, (" Pierces Supererrogation,") says, "Who
can deny but'the Resolution and Mary Magdalens Funerall Teares are
penned elegantly and pathetically?  " This praise, judging by the dates,
preceded the publication of the works to which they apply. It appears
from the accounts of the Lieutenant of the Tower, which we have inspected, that Robert Southwell was a prisoner there in 1592, as well as
afterwards.
VOL. IV.            16




82            J.BibliograpJikal  tkcount of
alas! is her particular case so farre from example, that thou shouldest
rather alter thy nature, than shee better her fortime, and be to her as
thou art to no other?"
The fault of Southwell's style, both in prose and verse, is a want
of simplicity, and the defect is well illustrated in our last quotation, where he enumerates so elaborately the claims of his heroine
(if we may so consider her) to the especial favor of our Lord.
Southwell was executed as a concealed Jesuit in 1595; and it is
singular to find his biographers citing, as his, a poem which, in
1596, alludes to his own sufferings and decease: —
" But now, by Death's none-sparing cruelty
Is turn'd an orphan to the open air," &c.
This poem was composed by, and signed by, John Trussell, the
author of " The first Rape of Faire Helen," published in the year
when Southwell was executed.
SOUTHWELL, ROBERT. -  Saint Peters Complainte. Marie
Magdalens Teares, with other workes of the author
R. S.- London Printed for W. Barrett. 1620. 12mo.
288 leaves.
The above title is in a small compartment in the centre of an
engraving representing four passages in the history of the Saviour
at the corners, with the figures of Mary Magdalen and St. Peter
at the sides. The whole volume is dedicated by the stationer to
the Earl of Dorset. It is divided into five parts by separate printed
title-pages:-1. St. Peter's Complaint. 2. Mmeonie. 3. Mary Magdalen's Funeral Teares (in prose).  4. The Triumphs over
Death (in prose). 5. Short Rules of good Life (in prose). Most
of these were often printed separately at earlier dates, beginning
wijth " Mary Magdalen's Funeral Tears " in 1594, and " St. Peter's
Complaint" and "Mweonie " in 1595. In the edition before us,
the poems, &c. purport to have been written by R. S.; but an
impression of several of them was made abroad in the same year,
where they are stated to be "by the R. Father Robert Southwell,
Priest of the Society of Jesus." To the present copy is added a




earLt   (ngllisl) 39iterature.             83
poem called "The Christian's Manna," not found elsewhere, but
which, though not reprinted by Mr. Turnbull, there is no sufficient
reason for doubting to be by Southwell. He was a writer whose
thoughts often possess striking novelty. He was violently bigoted
to his religion, but such stanzas as the following, from the "' Christian's Manna," belong to no peculiar body of believers.  The author is arguing against the presumptuous folly of those who refuse
faith merely because they cannot understand: —
"The Angels eyes, whom veiles cannot deceave,
Might best disclose what best they do discerne:
Mlen must with sound and silent faith receave
nMore than they can by sense of reason learne.
Gods power our proofe - his workes our wits exceed:
The doers might is reason fotr the deed."
It should be mentioned that " St. Peter's Complaint" is dedicated by the author to his " loving Cousin "; "Mary Magdalen's
Funeral Tears," as we have seen, "to the worshipful and vertuous
Gentlewoman Mistresse D. A.; " "The Triumph over Death " to
Richard Sackville (who became Earl of Dorset in 1609); and
"' The short Rules of good Life " to his " dear affected fiiend
M. D. S."'"Msonim" has no dedication, and it was originally
printed as a supplement to " St. Peter's Complaint."  The Christian's Manna" is so scarce that Mr. Turnbull could not obtain the
sight of it, but we have a copy now before us.
SPENSER, EDMUND. -  Complaints.  Containing sundrie
small Ptoemes of the Worlds Vanitie.  Whereof the
next Page maketh mention. By Ed. Sp. - London.
Imprinted for William Ponsonbie &c. 1591. 4to.
91 leaves.
The poems enumerated at the back of the title-page are these:
1. The Ruines of Time. 2. The Teares of the Muses. 3. Virgil's Gnat. 4. Prosopopoia, or Mother Hubberds Tale. 5. The
Ruines of Rome by Bellay.  6. Muiopotmos, or the Tale of
the Butterflie.  7. Visions of the World's Vanitie.  8. Bellayes
Visions. 9. Petrarches Visions. Of these, " The Teares of the




84           bibLiograpl)iral  rrcount of
Muses " and " Prosopopoia, or Mother Hubberds Tale," have distinct title-pages, dated 1591.  "Muiopotmos, or the Fate of the
Butterflie," has also a distinct title-page, but it is dated 1590.
It is in the address of " The Printer to the gentle Reader " that
mention is made of certain other poems and "pamphlets" by
Spenser, then no doubt existing, although Ponsonby could not procure copies of them, but now irrecoverably lost. These are, " Ecclesiastes et Canticum Canticorum translated - A senights slumber - The hell of Lovers - his Purgatorie;" together with
" The dying Pellican - The howers of the Lord - The sacrifice
of a sinner — The seven Psalmes, &c." In the same address,
Ponsonby notices his publication of " the Faerie Queene," meaning, of course, only the first part, the three books which appeared
in 1590.
The poems before us were printed probably while their author
was in Ireland, but he seems to have prepared them for publication, and they are severally, dedicated to the Countess of Pembroke, Lady Strange, Lady Compton and Mounteagle, and Lady
Carey.
The Visions of Bellay and Petrarch in this volume had been
printed, with variations, more than twenty years before they appeared here. They were unquestionably the very earliest extant
work of Spenser, having been inserted by Vandernoodt in his
" Theatre, &c. for Voluptuous Worldlings," which came out in
1569, when Spenser was not more than sixteen years old. " Petrarch's Visions" are there called " Epigrams," and Vandernoodt
professed to have rendered them himself from the Brabant language into English. In the same way he asserts that he had translated the " Visions of Bellay "out of Dutch into English." The
most plausible solution seems to be, that Spenser translated them
for him, while Vandernoodt took the credit of it. The " Visions
of Bellay" Vandernoodt calls " Sonnets," and it is remarkable
that they are in blank-verse, as he printed them, although, when
republished by Spenser in the volume before us, he changed them
from blank-verse into the ordinary form of the rhyming sonnet.
The " Visions of Petrarch " were originally printed in rhyme, but
some of them were then only of twelve lines. Spenser subsequently
added an additional couplet to such as were deficient.  See "The
Life of Spenser," 1862, pp. xxii, xlii.




(gart  Ontglitl) Viteratl rr.             85
SPENSER, EDMUND.-  Foure  Hymnes, made  by Edm.
Spenser. -  London, Printed  for William  Ponsonby.
1596. 4to. 23 leaves.
These hymns " Of Love,"' Of Beauty,"'" Of heavenly Love,"
ancd" Of heavenly Beauty," are dedicated to the Countesses of
Cumberland and Warwick, the dedication being dated,'" Greenwich, this first of September, 1596."  Respecting them, see " The
Life of Spenser," 1862, p. cxxiv.  " Daphnaida," an elegy on the
death of " the noble and vertuous Douglas Howard, daughter and
heire of Henry Lord Howard, Viscount Byndon, and wife of Arthur Gorges Esquire," is appended to most copies of this volume.
SPENSER, EDMUND. -  The Shepheards Calendar.  Conteining twelve Aeglogues proportionable to the twelve
Monethes.  Entituled to the noble and vertuous Gentleman most worthie of all titles, both of learning and
chivalry, Maister Philip Sidney. -  London Printed by
John Windet for John Harrison the yonger &c. 1591.
B. L. 4to. 56 leaves.
This is the fourth, or perhaps the fifth, edition of " The Shepherd's Calendar," which originally appeared in 1579, dedicated,
as above, to "' Maister Philip Sidney." The favorable acceptance of it perhaps encouraged Stephen Gosson, in the same year,
to dedicate to Sidney a work of a very different kind, " The School
of Abuse," which was scornfully repudiated by Sir Philip. See
"The Life of Spenser," 1862, pp. xxxi, lxxvi.
SPENSER, EDMUND. - Certaine worthye Manuscript Poems
of great Antiquitie Reserved long in the Studie of a
Northfolke Gentleman.  And now first published by
J. S.  The statly tragedy of Guistard  and  Sismond.
The Northren Mothers Blessing.  The way to Thrifte.




86            Bibl1iorgratp)iCal account of
-Imprinted at London for R. D. 1597. 8vo. 38
leaves.
This little volume has been reprinted within the present century, but we notice it under the heading of our great romantic
poet, because it is dedicated to him, -" To the worthiest Poet
Maister Ed. Spenser," - and because there is a circumstance connected with one of the three pieces it contains that has not hitherto attracted attention. It may be that the scarcity of the book
has led to the non-detection of the fact, that "The Northren
Mothers Blessing," which comes second on the title-page, is the
very poem which Sir F. Madden printed in 1838, as from a
manuscript once belonging to Dr. Adam Clarke, and afterwards
the property of Mr. Loscombe of Corsham, Wiltshire.  Sir F.
Madden mentions one other MS. of the'same production, in the
library of Trin. Coll. Cambridge; but besides the printed copy of
1597 now before us, there is a third and well-known MS. of it in
the Lambeth Library, No. 853, where it bears the title "' How the
Goodwife taught her Daughter."  Considering that the reprint
was made as long since as 1812, it is singular that it should have
been unknown in 1838; and in his Introduction to his "' Sir Gawayne," in the next year, Sir F. Madden still only speaks of it as
a MS., as if not aware that it had been in print in our language
for more than two centuries. " The Northren Mothers Blessing"
is a didactic poem of thirty-three stanzas, in which a Goodwife instructs her daughter in the ways of the world,' and in the manner
in which she ought to carry herself. We are not about to criticise or to make extracts from it, further than is necessary for the
purpose of showing the identity between the MS. used by Sir F.
Madden and the printed copy of 1597. The MS. used by Sir F.
Madden must have wanted the introductory stanza, which stands
thus in the old printed copy in our hands:" God wold that every wife that wonnyth in this land
Wold teach her doughter as ye shal understand,
As a good wife did of the North countrd,
How her doughter should lere a good wife to bee:
For lacke of the moders teaching
Makes the doughter of evill living,
MIy leve dere child."




(~rl Q  (tn3lib1 n~iterctture.               87
If Sir F. Madden had seen this stanza, or the name of the
poem as reprinted in 1812, or as printed in 1597, he could not
have said, " the locality of its composition it is not easy to determine; it contains some traces of a northern dialect," because the
Mother is expressly called " northren," with the addition that she
was " of the north countre."  He was quite right in assigning the
original MS. to about the reign of Henry VI., but in the impression of 1597 the language (and especially the spelling) is somewhat modernized. The first stanza in Mr. Loscombe's MS., Sir
F. Madden tells us, runs as follows:"Doughter zif thou wilt ben a wif, & wiseliche werche
Loke yt thou love welle god, & holy cherche:
Go to cherche when thou mygthe, lette for no reyne
Alle the day thou farest the bette that thou hast god yseyne.
Wele thryvethe that god lovethe, my dere childe."
The second stanza in the printed copy of 1597 is this, showing
that the poems are identical: -
"My doughter gif thou be a wife, wisely thou werke,
Looke ever thou love God and the holy Kirke:
Go to Kirke when thou may, and let for no rayne,
And then shall thou fare the bet, when thou God has sayn.
Full well may they thrive
That serven God in their live,
My leve dere child."
Here " leve dere " is merely pleonastic, the Saxon word" leve"
signifying dear; and here we may remark that there is a misprint
in the heading of Sir F. Madden's printed copy of 1838, where
"fele tyme & ofte " (unless our exemplar differ from others) is
misprinted " sele tyme & ofte ": " fele tyme & ofte " of course is
many a time and oft, A. S. fela; a fact of which we cannot suppose Sir F. Madden to have been ignorant, though it is possible
that his printer mistook the f for the long s. However, in an
importantpoint, relating to the life of Sir Thomas Gresham, he
certainly mistook the letter T for G, and thus confounded Sir
Thomas Tresham with Sir Thomas Gresham; — " Sir Frederick
Madden has cited a manuscript which states that Queen Mary
was proclaimed at Northampton by Sir Thomas Gresham, with
the ayd and helpe of the towne, being borne amongst them."




88            tbltiograpikatl 2Lrrount of
Here for Sir Thomas Gresham (who was born in London) we
ought to read Sir Thomas Tresham, who was born at Northampton, (Cooper's Ath. Cantabr. II. 415.) Sir F. Madden misread
the MS. and strangely confounded the two old capital letters
which begin the names of Tresham and Gresham. It would
indeed have been a curious and novel incident in Sir Thomas
Gresham's life, if it could have been shown that he assisted at the
proclamation of Queen Mary when she came to the throne.1
We need not doubt that the author of " The Northren Mothers
Blessing" was in the Church, if only for the emphasis with which
he makes the matron enjoin her daughter to pay her tithes cheerfully -
"Gladly give thou thy tithes and thine offrings both;"
which in Mr. Loscombe's MS. stands thus, the word "blethely"
(i. e. blithely) being used for "gladly ":" Blethely zeve thi tythys & thin offerynges bothe."
It was clearly an original old English poem, which J. S. here
and there modernized; and the same may be said of " The Way
to Thrift," while it seems equally certain that " The statelie Tragedie of Guistard and Sismond" was not from the Italian of Boccaccio (Day IV. Nov. 1).  Tancredi Prence di Salerno uccide
l'amante della figliuola,, mandale il cuore in una coppa d'oro,
laquale messa sopr' esso acqua avelenata, quella si bee, k cosi
muore. It first appeared in our language through the medium of
a French version.2
1 And, moreover, that Sir Thomas Gresham was born at Northampton
and not in London. We have quoted the Athence Cantabrigienses for this
correction of Sir F. Madden, not being ourselves aware of the particular
publication where the strange error was committed, -so strange indeed
that we cannot help thinking that the printer, as in the case of " sele"
for fele, must have been in fault. Our reference to the Ath. Cantabr.
ought to have been to the first instead of to the second volume of that
valuable work.
2 This was not the only poem that William Walter translated from the
Italian, "through the medium of a French version." He also rendered
into English the story of Titus and Gesyppus: they were printed by
Wynkyn de Worde, the first in 1532, and the last without date. Dr. Dibdin, (Typ. Ant. II. 338,) making a cqotation from Walter's "Spectacle of
Lovers," misprints "Endever thy selfe" "And ever thy selfe," making
the passage nonsense.




Kcarlt    fngtis*    Citrraturt.          89
We oiught to add that the poem called "' The Northren Mothers
Blessing" has a separate title-page, (wanting in a copy of the
volume of 1597, which was formerly in our hands,) and that it is
in these terms: " The Northren Mothers Blessing. The way of
Thrift. Written nine yeares before the death of G. Chaucer. —
Loindon, Printed by Robert Robinson for Robert Dexter. 1597."
The dedication to Spenser, at the back of the first general titlepage, which has no printer's name at the bottom of it, is in this
form: -' To the worthiest Poet
Mlister Ed. Spenser."
Who J. S., the dedicator, may have been, is unknown.
STAFFORD, V. — A  compendious or briefe examination
of certayne ordinary complaints, of divers of our country
men in these our dayes: which although they are in
some part unjust and frivolous, yet are they all by way
of dialogues thoroughly debated & discussed. By W.
S. Gentleman. - Imprinted at London &c. by Tho.
Marshe.  1581.  B. L.  4to.  59 leaves.
This tract was reprinted in 1751, accompanied by a preface to
prove that it was written by Shakspeare, - a position which the
date alone ought to have refuted. Shakspeare did not come to
London until 1586 or 1587; but a passage in the dedication to
the Queen, wherein'W. S. (i. e. W. Stafford, as has since been
ascertained) expresses his gratitude to her Majesty i" in pardoning certayne my undutifull misdemeanour," was easily perverted
(supposing time of no consequence) into an allusion to Shakspeare's offence as a deer-stealer, and the mere mention of a
"venison pasty," in the first dialogue, would have been enough to
afford a confirmation.
The work is divided into three parts or dialogues between a
Knight, a Doctor, a Merchant, and a Capper: the first adverts to
the complaints and "griefs" of' the country; the second to the
causes of them, and the third to the remedies for them. It shows




90            t3iblioagraptica1 account of
that the writer was a man of considerable learning, much knowledge of the state of affairs, and of great judgment and acuteness
of observation. Regarding him, nothing has reached our day,
but possibly he was father to the author of the next article.
STAFFORD, ANTHONY. - Staffords Heavenly Dogge: or
the life and death of the Cynicke Diogenes, whom
Laertius stiles Canem  Celestem, the Heavenly Dogge,
by reason of the Heavenly precepts he gave. Taken
out of the best Authors &c.- London, Printed  by
George Purslowe for John Budge, and are to be sold
at the great South-doore of Paules, and at Brittaines
Burse.  1615.  12mo.  67 leaves.
This zealous and eloquent author's earliest work was called
after himself, " Stafford's Niobe, or his Age of Teares," which
came out in 1611, although the writer was then an extremely
young man, for in 1608 he was only seventeen, and a commoner
of Oriel College. It has been noticed by bibliographers that' Stafford's Niobe " arrived at a second edition in the same year
in which it was originally published; and it was followed immediately by " Stafford's Niobe dissolv'd into a Nilus," also with the
date of 1611: to it was appended, with fresh pagination, "An
Admonition to a discontented Romanist," so little reason was
there for the suspicion of the Puritans that Stafford meant to
encourage popery. Of this "Admonition" no account has been
given, nor has it, we believe, been anywhere mentioned, yet all
through Stafford assails the Roman Catholics without reserve or
moderation. In one place he remarks, " I doe not clearelie see in
what the Pope doth imitate Peter, except it bee in his deniall of
Christ. Peter sought to convert both Jewes and Gentiles: the
Popje studieth how to couzen Christians. Peter offered a piece
of.silver for tribute to Caesar: the Pope sendeth a piece of steele
to Princes. Peter willeth the People to pray for their Princes:
the Pope not only willeth, but hireth slaves and rascalls to raile
against their Soveraignes."




eatl!  (ffnghtis) fittraturr.                91
Reading the two parts of Stafford's " Niobe," a general invective against vice and a laudation of virtue, it seems difficult to
extract from them anything sectarian, and least of all anything
papistical. Although the Puritans found fault with the work, and
wrote against it, there is much in it that is favorable to their habits
and tenets. The writer was an enthusiast, and did not always
weigh nicely the import of his language; and among other things he
gravely tells us of an interview with which he was favored by the
spirit of Sir Philip Sidney. All, or nearly all, he produced was
in prose, and he strongly censures poets who " disguise their lasciviousnesse under a veile of smooth running words." The only
scrap of verse he has left behind him, as far as we know, is the
following brief translation from that " everlasting Worthy of the
French, divine du Bartas, Peu je regretteroy la perte de leurs
ans," &c.
"Yet would I grieve their losse of time the lesse
If, by their guilefull verse, their too much art
Made not their hearers share with them a part.
The sugred baits of those their learned writs
Doe shroude that poyson, which the younger wits
Quaffe down with breathless draughts, and love's hot wine
(Making them homage do at Bacchus shrine)
Distempreth so their stomachs, that they feed
On such ill meates as no good humours breed."
In fact, in the small work immediately under notice, devoted to
the praise rather than to the biography of the Cynic Diogenes,
Stafford refers, without much respect, to such persons as "read
ballads and books balladical," as if there really were nothing of
greater worth in poetry.  His "Niobe" he dedicated to the Earl
of Salisbury; but his " Heavenly Dog" to Sir John Wentworth,
in terms of the warmest friendship. The greater part of the
tract consists of a long speech by Diogenes, in which he enforces
his own doctrines and principles, and represents himself as much
more of a, braggart, especially in the company of Alexander,
than was becoming the real character of the philosopher. Diogenes exclaims in one place, -
"I need not blush at any one of my actions: I make the people my
spectators and judges. I approve myself to God; the censures of men I
regard not, nor care I if all my thoughts were registered. What is good




92            J3ibliorapbicda   2conunt of
I applaud, what is evill I reprehend in whome soever I finde it. Thus it
often falls that my patients beate me, and will not attend the cure of their
bad affections. My mind alters not, notwithstanding their stubbornenesse; but I still endeavour to teach those that correct me, and with the
fondnesse of a father love them."
It is singular to find a scholar, like Stafford, making Diogenes
talk of the two hemispheres of the globe, and of Alexander conquering the one by means of the other, about 2000 years before
the western world was discovered. He says little or nothing
regarding the life of the Cynic, and thus ends his tract regarding
his death:" The sunne in the spane of twelve houres saw Diogenes die with the
courage of a man, and Alexander with the pusillanimity of a pesant of
Babylon. Thus did one day finish the dayes of the worlds terrour and
the worlds wonder."
Stafford introduces his "Niobe" by an address ", to the longeared Reader," but his Diogenes, with more humility, "to the
modest Reader." To the last tract is prefixed a very neat engraving of Diogenes in his book-furnished tub.
STAGE-PLAYERS. -  The  Stage-players Complaint.  In a
pleasant Dialogue betweene Cane of the Fortune, and
Reed of the Friers. Deploring their sad and solitary
condition for the want of Imployment in this heavie
and contagious time of the Plague in London. - London, Printed for Tho: Bates, and are to be sold at
his shop in the Old Bailey, &c.  1641.  4to.  4 leaves.
Only two copies of this tract, relating to the Stage and Drama,
just before the closing of theatres by the Puritans, are known.
The plague was prevailing in London at the time it was written,
and the enemies of Plays and Players availed themselves of the
visitation, as if it were sent by heaven as a punishment for indulging in. such profanations.
There are woodcuts of two male figures on the title-page, one
much larger than the other; and which was intended for Andrew
Cane (or Kane), and which for Immanuel Reed, does not appear:




fctrta   etlnJilt) Eitertture.                93
the first, in 1641, was a famous comedian at the Fortune Theatre
in Golden Lane, Cripplegate, and the second quite as celebrated
a performer at the Blackfriars Theatre.  The reputation of Cane
long survived him; and in a tract by Henry Chapman, printed in
1673, on the virtues of the Bath waters, we read as follows: —
" Without which a pamphlet now a days finds as small acceptance,
as a Comedy did formerly at the Fortune Play-house without a Jig
of Andrew Keins into the bargain."  Regarding Reed, we may
quote the following lines from'The Careless Shepherdess,"
printed fifteen years after the date of the tract before us:" There is ne'er a part
About him but breaks jests. -
I never saw Reade peeping through the curtain,
But ravishing joy entered my heart."
In our " Stage-Players Complaint" they are brought together
conversing in the street about their misfortunes, and the dialogue
commences thus:" Cahne. Stay Reed! Whither away so speedily? What! you goe as
if you meant to leape over the moone. Now, what's the matter?
"Reede. The matter is plaine enough: You incuse me of my nimble
feet; but I thinke your tongue runnes a little faster, and you contend as
much to out-strip facetious Mercury in your tongue, as [I do] lame Vulcan in my feete."
The piece is wretchedly printed, and even at the very commencement we find " incuse " put for accuse, and the words I do,
absolutely necessary to the sense, entirely omitted. In the next
speeches, and for the rest of the dialogue, Cane is called Quick
in the prefixes, and Reed Light, which probably gives us the
appellations by which they were then popularly known. They
continue: -
" Quick. Me thinks you're very eloquent. Prithee tell me, don't Suada,
and the Jove-begotten braine Minerva lodge in your facundious tongue?
You have, without doubt, some great cause of alacrity, that you produce
such eloquent speeches now. Prithee, what is it?
"Light. fow! Cause of alacrity? S'foot I had never more cause of
sorrow in my life. And dost thou tell me of that? Fie, fie!
"Quick. Prithee why? I did but conjecture out of your sweet words.
"Light. Well; I see you'le never be hanged for a Conjurer.' Is this a
world to be merry in? Is this an age to rejoyce in?  Where one may as
soone find honesty in a Lawyer's house as the least cause of mirth in the




94              ]3ibiograpl)kirat 2Lount of
world. Nea; you know this well enough, but onely you love to be inquisitive, and to search the nature of men."
Hence they proceed to advert to their individual sufferings and
disappointments, owing to the prevalence of the infection, and
the disposition of the Puritans to terminate, and exterminate, all
theatrical exhibitions and performances: —
"QQuicek. But, i'le assure you, tis to be feared; for Monopolies are
downe, Projectors are downe, the High Commission Court is downe, the
Starre Chamber is down and (some think) Bishops will downe: and why
should we, then, that are farre inferior to any of those, not justly feare
least we should be downe too?
"Light. Pish! I can show thee many infallible reasons to the contrary.
We are very necessary and commodious to the people: first for strangers,
who can desire no better recreation then to come to a Play: then, for Citizens to feast their wits: then, for Gallants, who otherwise, perhaps, would
spend their money in drunkennesse and lasciviousnesse, doe find a great
delight and delectation to see a Play: then, for the learned, it does increase and add wit constructively to wit: then, for Gentlewomen, it
teacheth them how to deceive idlenesse: then, for the ignorant, it does
augment their knowledge. Pish! a thousand more arguments I could
add, but that I should weary your patience too much. Well, in a word,
we are so needfull for the Common good, that, in some respect, it were
almost a sinne to put us downe: therefore, let not these frivolous things
perplex your vexatious thoughts."
Cane (alias Quick) was, however, a true prophet, and the
blow fell, perhaps sooner than even he expected, for an Ordinance of the Lords and Commons for the suppression of Stageplays and the closing of theatres throughout the kingdom was
issued on the 2d September, 1642, although it was evaded, and was
not finally put into operation until about five years afterwards.
Everything about this tract - its authorship, its typography, and
its purpose, show that it was brought out with extreme celerity.
STAGE-PLAYS. - A shorte Treatise against Stage-playes.
Prov. 10. 23 &c. Prov. 21. 17 &c. Ephes. 5. 11 &c.
— Printed in the yeere of our Lord 1625. 4to. 14
leaves.




Q1arl~  fngligl) giiteraturc.             95
The dulness of this anonymous attack is somewhat compensated
by its brevity. It has no place nor printer's name, and the type
has some appearance of foreign manufacture. We never met
with more than one other exemplar of it.
The title-page is followed by "An humble supplication tenderied to the High and Honourable House of Parliament, assembled May xviij, 1625"; and we may perhaps suppose that by one
"house of Parliament" both were intended.  It contains an
untrue assertion that stage-plays'"have been justly censured
and worthily prohibited by statutes made in the late raigne of
famouse Queene Elizabeth, and of our noble and learned King
James." N1o statutes were passed in either of those reigns doing
more, in effect, than regulating and limiting such performances.
They were never prohibited excepting on account of the prevalence of the plague.
On the 18th May, 1625, Charles I. had not been two months
on the throne, and the object perhaps was to induce him to interpose his authority for the entire suppression of the stage.
The tract, short as it is, is divided into four parts:'" 1 The
original beginning of Stage-plays is shewed.  2 The end is
pointed out for which they were devised. 3 The generall matter
or argument acted in them is opened in a few words. 4 The reasons to prove them unlawfull are rendred."  The old grounds
of attack are slightly touched upon without a single syllable of
novelty.
STALBRIDGE, HENRY. -  The Epistel Exhortatorye of an
Inglyshe Chrystian unto his derely beloved countrey
of Ingland, agaynst the pompouse popysh Bishops therof, as yet the true membres of theyre fylthye Father
the great Antychryst of Rome.  Made by Henry Stalbrydge, I-ieremie L. Deale with babylon as she hath
deserved, &c. 8vo. B. L. 36 leaves.
It has been usual to assign this tract to Bishop Bale, and it is
certainly as coarse and abusive as his style was wont to be; but
there is no other reason for attributing it to him, and strong ones




96                                  a     uibiionrap[iacl  ctounlt of
for concluding that it was written by Henry Stalbrydge, whose
name it bears on the title-page. He distinctly claims it, and Bale
disclaims it; for he does not insert it in his own list of his works,
as he probably would have done had it really come from his pen.
The impression in our hands has not been noticed by bibliographers, and at the back of the title is the following preface:" As I have compyled thys treatise in the zeale of God and my prince
against the tyraunt of Rome and hys secret mainteyners, so it is my desyre
that hys grace may have it as the frute of my Christen obedience. And
I doubte not but somme godly man, lovinge hys grace better then that
wycked pope, wyll faythfully delyver it unto him, the sleyghtes of their
false generation considered. Pray (gentyl reader) that it maye fynde
grace in his syght."
At the end of " the Epystel," and before the word Finis, we
read thus: "Written from  Basyle a citie of the Helvecyans by
me Henry Stalbrydge;" so that he again asserts it to have been
his work.  Then follows " An Appendyce" addressed to Gardiner on his answer to " the Hunting of the Romish Fox," and to
it is added " A brefe Table," containing all the principal points
discussed; but there is no date from  beginning to end: it belongs,
however, to about the year 1544, and thus refers to the statute
that had been passed a year or two earlier against Players and
Minstrels who endeavored to promote the Reformation: Stalbrydge is addressing Roman Catholic Priests: —
"And you like tiraunts, more cruell then the Turke, constrayne men
to professe your false faith by divers kindes of death: none leave ye unvexed and untroubled -no, not so much as the poore minstrels and players
of interludes, but ye are doing with them. So long as they played lyes,
and sange baudy songes, blasphemed God, and corrupting mens consciences, ye never blamed them, but weere very well contented. But
sens they persuaded the people to worship theyr Lord God aryght, accordyng to hys holie lawes and not yours, and to acknoledge Jesus Chryst
for their onlye redemer and saviour, without your lowsie legerdemaines,
ye never were pleased with them."
This passage, referring to the manner in which Protestant
dramas had been at that date substituted for Roman Catholic
miracle-plays, is interesting; and a little farther on, Stalbrydge
tells us. that " players and syngers," as well as godly ministers,
writers, and preachers, had been burned as heretics. Elsewhere




(arlt   (flglislz    fittrature.            97
he mentions the name of one of the most popular dramas of the
period, "Hick Scorner," printed by Wynkyn de Worde, and
his tract is full of temporary allusions. We will only make
another brief quotation, where he applauds the Reformers of
Germany: -
"The noble Germaynes have gracyouslye done before him, [Henry
VIII.] makynge theyr monasteryes, nonnes coventes, and fryers howses,
scoles of Chrysten learninge, hospytalles for sycke people, and convenyente
dwellynge places for the impotente poore and aged, reservenge the reste of
the landes and goodes to the mayntenaunce of theyr cyttes and contrees;
whych godly distribucyon is much commended all Christendome over,
where as it is throughlye knowen. Not unknowen is it to these pompouse Prelates, that whan those landes and goodes were fyrst delyvered
unto their predecessours, it was not to the intent that they should become
possessours or lordes of them, but faythfull disposers to the use of the
weake and nedye, that Chryst might so be harboured, noryshed, covered,
fedde and visited in his diseased membres, as wilbe required at the latter
day."
We do not feel called upon to supply any specimen of the
strong epithets abundantly showered upon the Pope, the Priests,
and Roman Catholics generally, the use of which ornaments of
speech led to the belief, in which we do not accord, that the
Epistle was the work of Bale. We look upon it as a successful
imitation of Bale's style of treatment, and argument.  There
were two distinct impressions of it, but they only differ literally.
STANYHURST, RICHARD. -  The first foure Bookes of Virgils }Eneis, Translated into English Heroicall Verse
by Richard Stanyhurst: With other Poeticall devises
thereto annexed. — At London, Imprinted by Henrie
Bynneman dwelling in Thames streate neare unto Baynardes Castell.  Anno Domini 1583.  4to.  B.. L.  54
leaves.
This very rare work, the copy of which in the Bodleian
Library is imperfect at the end, was reprinted in 1839; and we
should not here notice it, were it not that we wished to introduce
VOL. IV.               7




98             Bibliorapl)ical t 2tount of
a curious passage, not known to the editor, relating to Stanyhurst,
which we find in one of Barnabe Rich's tracts called " The
Irish Hubbub, or the English Hue and Cry," dated from Dublin,
24th June, 1618.  Here Stanyhurst is spoken  of as living,
although in the prefatory notice to the reprint it is stated that
"he died at Antwerp in the year 1618": if so, perhaps it occurred late in the year, or Rich had not heard of it when he
wrote as follows:"And as the Irish are thus pleasantly conceited, to jest and to scoffe
when they find occasion, so they have as great facilitie in weeping,
as Stanhurst, a famous man amongst them for his excellent learning
[states]; for he was a Chronicler, then a poet, and after that he professed
Alchymie, and now hee is become a massing Priest. This Stanhurst in
his History of Ireland maketh this report of his countrey-men: —they
follow the dead corps to the ground with howling and barbarous outcries,
pittifull in appearance, whereof (as he supposeth) grew this Proverbe —
to weepe Irish."
This in most respects agrees with the account given by the
editor of the reprint of Stanyhurst's translation of the first four
books of Virgil; and to it we may add what Thomas Nash says
of Stanyhurst's method of versification; for that able pamphleteer and satirist was in no way tolerant of hexameters, or of any
other classical forms in English: 1_ " Master Stanyhurst (though
otherwise learned) trod a foule lumbring, boystrous, wallowing
measure in his translation of Virgil. He had never been praised
by Gabriel for his labour, if therein he had not bin so famously
absurd."
We transcribe the above from Nash's " Strange Newes," 4to,
1592, sign. G 3, which (see Vol. III. p. 11) came out with a new
1 We do not know that it has been observed upon, but it is a fact, that
no less a poet than Chaucer was the earliest introducer of classical measures into our language. He commences his prose version of Boethius
with these two hexameter lines, which are as correct as many of those
which Stanyhurst inserted in his Virgil: —
"Alas, I wepyng am constrayned to begin verse of sorowful mater,
That whilom in flourisshyng studye made delytable verses."
They are the rendering of the following couplet: —' Carmina qui quondam studio florente peregi,
Flebilis, hesn, mrestos coger in ire modos."




Oarlt     fntglis    fiteraturc.              99
title-page in 1593 as " the Apologie of Pierce Pennilesse." Of this
circumstance the editor of the reprint under consideration was
possibly not aware, and it may have led him into the mistakes in
his quotation, where he printed " though " the, and " wallowing"
walloping, besides inserting " Gabriel Harvey" at length, when,
as we see, Nash gives Harvey only his Christian name, in order
to treat him more contemptuously. In the same way, probably
from not consulting the original, he makes Bishop Hall speak of
"chaunted feet" instead of "changed feet"; and in the long
quotation from Phaer's Virgil he has printed worke for " wroke,"
(the past tense of the verb to wreak,) and same for "fame,"-the
last error arising, as usual, out of the confusion between the long
s and the letter f. The text in general is correct, excepting
that in the dedication a marginal note is omitted, and that in
Book I. we are told that " Ganymed by love too skytop is hoysed,"
when, as we know, and as Stanyhurst wrote, the feat was performed by " Jove " and not by love. In the brief introductory
prose to the "Certaine Psalmes of David " the word first is accidentally inserted, when it has no place in the original; and
"played" is misprinted payed in the description of Liparen.
We believe that the reprint of 1839 was confined to fifty copies;
and Stanyhurst's experiment in English hexameters has been so
often mentioned, and ridiculed, that we are unwilling not to
add a brief specimen.1 We will extract part of the speech of
1 A very singular experiment in English hexameters was made in 1599,
by an anonymous author, in a small unique volume, entitled, " The first
Booke of the Preservation of King Henry the vij. when he was but Earle
of Richmond." What is most curious in it perhaps is, that the author,
whoever he may have been, introduced his work by an explanation of the
" Prosody" he had observed. At the back of the title-page he tells the
Printer, R. B.: -
"Print with a good letter, this booke, and carefully Printer:
Print each word legibill, not a word nor a sillabil alter:
Keepe points, and commas, periodes, the parenthesis observe;
My credit and thy reporte to defend, bothe safely to conserve."
In the third line he commits his first blunder, as regards our language,
for we never pronounced the word "observe," as he requires it for his
measure, with the emphasis on the first syllable. His introductory matter
is superabundant, and an address to the Queen occupies many pages; it
ends with these so-called hexameters:



100              Bibtiograpt)jial  2tcount of
Dido before her death, and follow it by the same passage as rendered by Lord Surrey, more than forty years earlier, in blankverse:
"0  my sweet old leavings, whilst mee good destinie suffred,
And god of his goodnesse you mee too pleasure alowed,
Take ye my faint spirit, mee from these troubles abandon:
I liv'de, and the travail graunted by fortun I traced;
Also my goast shortly too pits of Limbo shal hobble.
A citty I founded stately, thee wals did I see rais'd,
And the death of my husband on freendleesse broother I venged.
Blessed had I rested, yee, thrice most blessed, if only
In theese my regions no Troian vessel had anchor'd."
It seems strange that the mere beauty of Virgil's versification
did not save us from  the infliction of Stanyhurst's  "hobbling"
hexameters. The Earl of Surrey (we quote from Tottell's first
" Here I wil end, 0 Queen. 0 Lord our only creator,
(Our Lord Emmanuel, our Christ and sole mediator)
Adde to thy life many yeares, as he did to the King Ezechias,
Safely defend thee from harme, as he safely preserved Elias:
And that he graunt to thy Grace, after this life (as a chosen
Vessel of his, purify'd) joyes in celestiall heaven;
Joyfully there to remaine with Jesus Christ the Redeemer,
Imparadiz'd as a Saint, with Saints in glory for ever.
As two Greeke letters in Grecian Alphabet, Alpha
First letter plaste is; but placed last is Omega:
So will I continuall, first and last, praise thee for ever;
If that I could poetize, as I would: thy glory to further."
It is the more singular that the writer did not give his name, because it
is clear that he was in no way dissatisfied with his " poetizing."  The
body of the work hardly occupies so much space as the introductory
matter, and we never hear of a second book, to be added as a continuation
of the "first."  It is printed in oblong 8vo. The author especially mentions Stanyhurst with applause, but advises him, if still living, to correct
some of his misshapen lines. He likewise praises Spenser, not for his
"Fairy Queen," but for his endeavors to introduce classical measures into
English. For the rhymers of his day, though he mentions several, he
seems to have had as little admiration as they must have felt for him.
This circumstance alone is sufficient to convince us that " The Preservation of Henry VII." was not by Sir Edward Dyer. Besides, the style of
the whole production is unlike what would have proceeded from his elegant and accomplished mind. Dyer, however, lived till the spring of
1607.




atrl[  Q~ngiglt) 1;itcrature.            101
edition of 1557) gives the same passage more tersely and harmoniously: -
" Swete spoiles, whiles God and destenies it wold,
Receive this sprite, and rid me of these cares.
I lived and ranne the course fortune did graunt,
And under earth my great gost now shall wende.
A goodly town I built, and saw my walles:
Happy, alas, too happy, if these costes
The Troyan shippes had never touched aye."
It is quite clear that Stanyhurst was not encouraged to continue his labor, although he lived more than thirty years after he
printed his " First foure Bookes of Virgils 2Eneis."
STATUTES, &C. OF WAR. -Hereafter Ensue certayne
Statutes and Ordenaiices of warre made ordeyned enacted & establysshed by the most noble victoryous, and
moste Christen Prynce our moste drade Soueraygne
lorde Kynge Henry the viij. B. L. 4to. 16 leaves.
This publication, from the press of Pynson, was wholly unknown to Ames, Herbert, and Dr. Dibdin. The colophon is,
" Emprynted at the hyghe Comaundement of our Soueraygne
lorde the Kynge Henry the viij. By Rycharde Pynson, prynter
vnto his noble grace. The yere of oure lorde M.CCCCC. and
xiij."
Under the title are the king's arms, supported by two winged
angels, and below them the crowned rose, and a square including
three castles. The back of the title is filled by Wynkyn de
Worde's largest device, as given in Dibdin's Typogr. Ant. II. 38.
At the back of the last leaf is Pynson's device, number five, as
also given by Dr. Dibdin. The last signature is C iiij. The subsequent extract from the preamble shows upon what occasion these
statutes and ordinances were published: —
" Semblably oure soueraygne lorde Henry of this name the viij, by the
grace of god kynge of Englande and of Fraunce, & lorde of Irlande entendynge by the same grace with all goodly spede to passe ouer the see in
his awne persone with an Armye and hoste Royall for ye repressynge the




102            Bibliograpl)aicl   2ccount of
great tyrannye of the Frensche kynge now lately coiiiytted and doon aswell in vsurpynge vpon cristes Churche and the Patrymonie of the same
and in raysynge noryssynge and maynteygnynge a detestable Scisme in
the sayd Churche to the great inquyetacion of all xpendome, as also in
deteignynge by vyolence Reames, Landes, Senyoryes and dominions of
dyuerse and many xpen Prynces distourbynge and inquyetynge by suche
sedicious ambicious and contencious meanes the states tranquylyties and
restfulnes of all xpen regyons, to the manyfest dafager of his hyghnes &
this his Realme of Englande and subgiettes of the same, vnlesse the inordynate appetyte of ye sayd Frensche kynge be spedely with myght and
power repressed and resysted," &c.
The following are among the "' Statutes and Ordinances ":"For dysysnge, cardynge, and all maner of games.'" Also that no man play at dyse, cardes, tables, close, handout, nor at
none other game, wherby they shall waste theyr money or cause debates
to aryse by ye same. And if any so be fofide playinge at any of thyes
games, that for ye firste tyme he or they shalbe coiytted to warde, there
to remayne viij dayes, and to lose all suche money as they or any of them
playe for, the one halfe to the prouoste of the marshall, and ye other halfe
to hym that so fyndeth them playinge. And if any of the sayd armye be
foade twyes playinge he shalbe cofinytted to the prouostes warde there to
remayne a moneth and to forfayte a monethes wages, the one halfe to
ye kynge and the other halfe to the fynder. Prouyded alwaye yt he that
so fyndeth any of them warne the tresourer of the warres, incontynent
after he hath so fofide them or as soone as he maye, or els to take no profyt
of that parte of the sayd wages. And if any so be founde the thrydde
tyme playinge he to be cofiytted to warde there to abyde ye kynges
pleasure, and to have suche further punycion as shall please the kynge.
"For theym that crye hauoke.
"Also that noo man be so handy to crye hauoke, vpon payne of hym
that so is founde begynner to dye therfore and the remenaunt to be emprysoned, and theyr bodyes to be punysshed at the kynges wyll.
"For women that lye in childbedde.
" Also that no man be so hardy to go into no chambre or logynge where
that any woman lyeth in childbedde her to robbe ne pyll of no goodes the
whiche longeth vnto her refresshyng, ne for to make none affraye where
thorugh she & her childe myght be in any disease or dispayre, vpon
payne he that in suche wyse offendeth shall lose al his goodes, halfe to
hym that accuseth and halfe to the marshall, and hym selfe to be dede,
ibut if the kynge gyue hym grace and pardone."




(farl   (fnglioll)  iterature.           103
STEVENSON, MATHEW.-  Occasions Off-spring, or Poems
upon severall Occasions. By Mathew Stevenson &c.London, Printed for John Place &c. 1645. 12mo.
72 leaves.
Tihe author produced the contents of this volume at various
periods, and here collected them into a volume, probably the first
time he had seen his poems in print. They are dedicated to his
cousin, Mr. Benjamin Cooke, and are ushered into the world by
numerous commendatory lines, all signed with initials.  The
following, with the initials F. B. at the foot, speak of a very
distinguished poet of that day: —
" Tell me no more of Withers wilde abuses;
Thy booke a thousand times more wit produces.
Withers shall wither, whilst thy bays are seen,
Like Daphnes chapplet, of immortall green."
In one of his poems, which are generally of a temporary and
trashy description, Stevenson mentions a circumstance relating
to Thomas May of some curiosity. He is writing In honorem
Poetarum.
"Yea, do not all men say
Poets dare any thing?
Pray, was not noble May,
Call'd brother by a King'?"
This must of course refer to a period anterior to the date when
May became Historiographer to the Parliament, and produced his
History of it from the year 1640. All parties, Clarendon, Fuller,
Phillips, Winstanley, &c., agree that he quitted the royal side
because " his bays were not so richly gilded " as he had hoped:
some assert that he took umbrage at the royal preference of
Davenant for the office of the Queen's poet.
STRAFFORD, THO. WENTWORTH, EARL OF. -  Great Straffords Farewell To the World: Or his Ultimum  Vale
To all earthly Glory. Written by his owne Hand in




104            Bibtiograpltirant 2ttount of
the Tower, and left behinde him for his friends or
foes to peruse and consider.- Printed in the yeare
1641. 4to. 4 leaves.
A poem apparently divided into twenty-seven six-line stanzas,
but, in fact, entirely in couplets. On the title-page is a coarse
woodcut of the Earl, and under it, " Thomas Earle of Strafford L.
Leutenant of Ireland &c."
The whole is written in a strain of self-accusation and reproof,
and it thus concludes -
"I doe confesse I have deserved death,
And willingly submit to lose my breath:
The world I freely with my heart forgive;
Since all must die, why should I wish to live?
I justly die by th' Law: fame ring my knell;
Earths fading pompe adieu; vaine world farewell! "
These lines, like some others, run easily enough, and whoever
might be the author of them, he was neither an unpractised
versifier, nor an impartial judge.  We never met with any other
copy of this temporary tract, but there exist various pieces of the
same character. One of an entirely different complexion is in
the shape of a broadside, and bears for title " The Earle of Strafford his Ellegiack Poem, as it was pen'd by his owne hand a little
before his Death," and at the bottom is " Finis.  Printed in the
Yeare 1641."  It is a very poor production, in which Strafford is
made to vindicate himself, especially his conduct in Ireland, and
it closes thus:"For all the service I have done the State,
My early risings and my sleeping late;
For all those cares kept sad my charge, my long
Zeale to my Prince, which you misconster'd wrong;
For all my labours, and in that pursuit
My slaughtered honours, and my life to boote,
Doe this, and you shall by my counsaile prove
Happy on earth, as I in Heaven above;
And though (for this shall your most comfort bring)
You lov'd not me, yet love my Lord your King."
The logic and sense of this passage are not very apparent, but
we are not for a moment to suppose that either the above or




tffart  (fgnltis) Kiteratnrc.            105
what precedes it really came from the pen of the unhappy Earl.
His friends could do him little service after his enemies had cut
off his head.
STRIPPING, Whipping, and Pumping. Or The five mad
Shavers of Drury-Lane; Strangely Acted and truely
Related. Done in the Period, latter end, Tayle, or
Rumpe of the Dogged Dogge-dayes, last past, August,
1638.- Together with the names of the severall parties which were Actors in this foule businesse. -  London: Printed by J. 0. for T. Lambert. 1638. 8vo.
12 leaves.
This is a rare humorous tract, though not perhaps rarely
humorous; and facing the title-page is a woodcut, representing
one woman in the midst of four others, (all with labels and inscriptions from their mouths,) two of whom have rods in their
hands, andn all of them engaged in tormenting her in various
ways. One of the four persecutors is cutting off the victim's
hair, and a second appears to be inflicting a wound upon her
with a knife. Below, and as if coming out of the ground at one
corner, is a man's or boy's head and arms, holding a barber's
basin. The woodcut and the letter-press seem calculated for the
meridian of Drury Lane, where in fact the scene is laid. The
narrative was no doubt founded upon some incident that had
made a disturbance, and had attracted attention in that populous
neighborhood. After a brief introduction, the main narrative
begins thus:
" About the latter end of August last, 1638, this hellish fire of Jealousie
did most strangely inflame five women, whom my pen should not name,
nor should they be knowne by any writing of mine, but that they and
their mad and barbarous proceedings are too much true, and too many
wayes sbattred and spread abroad by sundry Pens and Tongues, some of
them making the matter, that was (and is) bad enough already, worse."
The story relates to the jealousy of Mrs. Evans, the wife of a
barber in Drury Lane, occasioned by the suspected intimacy of
her husband with Joan Isley. Mrs. Evans and four or five




106          Bibtiograp)ical   Lrcconnt of
friends treacherously invite Joan Isley to supper to partake of
pig, and then set upon her in the most pitiless manner with
birchen twigs, razors, &c., and finally drive her naked into the
street at eleven at night, and there pump upon her. In the end
Joan is rescued by a coachman of the name of Finch, who prosecutes her persecutors.
What is most curious in the tract are the local allusions. Thus
Evans, the barber, invites Joan Isley to take a pint of wine with
him at L' a Taverne (the signe of the Phcenix) neare the lower
end of Drury-lane, behind, or on the back-side of the Bell, which
is an Inne and a Taverne in the Easterne part of the Strand."
This Phaenix was, no doubt, a public house close to the theatre
of the same name, and deriving the sign from it. Further on we
have a mention of" Reine-Deere Court" in Drury Lane, whither
Mrs. Evans was carried, with only an apron before her, to be
pumped upon. Helmet Court is still known in the Strand, and
we are here informed that Mrs. Evans was, at the time of the
affray, nursing " a sicke Gentleman, (a Captaine) at the signe of
the Helmet in the Strand"; so that the court was named, as was
very usual, from a public house in or close to it.
The tract ends with some grave reflections upon the subject, a
sort of improvement, or moral deduction from the incidents. The
tract is, we think, unique, and it deserves to be so.
STUBBES, PHILIP. - The Anatomie of Abuses: Contayning a Discoverie, or briefe Summarie of such Notable
Vices and Imperfections, as now raigne in many Christian Countreyes of the Worlde: but (especiallie) in a
verie famous Ilande called Ailgna: Together with most
fearefull Examples of Gods Judgementes, executed upon
the wicked for the same, aswell in Ailgna of late, as
in-other places, elsewhere. — Verie Godly to be read
of all true Christians, euerie where: but most needefull to be regarded in Englande. - Made dialogue-wise,
by Phillip Stubbes. - Seene and allowed, according to




(farlU  (fnglUi       fiterature.        107
order. —Math. 3 ver. 2. Repent, for -the kingdome of
God is at hande. - Lvc. 13 ver. 5. I say unto you
(saith Christ) except you repent, you shall all perish.
-- Printed  at London, by Richard  Jones.   1 Maij.
1583. 8vo. 125 leaves.
We believe that the only existing perfect copy of the first
edition of " The Anatomy of Abuses" by Philip Stubbes is that
now before us. One or two other exemplars are known, but we
apprehend that they are more or less defective.
It is dated at the bottom of the title-page "1 Maij 1583," and
it was published, as we may infer, in consequence of the following
entry of it at Stationers' Hall (Extracts II. 178):"Primo Die Martij. -Rich. Jones. Licenced unto him, under thandes
of the Bishop of London, and both the Wardens, The Anatomye
of abuses by Phillipe Stubbes....    vjd.
We may conclude that it was then in its passage through the
press, and it was completed in the next two months. An important part of its contents was an unmeasured attack upon Maygames, and the appearance of the volume on the first day of May
was perhaps designed. As some doubt and confusion prevail
regarding the number and periods of publication of later editions, occasioned in part by misstatements on the title-pages of
one or two of the old impressions, we subjoin an accurate account
of them.
The second edition is dated 16th August, 1583, and we have
given the exact terms of the title-page at the head of the next
article. Thus, whatever number of the first edition was struck off,
the copies were exhausted in rather more than three months.
The third edition came out in the autumn of the following year,
for it bears date 12th October, 1584; but the fourth edition, also
dated 1584, is without any specification of the month, and the
same observation will apply to the fifth edition in 1585. This
last is remarkable, because, although for the same printer and
stationer, Richard Jones, it is by clear error called the third
edition; — "And now newly revised, recognised and augmented
the third time by the same author." We have examined all anterior
impressions of the book and their dates, so that we are in a con



108            Jibliograpli)ral  tIrrount of
dition to speak positively on the subject. It had been printed
four times before it was reprinted in 1585; and in every instance
it had been separately composed, and was not a mere reissue of
copies left on hand. It was on the title-page of the edition of
12th October, 1584, that it was first said that the work had been
"newly revised, recognised and augmented."  In later impressions, of which there were several, none but accidental variations
occur; and the main differences are to be found in the second
edition of 16th August, 1583, as compared with the first edition
of 1st May, 1583.
In the very outset we encounter an important variation, because
"A  Preface to the Reader," which follows a long dedication to
Philip Earl of Arundel, was never inserted after the first impression. Among other points it contains the following remonstrance
against the performance of plays on Sunday:"So that when honest and chast playes, tragedies and enterluds are
used to these ends, for the Godly recreation of the mind, for the good example of life, for the avoyding of that which is evill, and learning of that
which is good, than are they very tolerable exercyses. But being used
(as now commonly they be) to the prophanation of the Lord his sabaoth,
to the alluring and invegling of the People from the blessed word of God
preached, to Theaters and unclean assemblies, to ydlenes, unthriftynes,
whordome, wantonnes, drunkennes, and what not; and which is more,
when they are used to this end, to maintaine a great sort of ydle Persons
doing nothing but playing and loytring, having their lyvings of the sweat
of other Mens browes, much like unto dronets devouring the sweete honie
of the pore labouring bees, than are they exercyses (at no hand) sufferable."
Now, it so happened that in the interval between 1st May,
1583, when the above censure appeared, and 16th August, 1583,
when it was suppressed, the evil against which the passage was
directed had been, at least in part, remedied; for a public order
had been issued forbidding the profanation of Sunday by the
representation of plays and interludes. We know that the order
was afterwards more or less disobeyed, and that the complaint
was therefore renewed; but when Stubbes put forth his second
edition, the experiment of Sunday-suppression had hardly been
tried, and it was not known what effect the directions of the
Privy Council might produce. On this account Stubbes cut away




atr      ( ngtislj ~itctitnurv.              109
his " Preface to the Reader," and he took care not to leave even
his cautious approbation of dramas, which contained "matter
both of doctrine, erudition, good example and wholesome instruction."  We can readily believe that, considering the offence it
had given at Court and elsewhere, he was glad also to omit what
lhe had said, in the first instance, on the subject of indecency
and extravagance in dress. Proclamations, or sumptuary laws,
had rendered his observations somewhat superfluous.  (Egerton
Papers, pp. 247-489.)
Stubbes considered himself a poet both in Latin and English,
and he prefixed to his "Anatomy of Abuses" four Epigrams in
the former language, and a dialogue between himself and his
book in the latter: we subjoin it, as a specimen. " The Author"
thus commences:
" Now, having made thee, seelie booke,
and brought thee to this frame,
Full loth I am to publish thee,
lest thou impaire my name.
"The Booke. Why so? good Maister, what's the cause,
why you so loth should be
To send mee foorth into the World
my fortune for to trye?
"The Author. This is the cause; for that I know
the wicked thou wilt move;
And eke because thy ignoraunce
is such as none can love.
" The Booke. I doubt not but all Godly Men
will love and like mee well,
And for the other I care not,
in pride although they swell.
"The Author. Thou art also no lesse in thrall,
and subject every way
To Momus and to Zoilus crew,
who'le dayly at thee bay.
"The Booke. Though Momus rage and Zoilus carpe,
I feare them not at all:
The Lord my God, in whom I trust,
shall soone cause them to fall.




110o              ibtiograpjicat 2tA connt  of
"The Author. Well, sith thou wouldst so faine be gone,
I can thee not withhold:
Adieu therfore; God be thy speade,
And blesse thee a hundred fold.
"The Booke. And you also, good Maister mine,
God blesse thee with his grace;
Preserve you still, and graunt to you
In Heaven a dwelling place."
The author's fixed determination to publish, in spite of pretended coyness, must have been strong, or such poor arguments
as his Book uses would hardly have prevailed. The whole work
is in the form of a colloquy between two persons called Spudeus
and Philoponus, the latter pretending that he had been long a
traveller " in Ainabla, after Ainatirb, but nowe presently called
Ailgna," (merely reversing the letters of different names of our
island;) and he proceeds to give an account of all he had seen.
The first portion is merely introductory, after which we come to
the following sixteen separate headings: —' A perticuler Discription of apparell in Ailgna by degrees.
"A particulare Discription of the Abuses of Womens apparell in Ailgna.
"The horryble vice of Whordome in Ailgna.' The gluttonie and drunkennesse in Ailgna.
"Great Usurie in Ailgna.
" The Maner of sanctifiyng the Sabaoth in Ailgna.
"Of Stage-playes and Enterluds, with their wickednes.
"Lords of Mis-rule in Ailgna.
" The Manner of Church-ales in Ailgna.
"The maner of keeping of Wakeses and feasts in Ailgna.
"The horrible Vice of pestiferous dauncing used in Ailgna.
"Of Musick in Ailgna, and how it allureth to vanitie.
" Cards, Dice, Tables, Tennisse, Bowles, and other exercyses, used unlawfully in Ailgna.
" Beare baiting and other exercyses used unlawfully in Ailgna.
" A Fearfull Example of God his Judgement upon the prophaners of
his Sabaoth.
"A fearfull Judgement of God shewed at the Theaters."
Such are the various divisions Stubbes makes of his subject, but
he has many digressions, some of them more interesting and
informing than if he had closely adhered to the particular topic
in hand. Thus, under the last heading, without more than a few




{farlt    lgunglit)      t iterature.        111
words of introduction, he breaks out into an attack upon the sort
of books then usually read, and upon the facility with which a
license could be obtained for them.
"And as for the reading of wicked Bookes, they are utterly unlawfull.
* * * And yet notwithstanding, whosoever wil set pen to paper now a
dayes, how unhonest so ever, or unseemly of Christian eares his argument be, is permitted to goe forward, and his work plausibly admitted,
and freendly licensed, and gladly imprinted without any prohibition or
contradiction at all: wherby it is growen to this issue, that bookes and
pamphlets of scurrilitie and baudrie are better esteemed, and more vendible then the godlyest and sagest bookes that be: for if it be a godly
treatise, reprooving vice and teaching vertue, away with it! for no man
(almost) though they make a floorish of vertue and godlynes, will buy it,
nor (which is lesse) so much as once touch it. This maketh the Bible,
the blessed Book of God, to be so little esteemed. That worthie Booke
of Martyrs, made by that famous Father and excellent Instrument in God
his Church, Maister John Fox, so little to be accepted, and all other good
books little or nothing to be reverenced; whilst other toyss, fantasies, and
bableries, wherof the world is ful, are suffered to be printed."
Recollecting that Fox's " Martyrs " is so bulky a work, and that
the publications complained of by Stubbes were chiefly mere
tracts, it is not wonderful that they should have sold more rapidly.
The- author of " the Anatomy of Abuses " had contributed eight
Latin lines introductory of the work of Fox, to which on every
account his partialities would be strong, and he entitled them,
in the true puritanical spirit,-In sanguisugas Papistas Phil.
Stubbes.
At the conclusion of their conference, Spudeus heartily thanks
Philoponus for the novel information and excellent advice he has
given him, and the friends separate after a sort of' prayer.
The number of editions, and the rapidity with which they fobllowed each other, (the work was republished between 1585 and
1595, the latest of the old editions we have seen,) bear witness to
the reception of " the Anatomy of Abuses " by the Puritans; and
encouraged by his success, Stubbes immediately set about a second
part, which came out in 1583, but which is extremely dull, and
which, though reprinted in the same year, was seldom afterwards
heard of. It was expressly called, " The second Part of the Anatomie of Abuses."




112         3Bibtiograpjical t   rrcont of
STUBBES, PHILIP. - The Anatomie of Abuses: Containing a Discoverie, or briefe Summarie of such Notable
Vices and Imperfections as now raigne in many Countreyes of the World: but (especiallye) in a famous
Ilande called Ailgna: Together with most fearefull
Examples of Gods Judgements executed uppon the
wicked for the same, aswel in Ailgna of late, as in
other places elsewhere. Very Godly to be reade of all
true Christians: but most needefull to be regarded in
Englande. Made Dialogue-wise by Phillip Stubbes.
Seene and allowed according to order.  [Math. 3. Vers.
2. Luc. 13. Vers. 5.] -  Printed at London by Richard
Jones. 16 August. 1583. 8vo. 133 leaves.
The chief differences on the title-pages of the first and second
editions of this work, besides the date, are, that the word " Christian" is here omitted before " Countreyes of the World," and
"verie" before "famous Ilande."  There is also a colophon to
the second edition, in order, perhaps, to enforce the assertion that
the work was not surreptitiously published: it runs thus: " Perused, aucthorised, and allowed, accordyng to the order appoincted
in the Queenes Majesties Injunctions. At London Printed by
Richard Jones: dwellyng at the Signe of the Rose and the Croune,
neere unto Holborne Bridge. 1583."  At the back of the above,
which is on a separate page, is Day's original woodcut of an old
man walking, in a long cloak, with flat cap and a pair of gloves
in his left hand.
The internal differences are of much more importance than the
external, besides the total omission of the " Preface to the Reader,"
as noticed in the last article. In the first place comes an additional copy of commendatory verses by C. B. of no merit, but entreating persons of all ranks to buy his friend's book. Considerable additions are then made to the author's text, and among
them a whole section is devoted to " Greate sweareyng in Ailgna,"
which occupies nearly twelve pages, and is the more curious because in it Philoponus (i. e. Stubbes) thus adverts to a previous
publication of his own: —




(ferln nrg1isl) literature.                  113
" There was a certaine yong man dwellyng in Enlocnilshire in Ailgna
(whose tragicall discourse I my self penned about two yeares agoe, referring you to the said booke for the further declaration therof) who was
alwaies a filthie Swearer: his common othe was Gods bloud. The Lorde
willyng his conversion, chastised him with sicknesse many times to leave
the same, and moved others ever to admonish him of his wickednesse: but
alf chastisementes and lovyng corrections of the Lorde, al freendly admonitions and exhortations of others he utterly contemned, stil persevering
in his bloudie kinde of swearing. Then the Lord, seeing that nothing
would prevaile to winne him, arested hym with his Sargeant Death," &c.
Passing by the coincidence of Shakspeare and Stubbes both
using the terms " Sargeant Death " and the figure of the " arest,"
(Hamlet, Act V. sc. 2,) we may notice that the tract here referred to has been discovered of late years, accompanied by a
second relation of a similar character about an old woman to
whom the devil appeared. It is dated 1581, and the title-page
runs as follows: —
" Two wunderfull and rare Examples of undeterred and present approching judgement of the Lord our God: the one upon a wicked and pernitious
blasphemer of the name of God, and servaunt to one Maister Fraunces
Pennell, Gentleman, dwelling at Boothbie in Lincolnshire, three myles
from Grantham. The other upon a woman named Joane Bowser, dwelling at Donnington in Leicestershire, to whome the Devill verie straungely
appeared, as in the discourse following you may reade. In June last.
1581. Written by Phillip Stubbes. - Imprinted at London for William
Wright, and are to be solde at his shoppe in the Poultrie: the middle
shoppe in the rowe, adjoyning to Saint Mildreds Church."
We need not enter into the particulars; but after a prose introduction we arrive at Stubbes's versified narrative of the facts, most
wretchedly and prosaically carried on; but as specimens of verse
by this author are very rare, we quote some lines which, though
consisting only of fourteen-syllable couplets, are divided in the
original into four-line stanzas. Little can be expected from such
a commencement as this: —
" O mortall men, which in this world for time have your repast,
Approch the fearfulst thing to heare that ever happened erst;
Yea, such a thing as dooth importe the Lord our God on bye,
Through swearing by his blessed name offended for to be."
He goes on to tell us how the young man expired swearing " by
VOL. IV.                8




114            Jibtio3rapl'itat   trcount of
Gods blood," and how his own blood gushed out at his toes and
finger-ends. Stubbes then asks: -
" Whose heart is now so obdurate that, hearing of this thing,
Will not permit out of the same great floods of tears to spring?
Or whose minde is so fascinate, or eke so lulde on sleepe,
That for to heare heereof will not constrained be to weepe?
And that for feare he should his God through swearing thus offend,
And thereby purchase to him selfe like dyre and rufull end.
O! you that sweare at everie word, repleate with devilrie,
For to abstain from swearing vile let this a caveat be."
The interview of Joan Bowser with Satan is narrated in the
same lively and poetical style; but she took warning and reformed: -
" It pleased God that she should be to health againe restorde,
By whom all sinne and wickednes, God graunt, may be abhord:
And now she liveth honestly, and ready is to showe
Unto the world the workes of God perfected heare belowe."
The above and other temporary publications sufficiently explain
the reason why Gabriel Harvey, in 1593, termed Stubbes (joining
him with Deloney and Armin) " one of the common pamphleters
of London." There is no doubt that his name was very popular;
and for this reason, when Dr. Parry conspired with others to take
away the life of Queen Elizabeth, Stubbes prepared a very small
pamphlet, of only four leaves, containing particulars regarding the
plot and its discovery. As it is not mentioned in any extant list
of the productions of Stubbes, we quote the title at length.
" The intended Treason of Doctor Parrie, and his Complices, against
the Queenes moste excellent Majestie. With a Letter sent from the Pope
to the same effect.'-Imprinted at London for Henry Car, and are to be
solde in Paules Church-yard at the Signe of the Blazing Starre."
Having noticed these particulars connected with the biography
and productions of Stubbes, we return to the second edition of his
"Anatomy of Abuses," observing that, besides the whole division
on Swearing, in the later copy of that work, (it is not in the first
impression,) we meet with the singular relation regarding the
young bride, who, not being able to set her ruffs to her' mind,
after " cursing and banning and casting the ruffes under her feet,"
wished that the Devil might take her; upon which invitation




(Eartl  t;naltiS) 3ijitratn1re.        115
Satan made his appearance, and " writhe her necke in sonder, so
that she died miserably." Some of Stubbes's principal additions
are in a division of his work containing "a particular description
of the Abuses of women's apparell in Ailgna"; and he there
gives the very date of the young lady's death as the 27th May,
1582. We may infer that the account had reached him in the
interval between the first and second editions of his work.
Here and there he changes his phraseology, in order, perhaps,
to render it more intelligible: thus, for the old expression "it
forceth not," as it stands in the first edition, he substituted "it is
not material" in the second: in another place in the first edition, when exclaiming against " caterpillars" and "locusts "who
" massacre the poor," he ends with a prayer "the Lord remove
them!" but seeing that this was calling upon the Creator to
destroy the rich and powerful, he altered it in the second edition
from " the Lord remove them" to " God amend them."
STUBBES, PHILIP. — A Motive to good Workes. Or
rather, to true Christianitie indeede. Wherein by the
waie is shewed, how farre wee are behinde, not onely
our forefathers in good workes, but also many other
creatures in the endes of our creation: with the difference betwixt the pretenced good workes of the
Antichristian Papist, and the good workes of the Christian Protestant. - By Phillip Stubbes, Gentleman. —
Matthew. 5. verse 16.  Let your light so shine, &c. -
London, Printed for Thomas Man, dwelling in Pater
Noster rowe, at the signe of the Talbot. 1593. 8vo.
114 leaves.
In quoting the sacred text, which the author chose as the motto
of his book, it is singular that he, or his printer, should have left
out so important a word as " good " before " workes."
This is the only copy of the book that we ever met with.
Lowndes originally mentioned it, and the short title is given in the
new edition, p. 2539; but in both it is erroneously dated 1592.
It is entirely prose.




116           t3ibtiograpbifalt  Lacount of
Stubbes, in his dedication, tells Cuthbert Buckle, Lord Mayor of
London for the year, that " he took his gelding about the Annunciation of S. Mary last past," and made a journey, which lasted
about three months, into various parts of the kingdom, partly fbr
pleasure, and partly to avoid the infection of the then raging
plague. As he subscribes it " from my lodging by Cheapside, 8
of November, 1593," we may conclude that by that date the virulence of the disorder had considerably abated. He complains
that he everywhere found the country fertile and beautiful, but
the people utterly unworthy of it, - a deplorable deficiency of
good works, and a lamentable decay of hospitals, almshouses,
churches, schools, &c. His object in writing his book is therefore
evident; and in a brief address " to the courteous Reader" he
apologizes for the unadorned plainness of his style: — "I have
not desired to be curious, neither to affect filed phrases, culled or
picked sentences, nor yet loftie, haughtie or farre fetched epithetes."
Considering the purpose for which the author travelled, we
might reasonably expect some minute and interesting details of
what he saw in the country nearly three centuries ago; but we
have little beyond general invective and pious lamentation over
the prevailing vices, until we arrive at page 184, where remarks
are made upon the facility with which a license was obtained for a
worthless or immoral book, while permission to publish a religious
or meritorious work was long delayed. As this is a point which he
had touched upon in his "Anatomy of Abuses," we transcribe only
a few sentences.  He says: —
" I cannot a lyttle mervayle that our grave and reverend Bishops, and
other inferiour magistrates and officers, to whom the oversight and charge
of such things are committed, will either license (which I trust they do
not, for I wyll hope better of them) or in anie sorte tollerate such railing
libels and slanderous pamphlets as have beene of late published in print,
one man against another, to the great dishonour of God, corruption of
gooddnanners, breach of charitie, and, in a worde, to the just offence and
scandall of all good christians. And truely, to speake my conscience
freely, I thinke there cannot a greater mischiefe be suffered in a common
wealth, than for one man to write against another, and to publish it in
print to the viewe of the world."
In this passage we can scarcely fail to observe an allusion to




(far1t   fQngltilj fittratnrr.              117
the very personal controversy about this date so vigorously carried
on, through the medium of the press, between Nash and Harvey.
The Martin-marprelate feud was also then at its height, and
Stubbes, as a zealous Puritan, sincerely sympathized with his
pen-persecuted brethren. He proceeds: —' I wis, the noble science of printing was not given us to that end, being
indeede one of the chiefest blessings that God hath given to the sons of
men heere uppon earth. For is not this the next way to broach rancor,
hatred, malice, emulacion, envie and the like amongst men? Nay, is
not this the next way to make bloudshed and murther, to rayse up mutenies, insurrections, commotions and rebellions in a christian commonwealth? and therefore I would wish both the bookes and the authors of
them to be utterly suppressed for ever, the one by fire, and the other by the
halter or gallowes, if nothing else will serve. But what should I say? I
cannot but lament the corruption of our time, for (alas) now adayes it is
growen to be a hard matter to get a good booke licensed without staying,
peradventure, a quarter of a yeare for it; yea, sometimes two or threeyeares before he can have it allowed, and in the end happly rejected too:
so that that which many a good man hath studyed sore for, and traveyled
long in, perchance all the daves of his life, shall be buryed in silence, and
smothered up in forgetfulnes, and never see the light; whilest in the
meane tyme other bookes, full of all filthines, scurrilitie, baudry, dissolutenes, cosonage, conycatching and the lyke (which all call for vengeance
from heaven) are either quickely licensed, or at least easily tollerate,
without all denyall or contradiction whatsoever."
At all events Stubbes had not much reason to complain of delay. He collected his materials in the summer of 1593, wrote his
book on his return in November, and published it, duly registered
and licensed, before the end of the year.
He is especially vehement on the neglected and ruinous state
of the churches in the country; and does not spare the Roman
Catholics and Jesuits for their many attempts on the Queen's life,
enumerating Parry, (about whom he had himself written,) Somerville, Arden, Throckmorton, and Babington as among the principal offenders.
This steems to have been the latest work of its author, and it is
very possible that he died of the plague in the year it was published. He may have returned from his country expedition too
soon. When he took up his abode in Cheapside, in November,
1593, the infection proved to be by no means at an end, and he




118          tibliograpljcal   Lkctount of
placed himself in the midst of it. It is rather singular that in the
work in our hands he says nothing of the death of his wife, which
had occurred on the 14th December preceding, at Burton upon
Trent. Perhaps his journey, for the three months during which
he was absent, might in part be caused by it; but if so, it is still
more singular that he should not have alluded to his loss. How
highly he valued her, and what an admirable pious woman she
was, he himself bore ample testimony in a tract which came out
in 1592, and went through almost innumerable editions, the last
we have seen bearing a date considerably subsequent to the Restoration: he called it "A christall Glasse for Christian Women;
containing a most excellent discourse of the godlie life and christian death of Mistresse Katherine Stubbes &c. by Phillip Stubbes,
Gent." It was printed in the first instance by Richard Jones,
who had published " The Anatomy of Abuses"; but in 1600 the
copyright was in the hands of Edward White, the stationer at
the north door of St. Paul's. It is entirely prose, with many details of the dying speeches and godly end of the lady, who had
made an exemplary wife.
SUR]REY, THE EARL OF. - Songs and Sonettes written by
the ryght honorable Lorde Henry Haward late Earle
of Surrey, and other. - Apud Richardum Tottel. 1557.
Cum priuilegio.  8vo.  B. L.  107 leaves.
Such is the exact title-page of the earliest edition of what has
generally been called " Tottell's Miscellany." The poems it contains have many times been reprinted, but invariably, as we
apprehend, not from the first, but from the second edition. Bibliographers have mistaken the second for the first edition; and
Lowrndes (Bibl. Man. 1863, p. 2547) gives the title partly from
the first, and partly from the second edition. At the bottom of
the title-page of the first edition we read precisely as follows:"Apud Richardum Tottel.
1557
Cum priuilegio."




(arvl  Qlt[iist) fittrature.              119
Whereas at the bottom of the title-page of the second edition
(also called the first in the Brit. Mus. Catalogue) it stands thus:
"Apud Richardum Tottel.
Cum priuilegio ad imprimendum
solum. 1557."
Of other differences in the body of the work we shall speak
presently. The colophon of the first edition is in these words:' Imprinted at London in flete strete within Temple barre, at the
sygne of the hand and starre, by Richard Tottel the fift day of
June. An. 1557. Cum priuilegio ad imprimendum solum."  By
the colophon of another edition of the same year, which we take
to be the second, it appears that it came out on 31st July,-" the
xxxi of July, anno 1557." We do not believe that Tottell published more than two impressions bearing date in 1557. Dr. Nott
(Surrey and Wyatt, Vol. I. p. cclxxvii.) asserts, loosely, that in
the course of June and July, 1557, the poems " went through no
less than four distinct impressions." There may possibly have
been three impressions in 1557, but we are convinced that
there were not four. Of the first edition we have never seen
more than a single copy, and of the second only three copies;
one of which, under the notion that it was the first, was reprinted
by Bishop Percy. Dr. Dibdin never saw more than a copy of the
second edition, which he also miscalled the first, (Typ. Ant. IV.
431.) Besides the differences of the title-pages, we are now about
to point out an infallible, and hitherto unnoticed, mode of distinguishing the two.
The fact is, that when Tottell began to print his first edition,
dated 5th June, 1557, he had not all his materials before him.
He had collected a certain number of Surrey's and Wyat's poems,
but not all that, before he had completed the work, fell in his
way. He had set up in type as far as signature Cc iii, when other
poems by Surrey fortunately came to his hands, and these he added
to the rest with the subsequent heading:"Other Songes and Sonettes written by the earle of Surrey."
And the titles they bear are these: —
"The constant lover lamenteth.
A prayse of Sir Thomas wyate thelder for his excellent learning.




120           JBibtiograpjlirat  trconnt of
A song written by the earle of Surrey by (sic) a lady that refused to
daunce with him.
The faithfull lover declareth his paines and his uncertein ioies, and with
only hope recomforteth somwhat his wofull heart."
These are followed immediately by the word Finis, and on another page we read thus: —
"Other Songes and sonettes written by Sir Thomas wiat the elder."
These supplemental productions have the subsequent titles: -
"Of his love called Anna.
That pleasure is mixed with every paine.
A riddle of a gift geven by a Ladie.
That speaking or profering bringes alway speding.
He ruleth not though he raigne over realmes that is subject to his owne
lustes.
Whether libertie by losse of life, or life in prison and thraldome be to
be preferred."
Then, after a repetition of Finis, we have on the reverse of
the page Tottell's colophon as given above. This impression consists, in the whole, of 271 separate productions; but there is no
"Table" as it exists in the second impression, which, instead of
107, (as in the first impression,) consists of 120 leaves. In the
second impression, also, the supplemental poems both by Surrey
and Wyat are incorporated in what were considered their right
places. Those belonging to Surrey come after his poem entitled,
"A  carelesse man scorning and describing the suttle usage of
women towarde their lovers." As we have stated, in Tottell's
first impression, of 5th June, 1557, both Surrey's and WVyat's
additional pieces, obtained by Tottell while the work was going
through his press, form a sort of supplement; and this is the
circumstance that mainly distinguishes the earliest from later impressions. Of course we shall not think it necessary to make any
quotations from productions so well known and so often reprinted;
but in order more completely to show the minute differences, we
shall-subjoin Tottell's address, not "To the Reader," as in the
second impression, but as it stands in the first impression: —
" The Printer to the Reader.
"That to have wel written in verse, yea, and in small parcelles, deserveth great prayse, the workes of divers Latines, Italians and other doe




artt  QOnltist    Fitettiturre.              121
prove sufficiently. That our tong is able in that kynde to doe as prayseworthely as the rest, the honorable stile of the noble earle of Surrey, and
the weightinesse of the depe witted sir Thomas Wyat the elders verse,
with several graces in sondry good Englishe writers, doe show abundantly.
It resteth nowe (gentle reader) that thou thinke it not evill doon to publish, to the honor of the Englishe tong, and for profite of the studious of
Englishe eloquence, those workes which the ungentle heorders up of such
treasure have heretofore envied thee. And for this point (good reder)
thine own profit and pleasure in these presently, and in moe hereafter,
shal answere for my defence. If perhappes some mislike the statelynesse
of stile removed from the rude skill of common eares, I aske helpe of the
learned to defend theyr learned frendes, the authors of this work: And I
exhort the unlearned, by reding to learne to be more skilfull, and to purge
that swinelike grossenesse, that maketh the swete majerom not to smell
to their delight."
In this brief preface Tottell's first edition differs in more than
twenty places from the repetition of it in the second edition. In
the same way, the first poem, " Descripcion of the restlesse state
of a lover, with sute to his ladie to rue on his diying hart," contains nearly as many variations as lines, including in the fourth
line the word " new " instead of ones, as in all later impressions.
Upon this point we are not disposed to enlarge; but we may
mention that in the fifth poem, " expressed," in the last line but
seven, ought certainly to be impressed, and so it stands in the first
edition.
As little notice has at any time been taken of Tottell's reimpression of 1565, we may here insert the full title of it, remarking
that the date, standing by itself at the very top of the page, seems
to have been specially meant to direct attention to it:"1565. Songes and Sonettes written by the right honorable Lord Henry
Hawarde late Earle of Surrey and other.- Apud Richardum Tottell. Curm
priuilegio."
"The Table," which fills two leaves, was first added to the second impression of 1557, and on a separate leaf of the edition of
1565 is this colophon: "Imprinted at London in Fletestrete within Temple barre at the sig'ne of the hand and starre, by Richard
Tottell.  Anno. 1565. Cum priuilegio."  Like the second edition, it consists of 120 leaves. Tottell continued to print to as
late a date as 1594, but we do not hear of any copies of the




122           33ibtiograpjirnat 2Lccount of
"Songes and Sonettes" by him after 1574. In 1585 John Windet put forth an impression, and two years afterwards it came
from the press of Robert Robinson, disfigured by many gross
misprints. Thus, in the third line of the first poem, " despoiled,"
as it is given in 1557, became displayed in 1587, and in a subsequent piece, entitled "Complaint of a lover rebuked," " taketh his
flight" is misprinted "taketh delight."  One of the most noticeable blunders serves to show that the ordinary old prefix of y to
verbs was not well understood in 1587, for there Surrey's "swift
ybreathed horse " is converted into " swiftie breathed horse ": this
is in the famous poem headed, " Prisoned in Windsor, he recounteth his pleasure there passed." This error began with Tottell in
1559.
There is no entry of any edition of Tottell's "Songes and
Sonettes" at Stationers' Hall; but we find memorandums of two
pieces in the Miscellany, which seem to have come out separately,
having been registered by "John Wallye and Mrs. Toye," in
1557-58, and there called " Yf Care may cause men crye," and
"When ragyng Love."  Surrey's claim to various effusions may
*be doubted; and Puttenham, in his' Arte of English Poesie,"
1589, p. 200, tells us that the poem beginning "When Cupid
scaled first the fort," was not by Surrey, but by Lord Vaux.
As " Tottell's Miscellany " (the most valuable, as well as the
earliest collection of the kind) has never been reprinted from the
first authentic impression, we are glad to learn that the Bodleian
copy, the only one at present extant, is about to be reproduced
in, as nearly as possible, its original form.
SURREY, HENRY EARL OF. -Certain Bokes of Virgiles
Aenaeis turned into English meter by the right hon-.orable lorde Henry Earle of Surrey. - Apud Ricardum
Tottel.  Curm priuilegio ad imprimendum solum. 1557.
8vo. B. L. 26 leaves.
We never have been able to obtain the use of a copy of John
Day's undated edition of "The fourth Boke of Virgill, &c. drawn




Oar71    QfEnliz1) Kfitcratunr.          123
into a straunge metre by Henry Earle of Surrey," but Tottell's
impression of the second and fourth books of the ZEneid (though
strangely omitted by Dibdin) is not very uncommon. It was
printed with the following colophon: "Imprinted at London in
flete strete within Temple barre, at the sygne of the hand and
starre, by Richard Tottell the xxi day of June, An. 1557." We
notice it for the sake of showing that the modern reprint (2 vols.
8vo, 1831) is very inaccurate. Thus, near the commencement,
and within the compass of a dozen lines, we have three variations
from the original text, namely, stuck for " stack," stood for " stand,"
and this for " his." A little farther on, the line
"Yea and either Atride would bye it dere,"
does not mean buy it dear, but abide, or suffer for it, dear. Dr.
Nott fell into this mistake, (Vol. I. p. 253.) The reprint of the
fourth book almost begins with an error, for in the second line
the word "nourisheth" is misprinted nourished, while Dr. Nott
transformed the word into nourised, and even Percy let it stand
norished, - the past for the present tense. On the next page,
both in Percy and in the modern reprint, " Iarbas set so light,"
meaning made to be esteemed so lightly, is altered to " Iarbas set
to light," which is nonsense. We know not whether the copy used
by Percy was or was not complete, but although he gave the colophon, he prefixed no title-page. On the whole, however, his reprint is by far the best, especially because he did not venture,
like Nott, to modernize the spelling. We may add that the titlepage, as it is inserted in Lowndes (Bibl. Man. 1864, p. 2782), is
incorrect, for " London " does not appear upon it, and the Christian name of Tottel, or Tottell, is not spelt Richardum, but Ricardum. These are minute matters, and perhaps hardly worth notice,
but for the sake of extreme accuracy.
The second and fourth books of the iEneid, as reprinted by
Bishop Percy, are contained in a volume which has accidentally
become of'great rarity, because, according to Restituta, III. 451,
and Lowndes, Bibl. Man. 1861, p. 1830, only four copies were
saved out of the fire which destroyed the premises of Mr. Nichols,
the printer, in 1808. The primary purpose of the editor was to
make an assemblage of the works of all poets who, anterior to




124          B'bliogractpikct  aotant of
Milton, had written blank-verse. Some of the copies preserved
contain more or less of the productions intended to be included:
one or two have not above half the matter included in the
volume now before us, and we never heard of any other which
has more. We will therefore give an analysis of its contents, for
the information of those who may fortunately possess other portions, not one of which, we can venture to state, is complete
according to the original intention of Bishop Percy: —
I. Songes and Sonnettes of Surrey and other. These are consecutively paged as far as page 272, the folios of the original
edition (extending to 117) being noted in the margin: that original contains 120 leaves, including title, &c.
II. "The second boke of Virgiles Aeneeis," and "The fowrth
boke of Virgiles Aenoeis," extending to p. [57], when we come to
this colophon: -"Imprinted at London in flete strete within
Temple barre, at the sygne of the hand and starre, by Richard
Tottell, the xxi day of June. An. 1557."
III. Ecclesiastes, and Certain Psalms; &c. by Henry Earl of
Surrey.- From ancient MSS. never before printed. - Continuing regularly to p. [76].
IV. Additional Poems by the Earl of Surrey. Continuing to
p. [81].
V. Certayne Psalmes chosen out of the Psalter of David commonlye called thee vii penytentiall Psalmes, drawen into englyshe
meter by Sir Thomas Wyat, knyght, &c. - Imprinted at London
in Paules Church yarde at the sygne of the Starre, By Thomas
Raynald. And John Harrington. — Continuing to p. [109],
where occurs this colophon. -" Cum preuilegio ad imprimiendum
Solum, M.D.XLIX. The last day of December."
VI. Additional Poems by Sir Thomas Wyat. - Continuing as
far as p. [119].
VII. An Oration By Sir Thomas Wyat, Being his Defence
after Indictment and Evidence. - First published in 4to. Strawbhfrry-hill. Printed by Thomas Kirgate, M.DCC.LXXII. - Continuing to p. [141], where we read " The End of Wyat's Works."
VIII. (A new title-page) Poems in Blank Verse, (not Dramatique) prior to Milton's Paradise Lost. - Subsequent to Lord




Qarth (Qntglils) fitcrahtrc.             125
Surrey's in this Volume, and to N. G.'s in the preceding. - Continuing to p. [342], and including the following productions.
1. George Turbervile's translation of Ovid's 11th, 12th, 13th,
14th, 20th, and 21st Epistles. - From p. [145] to p. [1 95].
2, The Steele Glas A Satyre. By George Gascoigne, Esquire.
From p. [197] to p. [237].
3. Precepts for a State. By Barnabie Riche. - From p. [239]
to p. [245]. (Printed in 1584.)
4. Blank Verses by George Peele. - The Moores Address to
the Lord Mayor of London, 1585. By George Peele.- From
p. [247] to p. [249].
5. The Epistle of Pontius Pilate. By J. Higgins. - From p.
[250] to p. [251]. (From the "Mirror for Magistrates.")
6. Elizabetha Triumphans. By James Aske. - From p. [253]
to p. [291]. (Printed in 1588.)
7. A Tale of Two Swannes. By William Vallans.- From p.
[293] to p. [302]. (Printed in 1590.)
8. Poetical Speeches at Elvetham. By Nicholas Breton.From p. [303] to p. [312]. (Printed in 1591.)
9. A Poem on Guiana. By George Chapman. - From p.
[313] to p. [319]. (Printed in 1596.)
10. The First Book of Lucans Pharsalia.  By Christopher
Marlow. - From p. [321] to p. [342]. (Printed in 1600.)
At the end of the last production in this reprint we meet with
the word FINIS.
It should seem as if it had been intended that Vol. I. should
end on p. [141], and that a new volume should commence on
p. [143].
SwEARERS, CUSTOMABLE. -  "A  Christian  exhortation
unto  cuetomable  swearers.  What a ryghte and lawfull othe is: whan, and before whome, it oughte to
be.  Item.  The  maner of sayinge grace, or gevyng
thankes unto  God.  Who  so ever heareth Goddes
worde, beleve it and do therafter shall be saved."
8vo.  B. L.  36 leaves.




126              ibitiograpbktal  2tlcount of
This book has neither name of author, printer, nor publisher
It is without imprint or colophon, but the type seems to be English, and Nicholas Hyll certainly printed one or more editions of
it.  (Dibdin's Typ. Ant. IV. 233, 234.) As to the date, the King
mentioned in the address " Unto the reader" must have been
Edward VI., who we are told "hath restored agayn the pure
word of God, and hath graunted us all fre passage unto it."
The main purpose of the writer (perhaps M. Coverdale, whose
name is given in the reprint of 1575) was to reprove the vice of
swearing, but in the course of his invectives he violently attacks
the bishops, especially where he says, —" No where shall you
fynde more othes, nor of more dyverse kyndes, tha in bysshoppes
houses. And as for common whores, you shall have so manye,
not farre from some of ther houses, as are able to serve the fylthye flocke of an whole countre."
This seems especially directed against the Bishop of Winchester, who, as is well known, had the stews in Southwark under his
special surveillance. Much the same thing is stated further on:
"No faute fyndeth our prelates in thys, nor breake of Christen religion, no more than they do in the daylye huntynge of the
stewes, and other shamefull abhomynations."
From the following we might almost infer that the writer was
not himself a clergyman:   " Who hath so largely bene perjured
as prelates, priestes and religious? whych at the receyvyng of
ther popishe degrees hath forsworne the verite of God, who in
baptisme they faythfully promised to stade by against all the
devels in hell."
" The maner of sayeng grace after the doctrine of holy scrypture" forms a separate part of the work, which concludes with a
seven-line stanza; and twelve more are added at the end under
the heading of "A short instructio to the worlde ": they are separately addressed " To Kynges and Princes," " To Judges," " To
Councelours," "To Chamberlaynes," &c., and as a specimen we
may quote that
"To Controllers.
"Go thorow the court for Christes sake,
And where ye spye any thynge abused
Do your office, and some payne take




KartL p  (fnii   b 3tfitfratlurr.         127
That ydelnesse may be refused.
Great mens houses are accused
To be infecte wyth unclennesse,
Wyth pryde, with othes, and with excesse."
Another stanza (one out of five), addressed "To preestes,"
may also be extracted.
"Wher any vyce now is occupyed
Wythin thys world, as there is muche,
It shuld rygh[t] well be amended,
If all rulers wold rebuke such;
And yf prechers the quycke wold touch,
Where men now ar in synne so ryfe
They shuld right gladly made their lyfe."
It is very clear that the severity with which the author attacked
all parties, rendered it dangerous for him to put his name to the
tract. It seems likely that Nicholas Hyll was also the printer
of this nameless and dateless edition.  If Coverdale wrote the
verses, they did not obtain for him a place in Ritson's Bibl.
Poetica.
SYLVESTER, JOSHUA. - A Canticle of the victorie obteined by the French  King, Henrie the fourth.  At
Yvry.  Written in French  by the noble learned and
devine Poet, William Salustius, Lord of Bartas, and
Counsailor of estate unto his Majestie. Translated by
Josuah Silvester Alarchant-adventurer. -  At London,
Printed  by Richard Yardley, on  Bredstreete hill, at
the signe of the Starre. 1591. 4to. 10 leaves.
Sylvester, though starting, as we see, as a Merchant-adventurer,
became in time so mere a literary adventurer and translating
drudge, that we cannot feel much interest about him or his
unoriginal works. The above, which we believe to be his first
production, is dated by Ritson in 1590, but this seems to be a
mistake; and as the title has nowhere been given at all accurately, we have transcribed it at length. The work is dedicated
in " a quatorzaine " to " Maister James Parkinson, and Maister
John Caplin Esquires, his welbeloved friendes."




128           3ib1ioograpt)icat  rcconnt of
SYLVESTER, JOSHUA. -  The Triumph of Faith. The Sacrifice of Isaac. The Ship-wracke of Jonas. With a
song of the victorie obtained by the French King, At
Yvry.  Written  in  French  by W. Salustius, lord of
Bartas, and translated by Josuah  Silvester Marchant
Adventurer. -  Printed by Richard Yardley and Peter
Short, and are to be sold at the Starre on Bredstreet
hill. 1592. 4to. 30 leaves.
In the dedication to the translator's "Uncle Maister William
Plumbe Esquire," he calls these "the first fruites of my little.
labours," but, as we have seen, he had in fact printed his " first
fruits " in 1591. He makes no profession of any great skill or
fitness for the work, admitting that he had "never been in
France, whereby I might become so absolute "; adding, " If thou
finde me poore in Poetrie, remember that it is not my profession."
The work ends with these lines: -
" Now, readers, if your gentle doome shall daigne
With good aspect to grace my lowly muse;
If you vouchsafe a frendly entertaine
To these first fruites shee offers to your viewes:
If you accept these patterns of her paine,
And helpe her faultes with favour to excuse,
If this first messe doe not your mouthes misleeke,
Your second course shalbe the SFCOND WEEKE.
Yours,
JOSUAH SILVESTER."
It does not seem that "the Second WVeeke" came out until
1598, and the whole of " Du Bartas his divine Weekes and
Workes" first appeared, we believe, in 1605, and was often reprinted - last in 1641. In 1620 was published a poem by Sylvester, called " The Woodmans Bear," a sort of allegory, not very
intelligible nor very complimentary to his wife, fobr while he is the
Woodman, he describes her as the Bear. In 1615 had come out
"4 St. Lewis; the King or the Lamp of Grace," and "A Hymn of'
Alms, or the Beggers Bill," with several other productions of little
merit. Heber had a copy with a MS. dedicatory sonnet to Sir
Edward Lewis, signed Josuah Sylvester.




Qar.lt d    Qng lizs   itercture.       129
When he died is not precisely known, but he seems to have
subsisted mainly by his pen, especially late in his career. He
lived in 1614 in the parish of Saint Bartholomew the less, where
several of his children were baptized. In 1625 his wife Mary
was a widow, and on 31st August buried a posthumous child
named Bonaventura. These are new, though small, points in his
insignificant history.
TARLTON, RICHARD. - Tarlton's Newes out of Purgatorie. Onelye such a jest as his Jigge, fit for Gentlemen to laugh at an houre &c. Published by an old
companion of his, Robin Goodfellow. - At London
Printed for Edward White.  n. d.  B. L.  4to.  28
leaves.
Two circumstances fix the date of this production prior to
1590: one is the death of Tarlton, (who is supposed to communicate the " News out of Purgatory,") who was buried on 3d
September, 1588; and the other, which is quite as decisive, that
an answer to it was published in 1590, under the title of'" The
Cobler of Caunterbury, or an Invective against Tarlton's Newes
out of Purgatorie."  This tract was again printed in 1608, at the
time when, perhaps, a new edition of " Tarlton's News " made its
appearance, although none is now -known between the first, the
title of which is given above, and a reprint of it in 1630. In
1630 also came out a new edition of "The Cobler of Caunterbury," then called " The Tinker of Turvey," the main difference
being the title, the introductory matter, and the conclusion. The
allusions to Tarlton, and to his " News out of Purgatory," are the
same in all editions.
The "' News out of Purgatory " is introduced by two pages " to
the Gentlemen Readers," in which the anonymous author states
that it is his first appearance in print. The work then commences by lamenting the loss of Tarlton, who had been so great
a favorite at the theatre, and was so famous for that species of
humorous performance then and afterwards called " Jigs," consisting of singing and recitation, accompanied by the sound of
VOL. IV.         9




130            1ibtiograpljral t   ccount of
the pipe and tabor. The writer feigns a dream, in which he saw
the ghost of Tarlton, dressed, as he usually was upon the stage,
"in russet, with a buttond cap on his head, a great bag by his
side, and a strong bat in his hand; so artificially attired for a
Clowne, as I began to call Tarlton's woonted shape to remembrance." Harleian MS. 3885, contains a rather elaborately and
carefully executed likeness of Tarlton, accompanied by some
explanatory lines, in which the reader is informed that the
celebrated actor is represented as,
"When he in pleasaunt wise
The counterfet expreste
Of Clowne, with cote of russet hew,
And sturtups with the reste."
These verses were, it seems, by a person of the name of John
Howe, and the likeness to which they are appended was (according to a note in one of Bagford's MSS., as we are kindly informed
by Mr. Halliwell) in the possession of the Bishop of Norwich.
It appears from a scene in the old play of "' The Three Lords
and Three Ladies of London," 1590, 4to, that an engraving of
Tarlton, doubtless on wood, was then current. Tarlton was
famous for his " flat nose," as well as for " the squint of his eye."
In the work before us, Tarlton gives a description of Purgatory,
and introduces many tales, among them that of Friar Onion, the
Crane with one Leg, &c., from Boccaccio, although he does not
state the source from which he derived them. To these succeed
a translation of " Ronsard's Description of his Mistress," in lyric
verse, and some more novels, the whole work being intended as a
vehicle for merry stories. It appears, at the end, that Tarlton
had been appointed " to sit and play Jigs all day on his taber to
the ghosts," as a punishment for his sins on earth; and beginning
one of them, to show how much better he performed after death
than when he was alive, the shrill sound of the pipe awoke the
author, and his dream was over.
" Tarltons Jests, drawn into three Parts " must have come out
soon after his death, but the earliest known impression of them
bears date in 1611: it included "his Court witty Jests; his
sound City Jests and his Country pretty Jests," and they were
perhaps originally published separately. On 4th August, 1600,




u4art2  (ngatli ) ~itcratarc.           131
Thomas Pavier entered at Stationers' Hall " the second part of
Tarleton's Jests," and on 21st February, 1608-9, John Budge
assigned " Tarleton's Jests" to Knight, the stationer. They were
reprinted by the Shakspeare Society in 1844, but with some
omissions, because one or two of the jests were considered unfit
for eyes and ears polite. This defect was remedied as far as
possible, in a few copies, by the insertion of printed slips, containing what ought originally to have found its place in the reprint. How long the jests maintained their popularity, though
not altogether well deserved, may be seen from the following
lines inserted in a volume called " Wit and Drollery," printed in
1682, and perhaps before and afterwards:" Wit that shall make thy name to last,
when Tarletons Jests are rotten,
And George a Greene and Mother Bunch
shall all be quite forgotten."
" Tarlton's Jests " were reprinted in 1638; and we have a fragment before us of a third impression, which, judging from the
type, must have been later than either of the others.
No bibliographer (Mr. Halliwell excepted, in the Introduction
to his reprint of " Tarlton's Jests ") has noticed that Tarlton
began authorship as early as 1570, when a ballad, with his name
appended, was published on the "Fierce Fluds which lately
flowed in Bedfordshire."  His "Toyes" were licensed in 1576,
and his "Tragical Treatises" in 1578. These have not come
down to our day; but his ballad on the Floods in Bedfordshire
was reprinted by the Percy Society in 1840. Tarlton was,
doubtless, a popular actor in 1570, and his name may have been
used in order to give greater circulation to the ballad, which, in
truth, has no merit, although great curiosity. It is a unique
broadside.
TATHAlI, JOHN. — The Mirrour of Fancies.  With  a
Tragi-comedy intitled  Love crowns the End.  Acted
by the Schollars of Bingham  in the County of Nottingham. By Jo. Tatham Gent. - London Printed for
W. Burden &c.  1657.  12mo.  81 leaves.




132           1 ilb[iogapjiral  1 2c ccmmnt of
The author calls this volume his "first sacrifice," and "the
maiden blossoms of his Muse," and it was originally printed under
the title of " The Fancies Theatre," in 1640. This in truth is the
identical impression, and the old title-page is pasted under the
new one. The drama, forming the second part of the volume,
has two separate title-pages, one dated 1640, and the other 1657.
The fact no doubt was, that the new title-page was prefixed in
1657, to get rid of some copies remaining unsold. The dedication
is to Sir John Winter, Secretary of State, and Master of the
Requests to the Queen; and the volume is ostentatiously ushered
by commendatory verses, signed R. Broome, Tho. Nabbes,: C. G.,
Geo. Lynn, Robert Chamberlaine, H. Davison, James Jones,
William Barnes, Tho. Rawlins, An. Newport, R. Pyndar, and
WV. Ling. Tatham's poems in general are trifling and conceited,
but the most curious is a prologue on the removal of the players
at the Fortune Theatre to the Red Bull Theatre, where these
lines occur:"Onely we would request you to forbeare
Your wonted custome, banding tyle or peare
Against our customes, to allure us forth," &c.
For "customes" we should probably read "curtains," and so
Malone (Shakesp. by Boswell, III. 79) has printed it, but without
stating that he had altered the text. It seems, on the same authority, that the curtains at the Bull were of silk, while those at
the Fortune were worsted. Malone does not seem to have been
aware that "The Fancies Theatre" of 1640 was the same as
" The Mirrour of Fancies" of 165 7.
TATHAM, JOHN. — Ostella: or the Faction of Love and
Beauty reconcil'd.  By J. T. Gent. - London: Printed
for John Tey &c.  1650.  4to.  62 leaves.
In point of date, this was John Tatham's second known work,
but, as there had been an interval of ten years between it and
" The Fancies Theatre," printed in 1640, it is very likely that he
wrote some production which was either published anonymously,




( arltw   (ngi1) Citramture.              133
or has not been discovered. His " Distracted State," which came
out in 16.52, is said on the title-page to have been written in 1641.
It has been disputed whether Tatham was at any time City Poet,
but he certainly was the author of the Lord Mayor's Pageants for
1657, 1658, 1659, 1660, 1661, 1662, 1663, and 1664, besides three
other occasional pieces of a similar kind in honor of the King and
Queen.
His claims as a poet do not place him much above the mercenary position of rhymer to the Lord Mayor and Court of Aldermen, although the volume before us contains some pretty songs
which he seems to have contributed to a Masque. One of them,
in praise of a country life, opens with this stanza:-' Who can boast of happiness
More completely sure than we,
Since our harmless thoughts we dress,
In a pure simplicity;
And chaste nature doth dispense
Here her beauty's innocence? "
If Tatham had himself "dressed his thoughts in a pure simplicity," he would have deserved greater praise than that of a poor
imitator of Cowley.  On p. 111 is inserted a prologue to a play
called "The Whisperer, or What you please," the existence of
which we know on no other authority: it was probably acted before the closing of the theatres: it is included by Mr. Halliwell in
his " Dictionary of English Plays to the close of the seventeenth
Century," 8vo, 1860.
TAYLOR, JOHN. -  The Eighth Wonder of the World, or
Coriats Escape from  his supposed drowning.  With
his safe Arrivall and entertainment at the famous
Citty of Constantinople &c. By John Taylor. - Printed
at Pancridge  neere Coleman-hedge, and are to bee
sold at the signe of the nimble Traveller. 1613. 12mo.
14 leaves.
This is one of the many pieces of ridicule levelled at Thomas
Coryat, author of the " Crudities," published in 1611. It is dedi



134           iibliogrpl)irat 2lcount of
cated to a person whom John Taylor calls " Sir Thomas Parsons,
(alias) Pheander, (alias) Knight of the Sunne," &c., whom he puts
upon a par with the King's Fool, and who was possibly Fool to
the Lord Mayor. It seems by the commencement, that Taylor
had an especial grudge against Coryat, for having had influence
enough to procure his " Laugh and be Fat " (also directed against
the traveller) to be burned. No printer's name is appended to
"The Eighth Wonder of the World," lest probably it might lead
to unpleasant consequences. In one of his later pieces Taylor
assails Coryat, although he had then longy been dead.
John Taylor was originally a waterman, and hence obtained
from his contemporaries the appellation of "the Water-poet": he
afterwards kept a public house. He was a man of some education and talent, and appears from his works to have been on familiar terms with many of the distinguished poets of his day. He
began as an author in 1612, with some verses on the death of
Prince Henry, and he continued to write and publish short pieces
in prose and verse for more than forty years. He was a steady
royalist, and just befbre the breaking out of the Civil Wars he
wrote his "Plea for Prerogative," (printed for T. Bankes, 1642,)
which is directed not less against the Papists than in favor of the
King. He had a knack of rapid versification, but no claim to the
rank of a true poet, and Ben Jonson contrasts him with Spenser.
He often wrote to supply temporary necessity.
TAYLOR, JOHN. - Taylors Urania or his Heavenly Muse.
With a briefe Narration of the thirteene Sieges, and
sixe Sackings of the famous Cittie of Jerusalem.  Their
miseries of Warre, Plague, and Famine (during the
last siege by Vespasian and his son Titus.)  In Heroicall Verse compendiously described. -  London Printed
by Edward Griffin for Nathaniel Butter.  1615.  8vo.
44 leaves.
It is dedicated in a sonnet to Sir George More, Knight, Lieutenant of the Tower, followed by addresses "to the Reader," and




lvttar~  6nglisl) fiterature.             185
" the Author to the Printer," with commendatory poems by John
Davis, WTilliam Branthwaite, Robert Branthwaite, Henry Sherlye, Richard  Leigh, Thomas Brewer, and  Thomas Dekker.
After eight lines "to the Understander," signed John Taylor,
the main body of the poem begins, and occupies eighty-five octave
stanzas, entirely of a religious character. On sign. D 4 commences another title: "The severall Sieges, Assaults, Sackings,
and finall Destruction of the famous, ancient, and memorable
Citie of Jerusalem. Devided into two parts. By John Taylor,"
&c. This portion of the work is dedicated to John Moray, Esq.,
one of the Gentlemen of the King's Chamber, upon whom Taylor
lived to write a funeral elegy. It is in couplets, the second part
relating to the Siege and Destruction of Jerusalem under Titus.
Taylor's style is very unequal, sometimes poor and mean, and at
others turgid and inflated. See a review of a piece of the same
character, and upon the same subject, in Vol. II. p. 166.
TAYLOR, JOHN. - The Praise of Hempseed, with  the
Voyage of Mr. Roger Bird and the Writer hereof, in a
Boat of brown-paper, from London to Quinborough in
Kent.  As also a Farewell to the matchlesse deceased
Mr. Thomas Coriat. Concluding with the commendations of the famous River of Thames. By John Taylor &c. Printed at London for H. Gosson &c. 1620.
4to. 24 leaves.
This poetical tract is dedicated to Sir Thomas Howet, Sir Robert
Wiseman, and Mr. John Wiseman, who it seems had pecuniarily
aided the author and his companion (a Vintner) to undertake their
"dangerous voyage," which was literally performed for a wager in a
paper boat supported by bladders.1 In a humorous " Preamble,"
1 The danger to Taylor and Bird was merely because they wagered to
go the distance in a boat made of brown paper; but an earlier enterprise
of a similar kind, and for a similar purpose, that of winning money, was
undertaken by Richard Ferris, and two other men named Hill and Thomas,
to go from Tower Wharf to Bristol, " in a small wherry," although the




136           t3ibtiorapl)iralt 2acont of
the author vindicates.the adoption of so trifling a subject, by reference to the works of some of his predecessors, in Greek, Latin,
Italian, French, Scotch, and English. Among the latter he cites
Michael Drayton, who composed a poem  called "The Owl";
Richard Niccols, author of " The Cuckoo"; Sir John Davys,
who wrote "' Orchestra"; Sir John Harington, who published
"The Metamorphosis of Ajax"; Thomas Middleton, author of
"The Ant and the Nightingale"; Thomas Nash, who wrote a
tract in praise of the Herring, &c.
The body of the tract does not require, nor merit, any very
especial notice. It was produced for sale, and Taylor forced into
it the description of a storm, which he states he had written three
years before, but could never find a fit place for its insertion till
then. In speaking of paper and its uses, he gives the subsequent
enumeration of English poets who had died before 1620: —
"Old Chaucer, Gower, Sir Thomas More,
Sir Philip Sidney, who the lawrell wore;
Spenser, and Shakespeare did in art excell,
Sir Edward Dyer, Greene, Nash, Daniell,
Silvester, Beumont, Sir John Harrington."
The following, he states, were still living:c" As Davis, Drayton, and the learned Dun,
Jonson, and Chapman, Marston, Middleton,
With Rowlye, Fletcher, Withers, Messenger,
Heywood, and all the rest where e're they are."
In " Drunken Barnaby's Journal," printed not earlier than
1640, there is a passage, accompanied by a plate, for which great
credit has been given to the author. It relates to the execution
of a cat by a Puritan, because it had killed a mouse on Sunday.
The humorous thought came from, or was used by, Taylor twenty
years earlier. He is speaking of a Brownist:" The Spirit still directs him how to pray,
Nor will he dress his meat the Sabbath day,
precise size is not stated. They accomplished their task, and published
an account of it in 1590, 4to, followed by some stanzas, headed " a new
Sonnet," by James Sargent, of whom no more is known, or, for any merit
in his verses, need be known.




(arly  fngli-l) fiteraturr.              137
Which doth a mighty mystery unfold;
His zeale is hot, although his meat be cold.
Suppose his Cat on Sunday kili'd a rat,
She on the Monday must be hang'd for that," &c.
It is very likely to have been a sort of proverb against the
Puritans before the time when Taylor employed it. On the titlepage is a woodcut representing the different uses to which hemp
was applied.
TAYLOR, JoHN. — The  Praise and Vertue of a Jayle
and Jaylers.  With the most excellent Mlysterie and
necessary use of all sorts of Hanging &c. By John
Taylor. -  London 1623.  8vo.  18 leaves.
This very amusing trifle is dedicated in verse to Mr. Robert
Rugge, who had sent Taylor from Holy Island a barrel of the
eggs of sea-fowl. The most curious part of the tract is an account
of seventeen prisons then existing in and near London, viz.: the
Tower, the Gatehouse, the Fleet, Newgate, Ludgate, Poultry
Counter, Wood Street Counter, Bridewell, Southwark Counter,
the Marshalsea, the King's Bench, the White Lion, the Hole of
St. Katherine's, East Smithfield Prison, Three Cranes Jail, Lord
Wentworth's Jail, and Finsbury Prison. This enumeration is contained in the first part of the work; the second is directed to
prove " the necessity of hanging"; and the third is "the description of Tyburne."  The last thus opens:"I have heard sundry men oft times dispute
Of trees that in one yeere will twice beare fruit;
But if a man note Tyburne,'twill appeare,
That that's a tree that beares twelve times a yeere."
The author, with some humor and a good deal of ingenuity,
enlarges upon this figure, and evinces a very extensive, and no
doubt accurate personal acquaintance with his whole subject.
TAYLOR, JOHN. -The Praise of Cleane Linnen.  With
the Commendable use of the Laundresse.  By John




138            Bibiograpbiral  lrrount of
Taylor. - London Printed by E: All-de for Hen. Gosson. 1624. 12mo. 14 leaves.
This piece of drollery is dedicated to " Martha Legge Esquiresse,
transparent, unspotted, snow-lilly-white Laundresse;" and the
body of the tract is entertaining as well as ingenious, the author
going through the various parts of dress and other purposes to
which linen is applicable. As a specimen, what he says of the
Ruff may be quoted: —
"Now up aloft I mount unto the Ruffe,
Which into foolish mortals pride doth puffe;
Yet Ruffes antiquity is here but small,
Within this eighty yeares not one at all;
For the eighth Henry (as I understand)
Was the first King that ever wore a band,
And but a falling band - plaine with a hem.
All other people knew no use of them,
Yet imitation in small time began
To growe, that it the Kingdome over-ran.
The little Falling-bands increased to Ruffes:
Ruffes (growing great) were waited on by Cuffes;
And though our frailties should awake our care,
We make our Ruffes as careles as we are.
Our Ruffes unto our faults compare I may,
Both careles and growne greater every day."
In the prose conclusion, " the principal occasions why this merry
Poem was written," Taylor, as was not unusual, mistook coarseness for humor.
TAYLOR, JOHN. - The Scourge of Basenesse, or the old
Lerry with a new Kicksey, and new cum twang with the
old Winsye. Wherein John Taylor hath curried or
clapperclawed neere a thousand  of his bad  Debters
&c. -  London, Printed by N. 0. for Mathew Walbancke
&c. 1624. 12mo. 24 leaves.
Taylor was in the habit of making extraordinary journeys at
home and abroad, and laying wagers with persons that he would
perform the undertaking. To this practice he alludes in some
lines "to the Reader ": —




X(iartL  (~ngli~I  Kiteratrec.          139
"' To Germany I twice the Seas did crosse,
To Scotland, all on foot, and backe from thence,
Not any coyne about me for expence:
And with a rotten, weake, browne paper boate
To Quinborough from London I did floate.
Next to Bohemia," &c.
A number of persons, who had wagered odds against the execution of any of these journeys, when Taylor won, had refused or
neglected to pay him; and the object of this abusive, satirical,
and humorous work was to revenge himself upon them. The
dedication is to Andrew Hilton, an innkeeper of Daventry, whom
Taylor found that he had unjustly attacked in the account he
wrote of' his journey to Scotland.  On the title-page is an emblematical woodcut of a hand holding or letting escape a number
of vipers.
TAYLOR, JOHTN. -An Armado or Navye of 103 Ships,
and other Vessels; who have the Art to sayle by Land
as well as by Sea.  Morally rigd, mand, munitiond, appointed, set forth, and victualed with 32 sortes of Ling:
with other provisions of Fish and Flesh. By John
Taylor &c. - London, Printed by E. A. for H. Gosson.
1627. 8vo. 27 leaves.
Opposite the title-page is a woodcut of a ship under sail, but
the ships intended by the merry author are given in a list at
the back of the title-page, viz.: Lordship, Schollarship, Ladyship, Good-fellowship, Apprenticeship, Courtship, Friendship, Fellowship, Footmanship, Horsemanship, Suretyship, Worship, and
Woodmanship. The Ling with which they are victualled consists of words ending with that syvllable, as Tip-ling, Fond-ling, &c.
The dedication is to Sir John Fearne, Knight. There are some
laudatory lines by F. Mason; and on sign. C 5 is a species of
mock-pageant in blank-verse, but the rest of the tract is prose.
TAYLOR, JOHN. -All the Workes of John Taylor, the
Water-poet. Beeing Sixty and three in Number. Col



140          JDibliocranpl)jiaLt 2ount of
lected into one Volume by the Author: With sundry
new Additions, corrected, revised, and newly imprinted.
1630. -At London, Printed by J. B. for James Boler
&c. 1630. folio. 326 leaves.
An engraved title by Cookson, with a portrait of the author at
the bottom of it, precedes the printed title-page as above. The
collection is inscribed to the Marquess of Hamilton, the Earl of
Pembroke, and the Earl of Montgomery, followed by an address
to the World, and some lines by Taylor upon the errata; in which
he states that the volume came from the presses of four different
printers, which accounts for three distinct paginations.  Commendatory verses in English and Latin by Abraham Viell, Thomas
Brewer, T. G., R. H., Robert Branthwaite, Richard Leigh, William Branthwaite, and Thomas Dekker, precede " a Catalogue of
all the several bookes contained in this Volume," but it is by no
means complete. The pieces are reprints of the scattered tracts
Taylor had published prior to the year 1630.
TAYLOR, JOHN. —Wit and Mirth, chargeably collected
out of Tavernes, Ordinaries, Innes, Bowling Greenes,
and Allyes, Alehouses, Tobacco shops, Highwayes and
Water-passages. Made up and fashioned into Clinches,
Bulls, Quirkes, Yerkes, Quips, and Jerkes &c. By
John Taylor, Water-Poet. -  Printed  at London  by
T. C. for James Boler.  1629.  B. L.  12mo.  40
leaves.
This is a collection of one hundred and thirteen jests; and Taylor tells the person to whom he dedicates them, Mr. Archibald
Ranklin, that, although some of them might have appeared in print
before, he was not aware of it, but had gathered them in the course
of' his experience. The fact is, that not a few of them were current jokes derived from several published sources, and one (numbered 21) is part of a tale told in " Pasquil's Jests," of which a
reprint with additions had come out in 1629. (See Vol. III.




(&artl  (Englisjl  fittrature.            141
p. 149.)  Others are personal, relating to Richard Tarlton; to
William Barkstead, the player (to whom Marston's "Insatiate
Countess " has been attributed); to Field, the author and actor;
to Sir Edward Dyer, the poet; and to Taylor himself:" I my selfe (says he) gave a booke to King James once in the great
Chamber at Whitehall, as his Majesty came from the Chappell: the Duke
of Richmond said merrily to me,' Taylor, where did you learne the manner to give the King a book, and not kneel?'' My Lord, (said I) if it
please your grace, I doe give now, but when I beg any thing, then I will
kneele.'"
To some of the jests verses are appended by way of application,
but they generally have little merit. In this instance they run as
follows: -
" Be it to all men by these presents knowne
_Men need not kneele to give away their own:
Ile stand upon my feet when as I give,
And kneele when as I beg more meanes to live;
But some by this may understand
That Courtiers oftner kneele than stand."
Taylor feigns in the commencement, in four pages of verse, that
he made this collection at the command of the ghost of old John
Garret, who, it seems, had been a well-known jester, and a boon
companion, who had served in Ireland under Sir John Norris,
and lived until Charles I. came to the throne.
This edition is not mentioned by bibliographers, the reprint of
1635 being apparently the only one known. As, however, "Wit
and Mirth" was included, with some additions, in the folio of Taylor's Works in 1630, it must have appeared separately earlier.
TAYLOR, JOHN. — Taylor's Travels and circular Perambulation through and by more than thirty times twelve
Signes of the Zodiack of the famous Cities of London  adnd Westminster.  With the Honour and Worthinesse of the Vine, the Vintage and the Vintoner:
with an Alphabeticall Description of all the Taverne
Signes in the Cities, Suburbs and Liberties aforesaid,




142           Bibtiograpljital  2trount of
and significant Epigrams upon the said severall Signes.
Written by John Taylor. -  London, Printed by A. MI.
1636. 8vo. 31 leaves.
The contents of this production cannot fail to remind us of another work, of later date, but of a somewhat similar character,
reviewed in Vol. II. p. 300, under the heading of "' Malt-worms."
" Taylor's Travels " is in substance an account of all the principal
inns and public-houses in London and Westminster; and it therefore comprises.a good deal of local information relating to the two
cities more than two centuries ago. We cannot enter at length
into the subject, but it is amusing to read here of the number of
old signs of places of recreation, eating, and drinking, which to
this day are extant in the metropolis. Taylor introduces Epigrams,
often not very pointed, upon some of them. Thus, after enumerating no fewer than ten Mermaids in Cornhill, Cheapside, Bread
Street, Paternoster Row, Charing Cross, &c., he adds the following lines:"This Mayd is strange (in shape): to mans appearing
Shee's neither fish or flesh, nor good red-hearing:
What is shee then? A Signe to represent
Fish, flesh, good Wine, with welcome and content."
It was at the Mermaid in Bread Street that the famous club
met, celebrated by Ben Jonson, Beaumont, and others; and it
was a tavern as early as 1464, when Sir John Howard, afterwards
Duke of Norfolk, took wine there. (P. Cunningham's " London,"
1850, p. 332.)
It is somewhat singular that when Taylor enumerates the Red
Bull, the Fortune, and the Globe, he should say nothing about
the playhouses called after the same names, and established in the
same neighborhoods: they were at that date (1636) in full activity, for there was no serious attempt to suppress them until about
six years afterwards.  In the preliminary matter Taylor states
that he had previously written above eighty books, " some of them
printed ten or twelve times over, 1500 or 2000 every time." Two
of the public-houses he names had no signs, but merely, as Taylor
tells us, " a bush," to indicate that wine was sold there: hence
the proverb.




~ar          (fngfislj fiterature.        143
With the same date (and announced in the above) Taylor published a second part of his undertaking, referring to the inns and
taverns in ten counties, viz., Kent, Sussex, Hampshire, Surrey,
Berkshire, Essex, Middlesex, Hertfordshire, Buckinghamshire,
and Oxford. In the whole he says that there were at least 686
of them, but he does not dwell upon them, and supplies no epigrams, which in the first part he found rather wearisome. He
summarily settles the disputed question of the place of Chaucer's
birth, observing of Woodstock: " The towne is a pretty markettowne, chiefly famous for the breeding of the famous Jeffrey Chaucer, the most ancient Archpoet of England." Leland asserts that
Chaucer was born in Oxfordshire or Berkshire; but how are we
to reconcile this statement with that of the poet himself, who, in
his "Testament of Love," tells us that he was " a Londoner "?
This agrees with Stow, Speght's Chaucer, 1598, sign. bii, who
says that Chaucer's father Richard was a vintner in St. Mary
Aldermary. We do not, of course, take Taylor to be any authority on the point.
He speaks in his title-page of "the honorable and memorable
Foundations, Erections, Raisings and Ruines of divers Cities,
Townes, Castles, and other pieces of Antiquity," of which he was
to give an account; but he seems afterwards to have forgotten
them, excepting in as far as they were commemorated in the
signs of hostelries, taverns, and inns.
TAYLOR, JOHN. - Crop-eare Curried, or Tom Nash his
Ghost, declaring the pruining of Prinnes two last Parricidicall Pamphlets &c.  With a strange  Prophecy,
reported to be Merlin's, or Nimshag's the Gymnosophist &c. By John Taylor.- Printed in the yeare
1644'. 4to. 21 leaves.
In this tract Taylor endeavors to imitate the satirical and objurgatory style of Tom Nash: he wishes to use against the Puritans
of the reign of Charles I. the weapons employed by Nash against
the Mar-prelates of the reign of Elizabeth. However, Taylor's




144          iNibfloograpticdl   2ltrount of
arrows were blunt and unbarbed, and his hand was comparatively
slow and feeble: his tract is therefore a failure.
On sign. E 3, Taylor enumerates the following popular romances
and novels: "Lazarillo de Tormes," " Don Quixote," "Gusman
of Alfarache," "Bevis of Hampton," "The Mirror of Knighthood," and " John Dory."  As " John Dory " has come down to
us, (vide Ritson's Anc. Songs, II. 57, edit. 1829,) it is merely a
ballad, but Taylor places it among works of much greater length,
some of them filling several volumes. At the end Taylor informs
us, that while the book was printing he had been "extremely
stroken lame."
TAYLOR, JOHN. - A Famous Fight at Sea. Where foure
English Ships under the command of Captaine John
Weddell, and foure Dutch Ships fought three dayes in
the Gulfe of Persia neere Ormus, against 8 Portugall
Gallions and 3 Friggots. As also the memorable fight
and losse of the good Ship called the Lion &c. With
a Farewell and hearty well-wishing to our English Sea
and Land Forces. - London Printed by John Haviland
for Henry Gosson. n. d. 4to. 16 leaves.
This is a temporary tract by Taylor, (who signs the dedication
to Captain Weddell,) which is included in the folio of his works
printed in 1630. It has one woodcut of a ship on the title-page,
and another of larger size on a separate leaf following it. The
", Farewell" is in verse, but of little merit.
TAYLOR, JOHN. - Aqua-Musae: or Cacafogo, Cacadaemon,
Captain George Wither wrung in the Withers &c. for
his late railing Pamphlet against the King and State
called Campo-Musme &c.  By John Taylor. - Printed
in the fourth Yeare of the Grand Rebellion.  n. d.
4to. 8 leaves.




~&arl  (fngltil) Ijitrautnrc.           145
The tract by Wither, against which this grossly abusive production, which the author dignifies by the name of " a Satire," is
directed, was printed in 1643. Taylor tells us that he had loved
and respected Wither for thirty-five years, until he joined the
Parliament against the King; but it is to be recollected that
Wither, in his " Fragmenta Poetica," 1669, vindicated himself by
asserting that his object was to reunite the two contending parties.
Taylor goes the length of charging his antagonist with positive
dishonesty: -
"Thou precious most pernicious Prelate hater,
To Durhams reverend Bishop thou wast cater,
Or Steward, where to make thy'compts seeme cleare,
Thou mad'st two monthes of July in one yeare;
And in the total reck'ning it was found
Thou cheat'st the Bishop of five hundred pound."
TAYLOR, JOHN.-BUll, Beare and Horse, Cut, Curtaile and.
Longtaile. With Tales, and Tales of Buls, Clenches.
and Flashes. As also here and there a touch of our
Beare-Garden-sport; with the second part of the Merry
conceits of Wit and Mirth.  Together with the Names:
of all the Bulls and Beares. - London, Printed by M.
Parsons, for Henry Gosson, and are to be sold at his,
shop on London Bridge. 1638. 8vo. 35 leaves.
The main, though not avowed purpose of this tract was to
encourage what was then called " the game of Bulls and Bears,"
which, it seems, had been of late neglected at Paris Garden; and
it is dedicated by John Taylor to his " often approved and truly
beloved Mr. Thomas Godfrey, Keeper of the Game of Beares,
Bulls and Dogges" there. This was an office held by Edward
Alleyn (the famous actor and founder of Dulwich College) early
in the reign of James I. He had been succeeded by Dorrington,
and Dorrington by Godfrey; under which last, owing in part to
the non-patronage by the Court, the sport had not been productive of much profit. Taylor put his puff, for such it is, illto verse
VOL, IV.          10




146             3ibtiograpttial   tccolmnt of
and prose, and no doubt was paid for it. In the opening he refers
to all kinds of Bulls, including such as Milton, at a later date,
alluded to when he defined " a bull" "a taking away the essence
of what it calls itself." The following are some of the Waterpoet's lines: —
"There are Bulbeggers which fright children much,
There are Bull Taverns that mens Wits will tutch;
And further (for the Buls renowne and fame)
We had an extent Hangman of that name * * *
And now of late a Bull's a common creature
For men (with nonsence) do speak Bulls by nature:
From East to West, from North unto the South,
Bulls are produc'd each houre by word of mouth;
Which every day are brought unto the Printer
Faster than Mother Puddings made her Winter,
To the decay of many a tallow taper
And the consuming many a reame of paper."
Some of the jokes are far from new; and Taylor had little
remorse in repeating himself, if he were in haste, and had a certain quantity of paper which must be filled. What he means by
a" bull" may be seen from this specimen: —
"' A gentleman riding in the countrey attended with one servingman,
they met a fellow that was astride upon a Cowe: the servingman said,
Master, behold! yonder is a strange sight. What is it? said the gentleman. Why, sir (said his man), looke you, sir; there is one rides on horseback upon a Cowe. Thats a great Bull, said the gentleman. Nay sir,
said his man, it is no Bull; I know it is a Cowe by his teats."
Besides bulls and bears, baited by dogs, sport was afforded at
Paris Garden by a pony which carried an ape upon its back;
and the names of all the bulls, bears, &c. are inserted by the
author of the tract before us. We do not think, however, that
the modern reader would gain much by the repetition of them.
Before the end the vein of Taylor's humor was quite exhausted.
THYNNE, FRANCIS. - The Debate betweene Pride and
Lowlines, pleaded in an issue in Assize: And how a
Jurie with great indifferencie being impannelled, and




~arllQ  (~na[itsl diteratire.                   147
redy to have geven their verdict, were straungely intercepted, no lesse pleasant then profitable. F. T. &c.
Seene and allowed. - Imprinted at London by John
Charlwood, for Rafe Newbery dwelling in Fleetestrete
a litle above the Condite.  n. d.  B. L.  8vo.  54 leaves.
On the title-page of this unique and excellent poem, besides
the printed F. T., are the initials F. Th. in the handwriting of
Francis Thynne, the antiquary and herald; and there is no doubt
that the volume was his property, and little doubt that it was his
authorship.  We may presume that it was presented by him  to
Sir Thomas Egerton, to whom Thynne dedicated a MS. collection
of " Emblemes and Epigrames," and to whom he also addressed
" Observations upon Speght's Chaucer," both of which are preserved in the library at Bridgewater House.1  The epistle pre1 These " Emblemes and Epigrames " by Francis Thynne, although unprinted, were clearly intended for publication, and they are dedicated in
due form with the following date, " From my house in Clerkenwell Grene,
the 20th of December, 1600."  He here gives his reason for especially
selecting the Lord Keeper as the dedicatee: —" And the rather," he observes, " because some of them are composed of thinges doun and sayed
by such as were well knowne to your Lordshipp and to my self in those
yonger yeares, when Lincolns Inn Societie did linke us all in one chayne
of amitie; and some of them are of other persons yet living, which of
your Lordship are both loved and liked." The Emblems occupy about
half the MS., and among the earliest and best is what succeeds, on the
famous subject, well known in most languages, the exchange of arrows
by Cupid and Death. Shirley wrote a drama upon it in 1653.
"The hatefull Death joynd to the God of Love
In one cabine settled themselves to sleepe:
Both had their bowes and shaftes their might to prove;
The one gave mirth, the other forct to weepe:
Thus blinded Love and Death, at this time blinde,
By chance doe meete, by chance doe harbor finde.
"But starting forth of this their former rest,
Heedlesse, the one the other's weapons caught:
The goulden shaftes from Cupid Death berefte,
The dartes of Death dame Venus sonne had raughte.
Thus contrarie to kinde and their nature,
Cupid doth slea and Death doth love procure.
"Ould doating fooles, more fit for Carons shipp,
That feele the goute, to grave wch take their waye,




148             iibtiograpl)atd  2Tronlt of
ceding the latter is subscribed in this form, and the signature
accords very exactly with the written initials upon the title-page
of "' The Debate betweene Pride and Lowlines ":" or Lordshippes wholye to
dyspose
FRANCIS THYNN."
We need not, therefore, have much hesitation in considering
Thynne the author of the remarkable production before us. It is
evident, whoever wrote it, that he was a lawyer, or, at all events,
that he had a good deal of acquaintance with law terms and
phrases, and Thynne himself states in his MS. " Emblemes and
Epigrames," that he was a member of Lincoln's Inn at the same
time as Sir Thomas Egerton.
Another preliminary point deserving notice is, that throughout
the " Debate" there is almost an affectation of the use of antiquated, not to say obsolete, words and phrases; and how well
Thynne was versed in our old language is evident from his " Observations upon Speght's Chaucer," which the Rev. H. J. Todd
printed at length in his " Illustrations" of that author.  Among
Thynne's " Emblemes and Epigrames" is one addressed to Spenser, who, like Thynne, was fond of expressive terms not commonly employed.
Thynne was fifty-seven in the year 1602, consequently he was
born in 1545, a circumstance of importance with reference to the
time of publication of the work before us, which has no date in
Doe fall in love and youthfull like doe skippe,
Deckinge their heads with garlands fresh and gaye.
Their yeares and daies they easelie doe forgett,
And from their harte colde sottishe sighes do fett.
" But striplinges and yonge boyes the wounds receive
By yonge Cupid, then Nestor yet more oulde,
Against their kinde their wished life doe leave,
And unto Acheron the waye do houlde.
But Cupid cease, and Death thine owne stroke give;
Let yonge men love, let ould men cease to live."
Among the Epigrams is one headed " Spencers fayrie Queene," but it
is disappointing in all respects, for it does not contain a syllable distinctive
of the great poet. For them, see Spenser's Life, 1862, p. cxlvi.




( tarrl  nngtzit    Kitekrature.         149
any part of it. The writer speaks of himself in it as having been
an attorney for fifteen years:"Towards the lawe these long xv yeeres space,
And thereof sworne to be an atturney;"
and, considering the jocose subject of the poem, and the manner
in which it is handled, we may perhaps conclude that he was not
more than five-and-thirty when it appeared: this would bring
us to the year 1580, and the type and general appearance of the
book warrant a belief that it did not come out later. Until it
was noticed in the " History of English Dramatic Poetry," III.
151, the existence of such a publication had escaped the research
of literary antiquaries.
There is a very peculiar circumstance connected with this
publication. It shows that Robert Greene, in one of his most
celebrated and amusing tracts, was a mere plagiary, having borrowed the whole design, much of the execution, and some of the
very words of Thynne. Had Greene's enemy, Gabriel Harvey,
been acquainted with the fact, he would have made ample use of it
as a means of annoyance; and that he did not, shows how scarce
Thynne's poem must have been even in 1592. Greene, however,
had obtained a copy of it, and in that year founded upon it his
" Quip for an Upstart Courtier, or a quaint dispute between
Velvet-breeches and Cloth-breeches." On the mere inspection
of the two productions, it could not be disputed for an instant
that Greene's tract must have made its appearance at least ten
years later than Thynne's poem. In both a dispute is carried on
between the personifications of a pair of Velvet-breeches and a
pair of Cloth-breeches; in both a jury is impanelled to try the
comparative merits of the plaintiff and defendant; and in both
the expressions are often identical.
Thynne makes an address in verse " to the godly and gentle
Reader" after the title-page, in which he vindicates the whimsical
notion of giving speech to two pairs of breeches, and concludes
in these stanzas: -
"Have therefore (gentle Reader) in good part
This little volume, wherein thou maiest finde
Some matters (though not pullished with art)
To make thee laugh, and recreate thy minde.




150             bibliograplikat  ltccount of
"If other matter it may yeelden thee,
As morall counsel, whereby thou may lerne
What thinges are good to folowe, what to flee,
Then thanke me when we meeten at the terme.
"And pray God blesse our Queene and Countrey,
And graunt her long to raigne and prosperous;
And to us all after this journey
In heaven with him selfe a dwelling house."
The poem begins on sign. A iii, with an account of the author's
dream, in which he imagined he saw a pair of Velvet-breeches
(by which he designates Pride) and a pair of Cloth-breeches (by
which he means Lowliness) meet in a valley, and commence a
violent dispute. In his sweven (as he calls it), he fancied that he.
stepped between them to prevent a fray, and proposed a trial by
jury, but Velvet-breeches doubted whether he should have a fair
chance: —
"' For I am here a straunger in this land,
And, save of late yeeres, of small acquayntaunce.
The common people dooth not understand
My woorthynesse, estate, ne countenance."
At this point Greene's words (we quote from the earliest edition
of 1592) are these: -" Because I am a stranger in this land,
and but heere lately arived, they will hold me as an upstart, and
so lightly esteeme of my worthinesse." However, Velvet-breeches
ultimately consents, on condition that his right of challenge, as
well as that of Cloth-breeches, is allowed; and accordingly they
proceed to select a jury from persons who accidentally arrive at
the scene of action. The following is the description of a Tailor,
the first juryman, after we have been told that "piked he was,
and handsome in his weede":"A faire blacke coate of cloth, withouten sleve,
And buttoned the shoulder round about;
Of xx. s. a yard, as I beleeve,
And layd upon with parchment lace without.
"t His dublet was of Sattin very fine,
And it was cut and stitched very thick;
Of silke it had a costly enterlyne:
His shirt had bands, and ruffe of pure Cambrick.




xartl   QFnglisb;itrtrature.              151
"His upper stockes of sylken Grogerane,
And to his hyppes they sate full close and trym,
And laced very costly every pane:
Their lyning was of Satten, as I wyn.
"His neather stockes of silke accordingly:
A velvet gyrdle rounde about his wast.
This knight or squyre, what so he be, (quoth I)
We wyll empannell: let him not goe past.
"He condiscended soone to our request.
Then I, beholding him advisedly,
Sawe where a needle sticked on his brest,
And at the same a blacke threed hanging by."
" Coming more neere, indeed," says Greene, " I spied a Tailor's
morice pike on his brest - a Spanish needle." Cloth-breeches,
according to Thynne, gives the first challenge, observing,"In making mee there is no gaine but one,
Which is for labour and for woorkmanship;
Except some time a peece of cloth come home,
As yf that by mischaunce the shere did slip."
In Greene's tract Cloth-breeches takes exactly the same objection in nearly the same words: —"Alas, by me he getteth
small, onely he is paid for his workemanship, unlesse by misfortune
his shieres slyppe awrye." Afterwards Thynne tells us that the
Tailor will charge his customers dearly,"And reache them with a bill of reckening
Shal make them scrat wheras it itcheth nought;"
and Greene adopts the humorous phrase: " and yet to overreach
my yoong maister with a bill of reckonings that will make him
scratch where it itcheth not." The point of plagiarism on the
part of Greene may, therefore, be considered established, and
need be pursued no further.  A few additional quotations from
Thynne will, however, be acceptable.  The following is his description of a Dancing Master and a Vintner:" One of them had a fiddle in his hand,
And pleasaunt songes he played thereupon,
To[o] queynt and hard for me to understand:
If he were brave I make no question;




152            tIibtliograpltpijat 2lount of
" Or if his furniture were for the daunce.
His breeches great, full of ventositie,
Devised in the castle of playsaunce;
And master of a daunsing schoole was he.
"The other was by trade a Vintener,
That had full many a hoggeshed looked in:
Travayled he had, and was a languager;
His face was redd as any Cherubyn.
" A Spanishe cloke he ware, fine with a cape;
A fine Frenche cappe on his head accordyng,
Both which upon him faire and seemely sate,
And one his finger ware a mightie ringe."
As a lively picture of the manners and habits of the times, independently of its poetical merit, this work is highly curious and
interesting.  Of another character the author thus speaks:"Yet was there one whom I had nigh forgot,
And he was master of a dysing house.
No woord had he but pay the boxe and pot:
So brave he was that mee thought marveylous."
This " master of a dicing-house " does not approve of that name,
and remonstrates against being called by it:"In deede (quoth he) I keepe an ordinarye:
Eight pence a meale who there doth sup or dyne;
And dyse and cardes are but an accessarye
At aft meales, who shall pay for the wine.
" These wayten all upon our principall,
As collourable cause to bring them in;
And then from thence to sheere money they fall,
Tyll some of them be shrieven of theyr sinne.
"But of this game, and other harlotrye,
That there is used both by daye and night,
Suffiseth me to waxen riche thereby:
Thereafter yet in name I wyll not hight."
The portraits of this kind are numerous, and show that Thynne
was a very close, acute, and satirical observer. Now and then he
breaks away from his humor into a moral and religious strain, but
there he does not seem so much at home, and his reflections are
not striking nor original.  In the end, just as the verdict is about




Warlt    (fngieal) fiterafure.              153
to be given in favor of Cloth-breeches, some of the riotous friends
of his adversary rush forward, seize Cloth-breeches, and tear him
to atoms, while the jury, followed by the author, make the best of
their way to a place of safety. The author wakes, finds it morning, and resolves to write his dream, thinking that it would be
more profitable than "Amadis de Gaul," "The Palace of Pleasure," or any of the ballads that were then so abundant. " The
Palace of Pleasure" was first printed in 1566, and a portion of
" Amadis de Gaul" about the same year, as nearly as can be ascertained, but it has no date upon the title-page.
The main poem is followed by "a commendation of Lowlynesse
for her consolation," of' which the following is part: -
"Wherefore to turne agayne to lowlines,
The matter of my woorke, and for whose sake,
To travell in so great a busines,
So hygh and woorthy, I have undertake;
"I say she hath such multiplicitie
Of favour, and of grace especiall,
That I dare call her of humanitie
The note, the proofe, and judgement principall,
"Wherebv a man doth differ from a beast;
For one hath wylful inclination,
And reason none, of deede ne of beheast,
But violence of sense and passion.
" Of whom God, by his prophete David, sayeth;
Be not (sayth he) lyke unto a horse or mule,
That more his wyl, then any reason wayeth,
And must with bitte and brydle live in rule."
To this succeed two stanzas, or quatrains, "The Booke to the
Reader;" one stanza called " The Epythyme," and "A Prayer
to almightie God," in eleven stanzas.  The same form of verse is
observed in every part of the production.
Another work, in all probability by Francis Thynne, is noticed
in Vol. III. p. 32, under the head of "News from the North."
The " Dialogue between the Cap and the Head," Vol. I. p. 129,
is also very much in Thynne's manner, and when it was printed
he might be about twenty years old.




154            iblfioraplkatl A2rrount of
THYNNE, FRANCIS. -  The Case is Altered. How? Aske
Dalio  and Millo. -  London  Imprinted by T. C. for
John Smethicke, and are to be sold at his Shop in S.
Dunston's Church-yard in Fleet-street. 1604. 4to. 16
leaves.
We feel so confident from the initials F. T., and still more from
the style and character of this production, that it is by the author
of " News from the North," and " the Debate between Pride and
Lowliness," that we have not hesitated to put it under his name:
at the same time, in point of excellence, it is certainly not to be
compared with either of them, and it is entirely prose. Its popularity is easily established, for it was reprinted "for Thomas
Pavyer, dwelling in Cornhill," in the very next year, and other
editions of 1608, 1609, 1630, and 1635 have been mentioned by
bibliographers.
It is dedicated by F. T. "' to his very kind and approved friende
D. R.;" and F. T. are again placed at the end of an address "to
the Reader."  It professes, as Thynne was at one time a lawyer,
to be a statement and counter-statement of various supposed cases
by two old friends who humorously discuss the remedies, if any such
can be pointed out, or the unfortunate condition of those who are
compelled to suffer without remedy. The whole was meant as a
mere piece of drollery and pleasantry, but in some places neither
are quite so obvious as might be wished. The old gentlemen,
Dalio and Millo, who meet under an oak, are at times rather too
garrulous, and tedious in the statement of cases which have no
great novelty to recommend them. Thynne (whom we fancy is
meant by Millo) fairly admits that "the matters handled are of
no great moment, and therefore scarce worth the reading." The
public, in the reigns of James and Charles, do not seem to have
been of this opinion; and there can be little doubt that, under
feigned names and invented circumstances, much that was applicable.to the time, and then well understood, was included in the
dialogue. Now and then cases are put with the utmost unlegal
brevity, as follows: —
"Dal. Well then; first tell me your opinion in this. Is it not a pittifull
case to see a proper man without money?




Qtartz  1n1l(Jge      iitteraturr.           155
Mill. It is.
Dal. And to see a faire woman without wit?
Mill. No lesse.
Dal. And an old man leacherous'?
Mill. Alas, poore man!
Dal. And a yong man vitious?
Mill. He will be sped.
Dal. And a rich man covetous?
Mill. Tis pitty that he hath so much. * * *
Dal. And a monkey kiss a woman.
Mill. Ilfavoured urchin!"
And thus they proceed through several pages, while the cases
they state at length are apparently meant as a counterpoise to
such smart interrogatories as the above. They relate to disputes
between heirs and their fathers, husbands and their wives, widows
and their suitors, &c., but of course much of the humor is lost or
obscured. We will quote the commencement of one of Millo's
cases, merely to show the style in which most of the book is written:"An old woman, a very old woman, a crooked old woman, a creeping
old woman, a lame woman, a deafe woman, a miserable woman, a wicked
woman, fell with halfe a sight (for shortly after she fell blind) in love with
a prety, neate, nimble, spruse, lively, handsome, and in truth lovely young
man; and so faire as, after the manner of country people, she would, if
she met him in a morning, bid him good morrow with how doe you sonne?
I pray you come neere, if it weere neere her house; and I praie you sit
downe, and I pray you drinke; and how doth your good father, and your
mother, and all your house? In troth, you are welcome: I am sorie I
have no good cheer for you, but such as I have I pray you do not spare:
if I have any thing in my house, it is at your commands. Indeede, I ever
loved you of a child," &c.
It is needless to continue the speech of the old lady, and the
result may be easily conjectured. Nearly all the personages introduced are well drawn, and the dialogues characteristically conducted; but when we arrive at the conclusion, we are disposed to
wonder what object the author had in carrying on the subject to
such a length. Several points of manners are rather drolly illustrated, but nothing is said of the literature or amusements of the
time, and on the whole the reader is considerably disappointed.
Our only doubt as to Francis Thynne's authorship arises out of




156.3ibliograpl)iract   ccount of
the fact, that it is not good enough for him; but in 1604 he was
an old man, and, like other old men, may have fancied that what
amused him in the writing would amuse others in the reading.
TILNEY, EDMUND. —A briefe and pleasant discourse of
duties in Mariage, called the Flower of Friendshippe.Imprinted at London by Henrie Denham, dwelling in
Pater noster Rowe at the Signe of the Starre. Anno
1568.  8vo.  40 leaves.
The dedication to Queen Elizabeth is subscribed "Your Majesties most humble Subject, Edmunde Tilney," who, about ten years
after the publication of this work, was appointed Master of the
Revels. This fact does not appear to have struck those who have
hitherto touched upon the biography of Tilney, (Ath. Cantab. I.
559,) and they give the date of his " Flower of Friendship," 1571,
when, in fact, it,,first appeared and was twice printed in 1568,
the copy of 1571 being merely a second reprint. Others assign it
to the year 1577, but we have never seen any such impression.
(Lowndes, Bibl. Man. p. 1821, edit. 1834.)
Our main object is to correct the dates; for the production itself, which the author twice over calls " this flagrant Flower of
Friendship," requires no particular notice, although the topic discussed, after the Italian manner in the two divisions, was one which,
at the time, attracted a good deal of attention, in consequence of
reports regarding the marriage of the Queen with the Duke of
Anjou. The character of his work, perhaps, recommended Tilney in 1579 to the office of Master of the Revels, which he held
until his death in 1610.  Charles Tilney, Gentleman-pensioner
to Elizabeth, was executed with Babbington and others, in 1586;
but whether he was brother, or in any other way related, to Edmund, is not stated. It is, however, a fact worth observation, that
in an old MS. note by Sir George Bucke, on the title-page of a
copy of the tragedy of " Locrine," 1595, Charles Tilney is asserted
to have been the writer of it. If he were, the note of time in the
epilogue by Ate, —




(farl   (fntlizJ Kitcraturr.             157
"So let us pray for that renowned maid
That eight and thirty years the scepter sway'd,"
must have been an insertion on a revival of the drama. Such
additions, as well as others, were not unusual; and it was in this
way (if at all) that Shakspeare's name may have become misassociated with the tedious tragedy.
TOFTE, ROBERT. - Laura. The Toyes of a Traveller.
Or the Feast of Fancie. Divided into three Parts.
By R. T. Gentleman.  Poco favilla gran Jamma seconda. - London.  Printed by Valentine Sims.  1597.
8vo. 39 leaves.
The initials R. T. no doubt belong to Robert Tofte, who seems
to have travelled in France and Italy, if not in Spain and other
countries, and thus qualified himself as a translator, which he
afterwards became; but this his earliest work purports to be a
collection of short original poems of ten and twelve lines each:
not a few of them are dated from towns south of the Alps, or
with the names of other towns added to them, as if to point out
where they were composed. There is but one from " London,"
and that occurs on the first page, but following ten lines from
" Padua." The adulatory dedication to Lady Lucy, sister to the
Earl of Northumberland, states that the poems were "for the
most part conceived in Italy, and some of them brought forth
in England."  Besides Padua and London, Venice, Sienna, Pisa,
Roma, Fiorenza, Napoli, Fano, Mantua, and Pesaro, are mentioned as places where the Muse had inspired him.
It is very clear, from the dedication, that Tofte intended the
work for the press, but the Printer informs the Readers that he
did not know who wrote the poems, nor could he guess the lady
intended to be addressed: both he and a friend, to whom the
copy had been intrusted, had offended by publishing it at all.
This we take to be only a literary ruse, as well as the most unusual address from R. B. (forsan Richard Barnfield) at the end
of the volume, stating that he had been employed by R. T. to




158           Bibliograpical    2clronnt of
prevent the publication, but that he came too late, as the last
sheet was then at the press.  He adds, what is of greater importance, that more than thirty of the " sonnets," for so they are
called, were not by R. T., but that, as they had been included by
the printer, they must share the fate of the rest. These, we may
suspect, were by R. B.
There are forty " sonnets " in each of the three divisions, and
each division has also a conclusion in verse. What makes it more
certain that Robert Tofte was the author, is, that he informs
la bellissima sua Signora E. C., that his nickname was Robin
Redbreast, which we know from other sources belonged to Tofte
among his familiar acquaintances. One of the best specimens we
can select is the first "sonnet" of the second part: —
"If I somewhile looke up into the skies,
I see (faire Lady) that same cheerefull light,
Which, like to you, doth shine in glorious wise:
And if on th'earth I chance to cast my sight,
The moovelesse centre firme to me doth show
The hardnesse which within your hart doth grow.
If seas I view, the flowing waves most plaine
Your fickle faith doth represent to mee:
So as I still behold you to my paine,
When as the skies, or th'earth, or seas I see;
For in your seemely selfe doth plaine appeare
Like faith, like hardnesse, and like brightnes cleare."
The above is more conceited than the following, which may be
deemed somewhat warm: —
"Joy of my soule, my blindfold eyes cleare light,
Cordiall of hart, right Mithridate of love,
Faire orient Pearle, bright shining Margarite,
Pure Quintessence of heavens delight above!
When shall I taste what favour grants me tuch,
And ease the rage of mine so sharpe desire?
When shall I free enjoy what I so much
Doo covet (but I doubt in vaine) to aspire?
Ah! doo not still my soule thus Tantalize,
But once (through grace) the same imparadize."
From another short piece, of the same kind, it appears that
Laura, the lady he addresses, lived in Fano. In another place,




Qartl  lnalisI) niterature.              159
while he likens her to Venus, he calls himself Adonis, and entreats her to transform him to a flower. In all this there is not
one word of original thought, although the language is sufficiently harmonious. A couplet printed in the following manner
makes it pretty clear that the lady whom R. T. addressed was
named Caril:"And gainst all sense makes me of CARe and IL,
More than of good and comfoR.T. to have will."
If Tofte at all expected that his " Laura" would rival that of
Petrarch, he was wofully mistaken. The work is so scarce, that
we doubt if a third copy of it be in existence.
TOFTE, ROBERT. -  Alba. The Months Minde of a melancholy Lover, divided into three parts.  By R. T. Gentleman.  Hereunto is added a most excellent patheticall and passionate Letter sent by the Duke D'Epernoun unto the late French King, Henry the 3. of that
name, when he was commanded from the Court and
from  his Royall Companie.  Translated  into English
by the foresaid Author.  Spes, Amor et Fortuna valete.
— At London.  Printed by Felix Kingston for Matthew Lownes. 1598. 12mo. 40 leaves.
Attention has been directed to this production, chiefly on account of its mention of "Love's Labour's Lost," by name, as
"' a play" which the writer had seen performed, and the title
which he found consistent with his own condition as "a melancholy Lover," disappointed by the rejection of his suit:"Loves Labour lost I once did see, a play
Ycleped so, so called to my paine."
He goes on to complain that what seemed "jest" to others
was "earnest" to him, but he praises the "cunning wise" in
which " each Actor plaid his part." If he had told us also how
the parts were distributed, he would have much increased our
obligation, for it is not known by whom a single character was
supported.




160           Bibliograpicdttal  tkcont of
Tofte was a voluminous translator, chiefly from the Italian, and,
as in the previous article, dates some of his poems from Rome,
Mantua, &c., and one from Burnham, in Buckinghamshire. However, the lady to whom he was devoted lived at Warrington, and
her name, he again tells us, was Carill: this is biographically
interesting, but the fact has hitherto been passed over, perhaps
on account of the extreme scarcity of Tofte's volumes: he says
of the place:"War in that town Love, lord like, keepeth still,
Yet she ore him triumphs with chastest will:"
and as to the lady's name he observes, -
" Then constant Care, not comfort I do crave,
And (might I chuse) I Care with L would have."
This sort of word-play does not say much for the merit of the
many separate love-poems; but, perhaps, as much as they deserve.
The dedication of the volume is " to the no lesse excellent then
honorablie descended Gentlewoman, Mistresse Anne Herne," to
whom, in 1610, Tofte addressed his " Honour's Academie."  She
was the wife of Sir Edward Herne, Kt. of the Bath. Tofte's
friends, R. Day, Ignoto, J. M., and R. A., presented him with compassionate and commendatory verses to his " Alba" (the poetical
appellation of Miss Carill), and from them we again learn that by
his familiars he was known as "' Robin Redbreast," a nickname
which Queen Elizabeth had given to her spoilt favorite, Robert
Earl of Essex.
TOrTE, ROBERT. -  Ariosto's Satyres in seven famous Discourses, shewing the state, 1. Of the Court and Courtiers.  2. Of Libertie and the Clergie in generall.  3.
Of the Romaine Clergie. 4. Of Marriage. 5. Of Sol~diers Musitians and Lovers.  6. Of Schoolmasters and
Scholers. 7. Of Honour and the happiest Life. In
English by Gervis Markham.-  London  Printed  by
Nicholas Okes for Roger Jackson &c.  1608.  4to. 58
leaves.




(.art[1   (Cigtisl)  Cittratnre.         161
Markham, whose name is on the title-page, was a " bookseller's
hack" in the age in which he lived; but perhaps we have no right
to conclude that he was a party to the fraud here committed, by
putting his name to the work of another. In his version of Varchi's " Blazon of Jealousy," 4to, 1615, Robert Tofte lays claim to
this translation of Ariosto's Satires, and, as Markham did not dispute his right, we may infer that Tofte was the real translator. It
was reprinted anonymously in 1611, under the title of "' Seven
Planets governing Italy,"'with the -addition of three elegies.
The edition of 1608 is ushered by an address from the stationer
to the reader, followed by " The Argument of the whole worke,
and the reasons why Ludovico Ariosto writ these seaven Satyres."
The translation, which is not deficient in spirit or fidelity, is accompanied by explanatory marginal notes.
Tofte, as we have shown, p. 157, began writing in 1597. His
" Honour's Academie," 1610, gives him a claim to be mentioned
among the few who endeavored to introduce classical measures
into English. It is singular that when Tofte wrote in 1598 he
spoke of two printed pieces by R. Greene, as if they were still
unpublished.
TREATISE OF LOVE.- -ere begynneth a lytell treatise
cleped  La  conusaunce damours.  [Colophon.]  Thus
endeth la conusaunce damours. - Imprinted by Rycharde Pynson, printer to the Kynges noble grace.
Cum privilegio. 4to. 16 leaves.
The original production from which this small tract was translated is known in early French literature under the title of La
Conusance d'Amours. Who rendered it into English for Pynson
we have no means of knowing; but it is more cleverly done, and
with fewer marks of obligation, than most other pieces of the time.
In the outset the writer expresses his earnest desire to compose
something in praise of the female sex, whom he denominates
$" dames and pusels," and laments his incompetence: suddenly it
occurs to him that he might be inspired, if he paid a visit to some
young damsels of his acquaintance: -
VOL. IV.             11




162            BibLiograpicat acttcount of
" Sodaynly came in my mynde to go
Se a faire pusell, and two or three mo
Of her companions."
He met one bf them at the house-door, " whose hart was on a
merry pin," and entering he beheld the lady he was most anxious
to see:"Into a goodly parler she me lad,
And caused me to sit curtesly:
Than unto us came shortly by and by
Another that me swetely dyd welcome,
Bryngyng fresshe flowres and gave me some.
" Than we began to talke and devyse
Of one and other of olde acqueyntaunce;
For comonly of maydens is the gyse
Somtyme to demaunde, for pastaunce,
If that a man be in loves daunce,
Or stande in grace of any dammusell?
Under suche inaner in talkynge we fell."
They discourse of love and true lovers, and the young lady to
whom the poet was attached relates the story of Pyramus and
Thisbe.  She also delivers her opinion upon " clandestinat maryage," and diverges to the loves of Troilus and Cressida, when she
introduces what, as may be supposed, is not in the original, the
praise of Chaucer for the manner in which he had related that
history.  She asks: -
"What shulde I herof longer processe make?
Theyr great love is wrytten all at longe,
And honce he dyed onely for her sake:
Our ornate Chaucer, other bokes amonge,
In his lyfe dayes dyd underfonge
To translate, and that most pleasantly,
Touchyng the mater of the sayd story."
This interesting notice of our great poet has escaped observation. The author rather injures the effect of his narrative by introducing two allegorical personages, one Reason, and the other
Thought-and-hevynesse. What they say is not very pertinent,
nor always quite intelligible; and the later portion of the tract
consists of an enumeration of many classical stories of love and
disappointment. In the sequel the author gives the ladies an ac



~arl~  (~ngtlie } ~itcraturc.            168
count of what love was, according to his experience, and the poem
closes with this stanza:
"Your chere here (they sayd) is but small;
We wolde it were much better for your sake.
Our janglynge, that to us now hath fall,
Wolde suffre us no chere for to make.
And so theyr leave swetely of me they take
At the port or gate: and in they go,
And I went strayght to my home also."
This production was never seen by Herbert; and Dr. Dibdin
(II. 556) in his brief account of it has given no sort of notion of
the nature of its lively contents. It must have been popular, and
probiably would have been more so if the author, in the speeches
of the symbolical impersonations, had not deviated from the
sprightly to the didactic. Only two copies have ever been mentioned.
TRIAL  OF FRIENDSHIP.-  The Triall of true  Friendship; or perfit mirror wherby to discerne a trustie
friend from a flattering Parasite. Otherwise A knacke
to know a knave from an honest man: By a perfit
mirrour of both:  Soothly to say, Trie ere you trust;
Beleeve no man rashly. No lesse profitable in observing then pleasant in reading. By M. B. - Imprinted
at London by Valentine  Simmes dwelling on Adling
Hill at the signe of the white Swanne. 1596. 4to.
B. L.  18 leaves.
In 1594 had been printed a highly popular comedy, in which
Alleyn and Kempe acted, called "A Knacke to know a Knave,"
and the author of the very rare tract before us adopted the name
of the play, as a prominent feature on his title-page, probably in
the hope thlt his dull treatise might thereby obtain a sale to which
otherwise it was certainly not destined. Throughout sixteen closely
printed pages there is not a single break, so that the performance
looks most forbidding to any reader of light literature.
The writer professes that his purpose is to enforce the value of




164            3ibiocgrap!iratl  2rcont of
" true friendship," and he illustrates it by many allusions to ancient and modern history; but they are generally very trite, and
they are not employed in a way to render them  effectual.  The
author is a violent enemy of the Pope and Papists, and he dwells
with apparent satisfaction upon the manner in which the various
conspirators against the life of Queen Elizabeth had been detected
and punished. He now and then makes an effort to be more
lively, but his humor is invariably grotesque and clumsy. He
sometimes deals in Robert Greene's affected similes, and concludes
with the following passage, which, bad as it is, may be taken for
one of the best: -
"Therefore, to shut up al in a word, seeing the most glittering sands
are found so fickle being tried, the eie-pleasing Echates so infectious being handled, and the greatest promises have so smal performance that we
cannot safely beleeve friend or foe, kinsman or aliance, by his word nor
his oath, let us trie ere we trust, and prove ere we put in practise: let us
go as the snaile faire and softly, seeing haste makes waste, and the mault
is the sweetest when the fire is softest: so shall wee the better discerne
the true sterling from the counterfet coine, the preteous medicine from
the perilous confection, the loyal lover from the fading flatterer: but let
us not sing with Medeas song, which said I see and allow the better, but I
wil follow the worse: seeing Pallas gift or Junoes proffer to be more profitable, let us not give our apple to flattering Venus, as foolish Paris did,
lest she be our confusion; nor let us settle our affections on faire tongued
parasites, lest like lightning they breake our bones before we can perceive our skinne to be hurt, but let us try ere we trust after good assurance: let us not trust before we trie for feare of repentance."
Valentine Simmes, the printer, dedicates the performance as
"4 a little mite of a friend's labours" to Master Walter Flude, but
to read it through must of itself have been a hard " trial of true
friendship." We do not recollect to have met with any account of
this very rare but wearisome production.
TROY. - The Ancient Historie of the Destruction of Troy.
Divided into III Bookes &c. Translated out of French
into English by W. Caxton. The sixth Edition, now
newly corrected and amended. - London, Printed by




Qti arl   na litI) Kaitcrature.        165
B. Alsop and T. Fawcet &c. 1636. B. L. 4to. 277
leaves.
In an address of " the Printer to the courteous Reader," after
dwelling on the improvement derived from annals and histories,
he says: —" And whereas before time the Translator, William
Caxton, being, as seemeth, no English-man, had left very many
words meere French, and sundry sentences so improperly Englished that it was hard to understand, wee have caused them to
be made plainer English: and if time and leysure had served,
wee would have had the same in better refined phrases." Perhaps there is not much reason to regret that "time and leisure "
did not serve. As to Caxton's birth, he tells us, in his Prologue
to this very work, that he was "born in the weald of Kent": in
the commencement he added that it had been " translated and
drawen out of French into English by William Caxton, mercer of
the city of London."
TROY. -The Destruction of Troy in three Bookes &c.
The Eight Edition corrected and much  amended.
London, Printed by T. Passenger &c. 1670. B. L.
4to.  240 leaves.
In this edition the passage in the preface about Caxton is omitted, and various "refined phrases" and changes are introduced
into the text, so as in some degree to modernize the style, but
the work is substantially the same as the impression of 1636.
Everybody is aware that the French version, which Caxton
adopted as his original, was not founded upon Homer, but upon
the narratives of' Dictys Cretensis and Guido di Colonna.
TUDOR, OWEN. -  Pancharis: The first Booke.  Containing the Preparation of the Love betweene Owen
Tudyr and the Queene, long since intended to her
Maiden Majestie: and now  dedicated to The Invin



166           Bibtiograpfjira    trronunt of
cible James, Second and greater Monarch of great
Britaine, King of England, Scotland, France and Ireland with the Islands adjacent. Mar. Valerius Martialis.  Victurus Genium  debet habere liber. -Printed
at London by V. S. for Clement Knight. 1603. 8vo.
41 leaves.
This is a remarkable poem, whether we consider its rarity, its
subject, its treatment, or its author. Only a single copy of it is
believed to exist, and that is in the Bodleian Library. The main
subject is Owen Tudor, the second husband of Katherine, wife of
Henry V., and the author Hugh Holland, who wrote lines on
Shakspeare, prefixed to the folio of 1623, and a "Cypress Garland " on the death of James I., besides a few other productions.
He is mentioned with some of his works by Anthony Wood, but
it is singular that Dr. Bliss, when he superintended the edition of
the Ath. Oxon. in 1816, should not have noticed the unique poem
in our hands.
Near the close the author informs us that his rhymes had " nigh
upon two yeares layn by him," and on the title-page it is stated
that they were originally " intended" for Queen Elizabeth,
though now dedicated to her successor. What, however, must be
looked upon as the real dedication of the poem comes at the end,
" To Sir Robert Cotton, Knight, Lord of Cunnington."  Here
too Holland promises " a second part" of his subject, which
never appeared, although the author survived the publication of
the first part thirty years. Judging from that first part, there is
not much reason to think the loss enormous. After the title
comes an acrostic sonnet to the King; an address in verse to
" the bright Queene Anne "; Latin lines to Arabella Stuart; and
an address thus headed: Clarissimno et candidissimo ingenio Prceceptori olim, semper Amico, Gulielno Camdeno, Armorum Regi
nulli secundo Poemation hoc censendumn et emendandum mitto.
After these, we have commendatory poems, in Latin, by Andreas
Downes and Nicholas Hill; Anacreontics by E. B.; and " an Ode
aX??1yoplKty" by Ben Johnson (so spelt), which was never re



(Kartl   (flglit);ittraturt.              167
printed, nor, since 1603, mentioned.1  Then come five pages by
Hugh Holland, " To my Mayden Muse," followed by the body of
the production, headed "Pancharis: The First Booke."
We have been thus particular because the work itself has not
been hitherto described. The author lays the scene at Windsor
Castle, and he tells us that after the death of Henry V., Queen
Katherine resided there:" Here the sad Queene ful many a sigh did smother,
Resolved still to leade a Widdowes life.
So chaste was she, though faire and rich and yong,
That yong and olde to praise her were at strife.
Of her high honour all Musitians sung,
And thereto each sweet Poet tun'd his pen,
That therewith England and all Europe rung.
She was the wonder of all mortall men:
Few Queenes came neere her, and none went above
In grace and goodnesse, since, before, or then."
1 As this Ode has never been even mentioned, much less quoted, we
shall not hesitate to insert one or two extracts. It opens thus: —
" Who saith our Times nor have nor can
Produce us a blacke Swan?
Behold! where one doth swim
Whose note and hue.
Besides the other Swannes admiring him,
Betray it true.
A gentler bird then this
Did never dint the breast of Tamesis."
The whole is in this peculiar form of stanza, and the praise is sometimes so lofty that, when we compare it with the poem it introduces, it
has almost the air of irony. This is the next stanza:"Marke, marke, but when his wing he takes,
How faire a flight he makes!
How upward and direct;
Whilst pleas'd Apollo
Smiles in his sphaere to see the rest affect
In vaine to follow.
This Swanne is onely his,
And Phoebus love cause of his blacknesse is."
Near the conclusion he goes beyond all he has already advanced in applause of Holland and his poem, declaring that no river of Europe, Po,
Tagus, Rhine, or Seine, can equal the glory Thames has acquired by the
poem of " Pancharis."  Ben Jonson perhaps praised what his own imagination conceived of the subject, rather than what Holland had made
of it.




168             bibLiogracplkral ~      o0unt of
This is not very happy, in spite of a modest invocation to
Cupid to aid the poet with a pen plucked from his own wing.
Afterwards we are informed that both Diana and Venus pay a
visit to the royal widow, and even drink mortal wine with her
from a cup that had belonged to Edward the Confessor. Venus
subsequently resolves that Katherine shall fall in love with Owen
Tudor, and the goddess thus speaks of him to her son: —
"A gallant and resolved gentleman
Faire Owen Tudyr; fire thou hir in love
With him, my boy. Mother (said he) your Swanne
Shall not exceede this Eagle, nor your Dove.
Hereafter shall she stoope so to the lure
Though now a while the clowds she towre above;
For her pure bosome with a brand as pure,
I wil so kindle, yet before the sunne
Get out of Libra, that none may recure
Her heart, but only Owen."
What follows is his personal description; and we need not wonder at the sudden attachment of the Queen, when she not only
sees him caper in a Masque, but when, by accident or design, he
touches her " softer thigh " with his harder knee: -
" The gentle Owen was a man well set,
Broad were his shoulders, thogh his waste but smal:
Straight was his backe, and even was his breast,
Which no lesse seemely made him shew then tall.
Such as Achilles seem'd among the rest
Of all his army clad in mighty brasse;
Among them such (though all they of the best)
The man of Mone magnifique Owen was:
He seem'd an other Oake among the breers,
And as in stature, so did he surpas
In wit and active feates his other peeres.
He nimbly could discourse, and nimbly daunce,
And ag'd he was about some thirty yeeres."
Owen Tudor's dancing was admired by all; but the Queen
was quite overcome when
" therewithal
He fetch'd me such a frisk above the ground,
That 0 well done! cried out both great and small."
Holland does not profess to be able to account for Katherine's




(fartv  (fngLisl  itErature.              169
love at first sight, and simply asks, almost in the very words of
Shakspeare (Two Gent. of Verona, Act. V. sc. 2),"Is it because that in faire womens eyes
Blacke men seeme pearles?"
He attributes all the merit of the conquest to Cupid:"This is thy power, 0 Love! this is thy praise,
For unto Gods it only doth belong
The mighty downe to pull, the meeke to raise."
Having carried the story thus far, Holland promises to continue it in "a second part" of his poem, which, as far as we
know, never appeared; and even the first part would not have
survived but for the single copy we have used. Although some
of the lines run smoothly, no part of "Pancharis" does much
credit to its author.  Holland, being a Welshman, naturally
enough chose a Welsh hero.
TUKE, THOMAS. -  Concerning  the Holy Eucharist, and
the Popish Breaden-God to the MIen of Rome, as well
Laiques as Cleriques.  By Thomas Tuke. -  Anno Diii
M. DC. XXXVI. 4to. 14 leaves.
Although, according to the statement of the author, this poem
was first printed in 1625, and again, as we see, in 1636, it is
extremely rare. We presume that it is by the same Thomas
Tuke who in 1616 published "a Treatise against painting and
tincturing of Men and Women," quoted by Prynne in his " Histriomastix," 1633. This production, against the Roman Catholic
doctrine of the real presence, has no printer's nor stationer's
names, and we may well believe that it was never intended for
sale, and-that the author was at the expense of both private
impressions. After a very pious Protestant address " to the courteous Reader," on two pages, " the men of Rome, as well Laiques
as Cleriques " are abused and ridiculed for their absurd belief that
God was really and corporeally present in the bread and wine of
the Sacrament of the Lord's Supper, and for not receiving it in
both kinds. Tuke begins as follows:



170             ibhliograpliratl 2tcount of
"Priests make their Maker Christ, yee must not doubt:
They eat, drink, box him up, and beare about.
Substance of things they turne; nor is this all,
For both the Signes must hold him severall.
Hee's whole ith' bread, whole ith' cuppe;
They eat him whole, whole they suppe;
Whole ith' Cake, and whole ith' cuppe."
Again, afterwards he asks: -
"What! Does a Temple make the Architect,
That thou of bread thy Maker should'st erect?
Or does a Servant use to make his Lord,
That Priests to theirs a beeing do afford?
O, presumptuous Undertaker!
Never Cake could make a Baker,
And shall a Priest, then, make his Maker? "
Thus the author proceeds fbr 639 lines, after which we meet
with his name again, and the date of 2d February, 1635, as that of
the new edition. A Postscript informs us that the piece had originally been printed eleven years earlier, but that a new impression
had been required in order that some lines subscribed " Io. Artef"
might be " subnexed," the fact being that the " subnexed lines"
are only fifteen of Tuke's own, which had been already inserted.
The tract is extremely ill printed, and manuscript corrections,
perhaps by the author himself, are continually made in the exemplar we have employed. We cannot avoid the conviction that
the writer was a very old man, indulging his fancy for rhyming
controversy at the expense of his readers.
TURtBERVILE, GEORGE. - Epitaphes, Epigrams, Songs and
Sonets with a Discourse of the Friendly affections of
Tymetes to Pyndara his Ladie. Newly corrected with
additions, and set out by George Turbervile Gentleman.
Anno Domini 1567.-  Imprinted at London by Henry
Denham.  8vo.  B. L.  145 leaves.
It is remarkable that at this time of day it should be a new,
yet indisputable fact, that there was an impression of' Turbervile's




arlt    (nglit') A  iteralure.             17
"Epitaphes, Epigrams, Songs and Sonets" anterior to that of
1567, the title of which stands at the head of the present article.
And how is this fact established? Not merely by his title-page,
but by a passage in the dedication of his book " To the right
noble and his singular good Lady, Lady Anne Countesse of Warwick."  If any bibliographer had only read the beginninrg of the
work he was describing, he must have seen the following passage:"As at what time (Madame) I first published this fond and slender
treatise of Sonets, I made bolde with you in dedication of so unworthy a
booke to so worthie a Ladie, so have I now also rubde my browe, and
wiped away all shame in this respect, adventuring not to cease, but to increase my former follie, in adding moe Sonets to those I wrote before. So
much the more abusing, in mine owne conceite, your Ladishippes patience,
in that I had pardon before of my rash attempt. But see (Madame) what
presumption raignes in retchlesse youth. You accepted that my first
offer, of honorable and meere curtesie, and I, thereby encouraged, blush
not to procede in the like trade of follie, alwayes hoping for the lyke
acceptance at your hands."
This extract unquestionably shows that Turbervile had dedicated to Lady Warwick a previous impression, which in 1567 he
had enlarged by additional poems: what they were he does not
specify: it was, however, not a mere reissue, or even reprint of
the former work, which we may presume he had, like that before
us, called " Epitaphes, Epigrams, Songs and Sonets."  We
know that in 1569 Turbervile was in Russia, as Secretary to the
English Ambassador: how long he remained abroad is uncertain; but a new impression of his miscellany was called for in
1570, and it was printed by the same typographer.  It was then
simply a repetition, without a word of novelty in the preliminary
matter, or in the body of the book; and very possibly the author
had not returned to England at the time it made its appearance.
In it various small typographical errors are corrected, and the
orthography varies, so as to show that the whole had been set up
again, while the aid of the poet was in no way required. In the
edition of 1567, the earliest known, Turbervile professes to have
"purged his work of its former faults and scapes," and apologizes for the whole, as having been composed, not to encourage




172           J3ibtiograp1 ial. lcount of
" any youthlie head to follow or pursue such fraile affections," but
to " warne all tender age to flee the fonde and flithie affection of
poysoned and unlawfull love."
We may be pretty sure that Turbervile's first edition did not
contain the stanzas addressed "to the rayling route of Sycophants," because he thus refers in it to his former book, which
some of his enemies had contended was composed invita Minerva.
"Though thou affirme with rash and railing jawes,
That I invita have Minerva made
My other booke, I gave thee no such cause
By any deede of mine to drawe thy blade:
But since thou hast shot out that shamelesse worde,
I here gainst thee uncote my cruell sworde."
He may possibly allude to hostility shown to his translation of
Ovid's Epistles, also published in 1567, and which we have
reviewed in Vol. III. p. 86. In consistency with what precedes,
Turbervile calls upon the Sycophant to draw his falchion, —
"Wherewith thou hast full many a skirmish made,
And scotcht the braines of many a learned brow;"
affording another example of the use of a Shakspearean word.
We will now speak of the contents of the body of the book,
which are contained in a preliminary " Table" of 164 separate
pieces. After a woodcut of the Bear and Ragged Staff; on p. 1
begins a poem " In prayse of the renowmed Ladie Anne, Ladie
Cowntesse of Warwicke," of the character of which the opening
stanza will afford evidence:
" When Nature first in hand did take
The Clay to frame this Cowntesse corse,
The Earth awhile she did forsake,
And was compelde, of verie force,
With mowlde in hande to flie to Skies
To ende the worke she did devies."
Of course, the Gods and Goddesses all unite to make the Countess, whom Turbervile calls Pandora, perfect both in mind and
form. Tymetes and Pyndara, mentioned on the title-page, are
fanciful names the poet gives to himself and to the lady he had
loved, but who had married somebody else: for her Turbervile




war1t   tng3Lif I tilerattnre.               173
professes to have written his love-poems, and he introduces them
by a short song, each verse of which ends with " Helena," thus:
"By sodaine sight of unacquainted shape
Tymetes fell in love with Pyndara,
Whose beautie faire excelde Sir Paris rape,
That Poets cleape the famous Helena."
Early in the volume we arrive at what may be considered the
first of Turbervile's " Epitaphes," and it is entitled " Verse in
prayse of the Lorde Henrye Howarde, Earle of Surrey," but we
need not quote it, because it is to be found in Dr. Nott's " Surrey
and Wyat," Vol. II. p. lxxix.  The "Epitaph upon the death of
the worshipfull Maister Richarde Edwardes, late Maister of the
Children of the Queene's Majesties Chappell" is not by Turbervile, but by Thomas Twine, the continuator of Phaer's Virgil;
and as it is not mentioned by Ritson, we quote some portions. It
begins thus: —
"If teares could tell my thought,
or plaints could paint my paine;
If dubled sighes could shew my smart,
if wayling were not vaine;
If gripes that gnawe my brest
coulde well my griefe expresse,
My teares, my plaints, my sighes, my wayling never should surcesse."
This is not very good nor very new; but afterwards it proceeds
in a better strain: —
" His death not I, but all
good gentle harts doe mone:
O London! though thy griefe be great,
thou dost not mourn alone.
The seate of Muses nine,
where fifteene Welles doe flowe,
Whose sprinckling springs and golden streames
ere this thou well didst knowe,
Lament to loose this Plant;
for they shall see no more,
The braunch that they so long had bred,
whereby they set such store.
O happie House! O Place
of Coipus Christi, thou,




174             ibliotgrapicatl 2tccount of
That plantedst first, and gavste the roote
to that so brave a bow:
And Christ Church, which enjoydste
the fruite more ripe at fill,
Plunge up a thousande sighes; for griefe
your trickling teares destill.
Whilst Childe and Chappell dure,
whilst Court a Court shall bee
(Good Edwards) eche estate shall much
both want and wish for thee.
Thy tender Tunes and Rimes,
wherein thou woonst to play
Eche princely Dame of Court and Towne
shall beare in mindealway."
These lines are subscribed " qd Tho. Twine," but near the end
of the volume in our hands is a second Epitaph upon the same
most applauded playwright and poet, which is unsigned, and
which we may therefore attribute to Turbervile. Isaac Reed
only spoke of it by hearsay, never having seen it; but as it has
been several times reprinted, we do not think it necessary to
repeat it. Other Epitaphs are upon Sir John Tregonwell, upon
Dame Elizabeth Arundell, upon Maister Tufton of Kent, and
upon Sir John Horsey; while the heavier matter is relieved by
love-poems, and by answers to "' Maister Googes Fancies," &c.,
which lie had printed in a volume of his poems in 1563, and
which we have duly noticed, Vol. II. p. 65. The "Francis Th "
to whom an epistle is addressed " on his leading his lyfe in the
Countrie " must have been Francis Thynne, of whom and of his
works more will be said hereafter, and of whom we have already
spoken in Vol. III. p. 32. One of the most interesting pieces comes
very late in Turbervile's Miscellany, namely, "An Epitaph on
the death of Maister Arthur Brooke, drownde in passing to New
Haven." This poem gives us the lamentable end of the author
of the earliest extant version of the story of " Romeo and Juliet,"
published by Richard Tottell in 1562: it had been acted even
earlier.
As Turbervile had commenced with the praises of Lady
Warwick, so he ends on the same theme, the Countess being
the wife of Ambrose Dudley, who died in 1589. A brief
"Epiloge to his Booke" precedes Denham, the printer's colo



exoarls (lglEni        fittratllrr.       175
phon, dated 1567. Malone's copy of this edition was once the
property of Edward Alleyn, the rich actor and founder of Dulwich College.
TURBERVILE, GEORGE.- Tragical Tales, translated by
Turbervile in time of his troubles, out of sundry Italians, with the Argument and Lenvoye to eche Tale.
Nocet empta dolore voluptas. -  Imprinted at London by
Abell Jeffs, dwelling in the Forestreete without Crepelgate at the signe of the Bel. Anno Dom. 1587. 4to.
B. L. 200 leaves.
As fifty copies of this work were reprinted at Edinburgh in
1837, we do not propose to give more than a cursory notice of
its contents. Turbervile had commenced his literary labors full
twenty years before the date of these " Tragical Tales," and we
cannot avoid thinkina that there was an earlier impression of
them  than that of 1787, although it has not come down to our
day. At all events, a small fragment with a different, and as
we apprehend an earlier, type is lying before us, while we write:
it is part of the "Argumlent" to the first tale, and of the preceding address, " The Authour to the Reader."  From the last,
and for the purpose of comparison, we quote the praise, well deserved, but perhaps not very disinterested, which Turbervile
gives to Lord Buckhurst, so created in 1567: we have not seen
it quoted elsewhere.  Melpomene addresses Turbervile in a
dream, and thus warns him not to continue a commenced translation of Lucan:- -
"Let loftie Lucans verse alone,
a deede of deepe devise,
A stately stile, a peerelesse pen,
a worke of weighty prise;
More meete for noble Buckhurst braine,
where Pallas built her bowre,
Of purpose there to lodge her selfe,
and shew her princelie powre.
His swelling vaine would better blase
those royall Romane peeres,




176             iibtisorapl ira t    rrcotunt of
Than any one in Brutus land
that livde these many yeeres.
And yet within that little Ile
of golden wittes is store;
Great change and choise of learned ympes
as ever was of yore.
I none dislike, I fancy some,
but yet of all the rest
Sance envy let my verdit passe,
Lord Buckhurst is the best.
We all, that Ladie Muses are,
who be in number nine,
With one accord did blesse this babe;
eche said This ympe is mine:
Eche one of us at time of birth
with Juno were in place,
And eche uppon this tender childe
bestowd a gift of grace.
My selfe among the moe alowde
him Poets praysed skill;
And to commend his gallant verse,
I gave him wordes at will.
Minerva held him in her lappe,
and lent him many a kisse,
As who should say, when all is done,
they all shall yeeld to this.
This matter were more meete for him,
and farre unfitte for thee:
My sister Clio with thy kinde
doth best of all agree."
Here we see various, more or less minute, differences, besides
the more important substitution of lent for " let," in the line " and
lent him many a kisse," which last must, we think, have been
the poet's word. So in " the Argument" to the first tale we have
"Might nothing rive or pierce her marble harte,"
instead of "Might nothing rize," &c.; and in the next stanza,
frtnion of our fragment is " frotion " in the copy of 1587, and, of
course, in the Edinburgh reprint.
These changes establish, at all events, that there was another
old impression, if indeed it were not earlier than the only extant
copy, among Malone's books at Oxford.
Those who have touched upon the biography of Turbervile




Qtir   Qenatlisl) i1itevttnret.            177
have regretted the absence of all materials, and it seems never
to have struck them that, on the very title-page of the work
under consideration, he emphatically notes his "troubles,"
r"translated by Turbervile in time of his troubles." He again
refers to them in some preliminary lines "to his verie friend Ro.
Baynes ":"Impute it to the troubles of my minde,
Whose late mishap made this be hatcht in haste;"
and, again, he tells the Reader, -
" Yet being that my present plight
is stufte with all anoye,
And late mishaps have me bereft
my rimes of roistingjoye."
This may mean that by some " mishaps" (here spoken of in the
plural) he had been bereft of " roisting rimes " which he had intended to publish. Probably, however, he refers to some personal
bereavement, of which we have no other account, and he does not
elsewhere advert to his " troubles."
We have taken the pains to collate every line of the reprint of
1837, and we can highly praise its general accuracy. In some
instances it is almost too faithful to the original, because it adopts
even barefaced misprints, which ought at least to have been
pointed out in notes, if it were thought necessary to include the
errors in the text: thus, " Phalatis" stands for Phalaris, "plants"
for plaints, " Latinus " for Latmus, "usage " for visage, &c. Here
and there we regret to meet with corruptions from which the
original copy is free, as peffred for "pestred," bigger for " beggar,"
and, worst of all, image for " linage," referring to the family and
lineage of one of' the heroines.
"Put case her byrth were base, her image lowe,"
is nonsense; and, as we say, it stands " linage" in the edition of
1587. On the whole, nevertheless, the work was well edited in
1837, although we might wish for some further information as to the
sources to which Turbervile resorted for his stories. We are not
even told that his first "tale " is the same as that which C. T. in
1569 had called the "notable Historye of Nastagio and Traversari," reviewed in Vol. III. p. 25. In all, there are ten of these
VOL. IV.              12




178            iiibiograplirta   ltccormt t of
novels in verse, several of them derived from Boccaccio, but
others from Bandello and Belleforest. It is in the miscellaneous
poems at the end of the volume that Turbervile addresses some
epistles from Russia (where he was in 1569, as Secretary to
Randolph) to a person of the name of Spenser, giving no Christian name. It is probable that his correspondent was the author
of "The Shepherd's Calendar," which made its appearance in
print in 1579; but it nowhere appears that Turbervile's friend
was named Edmund, although Anthony Wood incautiously so
gave it (Ath. Oxon. I. 627, edit. Bliss), and others (like the
editor of the volume in our hands) have more incautiously repeated.  The epistles themselves afford no internal evidence
upon the interesting point; and it may seem singular that Turbervile should say nothing about the poetical propensities of.Spenser, if Edmund Spenser were the person to whom they were
really transmitted. Still, we feel much confidence that Spenser
and Turbervile were early friends. We may notice here, that
we have before us a copy of the Works of Sir Thomas More,
folio, 1557, on which, in the handwriting of a George Turbervyle,
we meet with the following inscription:"He that feareth not God when he dothe bye his grace knowe his powre
shall be shamefullye confounded.
" George Turbervyle 1584. nov. 14."
Turbervile, or Turberville, was, however, not an uncommon
name in the west of England, and under date of the 17th March,
1579-80, we meet the following curious entry in the Registers of
the Stationers' Company:"Ric. Jones. - Lycenced unto him a Dittie of Mr Turbervyle murthered, and John Morgan that murdered him, with a letter of the said
Morgan to his mother, and another to his sister Turbervyle."
This Turbervyle could neither have been our poet, who was
liying in 1587 (and probably long afterwards), nor the writer of
the inscription of 14th November, 1584, in the copy of Sir Thomas
More's Works.




Q { arVl    Eng1tis4 ifitratnre.         179
TWYNE, THOMAS. -- The  Schoolemaster, or Teacher of
Table Phylosophie. A most pleasant and merle Companion, well worthy to be welcomed (for a dayly Gheast)
not onelye to all mens boorde, to guide them with
moderate and holsome dyet, but also into every man's
Companie at all tymes to recreat their mindes with
honest mirth and delectable devises: to sundry pleasant purposes of pleasure and pastyme. Gathered out
of divers the best approved Aucthors, and devided into
foure pithy and pleasant Treatises, as it may appeare
by the contentes. — Imprinted at London by Richarde
Johnes: dwelling at the signe of the Rose and the
Crown, neere  Holburne Bridge.  1583.  4to.  B. L.
68 leaves.
There was an earlier impression of this amusing work in 1576,
which we have not seen: it is a translation by Thomas Twine,
the versifier of the portion of the iEneid (see Vol. III. p. 189)
left unfinished by Phaer, and his initials T. T. are placed after
the dedication to Alex. Nowell, Dean of St. Paul's. Twyne's
original was mainly the Salurnaliorum Conviviorum Libri VII of
Macrobius, and he tells us that much more might have been
added to the volume.
As it is well known, we mention it chiefly for the sake of what
has sometimes escaped notice by those who have given an account
of it, namely, that Richard Jones, the notorious printer and
stationer, appears in it in the capacity of a poet, if rhyme may
be called poetry. He inserts what he heads "The Printer's
Preamble," in six six-line stanzas, addressed to all readers. The
measure, to be sure, is not very exactly observed, but the verses
have meaning and merit, and we quote the last two: —
"His problemes fine wil (doubtles) please you all,
And queint demaundes, so pithie in each point:
His jestes, I knowe, will like both great and small,
And hit your veyne, and nick you on the joinct:
What so you be, or where you do sojourne,
This pleasant pithy booke wyll surely serve your turne.




180           J3ibtioapgrirati    2ltrront of
"Then, bid him welcome, Gentles all, and say,
Come, merie Gheast, come neare and sit thee downe:
Undoe thy packe; show foorth, we do thee pray,
Such newes as may us mery make in Country and in Towne.
Thus him to you I leave to see what he can show,
For, doubtlesse, I to joy your mindes this charges dyd bestow."
The body of the work is divided into four parts: - 1. Of the
nature and quality of all meats and drinks. 2. Of manner,
behaviour and usage. 3. Delectable and pleasant questions, and
pretie problemes.  4. Of honest jests, delectable devises and
pleasant purposes.
The fourth division is curious, inasmuch as it shows how many
of the best jests, still current, were equally acceptable in the
middle of the reign of Elizabeth.  Even then they were far from
new. We quote one which we do not recollect to have seen
elsewhere:"A proper jest of a certen marchaunt that would never come to church,
nor heare Sermons; and beeing moved oftentymes by his wife thereto,
sayd alwayes unto her, Go thou for us both. On a night he dreamed that
he.was called into judgement, and seeing his wife, with many other holy
folkes, entring in at the dore of the celestiall joy, and hee likewise would
have gone in with them, the porter put him backe and sayd, She shall go
in for you both. Thus he, tareing without, awaked with sorrowe and
greefe, and afterward leade a godlyer lyfe."
The above reads as if it were derived from the Gesta Romanorum; and so, perhaps, it was, or from some source where the
pious result would be " improved " upon. Here also we have the
stories of the husband who took his wife's confession; of the
doctor and his pupil; of the Jew who fell into a jakes on his
Sabbath; of the man at sea who threw his wife overboard; of the
husband who was castigated for his sinful wife; of the thief who
bit off his father's nose; of the Archbishop on his palfrey and
the old woman; of the Prioress and the Monk's breeches, and
many others of the same kind.
In both editions of Lowndes (Bibl. Man. edit. 1834, p. 54, and
edit. 1857, p. 57) there is a mistake in assigning to T. Twyne the
translation of the novel on which Shakspeare founded "Pericles."
That version was made by Lawrence Twyne, brother of Thomas,




KQartz  fngltis   Zittcratnre.         181
as is shown by the title-page of every impression: " The Patterne
of painefull Adventures, Containing the most excellent, pleasant,
and variable History &c. of Prince Apollonius, the Lady Lucina
his wife, and Tharsia his daughter, &c. Gathered into English
by Laurence Twine, Gentleman. - Imprinted at London by
Valentine Simmes for the Widow Newman."  This edition has
no date, but the story made its appearance several times anterior
to 1600, first in 1576. Malone, Steevens, and even Douce all
fell into the error of imputing it to Thomas, instead of Lawrence
Twyne. Shakspeare probably used an impression which came
out in 1607, a little before the date of the production of " Pericles."  The novel was originally printed by Wynkyn de Worde
in 1510, a translation from the Gesta Romanorum having been
made for him by Robert Copland.
This " Patterne of painefull Adventures " is not to be confounded with " The painfull Adventures of Pericles," of which
we shall speak hereafter under the name of George Wilkins, and
which was a narrative (the only one of its kind) founded upon
Shakspeare's drama, on account of its interest and popularity,
and printed in 1608.
TYRo, ROARING MEG. — Tyros Roring Megge.  Planted
against the walles of Melancholy. One Booke cut into
two Decads. Uno die consenui. - At London, Printed
by Valentine Simmes. 1598. 4to. 21 leaves.
All that is good about this work is its title, which attracts
attention on account of its apparent connection with that famous
virago Long Meg of Westminster, regarding whose roaring exploits a pamphlet is extant, dated 1635, but who was well known
many years before that date. As early as 1594, she had furnished
the subject for a play at Henslowe's theatre; and here, four years
afterwards, we find her giving a title to a collection of what are
called by the author " epigrams," but which are more like satires,
professing to be as bold and reckless as any of that heroine's
achievements. However, the anonymous author wholly miscalcu



182            J3ibliograpical 1 ltcconnt of
lated his powers, and what he meant for wit is mere coarseness,
and what he hoped was severity is generally abuse. There was
also a piece of artillery, which, mainly from its length, obtained
the name of " Long Meg," and to the " roaring " of that gun,
still in existence, the author obviously refers in his forefront.
We may presume from the word Tyro that he was young and
inexperienced, and we doubt whether the scarce publication in
our hands was ever followed by anything from the same pen.
We are not aware of an allusion to " Tyro's Roaring Meg," or.
to its author, in any subsequent publication. They were passed
over without notice.
The dedication is to a "worshipful and true gentleman," of the
name of John Lucas: it is in six-line stanzas, and there the
writer thus expresses his assumed  diffidence; - we say "assumed," because the whole character of the tract, divided into
two "decads" of epigrams, contradicts the notion that he had
any doubt of his own ability and desert:" Naithlesse, prickt on with foolish hardiment,
I put into those gratious handes of thine
These looser numbers: fitter to be rent,
Or swept away like deft Arachnes twine
Than to be read: yet (deerest) list a while
Unto thy Tyro's democriticke stile."
What he means by "Tyro's democritic style" is not at all
clear, - possibly laughing style, but we cannot compliment him
on his success in any style. We quote one of his best efforts,
which is " Epig. 4," of the first decad: —
" 0 grosse, 0 monstrous! fie, Tom Tyro, fie!
Give thy king Edward's shilling for a pie,
And then transport it to thy den alone,
And chop it up, and give thy fellowes none?
What! spoile a Neats-foote and a marrow bon,
And never call thy next Ucalegon?
Fie, that thy greedy-wormed tong is such!
Fie, that thy chopping knives can mince so much!
Art thou a Milo or Philoxenus,
That art so sturdie and delicious?
Th' Harpyre would not snatch so greedily,'Whose talons were of great capacity.




far1   Englisl) iittrature.              183
How can thy noddle choose but be so dull,
When, capon-like, thy maw is cramd so full?
Right well I wot thou maist have lighter hart,
If this thou leave, and learne to size a part."
There is really nothing worth quoting in the whole disjointed
performance; for sometimes Tyro seems a hero, and at others the
butt of his college companions. Considerable violence is here
and there done to grammar, as where, in Epig. 1, of Decad 2,
"hat " is made the past tense of to hit, and we are told that Tyro
threw a stone at a goose and hat it. The writer, if he were not
a scholar, affected to be one, and at the end we have Tyronis
Epistolce, consisting of Latin letters, supposed to have been sent
not only to his father, but to his mother, as well as to other
relations, who perhaps would not be able to read the language.
Besides a total want of point and pungency in the epigrams,
there is a sad deficiency of humor, and almost the only attempt
at it is where Tyro dates one of his pieces in the following
manner: -
"Written in haste, the twentieth of December,
About the dinner hour of eleven,
Fifteen hundred and ninety-seven."
The Tyronis Epistolce form part of the tract, and are not, as
some bibliographers have supposed, a separate publication.
UNDERDOWNE, THOMAS. — The  excellent Historye  of
Theseus and Ariadne. Wherin is declared her fervent love to hym, and his trayterous dealing towarde
her: Written in English meeter in Commendation of
all good Women, and to the Infamie of such lyght
Huswyves as Phedra the sister of Ariadne was, which
fled  away with Theseus, her Sisters Husband, and is
declared in this History.  By Thomas Underdowne. -
Imprinted at London by Rycharde Jones, and are to
be sold at his Shop, joyning to the South west Doore
of Paules  Churche.  1566.   18 of Januarie.   8vo.
B. L. 16 leaves.




184          TBibliograpjika!t aLonnt of
We have noticed this work on page 90 of our third volume;
but a complete copy having since fallen in our way, we give a
specimen or two of the execution of it. What we have previously said only applies to the preliminary portion, and to the
author's bitter and, we may say, unjust attacks upon the female
sex. We pass over all that relates to the tale of Pasiphae and
the Minotaur; and after Theseus has abandoned Ariadne, she
breaks out in the following strain, employing verse that would
have done credit to the poetry of a period considerably more
advanced:
"I dyd repayre his crased shyppes,
I dyd him treasure gyve;
I dyd my selfe bequeath to hym,
Still with hym for to lyve:
" I banketted this traytours men,
I vittayled them with store,
I shewed them suche pleasure as
They never had before.
"I dyd my loved countrey lothe,
My parentes I forsooke,
To go with hym unto his land
All paynes I undertooke:
"And he likewyse dyd swere to mee
By goddes and heavens hie,
That he alwayes wolde be my man,
With me to lyve and dye."
This is considerably better than might have been looked for
from the translator of Ovid's " Ibis," but the subject there was
unpromising. He goes on just afterwards in these terms: —
"Amyd a forrest wylde and wyde,
For beares and wolves a pray,
He leaveth me asleepe, and he
Falsely doth goe his waye.
"His trustlesse trueth, his treason tryed,
His fayth, his falshed founde,
And I a wofull wretche in care
As any on the grounde.
"To you, ye goddes, I doe complayne,
To you this tayle I tell,




(&ar1      (nug[it1J)  ittraturc.         185
Sith that he hath your names blasphemd,
That he may hang in hell.
"Revenge my cause, sith none but you
My whole estate do knowe;
That you be goddes and wyll revenge
To Theseus do showe.
"And you that heere of mee,
That be of judgement pure,
Beware to fisshe in fancys floud,
Or els to drowne be sure.
"Beware, be wyse; example take
By Ariadnes payne,
Whiche helpyng hym who helples was,
She helples doth remayne."
In the last stanza of the poem we are informed that the Gods
did take pity upon Ariadne, and translated her to the stars,
"where shee shall never die."  On the whole, it is a highly
creditable performance, and it is remarkable, among pieces of
that date, that it is without dedication. Underdowne puts the
abridgment of his name, "Finis.  Th. Un.," at the end.  Of
course the foundation of the story is in Ovid, but the writer did
not merely translate or imitate his original.
UNDERDOWNE, THOMAS.-  An }Ethiopian Historie: Fyrst
written in Greeke by Heliodorus and translated into
English by T. U. -No lesse witty then pleasant: being newly corrected and augmented, with divers new
additions by the same Author &c. - Printed at London for William  Cotton &c.  1605.  B. L.  4to.  155
leaves.
The oldest known edition of this work is dated 1587, 4to; but
it is evident from the preliminary matter that it had been printed
earlier.
In his address "to the Reader," preceding his version of
"Heliodorus," Underdowne places the original, in point of ex



186           tiibtiorap)iTral  2trronnt of
ample at least, before " Mort Darthure, Arthur of little Britaine,
yea, and Amadis of Gaule." Some scraps of verse are inserted,
particularly " the song that the Thessalian Virgins sung in honor
of Thetis, Peleus, Achilles, and Pyrrhus."
The beginning of Heliodorus's History appears to have been
translated into English hexameters by Abraham Fraunce, and
printed in 1591. (Vide Warton, Hist. Engl. Poet. IV. 230,
edit. 8vo, and Ritson's Bibl. Poet. 212.)  In 1622 a new translation of the whole of the IEthiopian History by W. Barret was
published. Nahum Tate completed a version of the last four
books in 1686, the first six having been attempted by another
hand.
URCHARD, SIR THOMAS. -  Epigrams Divine and Moral.
By Sir Thomas Urchard, Knight. - London, Printed
by Bernard Alsop and Thomas Fawcet in the yeare
1641. 4to. 34 leaves.
Sir Thomas Urchard, or Urquhart, was by no means an original
thinker, but he was a tolerable writer of verses upon the commonplaces of' life and manners. In the dedication of the work in our
hands to " the Marquis of Hamilton, Earle of Arren and Cambridge," he states that his epigrams were "flashes of wit," but
they by no means deserve that character: they are rather solid
than flashy, and, in the ordinary sense of the word, they have
little or no pretension to be called witty. They show some knowledge of character and shrewdness of observation, but nobody,
reading them in our day, would consider them worthy of much
admiration on any score. This is the earliest, and indeed the
only, impression of them; for, when they appeared again in 1646,
they had only a new title-page " for William Leake," into whose
halnds some remainder copies had devolved. The epigrams are
divided into three books, and after the last we read " Here end
the first three Bookes of Sir Thomas Urchard's Epigrams," as if
it were, at one time, intended to follow on with a fourth book, but
that the stationer thought the public would not care for more.




(.arit     ( nglis,   Littraturr.          187
He was, like most publishers, a better judge upon such a point
than the author. The pieces are much more like aphorisms, and
reflections in verse, than epigrams, and they now and then approach to too near a resemblance to truisms, - sedate observations, which no one would think of disputing, if of uttering.
The following is one of the happiest, and it is the first "epigram"
of Book HI.:"No kind of trouble to your selfe procure,
And shun as many crosses as you can:
Stoutly support what you must needs endure,
And with the resolution of a man
Whose spirit is affliction-proofe, possesse
A joyfull heart in all occurrences."
The concluding poor line diminishes the effect of all the rest;
and of course in every epigram care should be taken to make the
last line sustain and support all that precede it: it ought to be
better than the rest, and should finish off the writer's full meaning.
One of Sir Thomas Urchard's best is headed " Of negative and
positive Good":" Not onely are they good, who vertuously
Employ their time, now vertue being so rare,
But likewise those whom no necessity,
Nor force can in the meanest vice insnare;
For sin's so mainly further'd by the Devill
That'tis a sort of good to doe no evill."
We may doubt whether the last line in what succeeds is as it
came from the author's pen: if it did, he allowed himself great
license in the rhyme.
^" External comelinesse few have obtain'd
Without their hurt: it never made one chast,
But many adulterers; and is sustain'd
By qualities which age and sicknesse waste:
But that whose lustre doth the mind adorne,
Surpasseth farre the beautie of the bodie;
~For that we make our selves: to this wee're borne:
This onely comes by chance, but that by study.
It is by virtue, then, that wee enjoy
Deservedly the stile of beautifull,
Which neither time nor fortune can destroy;




188          3Bibiograpjicat  2tccoltt of
And the deformed body a faire soule
From dust to glory everlasting carries,
While vicious soules in handsome bodies perish."
According to the full-length engraving of Sir Thomas Urchard,
which sometimes accompanies the reissue of his Epigrams in 1646,
he was a fine personable  man, and apparently not a little vain of
the " handsome body" in which his soul was lodged.1 Whatever
he may have thought of his figure, he certainly over-estimated the
powers of his mind. Each of the three books contains forty-four
epigrams, and the work is very carelessly printed.
VALENTINE AND ORSON. - Valentine and Orson, the two
Sons of the Emperour of Greece.  Newly corrected
and amended, with new Pictures lively expressing the
History. - London Printed by J. R. for T. Passenger,
&c. 1688. 4to. B. L. 112 leaves.
The "new pictures," mentioned above, are merely very old
woodcuts, as is evident from wear and tear, as well as from wormholes. On the title-page is one of them, representing Valentine
leading Orson prisoner; and on a fly-leaf, preceding it, is another
of the exposure of the two infants.  At the end is a table of the
fifty-two chapters into which the romance is divided.'This is a
version different from that printed by Wynkyn de Worde, as far
as can be judged from the only fragment remaining, and different
also from that printed by W. Copland. The present translation
seems to have first appeared in 1637, but by whom it was made
we have no information.
1 The portrait was drawn and engraved by Glover,-" G. Glover ad
vivum delineavit et sculp. 1645,"-and underneath is this couplet subscribed W. S.:"Of him whose shape this Picture hath design'd
Vertue and learning represent the Mind."
Sir Thomas Urchard is dressed in the extreme of the fashion, and a
little angel is holding out to him a laurel crown, to receive which Sir
Thomas, rather condescendingly, extends his right hand.




wartl   (EnglilJ Kittratlre.            189
VALLANS, WILLIAM. - The Honorable Prentice: or This
Taylor is a man. Shewed in the life and death of
Sir John Hawkewood, sometime Prentice of London:
interlaced with the famous History of the noble Fitz-walter, Lord of Woodham in Essex, and of the poisoiling of his faire Daughter: Also the merry customes of Dunmow, where any one may freely have a
Gammon of Bacon, that repents not marriage in a
yeere and a day. Whereunto is annexed the most
lamentable murther of Robert Hall at the High Altar
in Westminster Abbey. -  Printed at London for Henry
Gosson, and are to be sold in Pannier alley.  1615.
4to. B. L. 20 leaves.
The only reason for assigning this very rare tract to William
Vallans, the author of "A Tale of two Swannes," 4to, 1590, is, that
it bears the initials W. V. at the end of the dedication. There
was, however, an interval 6f twenty-five years between the publications. W. V. may mean anybody else, and there is not the least
connection or similarity of style. William Vallans was one of our
early blank-verse poets, merited high appreciation, and could
never have condescended to the putting together of such a patchwork production as this narrative regarding a renowned tailor, the
poisoning of the daughter of Lord Fitzwater, the flitch of Bacon
at Dunmow, and the assassination of Hall in Westminster Abbey
in the reian of Richard II. The tract under consideration is
nearly all prose, and was clearly meant to be popular with the
lower orders, while the poem of the " Two Swannes" could
never have been intended for perusal by any but more refined
understandings. Take, for instance, only such musical lines as
these: —
"Then looke how Cynthia with her silver rayes
Exceedes the brightnesse of the lesser starres,
When in her chiefest pompe she hasteth downe
To steale a kiss from drowsie Endymion,
So doe these princes farre excell in state
The Swannes that breede within Europas boundes."
There is nothing very novel in the simile, but there is some



190           Bibliograpt'ial 2tccount of
thing very graceful in the language; and the epithet " drowsie"
was at that time a rather bold attempt to introduce variety of
measure, by requiring the reader to pronounce two syllables in
the time of one, and to carry on the last syllable of " drowsie " to
the first syllable of Endymion.
The tract before us is dedicated to Robert Valens; and if W.
V. had had the same, or so nearly the same, name, he would have
been sure to allude to it; and perhaps to claim relationship, if
Vallans and Valens had been identical as appellations. What
W. V. calls " the famous History of Sir John Hawkewood," commences after a brief " Introduction," but it is nothing more than
the old story avowedly derived from Paulus Jovius, upon which
Richard Johnson had dwelt in 1592, when, in his " Nine Worthies
of London," he represented Hawkewood as thus opening his own
story: -
"'Who knowes my ofspring doth not know my prime;
Who knowes my birth, perhaps, will scorne my deedes:
My valour makes my vertue more then slime,
For that survives, though I weare deaths pale weedes.
Ground doth consume the carkes unto dust,
Yet cannot make the valiants armour rust."
Into Hawkewood's adventures in the reign of Edward III. we
need not enter; and the second portion of the tract, which relates to Lord Fitzwater and his fair daughter, is almost equally
well known. When speaking of the death of' King John, the
writer inserts the following note in his margin,-" Of which matter Mr. Michael Draiton and others have written at large."  The
most curious and original division relates to the Gammon, or Flitch
of Bacon at Dunmow, to which Chaucer refers when he makes
his Wife of Bath say, -
"The bacon was not fet for hem, I trowe,
That some men have in Essexe at Donmowe."
The information in the tract in our hands professes to be derived from the records of the Priory at Dunmow, showing that the
prize had been gained of old by three persons only, viz.: Stephen
Samuel of Aston, in the 7th year of Edward III.; Richard Wright
of Norwich, on 17th August, 23 Henry VI.; and by Thomas le




f(r'l   (ngltiezt    iteraturc.            191
Fuller of Coggeshall, in 2 Henry VIII. What follows is given
as the form of the oath to be taken by the claimants before the
Prior could deliver to them the flitch (forsan fesh, or Germ.
fleisch) of bacon: —
"The order of the Oath.
"You shall sweare by the custom of confession
If ever you made nuptiall transgression,
Be you, sythe married man or wife,
By house hould brawles or contentious strife,
Or otherwise in bed or at board,
Offend each other in deede or word;
Or since the parish clarke said Amen,
You wisht your selves unmarried agen:
Or in a twelvemoneths time and a day
Repented not in thought any way,
But continued true and just in desire
As when you joind hands in the holy quire.
If to these conditions, without all feare,
Of your owne accord you will freely sweare,
A whole Gammon of Bacon you shall receive,
And beare it hence with love and good leave.
For this is our custome, a[t] Dunmow well knowne:
Though the pleasure be ours, the Bacons your own."
The murder of Thomas Hall took place at the high altar of
Westminster Abbey, to which sanctuary he had fled when he had
refused to give up the son of the Earl of Dene. There he was
slain, and on the authority of Camden's " Remains," which W. V.
cites, we are told that the dead body was buried " not far from
Chaucer's tombe."
There was what, at first sight, would seem to be a second edition
of this tract in 1616; but it was, in fact, merely a reissue of some
copies that remained on hand from the preceding year: the only
difference is, that on the title-page of the impression of 1615
Henry Gosson's address in Pannier Alley is given, while in the
impression'of 1616 it is omitted. The rest does not vary in a
single letter. It is somewhat surprising that such a catchpenny
publication did not meet with a more speedy sale.




192            i~ibliograpi al I2rrcount of
VAUGHAN, ROWLAND. -  Most approved  and long  experienced Water-Workes.   Containing the manner of
Winter and Summer-drowning of Medow and Pasture,
by the advantage of the least River, Brooke, Fount
or Water-prill adjacent, &c. As also a demonstration
of a Project for the great benefit of the Common-wealth
generally, but of Herefordshire especially, &c. By Rowland Vaughan, Esquire. - Imprinted at London by
George Eld. 1610. 4to. 70 leaves.
The author, a resident in what was called the Golden Vale of
Herefordshire, and formerly a captain in the Queen's army in
1588, in this work communicates to the Earl of Pembroke, in the
form of a letter, two projects; one for irrigating land, of which
he claims to have been the inventor, and the other for establishing an industrious community on his estate, which was surrounded
by a numerous and idle population. Both schemes appear to have
met with much opposition in his own neighborhood, and he therefore prays the aid and intervention of persons in power. His
singularly written work is'ushered in by a long commendatory
poem by John Davies, of Hereford, " your poore kinsman, and honorer of true vertue in whome so-ever," and by others of the same
kind, but much shorter, by John Strangwage, Rob. Corbet, Henry
Fletcher, Richard Harries, Silvanus Davies, Tho. Rant, Oliver
Maynson, John Hoskins, and a sonnet by John Davies. The
author also prefixed four lines of his own, and added fourteen
others at the conclusion; for, in a previous part of his work, he
observes, " though I am no poet, yet I can make ballads to the
tune of' Up tayls all;' for Ile lash them, i'faith, with Rimes that
shall make it rancle where they fall." A person who subscribes
himself Anthony Davies ends the volume by six lines "in praise
of the Worke and Author."
It is to be observed that some copies of this production are
without date, and have no folding plates: others have only one
plate; but the copy at Bridgewater House has two, explanatory
of the author's intentions, one inserted after sign. K 3, and the
other after the last leaf. They are both colored, and from some
manuscript corrections made by the author we may infer that it
was a presentation copy to Lord Chancellor Ellesmere.




Eadn        ngtli"e     fittraturr.           193
VENNAR, RICHARD. —An Apology written by Richard
Vennar of Lincolnes Inne, abusively called Englands
Joy.  To repress the contagious  Ruptures of the  infected  Multitude, who having  diseased  stomackes  of
their owne make the world beleeve they cast up others
poyson.  And dedicated to the  same pur-blinde lMultitude, who feede with Spectacles to make their meate
seeme bigger. As hoping, not altogether unworthy
the perusal of the Noblest Judgements &c. -  London
Printed by Nicholas Oakes. 1614. 8vo. 29 leaves.
This is an early and remarkable piece of autobiography, and
we believe that the volume is entirely unique. Richard Vennar
was the author of a dramatic entertainment chiefly consisting, as
far as we can judge, of dumb show  and exhibition of scenery,
which was brought out at the Swan Theatre on the Bankside, in
1603, under the title of " Englands Joy": an outline of it is
extant, and it appears that it was a sort of apotheosis of Queen
Elizabeth. This piece procured for its author, Vennar, the nickname of " Englands Joy," as he states on his title-page; 1 but he
1 In all the lists of the works of Nicholas Breton this production of
"England's Joy " is assigned to him, but without the slightest authority,
and there can be no reason for doubting Vennar's assertion that he was
the author of it. An original copy of the piece, such as it has come down
to us, is in the library of the Society of Antiquaries, in the shape of a
broadside, and it is reprinted from that relic in Vol. X. of the last edition
of the Harleian Miscellany. We cannot refuse to insert here the following
extract from a gossiping letter by John Chamberlain, dated 19th November, 1602, so that the incident to which it relates occurred, not in 1603,
but near the close of 1602. We copy it from the original, formerly in
the S. P. O.:" And now we are in mirth, I must not forget to tell you of a cousening pranke
of one Venner Qf Linucolnes-Inne, that gave out bills of a famous play on Satterday
was sevennight on the Bankside, to be acted only by certain gentlemen and gentlewomen of account. The price at comming in was two shillings or eighteen pence
at least; and when he had gotten most part of the money into his hands, he wold
have shewed them a fayre payre of heeles; but he was not so nimble to get up on
horsebacke, but that he was fayne to forsake that course, and betake himself to the
water, where he was pursued and taken and brought before the L. Chiefe Justice,
who wold make nothing of yt but a jest and merriment, and bound him over in
VOL. IV.                 13




194               ibtliorapl)kial aLcount of
is not to be confounded with a person of the name of William Fenner, or Fennor, who was a rhyming antagonist of John Taylor the
water-poet.
Richard Vennar was, as he informs us, a younger son of John
Vennar of Salisbury, a Justice of the Peace, and was baptized by
Bishop Jewell, so that he must have been born before 1571. After
travelling he became a member of Lincoln's Inn, but met with
many misadventures, one of which was the loss of his patrimony by
the production of a forged will in favor of his brother-in-law. It
was in his distress for money that he composed " Englands Joy,"
of which he speaks with regret, as follows:" By this I may seeme, like a cunning Oratour, to have produced the
weakest imputations first, that this cleering might set the better glosse
upon more knowne defects: for who can excuse my publique default of
the Swan, where not a collier but cals his deere 12 pence to witness the
disaster of the day? How should I, without blushing, deny the name of
Englands Joy, who had so many gossips at my Christening?  Surely this
divill must be cast out at leasure: you must use some patience to heare,
nad I rob you of a little more time to deliver the circumstance, which,
with indifferency heard, I assure my selfe will prove but a Chimera, and
either appeare but a winde, or Ixions monster at most, part man, part
beast."
However, he does not " deliver the circumstance " attending the
performance, but goes back to his journey to Scotland in 1600, and
gives us more than a hint that he was in some way concerned in
the Globe Theatre on the Bankside, then carrying on most successful performances. At this period Shakspeare was in his
zenith, and his plays in a course of nightly representation. Vennar, however, speaks somewhat obscurely, and there are various
other parts of his memoir that require explanation.  He had been
imprisoned in the Counter, and obtaining his enlargement he
knew not what course to pursue:"My minde became diversly distracted with plurallity of purposes, some
times carried one way, some times another: the last, that I stood not least
five pound to appeare at the Sessions. In the meantime the common people, when
they saw themselves deluded, revenged themselves upon the hangings, curtaines,
chaires, stooles, walles and whatsoever came in theyre way very outrageously, and
made a great spoyle. There was great store of good companie and many noblemen."




0 arlp  Onglislj   iterature.             195
upon in resolution, was a second intendment for Scotland; but to this
purpose there wanted armes, or rather the sinewes of armes, money. I
saw daily offring to the God of pleasure, resident at the Globe on the
Bankside, of much more then would have supplyed my then want: I
noted every man's hand ready to feede the luxury of his eye, that puld
downe his hat to stop the sight of his charity: wherefore I concluded to
make a friend of Mammon, and to give them sound for words, both being
but aire, for which they should give double payment."
The meaning of which we take to be, that Vennar for a time
became a player at the Globe Theatre, but in some inferior
capacity; perhaps as a hired man, because we never find his
name in any list of the Company. He also seems to have got
up some species of public performance, which was not successful;
and here it is that we meet with a very curious passage relating
to the comedy of " The Knight of the Burning Pestle," which
shows, what we already know, that it was condemned, and what
we do not know, that it was only by one " writer," for only one is
spoken of. Vennar's words are, " For suppose the play was hist,
was I the first poet made my clients penitents? Let the Burning
Pestle bee heard in my cause, which rang so dismally in your
eares, and yet the Writer in state of grace."
So that whether Beaumont or Fletcher wrote it, it had done
the author no harm in public estimation. However, poor Vennar's
performance, whatever it may have been, was condemned, and he
was arrested by bailiffs before it was well concluded.
We cannot follow the writer in all his rambling adventures,
as ramblingly narrated; but the later portion of his " Apolo,'y"
is rather too self-eulogistic on the benefits he had conferred upon
poor prisoners, having especially interested in their behalf the
Countesses of Warwick and Cumberland, as well as sundry Lord
Mayors and Aldermen of London. He tells us, moreover, that
he had composed "a brief treatise" on the Gunpowder Plot,
which has survived (see the next page); that he was the author
of a known broadside on " A Papist Dormant, a Papist Couchant,
a Papist Leavant, a Papist Passant, a Papist Rampant, and a
Papist Pendant "; and under woodcuts of the King and Queen,
on another broadside, he placed the following lines: —
"' The God of all eternity
Preserve this Royall Unity,




196           thibiograpll)airlt 2count of
That they may breath
An everlasting breath,
And those may pine in hell
That seeke their death.
Their States of blisse
Be Brittaines blessed story,
And give their soules
A Crowne of endlesse glory."
Vennar concludes his autobiography, rather arrogantly, by
challenging any man "justly to taxe him of sclander, deceipt, fraud
or cousenage "; and then leaves "' this defence of his life to the
able and generous protections" of the impartial.  He subscribes
his book,
"The wel-wisher and servant of
all vertuous mindes,: RICHARD VENNAR."
We have only to add that from a passage in William Fenner's'Counter's Commonwealth," 4to. 1617, p. 64, it appears that
the author of "' Englands Joy " (there named Vennard, as indeed
he sometimes himself spelt it) had died in the utmost poverty, in
what was called " the Hole" of Wood-Street prison.
VENNAR, RICHARD. - The true Testimnonie of a faithfull
Subject: containing severall exhortations to all estates
to continue them in due obedience &c. - Imprinted at
London. n. d. 8vo. 19 leaves.
At the back of the title is pasted an excellent woodcut of
James I., to whom this loyal tract is dedicated by R. V., i. e.,
Richard Vennar. It has no date, but, as it contains a thanksgiving for the deliverance of the kingdom from the Gunpowder
Plot, it no doubt came out very shortly after that discovery. The
prose portion of the volume was in a great degree a reprint of
what the author had put fobrth, under nearly the same title, in
1601, and dedicated it to Queen Elizabeth, then calling himself,
as afterwards, " Richard Vennard of Lincolne's Inne."
The "Thanksgiving" on the Gunpowder Plot, already men



(ar[~  (zlnl[is) Aiterature.                197
tioned, is in six-line stanzas, and to it succeed a general "' Thanksgiving," and a  " Prayer " for the King, Queen, and Prince Henry,
in the same form. As no other copy of the work is known to us,
and, as it was no doubt privately printed by the author for presents, no printer's nor bookseller's name being found in any part
of it, a small portion of the first poem  may be given, not at all
on the score of its merit, but of its rarity: -
"Rejoyce, 0 Brittaine! Sing and clap thy hands,
For God himselfe doth for thee safely fight:
No foe so great but that thy force withstands,
It is so strengthened by the heavenly might.
The Popes great malice and the Papists pride
Before thy face do fall on every side.
"Now shalt thou heare of nothing but confusion
Upon the head of all thy harmefull foes:
Now shall the traitors find the full conclusion
That in the end of all rebellion growes:
And they shall fret to see their pride puld downe,
Whilst God preserves thy soveraigne and his crown.
"Now shall the Pope with all his practise faile,
The hope of traitors all be overthrowne:
Nor Pope nor traitor now shall none prevaile
To do thee hurt that but defendst thine owne.
Now serve thy God and give him thanks for all,
And keepe thy faith and thou shalt never fall."
VENUS. -  The Scourge of Venus: or The wanton Lady.
With the rare Birth of Adonis.  The second Impression, corrected and enlarged by H. A. - London,
Printed by N. 0. and are to bee sold by Robert Wilson, at his  Shop  at  Graies-Inne  new  gate.   1614.
8vo.  22 leaves.
We never heard of an earlier impression of this disagreeable
book, (we mean disagreeable on account of the character of its
story,) although this is called on the title-page "the second impression": it professes also to have been "corrected and enlarged




198           Bibtiograpl)icral  arronnt of
by H. A." whoever he may have been. It was certainly reprinted in 1620, and we are there told that it was " written " not
by H. A. but" by A. H."  The address " to the Reader" is the
same in both impressions, one signed H. A. and the other A. H.,
and there they do not profess to have written it: they say of the
unnamed author, " I have heard'twas done for his pleasure, without any intent of an impression, but this much I excuse him, that
I know not, and commend that which deserveth well." Again, they
elsewhere both tell us, that the poem " was the labour of a man
well-deserving." This man was clearly neither H. A. nor A. H.;
but the stationer who published the edition of 1620 thought it
would answer his purpose better to put "' written by A. H." on the
title-page. We are not aware that either H. A. or A. H. are the
initials of any poet of note in the middle of the reign of James I.
The narrative follows the tale as given by Ovid pretty exactly,
and it was clearly meant as a sort of introduction to Shakspeare's " Venus and Adonis," giving an account of the birth and
origin of the hero. Nothing is softened down or concealed, and
the offensive parts of the fable are made prominent, and placed
in the strongest light. So objectionable were some stanzas considered, that they were actually omitted in 1620, as too gross to be
reprinted, a curious circumstance not hitherto noted: on the contrary, we have seen it stated that " the contents of both editions
are exactly the same." This is a mistake, which shows, either
that copies of the third impression vary, or that the collation of it
with the impression of 1614 was not carefully made. After the
address " to the Reader," the subject of the poem is thus awkwardly and familiarly commenced: —
" Whilst that the Sunne was climing up in haste
To view the world with his ambitious eye,
Faire Myrha, yet alas, more faire then chaste,
Did set her thoughts to descant wantonly:
Nay, most inhumane, worse then bad, or ill,
As in the sequell you may reade at will.
" You that have parents, or that parents be,
Depart a space, and give not eare at all
To the foule tale that here shall uttered be:
Some filthy shame let on all other fall,
If possibly there can be any such
From nature to degenerate so much."




Q.artl  Qfngltisl  fittrature.               199
Here the stanza, it will be observed, is the same as that of
Shakspeare, but, as may be readily believed, there is little other
resemblance between the two poets.  We quote also the conclusion: -
"The watry Nymphs this pretty child did take,
And on soft smelling flowers laid him downe,
Of which a curious cradle they did make:
The hearbs perfumed were for more renowne.
The Nymphs this boy affected more and more,
And with his mothers teares stil washt him ore.
"As yeares encrease so beauty doth likewise,
And he's more faire to morrow then to day:
His beauty more and more did still arise,
That envy did delight in him bewray;
And Venus fell in love with him at last
Who scourg'd him for his mothers lusting past."
The edition of 1620, besides omitting stanzas, makes various
verbal alterations, as in the last line, which it gives thus: —
" Who did revenge his mothers lusting past,"
which is not much more intelligible than the original. Sometimes, but not always, the changes are for the better, as where it
is said in the impression of 1614,"This lyon seekes for her the dart did throw,
And quickly lets all the other go."
This is wrong in measure and meaning, and the edition of 1620
instructs us to read, -
" And quietly lets all the other go."
We might illustrate this point by many other instances, but the
poem is hardly worth the trouble of correction.
There is no direct allusion to Shakspeare throughout, but in
William Barksted's production of an earlier date (1607), but of a
similar complexion, " Mirrha the mother of Adonis, or Lusts Prodegies," our great dramatist is mentioned by name; and we quote
the short passage, chiefly because Malone, in citing it, (Shaksp.
by Boswell, xx. 85,) makes more variations from the original than
there are lines in the passage.  What follows occurs at the very
close of Barksted's performance:



200          BiLbtiograpl)iatl 2trcount of
"But stay, my muse; in thine owne confines keepe
And wage not warre with so deere lov'd a neighbor,
But having sung thy day song, rest and sleepe;
Preserve thy small fame and his greater favor:
His song was worthie merrit (Shakspeare hee)
Sung the faire blossome, thou the withered tree:
Laurell is due to him; his art and wit
Hath purchast it: Cypres thy brow will fit."
Shakspeare in several places uses meed for " merit," and here
we see Barksted making " merit" and meed synonymous. We
give the title of " Mirrha the Mother of Adonis " at length, because it shows that Lewis Machin's Eclogues, which are spoken of
in Lowndes (Bibl. Man. 1861, p. 1438) as a separate publication,
were only a supplement to Barksted's poem, in order to swell the
volume:
"Mirrha the Mother of Adonis: or Lustes Prodegies.  By William
Barksted. Horace. Nansicetur enim pretium, nomenque Poete. Whereunto are added certain Eclogs by L. M. - London printed by E. A. for
John Bache, and are to be sold at his shop in the Popes-head Palace, nere
the Royall Exchange. 1607."
The name of Lewis Machin is appended at length to the Eclogues; but they have little or no merit of any kind, and the allusions, personal and political, are often not intelligible. Barksted,
as is well known, was an actor, and played in Ben Jonson's " Epiccene," and he may have sustained a part in Lewis Machin's comedy "The Dumb Knight," which was printed in 1608. In 1615
Barksted was one of Alleyn's Company, (Memoirs of Edw. Alleyn,
1841, p. 130.)
VICARS, JOHN. - Babels Balm or the Honey-combe of
Romes Religion.  With a neate draining  and straining out of the rammish Honey thereof. Sung in tenne
most elegant Elegies in Latine by that most worthy
Christian  Satyrist Master  George  Good-winne, and
translated  into tenne  English  Satyres by the Muses
most unworthy Eccho, John Vicars. - Imprinted at London by George Purslowe &c.  1624.  4to.  65 leaves.




(arct    fngtisb) Kittrature.           201
On the fly-leaf of this tract the first Earl has written in his
copy,"J. Bridgewater ex dono Jo: Vicars;"
and to his Lordship the translation is dedicated in two pages of
verse, in which the late Lord Chancellor Ellesmere is styled
"our Nestour, your Progenitour,
Englands grave Cato, prudent Senatour,
Fraught with faire Vertue, and from Vice most free."
A short address to the Reader is succeeded by Goodwin's dedication of his original work to Sir Robert Naunton, by an acrostic
by Vicars upon Goodwin, and a violently abusive poem, thus
headed: "To the most discourteous Momish Catholike, whose
greatest grace is a graceles gracious kisse at his unholy Pathers
great Toe, Greeting." Thomas Salisbury, Bach. in Divinity, subscribes some commendatory lines, to which are added, " The Argument of the Poeme, and the contents of the ten Satires."  At the
end of them is "a Corollarie to the Premises," and six lines " upon
this Bee-hive or Honeycombe."
Vicars was married, for the second time, to Susan Martin, on
2d April, 1617, having buried his first wife, Edith, and child, in
the preceding year. In the register of St. Bartholomew the Less
he is termed " Schoolmaster," and his son Robert was baptized
there on 22d June, 1616.
VICARS, JOHN.-  All the memorable and wonder-strikinge Parliamentary Mercies effected for, and afforded
unto this our English Nation within this space of lesse
then 2 Yeares past Ao. 1641 and 1642. -Are to be
sould by Thomas Jenner in his shop at the old Exchange.' 4to. 9 leaves.
The above is an engraved title-page, supported by half-lengths
of Time and Truth, and beneath them, in the centre, Envy eating a heart. Two texts from Isaiah are on scrolls under Time
and Truth, and a third from Revelation, under Envy. The plates,




202:Bibtiograplical  lccount of
exclusive of the title-page, are eight in number, each containing
two representations of some public transaction, with engraved explanations. 1. The Archbishop of St. Andrew's assaulted in his
pulpit. 2. The Apprentices attacking Lambeth Palace. 3. The
beheading of Lord Strafford. 4. The flight of Sir F. Windebank,
Sir John Finch, Lord Digby, Jermyn, &c. 5. Souldiers destroying Altars, pictures, &c. 6. English and Scots Armies embracing. 7. Ministers and people taking the Protestation. 8. Burton,
Bastwick, and Prynne entering London in triumph. 9. The
High Commission Court and Star Chamber voted down. 10. The
Queen Mother and Capuchin Friars embarking for France. 11.
Imprisonment of the Bishops in the Tower. 12. Disarming Popish
Recusants. 13. Train-bands guarding the Lords and Commons
to Parliament. 14. The inhabitants of Buckinghamshire riding
to Parliament with the Protestation. 15. The House of Commons
considering the anonymous letter to Pym. 16. Colonel Lunsford
and Cavaliers assaulting the Londoners at Westminster Hall.
VICARS, JOHN. - Prodigies and Apparitions, or England's
Warning Pieces.  Being a seasonable Description by
lively figures and apt illustrations of many remarkable
and prodigious forerunners and apparent Predictions of
God's Wrath against England, if not timely prevented
by true Repentance. Written by J. V. - Are to bee
sould by Tho. Bates &c. 8vo. n. d. 29 leaves.
The title is engraved upon a drapery, supported by a child
with two heads, and representing, in the background, various
prodigies in the air and on the earth. There are six other plates,
devoted to separate " emblems," or " warning-pieces" to England
of approaching destruction for her sins. One of these (the second)
represents a child with " two distinct heads, two hearts, two arms,
and the stump of a third growing out from the back," which had
been "shewn to King Charles and the Queen, Anno. Dom: 1633."
At the back are the following lines by Vicars, which show his
fanatical ingenuity in applying this abortion to the circumstances
of the times:




Qart! ( ng1tisb   fiteirature.              203
"Behold, good Reader, here a monstrous birth
To damp thy sinnes delight, and marre such mirth:
A man-childe born in most prodigious sort,
Which for undoubted truth thou mayst report.
Two distinct heads it had, and eke two hearts,
Two arms, whence grew a stump: in other parts
Like other children. What may this portend?
Sure, monstrous plagues doe monstrous sinnes attend!
The sinnes of Heads, in government abus'd;
The sinnes of Hearts, opinions false infus'd,
And broacht abroad to raise up foes and factions,
And Arms and Armies to confound with fractions:
Disijoynted States (like stump-like Ireland)
Whiles brothers thus'gainst brothers lift their hand.
This (surely) God seemes hereby to foretell,
That having plagues must hideous Sinnes expell."
In the last line for " having" we surely ought to read heavy.
Each plate has verses of the same description annexed to it, but
the main body of the tract is prose. Near the end the author
speaks of " this instant year, 1643," which was no doubt the date
of publication, although none appears on the title-page.
VICARS, JOHN. -A  Sight of the Transactions of these
latter yeares. Emblemized with engraven plats, which
men  may read without spectacles. -  Are to be sould
by Thomas Jenner in his shop at the old Exchange.
4to. n. d. 15 leaves.
The engraved title to this production is from the same plate as
the preceding, with the exception that the original words have
been abrased, and others substituted as above. Eight of the plates
are also the same, though not inserted in the same order, and three
others are added, each containing two subjects, viz.: 1. The pulling down of Cheapside Cross, the 2d of May, 1643. 2. The burning of the Book of Sports and Pastimes, the 10th of May, 1643.
3. Burning papistical books, crucifixes, pictures, &c., in Somerset
House and St. James Palace, the 23d of May, 1643. 4. The
Hanging of Challener and Tomkins in May, 1643. 5. The be



204            t3ibtiogrnaplikat 2count of
heading' of Sir A. Carew, Sir J. Hotham, Captain Hotham, and
Archbishop Laud, in 1645. 6. The breaking of the Great Seal,
the 11th of August, 1646.
The plates are accompanied by prose details and explanations,
bringing down the events to the 11th of August, 1646, and at the
conclusion are the words, " Collected by John Vicars."  Vicars
had the presumption, in 1632, to publish a translation of the
~.Zneid, - a ludicrous mixture of bombast, barbarism, and bathos.
VIENNA. - Vienna.  Noe Art can cure this hart. Where
in is storied the valorous atchievements, famous triumphs, constant love, great miseries, and finall happines of the well deserving, truly noble and most
valiant Kt. Sr. Paris of Vienna, and the most admired
amiable Princess the faire Vienna. - London Printed
for Richard Hawkins &c.  n. d.  4to.  95 leaves.
On some copies of this production the date of 1650 is found,
but the present edition is, perhaps, earlier. Opposite to an engraved title-page, by Gifford, are some explanatory verses, and
others in commendation of the author (for it is spoken of by
him and his friends as an original work) are prefixed. The
only writer of note who lends his praise is Thomas Heywood,
the dramatist.
A translation of the original romance came from the press of
Caxton in 1485, and it formed the subject of a play acted before
Queen Elizabeth by the children of Westminster on Shrove
Tuesday, 1571. (Vide Hist. Engl. Dram. Poetry, I. 197.)  Dr.
Dibdin (Typ. Ant. I. 261) informs us that " the original is of Provenyal growth, and was translated into French by Pierre de la
Sippade." It is singular, as we learn on the same authority,
that Caxton's impression, which purports to be "translated out
of French into English," should be of all earlier date than any
known foreign edition.




farte  fngltisfJ titeratttur             205
VINEGAR  AND MUSTARD. - Vinegar and  Mustard: or
Wormwood-Lectures for every Day in the Week.  Being exercised and delivered in severall Parishes both
of Town and City, on several dayes.
A dish of tongues here's for a feast,
Sowre sawce for sweet meat is the best.
Taken Verbatim in short-writing by J. W. - London
Printed  for Will. Whitwood, at the Golden  Bell in
Duck-Lane..1673. 8vo. 12 leaves.
On the title-page is a woodcut (see Roxburghe Ballads, 4to,
1847, p. 89) representing a husband returning home to his shop
after a debauch, with a jug in his hand, but refused admittance
by his angry wife. It is a mere chap-book, and we may reasonably believe that it was originally published considerably anterior
to the date it bears. If a small tract were popular, it was sure
to be reprinted, but in very many instances the ancient editions
have been lost. One proof of the contrary, however, is now before us, in a piece entitled " The Anatomie of Pope Ioane," which
was first printed by Richard Field, in 1591, 4to, and was reprinted
by him in 12mno, as long afterwards as 1624, with the addition of
the initials of the supposed author, -" Written by I. M.," - possibly Jervis Markham.
"Vinegar and Mustard" consists of curtain-lectures by wives
to their husbands, with such "answers" as the husbands were able
to make. Neither the charges nor the replies are at all times
very delicate or refined, whether as regards dirt or decency.
They are calculated for every day in the week, and chiefly relate
to the class of society forming the usual purchasers of such commodities. " Fridayes Lecture " is different from the others, and
consists of a scolding-match between " bold Bettris " and " Welsh
Guentlin," two market-women, who, after abusing each other very
roundly and coarsely, agree to make up their differences over
" half a dozen of ale " at the Fox public-house. This is entirely
prose, but in other cases the wife's accusation is in prose, and the
husband's defence in verse. There is a good deal of humor in
some of the dialogues, and the following stanzas are at the back
of the title-page: —




206            3ibtiograp1)iat 2tccount of
"The Book to the Reader or Hearer.
"Tis no Tub Lecture which I teach,
But Ile tell you what some women preach;
then, pray come near and hear me.
I am black ink and paper white;
Although I bark, I will not bite:
therefore, you need not feare me.
"No modest woman I envy,
Because I love them heartily,
and prize them more than gold.
None will exceptions take at me,
But such as think they gauled be,
and that's, I'm sure, a Scold."
Here we see the old use of the word " envy" in the sense of
hate, so common in the time of Shakspeare; and in the first husband's answer we meet with " warned " in the sense.of summoned;
(Julius Coesar, Act V. sc. 1, &c.) In his "Tale of Melibceus,"
Chaucer always uses " warn " as the synonym of summon: -
" Know, I am going to the Hall,
Where we this day Master and Wardens chuse:
I, being warn'd, must not refuse."
In the second husband's answer we have an account of the
attire of a smart innkeeper's wife: -
"You have good gowns unto your back,
and Wastcoats are not base;
Kirtles and scarlet Petticoats,
with silk and golden lace;
Your Beaver-hat, lac'd Handkerchiefs,
and yet you call me goose," &c.
The " Thursdayes Lecture " contains a droll and very characteristic speech by a wife, who was a Puritan, to her husband, "who
would not be edified by her," - where, among other things, she
says: "You (forsooth) will go no where to be edified, but to
your steeple-houses, upon your heathenish daies, there where they
teach nothing almost but the language of the Beast," &c.
Among the local allusions, &c. we have a reference to Turnmill or Turnbull-Street, Clerkenwell, to the pond which formerly
existed in Smithfield, to Billingsgate Market and its bell, to the




Q(arl! Engliz   fiteraturc.              207
custom of allowing women confined in Newgate to beg at the
grated window, &c. We may, perhaps, conclude that the chapbook was first printed anterior to the Civil Wars, and that the
initials J. W., on the title-page, were those of one of the numerous and prolific pamphleteers of that period: it is just in the style
of Price, Guy, or Parker.
VIRGINIA. -A true Relation of such occurrences and
accidents of noate as hath hapned in Virginia since
the first planting of that Collony, which is now resident
in the South part thereof, till the last returne from
thence. Written by Captaine Smith one of the said
Collony, to a worshipfull friend of his in England. -
London Printed for John Tappe, and are to bee solde
at the Greyhound in  Paules-Church-yard, by W. W.
1608.  4to.  B. L.  19 leaves.
This copy consists in fact of twenty leaves, the fy-leaf before
the title-page being marked sign. A., and the first leaf after the
title-page A 3. On the title-page is a woodcut of a ship in full
sail.
There are differences between this copy and that in the Grenville Library: in the first place, it is avowedly on the title-page
the work of Capt. Smith, and not of " Thomas Watson, Gent.":
then, there is no preliminary address to the reader and no map.
Yet this copy is evidently complete, and the signatures (from A
to E 4) quite regular. The name of Watson nowhere appears
in it, and throughout it is written in the first person, but not subscribed by anybody; there is also no date nor place at the end.
In the whole it includes the incidents of about a year; for in
the opening the writer of the letter speaks of 26th April, when
they set sail- for Dominica from the Canaries, and on sign. E he
mentions the unexpected return of Capt. Nelson to the fort on
20th April: in neither instance is the year given, but it was
probably 1607.
It is useless to enter into any of the events detailed, since they




208          13ibtiograpt)ialt  Xtcaount of
are very numerous and crowded into a small compass: the most
important are the hanging of Capt. Kendall for plotting against
the Colony, and the capture and subsequent liberation of Capt.
Smith by the Indians, when they had him alone and completely
at their mercy. There is little interest in any part of the narrative, which is somewhat hastily and confusedly put together.
Notwithstanding what is said in the address before the Grenville
exemplar, we believe that Watson was the real author of the
tract, though Capt. Smith's more popular name was used in the
copy before us.
VIRGINIA.- — AA Good Speed to Virginia. Esay. 42. 4.
He shall not faile nor be discouraged, &c.- London
Printed by Felix  Kyngston for William  Welbie, and
are to be sold at his shop at the signe of the Greyhound in Pauls Church-yard. 1609. 4to. B. L. 15
leaves.
This is an able pamphlet of considerable rarity, published for
the purpose of encouraging a spirit of adventure for the settlement of Virginia. Views of worldly policy and of religious duty
are judiciously mixed up together, so as to secure the good opinion of various classes. The main drift is however pious, urging
the duty of an expedition to North America, on the score of the
advantage that would accrue to the poor savages by being brought
into the Christian communion. The necessity of relieving Great
Britain of surplus population, and the prospect of wealth and
happiness to the undertakers are also very strongly pointed out.
A new enterprise of the kind was at that time in hand.
" The Epistle Dedicatorie" to the Lords, Knights, Merchants,
and Gentlemen "Adventurers for the plantation of Virginia" is
subscribed R. G., and is dated " From mine house at the Northend of Sithes lane, London, April 28, Anno 1609."
The body of the work starts, like a sermon, with a long text
from Joshua xvii. 14, and a parallel is kept up throughout between
the children of Joseph, and the people of England seeking out




Warwtl     ( tnglis1) ~itcrattre.         209
new places of settlement. Columbus and his discovery are thus
mentioned early in the tract: "Christopher Columbus made
proffer to the Kings of England, Portugall and Spaine, to invest
them with the most precious and riches veynes of the whole earth,
never known before; but this offer was not only rejected, but the
man himself, who deserves ever to be renowned, was (of us English especially) scorned and accounted for an idle Novelist. Some
thinke it was because of his poore apparell and simple lookes, but
surely it is rather to be imputed to the improvidency and imprudencie of our Nation, which hath alwayes bred such diffidence in
us, that we conceit no new report, bee it never so likely, nor
beleeve anything, be it never so probable, before we see the
effects."
The writer, among other things, maintains the right to dispossess the savages, not only because it is for their own good, but
because they have no fixed possession and residence, and because
they had in fact invited a settlement on their shores.
In the course of his argument, R. G. several times refers to the
book called " Nova Britannia, offering most excellent Fruites by
Planting in Virginia," which had just been published, like this,
with the date of 1609: it seems not unlikely that it was by the
same author. From his closing sentence we learn that he was
not in a condition to aid the undertaking either in purse or person: " And thus far have I presumed in my love to the Adventurers, and liking to the enterprise... sorrowing with my selfe,
that I am not able, neither in person nor purse, to be a partaker
in the businesse."
The copy of the tract we have used is especially valuable,
from the circumstance that it once belonged to Sir Walter
Raleigh, whose autograph it bears, with the addition of " Turr.
Lond.," indicating his place of confinement.
Some early owner, not knowing the interest of Sir Walter
Raleigh's signature, has endeavored to erase it, and has partially
succeeded; but enough is fortunately still left to ascertain the
fact. It has been suggested that the production may have come
from the pen of Sir Walter himself, and the last sentence it contains, coupled with the character and excellence of the argaVOL. IV.          14




210           JiibliograpIical       Lcront of
ments, may appear to support such a notion; but if it had been
so, there seems no sufficient reason for withholding his name from
a tract which must have been acceptable both to the King and
Court.
Vox GRACULI. -  Vox  Graculi, or Jacke Dawes Prognostication. No lesse wittily, then wondrously rectified,
for the Elevation of all Vanity, Villany, Sinne, and
Surquedrie  sublimate, keeping quarter in the Courts,
Cities and Countries of all Christendome: For the
yeere 1623. Saepe malum hoc vobis prcedixit ab ethere
Cornix. - Published by Authority. 4to. 39 leaves.
A woodcut of a Jackdaw sitting at a desk writing, with books
and instruments, occupies so much room on the title-page, that if
there were (as is most probable) any printer's or stationer's name
at the bottom, it has been entirely cut away.
Thomas Dekker wrote various pieces of this sort, particularly
his " Raven's Almanac" in 1609, (see Vol. I. p. 253,) and he was
so popular an author that he had many imitators. One of the
imitations was "'The Owle's Almanacke" in 1618, and another
the work before us, the dedication of which is subscribed, not T.
D., but J. D., possibly intended to be mistaken for T. D., (Thomas
Dekker,) and thus an additional number of purchasers secured
for what in most respects is an inferior composition.
In all publications of this class we find something to illustrate
the manners and peculiarities of the time, and the one before us
cannot be said to be deficient, but the information is given without much point: as for instance, where J. D. speaks of the
versifiers of his day, and calls them " vertues crutches, who
keepe life in the dying world," he enters into no particulars. Of
players he remarks:"I should heere vnlock the casket of my knowledge (hauing well nie
forgot) and lay open some rarities concerning Players; but because the
Common-wealth affoords them not their due desert, and for they are men
of some parts, and live not like lazy drones, but are still in action, I am




lartl  (fngtli11 3titerattnre.           211
content silently to referre them to three sublunary felicities, which are
these: a faire day, a good Play, and a gallant Audience, and so let them
shift for their lives."
Elsewhere the author mentions the Globe, Fortune, Phoenix,
Bull,?and Curtain theatres, the latter as even then in use, although
it had been condemned to be pulled down many years before.
Every notice of Robin Hood is interesting, and the eye no
sooner catches his name on a page than we are curious to learn
to what purpose it is applied. Here it comes in illustration of the
proverb "Hobson's choice - that or none," which in the tract
under consideration is represented as "' Robin-Hood's choyse -
either this or nothing."  Such we believe to have been the true
original reading, and that in some way "Robin Hood" has been
corrupted to Hobson. At all events, "Robin-Hood's choice"
supplies an intelligible meaning, while "Hobson's choice" requires an explanation which has not yet been satisfactorily found
for it. There is certainly no passage in " The pleasant Conceits
of Old Hobson," 1607, that furnishes it. There probably was an
earlier edition, now lost, because we find some of the " pleasant
conceits" worked by Thomas Heywood into his play, "If you
know not me, you know nobody," Part II. 1606, 4to.
WALTER, WILLIAM. -  The spectacle of louers.  Here
after foloweth a lytell contrauers dyalogue bytwene
loue and councell with many goodly argumentes of
good women and bad, very compendyous to all estates,
newly compyled by William Walter seruaunt vnto Syr
Henry Marnaye, Knyght, Chauncelour of the Duchye
of Lancastre. [Colophon.] - Imprynted at London in
Fletestrete at the sygne of the Sonne by me Wynkyn
de Worde. 4to.
After an introduction, in which the writer professes to have
overheard the discussion, on the subject of love, between a desperate Amator (so he is called) and a sage Consultor, we arrive




212           3ibltiorapIli  al   ltotmunt of
at the speeches; and although the tract is said to have been
"compyled by William Walter," we may pretty safely conclude
that it was a translation. The harangues are decidedly too long,
with very little spirit derived from the enlivening subject. The
following is a small part of one of Consultor's addresses: —
"What is beaute but a floure vanysshynge,
The carnall felycyte, the infeccyon of the eye,
The deceyuynge of the mynde of men so conceytynge,
A frayle pleasure, full of trechery?
There as it is taken it deceyueth kyndly:
Beaute and wysedome seldome doth agre;
It causeth them unstable and inconstant for to be. * * *
"Full harde it is to fynde a woman stedfast,
For yf one eye wepe, the other dothe contrary:
Theyr trouth and faythe but a small whyle dothe last;
Theyr pleasure and lust is harde to satysfye.
In wrathe and malyce they be contynually:
Trewthe, shame, ne love can not theym refrayne,
Theyr synguler pleasure but that they wyll optayne."
Consultor can allow no merit of any sort to the ladies, and he
afterwards asserts: -
" Women can loke on men with face double,
For in theyr hertes they be full varyable:
Theyr fayned loue hath put many men to trouble,
Whiche haue supposed theym to be ferme and stable,
By blandysshynge wordes theyr bayte detestable.
Lyke the Scorpyon that sheweth the face smylynge,
And with the tayle sodeynly dothe stynge."
Amator says comparatively little, and we may well imagine
that such warnings were entirely thrown away upon him. As a
bachelor, he does not seem to have known much about the usual
period of gestation with women, or the practice has been entirely
altered since, for he says, —
" Ten monethes women with theyr chyldren go,
And of theyr bodyes that tyme be they nourysshed."
Perhaps he fancied that, if he married, a family would not be
formed quite so soon as by the modern practice. Amator is left
to his fate, and the author apologizes for his ill opinion of and




Q~arlp QEnglislj  ittrature.             213
attacks upon women, while Robert Coplande adds an envoy,
quoted by Dibdin, and converted into nonsense by misprinting
"Endever thy selfe" And ever thy selfe. (Typ. Ant. II. 337).
Ritson makes a strange blunder (Bibl. Poet. 108,) when he splits
this single small poem into two separate works, calling one'"A
lytell. contravers," &c., and the other " The spectacle of louers."
We need scarcely wonder that Lowndes (B. M. edit. 1864, p.
2826) took his word for it, but he made the blunder more obvious
by placing "The spectacle of lovers" at the commencement of
W. Walter's works, and the "Lytill contravers" at the end of it.
We ought to have mentioned (this Vol. p. 86,) that the translation of " Guistard and Sismond" by William Walter, was originally printed by Wynkyn de Worde.
WARNER, WILLIAM. — The first and  second parts of
Albions England. The former revised and corrected,
and the latter newly continued and added. Containing
an Historicall Map of the same Island: prosecuted from
the lives Actes and Labors of Saturne, Jupiter, Hercules and iEneas, &c.  With historicall Intermixtures,
Invention and Varietie: profitably, briefly and pleasantly performed in Verse and Prose by William Warner. - Imprinted at London by Thomas Orwin, for
Thomas Cadman, dwelling at the great North-doore
of Sainct Paules Church at the signe of the Bible.
1589. 4to. B. L. 90 leaves.
The first edition of this important and amusing historical work
was published in 1586, when it was printed by R. Robinson for
Thomas Cadman. This is the second impression by a different
printer for the same bookseller. With regard to the first edition,
we meet with the following remarkable, and, we think, unquoted entry in the Registers of the Stationers' Company, dated
1586:" Whereas the Wardens on Monday, the 17th day of October 1586, upon
serche of Roger Warde's house, dyd fynd there in printinge a booke in




214            Dibtiograpliual  2crount of
verse intytled Englandes albion, being in English and not aucthorised to
be printed, which he had been forbidden to prynte, as well by the L.
Archb. of Canterbury, as well as by the Wardens at his owne house.
Item, they found there in printinge the grammar in 8vo. belonginge to
the priviledge of Mr. F. Flower &c. And for as much as all this he hath
done contrarye to the late decrees of the honorable court of Starre chamber, the said Wardens seised three heapes of the said Englandes albyon,
and the first leafe of the grammar in 8vo. and three presses and diverse
other parcelles of printinge stuffe, by vertue of the said decrees, and accordingly brought them to the Stationers' halle. Whereupon it is now
concluded and ordered, accordinge to the said decrees, that the said
presses and pryntynge stuffe shalbe made unservyceable, defaced, and
used in all pointes accordinge to the tenor of the decrees aforesaid."
It does not appear here precisely whether the fault was in
Warner's book, or in Warde's printing of it, unless we are to
conclude (as is by no means impossible) that the Archbishop of
Canterbury had forbidden "Albion's England," on account of the
questionable or objectionable nature of some part of its contents.
What the cause might be we are without information, but we can
readily imagine that offence may have been taken at various
portions of the somewhat eccentric production. The edition before us, of 1589, concludes with " Chap. XXXIII.," ending with
the following harsh and obscure lines, where Queen Elizabeth
is called Pandora, and where "an ocean" of matter seems
proposed to be entered upon in a subsequent impression of the
work: -
"Then luckiest of the Planets were predominant, say we,
When this bed-match either heire that bloud-mart did agree,
When Seventh begot the Eight, and Eight the first and last for like
Our now Pandora, ere whose raigne our humbled sayles we strike.
For at her Grandsier reare we up our Colome plaine and poore,
Not writing as did Hercules on his - Beyond no more:
For he lackt search, our Muse lackes skill; an Ocean is in store.
It onelie rests we borrow leave in brevitie to say'Somewhat fore-said, not fullie said, and then is holiday."
Even in 1592, the date of the third edition of Warner's
"Albion's England," there must have been some hitch as to the
continuation of the subject. It there professes to be in forty-four
chapters, divided into nine books, but, singularly enough, Book




Qearl   (nfugtflj titeratc  re.             215
IX. contains no more than the following enigmatical lines, under
the heading of Chap. XLIIII.: —
"Elizabeth by Peace by Warre, for Majestie for Milde
Inriched, Feared, Honor'd, Lov'd, But (loe) unreconcilde,
The Muses Check my sawsie Pen for enterprising her
In duly praising whom themselves, even Artes themselves might err.
Phebus, I am not Phaeton, presumptuously to aske
What, shuldst thou give I could not gide: gide, give not me thy Task:
For, as thou art Apollo too, our mightie Subject threats
A non plus to thy double Power.
Vel vole, vel veilem."
This is succeeded immediately by the word Finis, and why the
writer had arrived at a non plus is not explained. In 1602 (there
was an intermediate impression in 1597) the bulk of the work
had been swelled to seventy-nine chapters, contained in thirteen
books, and the last lines of "Book XIII." are these: —
" Nor perpetuitie my Muse can hope, unlesse in this,
That thy great name, Elizabeth, herein remembred is.
May Muse, arte-graced more then mine, in numbers like supply
What in thine Highnes praise my pen, too poore, hath passed by:
A larger field, a subject more illustrious none can aske
Than with thy scepter and thy selfe his Poesie to taske.
Thy peoples Prolocutor be my prayer, and I pray
That us thy blessed life and raigne long blesse, as at this day."
It seems certain that, at no date, could offence have been taken
for any deficiency in Warner's poem of flattery to the Queen.
The main features of the production are historical, but into these
we need not enter; and Warner makes frequent efforts to lighten
his grave subject, and his ponderous style, by episodes, anecdotes,
and allusions, sometimes not very well adapted to the place where
they are found. For instance, we should not have looked here
for the following concentrated versification of a tale, we apprehend, anterior even to Boccaccio: —
"It was at midnight when a Nonne, in travell of a childe,
Was chedked of her fellow Nonnes for being so defilde:
The Lady Prioresse heard a stirre, and starting out of bed,
Did taunt the Novasse bitterly, who, lifting up her head,
Sayd,' Madame, mend your hood;' for why so hastely she rose,
That on her head, mistooke for hood, she donde a Canon's hose.'




216           3ibllioglrplj kal 2ccount of
The author indulges also in freaks of versification. HIis triplets
are unusually frequent, and in one place (B. VII. ch. 37) he has
four-and-twenty successive lines with the same rhyme.  This, we
own, is rather wearisome, but on the whole his performance is
both amusing and informing. The versification is fourteen-syllable lines throughout.
"A Continuance of Albions England, by the first Author W.
W.," came out in 1606, " imprinted by Felix Kyngston for
George Potter."  It is dedicated to Sir Edward Coke, while he
was Chief Justice of the Common Pleas. It consists of a 14th,
15th, and 16th book, in the same measure and manner as the
preceding portions. At the close Warner calls upon King James
to complete his undertaking by worthily treating the reign of
Queen Elizabeth, whose acts were " pen-work for a King." The
most remarkable portion of this 1" Continuance" is a preliminary
address " To the Reader," in short lines, where the author refers
to Chaucer, Spenser, and Stow, - to the tomb built by Brigham in
1556 for the first, to the accidental interment of the second in
1599, and to the starvation of the last in 1605: —
" The Musists, though themselves they please,
Their dotage els finds meede nor ease:
Vouch't Spencer, in that rank preferd,
Per accidens only interrd
Nigh venerable Chaucer, lost
Had not kinde Brigham reard him cost;
Found next the doore, church-outed neere,
And yet a Knight, Arch-lauriat heere.
Adde Stows late antiquarious pen,
That annald for ungratefull men:
Next, Chronicler, omit it not
His licenc't basons little got;
Liv'd poorely where he trophies gave,
Lies poorely there in notelesse grave."
This is very just and highly interesting. The last six lines
reIfer to the license given to old Stow to place basins in different
streets, to collect alms from the city he had illustrated by his
famous " Survey" seven or eight years before.  Warner himself
died suddenly in his bed at Amwell, and the event was commemorated in the Register by the vicar, under the date of 1608-9.




dard~  (~njliz91   itcrature.          217
Considering the personal particulars to be gleaned from his
"Albion's England," it would be singular to find so many blunders
regarding his history, if we did not know  how little critics
generally read even of the works of an author whose biography
they are writing. Anthony Wood supposes Warner to have
jbeen born in Warwickshire, (Ath. Oxon. edit. Bliss, I. 765,) and
A* Chalmers asserts (Biogr. Diet. Vol. XXXI. p. 164) that he
a native of Oxfordshire; when Warner himself (whose word
ought to be accepted) informs us in ch. 62 that he " first breathed
the air in London ": from ch. 66 we learn that he began to live
in the game year that Elizabeth began to reign. This, too, is a
point not hitherto ascertained, and he was therefore only fifty
when he died. As to his family, among other matters, he informs
us, several times over, that his father had travelled in Muscovy,
and had made discoveries that ought to have been remembered
and rewarded.  Warner also mentions having seen a traitor
executed in Essex, who had pretended to be Edward VI.
Warner was praised by Nash for his "Albion's England" in
the year after it first appeared. And he himself mentions his
" Pan his Syrinx," which originally came out about 1584 (although no such edition is now known,) and was reprinted,
"newly perused and amended," in 1597. (Warton, H. E. P. IV.
303, edit. 8vo.)
WARREN, ARTHUR. -  The  Poore Mans passions and
Poverties  Patience.   Written  by  Arthur Warren.
Anno. Dom. 1605. - At London, Printed by J. R. for
R. B. and are to be sold in Paules Church-yard at
the signe of the Sun. 4to. 40 leaves.
The title truly tells the nature and character of what follows it.
Arthur Warren was, at the time he wrote, a prisoner for debt,
and he has composed 260 stanzas full of complaints against his
poverty, and assertions of the patience with which he bears it.
He dedicates the whole, in four six-line stanzas (the form he
adopts throughout) " to his kindest favourer, Maister Robert




218           3iblio3rapl)ial    2cconnt of
Quarme," and divides the whole of his production into two portions, one called "The Poor Man's Passions," and the other
"Poverty's Patience."  From  the latter we select two stanzas,
perhaps better than the general run of the lines, which are sometimes crabbed, and not unfrequently conceited:"A little Cottage, common cloth, short meales,
Is safest seate, best rayment, surest health,
Not chargeably impayring Publique weales,
And seldom damnify mans private wealth:
It's sumptuous lodge, rich vesture, daintie fare
That robbe the purse, and make Revenues bare.
" Double and treble Chimneis mounting faire
Observe the single Hospitality;
All spent to build and buildings to repayre,
Which should support oppressed misery.
Great halls, large tables, gold plate, little meate
Feed but the eye, while mouth hath nought to eate."
In this way " the poor man" goes on grumbling and grudging
that he is not as rich as some "rascals" whom he could, but does
not, name. The piece is singularly deficient in any illustration of
manners, and not an incident is employed to vary the monotony.
At the same time, it is impossible not to feel some compassion for
the sufferer, who seems at one time of his life to have been in
much better circumstances. There are five or six known copies
of his work.
WARREN, WILLIAM. - A pleasant new Fancie of a fondlings device, Intitled and cald The Nurcerie of names.
Wherein is presented (to the order of our Alphabet)
the brandishing brightnes of our English Gentlewomen.  Contrived  and written in  this last time of
vacation, and  now  first published  and  committed to
printing, this present month of mery May. By Guillam  de Warrino. -  Imprinted at London by Richard
Jhones, dwelling over against the signe of the Faulcon, neere Holburne Bridge. 1581. 4to. B. L.




cartl   Q(fngLisl)   iterature.             219
Only two copies of this singular production are known, and one
of them went successively through the hands of Steevens, the
Duke of Roxburghe, and Perry: the second is in a private collection.  The first was that used by Ritson, (Bibl. Poet. 386,) who,
in merely giving the title, makes several noticeable variations
from the original. Of the second we have availed ourselves, and
find the first two pages occupied by Latin and Greek verses, which
are followed by " The Proceme to the Gentlemen Readers," subscribed "' W. Warren, Gent."  Here he claims that the present is
his first effort; so that, if it be true, he can hardly have been the
same W. Warren for whom Richard Jones, on November 7th,
1579, entered at Stationers' Hall "A pithie and pleasaunt discourse, dialogue wise, betwene a welthie citizen and a miserable
soldier, briefelye touching the commodyties and discommodyties
bothe of warre and peace." If they were distinct writers, Richard
Jones was the publisher for both, and with an interval of only two
years.  Of the "pithie and pleasaunt discourse " we know no
more than the Register informs us (Extracts II. 73); and William Warren's "Nursery of Names " seems to have been written
mainly to pay some extravagant compliments to Queen Elizabeth.
He takes the names of ladies alphabetically, from Anne to Ursula; and when he arrives at Elizabeth he falls into the subsequent rapture, printing the name in capitals: —
"ELIZABETH a noble dame,
a damsell faire and bright;
A dearlyng in our yearthly eyes
bereaves their honour quight!
A jewell rare, a gemme of golde,
a goddesse made of newe;
A Sydus, or celestiall starre,
that boastes of heavenly hewe!
A comete cleare, a Phcenix faire,
extracte of Venus race,
Descended from the line of love
to match Lucinas face! "
When, however, he speaks of the beauty of her figure, which he
does at some length, he falls rather into an indecorous bathos:"Her waste have nothing wast or vaine,
or wantes that might prevaile,




220         tibliograpl)iatl  cctount of
But, fit and rounde on every side,
agrees from toppe to taile."
Afterwards he partially recovers his former extravagant flight,
and continues thus: 
"If all the floating seas were incke,
if paper all the lande;
If trees were pennes, and Muses myne
would take the taske in hande,
The seas would ebbe their incke awaie,
the land be woarne out,
The trees be turned into stubbes,
and pennes obtrite their smowte;
The Muses braines would breake their wittes
before they could descrie
The grace that in her comely corps
and seemely shape doe lye."
Here for "Muses myne " we ought probably to read "Muses
nine," and Warren's mythological allusions are, in the fashion of the
time, pedantically numerous. The names upon which he dwells,
besides that of the Queen, are not always among the most poetical: they are Anne, Bridget, Clare, Doritha, Francisca, Grace,
Honour, Jane, Catherine, Luce, Margaret, Olyffe, Phrisewit, Rose,
Susanna, Thomasin, and Ursula. His motive for choosing some
of them was doubtless personal. We ought to mention that he
inserts a special address "To the Gentlewomen of England,"
which he subscribes " your poore poet, and your olde friend," as if
he were not a young man, or a young author at the time he wrote.
WATSON, THOMAS. -  The Tears of Francie, or Love Disdained.  AXtna  gravius Amor. — Printed  at London
for William Barley dwelling in Gratius streete over
against Leaden Hall. 1593. 4to. 32 leaves.
Only a single copy of the above work is known, and that is deficient of two leaves, containing sonnets numbered 9, 10, 11, 12,
13, 14, 15, 16: all the rest, consisting of 52 sonnets, remain, and
the last is subscribed T. W., the only mark of authorship. We




Qar:fl  (Qnglitb)  titerature.              221
may, perhaps, take it for granted that T. W. meant Thomas Watson; for there then existed no other writer, with those initials, at
all capable of producing such poems. Nothing is said in it to lead
us to the belief that Watson was dead at the time this collection
of Sonnets was published; but we know from a stanza in Richard Barnfield's "Affectionate Shepherd," 1594, that at that date
he was no more. He thus addresses Watson by a name he had
assumed in one of his works - Amyntas: —
" And thou, my sweete Amyntas, vertuous minde,
Should I forget thy learning and thy love,
Well might I be accounted but unkinde,
Whose pure affection I so oft did prove:
Might my poore plaints hard stones to pitty move,
His losse should be lamented of each creature,
So great his name, so gentle was his nature."
Thomas and Watson could not be uncommon names; but in the
register of St. Bartholomew the Less, in which parish various
literary men resided, we meet with the following entry of a burial,
the date of which accords with the period when it is likely that
our poet expired: —
"' 26 Sept. 1592. Thomas Watson, gent, was buried."
It has never been anywhere cited, but we have little doubt that it
applies to our poet.
In his " Pierce'i Supererogation," 1593, Gabriel Harvey twice
mentions Watson, once as " a learned and gallant gentleman, a
notable poet "; and Nash, in his reply, called " Have with you to
Saffron Waldon," 1596, says, "A man he was that I dearely lov'd
and honor'd, and for all things hath left few his equalls in England:
he it was that, in company of divers gentlemen, one night, at the
Nags head in Cheape, first told me of his [Harvey's] vanitie, and
those hexameters made of him, -
"But, o! what news of that goodly Gabriell Harvey,
Knowne to all the world for a foole, and clapt in the Fleet for a Rimer? "
Taken literally, the last line affords a new point in the history
of Spenser's friend.  Watson's Amyntce Gaudia was printed with
the date of 1592, and C. M. [forsan Christopher Marlowe] in the
dedication of it to the Countess of Pembroke, states that the work




222           tbibtiograpidat 2trcount of
was posthumous. Watson's "Amyntas" had come out in 1585;
but his " EtaroFoyraOta, or passionate Centurie of Love," a collection of poems in eighteen-line stanzas, was published as early as
1582.  Another production by Watson, entitled Compendium Memorice localis, was in the possession of Mr. Heber, but, as it was
imperfect at the end, the date and printer are unknown. In 1581
Watson had published " Sophoclis Antigone: Interprete Thoma
Watson I. V. studioso."  He also called himself Londinensis I. V.
Studiosus, before his "Amyntas" in 1585. He was educated at
Oxford, (Wood's Ath. Oxon. I. 601,) and studied the law, and perhaps love, in the metropolis.
"Fancy," as everybody is aware, was an old synonyme for
love, and the fifty-two sonnets, under the title of " The Tears of
Fancie," are all devoted to an unrequited attachment; therefore
it is, in allusion particularly to the work before us, that Barnfield,
in another part of his "Affectionate Shepheard," speaking of
Spenser, Sydney, and Watson as Amyntas, tells Cupid, -
"By thee great Colin lost his libertie;
By thee sweet Astrophel forwent his joy;
By thee Amyntas wept incessantly," &c.
"The Tears of Fancy " are printed in Roman type, with the
exception of this introductory sonnet, which immediately follows
the title-page, but has no signature:"Goe, idle lines, unpolisht, rude, and base,
Unworthy words to blason beauties glory,
(Beauty that hath my restless hart in chase,
Beauty the subject of my ruefull story)
I warne thee shunne the bower of her abiding;
Be not so bold, ne hardy as to view her,
Least she inraged with thee fall a chiding,
And so her anger prove thy woes renewer.
Yet, if she daigne to rew thy. dreadfull smart,
And reading laugh, and laughing so mislike thee,
Bid her desist, and looke within my hart,
Where shee may see how ruthles shee did strike mee.
If shee be pleasde, though she reward thee not,
What others say of me regard it not."
This address occupies the whole page, but in the rest of the
volume there are two sonnets on every page.  Sonnet-writing




.arml     (fnglisl) jittrature.              223
was much in fashion from about 1585 to 1595, and, after the
example of Sydney and Daniel, many were produced that never
found their way into print, or at all events until some time after
they were composed. Most of these by Watson, we may presume, were scattered about in loose papers among his acquaintances. Sometimes they are separate, yet connected in subject,
the last line of one forming the first line of another. The following is numbered " Sonnet XXVI.":" It pleas'd my Mistres once to take the aire
Amid the vale of Love for her disporting.
The birds perceaving one so heavenly faire,
With other Ladies to the grove resorting,
Gan dolefully report my sorrowes endles;
But shee nill listen to my woes repeating,
But did protest that I should sorrow friendles:
So live I now and looke for joyes defeating.
But joyfull birds melodious harmonie,
Whose silver tuned'songs might well have mooved her,
Inforst the rest to rewe my miserie,
Though she denyd to pittie him that lou'd her.
For shee had vowd her faire should never please me,
Yet nothing but her love can once appease me."
This is gracefully and elegantly worded, but none of Watson's
thoughts are new or striking. Throughout he labors to employ
double rhymes, and his efforts now and then give a comic effect
to what he meant to be serious; as where he says: —
"Here end my sorrowes, here my salt teares stint I,
For she's obdurate, sterne, remorseles, flintie."
The subsequent (Sonnet XLVII.) is, perhaps, the best in the
small volume, and it will be observed that the poet only uses one
double rhyme in it:" Behold, deare Mistres, how each pleasant greene
Will now renew his summers liverie.
The fragrant flowers, which have not long beene seene
Will flourish now ere long in braverie:
But I, alas! within whose mourning mind
The grafts of griefe are onelie given to grow,
Cannot enjoy the spring which others find,
But still my will must wither all in woe.




224           3 ibtiograpical Lt rcount of
The lustie ver, that whilome might exchange
My griefe to joy, and my delight increase,
Springs now else where, and showes to me but strange:
My winters woe, therefore, can never cease.
In other coastes his sunne doth clearely shine,
And comfort lend to every mould but mine."
Here we do not see the artificial involution of rhymes observed
in the regular Italian sonnet, Watson being content with three
ordinary quatrains, closing with a couplet. The last sonnet, LX.,
is peculiar, and we know of no similar example, for every line,
but the last two, asks a question, which is answered in the margin
thus:"Who taught thee first to sigh, Alasse sweet hart?  love.
Who taught thy tongue to marshall words of plaint?    love."
After the closing couplet of this sonnet we read " FINIS. T. W.,"
and the work abruptly ends. A few of the pieces consist of eighteen lines, as is the case with all in the body of the same author's
"E EKaromlr-aa," printed probably in 1582: he has there, however,
an introductory sonnet, headed "A Quatoryain of the Authour
unto his booke of Love Passions," which is strictly according to
the Italian model. Another, which has never been remarked
upon, possesses the singularity of being a mixture of rhyme and
blank verse.
WATSON, THOMAS. — Melibamus Thomae Watsoni, sive
Egloga in Obitum Honoratissimi Viri Domini Francisci Walsingharmi, Equitis Aurati, Divoe Elizabethae  a
secretis & sanctioribus consiliis. - Londini, Excudebat
Robertus Robinsonus. 1590. 4to. 11 leaves.
Thomas Watson, one of the most elegant Latin as well as
Enfglish versifiers of his day, printed this piece in both languages
in the same year. They came out separately, and probably the
translation into English, under the title of "An Eclogue upon the
Death of the Right Hon. Sir Francis Walsingham," appeared
just subsequently to the tract before us. It is a dialogue between




Qarlt t   nglisl0 )    itcrature.            225
Corydon and Tityrus, and in the dedication to Thomas Walsingham, son of Sir Francis, Watson says:"Dumque ego sum Corydon, Tityrus esse voli:
Ereptum nobis Melibmeum flebimus ambo;
Flebimus, ut raptum flevit amicus Hylam.
Dignitatis ture studiosus,
THOMAS WATSONUS."
Watson's translation of his "Meliboeus" is in ten-syllable
alternate rhyme.  In it he thus mentions Spenser, confessing his
own unfitness for the task of praising Queen Elizabeth: —
" Yet lest my homespun verse obscure hir worth,
Sweete Spencer, let me leave this task to thee,
Whose neverstooping quill can best set forth
Such things of state as passe my Muse and me," &c.
Watson is the poet whom Steevens (on the strength of his
" Elcal-oplratGa, or Passionate Centurie of Love," reviewed at great
length in Vol. IV. of the Brit. Bibl.) pronounced " a more
elegant Sonneteer than Shakespeare," and perhaps, if mere
elegance be considered, the critic was not so far mistaken as
many have hitherto supposed. 1 Steevens, however, was not
acquainted with Watson's most " elegant" production, which
has since been discovered, and forms the subject of the last
Article.
WATSON, THOMAS. -The first set of Italian Madrigalls
Englished, not to the sense of the originall dittie, but
1 In "the British Bibliographer," IV. 1, it is stated that Watson's
" EKaTo'raOea, or Passionate Centurie of Love," was " entered on the Stationers' Books in 1581." This is a mistake from non-observance of the
fact, that 31st March, 1581, according to our present mode of reckoning
the year, was 1582. Hence we may safely infer that the volume did not
make its appearance in the market until the year 1582 was advanced at
least three months. See the entry in " Extr. from the Stat. Reg." II. 162.
Ritson also (Bibl. Poet. 387) fell into the error of stating that the " EKaTo/u7ra0La"  was "licensed to Cawood in 1581"; and in both editions of
Lowndes's Bibl. Man. the date assigned is 1581, but the figures are in parenthesis, to indicate correctly that they are not on the old title-page.
VOL. IV.               15




226            bibliograpplrcal  2count of
after the affection of the Noate. By Thomas Watson,
Gentleman. There are also heere inserted two excellent Madrigalls of Master William  Byrds, composed
after the Italian vaine at the request of the sayd Thomas
Watson. -  Imprinted at London by Thomas Este, &c.
1590.  4to.
This production has always been mentioned in connection with
the name of Watson, but we have never seen any extract made
from it to enable the reader to judge of its character and quality.
It seems to prove, what has not been before noticed, that WVatson
was a musician as well as a poet, and that he himself composed
these Madrigals, after the Italian method, adapting to them his
own words.1 The title cannot mean that he rendered the Italian
verses into English, for it is distinctly stated that he did not
English them "' to the sense of the original ditty," but " after the
affection of the note." MS. Rawlinson 148, Poetry, contains
Watson's "gratification " to Dr. Case, for his book in Praise of
Music, which was published in English in 1586. The two
Madrigals by Byrd, were, like those of Watson, " composed after
the Italian vein."  We have only here to do with Watson's
words, which are mainly in laudation of Sir Philip Sidney, Lady
Rich, and Queen Elizabeth. There is not much merit in any of
them, as may be judged by the two quotations we are about to
make. The first relates to Astrophel and Stella, but really has
"small meaning":-:" When first my heedles eyes beheld with pleasure
In Astrophell both of nature and beauty the treasure,
In Astrophell whose worth exceeds all measure,
My fauning Muse with hot desier surprized
Wyl'd me entreat I might not be dispysed:
But gentle Astrophill, with looks unfained,
Before I spake said, Unles Stella dissembleth,
Her look so passionate my love resembleth."
The second line certainly halts a little, but probably the music
1 If the music be not by Watson it is clear that it was not by Byrd, or
the " two excellent madrigals" by the latter would not have been separately mentioned.




Ear[t   Ent[ist j IKitcrature.           227
required that irregularity. The next lyric, addressed to Queen
Elizabeth, is merely an octave stanza, but sprightly: —
"This sweet and merry month of May
While nature wantons in her pryme,
And birds do sing, and beasts do play
For pleasure of the joyfull time,
I chuse the first for holly daie
And greet Eliza with a ryme.
0! beauteous Queene of second Troy,
Take well in worth a simple toy."
It almost seems as if nobody could write on the subject of May
without pastoral grace and vivacity.  In the 19th Madrigal
WVVtson again returns to Sidney, and laments his death, but
without any novelty, and omitting all mention of Stella. He
also refers to Sir Francis Walsingham, then recently dead; but
the author was so fond of the eight lines he had addressed to the
Queen on May, that he repeated them at the close of his work.
The words throughout are not separately printed, but under the
music to which they belong. After all, Watson may not have
composed the airs.
WEEVER, JOHN. - Epigrammes in the oldest cut and
newest fashion. A twise seven houres (in so many
weekes) studie. No longer (like the fashion) not vnlike to continue. The first seuen. John Weever.
Sit voluisse, Sat voluisse.-  At London, Printed by
V. S. for Thomas Bushell, and are to be sold at his
shop at the great north doore of Paules. 1599. 8vo.
54 leaves.
Beloe (Anecdotes, VI. 156) was the first to call attention to
the contents of this book, which Ritson only speaks of as " a little
book of epigrams, 1599." Beloe used a copy belonging to Combe
of Henley, which he supposed to be unique; but there are, at
least, two other exemplars of it. The additional notes in Warton
(H. E. P. IV. 102, 401, edit. 8vo.) were taken from Beloe, and
with Beloe's misprints. The Epigrams have little merit in them



228            ihbliogrtapjiral  2Lrount of
selves; but when we add, that they relate by name to Shakspeare, Spenser, Daniel, Drayton, Warner, Ben Jonson, Marston,
&c., the volume cannot be looked at without great interest. The
author was, perhaps, a friend of Ben Jonson, who in Epigram
XVIII. (p. 773, edit. 1616) couples him with a much greater
poet in the same department, Sir John Davys.
In his dedication to Sir Richard Houghton, of Houghton Tower,
the author deprecates severity towards his " young Muse "; and
it appears elsewhere that he was not twenty when his epigrams
were written, and that he was only in his twenty-second year
when they were published. We may pass over the commendatory
verses in English, Latin, and Greek, only distinguished by initials
or by unrecorded names; but eight six-line preliminary stanzas
by Weever inform us that he was of Cambridge, and especially
praise Daniel and Drayton, with a sly hit at Marston, whom,
however, he applauds in a subsequent part of his book. From
the body of it we select a few pieces on celebrated contemporaries, beginning with Shakspeare. It is Epigram 22 of " the fourth
week."
"Ad Gulielmum Shakespeare.
" Honie-tong'd Shakespeare, when I saw thine issue,
I swore Apollo got them and none other,
Their rosie-tainted features cloth'd in tissue,
Some heaven born goddesse said to be their mother:
Rose-cheekt Adonis with his amber tresses,
Faire fire-hot Venus charming him to love her,
Chaste Lucretia virgine-like her dresses,
Proud lust-stung Tarquine seeking still to prove her.
Romea, Richard, more whose names I know not,
Their sugred tongues and power attractive beuty
Say they are Saints, althogh that Sts. they shew not
For thousands vowes to them subjective dutie:
They burn in love, thy children Shakespear het the,
Go, wo thy Muse, more Nymphish brood beget them."
Here it is to be remarked that Beloe, quoting the above, besides
other errors, arbitrarily altered " het," i. e. heated, to let, which
quite changes the meaning of the writer.1  " Romea," for Romeo,
1 Chaucer, in his " Assemble of Foules," uses the same past tense of to
heat: -
" That one me lette, that other dyd me colde."




wartl    lngtlih   KiIteratttre.            229
was probably a mere misprint, however ignorant Weever professes himself to be of the names of Shakspeare's heroes.  The
following is important, not merely because it confirms the story of
Spenser's extreme poverty at the time of his death, but because
it.may be said to establish that one of that great poet's minor
works, his "Ruins of Time," had actually been called in:"In obitum Ed. Spencer, Poetce prestantiss.
"Colins gone home, the glorie of his clime,
The Muses Mirrour, and the Shepheard's Saint.
Spencer is ruined, of our later time
The fairest ruine, Faeries foulest want:
Then his Time ruines did our ruine show,
Which by his ruine we untimely know:
Spencer therfore thy Ruines were cal'd in,
Too soone to sorrow least we should begin."
We must bear in mind, that Spenser's " Ruins of Time" had
been written (under the title of Stemmata Dudleiana) as early
as 1580, that they were devoted to the celebration of Lord
Leicester and his family, and that, when printed in 1591, they
contained a most severe attack upon Lord Burghley. For these
reasons, in all probability, they had been "called in."  The subsequent lines to Daniel are also worthy of extraction, relating
as they do to the death of Ferdinando, Earl of Derby, who had
died in  1594, "not without suspicion of poison, or witchcraft ":
"'Ad Samuelem Daniel.
" Daniel, thou in tragicke note excells,
As Rosamond and Cleopatra tells:
Why dost thou not in a drawne bloudy line
Offer up teares at Ferdinandoes shrine?
But those, that e're he di'de bewitcht him then,
Belike bewitcheth now each Poets pen."
In his " Pierce Pennyless," 1592, Thomas Nash, as we know,
had blamed Spenser for not having addressed a sonnet to the
Earl of Derby, when he printed his "Fairy Queen," in 1590.
Weever's tribute to Drayton also refers to the death of Sidney: —
"Ad Michaelem Drayton.
"The Peeres of heav'n kept a parliament,
And for Wittes-mirrour Philip Sidney sent:




230             3ibtiograpiral     2crrouunt of
To keepe another when they doe intend,
Twentie to one for Drayton they will send,
Yet bade him leave his learning; so it fled
And vow'd to live with thee since he was dead."
We wish we could make room for all the interesting personal
matter in this little volume, more particularly, as it has never yet
been adverted to in any detail; but we must be satisfied with the
two epigrams which apply to Marston, Ben Jonson, R. Allot, the
editor of " England's Parnassus," and Christopher Middleton, the
writer of the " Legend of Humphrey Duke of Gloucester "; which,
however, was not published until the year after the date of the
appearance of Weever's " Epigrammes."
"Ad Jo. Marston et Ben Johnson.
" Marston, thy Muse enharbours Horace vaine,
Then, some Augustus give thee Horace merit;
And thine, embuskin'd Johnson, doth retaine
So rich a stile and wondrous gallant spirit,
That if to praise your Muses I desired,
My Muse would muse. Such wittes must be admired."
"Ad Ro. Allot et Chr. Middleton.
" Quicke are your wits, sharp your conceits,
Short and more sweete your layes:
Quicke, but no wit, sharpe no conceit,
Short and lesse sweete my praise."
These have very little merit of their own, but they show the
estimate of the men in their day. The same may be said of six
lines addressed to the founder of Dulwich College, in which Rome
and Roscius are called upon to yield the palm to London and
Alleyn. We ought to add that the Epigrams are divided into
"weeks," and that each "week" is dedicated to a different
patron.
WEEVER, JOHN. -  The  Mirror of Martyrs, or The life
and death of that thrice valiant Capitaine, and most
godly Martyre, Sir John Old-castle knight Lord Cobham.- Printed by V. S. for William Wood. 1601.
8vo. 41 leaves.




frls 2 ntgli-l4   iterature.              231
This very uncommon volume (of which we have never seen
more than two exemplars) requires attention, not only for its
own sake, but because it illustrates both Shakspeare and Spenser.
These illustrations appear never to have been suspected; for although various poetical antiquaries have mentioned the book, and
one of them quoted several passages from it, (Restituta, IV. 476,)
nobody has alluded to these sources of increased value. Spenser
is applauded by name, and Shakspeare borrowed from without
name. The subsequent stanza thus speaks of the death of the
former, and of his well-remembered episode of the Marriage of
the Thames and Medway: -
"But how he courted, how himselfe he carri'd,
And how the favour of this Nimph he wonne,
And with what pompe Thames was with Medway marri'd
Sweete Spenser shewes (O greefe, that Spensers gone!)
With whose life heavens a while enricht us more,
That by his death we might be ever pore."
The obligation of Weever to Shakspeare is certainly not great,
but it has reference to the battle of Shrewsbury, and to the killing of Hotspur by Prince Henry, in the ensuing stanza: —
" And followed Percie to these civill broiles,
Who made do doubt of Henries victorie,
Emboldened by Scotlands late-won spoiles,
Yet left him slaine behind at Shrewsbury;
And all the armie, ventrous, valorous, bold,
Hote on the spur, now in the spur lie cold."
The lines by Travers, in Henry IV. Part 2, Act I. sc. 1, (printed
in 1600, and written before 1598,) need hardly be quoted: —
"He told me that rebellion had ill luck,
And that young Harry Percy's spur was cold:"
nor old Northumberland's reply: —
"Said he young Harry Percy's spur-was cold?
Of Hotspur coldspur?"
Another illustration of Shakspeare is of a different kind, and
relates to the character of Falstaff, who, when the two parts of
" Henry IV." were first brought out, was called Oldcastle, though
the name was afterwards changed.  Weever, in the dedication of




232          Jibtioarapiratl 2tronunt of
his "Mirror of Martyrs," speaks of his hero as "'this first true
Oldcastle," clearly alluding to the second false Oldcastle, in
Shakspeare's two plays, to whom, however, the name of Falstaff
had been given, instead of Oldcastle, before 1598. (See " Shakspeare," publ. by Whittaker and Co., 1858, Vol. III. p. 317 and
p. 423.)
WELBY, HENRY. -  The Phoenix of these late times: or the
Life of Mr. Henry Welby, Esq., who lived at his house
in Grub-street forty foure yeares, and in that space
was never seene by any, aged 84 &c. With Epitaphs
and Elegies &c.- London: Printed by N. Okes and
are to be sold  by Richard  Clotterbuck  &c.  1637.
4to.  25 leaves.
We are informed in the body of this tract, that the subject of
it was a man of considerable fortune, who had travelled much,
and was of eccentric habits.  His reason for retiring from the
world is stated to have been a quarrel with a younger brother, who
directed a loaded pistol at his head, which missed fire. He withdrew to his house in Grub Street, in 1592, and lived unseen by
anybody but an old female servant, until the 29th of October,
1636.
An engraving of the unshaven recluse faces the title-page,
which is followed by "the Description of this Gentleman," and
two copies of verses upon him, one signed J. B., and the other by
Shackerly Marmion.  Then comes an account of Welby, and
of his mode of life, to which are added Epitaphs and Elegies in
verse by Tho. Brewer, J. T., John Taylor, and Tho. Heywood.
From the nature of the tract, it is most likely that the prose portion of it was also written by Heywood. His verses are only such
as, most likely, his poverty extracted from his pen, and they are
not worth quoting. Welby, it seems, had been married, and left
behind him a daughter, wife to Sir Christopher Hilliard of Yorkshire.




4arl  (fngtiz1)  fiterature.           233
WELDON, JOHN.- A true Report of the inditement, arraignrnent, conviction, condemnation and execution of
John Weldon, William  Hartley, and  Robert Sutton:
who sufferd for high Treason in severall places about
the Citie of London on Saturday the fifth of October.
Anno 1588. With the Speaches which passed between a learned Preacher and them: Faithfullie collected, even in the same wordes, as neere as might
be remembred.  By one of credit that was present
at the same.- Imprinted at London by Richard Jones.
1588. 4to. B. L. 12 leaves.
The main object of this tract seems to have been to show with
what mercy and consideration the criminals were treated. The
first two were Roman Catholic priests, who, after having been
ordained in Paris, came to this country and resided in London
contrary to law. The third man, Sutton, after becoming a Protestant, had been reconciled to Rome, and, though a layman,
was executed with the others. The narrative seems to have been
drawn up by the "learned Preacher" who had attended the prisoners in their last moments, and had endeavored to convince
them of their errors. Their lives were offered to them if they
would recant, but they preferred death. It is added, that at one
time Sutton's courage nearly failed, but he afterwards recovered
his resolution, and died avowing himself a Roman Catholic. All
the texts of Scripture quoted against them by the Protestant
divine are given in full detail. The men were hanged at different places: Weldon at Mile-end, Hartley at Holywell, "nigh the
Theater," (at that date a usual place of execution, on account of
the badness of the neighborhood,) and Sutton at Clerkenwell.
On the 26th August preceding, a person of the name of Gunter
had been hanged "at the Theater," convicted of the same crime
as Sutton.'
WELL-SPRING.- The Welspring of wittie Conceites: containing a Methode, aswel to speake, as to endight (aptly




234           DBibliograpitalt 2lccount of
and eloquently) of sundrie Matters: as (also) see great
varietie of pithy Sentences, vertuous sayings and right
Moral Instructions: No lesse pleasant to be read, then
profitable to be practised, either in familiar speech or by
writing, in Epistles and  Letters.  Out of Italian by
W. Phist. Student.  Wisdome is like a thing  fallen
into the water, which no man can finde, except it be
searched to the bottome.- At London, Printed by
Richard Jones: dwelling at the Signe of the Rose and
the  Crowne, neere  Holburne  Bridge.  1584.  4to.
B. L.  51 leaves.
It is very likely that the name on the title-page, " W. Phist.,"
may only be an abbreviation for William Phiston, but we have
no right so to conclude, as is done in both editions of Lowndes's
Bibl. Man.; and on this account we have placed our notice of
this highly curious book under the first substantive of its title. It
is supposed that W. Phist, or Phiston, was also the writer of a
"' Lamentation" on the death of Bishop Jewell, 1571, because it
is said to have been composed " by W. Ph." (Brit. Bibl. I. 569.)
Elderton wrote and subscribed a production of a similar character, and upon the same lamentable event, altogether unknown
until it was reprinted in " Roxburghe Ballads," 4to, 1847, p. 139.
Of the work in our hands only two copies are supposed to exist; and it is dedicated, not by the translator, but by the printer,
to "Maister David Lewes, Doctor of the Civill Lawes, &c. High
Judge of the Admiraltie."  Jones states in it that it was the first
book that had come from his press since the entrance of the new
year, 1584. Then we have "the Author's Preface," from which
we learn that it was not merely a version into English of an
Italian original, but that he had added other matter, " partly the
invention of late writers, and partly mine owne."  He claims
to lave i"noted" in the margin where he had been indebted to
" auncient and famous" writers, but he unluckily left the remainder without any information as to the modern sources to which he
had been indebted.
The great body of the work is prose, and in the form of sup



d 1artV  fngli[l) fiterature.               235
posed letters with appropriate headings. At the end of all is a
table of contents, but introduced by a few axioms in verse, thus
headed, and thus irregularly printed:" Certaine worthie sentences, very meete to be written about a Bedchamber, or to be set up in any convenient place in a house.
i. The good Son grafteth goodnes, wherof salvation is the fruit.
But the evill planteth vices, the fruit wherof is damnation.
2. Therfore at night call unto minde
How thou the day hast spent
Praise God if naught amisse thou finde,
If aught, betimes repent.
3. Thy bed is like the grave so cold, and sleepe
that shuts thine eyes
Resembleth death, the clothes the mowlde
in grave when as thy body dyes.
4. Therfore let not thy sluggish sleepe
close up thy waking eye,
Till with advice and judgement deepe
thy dayly deedes thou trye.
5. Who any sinne in conscience keepes when he quiet goes,
More vertuous is then he that sleepes with twenty mortal foes."
There must be some misprint in the first axiom, because "fruit"
and "damnation" do not rhyme; but the correction is easily
made, as we may feel pretty sure that the word corresponding
with "fruit" was root, although the old printer became confused,
and misplaced, as well as corrupted, the true text.
We should not have said even thus much of this " Well-spring
of witty Conceits," had not Ritson at one time, in the course of
his distempered attacks upon T. Warton, expressed doubt as to
the existence of the book. The contents of the various letters are
the mere commonplaces of ethics and morals; and it is singular
that, from the first page to the last, there is not one original
remark, or one temporary, local, or personal allusion.  On this
account the work is, in our day, comparatively valueless.
WEST, RICHARD. - The Court of Conscience, or Dick
Whippers Sessions.  With the order of his arraigning




236           Jibliograp1lcat  lccount of
and punishing of many notorious, dissembling, wicked
and vitious Livers in this age. By Richard West. —
Imprinted at London by G. Eld for John Wright, and
are to be sold at his shop adjoyning to Christ Churchgate. 1607. 4to. 24 leaves.
An amusing, but apparently highly colored, work upon manners at the commencement of the seventeenth century, dedicated
by Richard West "to his very loving friends" William Durdant
and Francis Moore. Thirteen stanzas, of six lines each, commence the proceedings against the criminals before twelve jurymen; and as the author makes the " Upright Judge" and "good
Counsel" two of the twelve, it seems as if he were not well versed
in the proceedings of courts of criminal judicature. The rest of
the jury are poetical impersonations, such as Zealous Patron,
Faithful Minister, Godly Magistrate, &c.; and after they have
been impannelled comes an address "to all and singular Backbyters, Slothful Teachers, Graceless Truants, Cockering Parents,
Cheating Thieves, Punkes, Bawds, Witches," &c. Some of the
writer's knowledge appears to have been derived from earlier
sources, but on the whole there is originality, not only in the
accusations, but in the manner in which the arraignments are
drawn and the proceedings conducted. There is clearly a good
deal of personal allusion, now lost to us; and the following reads
as if, in the minuteness of its information, there was an intention
to single out some individual. It is headed,"Backbiter.
" You, Mai. Silke-strings, bandy embleme maker,
Rimer and Ridler, come into the Court;
Maker of songs by every channel raker,
You are indited here - what, all a-mort?
Hold up your hand: heare your inditement read:
Twill cost y' a whipping, ells Ile loose my head.
"And wherefore ist? because you spend your time
All the whole day among your baudy queanes
In ribauld talke and loathsome filthy rymes;
Superfluously it floweth out in streames,
Backbiting all men in a hidden sort.
Come, come, untrusse. 0, here is gallaunt sport!




~artlE   ~ngltisl  Kitcrature.             237
" And more then that; for still you doe invent,
Sedicious like, gainst all men to exclame
In baudie ballads, being wholly bent,
In sort undecent, men unknowne to blame;
Thinking to excuse your selfe by giving quipps
Gainst those that never deservd your railing nips.
" What should I stand to tell you all your tricks?
I should backbite men, then, as well as you;
Nor yet your rabbles altogether mixe:
It were an endles worke, I tell you trew.
A Ja.ile delivyry further I must make
Of other knaves with you that share a stake."
This was too early a date for Martin Parker; and Thomas IDeloney, as far as we can judge from what he has left behind him,
does not merit any such injurious character: Guy, Climsell, and
Price were then either not in existence, or hardly known; and,
after all, West may have meant, as in the case of his jury, an
abstract impersonation of a ballad-writing and traducing " backbiter."
In Vol. I. p. 63, we have favorably introduced the name of
Richard West, as the author of an interesting humorous and poetical production, entitled " News from Bartholemew Fair," of the
same date as the chap-book now before us. He was also the writer
or collector of the poems inserted in a work called " The Schoole
of Vertue," 8vo, 1619, one of which, under the title of " The
Booke of Demeanor," was reprinted in 1817.  The R. W., who
in 1608 published " a Centurie of Epigrams," was a different man,
who terms himself on his title-page " Bachelor of Arts of Oxon,"
and affords evidence that he was a scholar. He may have been
the translator of "Merry Jests concerning Popes, Monks and
Friars," of which there is a copy in the library of Worcester College, Oxford. It was printed in 1617, (see post,) and several
times afterwards. R. W., there described as " Bachelor of Arts of
H. H. Oxford," gives his name at length.
WHETSTONE, GEORGE. - The Rocke of Regard, divided
into  foure  parts.   The  first, the Castle of delight:




238              ibliograp1)kial  2tccount of
Wherein is reported, the wretched end of wanton and
dissolute living. The second, the Garden of Unthriftinesse: Wherein are many sweete flowers, (or rather
fancies) of honest love. The thirde, the Arbour of
Vertue: Wherein slaunder is highly punished, and
vertuous Ladies and Gentlewomen worthily commended.
The Fourth, the Ortchard of Repentance: Wherein
are discoursed the miseries that follow dicing, the mischiefes of quareling, the fall of prodigalitie &c. All
the invention, collection and translation of George
Whetstons  Gent.  Forma nulla fides.   4to.   B. L.
132 leaves.
This work introduces to us a new name. in our poetical annals
— that of Robert Cudden of Gray's Inn, who was a friend of
Whetstone, and contributed two or three pieces to the collection
before us. He is not mentioned by Ritson, Wood, or Warton.
Whetstone speaks of the " Rocke of Regarde " as if it were his
earliest work -" the first increase of his barren braine; "- and
he promises more and better hereafter, if it were favorably accepted. The date is ascertained from the colophon on sign. R vi.,
where we read" Imprinted at London for Robert Waley. 1576."
We thus learn that Whetstone's second essay in poetry was his
" Remembraunce" of Gascoigne, which came out very soon after
the demise of that poet in the autumn of 1577. This generally,
but erroneously, stands first in the list of Whetstone's many publications. As far as we know, he had printed nothing anterior to
his "' Rocke of Regard," and in it he included many youthful productions. He thus speaks to " the young Gentlemen of England"
of himself and of his courses, before he became an author: —
" Some there be that, having eyed my former unthriftinesse, doe gape
(per case) to views in this booke a number of vaine, wanton and worthlesse Sonets: in some respectes I have satisfied their expectation, moved
to suffer the imprinting of them, not of vaine glorie but of two good considerations: the one to make the rest of the booke more profitable, and
(perhaps) lesse regarded the better saileable. The other, and chiefest, in
plucking off the vizard of self conceit, under which I sometimes proudly
masked with vaine desires."




E4artl    Qngltijsl) titcrattnr.              239
As there is a long list of the contents of the volume in our hands
in Cens. Lit. VI. 10, we shall not go in detail over the many productions, divided, as the title-page correctly informs us, into four
separate portions, with four several dedications, and " epilogues "
to each. Many love-poems are interspersed, and some of them
relate personally to Whetstone, who there only gives his initials,
G. W.  It seems that he fell in love with a lady while she was
" bathing at the Bathe," but like others he forbore to declare his
passion, and therefore, as he never offered himself, could not well
be accepted: —
"The silent man still suffers wrong, the proverbe olde doth say;
And where adventure wants, the wishing wight ne thrives:
Faint heart hath ben a common phrase, faire Lady never wives."
Some of the tales, which he tells at considerable length, were
the same as are found in earlier translations.  Thus we have
the Countess of Celant as in G. Fenton's " Tragical Discourses,"
and in Painter's " Palace of Pleasure "; and " the Lady of Boheme " as in the latter, which again made its appearance, in a dramatic form, in Massinger's " Picture." 1  Upon these we need not
1 In reference to Massinger, it may not be out of place here to notice
again his father, Arthur Massinger, who was one of the confidential servants of the Earl of Pembroke, and who, in 1587, (three years after the
birth of his son, the poet,) was a solicitor for the reversion of the office of
Examiner in the Court of the Marches towards Wales. This is, we believe, a new point in the history of the dramatist's family, and we derive
it from an original letter of Lord Pembroke, from which we quote the
following paragraph: -
" My servant Massinger hathe besought me to aycle him in obteyning a Revercion from her Majestie of the Examiners office in this Courte, whereunto as I willingly have yelded, soe I resolved to leave the craving of your Lordships furtherance
therein to his owne humble sute; but because I heare a sonne of Mr. Fox (her
Majesties Secretory here) doth make sute for the same, and for that Mr. Sherar,
whoe nowe enjoyethe it, is sicklie, I am boulde to desier your Lordships honorable
favour to my servaunte, which I shall most kindlie accepte, and he for the same
ever rest bounde to pray for your Lordship. And thus leaving further to trouble
you, &c. 28 Mlrche 1587."
It is worthy of remark that the whole body of the letter is in the handwriting of the candidate for the place, the signature only being that of
Lord Pembroke. It does not appear what was the result as regards the
father, but the poverty of the son would indicate that Arthur Massinger




240             Bibliogrcaptict  2tconunt of
dwell, and Whetstone clearly had Surrey, Wyat, and Turbervile
in view, when he penned some of his miscellaneous pieces. He has
several poems in laudation of distinguished ladies of his day. We
transcribe one, to the Lady of Sir William Cecil, not an ordinary
subject of eulogium: —
"In praise of my Lady CECIL of Bourleigh.
"The cruell warres that Nature long did move
By force to plucke good Vertue from her throne,
Appeard in peace to shewe the fruits of love
Of precious mould kynde faults to worke anon,
And having shapt this seemely dame of clay,
For Vertues helpe she sent her straight away.
" When Vertue viewd dame Natures worthy skill,
With great delight she kist the Ladies face;
And then (to shewe that Nature wisht her will)
She posted to her treasure house of grace,
Her golden shewes, where she, good Ladie, spoyles
To decke this dame: thus was she both their toyles.
"And with these gifts into the world she came,
Whereas she doth in worthy credite rest:
Yea sure her life so beautifieth her name,
As Envie graunts (who sildome says the best)
Her wit, her weedes, her wordes, her workes and all
So modest are, as slaunder yealdes her thrall."
This is not very happy, nor even very clear. Lady Burghley
died in the spring of 1589. The longest poem, in the division,
called " The Ortchard of Repentance," is'certainly autobiographical, and seems written in imitation of Gascoigne's production of
the same class, Dulce Bellum Inexpertis. Whetstone's second
stanza is this, and the whole is written in the same measure:"Though straunge at first my tale may seeme in sight,
Yet wisely wayde the cause appeareth playne,
Why backward hap my forward hope did quite,
Why losse I found where I did looke for gayne;
Why povertie I reapt in lue of paine,
For, trye who list, and he by proofe shall see
With honest myndes the world will hardly gree."
had not filled the lucrative post. Philip Massinger only says of his father
that " he lived and died in the service of the honourable house of Pembroke."  See the dedication of " The Bondman," 1623 and 1638.




iartl   QFngtli4   iittratutre.              241
The tenor and spirit of the piece may be judged from this specimen, and in the end Whetstone gives what he calls "A Larges to
the World." It is in this portion of the work that the unknown
versemaker, "Robert Cudden of Grayes Inn," flourishes.  He
adopts a lyrical form, and thus addresses his friend. It is part of
an "Answer to G. W. opinion of Trades."
"I thought (my George) thy Muse would fully fit
My troubled minde with least of settled doome,
And tell the Trade wherein I sure might sit
From nipping neede in wealthy walled roome;
But, out alas, in tedious tale
She telles the toyles of all,
And forgeth fates t' attend estates,
That seeld or never fall."
This address fills thirteen such stanzas; the last but one being
this: -
"The Lawyer he, the man that measures right,
By reason, rule and lawe conjoyned in one,
Thy roving Muse squares much with his delight,
Whose only toyle all states depend upon:
For Lawyer gone, good right adieu;
Dicke Swash must rule the roaste,
And madding might would banish quite
Tom Troth from English coast."
The above does not much whet the appetite for more, but we
find Cudden mentioned nowhere else, and perhaps he died early.
"' Whetstones Invective against Dice," by which he had clearly
been a sufferer, fills eighteen pages, and the rest of the volume is
apparently made up of his own mishaps and adventures, and of the
exposure of four sharpers and cozeners, whom he calls Lyros,
Frenno, Caphos, and Pimos, while he himself figures, as well as
we can judge, under the name of Plasmos. The last lines of his
fourth " Epilogus " are these: -
"All this and more my Muse at large reports
All this my Muse (for your availe) did hit:
In lue whereof she friendly you exhorts
To take in worth what of good will is writ.
Quod cavere possis stultum est admittere."
The whole volume tends to show rather the versatility than the
vivacity of Whetstone's Muse.
VOL. IV.          16




242          Jtibtio raptipat 2lcrount of
WHETSTONE, GEORGE. - The English Myrror. A Regard wherein al estates may behold the Conquests of
Envy: Containing ruine of common weales, murther
of Princes, cause of heresies, and in all ages, spoile
of devine and humane blessings, unto which is adjoyned, Envy conquered by vertues.  Publishing the
peaceable victories obtained by the Queenes most
excellent Majesty against this mortall enimie of publike peace and prosperitie, and lastly A Fortris against
Envy, builded upon the counsels of sacred Scripture,
Lawes of sage Philosophers, and pollicies of well
governed common weales, &c. By George Whetstone
Gent.  Nlalgre.  Seene and  allowed.-At London.
Printed by I. Windet for G. Seton, and are to be
sold at his shop under Aldersgate.  1586.  4to.  B.
L. 129 leaves.
This elaborate work, which is not of very uncommon occurrence, is divided into three books, the second and third having
distinct title-pages.  The second is called " Envy conquered by
Vertue," and has upon it, besides, "A Sonnet of triumph to England" in eleven lines: the third is called "A fortresse against
Envy," with the name of the author repeated as George Whetstone. Each book, like his " Rock of Regard," has its separate
dedication. The first (after an acrostic to "Elizabeth Regina,"
at the back of the title-page) has a dedication to the Queen, followed by an address to the Nobility of England, and by commendatory verses by R. B., who asserts that " the Muses have
always blessed the author's pen." A note, preceding a list of
errata, shows that the volume was printed in the absence of Whetstone, who was at that date in Flanders. The second book is dedicated to " the Bishops and other devines of England "; and the
third book to " the temporall majestrates of England."
The earliest division of the work contains a great many, then
novel and interesting, details of foreign history, including the wars
between the Guelphs and Ghibelines, the battle of Alcazar and
the death of King Sebastian, with the calamities of France, Flan



(ftartl   (nlitft)  itratnvc.              243
ders, and Scotland. The second division relates more particularly
to domestic affairs, and commences with a poem on " the blessings
of peace." It treats of the immediate predecessors of Elizabeth,
of the Tudor family, and of the accession of the Queen, with all
its ceremonies. It afterwards notices her " peaceable victories " in
Scotland, over the rebels in the North of England, &c., together
with her preservation from various attempts at assassination, especially that of Dr. Parry, which was then recent. Campion and
Throckmorton come in for a large share of abuse, and the book
ends with, an exhortation to English fugitives. The third division
applies chiefly to internal government, to the duties of good kings
and the ends of tyrants, to the " high calling of the nobility," to
the " reverend calling of the clergy," to the " honourable calling "
of judges, justisers, the reputation of lawyers, &c.  In the course
of this chapter Whetstone tells a short anecdote in verse, which
may be quoted as not a bad specimen of his skill, although the jest
itself is very venerable:"A poore man once a Judge besought
to judge aright his cause,
And with a glasse of Oyle salutes
this judger of the lawes.
"My friend, quoth he, thy cause is good:
he glad away did trudge.
Anon his wealthy foe did come
before this partiall judge.
"A hog well fedde the churle presents,
and craves a straine of law:
The hog received, the poor mans right
was judg'd not worth a straw.
"Therewith he cri'de, O partiall judge,
thy dome hath me vndone!
When Oyle I gave my cause was good,
but now to ruine runne.
q' Poore man, quoth he, I thee forgot;
and see thy cause of foile;
A hog came since into my house
and broke thy glasse of Oyle.
"Learne, friends, by this, this reade of me:Smal helpes a vertuous cause,




244           t1ibiiograpljicat 2lcoint of
When giftes do catch both Gods and men,
and friendship endeth lawes."
There are other pieces of versification in this third book, and
the last chapter consists entirely of moral and didactic couplets,
the last being the following:"As I began, so I conclude; let all men fear the Lord,
And Preachers see that godly workes with holy words accord."
As a whole, this production, by a man of considerable learning
and ability, in its differeft parts is both instructive and amusing.  At the close is a renewed address "to the Reader," in
which Whetstone introduces a sort of puff of his "Mirror for
Magistrates of Cities," which had been printed in 1584, but
never became popular.
WHETSTONE, GEORGE. - The  HIonorable Reputation of
a Souldier:  With  a Morall Report of the Vertues,
Offices, and (by abuse) the Disgrace of his profession.  Drawen out of the lives, documents, and disciplines of the most renowned  Romaine, Grecian, and
other famous  Martialistes.  By  George  Whetstone,
Gent.  Malyre de Fortune. —  Imprinted at London by
Richard  Jones:  dwelling  neere  Holburne  Bridge.
1585.  4to.  B. L.  22 leaves.
On the title-page is a woodcut, half-length, of a man in armor,
merely the representative of a soldier, not unfrequently found in
other places, appropriate and inappropriate. It has been, however,
sometimes considered a portrait of Whetstone, and in our day we
have seen it reingraved for that purpose. No portrait of Whetstone is extant, that we are aware of.
The tract before us was hastily printed by its author, in order,
not so much to vindicate the reputation of soldiers, as to encourage
persons to join that profession, the Queen being at that particular
time in want of men to assist the United Provinces in their struggle against Spain. It was in July, 1585, that a large body of
men, clothed and furnished at the expense of the City, was trans



Cuarwt   Antio) Kittraturc.                245
ported to the Low Countries- (Stow's Ann., 1605, p. 1187). It
appears that Whetstone had already prepared his larger work,
"The English Mirror," for publication; but as its bulk delayed
its appearance at this juncture, he put forth the portion of it,
here called " The honourable Reputation of a Soldier," before the
rest, with a view to the effect it might produce in procuring volunteers for the public service. The rest of the work was deferred
until the following year, when, however, it came out from the
shop of a different stationer.
The small performance in our hands consists merely of a dry
collection of examples from Plutarch, Aulus Gellius, &c., of ancient
military services, all tending to the exaltation of the military
character; but as there is no single instance obtained from modern history, we need not dwell upon its contents. It is dedicated
to Sir William Russell, and there Whetstone admits that he was
only forestalling his " English Mirror."  He says nothing of his
motive for hastening the publication of a part of it, but the circumstances of the time called for it, and he doubtless anticipated
for it a good sale. Whether he was disappointed or not, copies of
it are now very rare - more so than of his extended work, " The
English Mirror." He does not here profess to be a soldier, capable of giving instruction in the military art, observing, " I myselfe
have been brought up among the Muses."
As some proof of his qualifications in this respect, he prefixes a
poem addressed " To the right valiant Gentlemen and Souldiers
that are, or shalbe armed under the Ensigne of Sainct George."
It begins, -
" God with S. George! Allon[s], brave Gentlemen,
Set speares in rest," &c.
And afterwards proceeds,"Thou art asfierce as is an Englishman,
The French still say, and proofe the same did teach:
Ttrne you the French into Castillian;
It hath a grace in such a loftie speach.
Your cause is good, and Englishmen you are:
Your foes be men, even as the Frenchmen were."
It consists of only five such stanzas, and in the last Whetstone
thus refers to his own want of good fortune: —




246           Bibtiograpliralt 2tcount of
"I say no more, but God be your good speede,
And send you hap, which I did never taste;
And if this booke you do witsafe to reade,
You cannot thinke your labour spent in waste,
Which doth containe the morall rules of those
That followed Mars in thickest preace of foes."
The only passage in the prose portion, at all of a modern complexion, has reference to excess in apparel, which, we are told,
often induced young people to become soldiers, forgetting the
hardships and perils they would have to endure. Whetstone admits, however, that he had never himself experienced the sufferings his pen depicts; and after passing allusions to the victories of
Edward III. and Henry V. he ends with the subsequent exhortation to the troops, then on their way to Flanders:  "And
therefore, you worthy Gentlemen, which are armed in Gods and
her Majesties service, for that your quarrell is grounded upon
compassion and justice, and polliticke judgement for the safetie of
your owne countrey, I hope (which thousands desire) you shall
returne attired with your enimies overthrowe."
WHETSTONE, GEORGE.-  A  Remembraunce of the wel
imployed life and godly end of George Gaskoigne
Esquire, who deceassed at Stalmford in Lincolne Shire,
the 7 of October 1577. The reporte of Geor. Whetstons, Gent. an eye witnes of his Godly and charitable end  in this world.  Formre  nulla  Fides. -  Imprinted at London, for Edward Aggas, dwelling in
Paules Churchyard, and are there to be solde.  4to.
B. L. 8 leaves.
Only a single copy of this brief and valuable piece of biography
is extant; but, as it has been twice reprinted in modern times,
last at Bristol in 1815, we are not about to give any quotations
from it, but merely to establish how very imperfectly the work of
reprinting was done, even by the editor in 1815, who pointed
out nine serious blunders committed by Chalmers five years




~Carl  Qngliel) ~iteratntre.              247
earlier.  We have gone over the whole piece, and are in a condition to show that the corrector of Chalmers, whoever he may
have been, either from carelessness or incompetence, himself committed quite as many and as gross errors as he had detected in
his predecessor.
Thus on p. 4, we have garbe misprinted for "garde ": on p. 5,
set free for " scot free": on p. 6, lungs for "tungs," i. e. tongues:
on p. 9, stinted for " flirted," and heard alone for "wounds alone":
on p. 11, many for "' manly," and loothsome for "toothsome": on
p. 15, fear for " force," while "for" is entirely omitted in one
place, and misprinted from in another: on p. 17, payre is put for
" payze," i. e. weigh; and on p. 19 the sense and measure are
destroyed by the omission of the preposition "'of." These are
only verbal defects; but the edition of 1815 also left out nearly
all the marginal notes, stating the services of Gascoigne in the
army, his imprisonment, and the unpublished productions he left
behind him. To these are to be added other marginal notes, in
which the dying poet is made to speak by name of his " Glasse
of Government," of his " Steele Glasse," of his"' Diet for Drunkards," and of his book on " Hunting." These had been printed.
Upon these matters Whetstone received information from Gascoigne himself; and therefore avoided such a strange blunder as he
was guilty of, ten years afterwards, when he attributed Spenser's
"Shepherd's Calendar" to Sir Philip Sidney.  (See "Life of
Spenser," 1862, Vol. I. p. xxxvii.") This blunder is the more
inexcusable, because in his address "to the Reader" Whetstone
severely called to acecount persons who had been guilty of error
"' for lacke of true instruction, and to the injurie that they did
unto so worthy a gentleman."  Whetstone's "injury," it is true,
was to Spenser, not to Sidney. (See also Poet.' Decam. 1820,
Vol. I. p. 64.)
WHETSTONE,  THE. -  The  Whettstone.   A   Pake  of
Knaves. 4to. 20 leaves.
This is a series of twenty copperplates of foreign execution,
probably Dutch or Flemish, without date, place, publisher's or




248          Bibliograpbiral  2arount of
engraver's name. The first plate forms the title-page, and represents a young man, dressed in the fashion of the time, throwing
a whetstone, while the words " The Whettstone " and "A Pake
of Knaves," are placed above and behind the figure.  "H urling
the Whetstone" was a phrase apparently equivalent to " throwing the hatchet "; and, with reference to it, on page 21 of our first
volume, a tract is noticed, with the title, "Four great Liars striving
who shall win the Silver Whetstone."  "Throwing the hatchet "
is derived from the tale of a man who was so incredibly skilful,
that he was able to throw a hatchet at a distant tree and sever it:
" hurling the whetstone " was an exaggeration of a similar kind,
in which another man asserted that, but for his " hurling the
whetstone," and sharpening the hatchet on its way, the achievement could never have been accomplished.  Underneath the
earliest engraving are the following lines:"The Whettstone is a knave that all men know,
Yet many on him doe much cost bestowe:
Hee's us'd almost in every shoppe, but whye?
An edge must needs be set on every lye."
Each plate is accompanied by four lines descriptive of, or
applicable to, the subject of it. The following is a list of the
engravings, accompanied by some of the best of the verses:"The Busye.
The Sleepelove.
The Fflye.
Sweetlipps.
The Damee."'Dammees a rouring knavve that weares good clothes,
If his credit serve: his prayer[s] are his oathes.
Hee's stout where sure he cannot be out brav'd,
And swears by God, but hardly will be sav'd."
" The Graceless.
The Sawce box.
Surley.
The nere be good.
The Overdoo."
"The double dilligent, or one that will
More then's comanded offer to fullfill,




(tart    Engltiot) fittratlre.                249
Is a right Overdoe: who'ld care for such'?
Tis better to doe little then to[o] much."
"Flatterall.
Noethrift.
Much-craft.
A Prater."
"The prating knavve, whether tis right or wrong,
Is one that spight of all will use his tongue.
Whose talking humour never will admitt
Of silence, though his life depends one it."
"Swillbottle.
The Nastye.
A Cokes."
"A Servant by his Master sent a broad,
Or with a message, or some usefull load,
And stayes to gaze on strangers differing clokes,
Sightes, parrets, novvelties, is a right Cokes."
"A mere Scullion.
All-hidd."
The peculiar spelling of some of the words in the inscriptions
shows that they were engraved by a person who did not understand English. The date of publication (if the plates were ever
published) was, perhaps, the early part of the reign of Charles I.
WHIP FOR AN APE. - A Whip for an Ape: or Martin
displaied.
Ordo Sacerdotumfatuo turbatur ab omni,
Labitur et passim Religionis honos.
4to. B. L. 4 leaves.
John Laneham, the famous actor, who was a leading member
of the Earl of Leicester's Players in 1574, and was, in all probability, nearly related to Robert Laneham, or Langham  (see
Vol. II. p. 227), seems to have been the author of the singular
and amusing tract before us; and although he does not place his
name on the title-page, nor subscribe the verses at the close, he




250            3ibliograplcal    lrccount of
mentions himself near the end as the writer of the rhymes before
us: -
"Leave Apes to doggs to baite, their skins to crowes,
And let old Lanam lashe him with his rimes."
He was an elderly man in 1592, and he had outlived Tarlton
four years, whose death is thus bv him commemorated: —
"Now Tarlton's dead, the Consort lackes a Vice,"
which of itself shows the connection, or rather identity, of the
Vice of the ancient moralities with the Clown of the then popular
drama. The whole piece may be said to establish that Laneham,
to a certain extent, had taken Tarlton's place as an extempore
rhymer.  To present Laneham as an author, whose work was
printed, is to give him a new character; for although we know
that his popular rival, Robert Wilson, left behind him at least
one comedy, and assisted in many others, it has not been supposed that Laneham was more than a comic performer. It now
appears that his celebrity in that department led the enemies of
the Puritans to avail themselves also of his literary services.  It
will be observed, however, that no printer nor stationer ventured
to put a name at the bottom of the title-page, and the first stanza
affords a curious proof that corresponding caution was sometimes
used upon the stage:"A Dizard late skipt out upon our stage,
But in a sacke, that no man might him see;
And though we knowe not yet the paltrie page,
Himselfe hath Martin made his name to bee:
A proper name, and for his feates most fit,
The only thing wherein he hath shewd wit."
Thus we learn the manner in which Martin Marprelate, in one
instance at least, had, as the Puritans often and loudly complained, been " brought upon the boards of a public theatre."
The subsequent stanza mentions two persons whom Nash had
maae famous in one or more of his prose satires:"Now out he runnes, with Cuckow, king of May;
Then in he leapes with a wild Morrice daunce;
Then strikes he up Dame Lawsens lustie lay,
Then comes Sir Jeffries ale tub, tapde by chaunce:




artn  nflglisl)  Iiteraturc.               251
Which makes me gesse (and I can shrewdly smell)
He loves both t' one and t' other passing well."
Here "lay" is misprinted, in the hastily published original,
lap, but the rhyme detects the blunder. Laneham's last stanza
is this: -
"And this I warne thee, Martin Monckies face;
Take heed of me: my rime doth charme thee bad.
I am a rimer of the Irish race,
And have already rimde thee staring mad:
But if thou ceasest not thy bald jests to spread,
Ile never leave till I have rimde thee dead."
The above, if it were wanted, would form an apposite note to
"As You Like It," Act III. se. 2, where Shakspeare speaks of the
fatal effects of rhymes upon Irish rats. Laneham is here clearly
referring to Irish rhymes, which may have been the origin of the
proverb. His penultimate unmusical line was, possibly, meant to
be characteristic.
WHIPPING  OF RUNAWAYS. -  Londoners  Entertainment
in the Countrie. Or the Whipping of Runnawayes.
Wherein is described Londons Miserie.  The  Countries Crueltie. And Mans Inhumanitie. - At London
Printed  by  H. L. for C. B.  1604.  4to.  B. L.  16
leaves.
A tract directed against those who ran away from the mortality
of the plague, which had been raging in London; 1 and after the
title-page we read the following heading of a page: —
"London to thy Citizens, especially to such right Honourable, right
Worshipfull, and others, as were thy true-borne, ministring comfort to
thee in time of visitation. Health, peace and plentie."
This is a brief and laudatory address to those who had remained in the afflicted capital to discharge their charitable
duties; but, with some inconsistency, in the commencement of
1 For another brief notice of this pamphlet see Vol. II., p. 274, under
LONDONERS.




252             3ibltioati grap;a 2tcount of
the body of his work, the writer cites " the Physicians advice,
Cito fugere, longe abesse, tarde redire," as the only safeguard from
infection. Of course, the malady is attributed to the vices of the
kingdom, in spite of the redeeming virtues of the new King.
The production is made up of verse and prose- the latter of the
ordinary kind and of the usual import, and the former very little
better. The following is called "an iElegie," but it is more
properly an Eclogue, by a shepherd 1" on the downs of Buckinghamshire," lamenting over his flock: —
"No wonder though I waile,
my sheepe are poore;
Yet sorrowes naught availe,
for all my store.
The Sommers prime is winter unto mee,
My flocks are gaunt: no wonder though they be.
"My joy and comfort dies,
drown'd up in woe:
My Lambes by my moist eies
my sorrowes know:
They scorne to live, since they my living feare,
And pine to see their masters pining cheere.
" Hust, silence! leave thy cave,
thy cave obscur'd,
And deigne my woes a grave,
woes long endur'd.
Though thou leave me, yet take my sorrows to thee,
Or leaving them, alas! thou doo'st undoe me.
" Silence, mov'd to pitty,
Sy. Wherefore undon?
Shep. Wayling for a City,
woeful London!
Whilst London smyl'd my flocks did feede them ful
Skipping for joy that London had their wull.
"Woe is mee! they die now,
cause they feede not:
Shepheard Swaynes must flie now,
cause they speede not:
Yet when I pipe and sing that London smileth,
My sheepe revive againe, and death beguileth.




(arltQ (fng3tio   Iitmrature.             253
1" Wherefore, silence, pittie
my Lambes mourning,
Joine in our sad dittie
till woes turning.
Sy. Mourne, Swaynes, mourne sheep, and silence wil weepe by you,
And as you weepe, for mercie, Shepheards, cry you."
This is poor stuff, and afterwards what is really an elegy, but
is miscalled " an ZEglogue," is no better, excepting that it is
shorter. The tract was a performance merely for the day; but,
as we never saw more than one copy of it, we have thought it
worth a brief notice.
WHIPPING  OF THE  SATIRE. —The  Whipping of the
Satyre. - Imprinted at London for John Flasket. 1601.
12mo. 48 leaves.
This production is directed principally against three celebrated
authors,- John Marston, Ben Jonson, and Nicholas Breton. A
long prose and prosing address, with which it opens, "To the
vayne-glorious, the Satyrist, Epigrammatist, and Humorist," is
subscribed W. J., and these letters also follow eight hexameter
and pentameter verses, "Ad Lectorem." It is possible that they
are the initials reversed of John Weever, who, as we have just
seen, on page 227, himself published a collection of Epigrams in
1599, but who might nevertheless subsequently have "changed
his copy," by attacking the species of' writing he had practised.
We know that this course was adopted by more than one dramatist. None of the three poets whom W. J. assails are mentioned
by name, but they are sufficiently indicated by pointed allusions,
and by the mention of their productions. Thus, on sign. D 2, we
meet with these lines: -
"But harke, I heare the Cynicke Satyre crie,
A man, a man, a Kingdome for a man!"
This exclamation is from Marston's " Scourge of Villany," 1598,
Sat. VII., where he parodies a well-known passage in Shakspeare's " Richard III." Again, in reference to the title of Marston's volume, W. J. says: —




254           Bibltiograpicralt Ircoant of
"He scourgeth villanies in young and old,
As boys scourge tops for sport on Lenten day."
The allusions to Ben Jonson and Nicholas Breton are rendered even more distinct by marginal notes, and are contained
in the division of W. J.'s work headed, " In Epigrammatistam et
Humoristam," where we meet with the following stanzas, a form
of writing that is observed throughout:"It seemes your brother Satyre, and ye twayne,
Plotted three wayes to put the Divell downe:
One should outrayle him by invective vaine:
One all to flout him like a countrey clowne;
And one in action on a stage out-face,
And play upon him to his great disgrace.
"You Humorist, if it be true I heare,
An action thus against the Divell brought,
Sending your humours to each Theater,
To serve the writ that ye had gotten out.
That Mad-cap yet superiour praise doth win,
Who, out of hope, even casts his cap at sin."
At the bottom of the page, with marks of reference, are two
notes "Against the booke of Humours," and " Pasquil's Mad-cap."
But for the assertion, that the "book of Humours" had been
represented at "each theatre," it might have been supposed that
the attack was levelled against Samuel Rowland's "Humor's
Ordinarie," a collection of satires and epigrams, (see RowLANDS, Vol. III. p. 346.)  "A book" was not, at this period, an
uncommon designation for a play. Five years after W. J. wrote,
Barnabe Rich in his "Faults, and Nothing but Faults," tells us,
"As for the humorous, they have beene alredie brought to the
stage, where they have plaide their partes, Everie man in his
humour."
"Pasquil's Mad-cap and his Message" is one of Nicholas
Breton's acknowledged productions, and it was printed in 1600.
(See Vol. I. p. 107.) This notice ought not to be concluded
without quoting the subsequent stanza, containing a very early
mention of Falstaff and John of Gaunt: -
"I dare here speake it, and my speach mayntayne,
That Sir John Falstaffe was not any way




(fart~  fnlgtiUI) litcrature.           255
More grosse in body then you are in brayne:
But whether should I (helpe me nowe, I pray)
For your grosse brayne you like J. Falstaffe graunt,
Or for small wit suppose you John of Gaunt."
The allusion no doubt is to Shakspeare's Falstaff; but probably
not to his John of' Gaunt, to whom "' small wit" can in no sense
properly apply.t Possibly, W. J. refers to the John of Gaunt of
an old play of "Richard II.," which preceded Shakspeare's, and
where the Duke of Lancaster might be represented as a man of
"small wit," or weak understanding.  (" See New Particulars
regarding the Works of Shakespeare," p. 68.)
"The Whipping of the Satyre " produced an anonymous reply
in the same year, called " The Whipper of the Satyre, his Pennance in a White Sheete," &c., which was followed by " No
Whipping nor Tripping, but a kind of Snipping," also printed
in 1601.
WHITE, T. - A Sermon Preached at Pawles Crosse on
Sunday the ninth of December, 1576, by T. W. -
Imprinted  at London  by Francis Coldock.   1578.
8vo. B. L. 49 leaves.
The particular day of publication in 1578, namely, "' February
10," is given in the colophon, but the Sermon of course relates
to the year 1576, when it was delivered at Paul's Cross. It is
curious in a dramatic point of view, because it contains the
earliest notice of regular theatres in London constructed for the
purpose of representing plays. " Looke," exclaims the vehement
author, " but uppon the common playes in London, and see the
multitude that flocketh to them, and followeth them: behold the
sumptuous Theatre houses, a continuall monument of London's
prodigalitie -and folly. But I understand they are now forbidden
bycause of the plague: I like the pollicye well, if it holde still, for a
1 Perhaps the writer, when he speaks of the " small wit" of John of
Gaunt, had in his mind what Richard II. (Act. II. sc. 1) says of him, when
he calls Gaunt " lean-witted."




256           J3ibtiograpical    2catount of
disease if but bodged, or patched up, that is not cured in the
cause; and the cause of plagues is sinne, if you looke to it well:
and the cause of sinne are playes: therefore the cause of plagues
are playes." In the same strain he inveighs against," the horrible
enormities and swelling sins are set out by those stages," and
loudly calls upon the authorities to put them down. White's
arguments happily did not prevail.
The whole sermon affords an amusing, but probably not a very
faithful picture of the manners of London at that date, and
especially of the mode in which Sunday was spent by all ranks,
It is to be borne in mind that the " sumptuous Theatre houses,"
built for the performance of plays, were then open on the
Sabbath day; and in 1575-76 the Theatre and Curtain had been
erected in Shoreditch, and about the same date a third " playhouse " was constructed in Blackfriars.
Of Sunday amusements generally, the preacher says: " Assuredly we come nothing neere the Jewes in this pointe; for on our
Sabbothes all manner of games and playes, bankittings and surfettings are very rife. If any manne haue any businesse in the
world, Sonday is counted an idle day.... Every man followeth
his owne fansie. And the wealthiest Citizens haue houses for the
nonce: they that have none make shift with Alehouses, Tavernes
and Inns, some rowying on the water, some roving in the field,
some idle at home, some worse occupied. Thus what you gette
evelly all the weeke is worst spent on the Sabboth day."
In Vol. III. p. 213, we have given a succinct list of the various
productions between 1577 and 1587, for and against theatres and
dramatic performances. Perhaps we ought to have commenced
with the sermon before us, delivered in 1576, although not printed
until 1578; but its general object was different, and it only touches
upon the construction and employment of playhouses incidentally.
It is, however, as we have said, curious as being the earliest known
mention in our language of public theatres, erected in or near
London for the purpose of dramatic representation.




(Earl1  (Engli81) iiterature.               257
WHITE,  TRISTRAM.-  The Martyrdome of Saint George
of Cappadocia: Titular Patron of England, and of
the most Noble Order of the Garter.- Printed at
London for William  Barley, dwelling in Bishopsgatestreete. 1614. 4to. 16 leaves.
Nobody has given the name of the author of this curious tract,
although it stands at the end of one of the two dedications. The
first is by the publisher to " his worshipfull good friend Mr. George
Shilliton, Justice of Peace," &c., and the last by Tristram White,
" to all the noble honourable and worthy in Great Brittaine, bearing the name of George." White merits notice, if only because he
has the good sense and good taste to quote Spenser (the earliest
illustration ever drawn from our great romantic poet) in reference
to St. George and his history. He does not give Spenser's name,
but speaks of him as the author of "the Faerie Queene," and
cites Lib. I. Cant. 10, st. 60, but it is really stanza 66 of that
Canto.
"Thence she thee brought into this Faery lond," &c.
He adduces four other lines on the supposed birth of St. George
in England, and adds in his margin: "In S. George's English
birth the Poet followes the vulgar errour, of purpose to fit his
fabulous morall argument the rather."  White's position, of course,
is that St. George was really born in Cappadocia. Near his commencement he thus describes his hero:- 
"Saint George was all which Knight-hood can require:
His noble birth he much more noble made
By worthy deedes; the riches which he had
(And store he had) were but his vertues folles.
Christ had the honour of his gotten spoyles.
Youth, Beautie, Grace in Court, Health, Vigor, Fame,
Or what else this fraile elemented frame
Of humane nature may support, he had;
And Cwhich is more then mortall power can adde)
A spirit, Maister of his earthly parts,
Blest with high vertues, deckt with goodly Arts."
No particular fault can be found with this passage; but, we
apprehend, that it is the best in the whole poem, which is desulvOL. IV.             17




258           Jibtiograpljialt 2trcomnt of
tory, and gives us no new information about St. George, not even
regarding his victory over the dragon. White thus speaks of St.
George's Chapel, Windsor, founded by Edward III.: —
- " that brave Chappell which doth lift the head
With pinacles and turrets garnished,
Above the wals of that triumphant seat
Whose rockie foote Thames overflowne doth beate,
By that victorious Monarch reared was
To George's name, that none in sight can passe
Of Windsors Towers (our England's best-built pride)
To whom this honor is not testifide."
Most of White's effusion is weak and unimpressive, and when
he now and then breaks out with more fire and energy, he cannot
sustain his flight, and drops down into the feeble and the familiar.
Thus after such lines as the following," Come you that languish in obscure retreats,
Whose bloud by fits true love of glory heates,
Shake off weake thoughts, and in this glasse behold,
What ods betweene the rash and rightly bolde;"
we might expect that he would continue at the same elevation;
but what immediately succeeds is tame and; prosaic.
In truth the most interesting portion of the work, with reference to the progress of our language, comes at the end. The
main subject not entirely filling the last sheet, the author added a
page of what he calls " Sapphicks" in English, and another page
which he heads, " A soveraigne sure Remedie against the Seaven
chiefe Sinnes." The last consists of fourteen lines, not worth extraction, but more in the form of an Italian sonnet than was usual
with our poets of that day. The Sapphics we take to be rather
a novel experiment, but it is not a happy one, and the measure
is not sapphic, or anything like it, excepting by giving weight
to syllables, which they were never meant to sustain. It thus
opens: -
"0  my deare-bought soule! to thy God Creator
No rebell be thou; for alas too feeble
Is thy fraile temper set against his wils force:,
Thunder obeyes him."
This reads like mere prose, unless we give unwarrantable em



Qtart  (fngltislj fittratnre.            259
phasis to the word " wils" in the third line, and the two preced(ing
lines are a hobbling sort of measure. - The same remark will apply
to the conclusion, and especially to the pronoun "him" in the
third line:" O my deare-bought soule! to thy God Redeemer
Simply be subject, for alas without him
Devels nothing hopefull: then O Soule! to him still
Simply be subject."
The above might be meritorious as a first attempt of the kind,
but it is anything but satisfactory, even to a moderately correct
ear. The title-page contains, in a circle, an extremely good woodcut of St. George's great achievement, of which, singularly enough,
White says little or nothing.
WILKINS, GEORGE. - The Painfull Adventures of Pericles Prince of Tyre.  Being the true History of the
Play of Pericles, as it was lately presented by the
worthy and ancient Poet John Gower.-At London
Printed by T. P. for Nat. Butter, 1608. 4to. B. L.
We were the first, about thirty years ago, to direct attention to
this volume, as a peculiar and especial literary curiosity. In fact,
it is the only known early relic of the kind in our language. It is
a novel constructed out of a play, and that play by Shakspeare.
We have various novels upon which dramas were founded, but
this is the single specimen of a narrative founded upon a drama.
But two copies of it are in existence,- the one, unfortunately
imperfect, in the British Museum; the other quite complete, and
preserved in the Public Library of Zurich.' It was reprinted at
Oldenburg, under the care of Professor Mommsen, in 1857, and
so many copies of that reprint have been circulated in England
that it is unnecessary for us here to dwell upon it. Our principal reason for noticing it at all is to supply from the Zurich copy
what is wanting in our English one, namely, the dedication of it
to a private individual. We transcribe it exactly, not from a




260            Bibliograpbljat 2lccount of
manuscript, but from a photograph of the original, so that mistake
is impossible. It is of the more value because it ascertains, what
was not before known, the name of the author, George Wilkins,
regarding whom we have already said nearly all that is necessary.
(See Vol. I. p. 248.) His dedication of " The Painfull Adventures of Pericles" runs precisely as follows:1 —
" To the Right Worshipfull and most woorthy Gentleman Maister Henry
Fermor, one of his Maiesties Iustices of Peace for the Countie of Middlesex, health and eternall happinesse.
" Right woorthy Sir, Opinion, that in these daies wil make wise men
fooles, and the most fooles (with a little helpe of their owne arrogancie)
seeme wise, hath made me euer feare to throw my selfe vpon the racke of
Censure, the which euerie man in this latter Age doth, who is so ouer
hardie to put his witte in print. I see Sir, that a good coate with rich
trappings gets a gay Asse entraunce in at a great Gate (and within a may
stalke freely) when a ragged philosopher with more witte shall be shutte
foorth of doores: notwithstanding this I know Sir, that Vertue wants no
bases to vpholde her, but her owne kinne. In which certaine assuraunce,
and knowing that your woorthie Selfe are of that neere alliaunce to the
noble house of Goodnesse, that you growe out of one stalke, A poore infant of my braine comes naked vnto you, without other clothing than my
lone, and craues your hospitalitie. If you take this to refuge, her father
dooth promise, that with more labored houres he can inheighten your
Name and Memorie, and therein shall appeere he will not die ingratefull.
Yet thus much hee dares say, in the behalfe of this, somewhat it containeth that may inuite the choicest eie to reade, nothing heere is sure
may breede displeasure to anie. So leaning your spare houres to the recreation thereof, and my boldnesse now submitting it selfe to your censure, not willing to make a great waie to a little house, I rest
"Most desirous to be held all yours,
"GEORGE WILKINS."
The above reads, in one place, as if it had been the writer's
first work, - as if he had not before " thrown himself upon the
rack of censure," — but we are sure that if he had not written
the play called " The Miseries of Inforst Marriage," (which we
impute to the elder George Wilkins, who died in 1603,) nor the
tract of the " Three Miseries of Barbary," which came out, with1 The copy in the British Museum is deficient of the dedication, and so
far imperfect; we are, therefore, the more glad to be able to furnish it
from a photograph of the original, kindly forwarded to us by Professor
Tycho Mommsen.




farmt  (fngltis    Zitcrature.            261
out date, early in the reign of James I., yet that he must have
aided Thomas Dekker in the tract entitled " Jests to make you
Merry," which was published in 1607. (Vol. I. p. 247.) An author's averments of insufficiency are to be received with caution,
because he is always anxious to make out the best case he can for
the considerate judgment of his readers.
It will be observed that Wilkins makes no avowal of the source
of the incidents he narrates, leaving that point to the statement'
on his title-page, namely, that his tract contained " the true history of the Play of Pericles," which had been " lately presented "
at the Globe Theatre, by "the worthy and ancient Poet John
Gower," who, we all know, had been "the presenter" of Shakspeare's drama. The resemblances between the two, and how far
the narrative by Wilkins, obtained from recitation on the stage,
supplies deficiencies in the printed play, as it has come down to
us, are illustrated in the prefaces to, as well as in the body of the
reprint which has reached us from Germany, where such genuine
interest is felt in anything and everything that relates to Shakspeare and his productions. There is much in the novel that does
not appear in the play, and we will dwell upon this point only
for the purpose of making a single quotation. Act III. sc. 1, as it
has come down to us, is occupied chiefly by the birth of Marina
during a fearful storm, and Pericles, taking the infant in his arms,
exclaims: -
"For thou'rt the rudeliest welcome to this world
That e'er was princes child. Happy what follows!
Thou hast as chiding a nativity,
As fire, air, water, earth and heaven can make."
In the prose of Wilkins (founded upon the drama as it was
acted in the very year when the tract bears date) the passage
commences with an apostrophe to the babe, which is in the true
manner of Shakspeare, but which has no place in the printed
copy of " Pericles ":"Poor inch of nature!... thou art as rudely welcome to the
world as-ever princes babe was, and hast as chiding a nativity as fire, air
earth and water can afford thee."
Here, excepting the words " Poor inch of nature!" all is in the




262          3ibtiograpJiral t 2tcount of
printed play; and we may be very confident that that expression
was omitted by the printer, because in his prosaic understanding
he could not perceive why upon the stage a baby should have been
called a " poor inch of nature ": he had never in his life heard of
a living child that was only an inch long; but Wilkins, as a poet,
was sensible of the beauty of the figure, and therefore inserted it.
This treatment of the subject may afford some sort of clew to the
manner in which our great poet's other dramas suffered in the
press. We take it for granted that Wilkins took notes at the
theatre, and afterwards transcribed them in the form of a narrative for sale, before any copy of the drama could be procured.
" Pericles" may have been printed, as indeed it was, in 1609, (the
year following the appearance of Wilkins's tract,) for the purpose
of superseding less authentic representations of the conduct of the
story.
WILKINS, GEORGE. - Three Miseries of Barbary: Plague,
Famine, Civill Warre.  With a relation of the death
of Mahamet the late Emperour: and a briefe report
of the now present Wars betweene the three Brothers.
- Printed by W. J. for Henry Gosson, and are to be
sold in Paternoster rowe at the signe of the Sunne.
4to.  B. L.  15 leaves.
The dedication of this tract is " To the Right Worshhipfull the
whole Company of the Barbary Merchants," and it is signed Geo.
Wilkins. It contains no information.
It has no date, but from internal evidence it must have been
printed during the Plague in London of 1602-3.
WILLET, ANDREW.-  Sacrorum  Emblematum  Centuria
una, quee tamn ad exemplum  apte expressa sunt, et ad
aspectum  pulchre depingi possunt, quam  qure aut k
veteribus accepta, aut inventa ab aliis hactenus extant.




darlt!  Qf ngl~A fiterature.                263
In tres classes  distributa, quarum   prima  emblemata
Typica, sive Allegorica: Altera historica, sive re gesta:
Tertia Physica a rerum  natura sumpta continet.  Omnia a purissimis Scripturae fontibus derivata, et Anglolatinis versibus reddita. Ezechielis cap. iiij. vers. j. ij. -
Ex officina Johannis Legate florentissimae Academiae
Cantabrigiensis Typographi. 4to. 32 leaves.
This work has been often mentioned, but never criticised, nor
any specimens of the author's English versification afforded. There
is no date on the title-page, nor at the end, and the nearest point
at which we can arrive is, that it was published between 1590,
when Sir Francis Walsingham died, and 1598, when Francis
Meres, in his Palladis Tamia, published in the latter year, speaks
of Willet, with Whitney and Combe, as distinguished English
Emblematists (fo. 285 b.).  Elsewhere (fo. 280) Meres introduces him  (misprinting his name Willey) as having "attained
good report and honorable advancement in the Latin empire."
Besides other poems on Sir Francis Walsingham, Willet, in the
work in our hands, has a Dialogue between two sisters, the Church
and the Country, (Ecclesiam  et Rempublicam,) on the death of
that statesman. It opens thus: —
" Respub. Quid tam mcesta sedes soror atro cincta colore, cc."
We quote a small portion of the English  translation appended: —
"Country. My sister, why beest thou so sad
With mourning weede in black thus clad?
Church. The same cause we have both to mourne:
Mine eyes drop teares, thy garments torne.
Country. Then let us both in mourning strive.
Our friend is gone, and yet alive.
Church. Alive to God, yet sorrowe make,
As bankes and mountaines we may shake.
Country. Nay, that the heavens may give a sound
My mournfull voyce shall move the ground.
Church. From fountaine mine the teares that fall
With water shall fill every dale.
Country. Yet mourne I more as widowe left,
As childe by parent deere bereft.




264            iBibiograpirkal   Itrconnt of
Church. As mother I whose sonne is gone,
Or fatherlesse childe so left alone.
Country. Ah, woe is me! to death he's thrall,
Who husband, keeper was and all."
And so they proceed, one after the other, to mourn their common loss; but Willet's Latin verse, as may be imagined, is much
superior to his English, or he would hardly have acquired reputation as a classical writer.  "The Conclusion," as it is called, is
this:
"t Y' have wept ynough, ye seeme to me
Both overcome, or neither to be.
I can not say who hath lost more,
The dolefull Church, or cuntrey poore.
But cease your teares; and now rejoyce
Of heavenly myrth he hath made choice."
Willet has several poems addressed to other individualsi- to
the Earls of Bedford and Rutland; to Dr. Bell, Dean of Ely;
to Dr. Whitaker; to the Bishops of London and Lincoln; to Sir
John Cutts; to his brother R. Willet, &c. We will extract seven
couplets by Andrew Willet upon his father, headed Senis Descriptio.  M. T. W. charissime patri seni: -
" Of olde mens state what may be thought
By figure present we are taught:
As Sunne is hid, and day is gone,
So pleasure now remaineth none.
The hand that kept the house doeth fayle;
The strong men bowe them selves and vayle:
The teeth the grist doe cease to grinde:
The watchman in the tower is blinde.
The bird which chirps doth him awake:
The harpe doth now no musicke make.
At cisterne as when wheele is broke,
So olde men in no worke beare stroke.
In blacke his neighbours present be,
His corps to grave to accompany."
We quote the Latin of which the above purports to be a translation, as a specimen of Latinity, but without any real originality
of thought or expression: -
" Qualis decrepiti senis sit 2etas
Prxesens haec loquitur figura nobis.




(art[  ~fnagi6l4  Diteratntre.              265
Umbra sol tsegitur, dies fugatur,
Sic nusquam superest seni voluptas.
Custos aedis et imbecilla dextra est,
Curvans robore se pedes valentes.
Cessat mandere pabulum molens dens:
Ca3cus prospiciens fit d fenestris
Si cantillat avis, senex quietem
Amittit, cytharae silens canorve:
Cisterne rota frangitur rotunda,
Sic ad munus is imparatus omne est;
Tandem in limine vaste stant atrati
Vicini, et tumulo inditur cadaver."
Willet deals in various forms of Latin and English verse, but
he utterly fails in his attempts to assimilate the English to the
Latin measures.  We ought not to omit to mention that the whole
collection is dedicated in four pages of Latin prose to the Earl of
Essex.  Willet was Rector of Barley, Herts, and after his death
in 1621 his son-in-law published a character of him which may
be seen extracted in Censura Literaria, IV. 287.
WILLET, ROWLAND. -Merry  Jests  concerning  Popes,
Monkes, and  Friers.  Whereby  is discovered  their
abuses and Errors &c. Written first in Italian by N.
S. and thence translated into French by G. I. and
now out of French into English by R. W. Bac. of Arts
of H. H. in Oxon.   Omme tulit puncturz  qui miscuit
utile dulci. — Printed by G. Eld. 1617. 8vo. B. L.
68 leaves.
The title-page sufficiently explains the character and object of
this book of jests and tales against the Roman Catholic clergy.
The prose address to the reader is subscribed Rowland Willet,
and it is followed by six lines to him, with three copies of commendatory verses, two of them  by W. R. and H. I., and the
third without initials.  Some lines " to the Papist Reader" have
J. H. at the end of them, and R. W. closes an address from " the
Translator to the Reader."




266           Bibtiograpirtal   2crront of
It is not necessary to transcribe any of the often coarse and
not always humorous stories, of which the body of the book consists. They are all in prose, and are ended by the subsequent
"Epigramme Englished," as it is headed:"A curate old within the towne of Bresse
Did on a time to Masse himself addresse:
He was an honest man, esteemd of all,
And yet a great mishap did him befall;
For's sight being bad, and also being in hast,
I' th' Alter cloths he wrapt his God of paste:
So, when he minded was on him to feed,
He could not find him out to serve his need;
Wherfore he turnd and gropt and lookt and cried,
Ho, ho! thou divell, where dost thou now abide?"
It seems likely that this work in 1617 was a reprint of some
earlier edition, but we are not aware of the existence of any such,
nor indeed of a second copy, excepting, as mentioned on page
237, in the library of Worcester College. The exemplar we have
used has been well thumbed and worn, but no part of it is wanting.
WILLIAMSON, THOMAS. - The Sword of the spirit to
smite in peeces that Antichristian Goliah, who daily
defieth the Lords people the host of Israel. Drawen
forth by Tho. Williamson, Gentleman. 2 Cor. 10. 4.
5.- London Printed by Edw. Griffin 1613. 8vo. 72
leaves.
This is a rare book, though not intrinsically valuable or interesting. The author was a zealous Protestant, and held some
office, not specified, under the Lord Mayor and Corporation of
London. Although he was 70 when he wrote, having been born
as he states in 1543, it was his first, and probably his last work.
It has eleven not ill-executed woodcuts, the first representing
Williamson in his study at a table with an hour-glass, death's
head, standish, and book upon it; behind is a long shelf containing many books arranged in sizes. We apprehend that the work




fart!  Ongl,0  fiterature.                 267
was never published (no bookseller's name is on the title-page),
but printed by Edw. Griffin for the author, who most likely presented it to his friends and patrons, the dignitaries of the city.
Most of the other woodcuts are emblematical, like that where the
Bible in a scale weighs down all popish trumpery; but one or
two others deserve especial notice, such as that on page 79, where
King James is trampling the Pope under foot. The most curious
is the view of a printing-office, with press, pressmen, and a compositor, at work exactly as in our day, with a case of letter before
him. Under it are these verses:
"Loe! here the forme and figure of a presse,
Most livelily objected to thine eye;
The worth whereof no tongue can well expresse,
So much it doth, and workes so readily:
For which let's give unto the Lord all praise,
That thus hath bless'd us in these latter daies."
The author maintains, not quite so newly as truly, that the discovery of the art of printing (the date of which he fixes in 1458)
was a great engine in forwarding the Reformation. The body of
the work is divided into ten "tractates," all of a very similar
character, and headed "The Religion of Rome idolatrous" —
"The life of Rome detestable," &c. Many pieces of translated
verse, not badly rendered, are dispersed through the volume;
and if we are to believe Williamson, the famous Dr. John Reynolds, who wrote and printed his Romance Ecclesice Idolatria in
1596, was also author of an English poem on the same theme,
from which the writer before us quotes the following lines: -
" A place of haunt for hellish sprites
Is Babylon, saith John:
Art thou desirous to bee sav'd,
From Babylon bee gone.
The names and trickes of Babylon
Rome on itselfe doth take;
Then, if yee seeke eternall life,
See that yee Rome forsake.
This hath the noble Germans done,
Bidding the Pope adue:
England hath follow'd Germany,
Romes thraldome to eschew.




268           ~ibliob rapjl)cat  Lccount of
Behold! the Lord hath called on
The Flemish, French and Dane;
And Scotland hath escaped eke
The papall deadly bane.
O! that the remnant of the world
By faith to Christ were knit,
And princes to the Prince of all
Their scepters would submit."
When Williamson translates, he almost invariably quotes the
Latin, as in the case of Thomas Drant on page 118, a well-known
English poet; but both above and elsewhere, when he cites Reynolds's English lines, he only put the name (without any mention
of the work) in the margin. Of Williamson's prose we will only
extract a brief specimen, where, in his usual style and spirit, he
refers to a play acted by the Jesuits at Lyons. We quote it for the
information it supplies, the author placing this reference opposite:
"Lomed. Jesuit. Art. 3 and 4, Novemb. Ann. 1607," so that the
incident was of sufficiently recent occurrence.  "The cursed
Jesuites," he exclaims, " or rather Jebusites, make vauntes and
boasts of their wicked and hellish trecherie: they have already
acted publikely, in their comedy at Lyons in Fraunce, the condemnation of our Sovereigne King, and other christian princes
professing the gospel, (my hart trembleth to rehearse the manner
thereof) and the exaltation of their Jesuiticall traytors to the
highest heaven."  He concludes his little work by a long list of
authors whom he cites, and the dates when they flourished, followed by twelve Latin hexameters and, pentameters subscribed
T. W. Among his authors are John Bradford the martyr, John
Fox the historian of the martyrs, Richard Hackluit, (whom he
styles armiger histor. and places in 1574,) Raphael Holinshed,
Isaac Casaubon, and Matthew Sutcliffe.
WILSON, GEORGE. -  The Commendation of Cockes, and
Cock-fighting. Wherein is shewed, that Cock-fighting
was before the coming of Christ. — London, Printed
for Henrie Tomes &c.  1607.  B. L.  4to.  15 leaves.




farti   &nglizl) fittrature.            269
We gather from what the author, George Wilson, says of himself, that he was a celebrated Cock-fighter, and he dedicates his
6" Commendation " to Sir Henry Bedingfield, " both in regard of
the good will you beare to Cocke-fighting (wherein I know you
take exceeding great delight), and also to manifest my love and
dutie unto your worship."  He dates an address "to the Reader
whosoever," from Wretton in Norfolk, and divides his work into
six chapters, but without much method. He enters in some
detail into the antiquity of this amusement, among other authorities quoting Drayton's Heroical Epistles; and he particularly
mentions the building of a Cockpit at Whitehall by Henry VIII.,
which was subsequently used as a theatre for court-plays. A
cockpit in Drury Lane, early in the reign of James I. was converted into a play-house, and at that date cock-fighting appears
to have declined. Wilson's object was, in part, to revive the
taste for it. In his last chapter, after relating the exploits of
various cocks of the game, he speaks of one called Tarlton,
"' who was so entituled, because he alwayes came to the fight
like a drummer, making a thundering noise with his wings."
This passage alludes to Tarlton the celebrated actor, who, as we
have seen, generally appeared on the stage with a drum or tabor.
Wilson's tract was several times reprinted.
WILSON, THOMAS. -The Arte of Rhetorique, for the
use of all suche as are studious of Eloquence, sette
forth in English  by Thomas Wilson.  Anno Domini
H.D. LIII. Mense Januarij. 4to. B. L. 130 leaves.
This is the first edition of Wilson's " Rhetoric," but two years
earlier the same distinguished scholar, who was at one time Secretary to Queen Elizabeth, had put forth his "Arte of Logicke."
Both of then, were works of considerable importance, but the
" Logic" is especially noticeable, because, as pointed out nearly
forty years ago (Hist. Engl. Dram. Poetry, II. 445), it enables us
to ascertain that Nicholas Udall's "' Ralph Roister Doister" is the
oldest original comedy in our language, taking precedence, by




270           ]1ibtiograp'Icat  2trolnnt of
several years, of Bishop  Still's "Gammer Gurton's Needle."1
See also D. O. P. 1825, Vol. II. p. 3.
Wilson's "Rhetoric," though it contains no such novel and
valuable fact, is a work of great literary interest, including
nearly all the information that, at that early date, could be introduced in illustration of the subject. The author wrote it at the
instance of John Dudley, Earl of Warwick, to whom he dedicates
it, and it is ushered by Latin verses by Walter Haddon, " the best
Latin-man" in England, Nicholas Udall, Robert Hillermius, and
Wilson himself. The Rev. H. J. Todd considered the " Rhetoric "
"the first system of regular criticism in our language," but of
course it has been little read during the last two centuries.' To
illustrate the success with which Wilson intermixes mere fun and
humor with graver and more instructive matter, we may quote
what he says under the head of the advantage to be gained sometimes by the " alteryng parte of a worde," which contains also a
new and clever anecdote of Henry the VIIIth's jester, William
Sommer) or Sommers, not then dead: —' Alteryng part of a word is when we take a letter or sillable from some
word, or els adde a letter or sillable to a worde, as thus. William Somer,
seying m lche a do for accomptes makyng, and that the Kynges Majestie
of most worthie memorie, Henry theight, wanted mony suche as was due
vnto hym, And please your grace (quoth he) you have so many frauditors,
so many conveiers, and so many deceivers to get up your money, that
they get al to themselves. Whether he said true or no, let God judge
that: it was unhappely spoken of a foole, and I thinke he had some
Scholemaister: he should have saied Auditours, Surveyours and Receavours."
When Wilson wrote this, Will Sommer or Sommers was still
alive, as is proved by the following entry, which we found in the
Register of St. Leonard, Shoreditch, a parish then and afterwards much inhabited by persons of his class and character: —
" 1560. Willm. Somers was buried the xv day of June."
It is a great m erit in the work before us, that the author so
often assists his argument by reference to familiar subjects, and to
1 It is not to be conclusively taken that Still was the author of " Gammer Gurton's Needle," although there is good reason to believe it. We
have already seen, that it had been imputed to Dr. Bridges.




~arth  (lfgliil) Citrrature.             T7
events and persons of his time: thus we meet with several nodsiv
of Sir Thomas More, Bishop Latimer, John Heywood, &c., to say
nothing of Robin Hood and Garagantua. On folio 103 b, he
speaks of Minstrels, not only as musicians and singers, but as reciters, " talkyng matters altogether in rime." At the end is an
alphabetical "Table" of contents, as we apprehend, one of the
earliest of the kind.
WINTER, THOMAS. - The Second Day of the First Weeke
of the most excellent, learned, and divine Poet, William, Lord Bartas. Done out of French into English
Heroicall verse by Thomas Winter, Maister of Artes
&c. - London, Printed for James Shaw. 1603. 4to.
24 leaves.
At the back of this title is an address by the author'" to his
Translation," in two six-line stanzas, followed by a dedication to
Sir Walter Raleigh: we have then Latin hexameters by Jo. Sandford, and by Ed. Lapworth, and English verses by Douglas Castillion and John Davies of Hereford, in praise of the auwhor and
of his performance. The latter gives Winter great credit for the
literalness of his version, which commences after two pages of
Argument.
Attention had been especially directed to Du Bartas by the admiration expressed of him by King James, who in 1591 printed a
translation of " The Furies," and who in his Baatltcov Ac\pov, 1599,
recommended him to his son Henry, as " most worthy to be read
by any Prince." It seems that Prince Henry had encouraged
Winter to proceed with his version, and, accordingly, in the next
year, 1604, he produced " The Third Dayes Creation, and done
verse for verse out of the Originall," with a dedication to the
Prince of Wales. This was introduced by commendatory poems
in French and Latin, by John Sandfobrd, John Dunster, Thomas
Mason, Nathaniel Tomkins, and Henry Ashwood.  At the close
are sonnets by Winter to Sir Thomas Chaloner, Sir George Somers, Sir Thomas Lucy, the younger, and Dr. James. Sylvester
printed his version of the whole in 1605.




272          bihbliograplratl  Lconunt of
WIT. - Bought Wit is best.  Or Tom  Longs Journey to
London to buy Wit.
Many men learn after-wit
By errors which they doe commit.
- London Printed by E. A. for Francis Smith, and are
to be sold at his Shop on Snow-hill, over against the
Sarazens head. 1634. B. L. 12 leaves.
Tom Long continued a sort of hero in popular literature for
nearly two centuries.  We first obtain information regarding
him from a ballad entitled " Tom Long the Caryer," entered on
the books of the Stationers' Company in the year 1561-62; and
so profitable was it, that having been first licensed to William
Shepparde, his right was very soon afterwards invaded by Thomas
Hackett, who printed it in his own name, and was fined 2s. 6d. for
so doing. The next we hear of Tom Long is in 1608, when was
published " The merry Conceits of Tom Long," which show that
he was "the Carrier of Gotham," and that he went through a
series of adventures very consistent with the grotesque folly imputed to the " wise men " of that famous town. He was afterwards celebrated by Taylor the Water-poet as " Tom Long the
Carrier," in one of his pleasant productions of 1630; and in 1634
came out the little performance, in prose and verse, in our hands.
When " Tom Long's Lessons" first appeared we do not know,
but it was a favorite chap-book, and copies of it exist as late as
1750. Thus we are able, in a manner, to trace his history fiom
1561 to the middle of the eighteenth century.
In the tract before us, of 1634, Tom Long is sent to London
by the corporation of Gotham to purchase wit for them, under the
promise that if he bring back " a whole horse-load" of that commodity, they will elect him Alderman. The address "to the
Reader, gentle or ungentle," is subscribed W. S., which letters,
we'may speculate, were meant for Wentworth Smith, a dramatist
whose initials have sometimes been mistaken for those of Shakspeare. However, W. S. does not profess to speak for himself, but
for a friend who has just commenced authorship. Ile says:



farlt    engtis    Kiterature.             273
"Encourage his beginning, and he will
Entreate his friend to climbe the Muses hill,
Who, having tasted of their Spring, shall write
Some fresh conceits to yeeld you free delight.
In the meane time, you wisely may learne here
What some with sad repentance buy too deare,
Since'tis an ancient truth, which is confest
By every one, that Bought Wit is the best."
The above is followed by sixteen other lines, enumerating many
things that are to be bought in London, among them this book,
which furnishes wit and merriment at a very cheap rate.
The body of the work informs us that when Tom Long arrived
in London from Gotham in the spring, he put up at an inn, and
then sallied forth "to seeke for his penniworths" of wit, which
he had been commissioned to buy. He soon meets with one Musario, apparently a disappointed poet, "walking with crossed
armes, his hat puld over his eyes, as if he scorned to looke upon
the vanitie of the world." Tom inquires of him where wit is to
be bought, and is answered that it can only be had second-hand,
through woeful experience. Tom is delighted with his new acquaintance, and takes him to his inn, where Musario describes a
number of persons and classes who have paid very dearly for their
wit. Among them are " drunken Barnaby " (from whom Brathwaite may have taken the name of his hero,) Phantastes, Mr.
Young-age, Mistress Light-heels, Master Wilfull, Master Wildoats and many more. The last is thus described: —
"After this comes Master Wild-oates, and hee lookes as though he
scorned to learne; but yet at last out of Taverne reckonings, Taylors
bills, Mercers bookes, false dice, horse-races and Taffety petticoates, he
begins to learne these two letters B. O.; and that 0 bringes him to woe,
and that woe brings him to have wit, when all is done."
There are several scraps of verse as we proceed through the
different characters who are the purchasers of costly wit, and near
the end we bave in rhyme the description of the " School of Repentance" and its scholars. It opens:"Repentance keepes a Schoole where men do learne
To know their faults, when they, at last, discerne;
And though abroad like Trewants they doe runne,
Yet, at the length, unto this Schoole they come;
vOL. IV.           18




274           JDibiograpltjiat  Ltcount of
Where many formes and severall places bee
To fit all sorts, of high and low degree:
And here they are some rules of wisedome taught,
And to the knowledge of themselves are brought."
The verses occupy several pages, and are presented to Tom
Long by Musario. The former promises to make due return, if
the latter happen to come to Gotham; but we are told, quite at
the end, that Tom Long remained in London until he had procured the account of his Journey to be printed, for the information of others who might wish to purchase Wit. The tract contains much various amusement, and some local information.
WITHER, GEORGE. -Abuses stript and whipt.  Or Satirical Essayes. By George Wyther. Divided into two
Bookes, &c.
Despise not this what ere I seeme in showe,
A foole to purpose speaks sometime you know.
— At London, Printed by G. Eld for Francis Burton
&c. 1613. 8vo. 160 leaves.
There are at least two editions of these celebrated Satires, &c.
dated 1613. This is the first, and, although the text is substantially the same in both, they differ in several particulars. In the
first edition (besides literal variations) " The Scourge " and" Epigrams" are not mentioned on the title-page; and after "The
Contents " is inserted a long list of Errata, which are corrected
in the second impression. The separate satires are also called
" Chapters" in the first edition, and differently numbered, as
"' The Occasion," "An Introduction," and a poem " Of Man,"
are included. It has been said (British Bibliogr. I. 180,) that
there was an impression in 1611; and, although no copy of that
date has been discovered, circumstances, which it is not necessary
to detail, seem to render it probable. The work was again published in 1614, 1615, 1617, 1622, 1626, and 1633, and no one of
those reimpressions was exactly like any other that preceded it.




Cardt   (Fhngfizj fZittrature.          275
The copy of 1617 has an additional poem, with a woodcut of a
Satire prefixed to " the Scourge."
George Wither was born in 1590, so that in 1613 he was in his
twenty-third year. He died in 1667, the latest of his many productions having been printed in the year preceding. Whenever
he had not the sword in his hand he wielded the pen, and sometimes used both at once. He was a much better poet at the commencement than at the conclusion of his career, and had he ceased
to write after he published his "' Shepherds Hunting," in 1615, or,
at all events, after his " Fair Virtue, the Mistress of Philarete,"
came out in 1622, he would have been handed down as one of the
ornaments of our language. His " Shepherds Hunting," had
been written when he was only twenty, for, in the fourth Eclogue,
it is said of him: -
"But it will appeare ere long,
I'me abus'd, and thou hast wrong,
Who at twice ten hast sung more,
Then some will doe at fourscore."
"Fair Virtue, or the Mistress of Philarete," was written prior to
"Abuses Stript and Whipt," where it is mentioned. Some lines
by Taylor (this Vol. p. 145) contain a libel upon Wither's honesty.
WITHER, GEORGE. - Britain's Remembrancer.  Containing a Narrative of the Plague lately past; a Declaration
of the Mischiefs present; and a Prediction of Judgments to come (if Repentance prevent not). It is dedicated (for the glory of God) to Posteritie; and to
these Times (if they please) by George Wither &c. -
Imprinted for Great Britaine and are to be sold by
John Grismond &c.  1628. 12mo.  289 leaves.
This work relates principally to the great plague of 1625, during the whole period of which the author remained in London;
and in the third of the eight cantos of which his poem consists, he
states his reasons for hazarding the infection. An engraved title



276            3Jibltiorapticat 2ccount of
page precedes the printed one, representing every species of pestilence overhanging England in the form of a dense cloud, while
Justice and Mercy are seated above in the sky. Facing it are
verses giving " the meaning of the title-page." It is dedicated in
twenty-two pages of closely printed verses to the King, and they
are followed by " a Premonition"' in prose, the most curious part
of which relates to another work by Wither, called his " Motto,"
which he had published in 1618.  After the eighth canto is a
"conclusion" in verse, filling twelve pages; for, when Wither
took up the pen, his thoughts seem to have flowed so rapidly
and readily, that he did not know how to lay it down again.
It has no printer's name, and no doubt was worked off at some
private press; and in a note at the end respecting errors, it is
said, " The faults escaped in the printing we had not such meanes
to prevent as we desired, nor could we conveniently collect them
by reason of our haste or hazard, and other interruptions." There
are some noble verses by Wither in his "Preparation to the Psalter," folio, 1619.
WITHER, GEORGE. -  Campo-Musam  or the Field-Musings
of Captain George Wither, touching his Military Ingagement for the King and Parliament, the Justnesse
of the same, and the present distractions of these
Islands. Deus dabit his quoque finem. - London Printed
by R. Austin and A. Coe. 1643. 8vo. 40 leaves.
At this period the author professed to be determined to "employ every faculty which God had given him for the King and
Parliament," and in this spirit he dedicated his tract to the Earl
of Essex, under whom he was still serving, although at the moment engaged in recruiting his "disabled troop."  At the back
of the title is an address in verse " to the English," the object of
which is to rouse them from their supineness. The general scope
of the poem is to justify the author in the course he has pursued,
and at the end he promises his " Vox Pacifica," which came out
soon afterwards. The whole is written in Wither's usual strain of
puritanical patriotism.




~ar!   ~nglislz  IZiterature.          277
WITHER, GEORGE. - Prosopopoeia Britannica:  Britans
Genius, or Good-Angel personated; reasoning and
advising touching the Games now playing, and the
Adventures now at hazard in these Islands &c. Discovered by Terrce-Filius (a well knowne Lover of the
Publike-Peace) when the begetting of the Nationall
Quarrell was first feared &c.- London Printed by
Robert Austin. 1648. 8vo. 59 leaves.
This tract was published without the name of the author, but
Wither had called himself Terrce Filius in 1643, and his style
could not be mistaken.  He tells "the scornfully censorious"
(whom he addresses after "the meek ingenuous Reader") that
the work had been seen in MS. eight months before, but that he
had met with difficulties in getting it licensed. The poem, which
is of a politico-religious cast, is divided into two " Lections," followed by brief epistles to the Parliament and to the King, and
they contain an unusual number of happy separate passages.
WODHOUSE, W.
The XV fearfull tokens
preceding, I say,
The generall judgement
called Domes day.
Watch and pray for no man knoweth the hower.Imprinted at London by William How for William
Pickeryng. 8vo. 6 leaves.
Such is the title of this little tract, which serves to introduce a
new name into our poetical bibliography. Whether W. Wodhouse
was the ancestor of Peter Woodhouse, the author of" The Flea,"
published in 1605, we cannot determine. It would seem that it
was originally intended to print these "XV fearfull tokens" as a
broadside, and they were entered at Stationers' Hall to W. Pickering as " a ballad" in 1565-66 (Extr. I. 125); but as the piece




278          Dibtiograplictl  2ctournlt of
consisted of thirty stanzas, like the following, they were probably
found too much for the space, and were therefore brought out as
a small separate tract: -
" Ther shal not help the Eloquence
Of Lawyers at the Barre,
Nor yet their crafty sapience;
Their owne deedes wil them marre.
Ther shal no bribes be take that day,
No man for to prevent:
Faire wordes nothing prevaile they may,
But he will geve judgement."
Two such stanzas are devoted to each of the fifteen signs, and
the whole is subscribed "Finis. W. Wodhouse."  This tract, if
we mistake not, is no where mentioned.
WONDERS. -The History of Strange Wonders. - Imprynted at London by Roulande Hall, dwellynge in
Goldynge Lane at the signe of the three arrows.
1561. 8vo. 26 leaves.
This book was entered for publication in the Stationers' Register by Rowland Hall, in 1561, but no other copy of it than the
present is known, which, unfortunately, wants the title-page. The
colophon is as above given. It is recorded by bibliographers only
by the title as it stands in the books of the Stationers' Company
(Dibdin's Typ. Ant. IV. 420). The whole is prose, although,
from one of the heads of the divisions, " Certayn Eglogs taken out
of divers Epistles," we might be led to expect verse. It consists
of extracts from various printed works, and manuscript accounts,
of miraculous appearances, foretelling future events, the application, or misapplication, being also usually given.
WOODHOUSE, PETER.- The Flea: Sic parva componere
magnis. — London Printed for John Smethwick and
are to be solde at his shop in Saint Dunstanes Church



(artl    Qngtiol) iitcratnur.                279
yard in Fleet street, under the Diall. 1605. 4to. 18
leaves.
The fault of this piece lies more in its design than in its execution, for it is by no means deficient in cleverness. " The Epistle
Dedicatorie," "to the giddie multitude," is subscribed P. W., and
" The Epistle to the Reader," signed " Thy poore friend Peter
Woodhouse."
It is in the form of a dream, by Democritus, of a contest for
superiority between an Elephant and a Flea, and the strife is to
be judged by a Bull and a Weazel. As far as the moral of the
apologue shows the advantages of activity over strength, it is
good; but we do not exactly see why the Bull and the Weazel
were chosen as umpires, or rather as sticklers and arbitrators. " R.
P. Gent" has three good introductory stanzas, justifying the design by the examples of Homer, Virgil, Apuleius, and Erasmus.
When Heraclitus afterwards calls it " an idle dream," Democritus
maintains its excellence, and laughs at those who would give personal application to so slight and unpretending an invention,
observing, -
" Such fooles as these would descant on my dreame
And it interpret, as it best shall seeme
To their weake wit and blunt capacitye,
Censure each word, each sentence misapplye:
if I should light on such a giddie Asse,
I'd scorne to answer him, but let him passe."
The little attempt ends with the following sort of apology: —
"Many many things have written,
When th' ad better still have sitten;
Peradventure so had I,
Yet I know no reason why.
It's a foolish toy I write
And in folly most delight:
Then (I hope) it will please many,
And not be dislikte of any.
Even from tales of Robin Hood
Wise men alway picke some good.
None (I trust) offend I shall;
So, I take my leave of all.
" PETER WOODHOUSE."




280           33iblioarapt)icral 2rccont of
If he wrote anything besides " The Flea," it is not known, and
we are without any other information regarding him.
WOOD-STREET  COUNTER.- Wonderfull Strange Newes
from Woodstreet Counter. Yet not so strange as true.
Being proved by lamentable Experience. The Relation of which
Will make you laugh,'twill make you cry,'Twill make you mad,'twill make you try
many more wonderfull effects, as Tom-Tell-troth can
witnesse.
It will convert a Whore, enrich the Poore,
And make a Sergeant kind,
Then buy it now, for I doe know,
That it will please your mind.
-London, Printed by T. Fawcet. 1642. 4to. 4
leaves.
The most curious part of this tract, written for the obvious purpose of being sold for two-pence, is the enumeration of those parts
of London remarkable for unlicensed living. It is a dialogue
between Plain-dealing and Tom Tell-truth. The latter has been,
confined for debt in Wood-street Counter, and maintains that it is
worse than " Pickhatch, Covent Garden, Groaping Lane, Tower
Hill, St. Giles in the fields, Bloomesbury, Drewry Lane, Westminster, or the Bankside." White-friars is not included.
There is some spirit in the composition, and when Plain-dealing
asks what associates Tom Tell-truth had had in the Counter, the
latter answers: " Many of all sorts, from the gentile gallant with
his pIerriwig and Spanish block, to the lowzy rascall without a shirt,
or a shoe to his foot, the long haire gallant which sweares Damy,
and the zealous Brother with never a hayre amisse. Indeed,
there are all sorts; Lords without lands, Ladies without lackeys,
Gentlemen without money, Captains without command, Citizens




QFarln QE(nglizl)   iterature.            281
without credit, pittifull Poets which write their owne Tragedyes,
undone Heyres, Pick-pockets with hanging lookes, taffaty Whores
falling to decay, Prentizes with pennilesse pockets, Journeymen
that are at their journey's end."
It concludes with twelve lines, in couplets, to prove that the
Counter is far worse than a Bawdy-house. We never met with
any other copy of the tract than that we have used, but there may
be several. Its local character is its chief merit.
WORCESTER. — Worcester's Elegie and Eulogie. By J.
T. Mr. of Arts. -  London, Printed by Tho. Cotes for
Humphry Blunmden, at his shop, at the Castle in Cornehill. 1638. 4to. 26 leaves.
We notice this work as a singular provincial poetical production, called forth by the prevalence of the plague and famine in
Worcester, in 1637. The author's name is given at length to a
preliminary address, and is punned upon by one of his eulogists:
" How'd the Muses joy
Were every child o' th' braine no worse a Toy!"
Nevertheless, there is very little in the tract to have gratified
the Muses, or even worse judges of verse. No doubt the piece
was very satisfactory to the Wigornian readers of that day, who
were grateful for the disappearance of the fatal fever, and for the
assistance the suffering city had received from her neighbors.
Besides thankful poems addressed to the Bishop and Clergy, as
well as to private individuals, there are tributes to Bristol, Tewksbury, Droitwich, &c.; but we are not disposed to extract more
than a testimonial to Sir Walter Devereux, and that chiefly for
his name's sake: -
" To Sr. Walter Devereaux, Knight and Baronet.
"Thou gav'st us corne (great Devereaux) and we
Presented unto heaven thy charity
In sacred vowes and prayers: heaven againe,
Hath promis'd for our faith on thee to raine
Full showers of better gifts: the trunk shall grow;




282            tibtiograpticajt 2ltrount of
Thy branches with felicity shall blow.
Like fish thy flocks shall yield, thy corne-fields sing,
Thy pastures imitate perpetuall spring.
Who this event contemplates well may say
Thy graine was lent to heaven, not given away;
Yea, that our poore have given to thee, for thus
Thy gift hath made thee debtor unto us."
We do not suppose that our readers will feel themselves aggrieved by the non-insertion of any further specimen.
WORLD'S FOLLY. - This World's Folly. Or a Warning
Piece discharged vpon the Wickednesse thereof. Hor.
Sat. 3. lib. I. By I. H. - London, Printed by William
Jaggard for Nicholas Bourne, &c. 1615. 4to. 19
leaves.
This is a prose attack upon prevailing vices, and parts of it are
especially directed against the Stage, Plays, Actors, and Poets,
with a direct reference to the comedy called " Green's Tu
Quoque," (which had been printed in 1614,) and to a jig, or
clown's merriment, known by the name of "Garlick."  "Tu
Quoque" was written by John Cooke, but it was subsequently
called " Green's Tu Quoque," from the laughable acting of a performer of the name of Green in the part of Bubble.  "Garlick"
has not found its way into any of our earlier or later theatrical
records;  but that it and " Green's Tu Quoque" were very
popular, about the same date, we know from H. Parrot's Laquei
Ridiculosi, 1613, where
"Greene's Tu Quoque and those Garlick Jigs"
are celebrated in the same line. In his " Cast over the Water,"
Taylor gives it a second title, which serves to show its character"The Jig of Garlick, or the Punks Delight."  Of both I. H. in
"The World's Folly" speaks in these terms: -
1 Haddit, a supposed dramatic author, mentions the extreme popularity
of " Garlick " in the introductory scene to " the Hog hath lost his Pearl,"
1614. 4to.




Qar{V  eng1isz:iteratnre.                283
"I will not particularize those blitea dramata (as Liberius tearmes another sort) those Fortune-fatted fooles and Times idiots, whose garbe is
the tooth-ache of witte, the plague-sore of judgement, the common-sewer
of obscenities, and the very traine-powder that dischargeth the roaring
Meg (not Mol) of all scurrile villanies upon the Cities face: who are faine
to produce blinde Impudence to personate himselfe upon their Stage, behung with chaynes of Garlicke, as an antidote against their owne infectious breaths, lest it should kill their oyster-crying Audience.  Vos
quoque, and you also who with Scylla-barking Stentor-throated bellowings, flash choaking squibbes of absurd vanities into the nosthrils of your
spectators, barbarously diverting nature, and defacing God's owne image
by metamorphising, humane shape into their bestiall forme."
The author, as if afraid of not being understood, adds marginal
notes to make his readers quite sure that by  "Fortune-fatted
fooles," he alludes to the actors at the Fortune Theatre; that
"roaring Meg" means "Long Meg of Westminister," a play
then in course of daily performance; that by Impudence " behung
with chaynes of Garlicke," he refers to the jig of " Garlick or the
Punk's Delight," and by Vos Quoque, to the Comedy of "Tu
Quoque." Of poets he speaks as follows:" The priimum mobile, which gives motion to the under-turning wheeles
of wickednesse are those mercenary squitter-wits miscalled Poets, whose
illiterate and pick-pocket inventions can emungere plebes argento, slily nip
the bunges of the baser troopes, and cut the reputations throat of the
more eminent rank of cittizens with corroding scandals: these are they
who, by dipping their goose-quills in the puddle of mischiefe with wilde
and uncollected spirites, make them desperately drunke to strike at the
head of Nobility, Authority and high-seated Greatness. And all this they
doe but onely to purchase the fee-simple of a Long-lane suite, to entaile a
Punke in some new-stript peticoate, and to cancell the tavern-bill for two
bacchanalian suppers."
Of course, we are not to take such representations by puritanical assailants without many deductions; but there is no doubt, on
this and better authority, that the lives of players and poets
about this date were liable to much strong censure; and we are
not to forgdt that the period, when they appear to have allowed
themselves most license, was shortly after the retirement of
Shakspeare to his native town.




284           vibliojgrapl)ical  Lccount of
WORTLEY, SIR  FRANCIS. -  Characters and Elegies.  By
Francis Wortley, Knight and Baronet. Printed in the
Yeere 1646. 4to. 38 leaves.
It has been supposed, from the absence of any printer's or
bookseller's name, that this work was not published, but intended
for private distribution: the remark would, however, apply to
much prose and poetry issued about the disturbed period of the
Civil Wars.
The dedication is generally " to the Lovers of Honour and
Poesie," followed by fourteen very loyal and gallant characters of
the King, Queen, and various courtiers, male and female, in
prose. These are succeeded by nineteen Elegies, (the last of
them upon Francis Quarles the poet,) by some translated Epigrams, &c., and " a paraphrase upon the verses which Famianus
Strada made upon the Lutanist and Philomel in contestation,"
the whole being wound up by the following pleasant and ingenious parallel: —
" Coblers are call'd Translators; so are we
(And may be well call'd so) we so agree.
They rip the soale first from the upper leather,
Then steepe, then stretch, then patch up all together:
We rip, we steep, we stretch, and take great paines.
They with their fingers work, we with our braines.
They trade in old shoes, as we doe in feet,
To make the fancy and the language meete.
We make all smooth (as they doe) and take care
What is too short to patch, too large to pare.
When they have done, then to the Club they goe
And spend their gettings: do not we doe so?
Coblers are often poore, yet merrie blades;
Translators rarely rich, yet cheereful lads.
Who thinkes he wants he is in plentie poore:
Give me the Coblers wealth, Ile aske no more."
The lines on page 55, " upon a true contented Prisoner," were,
doubtless, written when Sir F. Wortley was imprisoned in the
Tower for his loyalty, and they contain the following happy illustration of the effects of confinement in directing the eyes of the
mind toward heaven: -




%Qartl  0ngl[il) Eiterature.             285
"Men in the deepest pits see best by farre
The sunne's eclipses, and finde every starre,
When sight's contracted and is more intent:
(So is men's soules in close imprisonment)
We then can upwards look on things above,
Worthy our contemplation and our love."
WOTTON, HENRY. —A  Courtlie Controversie of Cupid's
Cautels: Conteyning five Tragicall Histories, very pithie,
pleasant, pitifull and profitable: discoursed uppon with
Argumentes of Love by three Gentlemen and two
Gentlewomen, entermedled with divers delicate Sonets
and Rithmes, exceeding delightfull to refresh the yrksomnesse of tedious Tyme. Translated out of French
as neare as our Englishe Phrase will permit, by H. W.
Gentleman. -  At London, Imprinted by Francis Coldocke and'Henry Bynneman. 1578. 4to. B. L. 176
leaves.
This work, which, though; professing to be only a translation,
we are convinced was in many parts original, was by Henry Wotton, whose initials only appear upon the title-page. Whether he
were any, and what, relation to Sir Henry Wotton, the Provost
of Eton, who was born in 1568, we have no means of knowing:
Henry Wotton was, perhaps, brother to Edward Wotton, whom
Sir P. Sidney mentions in the opening of his "Defence of
Poesie," as having been with him at the Emperor's Court.
Whether this conjecture be or be not unfounded, it is quite certaiIn that Henry Wotton, whether as translator of the work in our
hands, or as an original poet, is by no means a contemptible versifier. It is to be borne in mind that this " Courtly Controversy
of Cupid's Cautels" was written some years before the work of
Sidney; and the poetry it contains much more resembles the
ease and grace of his school, than the formality, and even rigidity,
of that in which Whetstone and Turbervile, some ten years earlier, were masters. Of his own qualifications Henry Wotton
speaks thus diffidently, but sharply, in the commencement: —




286            hibltiograpicxat  Ltccount of
"Yet I must needes confesse (notwithstanding the greate good will
which urgeth me forward) that the mistrust of my disabilitie to finishe
this enterprise (the whiche giveth me perfecte knowledge of my selfe
without flatterie) at the first encounter hath for feare frozen the ynke in
my penne, knowing the carping wittes of our age, to be so cloyed with
the sower taste of loathsome disdayne, as there is no sauce sufficient
(howe delicate so ever it be) to restore againe their appetite, or at the
leaste, to give them knowledge that the unsavory fault they finde in their
meate resteth in their unseasoned mouths."
There is not much invention in the incidents which bring the
five young people - three gentlemen and two ladies - together.
France at the time was torn by civil wars, and the party retire
to the castle of a prudent matron to escape from the consequences
of the hostilities, and there they amuse themselves by conversation, not always very lively, and by tales not always very original.
The two longest poems in the volume, of more than twenty
stanzas, are entitled " The Complaint of the Civil Warres in
Fraunce," and " A  Welcome of Peace unto Fraunce."  These
are clearly translations, and it is in the shorter songs, ditties, and
lyrics that we seem to trace the freedom and spirit of originality.
We copy, in proof, three stanzas of a poem in dispraise of
Cupid:"All such as love in loyall sort,
and hope reliefe to finde,
With them the Elfe doth make his sport;
he smiles to see them pinde:
He seekes to reave them of delight,
and breedes them all annoy;
It is of all the most despight
to trust the lying boy.
"Make love who list an angell then,
who list to like his wayes,
For neyther I, my tongue or pen,
will ever yeelde him prayse;
And who so doth shall live at ease,
devoyde of care and strife,
Unlesse that libertie displease,
to leade a quiet life.
"This Love, whom Poets call a God,
is but a fury fell,




fartV  Engnlisti     Kitcrature.             287
Sent from above, a scourging rod,
out of the pit of hell,
To martyre and to put to payne
all poore afflicted wights;
But wise are they that can refrayne
this helhoundes hellish slights."
This may be rather plain-spoken, but it does not read like
translation, and the same may be said of various other lively
lyrics, in some of which, however, we are bound to say, we detect
a French word or two: in the following femme is used, partly in
the distress of rhyme:"Behold the guerdon due to love
Bestowed on a fickle femme:
As good of rotten wood to prove
The forging of some precious gemme.
Repentance last doth pinch the hart
That love consumes with bitter smart."
In the opening of what is headed " The fourth day's Delight,"
is a poem of considerable power and variety in praise of the vine,
which we do not place among the original pieces, contributed, as
we suppose, by the translator; and we say the same of the two
subsequent stanzas: they are still on the subject of love, and,
like much else in the volume, not very complimentary to the
ladies of the party.
" What moveth men abashed thus to stay,
As tumbled from the cloudes in such a mase,
Sith maidens mockes doe yeelde but mere delay,
Whose cloking scarfes doth holde men at a gase,
Whilst covered close in shape of masking showe
By deepe deceyte our joyes they overthrowe?
"Bereave them of their outwarde masking vayle,
Yet inwardly disguised they remayne:
Their thoughtes lye hidde, their tongues of truth do fayle,
Till sugred wordes the harmlesse hart hath slayne:
If in'their chaunge they fast on men their hooke,
Their smiling then convertes to louring looke."
The following, which alludes to the famous Dance of Death, is
obscurely worded in the beginning, for the sake of brevity, but it
ends with animation, and, if translated, runs without constraint: —




288           tibtiogrtapicat ar count of
" Why doo the Lillies fade away,
and pleasant sentes resigne my grave?
Let rather violets, freshe and gay,
my tender heare environ brave.
Bring heere to me my love so faire
to quallifie my pining care,
So as before the day when I
must leade the daunce among the dead,
All sorrowes from my sight may flye,
and joy possesse my troubled head."
Of the prose portion of the volume we cannot speak very
highly: it is long drawn out, and somewhat dull; for even the
ladies, who partake in the discussions arising out of the several
stories, are not sprightly or animated, and, on the question of love
and its abusers, they by no means stand their ground against the
accusations of the ungallant gentlemen. There are some pretty
descriptions of rural scenery, but here and there words are employed, which, if not French, are new in English, as where we
are told " The young lambes frisking and leaping by the sides of
their dams [were] nibling and brettyng  the toppes of the
preatye pagles in the greene pastures."  Can " brettyng" be a
misprint for biting, or is it a word derived from the French bretauder, which signifies to crop? Chaucer uses bretful, but with him.
it merely means brinlful.
Among the five tales we meet with one that furnished the story
of the old drama of " Soliman and Perseda," written about 1590,
printed in 1599, and to which Shakspeare alludes in King
John, Act I. sc. 1. The names of all the principal characters
in " Soliman and Perseda," are derived from the novel translated
by Henry Wotton in 157.8, but the writer of the drama added
some absurdities to the incidents and persons. Of another history William Rufus is made the hero, the scene being laid in
England; and here we meet with one of the earliest echo-songs
that we remember in our language, where the singer (in this case
the King) puts a question, answered by echo according to the last
word of the inquiry.  A third tale of " contrarious love " relates
to the adventures of two scholars, one named Claribel of Poictiers,
and the other Floridan of Xaintes, in the conclusion of which an
" Epithalame," as it is called, is divided between a Lover and his




arlt    Qfjnbgibl  fittratutr.            289
Lady. It is rather an enlargement of Horace's Donec gratus eram
tibi than anything else, but it is easily and cheerfully written;
what succeeds are the first two out of twelve or fifteen alternating stanzas:"The Lover. So long as I such favour founde
To flow from my faire Ladies face,
As by her to be vouched bounde
To serve as slave her noble grace,
My happy state and settled minde
Possessed more contented stay
Than any living prince may finde,
Though all the world should, him obay.
"The Lady. So long as of a servaunt true,
The faithfull guage of loyal love
Posseste my hart; and I did view
His service sought his faith to prove,
I could not change this weale of mine,
Nor once reward him with despight,
To be partaker with a Queene
In worldly wealth and all delight."
It is not very clear at the end of the " Courtly Controversy"
whether any more of it was really contemplated, but a continuation is hinted at. We never saw but a single complete copy of
the book, though two fragments have, at long intervals, come
under our notice; each had the colophon, " Imprinted at London
by Francis Coldocke and Henry Bynneman. 1578."
WROTHE, SIR  THOMAS. -  Sir Thomas Wrothe  his sad
Encomion upon his Dearest Consort, Dame Margaret
Wrothe. Who died of a Fever at Petherton Parke
in the Countie of Somerset, about Midnight of the 14.
day of October 1635, and was buried in the Parish
Church of St. Stephen in Coleman Street, London, the
11. of November next ensuing &c. -  London, Printed
for Henry Seile.  1635.  4to.  6 leaves.
VOL. IV.              19




290            Bibtiograp)ical t Lcttount of
In 1620, Sir Thomas Wrothe printed " The Abortive of an
idle Hour," consisting of " a Century of Epigrams," possibly for
private distribution, and only two or three copies seem to remain.
It is more than probable that he took the same course with this
laudatory poem on his lady, which is unknown to bibliographers.
It is written in six-line stanzas, and commences, without introduction, immediately after the title: -
"Can any sorrow be like mine, whose losse
Is more than toung may tell, or heart conceive?
Am I pickt out to beare this heavie Crosse,
And in obedience what is dearest leave?
With bleeding heart I must avow, that no man
Did ever lose more vertuous worthy Woman."
This is not exactly the style of elegiac verse. In the course of
the poem, which consists of thirty-eight stanzas, he thus addresses
the Fates, taking care to place their names in the margin, lest
any mistake should be made from the terms he employs:" Discourteous Ladies who doe governe Life!
Can Ladies to a Lady be so cruell?
Ye might have taken me and spar'd my Wife;
In me there is no worth -she was a jewell."
What Sir Thomas Wrothe here savs of himself may certainly
be applied to his poetry. At the end are six couplets, called" Consiliumn Amanztis.
" O, Man! who boasts of strength or wittie flashes,
Or ought beside, thou art but dust and ashes:
And sure thou shalt at Christs Tribunall give
A strict account how thou didst die and live.
Deferre no moment under vaine pretences:
Amend thy life, repent of thine offences."
The copy in the library at Bridgewater House is corrected in
manuscript, probably by the author, before he presented it to the
Earl.
Besides his " Abortive of an idle hour," Sir Thomas Wrothe
printed in 1620 a fragment with the following imprint:'"London. Printed by T. D. and are to be sold by Nicholas Bourne at
the Royall Exchange, 1620."  4to.  He called it "The Destruction of Troy, or the Acts of 2Eneas: Translated out of the




farsl    fng1io1) fiteratnre.                291
second Booke of the Eneads of Virgill &c.  With the Latine
verse on one side, and the English verse on the other." It is
dedicated in two stanzas to Sir Robert Sidney, Viscount Lisle,
and followed by "A Request to the Reader," in which Sir T.
Wrothe informs him that, as translator, he had sometimes " purposely wandered firom  the original."  Then comes "The Argument," and afterwards the translation begins thus:" Silence proclaim'd, and every tongue with mute attention tyde,
Ascending into some high place JEneas thus replide.
Too sad a tale, renowned Queene, you will me to relate,
How Trojan wealth, and Troy it selfe, the Greeks did ruinate;
Which I beheld, nor was the least who felt warr's heavy hand.
What Delops or what Myrmidon, or of Ulysses band
Who would not weepe to speake such things?  But night draws on
apace,
And starres descending summon rest; yet if so be your grace
Burne with desire to know the cause which all our woe procur'd,
And heare the story of those wars the Trojans long indur'd,
Although the thought dissolvs my heart, your all commanding charge,
I will obey, and of those broyles declare the truth at large."
As the work is of much greater rarity than value, we add only
the Wrothovirgilian account of the death of Priam: —
"Nay then, quoth Pyrrhus, thou shalt pack and to Pelides breake
Thy mind concerning this which I without remorse have done,
And let him know the cruelty of his degenerate sonne:
Thou shalt be soone dispatch't. This sayd, on his left hand he wounde
His hoary haire, and through the bloud effused on the ground
Of his slaine sonne, the trembling King doth to an Aultar draw,
And in his right hand over him his sword keepes him in aw:
Before that place where he so late Polytes blond had spilt
He thrust his sword into his sides up to the very hilt.
See heare King Priamus end of all the troubles he had knowne,
Behold the period of his dayes which fortune did impone! "
It shall be " the period" also of what we will " impone " upon
the reader.'We have called it "'' Wrothovirgilian," because it is so
much more like Wrothe than Virgil that, but for the annexation
of the original on each opposite page, the similarity, at all events
of style, would hardly have been traced; the incidents are of
course the same. It is to be wondered that the Knight ventured
in this bold way to challenge comparison.




292            Bihbliograpl)Tial t   rount of
WYRLEY, WILLIAM. - The true Use of Armorie, shewed
by Historie and plainly proved by example: the necessitie therof also discovered with the maner of differings
in ancient time, the lawfulnes of honorable funerals
and moniments: with other matters of Antiquitie, incident to the  advauncing of Banners, Ensignes, and
markes of noblenesse and chevalrie.  By William  Wyrley. - Imprinted at London, by J. Jackson, for Gabriell
Cawood. 1592. 4to. B. L. 82 leaves.
This very dull and wearisome performance, of more than 160
quarto pages, has been called " a very valuable tract," (Cens. Lit.
V. 70,) but it really possesses no merit but of a technical kind,
and the two long poems, of which it mainly consists, are about the
worst performances in verse that appeared at a date remarkable
for the excellence of its poetry. How Wyrley could have deceived himself into the belief that what he wrote in rhyme was
deserving of the press, at a time Spenser, Daniel, Constable, and
Watson (to say nothing of Shakspeare, who did not step beyond
the precincts of the stage until the next year) were publishing
their beautiful poems, it is not easy to imagine. Wyrley writes
somewhat in the strain of the old " Mirror for Magistrates," which
he names and extravagantly applauds; but his attempts are much
below the standard established, thirty or forty years earlier, by
that memorable historical miscellany. Wyrley commences with a
prose dissertation on  "the true use of Armory," with woodcuts of shields and quarterings; but, avowedly taking his facts
from Froissart, he proceeds to give in verse, and in tedious detail,
the main incidents of the careers of Lord Chandos, and the person whom he calls "the Captall," or " Capital de Buz."  Here,
too, he renders his narrative still more unreadable by the insertion, on every possible occasion, of a minute description, in miseralle measure, of the armorial bearings of nearly every person he
mentions. Take, for instance, the following stanza: -
"Sir William Mesnile a chiff of burnisht gold,
Three gemels finely set in azurd shield:
Sir Simon Barley six bars equall told
Of black and yellow in his cliffe he held,




eartl   (fn[ittll)   itcrautre.              293
Of the mettaile two pales as first is speld;
In midst a scuchion of ruble fairly dight,
In it three bars of ermins plainly pight."
He is never tired of such knots in the thread of his narrative.
As the work was reprinted a few years ago, we shall not enter
into it farther than to give a specimen of Wyrley's manner, when
he wishes only to be poetical, and does not interrupt himself by
armorial blazonry. The following is the last stanza of the poem
on Lord Chandos, who, like the heroes of the " Mirror for Magistrates," narrates his own story, and applauds his own achievemnents: -
"As silent night brings quiet pawse at last
To painfull travels of forepassed day,
So closing death doth rest to labors cast,
Making of our toilfull worke a stay;
Thoughts, griefes, sad cares are bandon then away:
In pomp and glory though brave daies we spend,
Yet happie none untill be knowen his end."
We do not scruple to say, that the above is one of the best
stanzas in the whole poem, and we like it the better because it is
the end of that long-lengthened production. Of the many pages
devoted to " the Capital de Buz," we shall say no more than that
it somewhat reconciles the reader to the briefer account of his
English rival.  At the close of the whole we come to "the Envoy," of which the last stanza runs thus: —
"Almightie God, that oft hast England blest
With glorious triumphs over enemie,
In thy puissance victorie doth rest,
And not in mans weake plotting policie;
Give to our Captains their true chevalrie,
Like constant vertue, truth and courage bold,
That Chandos and the Captall true did hold.
"FINIS.
" WILLIAM WYRLEY."
The above seems to be the only extant performance that its
author left behind him, and it has been greatly over-estimated by
those who are better judges of coat-armor than of poetry.




294            Bibtiograp)itcat 2conunt of
YATES, JAMES. -  The Hould of Humilitie: Adjoyned to
the Castle of Courtesie.   Compiled  by James Yates
Servingman.
Captious Conceipts, good Reader, doe dismis,
And friendly weigh this willing minde of his,
Which more doth write for pleasure then for praise,
Whose worthlesse workes are simply pend alwaies.
-  London Imprinted by John Wolfe, dwelling in Distaffe Lane neere the Signe of the Castle. 4to. B. L.
The precise terms of the entry of this very rare work in the
Stationers' Register have, as far as we know, nowhere been given,
and they are important as showing that, when the work was
brought to the Hall, it consisted, or was intended to consist, of
three parts. They were these,"vii. Die Junij. [1582]. John Wolfe. Item recived of him, &c. to
printe a book intituled the Castell of curtesy, the holde of humility, and the Chariot of Chastity.                viijd"
The cost of the license was eightpence (instead of 4d., the price
of a ballad, or 6d., the price of a single work), on account of the
three-fold character of the book. But, though licensed together,
the parts do not appear to have come out together. "The Castle
of Courtesie" must have appeared first, and it was followed by
"' the Hould of Humilitie"; so that the meaning of the title-page
at the head of our Article is that the " Hould of Humilitie" was
a sort of supplement to " the Castle of Courtesie." The volume
before us includes a production not mentioned in the title-page,
though noticed in the entry, and which has a separate title-page
of its own, in the following words:" The Chariot of Chastitie, drawne to publication by Dutiful Desire,
Goodwill and Commendation. Also a Dialogue between Diana and
Venus. With Ditties devised at sundrie idle times for Recreation sake:
Stt downe in such wise as insueth by James Yatis. - London, Imprinted
by John Wolfe. 1582."
Here the name of the author is spelt Yatis and not Yates, as
elsewhere, a trifling circumstance, which we only mention for the
sake of identification.  This portion is separately dedicated to




garlt   (Enlit31)j Kittratnre.           295
Mrs. Elizabeth Reynowls, and hence we learn that " The Castle
of Courtesie," had been inscribed to her husband. The numbers
of the folios and the signatures begin with " The Hould of Humilitie," and there can be no doubt that " The Castle of Courtesie," had been previously published with its own signatures and
pagination. Herbert mistook the date, and gave it as 1581 (Herbert's Ames, II. 1186), but the entry of the book at Stationers,
Hall was not made until June, 1582.
Sufficient specimens will be found in Cens. Lit. II. 11, in Bibl.
Anglo. Poet. 1815, p. 423, in Extr. from Stat. Reg. II. 165, and
in other places; but as we never saw more than the copy in our
hands, and as it appears to differ in some important respects, we
will describe it with some particularity.
Although there is no date on the title-page, " 1582" precedes
the first poem in " the Hould of Humilitie," which itself occupies
seven leaves; then follow miscellaneous pieces, some of them
dated 1578. Hence we learn that Yates, or Yatis, lived in the
country and had friends at Cambridge and Ipswich. On fol. 22,
are "Verses upon this Theame - Silence breaketh many Friendeshippes: written unto his friende G. P. (forsan George Peele)." 1
There are also lines in pious commemoration of the Earthquake
"on Wednesday 6 of April, 1580, betwene 5 and 6 of the clocke
at night." After fol. 30 begins s" The Chariot of Chastitie," with
a new title-page, as we have already inserted it. On fol. 60 is
"Yates his song, written presently after his coming from  London." On fol. 63 we have "an Epitaph upon the death of the wife
of Mr. Pooly, of Badley"; and in a marginal note we are informed that she was sister to Lady Wentworth. The " Dialogue
betwene Diana and Venus, declaring what can be alleaged of
eyther side for confutation " may be seen reprinted in Extr. from
the Stat. Reg. II. 166, and need not here be repeated. Another piece is quoted in Cens. Lit. II. 13, and a third called "A
Sonnet of a slaunderous Tongue," in Bibl. Anglo-Poet. p. 424.
In the middle of the volume Yates pronounces his own " Verdict
of his Booke," in which the reader, however patient, is not likely
to concur. The best specimen of this ", Servingman's " versifica1 It seems unlikely that Peele would be meant by Yates, when he
speaks of his " friend G. P."




296           tibliograpt)irat 2rcomnt of
tion is unquestionably the controversy between the Goddesses of
Chastity and Beauty. They end, however, as they began, without
producing conviction on either side, for Venus exclaims in her last
stanza,
"To prove perswations now with me
You shall but lose your time.
Farewell! Adew! Be honest still:
To Riotte I will clime."
And so the ladies separate. All Yates's performances have a
didactic and moral turn, but as poetry they have little to recommend them.
YOUNG, BARTHOLOMIEW. - Amorous Fiammetta. Wherein is set downe a catalogue of all and singuler passions of Love and jealosie, incident to an enamored
yong Gentlewoman  &c.  First wrytten in Italian by
Master John Boccace &c. and now done into English
by B. Giovano del M. Temp. &c. -  At London Printed
by J. C. for Thomas Newman, &c.  B. L.  4to.  131
leaves.
The copy of this book at Bridgewater House wants the date
at the bottom of the title-page, which has been torn off, but at
the end it is inserted, namely 1587. The translator was Bartholemew Young of the Middle Temple, as the name is given at
length in the dedication to Sir William Hatton, which is not subcribed by Young, but by Thomas Newman. In what way Newman became possessed of the MS. is not stated. The seven books
are concluded by a table of Contents.
Bartholemew Young had translated from  the Spanish the
" Diana" of Montemayor, and its continuations by Perez and
Gil Polo in 1583, that date being given at the end of the printed
copy which appeared in 1598. He had spent two years in Spain,
and had no doubt travelled in other parts of Europe, as, besides
Italian, he must have been well acquainted with French. In the
dedication of the " Diana" to Lady Rich, he refers to the time




earQlt  QfngtisI  fittraturr.            297
when "in a public show at the Middle Temple," it fell to his lot
"unworthily to perform  the part of a French Orator, by a
deducted speech in the same tongue." Young also translated the
fourth book of Guazzo's "Civil Conversation," 4to. 1586. The
three first books of the same work had been rendered by G.
Pettie, and separately printed in 1581. They had been licensed
to R. Watkins in 1579; and three years earlier the same stationer had put forth the same translator's " Petite Palace of Pettie
his Pleasure," which was popular enough to be reprinted in 1598,
and has been repeatedly noticed by bibliographers. It contains
no poetry, and the twelve histories, chiefly classical subjects, are
not related with any attractive vivacity.
ZEPIrERIA. - Ogni di viene la sera.
Mysus et Hoemonia juvenis qui cuspide vulnus
Senserat, hac ipsa cuspide sensit opem.
— At London, Printed by the Widdowe Orwin for
N. L. and John Busbie.  1594.  4to.  22 leaves.
We apprehend that this could never have been a very common
book, and the author probably printed it to gratify his own taste
and ambition, rather than the demands of any numerous body of
readers. At present only two or, at most, three copies are known
of it; but the late Mr. Utterson caused twelve inpressions of a
reprint to be struck off from a most careless transcript, in which
sometimes the old spelling is used and sometimes the new, while
particular words, on which the meaning (such as it is) much depends, are grievously misrepresented. Thus in the very first
"Canzon," out of forty of which the volume consists, we have
attempt for -" attemper," and Lass for " Lais."  We need go no
further in an ungracious task.
There is no dedication or address to the reader, but at the
back of the title-page is a short list of errata, followed by a sort
of appeal to the poets of the author's day, under the heading
Alli veri figlioli delle.Muse, but he obviously limits himself to




298             Biblioagrpl)iifat 2tcount of
sonnet-writers, of whom, to no inconsiderable extent, he was
a rather poor imitator.  " Delian sonnetrie"l in the poem  in
question (which we extract) refers to Samuel Daniel's sonnets
entitled " Delia," published, and republished in 1592: —
"Ye modern Laureats famousd for your writ,
Who for your pregnance may in Delos dwell,
On your sweete lines eternitie doth sit,
Their browes enobling with applause and laurel,
Triumph and honour ay invest your wit!
Ye fett your penns from wing of singing swanne
When, sweetely warbling to her selfe, she flotes
Adowne Meander streames, and like to organ
Imparts into her quils melodious notes.
Ye from the father of delicious phrases
Borrow such hymns as make your mistresse live
When time is dead: nay, Hermes tunes the praises
Which ye in sonnets to your mistresse give.
Report throughout our westerne isle doth ring
The sweete tun'd accents of your Delian sonnetrie,
Which to Apollos violine ye sing:
Oh then your high straines drowne his melodie!
From forth dead sleepe of everlasting dark
Fame with her trumps shrill summon hath awakt
The Roman Naso and the Tuskan Petrarch,
Your spirit-ravishing lines to wonder at.
Oh theame befitting high-musd Astrophil!
He to your silverie songs lent sweetest touch,
Your songs th' immortall spirit of your quill.
Oh pardon! for my artlesse pen to[o] much
Doth dimme your glories through his infant skill.
Though may I not with you the spoyls devide
(Ye sacred of-spring of Mnemosyne)
Of endlesse praise which have your pens achiv'd,
(Your pens the trumps of immortallitie)
Yet be it leyfull that like mayines I bide,
Like brunts and scarres in your loves warfare,
And here, though in my home-spun verse, of them declare."
1 This epithet may have no personal reference, and only a general application to the poetry of the time and to the isle of Delos, as the birthplace of Apollo and Diana. Still, "our Western Isle" can only mean
England, in and before 1594, famous for its sonnets and short pieces of
graceful miscellaneous poetry.




Qtup  (Engflti1) titcrature.              299
Here a meaning is only just discernible through a mist of bad
measure and imperfect rhymes; and although now and then the
unknown author (for no name has been hinted at) writes tolerably smoothly, yet in his best pieces his want of ear is constantly
making itself apparent. It seems that " Zepheria," was not his
first poetical performance, for he speaks of others deserving commendation and acceptance, as in the following, where he mentions
a Pastoral which he had sent to his mistress. We quote it with
this preface, - that it is unquestionably, on all accounts, the best
piece in the volume: —
"Canzon II.
"How wert thou pleased with my pastorall Ode
(Which late I sent thee) wherein I, thy Swayne,
In rurall tune on pipe did chaunt abroad
Thee for the loveliest lass that trac'd the playne!
There on thy head I Floras chaplet placed;
There did my pen proclayme thee Sommers Queene:
Each heard-groome with that honor held thee graced,
When lawnie white did checker with thy greene.
There did I bargayne all my kids to thee,
My spotted lambkins, choysest of my fold,
So wouldst thou sit and keepe thy flock by me;
So much I joy'd thy beautie to behold.
How many Cantons then I sent to thee,
Who though on two strings onely rays'd their strayne,
To wit my griefe and thy unmatched beautie,
Yet well their harmonie couth please thy vayne:
Well couth they please thee, and thou terme them wittie;
But now, as fortunes change so change my dittie."
Part of a single sonnet is quoted in (Cens. Lit. II. 63, but the
writer, as usual, does not express any opinion as to merit, but
observes that the author " displays a good deal of mythological
learning." It so happens, that the writer of Zepheria is more free
from that sort of pedantry than most of his contemporaries. We
do not fintl the production before us quoted, or even alluded to, by
any of the poets, pamphleteers, or critics of the day.  Like many
bad, as well as good, poets, he fancied that his lines would give
immortality to the object of his affections, and, anticipating her
death, he says: —




300             3ibtiograpli)al   lrtcount of
" Yet then in these limn'd lines enobled more
Thou shalt survive richer accomplisht than before.
How he proposed to read the last line, so as to make it measure, we cannot pretend to determine. His best praise is that he
was less of a plagiary than several sonnetteers who wrote better
verses.
For instance, B. Griffin, whose "Fidessa," 1596, has been
reprinted in modern times, and who stole a whole sonnet (with
some variations) from Shakspeare. His thefts from Daniel and
others have not been remarked upon, because they are not quite
so barefaced, but they are quite as certain: compare Griffin's
" Care-charmer sleepe, sweet ease in restles miserie,"
with Daniel's
" Care-charmer sleepe, sonne of the sable night;"
and Griffin's,
"I have not spent the Aprill of my time,"
with Daniel's
"The starre of my mishappe impos'd this payning,
To spend the Aprill of my yeers in wayling."
All the thoughts and images used by Griffin, in his sonnet
beginning -
" My Ladies haire is threads of beaten gold,"
are borrowed from Daniel, and almost in the same words; thus,
for
" Her blush Aurora or the morning skye"
of Grlffin, we read in Daniel
"Restore thy blush unto Aurora bright; "
and for
" Her feete faire Thetis praiseth evermore"
of Griffin, Daniel has
" To Thetis give the honour of thy feete,"
and many more almost identical imitations, if we may so call




IQartn! fng1tiz8    itcrature.             301
them. However the most glaring plagiarism, after that from
Shakspeare, is from an older poet, Gascoigne. In Griffin it
begins with these lines: —
" Arraign'd, poore captive, at the barre I stand,
The barre of Beautie, barre of all my joyes,
And I hold up my ever-trembling hand."
Gascoigne commences thus, without Griflin's paltry pun: —
"At Beautyes barre as I did stand,
When false Suspect accused mee,
George, (quoth the Judge) holde up thy hande," &c.
Griffin, as he proceeds, spoils various points in Gascoigne's
spirited lyric; and throughout "Fidessa" he lays other poets
under contribution, whenever their thoughts or language suit his
purpose. We do not wish to press this matter further, but when
we see a man thus unconscientiously (certainly not unconsciously)
begging, borrowing, and stealing from his contemporaries, in order
to make up a small volume of poor sonnets, we need not hesitate
long in deciding that Griffin was indebted to Shakspeare and
not Shakspeare to Griffin, although the latter appeared in print
in 1596, and Shakspeare's sonnet was, probably, not in print
(though this is doubtful) until it came out in " The Passionate
Pilgrim," in 1599.
We may add that the reprint of Griffin's " Fidessa," in 1815, is
one of the most accurate that has fallen in our way; but it has this
singular defect, that the list of " Faults escaped " of the old edition is omitted, while the blunders it was intended to set right are
carefully preserved in the text. Thus, the author is made to speak
more nonsense than need be attributed to him, and his corrections
are nowhere to be found.
Of B. Griffin, his occnpation, birthplace or acquirements, nothing is known; and if (as some have conjectured) his " Fidessa,"
of 1596, followed an earlier impression of " The Passionate Pilgrim " thafi any that has come down to us, it is most likely that
his sonnet -
"Venus and yong Adonis sitting by her," &c.,




302         Jibtiagrapl)cat   rconunt, etc.
was copied from that earlier impression; if not, Griffin must have
seen it in manuscript. Daniel's " Delia," from which, unquestionably, Griffin derived much assistance, had been twice published
as early as 1592. (See Vol. I. p. 210.)




INDEX.
Abbot, George, Sermon on the death    ster's Answer to his Seven Moof the Earl of Dorset, i. 1.         tives, 1598, i. 19; Alabaster's
Absolom his Fall, by W. T., i. 3.      Sonnets, i. 21, note.
Achelley, Thomas, History of Di- Alarum against Usurers, 1584, by
daco and Violenta, 1576, i. 4; Key    Thomas Lodge, ii. 245.
of Knowledge, 1572, i. 5, nqote; Alba, the Month's Mind of a Lover,
Massacre of Money, 1602, i. 9.       1598, by Robert Tofte, iv. 159.
Achelley, Achlow and Ach, Thomas, Albion's England, 1586, by W. Warin England's Parnassus, 1600, i. 11.   ner, iv. 213; continuance of, 1606,
Acolastus, his Afterwit, 1600, by    iv. 216.
Samuel Nicholson, iii. 58, note.    Alcilia, Philoparthen's Loving Folly,
Actors, male, of female parts in    1613, by John Chalkhill, i. 145, i.
1640, i. 148; old, lent their names    145, note.
as authors of ballads, &c., ii. 215. Alexander and Lodowick, an old
Adagia Scotica, by R. B. 1608, i.   play on the story of, ii. 211.
11; in Latin and English, 1622, Allerton, Ralph, his poem  on his
translated from Erasmus, i. 11.      sufferings as a martyr, ii. 327.
Adam Bell, Clim of the Clough and  All for Money, an interlude by Thos.
William of Cloudeslie, a ballad, i.    Lupton, 1578, ii. 287.
13; gross misprints in various edi- Allot, Robert, his concern in Engtions of it, i. 13.                  land's Parnassus, iii. 135; WeavAdam's Complaint, &c. 1566, by    er's Elpigrram to, iv. 230.
Francis Sable, iv. 1.              Almanlacks, W. P.'s exposure of
Addition to the Bishop of Durham's   their false prognostications, i. 21.
Sermon on the burning of St. Amorose Songs, Sonnets, &c., by
Paul's Church; iii. 164.             Alex. Craige, 1606, i. 199..Eneas Epistle to Dido, her Answer, Amyntas, the Lanmentltions of, by
1600, iii. 98.                       Abraham Fraunce. 1587, ii. 35..Ethiopian History, translated  by  Amyot, James, his Plutarch, i. 22.
Thomas Underdowne, 1587, iv. Anagrainmata Regia, &c., i. 25.
185.                               Anatomy of Absurdity, by Thomas
Affectionate  Shepherd, 1594, by    Nash, 1589, iii. 1.
Richard Barnfield, iii. 203.       Anatomy  of Abuses, by  Philip
Affirican and Mensola, a Romance,   Stubbes, 1583, iv. 106; the Second
by Jo. Goubourne, 1597, i. 15.       Part of, iv. 112; differences in
Ages of Sin, a series of engravings    editions of, iv. 107, 115.
so called, i. 16.                  Anatomy of the World, 1611, poems
Aggas, Edward, or Edward Alde,   by Dr. Donne, i. 26.
the translator of part of Sylvain's  Andruglo and Susania, a Romance,
Orator, 1596, iii. 209.              by H. R., iv. 21.
Aimon, History of the Four Sons of, Anglorumn Lachrymse, by Richard
a Romance, i. 17.                    Johnson, 1603, ii. 176.
Alabaster, William, his perversion  Answer to the Rebels of the North
to Popery, and Sonnet, i. 20; Rac-    by William Seres, i. 28.




304                     -        nbex.
Ant and Nightingale, by Thomas    Epitaph upon, iii. 126; Life and
Middleton, 1604, ii. 333; iv. 26.    Death of, iii. 295; of Brytayn,
Antidote against Melancholy, im-    translated by Lord Berners, i. 81.
puted to T. Jordan, 1661, i. 30.    Arthur o' Bradley, great antiquity
Antiprognosticon, by William Payn-    of the ballad, i. 32; mentioned by
ter, i. 22.                          Richard Brathwaite, i. 97.
Anthropometamorphosis. Man trans-  Art of Longevity, by Edmund Gayformed, &c., by John  Bulwer,   ton, 1659, ii. 53.
Chirosophus, 1653, i. 124.         Ass, Nobleness of the, 1595, by A.
Ape, the English, by W. R., 1588, i.    B., i. 40; imputed by T. Nash to
33.                                  John Lyly, iii. 24.
Apollonius of Tyre, translated by  Astionax and Polixena, by John
Lawrence Twyne, iv. 181; iv. 180.   Partridge, 1566, iii. 147.
Apology of Pierce  Penniless, by  Astrophel and Stella, by Sir P. Sid* Thomas Nash, 1593, iii. 12.         ney, T. Nash's edition of, 1591, i.
Apology of Richard Vennar, or Ven-    42; two editions of, in 1591, i. 43;
nard, 1614, iv. 193.                 misprints in all editions, i. 44.
Apolonius and  Silla by Barnabe  Atropoion Delion, 1603, falsely imRich, 1581, iii. 302.                puted to Thomas Newton, iii. 34.
Apparel, ridiculousness of the Eng- Aurorata, poems by Thomas Prulish in the choice of, i. 4.         jean, 1644, iii. 247.
Aqua-Musae, by John Taylor, the. Avale, Lemeke, Commemoration,
water-poet, iv. 144.                 &c.. of Bishop Bonner, 1569, i. 46.
Arbasto, King of Denmark, by Rob- Avale, John, mentioned, i. 47.
ert Greene, 1617, ii. 44.
Arcadia, the, by Sir Philip Sidney,
1590, iv. 50; entry of it at Sta-                   B.
tioners' Hall, iv. 52; when it was
first published, iv. 51.           Babel's Balm, by John Vicars, 1624,
Arcadian   Princess, by  Richard   iv. 200.
Brathwaite, 1635, i. 97.           Babington,  Anthony, his CorreAriosto, translated by Sir J. Har-   spondence with  the Queen  of
ington, 1591, ii. 252; in colors,    Scots, iii. 254.
intended to be published in 1593, Bachelor's  Banquet, by  Thomas
ii. 252, note.                       Dekker, i. 257.
Ariosto's Seven Satires, by Robert Bacon, Lord, Psalms, translated by,
Tofte, iv. 160.                      1625, i. 49; his Letters to Lord
Armada, Spanish, old tapestry rep-    Ellesmere on a proposed History
resenting it, iv. 41.                of England, i. 50.
Armado, or Navy of 103 ships, by  Bacon, History of Friar, 1629, i. 52.
John Taylor, 1627, iv. 139.        Baldness, the defence of, translated
Armin, Robert, his Discourse re-    bv Abraham Fleming, ii. 27.
garding Elizabeth Caldwell, 1604, Baldwin, William, his Beware the
i. 35; his characters as an actor    Cat, 1584, i. 54; his Funerals of
in Shakspeare's pylas, i. 36.        Edward VI., i. 54; Ballad against
Arnalte and Lucinda, by Leonard    the Papists, i. 56; his contribuLawrence, ii. 235.                   tions to the Mirror for MagisArnold, Clinton  and  Purser, the    trates, i. 54.
pirates, Verses by, i. 179.        Bale, John, Barnabe Googe's EpiArnold's Chronicle, contents of, i.   taph upon, 1563, ii. 66.
37.                                Ballads, the singing of, in the streets,
Ars Adulandi, the first part, by U1-    ii. 214; popular Tunes enumerated
plan Fulwell, 1579, ii. 37.         in 1605, ii. 231; by Thomas JorArthur, the romance of, printed by    dan, founded upon Plays, ii. 187;
Thomas East, i. 38.                  upon Page of Plymouth, iii. 103.
Arthur, King, Martin Parker's His-  Banquet of Jests, 1630, iv. 37; iv.
tory of, 1660, iii. 125; iii. 126;    38, note.




~nbl~x.                            305
Bansley Charles, his attack on the Bear and Bull-baiting on Sundays,
apparel of Ladies, iii. 265, note.  in 1579, ii. 108.
Barclay, Alexander, described by Beards, the Book of, Treatise in reDr. Bullein in 1573, i. 123.       ply to it, iv. 44.
Barksted, William,  Myrrha  the  Beaumont, Sir John, his lines upon
Mother of Adonis, 1607, iv. 199.    Collins's Tears of Love, 1615, i.
Barnes, his Treatise on Beards, iv.   185; the Metamorphosis of To44.:,                              bacco, 1602, ii. 205, note; Francis,
Barnfield, Richard, his Lady Pecu-   not the author of Salmasis and
nia, or Praise of Money, 1605, i.   Hermaphroditus, &c., 1602, i. 77;
58; his Encomion of Lady Pe-   Poems falsely imputed to, i. 79.
cunia, 1598, i. 59 and note; and  Beggars Ape, 1627, a satire by RichShakspeare, their Poems in the    ard Niccols, iii. 35.
Passionate Pilgrim, 1599, i. 59; Belgia's Troubles, 1625, by William
his praise of Spenser, Daniel,    Crosse, i. 205.
Drayton, and Shakspeare, i. 61; Belman's Call, during the Plague,
his Shepherd's Content, 1594, iii.  i. 179.
203; misprint in his Affectionate  Belveddre, the Garden of the Muses,
Shepherd, 1594, iii. 203; his men-    1600, by John Bodenham, i. 88.
tion of Thomas Watson, iv. 221; Bendish, Sir Thomas, News from
his Cynthia, 1595, misprints in the    Turkey, 1648, i. 81.
reprint of, iii. 203, note; his poem  Berners, Lord, Arthur of Britain,
on the Death of Liberality, iv. 30,   translated by, i. 81.
note.                            Berni, F., his Lode del Asino, 41.
Bartholomew Fair, tracts in prose  Best, George, his Discourse of Froand verse regarding, i. 63; its an-   bisher's late Voyages, 1578, i. 82.
cient litnits, i. 66; or Variety of Beta, Drayton's encomium  on Q.
Fancies, 1641, i. 63; poem on, by    Elizabeth, i. 277.
R. Brathwaite, i. 97; Songs on, Beverley, Peter, his translation of
in Playford's Musical Companion,   Ariodante and Geneura, ii. 17.
i. 65, note.                     Bevis of Hampton, printed by PvnBarton, Elizabeth, the Holy Maid   son, Copland, East, Stansby, i. 84.
of Kent, ii. 50.                 Beware the Cat, 1584, by William
Baskerville and Saville, A Libel of   Baldwin, i. 54.
Spanish Lies, 1596, i. 67; Sir Biddulph, W., his Travels, 1609, ii.
Thomas, his personal Challenge    233.
to the Spaniards, iv. 19.        Bien Venu to the Danes, 1606, by J.
Bas, or Basse, William, his Sword    Davies of Hereford, i. 225.
and Buckler, 1602, iv. 34.       Bieston, Roger, the Bayte and Snare
Basse or Bas, William, his Great   of Fortune, i. 86.
Britain's Sun-set, 1613, i. 70; his Bishops, Dialogue of their dealings
Polyhymnia, a MS. Collection of   with the Puritans, ii. 324.
Poems, i. 71; his Sonnet to Lady  Black Dog of Newgate, by Luke
Falkland, i. 72; his lines upon the    Hutton, ii. 149.
death of Shakspeare, i. 73.      Blaikelocke, Laurence, his bookselBastard, Thomas, his Chrestoleros,   ler's fraud respecting Salmasis
seven Books of various Epigrams,   and Hermaphroditus, i. 78.
1598, i. 73.                     Blank-verse before Milton, Bishop
Batrachomyamachia, translated by    Percy's reprints of, iv. 123; by
George Chapman, i. 156.            Anthony Nixon, iii. 63; by ArBattle of Agincourt, by  Michael   nold Cosby, i. 197; by Barnabe
Drayton, i. 286.                   Rich, iii. 301; by Sir Edward
Baxter, Nicholas, his Sir Philip Sid-   Dyer, i. 293; by George Turberney's Ourania, 1606, i. 75, i. 76,   vile, iii. 89; in the Knight of the
nzote; quoted, i. 284.              Sea, 1600, ii. 217.
Bayte and Snare of Fortune, by  Blasts of Retreat from  Plays and
Roger Bieston, i. 86.              Theatres, 1580, iii. 212.
20




306                            Jnbiox.
Blenerhasset, Thomas, his share in    not the author of Sir Philip Sidthe Mirror of Magistrates, i. 88; a    ney's Ourania, 1606, i. 75; his
Direction for the Plantation  of   Passionate Shepherd, 1604, i. 98;
Ulster, 1610, i. 87.                his Bower of Delights, 1591, i. 105;
Blessed  Balm, 1604, by Thomas    his Flourish upon Fancy, 1577,
Churchyard, i. 173.                 i. 105; his Pilgrimage to ParaBlurt, Master Constable, a play by    dise, 1592, i. 104; his residence
Thomas Middleton, 1602, i. 249.     and family in Cripplegate, i. 105;
Boccus and Sydracke, the History    his Small Handfull of Fragrant
of, by Hugh Caumpeden, i. 139.      Flowers, 1575, i. 105; Wits TrenchBodenham, John, his England's Hel-   more, 1597, i. 111; Pasquil's Madicon. 1600, 1614, i. 89, 90; his   cap and his Message, 1600, i. 107;
Belveddre, or the Garden of the    Second Part of it, i. 109; Strange
Muses, 1600, i. 88; his Wits Thea-    News out of divers Countries,
tre, 1598, i. 91; his Wits Com-   1622, i. 110; other productions by
monwealth, 1598, i. 91.             him, iii. 343; allusion to, iv. 254;
Bohemia treated in England and    his Murmurer, 1607, ii. 350; CapFrance as a maritime country, ii.   tain Nicholas, buried at Norton,
88.                                 Staffordshire, in 1624, i. 105.
Bonerto, a name assumed by Nich- Brewer, Thomas, his Knot of Fools,
olas Breton in 1604, i. 99.         1624, i. 112; his Weeping Lady,
Bongay, History of Friars Bacon    1625, i. 112.
and Bongay, 1629, i. 52.          Bridgewater Catalogue, illustrated
Bonner, Bishop, Commemoration of,   by other works, i. 283.
&c., by Lemeke Avale, 1569, i. Brief Discourse Apologetical, by Dr.
46; Richard Robinson's abuse of,   John Dee, i. 239.
iii. 234.                         Brinklow, Henry, his Lamentation
Book of Merry Riddles, 1600, iii.   against London, 1542, ii. 274,
322; of St. Albans, 1486, by Ger-   note.
vase Markham, ii. 310.            Bristol Tokens mentioned as circuBorde, Dr. Andrew, on Beards, iv.   lating in 1601, iii. 143.
44; his merry Tales of the Mad- Britain's Glory, or Life and Death
men of Gotham, ii. 75.              of Arthur, iii. 295.
Bourbon, Nicholas, his Niugarum  Britannia's Pastoral, by  William
Libri Octo, ii. 194.                Browne, i. 113.
Bourgh, Lord, the murder of, by  Brooke, Arthur, Epitaph upon, by
Arnold Cosby, 1591, i. 197.         George Turbervile, iv. 174; his
P ur, or Bourcher, Arthur, his Apo-    poem  of Romeo and Juliet, iii.
logue of the Lark and her Family,   224, note.
ii. 113.                          Brooke, Christopher, some account
Bower of Delights, 1591, by Nicholas    of, i. 114; his funeral tribute to
Breton, i. 105.                     Sir A. Chichester, 1625, i. 115;
Bradley, Arthur o', the ballad and    his Ghost of Richard the Third
its antiquity, i. 32.               1614, i. 114.
Brain-breakers Breaker, by Thomas  Broughton, Rowland, his Discourse
Grantham, 1644, iii. 238.           on the death of the Marquis of
Brathwayte, Richard, his Good Wife,   Winchester, 1572, i. 115.
iii. 85; his Strappado  for the  Browne, William, R. Braithwaite's
Devil, 1615, i. 94; his Arcadian    praise of, i. 95; his Britannia's
-Princess, 1635, i. 97; his Two    Pastorals, i. 113; his praise of
Lancashire Lovers, 1640, i. 98;   Spenser, i. 113; his  praise of
his Scholar's Medley, 1614, ii. 133,   George  Chapman  of Hitching
note.                               Hill, i. 155.
Breton, Nicholas, his Crossing of Brown, Sir Thomas, his PseudoProverbs, 1616, i. 12; stanzas    doxia, Epidemica, i. 53.
probably by, i. 46; Passion of a  Brusanus, 1592, a romance, by BarDiscontented Mind, 1602, i. 109;   nabe Rich, iii. 304.




Jnbex.                             307
Brydges, Sir Egerton, his reprint  Cane, or Kane, Andrew, a celebrated
of Nash's Christ's Tears, 1613, iii.    Player, iv. 93.
19.                                Canterbury and York, Archbishops
Buckhurst, Lord, Turbervile's ap-    of, their Disputatio i by Laurence
plause of, iv. 175.                  Price, 1642, iii. 228.
Buck, Sir  George, his Daphnis  Cap and Head, pleasant Dialogue
Polvstephanos, an Eclogue, &c.,   between, 1564, i. 129.
1605, i. 117; his MS. verses to  Capel, Edmund, his reprint of the
Lord Chancellor Ellesmere, i. 119.    Nut-brown Maid, i. 3.
Buckler against Death, by E. B., Carew, Richard, his Godfrey of Bul1640, i. 119.                        loigne from  Tasso, 1594, i. 131; a
Bucolics of Virgil, by  Abraham        Herrinf's Tail attributed to, i.
Fleming, 1575, ii. 25.               132; Sir George, Thomas Nash's
Bull, an Irish, what it is, iv. 146.   obligations to, iii. 14.
Bull, Bear, and Horse, 1638, byJohn  Carill, the lady addressed by Tofte
Taylor, iv. 145.                     in his Laura, 1597, iv. 160.
Bullein, William, Dialogue against Carre, John, his Larum Bell for Lonthe Pestilence, 1573, i. 121.        don, &c. 1573, i. 134.
Bulwer, John, his Anthropometa-  Cartwright, John, The Preacher's
morphosis, 1653, i. 124.             Travels, 1611, i. 138.
Bunch, Mother, her Merriments and  Case is Altered, a tract probably by
Jests, 1604, iii. 149.               Francis Thynne: 1604, iv. 154.
Burbadge, Richard, alluded  to in  Castara, poems by William HabingRatsey's Ghost, iii. 285; R. Fleck-   ton, 1634, i. 102.
noe's praise of him, ii. 23.       Castle of Christianity, by Lewis
Burning Pestle, Knight of the, con-   Evans, i. 319.
demned on first performance, iv. C'atherine de Medicis, see Katherine
195.                                 &c. ii. 191.
Butler, Samuel, a Joke of Hudibras  Catharos, a tract, 1591, by Thomas
in Jocabella, 1640, i. 148.          Lodge, ii. 251.
Buttes, Dr., Diets dry Dinner, 1599, Caumpeden, Hugh, History of King
i. 125; Sir William, Epitaphs on    Boccus and Sydracke, i. 139.
his death, 1583, i. 125.           Caveat for Common Cursetors by
Harman, 1573, i. 251, ii. 122.
C.                  Caveat or Warning  for England,
1573, by W. Phillippes, i. 136.
Ceesar and Pompey, an early his-  Cecil, Lady, of Burghley, George
torical drama, ii. 70.               Whetstone's poem to, iv. 240.
Calabria, Earthquake in, Martin  Cecil, Sir Robert, his Letter in 1598
Parker's poem upon, 1638, iii. 122.   regarding  Sherborne,  iii. 276,
Caldwell, Eliz., Robert Armin's Dis-    note.
course regarding, i. 35.           Centurion, the fight of, described in
Caltha Poetarium, 1599, by T. Cut-    1591, i. 143; ballad upon, i. 144.
wode, ii. 207.                     Cervantes, translation of' his Persiles
Cambridge Jests or Witty Alarums,    and Sigismunda, 1619, iii. 181.
i. 125.                            Ceyx and Alcioe, in metre, by W.
Camell and Churchyard, their Con-    Hubbard, 1569, ii. 143.
tention, 1560, i. 166.             Chain of Golden Poems, &c. by Sir
Campion, Edmund, Report of his    Aston Cokayne 1658, i. 181.
Death and Martyrdom in 1581, i. Chalkhill, John, his Thealma and
127; True Report of the taking    Clearchus, 1683, i. 144; a friend
of, by  George  Elliot, i. 306;    of Spenser, i. 144; the probability
Thomas, his Observations on Eng-   that he wrote Alcilia, 1613, i.
lish Poesie, i. 217; his Songs and    145.
Airs, iv. 71; his Songs of Mourn-  Chalmers, G., his  Churchyard's
ing, 1613, iv. 74.                   Chips concerning Scotland, i. 170,
Canaan's Calamity, a poem, iii. 122.   note.




308                           Unbex.
Chamberlain, Robert, his Jocabella Christian Passions, poems by Henry
and Epigrams, 1640, i. 147.        Lok, ii. 262.
Chance of a Dolorous Lover, by Christ's Bloody Sweat, by J. F.
Christopher Goodwyn, ii. 63 and    1613, i. 162; Tears over Jerusanote.                              lem by -Tho. Nash, 1593 and 1594,
Chapham, George, his translation of   iii. 16.
Petrarch's Seven  Hymns, &c. Christmas Plays at York, ii. 84, note.
1612, i. 148; Hymn to our Saviour Churchyard, Thomas, his birth and
on the Cross, 1612, i. 150; Epi-   death, i. 171; his Will, 1604, i. 171,
grams by, i. 151; his Twelve    note; his Mirror for Man, i. 164; a
Books of the Iliads, i. 151; his    writer in the reign of Edw. VI.,
Translation of the whole Iliad, i.  i. 165; the Contention betwixt
154; Euthymiae Raptus, or Tears    Churchyard and Camell, 1560, i.
of Peace, 1609, i. 155; his Crown    166; poem on the death of Sir F.
of all Homer's Works, i. 156; of   Knowles, 1596, i. 168; his wished
Hitching, Petition for the Baily-   Reformation of wicked Rebellion,
wick in 1619, i. 157; Poem  on    1598, i. 170; his peculiar spelling,
Guiana, 1596, ii. 201.             i. 171; the Wonders of the Air,
Charge, Thomas Churchyard's, 1580,   &c., 1602, i. 172; his Fortunate
i. 173.                            Farewell to the Earl of Essex,
Charles I., the true Effigies of, &c.   1599, i. 173; his Charge, 1580, i.
i. 158.                            173; his Good Will, &c., 1604, i.
Chaucer, Geoffrey, described by Dr.   173; his poem in the Paradise of
Bullein in 1573, i. 122: his Works,   Dainty Devices, 1578, i. 301; his
edit. 1561, i. 159; his Works, edit.   Blessed Balm, 1604, i. 173; his
1602, i. 159; described in Greene's    Mirror of Man, i. 164, note; transVision, ii. 90; Chaucer, Spenser   lation of Ovid's Tristibus, 1580, i.
and Fairefax, resemblance be-   174, note; celebrated persons eulotween, ii. 2; Gower, Skelton, and    gised by him, i. 168, note; his
Edwards mentioned,iii. 225; doubt   Shore's Wife, iii. 20, note.
if Chaucer were knighted, iii. 225; Churl and the Bird, a poem, differunknown notice of-his Troilus and    ent editions of, i. 175; the original
Cressida, iv. 162; i. 314, note; the    of the fable, i. 177.
Tomb of, iv. 216; and Jyl of Brent- Chute, Anthony, works by, or imford's Testament, i. 191, note; the    puted to, iii. 24.
earliest author of English hexam-  Ciceronis Amor, by Robert Greene,
eters, iv. 99, note.               1589, ii. 86.
Cheapside Cross, the repair of, iii. Circes of J. B. Gello, translated by
158.                               Henry Iden, ii. 155.
Chettle, Henry, England's Mourning  Civil Wars, Four Books of the, by
Garment, 1603, i. 160; Shepherd's   Samuel Daniel, i. 214; Eight
Spring Song to James I., i. 161;   Books of the, i. 214.
his publication  of R. Greene's  Claraphil and Clarinda, by Thomas
Groats worth of Wit, 1592, iii. 8;   Jordan, ii. 190.
Piers Plainness Seven Years Pren- Climsell], Henrv, London's Vacation,
ticeship, 1595, iii. 11, 200.      a poem, 1637, i. 177.
Children, the frequent Stealing of, Clinton, Purser, and Arnold, the
in London, iii. 73.                pirates, Verses by, i. 179.
Chloris, sonnets by William Smith, Closet of Councils, 1569, by Ed-'1596, iv. 68.                      mund Elviden, i. 311.
Chrestoleros, Seven Books of Epi- Cobbler of Canterbury, 1590, disgrams by Tho. Bastard, 1598, i.   owned by Robert Greene, ii. 90,
73.                                iv. 129.
Chrestian Navy, by Anthony Nixon, Cock Lorell's Boat, early mention
1602, 1605, iii. 65.               of, ii. 18.
Christian's Manna, a poem by Rob-  Cock Wat, the Spirit of Newgate,
ert Southwell, iv. 83.             i. 250.




]'nbec;.                         309
Coffee-house Jests, by Hicks, ii.   younger brother to  Robert, i.
168.                                190.
Coffee used by the Turks in 1601, Copley, Anthony, his Wits' Fits and,
iii. 143.                           Fancies, 1595 and 1614, i. 193;
Cokayne, Sir Aston, Chain of Golden    his Love's Owle, i. 194, 195; his
Poems, &c., 1658, i. 181.           Fig for Fortune, 1596, i. 195; tried
Coke, John, Debate between Her-   at Winchester with Sir Walter
alds of England and France, 1550,   Raleigh, 1603, i. 194.
i. 182.                           Corser, Rev. T., his Collectanea
Cold-water Cure for the Plague, i.   Anglo-Poetica, i. 145, note.
178.                              Coryat, Thomas, his Crudities, and
Coligni, the Life of, 1576, by Arthur    Travels, 1611, i. 196.
Golding, ii. 60.                  Cosby, Arnold, his murder of Lord
Colin or Collin, Spenser's pastoral   Bourgh, and Verses, i. 197.
and poetical name, i. 275.        Cotton, Sir Robert, letter to, from
Collins, Thomas, his Tears of Love,   Thomas Nash, iii. 161.
1615, i. 184; his Penitent Publi- Counters Commonwealth, 1617, by
can, 1610, i. 185.                  William Fenner, ii. 12.
Colman, William, his Dance Macha- Court Beggar, by Richard Brome,
bre, i. 186.                        the Cries of London in the, i, 203.
Come live with me and be my love, Court of Conscience, or Dick Whipimitated, i. 201.                   per's Sessions, 1607, by Richard
Commemoration of Q. Elizabeth,    West, i. 63; iv. 235.
1579, by Edward Hake, ii. 272.    Courtier's Academy, by John KeepCommission to Sir W., Raleigh for    er, ii. 192, note.
the discovery of Guiana, 1596, iii. Coverdale, Miles, Poems  against
269.                                Swearers by, iv. 125.
Complaints, poems by  Edmund  Cox. Captain, his Library in 1575,
Spenser, 1591, iv. 83.              ii. 228; iv. 4.
Complaint of a Popinjay, by Sir Craige, Alexander, his  Amorose
David Lyndsay, ii. 296.             Songes, &c., 1606, i. 199.
Compters Commonwealth, 1617, by  Cranley, Thomas, his Amanda, 1635,
William Fenner, ii. 12.             i. 229.
Conscience, Court of, 1607, by Rich- Crew  of kind  Gossips, 1609, by
ard West, i. 63, iv. 235.           Samuel Rowlands, iii. 352.
Consolation, Seneca's Book of, trans- Cries of London at various dates, a
lated by R. C., 1635, iv. 28.       list of, i. 202, 203.
Constable, Henry, his Diana, 1592, Crop-ear curried, by John Taylor,
i. 187; biography of him, i. 187;    water-poet, iv. 143.
his death, i. 90, note; his Sonnets  Crosse, William, Belgia's Troubles,
before  Sidney's  Apology  for    1625, i. 205.
Poetry, 1595, iv. 56; or Henry  Crossing of Proverbs, by Nicholas
Chettle, the authors of the Forest   Breton, 1616, i. 12.
of Fancy, 1579, ii. 30.           Cross-row, the Maidens, a poem, ii.
Conusance d'Amours, or Treatise of   298.
Love, iv. 161.                    Crowch, Humphrey, his  Love's
Copetto, Francisco, his Praise of   Court of Conscience, 1637, i. 207.
Nothing, iii. 75.                 Crowley, Robert, his Sermon, 1569,
Copland, Robert, his Jyl of Brent-   i. 48; ii. 275; Printer and Preacher,
ford's Testament, i. 189; his Com-   ii. 275.
plaint of too late Marriage, i. 190; Crown Garlandof Golden Roses, by
author of other poems on Matri-    Richard Johnson, ii. 171; iii. 295.
mony, ii. 318; Envoy to the Spec- Crucifix, by Christ. Lever, 1607, ii.
tacle of Lovers, iv. 213.           240.
Copland, William, his edition of Crudities, by Thomas Coryat, 1611,
Adam  Bell, &c., i. 14; probably   i. 196.




310                          ]nblcx.
Cuckoo, the, 1607, an apologue by    note; when and where born, i. 209,
Richard Nicols, iii. 48.           note; his Delian Sonnetry, iv. 298,
Cudden, Robert, his poems in Whet-   note.
stone's Rock of Regard, iv. 238, Daphnis Polvstephanos, an Eclogue,
241.                               by Sir George Buck, 1605, i. 117.
Cupid and Psyche, an early drama Darcie, Abraham, his Funeral Tears
regarding, ii. 70.                 of the Duchess of Richmond, i.
Cupid and Death exchanging arrows,   220.
i. 184; Thynne's poem on, iv. 147, Davies, John, of Hereford, his denote.                              scription of Peeke's Victory, iii.
Curtain  Playhouse, the'Theatre,   174; his Mirurn in Modum, 1602,
and Blackfriars Playhouse, iii.   i. 224; his Bien Venu to the
69; iv. 256.                       Danes, 1606, i. 225; his Summa
Curtain Drawer of the World, by    Totalis, i. 225; a Writing-Master,
W. Parkes, 1612, iii. 127.        i. 226; his Holy Rood, 1609, i. 227;
Custom  and Verity, Dialogue be-   his Scourge for Folly, i. 228, iii.
tween, by Thomas Lovell, ii. 275.   138; his Scourge for Paper-perseCutwode, T. his Caltha Poetarum or   cutors, 1625, i. 229; his Sonnet
Bumblebee, 1599, ii. 207.          on William Parry, iii. 141.
Cymon and Iphigenia, a poem, by Davison, Francis, his Poetical RhapT. C., ii. 44.                     sody, 1611, i. 230; William, SecreCynthia, Sonnets by Richard Nu-   tary, doubt if he did not write a
gent, 1604, iii. 77.               Pastoral, i. 231; his Poems, i. 230,
note.
Davys, Sir John, his Orchestra, 1596,
D.                   i. 234; stanzas afterwards omitted, i. 235; his Sonnet to Lord
Damon and Pythias, by Richard    Chancellor  Ellesmere, i. 237;
Edwards, i. 299, 310.              Nosce Teipsum, 1599, 1608, i. 237,
Dance Machabre, by W. Colman, i.   238; his burial in 1624, i. 238;
186; of Death's Duel, i. 186.      Letter from, to Sir M. Hicks, i.
Dances, Conclusions upon, by John    238; his Epigrams, ii. 311; his
Lowin, ii. 284.                    Riddle upon a Coffin, iii. 130; his
Dancing and Minstrelsy, T. Lovell's    Debate for superiority between
Dialogue against, ii. 275.         Wife, Widow, and Maid, iii. 342.
Dancing, John Northbrooke's Trea- Day, John, his Play on the Travels
tise against, iii. 68.             of the Sherleys, 1607, iii. 61.
Daniel, Samuel, Epigram  upon, i. Dead Term, 1608, by T. Dekker, i.
26; his twenty-eight poems, sur-   252.
reptitiously printed by T. Nash in  Death and Time, by Samuel Row1591, i. 45; praised by Barnfield   lands, battle between, iii. 336.
in 1598 and 1605, i. 61; Transla- Death's general Proclamation, by
tion of Paulus Jovius, 1585, i. 208;   Valentine Leigh, 1561, ii. 236.
Delia, 1592, i. 210, iii. 78; his son- Debate between the Heralds of Engnets appended to Astrophel and    land and France, by John Coke,
Stella, 1591, i. 212; his travels in    1550, i. 182.
Italy, i. 213; Four Books of the  Debate between Pride and LowliCivil Wars, 1595, i. 214; Eight   ness, by  Fiakncis  Thynne, iv.
Books of the Civil Wars, 1609, i.   146.   y     i
14; The Works of, 1601, i. 215; Declamations regarding the pound
his Panegyric Congratulatory, &c.   of Flesh in the Orator, 1596, iii.
i. 216, 218-; Certain small Poems,   209.
&c. 1605, i. 218; First Part of the  Decree between Churchyard and
History of England, 1612, i. 219;   Camell, by W. Elderton, i. 167.
Drayton's address to, i. 282; Wee- Dedekind, Frederick, R. F.'s transver's Epigram to, iv. 229; poems   lation of Grobianus and Grobiana,
not afterwards reprinted, i. 45,   1605, iv. 24.




aJnigX.                          311
Dee, Dr. John, his Discourse Apolo-   upon him, ii. 99; three of his balgetical, i. 239.                  lads on the Spanish Armada, i.
Defence of Plays and Players, by    265, note.
Thomas Lodge, ii. 67.           Demands Joyous, printed by WynDefence of Rhyme, by Samuel Dan-   kyn de Worde, i. 267.
iel, i. 217.                    Democritus, or Dr. Merry-man, by
Defiance to Fortune, by H. R.,   Samuel Rowlands, 1607, iii. 348..1590, iv. 21.                   Derby, Earl of, Thomas Nash's SonDekker and Wilkins, their Jests to   net to, iii. 10.,
make you Merry, 1607, i. 195, Destruction of Jerusalem, by T. D.
247.                              ii. 166; destruction of Troy, the
Dekker, Thomas, born in London,   History of, 1673, iv. 164.
and other biographical matters, i. Devil and Dives, Thomas Lupton's
240; his Wonderful Year, 1603, i.   Dream of, ii. 285.
241; his Seven Deadly Sins of Dialogue between Common SecreLondon, 1606, i. 241; his Double   tary and Jealousy, ii. 164; beP. P., 1606, i. 242; Knights Con-   tween the Cap and the Head,
juring, and News from Hell, 1606,   1564, i. 129.
i. 244; his tribute to the memory  Diana, 1592, by Henry Constable,
of Thomas Nash, i. 245; his men-   and its different editions, i. 187;
tion of Spenser and the Fairy    Sonnet to, by John Soowthern, iv.
Queen, i. 245; Belman of London,   77.
1608, i. 250; Dead Term, 1608, i. Dice, G. Whetstone's Invective
252; Gulls Hornbook,1609, i. 252;   against, iv. 241; play, Thomas
Nott's edition of it, iv. 24; Raven's   Newton's Treatise on, iii. 36.
Almanack, 1609, i. 253; Lanthorn  Dickenson, John, his Greene in
and Candle-light, 1609, i. 254:   Conceipt, 1598, i. 268.
Bachelor's Banquet, i. 257; O per Didaco and Violenta, the history
se O, i. 256; Rod for Runawayes,   of, by Thomas Achelley, 1576, i.
1625, i. 256; his Wars, Wars,   4, 288.
Wars, 1628, i. 257; an old man in  Dido and Eneas, ballad upon, by
1628, i. 259; his London's Tempe,   Humfry Crowch, i. 208; Epistle
1619, i. 258;.not the author of   of, iii. 97.
The Dove and the Serpent, 1614, Die well, the Manner to, with poems,
i. 272; his tracts against cheats   1579, ii. 303.
praised, ii. 14; his, Chettle's, and  Diogenes, an Interlude,.i. 210; LanHaughton's Play of Patient Gris-   thorn, 1631, by S. Rowlands, iii.
sell, ii. 92; perhaps the author of   357.
News from Gravesend, 1604, iii.. Dirige on Bishop Bonner, by Lemeke
30; Owl's Almanac, 1618, iii. 80;   Avale, 1569, i. 47.
Mock Prognostications by him  Divers Voyages touching Amerand others, iv.' 210; his begging   ica, by Richard Hakluyt, 1582, ii.
Letter in 1616 to Edward Alleyn,   266.
i. 240, note.                    Dobson, George, his Dry Bobs, or
Delia, by Samuel Daniel, 1592, i.  jests, 1607, i. 271.
210; differences in the two earliest Doni, the Moral Philosophy of, by
editions of it, i. 211.            Sir Thomas North, 1601, iii. 67.
Deloney, Thomas, his Garland of Donne, Dr. John, his Anatomy of
Good Will, 1604, i. 259, i. 260,   the World, i. 27; patronised by
note, Strange Histories, 1607, i.   Lord Ellesmere, i. 27; his Satires,
260, 262, ii. 171; complaint against,   written before 1593, i. 27; his
by the Lord Mayor, i. 265; his   Poems, when first published, i.
Thomas of Reading, i. 264; Va-   28, note; John, the son of Dr.
rious Works by, i. 265; his John    Donne, the poet, iii. 179.
Winchcomb, Jack of Newbery, i. Dorastus and Fawnia, by R. Greene
265; his Garland of Delight, iii.   converted into a Chap-book, ii.
295; Edward Gilpin's Epigram    88.




312                          3nlb t.
*Dorset, Earl of, H. Peacham's  Durfey, Thomas, his Wit and Mirth
April Shower on the death of,  to purge Melancholy, i. 32.
1624, iii. 169.                 Dyer, Sir Edward, a poem by T.
Double P. P., 1606, by Thomas Dek-   Lodge imputed to him, i. 92;
ker, i. 242.                       doubt whether he did not write a
Dove and the Serpent, by D. T. not   Pastoral, i. 232; his Six Idillia
T. Dekker, 1614, i. 272.          from Theocritus, 1588, i. 292; his
Drake, Sir Francis, Verses by, on    death in 1607, i. 292; his Praise
Sir Humfrey Gilbert's Discov-   of Nothing, 1585, i. 294, iii. 31, 75;
ery, iii. 172; and Sir John Nor-   Letter to the Earl of Shrewsbury,
ris, their Expedition in 1589, i.   and Anecdote of his Father, i. 293,
317; Drake's death, i. 68; and the    note.
cause of it, iv. 17; Charles Fitz- Dyets Dry Dinner, by Dr. Buttes,
jeffrey's Poem upon, 1596, i. 68,   1599, i. 125.
note.
Drayton, Michael, his Idea, the                   E.
Shepherd's Garland, 1593, i. 274;
mention of Robin Hood, Gawen  Earthquake  in  Calabria, Martin
and Sir Guy, i. 15; author of a    Parker's Poem  upon, 1638, iii.
Poem on the death of Sir Philip   122; of 1580 described, ii. 345;
Sidney, i. 76; praised by Barn-   Arthur Golding's Tract upon, ii.
field in 1598 and 1605, i. 61; his   61.
Sonnet to J. Davies, of Hereford, East Indies, Dutchmen's Voyage to,
l. 228; Harmony of the Church,   in 1598, i. 296.
1591, i. 274; Eclogue on the  Ecclesiastes, poems by Henry Lok,
death of Sir P. Sidney, i. 276;   1597, ii. 262.
Endymion and Phcebe, i. 278; Eclogues,.Epitaphs, and Sonnets, by
pensioner to Prince Henry, i. 283;   Barnabe Googe, 1563, i. 298; ii.
his Owl; 1604, i. 283; his col-   65.
lected Poems, i. 285; Legend of Edward II., Life and Death of, by
Cromwell, 1607, i. 284; Battle of   Sir Francis Hubert, ii. 146.
Agincourt, 1627, i. 286; his men- Edwards, Richard, and "the Paration of Soowthern, iv. 77; Wee-   dise of Dainty Devices," 1578, i.
ver's Epigram to, iv. 229; Idea's   297; new poems imputed to, i.
Mirror and Sonnets in it, i. 285,   300; mentioned in 1579; iii. 224;
note.                              his death, i. 299; Thomas Twine's
Dream  in the Phoenix Nest, 1593,   Epitaph upon, 1567, iv. 173; Barprobably by Robert Greene, iii.   nabe Googe's Epitaph upon, ii.
196; omission of stanzas in, iii.   67.
197; of the Devil and Dives, by  Edyth, the Widow, her Jests, by
Thomas Lupton, ii. 286, note.      Walter Smith, 1573, iv. 63.
Drout, John, his Gaulfrido and Bar- Eighth Liberal Science, the first
nardo, 1570, i. 9, 286.            part, by Ulpian Fulwell, 1579, ii.
Drummond, William, of Hawthorn-   37.
den, his Forth Feasting, i. 290.    Eighth Wonder of the World, by
Drury, Elizabeth, Dr. Donne's poem    John Taylor, 1613, iv. 133.
upon her death, i. 26.           Egeria, Adventures of the Lady, a
Dry Bobs, by George Dobson, 1607,   romance, i. 302; ii. 35.
i. 271.                          Egerton, Sir Thomas, Lord EllesDryden John, his Theodore and    mere, his answer to a soldier, i.
Fonoria, iii. 25.                  21; T. Bastard's Epigram  to, i.
Dugdale, Gilbert, a witness on the    75; Sonnet to, by Henry Lok,
trial of Eliz. Caldwell, i. 36.    1597, ii. 263.
Dumb Knight, 1608, a comedy, by  EKaroelnrasOa, by Tho. Watson, and
Lewis Machin, iv. 200.             its date, iv. 225, note.
Dunmow  and  the claim  to the  Elder, John, possibly the author of
Flitch of Bacon, iv. 190.          News from Hell, 1565, iii. 29.




3nbeox.                           313
Elderton, William, a player, i. 128; English, George Chapman's opinion
ballad-writer, i. 128; his Lamen-   of, i. 152; Lovers, History of two,
tation of Folly, i. 129; his Epi-   by Bernard Garter, ii. 51; Mirror,
taph on Bishop Jewell, i. 129: his   1586, by G. Whetstone, iv. 242;
Pangs of Love and Lover's Fits,   Nunnery at Lisbon, T. Robinson's
iii. 311; mentioned, ii. 346; his   Anatomy of, iii, 335; Verse, G.
Decree between Churchyard and    Gascoigne's notes on the making
Camell, i. 167.                    of, ii. 52.
Eliosto Libidinoso, a romance by  Englishwomen, Invective against, i.
John Hynd, ii. 152.                34; the habits of, i. 316.
Elizabeth, Queen, and H. Golding- Ephemerides of Phialo, by Stephen
ham, anecdote of. i. 195; her say-    Gosson, ii. 68, note; iii. 213.
ing while imprisoned, iv. 17; Ep- Epicedium, a Funeral Oration on
itaph by, iv. 78; W. Warren's    Queen Elizabeth, by R. Niccols,
Poem on her Name, 1581, iv. 219;   iii. 41.
the Poor's Lamentation on her Epigrams, by Sir John Davys, ii.
death, 16038, i. 304; Verses by R.   311; of the oldest Cut, &c., by
Niccols on her death, iii. 43; Son-   John Weever, iv. 22; Songs and
net on her death by T. Newton,   Sonnets, 1567, by George Turberiii. 35.                           vile, iv. 170.
Ellesmere, Earl of, his translation of Epistle Exhortatory, by Henry StalVon Raumer, ii. 121, note.         bridge, iv. 95.
Elliot, George, his True Report of Epitaphs on the death of Sir William
the taking of Edmund Campion,   Buttes, 1583, i. 125.
i. 306.                          Epithalamium  Gallo-britannicum,
Ellis, George, Specimens of Poetry,   by George Marcelline, 1625, ii.
edited by Heber in 1811, ii. 247,   305.
note; Specimens of English Metri- Erastus and the Seven wise Masters
cal Romances, i. 86; Lamentation    of Rome, ii. 211.
of the Lost Sheep, 1605, i. 307.   Essex, Walter, Earl of, T. Kendall's
Elstred, the Complaint of, by Tho.   Sonnet upon his Death, ii. 195;
Lodge, 1593, ii. 250; a tragedy,   Robert, Earl of, Churchyard's
so named, iii. 319.                poem on the Rebellion of 1598, i.
Elviden, Edmund, his Pesistratus    170; supposed to be referred to in
and Catanea, i. 308; Closet of   Daniel's Philotas, i. 219; his autoCounsells, 1569, i. 311.           graph on Drayton's Idea, i. 278;
Elyot, Sir Thomas, his Pasquil the    his Expedition to Spain and PorPlain, i. 313.                     tugal in 1589, i. 317; connection
Endymion and Phcebe, 1594, by    with the Puritans, ii. 324; R.
Michael Drayton, i. 278.           Pricket's poem upon, iii. 230; his
England's Helicon, 1614, additions    Execution, iii. 231; Poems by, iii.
iln, i. 92; 1600, edited by John    232; his revolt, and the fate of his
Bodenham, i. 90, 91.               friends, iii. 233; his real offence
England's Hope against Irish hate,   against Queen Elizabeth, iii. 234;
1600, i. 315.                      mentioned in 1605, iv. 62.
England's Joy, by Richard Vennar, Eucharist, John Mardelev's poem on
mentioned by W. Parkes, iii. 129;   the, ii. 357; Thomas Tuke's poem
ii. 12; iv. 193 and note.          on the, iv. 169.
England's Mourning Garment, 1603, Euphues and his England, 1581, by
by Henjy Chettle, i. 160; proceed-   John Lylv, ii. 294; the Anatomy
ing regarding, at Stationers' Hall   of Wit by John Lyly, ii. 293;
in June, 1603, i. 162.             Shadow, by Lodge or Greene,
England's Parnassus, by R. A.,   1592, i. 325.
(forsan Robert Allot,) 1600, iii. Euterpe, Revived byRichard Fleck132.                               noe, ii. 22.
English Ape, the, by W. R., 1588, Evans, Lewis, his Castle of Christii. 33.                             anity, i. 319; translations from




314                            Snote.
Horace's Satires, i. 320; his re-    courses, 1567, ii. 14; Stanzas by,
ligious  tergiversation,  i. 320;   ii. 15; hisWorks, ii. 15, note; Roger,
Thomas, his (Edipus, 1615, i.   his Answer to Alabaster's Seven
321.                                 Motives, i. 20.
Every Man out of his Humour, by  Ferguson, R., his collection of Scotch
Ben Jonson, ii. 54.                  Proverbs, 1598, i. 11.
Evordanus, a romance, 1605, i. 323. Ferrers, George, his Life of TresilExcellency of good Women, by Bar-   ian, in the Mirror for Magistrates,
nabe Rich, 1613, iii. 313.           i. 2; Lord of Misrule to Edward
Exhortation to the Sick, &c., print-    VI., i. 56 and note; mentioned in
ed by William Copland, i. 93.        Beware the Cat, 1584, i. 55.
Ferris and Hill, their Voyage to
Bristol in a wherry, 1590, iv. 135,
F.                    note.
Feylde, Thomas, his Controversy
Fabii, the play of the, ii. 70.        between a Lover and a Jay, ii. 17;
Fairfax, Edward, his translation of   his Complaint of a Lover's Life,
Tasso, 1600, i.132, ii. 1; fastid-    ii. 19.
iousness as to his first stanza, Field, John, his tract on the Acciand changes in it, ii. 3.            dent at Paris Garden in 1583, iii.
Fairies, King and Queen of the, by    267; iii. 214, note; Nathaniell, a
R. S. ii. 203, note; their cozenages,    Player and Author of Plays, ii.
ii. 203.                             20; Epigram upon, iii. 137; RichFairy Queen, by Spenser, Dekker's   ard, the printer, son to a tanner at
evidence that it was left by Spen-    Stratford-on-Avon, i. 24.
ser unfinished, i. 246.           Field, Theophilus, his Elegies on
Falkland, Lord, and his father, ii. 5,   Sir Horatio Pallavicino, 1600, ii.
note.                                20: his Nigrum Amicorum, ii. 22,
Falkland, Viscount, his Sonnet on    note.
Lady Huntingdon, 1633, ii. 5; his  Fig for Fortune, 1596, by Anthony
lines on the death of Lord Has-    Copley, i. 195.
tings, ii. 5.                      Fig for Momus, Satires, &c., by
Falstaff, Sir John, mention of, i. 31;    Thomas Lodge, 1595, ii. 258.
iv. 255; his Christian name, ii. Fight at Sea, famous, by John
169.                                 Taylor, iv. 144.
Famous Whore, 1609, by Gervase  Fisherman's Tale, 1595, by Francis
Markham, ii. 308.                    Sable, iv. 1.
Farewell to  Military  Profession, Fisher's Folly described, ii. 175.
1581, by Barnabe Rich, iii. 302; Fitzgeffrey, Charles, his Poem  on
to the World, by the Earl of Straf-    Sir Francis Drake, 1596, i. 68, note;
ford, in the year 1641, iv. 103.     on the death of Tho. Nash in 1601,
Father Hubberd's Tales, by Thomas    iii. 3.
Middleton, ii. 333 and note.       Fleas, Mathew  Grove's receipt to
Faults, Faults, and  nothing but    kill them, ii. 97.
Faults, by B. Rich, 1606, iii. 312.  Flecknoe, Richard, his Euterpe ReFaustus, Doctor, History of, 1648,   vived, ii. 22; his Treatise of the
ii. 6.                               Sports of Wit, ii. 24; his Love's.Felton, John, Thomas Knell's Pithy    Kingdom, 1654, ii. 24.
* Note on the execution of, ii. 214.  Fleming, Abraham, his translation of
Female Tumblers in London, iii. 73.   Virgil's Bucolics, 1575, ii. 25; his
Fenne, Thomas, his Fruits, in three    Paradox of Baldness, 1579, ii. 27;
parts, 1590, ii. 7; Hecuba's Mis-   his translation of Hero and Lehaps, 1590, ii. 8.                   ander, ii. 27; his claim to the Tale
Fennor, William, his Counter's Com-    of Hemetes, ii. 28.
monwealth, 1617, ii. 12; iv. 196; Fletcher, Bishop, father of the Poet,
his Descriptions, 1616, ii. 13.      at Cosby's execution, 1591, i.
Fenton, Geoffrey, his Tragical Dis-    199.




nnbex.                            315
Flodden Field, a poem upon, in nine  Fulwell, Ulpian, his first part of the
Fits, 1664, ii. 30.                 Eighth Liberal Science, 1579, ii.
Flourish upon Fancy, 1577, by Nich-    37; his Flower of Fame, ii. 41; his
olas Breton, i. 105.                Like will to Like, ii. 41.
Flower, Francis, an edition of Sid- Funeral of Edward VI. by William
ney's Astrophel and Stella, dedi-    Baldwin, i. 54.
cated by the publisher to, i. 42.
Flower of Fame, by Ulpian Fulwell,
reprinted, ii. 41.                                G.
Flower of Friendship, by Edmund
Tilney, 1568, iv. 156; Flowers of Gager, Dr., his dispute with Dr.
Epigrams, by Timothy Kendall, ii.   Rainoldes regarding Stage-plays,
192.                                iii. 266.
Ford, John, the dramatist, not the  Gainsford, Thomas, his Vision and
author of Christ's Bloody Sweat,   Discourse of Henry VII., 1610, ii.
1613, i. 163.                       41.
Ford, T., Theatre of Wits, 1661, iii. Gale, Dunstan, his Pyramus and
259.                                Thisbe, 1596 and 1617, i. 97; ii.
Forest of Fancy, the, by H. C., 1579,   43.
two editions of it, ii. 31; of His- Galesus, Cymon and Iphigenia, by
tories, 1571, by T. Fortescue, ii.   T. C., ii. 44.
30, note.                         Galfrido and Barnardo, by John
Fortescue, Thomas, his Forest of   Drout or Grout, 1570, i. 286.
Histories, 1571, ii. 30, note.    Gamage, William, his Linsi-woolsie,
Forth Feasting, by William Drum-   1613, ii. 47.
mond, i. 290.                     Gammer Gurton's Needle and Bish-,
Fortunate Farewell,1599, by Thomas    op Still, iv. 270, note; the Comedy
Churchyard, i. 173.                 assigned to Dr. Bridges, ii. 325,
Fortunatus, the History of, iii. 296.    note.
Fortune by Land and Sea, a play, Garland of Good Will, by Thomas
by Thomas Heywood, i. 180.          Deloney, i. 259; i. 260, note; of
Formune's  Fashion,  by  Thomas    Delight, by the same, iii. 295.
Sampson, 1613, iv. 15.            Garland of Withered Roses, by MarFortune-teller, the High-Dutch, iii.   tin Parker, iii. 127.
295.                              Garlick, a Jig so called in 1614, iv.
Four great Liars, by W. P., i. 21;   282, note.
Hymns by Edmund Spenser, 1596, Garter, Bernard, his New-year's
iv. 85; Leaves of the True Love,    Gift to the Pope, 1579, ii. 48; iii.
printed by Wynkyn de Worde, ii.   114; his Tragical History of two
33.                                 English Lovers, ii. 51, iii. 114.
Fox, Reynard, chap-book of the His- Gascoigne, George, his Tale of Hetory of, iii. 292.                  metes, the Heremyte, ii. 28, 51;
Fragosa, the History of the most re-   Whole Works, 1587, ii. 51; his
nowned, 1663, ii. 35.               fraud upon Sir Humfrey Gilbert,
Fraunce, Abraham, his Lamenta-   ii. 55; his poverty, ii. 56; emtions of Amyntas, 1587, ii. 35; his   ployed at Kenilworth in 1575, ii.
English Hexameters, ii. 36.         227; the death of, in 1577, iv. 246;
Friendship, the Trial of True, a    a Remembrance of, by G. Whetknack to know a Knave, 1596, iv.   stone, 1577, iv. 246; enumeration
163.                                of his Works by Whetstone, iv.
Frobisher, Martin, Discourse of his   247; his address to Q. Elizabeth,
late voyages, by Geo. Best, i. 82;   ii. 52, note.
his verses on Sir Humphrey Gil-  Gayton, Edmund, his Art of Lonbert's voyage, 1583, iii. 174.      gevity, ii. 53.
Fruits by Thomas Fenne, 1590, ii. Gellibrand, Henry, the Mathema7; of long Experience, 1604, by    tician, ii. 162.
B. Rich, iii. 311.                Gentleman's  Academy, 1595, by




316                              nboex.
Gervase or Jervis Markham, ii. Gorgeous Gallery of Gallant Inven310.                               tions, 1578, iii. 34; iii. 241.
George, St., Martyrdom  of, by T. Gosson, Stephen, his Plays confutWhite, 1614, iv. 257.              ed in five Actions, ii. 67; School
Germany's Affliction, 1638, by Mar-   of Abuse and general attack uptin Parker, iii. 120.              on Plays, ii. 67; Ephemerides of
Ghost of Richard III., 1614, by Chris-   Phialo, ii. 68. note; his Quips for
topher Brooke, i. 114.              Upstart new-fangled  GentlewoGibson, Anthony, his  Woman's    men, 1595, ii. 71; his Pastorals,
Worth, 1599, ii. 281.              ii. 71, note; his Sermon called the
Gibson, William, his Description of   Trumpet of War, ii. 71; verses on
the Nortons, i. 223.               Nicholas' History of the West
Gilbert, Sir Humfrey, his Discourse   Indies, iii. 54, note; iii. 55.
of a new Passage to Catnia, 1576, Gosynhill, Edward, his Scole House
ii. 55; his discovery of Newfound-   of Women, ii. 73; the Prayse of
land, 1583, iii. 172; and Gascoigne    all Women, called Mulierum Pean,
on the Northwest Passage, ii. 55,   ii. 74.
note.                             Gotham, Merry Tales of the MadGlaucus and Scilla, by  Thomas   men of, by A. B. ii. 75.
Lodge, 1589 and 1610, ii. 243.   Goubourne, Jo., his romance of AfGlenham, Edward, his exploits in   frican and Mensola, 1597, i. 16.
the Levant Seas, 1594, ii. 57.   Goughe, Hugh, his Offspring of the
Globe Theatre, frequented by Pros-    Ottoman Empire, iii. 79.
titutes, ii. 226.                Gower, John, described by Dr. BulGoddard, William, his Mastif-whelp,   lein in 1573, i. 121.
ii. 58; iii. 140; Nest of Wasps, ii. Grantham, Thomas, his Prisoner
58; Satyrical DialoguLe between    against the Prelate, iii. 236; his
Alexander and Diogenes, ii. 58.    Brain-breaker's Breaker, 1644, iii.
Godfrey of Bulloigne, translated by    238; his Translation  of three
Edward Fairfax, 1600, ii. 1.       books of the Iliad, 1660, iii. 239.
Golding, Arthur, his Life of Coligni, Graunde Amoure and la bell Pucel,
1576, ii. 60; tract on the Earth-   by Stephen Hawes, ii. 125.
quake of 1580, ii. 61; translation  Great Britain's General Joys, by
of Ovid's Metamorphoses, ii. 62.   Anthony Nixon, 1613, iii. 62;
Goldingham, Henry, and Q. Eliza-   Sun-set, by William Basse, 1613,
beth, Anecdote of, i. 195.         i. 70.
Gold's Kingdom, by Edward Hake, Greene, Robert, his Maiden's Dream,
1604, ii. 11il.                    1591, ii. 78; his Play upon Friars
Gomershall, Robert, his Levite's Re-    Bacon and Bongay, 1594, i. 52;
venge, &c., 1628, ii. 62.          his Arbasto, King of Denmark,
Good and Bad News, 1622, by Sam-   1617, ii. 44; his concern in Euuel Rowlands, iii. 360.            pheus Shadow, i. 325; ridicule of
Good Will, Thomas Churchyard's,   his style, i. 327; his Orpharion,
1604, i. 173.                      1599, ii. 81; his Quip for an UpGoodwyn, Christopher, The May-   start Courtier, 1592, ii. 83; his
den's Dream, 1542, ii. 63; Chaunce    provocation to Gabriel Harvey, ii.
of a dolorous Lover, ii. 63.       84; his Ciceronis Amor, ii. 86;
Googe, Barnaby, his lines upon Rich-   his Pandosto, the Triumph  of
ard Edwards, 1563, i. 298; trans-    Time, ii. 87; his Vision at the
lalfion of Palingenius, 1560, ii. 65;   instant of his Death, ii. 89; G.
iii. 108, 112;'Eglogs, Epytaphes    Harvey's Four Letters and Sonand  Sonettes, 1563, ii. 65; iii.   nets regarding, ii. 124; his Groats
111; his Epitaph  on  Thomas    worth of Wit, 1592, iii. 8; probaPhaer, translator of the JEneid,   bly  author of a Dream in the
iii. 187.                          Phoenix Nest, 1593, iii. 197; News
Gorboduc, a tragedy by Sackville   both from Heaven and Hell by B.
and Norton, acted in 1561, i. 3.   Rich, iii. 307; his tracts mentioned




inbex'.                            317
by Barnabe Rich, iii. 309; his                   H.
Mirror of Modesty, 1584, iv. 138;
his Mamillia, 1583, iv. 14; his Habington, William, his poems entiplagiarism from Francis Thynne,   tied Castara, 1634, ii. 102.
iv. 149; Ballad on the Follies of Habits of the Nobility, engraved,
Youth, 1581, iv. 14; Thieves fall-   iii. 67.
ing out, 1615, and other earlier Hacket, Thomas, his Tale of Nar-.cony-catching  productions,  i.   cissus, 1560, ii. 352, note.
91, note; Menaphon, 1687, i. 161, Hake, Edward, his News out of
note; Funerals, by R. B. ii. 89,   Pauls Churchyard, 1579, ii. 103;
note; Greene's Vision, ii. R89;    Works by, anterior to 1579, ii.
Catalogue of his Works, ii. 89,   104; Under-steward of New Windnote; in Conceipt, by J. Dicken-    sor, ii. 104; continuation of his
son, 1598, i. 268.                  Commemoration of Q. Elizabeth,
Gresham, Sir Thomas, Sir F. Mad-   ii. 271; his Accusations of the
den's mistake regarding, iv. 87;   Maidens of London, ii. 268; of
his Heronry, ii. 176, note; his    Golds Kingdom in this unhelping
Widow, and her dispute with    Age, 1604, ii. 111.
Buckle, ii. 176, note.           Hakluyt, Richard, Divers Voyages
Greville, Fulke, his Letter on Sir P.   respecting America, 1582, ii. 266.
Sidney's Arcadia, 1590, iv. 51.    Half-penny-worth of Wit, 1613, by
Grey, Lady Elizabeth, T. Sampson's    Humphrey King, ii. 205.
Poem upon, 1613, iv. 15.         Hall, Joseph, his Virgidemiarum,
Grey, Poems by Mary, Anne, and    Six Books of Satires, 1597, ii. 113;
Penelope, ii. 92.                  errors in the modern edit. of, ii.
Grimoald, Nicholas, Googe's Epi-   115; Pastorals by, ii. 114; Elegy
taph upon, ii. 66.                 on Dr. Whitaker, ii. 116; Verses
Griselda, Patient, History of, ii. 92;   on the Death of Sir H. Pallavicino,
Dekker, Chettle, and Haughton's   ii. 21; Epigram upon, i. 26.
comedy of, ii. 93.               Hall, Thomas, the Murder of, iv.
Grobianus and Grobiana, by Dede-   191.
kind, translated bv R. F., 1605, iv. Hamlet, the Tragedy of, mentioned
24.                                in 1605, iv. 63; by Shakspeare
Grout, or Drout, John, his Galfrido    or the older tragedy, iii. 359;
and Barnardo, 1570, i. 286.        parody of a line in, ii. 167, note.
Grove, Mathew, his Pelops and Hip- Hamor, Ralph, his Discourse on
podamia, 1587, ii. 95.             Virginia, 1615, ii. 116.
Gue, the Actor, Edward Guilpin's  Hampton, Sir Bevis of, a romance,
Epigram  upon, ii. 100.            printed by Pynson, Copland, East,
Guiana, Raleigh's Discovery of, two    and Stansby, i. 84.
editions of, in 1596, iii. 268.  Hannay, Patrick, his Happy HusGuilpin, Edward, his Skialetheia,   band, iii. 84 and note.
or Shadow of Truth, 1598, ii. 99; Harbert, Sir William, his Prophecy
his notices in it of various Con-   of Cadvallader, 1604, ii. 118.
temporaries, ii. 100.            Harington, Sir John, an edition in
Guistard and Sismond, Tragedy of,   colors of his Ariosto, ii. 252,
by William Walter, iv. 85.         note.
Gulls Hornbook, 1609, by T. Dek- Harman, Thomas, his Caveat for
ker, i. 252; a Dozen of, in Mother    Common Cursetors, 1567, 1573,
Bunch's  Merriments, 1604, iii.   &c., i. 251; ii. 122 and note.
149; iii. 153.                   Harmony of the Church, 1591, by
Gunnell, Richard, the actor, Thomas    Michael Drayton, i. 274.
Jordan's Elegy on, ii. 185.      Harrington, Henry, Poems by, i. 80.
Guy, Earl of Warwick, a romance  Harvey, Gabriel, R. Greene's provby S. Rowlands, iii. 363; by Mar-   ocation to, ii. 84; Four Letters
tin Parker, iii. 127; by Humphrey    and  Sonnets  regarding Robert
Crowch, iii. 365, note.            Greene, ii. 124; iii. 7; Nash's




318                           jnhv.
Caricature  of, iii. 23; and of Henry VIII., his Letter in answer
Thomas Nash; progress of their   to Luther, II. 128.
quarrel, iii. 21; his Trimming of Henry, Prince of Wales, W. Basse's
Thomas Nash, 1597, iii. 13; re-    poem  on his death, i. 70; Camjection of T. Nash's amends, iii.   pion's Songs of Mourning on his
16; confined in the Fleet, iv. 221;   death, iv. 74; Prince Henry rehis MS. note regarding Edmund    vived by H. Peacham, 1615, iii.
Spenser, Howleglas, Skelton and    166.
Lazarillo, ii. 142.               Herbert. George, his Temple, 1633
Harvey, Richard, the author of Plain   ii. 128; his translation of Lord
Perceval, iii. 7.                   Bacon's Advancement of LearnHatton, Sir  Christopher, Robert   ing, i. 49.
Greene's Maiden's Dream on the  Hermaphroditus and Salmasis, by
Death of, in 1591, ii. 78.          Thomas Peend, ii. 52.
Have among you my blind Harpers, Hermes Bird, i.e. The Churl and the
an exclamation, iii. 123, note.     Bird, i. 177.
Have with you to Saffron Walden, Hero  and  Leander  of Musseus,
by Thomas Nash, 1596, iii. 13, 20.   translated by Abraham  Fleming,
Hawes, John, Merchant in the ship   ii. 27.
Centurion in 1591, i. 143.        Herodotus, two Books translated by
Hawes,  Stephen,  his  Graunde    B. R., 1584, iii. 314, note.
Amoure and la bell Pucel, ii. 125; Herrick, Robert, his poems entitled
death of Hawes, ii. 127.            Hesperides, 1648, ii. 129.
Hawkins, Sir John, his verses on  Herring, Praise of the, by Thomas
the voyage of Sir H. Gilbert, 1583,   Nash, iii. 15.
iii. 173; his death, i. 68.       Herring's Tail, 1598, a poem, not by
Hawkwood, Sir John, history of, by    Richard Carew, i. 133.
William Vallans, 1615, iv. 189.    Hesperides, 1648, collected poems
Hazlitt, W. C., his edit. of Consta-    by Robert Herrick, ii. 129.
ble's Poems, i. 189, note; reprints  Heywood, John, the dramatist and
of early Jest-books, iii. 152, note.    poet in 1576-7, i. 49; earliest noHealth to the gentlemanly Profession    tice of him in 1514, i. 49; Works
of Servingmen, by J. M., (fJrsen    of, 1587, ii. 130; and his two sons,
G. Markham,) 1598, iv. 29.          Jasper and Ellis, ii. 131; Spider
Heavenly Act of Parliament, a New    and Fly, ii. 131.
Year's Gift, or, iii. 40; Dog, by  Heywood, Thomas, his intended
Anthony Stafford, 1615, iv. 90.     Lives of the Poets, ii. 133 and
Heber, Richard, editor of the reprint    note; his Fortune by Land and
of Ellis's Specimens of Early    Sea, 1655, i. 180; Elegy on King
Poetry in 1811, ii. 247, note.      James I., ii. 132; lines upon the
Hector, John, Lydgate's Life and    death of Henry Welby, iv. 232.
Death of, ii. 291.                Hexameters, English, specimen of,
Hecuba's  Mishaps, a  poem, by    by John Dickenson, i. 271; iv.
Thomas Fenne, 1590, ii. 8.          99.
Heliconia, by T. Park, reprint of  Hind, Captain James, his Ramble,
England's Parnassus in, iii. 196;   1651, ii. 133.
defects in the reprint, iii. 197.  Hind, John, see Hynd, John.
Hemetes, the Heremyte, G. Gas- History of Dr. John Faustus, 1592,
coigne's Tale of, ii. 28, 52.       and 1648, ii. 6; of Friar Bacon,
Henridos and Thelay, by Richard    1629, i. 52; of the Saracens, 1575,
Robinson, iii. 332.                 by Thomas Newton, iii. 37; of
Henry VI. Part I., a passage in,   the World, by Sir W. Raleigh, ii.
illustrated, ii. 83.                66.
Henry VII., the Preservation of, a  Hitchcock, Robert, his Politic Plat,
poem in English hexameters, iv.   1580, ii. 135.
99, note; T. Gainsford's Vision  Hobson's Choice, or Robin Hood's
and Discourse of, 1610, ii. 41.     Choice, iv. 211.




;nbeWX.                          319
Hock Tuesday Show at Kenilworth,   Newgate, ii. 149; his Lamentaaccount of, ii. 228.               tion, ii. 151.
Hoggarde, or Huggarde, Miles, his  Hutton, Sir Richard, related  to
Mirror of Love, 1555, ii. 135.     Richard Brathwayte, iv. 46.
Holland, Abraham, his Posthuma, Hymn by Robert Recorde, in his
1626, ii. 137.                     Castle of Knowledge, 1556, iii.
Holland, Hugh, Pancharis, or the    287.
Love of Owen Tudor, 1603, iv. Hvnd, John, Eliosto Libidinoso, a
165.                              romance, ii. 152, 297.
Holland, Philemon, the Translator,
ii. 138; Epigram upon, iv. 40.
Hollar, Winceslaus, his engravings                I.
of the dresses of Englishwomen,
i. 316.                          Ibis, Ovid's Invective against, by
Holy League, the Birth of, &c., by    Tho. Underdown, 1569, iii. 90.
J. L., 1589, ii. 139; Rood, or Idea. The Shepheards Garland, by
Christ's Crosse, by J. Davies,   Michael Drayton, 1593, i. 274.
1609, i. 227.                    Idea's Mirror, sonnets by Michael
Homer, Seven Books of the Iliads    Drayton, i. 280, note.
and  Shield of Achilles, 1598, Iden, Henry, the Circes of Gello,
translated by G. Chapman, i. 152;   translated, ii. 155.
Twelve Books of the Iliads, by  Idleness, the Image of, perhaps by
G. Chapman, i. 152; Iliad, three    William Seres, ii. 157.
Books of, translated by Thomas Idleness, by Paulet, Marquis of
Grantham, 1660, iii. 239.          Winchester, 1586, iii. 161.
Honeyman, John, Jordan's Elegy  Indies, the East, the Dutchmen's
upon, ii. 185 and note.            Voyage to, i. 296.
Honour of Chivalry, by Kirkman, Inns  and  Public-houses in Ten
ii. 212.                           Home Counties, iv. 143; in and
Honour's Academy, 1610, by Robert   near London, with their signs, ii.
Tofte, iv. 160.,                   300.
Horace, Lewis Evans' translations  Isle of Dogs, a lost play, by Thomas
of, i. 320.                        Nash, iii. 13.
Howleglas, Jest of a Man called, ii. Italian female Tumblers exhibiting
140.                              in London, iii. 73.
Howleglas, Till, Copland's Merry
Jests of, i. 272.
Hubbard, W., his Ceyx and Alcione,                J.
1569, ii.'143.
Hubert, Sir Francis, his Life and  Jack Wilton, Life of, vindication of
Death of Edward 1I., 1628, ii.   it by Thomas Nash, iii. 18.
146.                             Jail and Jailors, praise of, by John
Huggarde, or Hoggarde, Miles, a    Taylor, 1623, iv. 137.
poet of the reign of Mary, i. 47.   James, Thomas, his Voyage to the
Humours Looking-Glasse, 1608, by    North West Passage, ii. 162.
Samuel Rowlands, iii. 350; Ordi- Jealousy, Dialogue between Comnary, by Samuel Rowlands, iii.   mon Secretary and, ii. 164.
346.                            Jenner, Thomas, the Souls Solace,
Hunnis, William, Recreations, &c.,  ii. 163.
1595, ii. 146; entries regarding, in  Jerusalem, Siege and Destruction
the Stationers' Registers, ii. 147,   of, by T. D., ii. 166.
note.                            Jests and Tales of Hugh Peters,
Huntingdon, Lady, Lord Falkland's   1660, iii. 181; Coffee-house, by
Sonnet on her death, ii. 5.        Hicks, ii. 168; merry, conceited,
Husband, the Happy, by Patrick    of Geo. Peele, iii. 178; Merry, of
Hainnay, iii. 84.                 Popes, Monks and  Friars, by
Hutton, Luke, the Black Dog of   Rowland  Willet, iv. 237; of




320                           atole.
Richard Tarlton, iv. 130; of the  Jyl of Brentford's Testament, by
Widow Edyth, by Walter Smith,   Robert Copland, i. 189, ii. 106,
1573, iv. 63; the transformation    note; two editions of, i. 190.
of Jests, iii. 151; Jests to make
you Merry, 1607, by Dekker and
Wilkins, i. 195, 247; a Banquet                  K.
of, 1634, iv. 37; iv. 38, note.
Jew and the pound of Flesh, in Syl- Katherine de Medicis, Discourse
vain's Orator, 1596, iii. 209; signal   upon her Life, &c., 1575, ii. 191;
assistance given by a Jew to Sir    Queen of Henry V. and her Love
Thomas Sherley, iii. 161.          for Owen Tudor, iv. 166.
Jews Tragedy, an old play by Wil- Keeper, John, his Courtiers Acadliam Heminge, ii. 167, enote.      emy, ii. 192, note; verses before
Joan, Pope, and her child, ii. 183;   Howel's Arbour of Amity, 1568,
the Anatomy of, iii. 225.          ii. 192, note.
John come kiss me now, a popular Kempe, William, his secession from
Tune, iv. 43.                      the Globe Theatre, i. 36; his MerJohn, King, a Play upon his History,   riments of the Men of Gotham, ii.
by John Bale, ii. 67.              76; his attacks upon the Puritans,
John Winchcomb, pleasant History   ii. 323; his Morris Dance to Norof; by Thomas Deloney, i. 266.     wich, i. 265; his visit to Italy, iii.
Johnson, Richard, his Crown Gar-   367; wounded in the leg, iv. 39.
land of golden Roses, ii. 171; iii. Kendall, Timothy, Flowers of Epi295; Pleasant Walks of Moor-   grams, &c., 1577, ii. 192.
fields, ii. 174; Nine Worthies of Kenilworth, Laneham's or LangLondon, 1592, ii. 183; iv. 190;   ham's Letter from, 1575, i. 203,
Seven  Champions of Christen-   ii. 226; the Tale of Hemetes, by
dom, ii. 180; Anglorum Lachry-    Gascoigne, delivered there, ii. 29.
me, 1603, ii. 176; Look on me  Kethe, William, his parody on Tie
London, 1613, ii. 178.             thy Mare Tom boy, ii. 196; his
Jones, Richard, the printer, fraud    Ballad against the Papists, ii. 198;
imputed to, by Nicholas Breton, i.   Sermon, and Seeing Glass for the
105.                               Nobility, &c., ii. 196, note.
Jonson, Ben, his Every Man in his  Keyinis, Lawrence, his Relation of
Humour illustrated, i. 194; his   his Voyage to Guiana, ii. 200;
translation of one of Ovid's Ele-   his letter to Sir Robert Cecil, ii.
gies, ii. 312; his allegorical Ode    202.
on lHolland's Pancharis, iv. 167, King, Humphrey, his Half-pennynote; Weever's Epigram to B. J.,   Worth of wit, 1613, ii. 205; iii. 15.
iv. 230; allusion to, iv. 254; Gay- King enjoys his own again, the popton's mention of, ii. 54; on his   ular song and tune, ii. 189.
Death, iii. 248.                 Kinsayder, a name assumed by John
Jordan, Thomas, not the Editor of    Marston, ii. 321.
an Antidote against Melancholy, Kirk, John, the actor, Jordan's Epi1661, i. 33; his Royal Arbor of   taph upon, ii. 191.
Loyal Poesie, 1664, ii. 186; his  Kirkman, Francis, his Unlucky
Ballads founded upon Plays, ii.    Citizen, ii. 208; Wits, or Sport
187; Claraphil and Clarinda, ii.   upon Sport, ii. 211; Honour of
190; Poetical Varieties, 1637, ii.   Chivalry, ii. 212.
183; his fraud  in the Buckler Knack to know a Knave, a Comedy,
against Death, i. 121; his tricks    ii. 109; iv. 163.
in Dedications, i. 255; his Epi- Knave of Clubs, &c., by Samuel
taph upon John Honeyman, the    Rowlands, iii. 362.
actor, ii. 185, note; his Epitaph  Knaves, a Pair of Spy, by S. Rowupon himself, ii. 190.             lands, iii. 361; Room  for a Mess
Joseph, the Life and Death of, 1595,   of, 1610, ii. 212;'Tis merry when
by William Hunnis, ii. 146.        Knaves meet, a lost tract by Sam



nltbex.                            321
uel Rowlands, iii. 343, note;    Woodcocks, 1613, by Henry ParKnaves are no honest Men, ii. 213.   rot, iii. 186.
Knell, Thomas, his Pithy Note to  Lark and her Young, the fable of,
Papists, ii. 214; his A. B. C., ii.   where told, ii. 111.
215.                             Larum  Bell for London by John
Knighthood, cheap, ridiculed by R.   Carre, 1573, i. 134.
Nliccols, iii. 47.               Latimer's Sermons, a Jest in, iii.
Knight's Conjuring, and News from    153.
Hell by the Devil's Carrier, 1606, Laugh and Lie down, 1605, a tract
by Thomas Dekker, i. 244.          so called, ii. 230.
Knight, the poor, his Palace of Pri- Laura, the Toys of a Traveller, by
vate Pleasure, 1579, iii. 222; of   Robert Tofte. 1597, iv. 157.
the Sea, a romance, 1600, ii. 217.  Lavender, Theophilus, his Travels
Knot of Fools, 1624, by Thomas    of certain Englishmen, 1609, ii.
Brewer, i. 111.                     233.
Knowles, Sir Francis, T. Church- Lawrence, Leonard, his Arnalte and
yard's Poem on his death, 1596,   Lucinda, 1639, ii. 235.
i. 168.                          Lazarillo de Tormes, David RowKyffin, Maurice, his supposed De-   land's History of, 1586, iii. 835;
fence of the Execution of Mary    Part II. iii. 336; Pursuit of the
Queen of Scots, iii. 252.          History of, 1622, iii. 336; ii. 143.
Kyng, John, his edition of Adam  Lear, King, by William   ShaksBell, Clym of the Clough, &c.,   peare, note upon, i. 251.
i. 13.                           Leigh, Valentine, his Death's Proclamation, 1561, ii. 236.
Leighton, Sir William, his Virtue
L.                   Triumphant, 1603, ii. 238; Tears,
&c., of a sorrowful Soul, 1613, ii.
Labyrinth of Liberty, a romance, by    239.
Austen Saker, iv. 7.             Lennox, Duke of, Walter Quin's
Lamberto, Don Juan, a Mock-ro-   poem on his death, iii. 259.
mance, probably by Phillips, ii. Lenox, Countess of, commemorated
220.                               by John Phillips, 1578, iii. 193;
Lamentation  against London, by    Broadside on her death, 1577, iii.
H. Brinklow, 1542, ii. 273 and    195.
note; of the Lost Sheep, by G. Lenten Stuff in praise of the HerEllis, i. 307; of Luke Hutton, ii.   ring, 1599, by Thomas Nash, iii. 15.
151; of Troy for the Death of L'Estrange, Sir Roger, his reprint
Hector, 1594, ii. 221.             of Tasso by Fairfax, ii. 38, note.
Lambe, William, Abraham  Flem- Letting of Humours Blood, &c.,
ing's Memorials, &c., of, ii. 27.  by Samuel Rowlands, 1613, iii.
Laneham, or Langham, Robert, his   346; iii. 343, note.
Letter from Kenilworth, 1575, i. Lever, Christopher, his Crucifix, or
203, ii. 226; John, the Actor, ii.   Meditation on Repentance, 1607,
229; his Birth, &c., of the Holy   ii. 240.
League, 1589, ii. 139; Verses by, Levites Revenge, a play, by Robert
against Martin Marprelate, iv. 249.   Gomersall, 1628, ii. 62.
Lane, John, his Tom  Tell-truth's  Libel of Spanish Lies, by BaskerMessage, 1600, ii. 223; his account   ville and Saville, 1596, i. 67; iv. 17.
of the death of Spenser, ii. 224.   Liberality, Poem  on the Death of,
Langham, Robert and John —see    1598, iv. 31.
Laneham.                         Licensing of Books for the press
Lansdowne, Lord, his Play of the    about the year 1583, iv. 116.
Jew of Venice, i. 126.           Licia, or Poems of Love, iii. 317.
Lanthorn  and  Candle-light, by  Lie, the, or Soul's Errand, by Sir
Thomas Dekker, 1609, i. 254.       Walter Raleigh, iii. 273.
Laquei Ridiculosi, or Springes for Life and Death of Gamaliel Ratsey,
VOL. IV.               21




322;11bx.
1605, iii. 283; of Jack Wilton, by    251; Lamentation of a Christian
Thomas Nash, iii. 10; vindication    against, 1548, ii. 273; Maidens, Letof it by Naslh, iii. 18.             ter from, to their Mistresses, 1567,
Like will to Like, 1568, an interlude    ii. 270; noted places of refuge in,
by Ulpian Fulwell, ii. 41.           iii. 227; the sights of, in 1608, iii.
Limning, a Treatise of, 1581, ii. 241.   350.
Lincoln, Tom  of, his History, iii. London's Artillery, 1616, by Richard
295.                                Niccols, iii. 49; Description by R.
Linen, the Praise of Clean, 1624, by    Johnson, ii. 175; Vacation, 1637,
John Taylor, iv. 137.                by Henry Climsell, i. 177.
Linsi-woolsie, 1613, by  William   Longbeard, William, his Life, 1593,
Gamage, ii. 47.                     by Thomas Lodge, ii. 254.
Lithgow, William, his painful Pere-  Longevity, the Art of; by Edmund
grination, ii. 242.                  Gayton, ii. 53.
Lochem, Jacob van, his engravings  Long, John, his verses introductory
of the Ages of Sin, i. 16.           of Hake's poem, ii. 105.
Locrine,  a  Tragedy,  1595,  Sir Long, Tom, his Journey to London,
George Buck's concern in, i. 119;    1634, iv. 272.
written by Charles Tilney, iii. 320; Look on me London, 1613, by R.
iv. 156.                            Johnson, ii. 178.
Lodge, Thomas, a poem by him im-  Look to it or I'll stab ye, 1604, by S.
puted to Sir Edward Dyer, i. 92:    Rowlands, iii. 347.
Drayton's address to, i. 282; his  Love of the Soul, by G. MI. or G.
Epistle to Michael Drayton, i. 282;   Mar, ii. 279.
Fig for Momus, 1595, i. 282; ii. Love, a cure for, prescribed by Bar258; or Robert Greene the author    nabe Rich, iii. 306.
of Euphues Shadow, 1592, i. 325; Lovell, Thomas, his Dialogue beLodge's Answer to  Gosson  on    tween  Custom  and  Verity, ii.
Plays, &c., ii. 67, 245; possible    275.
allusion to, by Gosson in 1598, ii. Lover and a Jay, controversy be73; poem  on Venus and Adonis.  tween, by Thomas Feylde, ii. 17.
by, 1589, ii. 245, note; Glaucus  Love's Complaints,and Orpheus and
and Scilla, 1589 and 1610, ii. 243;   Euridice, 1597, ii. 281; not by
his family and early history, ii.   Henry Lok, ii. 264; Court of Con245; his poverty in 1581, iii. 299;   science, by Humphrey Crowch,
Rosalynde, 1590, ii. 246; Phillis,   1637, i. 207; Labours  Lost, by
1593, ii. 247: Complaint of Elstred,    Shakspeare, illustrated, iii. 326;
1593, ii. 250; Catharos, 1591, ii.   mentioned  in 1598, iv. 159; a
251; Life of Robert Duke of' Nor-   character in, as drawn by Barmandy, 1591, ii. 252; Life of Wil-   nabe Rich, iii. 305; of Amos
liam Longbeard, 1593, ii. 254; his   and Laura, dedicated  to Izaac
Imitations of Italian poets, ii. 256;    Walton, i. 145; Owl, by Anthony
allusion to himself, ii. 256; Pros-    Copley, i. 194, 195; Remedy
opopeia, 1596, ii. 259, and note;    against, by W. A. 1579, iii. 288;
when Lodge ceased to write for    Treatise  of, La Conusaunce d'
the Stage, ii. 73, note; Poems in    Amours, iv. 161.
the Phcenix Nest, 1593, iii. 199; Lowin, or Lowen, John, the Actor,
his assistance to Barnabe Rich,   his Conclusions  upon  Dances,
iii. 299.                            1607, ii. 284; his burial. ii. 285.
iok, Henry, Ecclesiastes, 1597, ii. Lucrece, by William  Shakspeare,
262; Letters from, ii. 265; not the    1607, iv. 34; and Drayton's Leauthor of  Love's  Complaints,   gend of Matilda, i. 280, note. Va1597, ii. 264.                      riations in the editions of Lucrece,
London, the Cries of, at various    iv. 35.
dates, engravings of, i. 202; and  Lupton, Thomas, his Dream  of the
Londoners, their Entertainment in    Devil and Dives, ii. 285, and note;
the Country, 1604, ii. 274; iv.   his All for Money, 1578, ii. 287.




Tnhet.                            323
Luther, Martin, Letter of Henry  Mardeley, John, his poem  on the
VIII. in answer to, ii. 128.       Eucharist, ii. 307.
Lydgate, John, described by Dr. Mar, G., his Love of the Soul, ii.
Bullein in 1573, i. 123; his Temple   279.
of Glass, ii. 126; Testament, ii. Mario, the comedy of Captain, by
287; the Proverbs of, ii. 289;   Stephen Gosson, ii. 69.
Life and Death of Hector, ii. 291. Markham, Gervase, his  Famous;.Lyly, John, his Pap with a Hatchet,   Whore, the complaint of Pauline,
ii. 292; Euphues and his England,   1609, ii. 308; Gentleman's Acadii. 294; the Anatomy of Wit, 1580,   erny, 1595, ii. 310; Health to the
ii. 293; his autograph Letter to    Profession of Servingmen, iv. 29.
Lord Burghley, ii. 295; Mother Marlow, Christopher, imitations of
Bomby, iii. 23; Nobleness of the    his ballad, i. -201; his tragedy of
Ass, iii. 24; family and death, ii.   Dr. Faustus, 1604, ii. 6; his Ovid's
293.                               Elegies, ii. 311; the Nature of a
Lyndsay, Sir David, the Complaint   Woman, 1596, falsely imputed to,
of a P'opinjay, ii. 296.           ii. 315; his two Plays of TamLysirmachus and Varrona, 1604, ii.   burlaine the Great, iii. 88, 216;
296.                               his religious opinions and death,
as stated in a copy of his Hero
M.                    and Leander, ii. 313.
Mar-prelate controversy in 1593, iv.
Machiavelli's Belphegor imitated by    117; Tracts relating to it, ii. 322.
Barnabe Rich, iii. 303.          Marquis, the noble and Patient GrisMachin, Lewis, certain Eclogues by,   sel, History of, ii. 92.
1607, iv. 200.                   Marriage, too late, R. Copland's
Madden, Sir Frederick, his mistakes    Compltint of, i. 190; ii. 317;
about an old poem, and Sir T.   Duties in, by Edmund Tilney,
Gresham, iv. 86, 87.               1568, iv. 156.
Mad Pranks of Robin Good-fellow, Marston John, his parodies of Shaksiii. 326.                          peare, i. 96, note; ridiculed as
Madrigals, Italian, 1590, by Thomas    Fuscus, ii. 100, note; Guilpin's
Watson, iv. 225.                   Epigram upon, ii. 100; his letter
Maid, Poem of a, by Wye Salton-   in 1641, ii. 321, note; Sermon by,
stall, iii. 85.                    in 1642, ii. 321; his MetamorMaiden's Cross-row, the, ii. 298.    phosis of Pifmalion's Image, 1598,
Maiden's Dreame, by Christopher   i. 145, ii. 319; Scourge of Villany,
Goodwvn, 1542, ii. 63; 1591, by    1598, ii. 320; two edits. of his
Robert'Greene, ii. 78.              Satires in 1599, iv. 29, note; alMaidens of London, their Letter to   lusion to his Satires, iv. 253; Weetheir Mistresses, 1567, ii. 270.   ver's Epigram to, iv. 230.
Malay language, early Vocabulary  Martial, translation of his Epigram
of, i. 296.                        by Ben Jonson and D. T. i. 273.
Malone, E., his error respecting  Martin, Elizabeth, Poems on the
Drout's Gaulfrido and Barnado, i.   death of, ii. 92.
287.                             Martin, junior, just censure of, ii.
Malory, Sir Thomas, his translation    323; Mark-all, by Samuel Rowof the Mort Arthur, i. 40.         lands, 1610, i. 255; Marprelate,
Malt-worms, a Guide for, ii. 300;   how brought upon the Stage, iv.
Part Iii. 302, note.              250; Marsixtus, by R. W. 1592, i.
Man and Money, Dialogue between,   326; Month's Mind, 1589, ii. 326;
by R. Bieston, i. 86.              Theses, or Theses Martiniana, ii.
Manner to die well, 1579, ii. 303.    322.
Mauningham's MS. Diary referred  Martin, Richard, the quarrel of Sir
to, i. 236; cited, iii. 346.       John Davys with, i. 234.
Marcelline, George, Epithalamium   Martyrs, Bradford, Rogers, Allerton
Gallo-Britannicum, ii. 305.        and Hooper, ii. 327.




824                            Snbzc.
Mary Magdalen's Funeral Tears,   Epigram to, iv. 230; Richard, his
1594, by Robert Southwell, iv. 79;   Epigram and reference to ChristQ. of Scots, original letter regard-   mas Plays, ii. 84, note; Thomas,
ing her confinement, iii. 331, note;   his Blurt, Master Constable, 1602,
Defence of the Execution of, iii.   i. 249; his Ant and Nightingale,
252.                                or Father Hubberd's Tales, 1604,
Massacre of Money, 1602, by Thomas   ii. 333.
Achelley, i. 9.                   Minstrels, what they were of old,
Massinger, Arthur, the father of   ii. 278.
Philip, and his master the Earl of Mirrha, the Mother of Adonis, 1607,
Pembroke, iv. 239, note.            by William Barksted, iv. 200.
Mastiff-whelp, by William Goddard, Mirror for Magistrates, contributions
iii. 140; or young Whelp of the old    of Sackville and Ferrers to, i. 2;
Dog, 1615, by H. Parrot, iii. 140.    W. Baldwin's share in the, i. 54;
Mathews, Tobie, his dispute with    of Cities, by G. Whetstone, iv.
Sir Walter Raleigh regarding Dur-   244.
ham House, iii. 276.              Mirror for Man, by Thomas ChurchMaunsell, Andrew, his Catalogue of   yard, i. 164.
books, iii. 204, note.            Mirror of Modesty, a treatise by
Maxwell, James, his poem on Prince    Thomas Salter, iv. 10.
Henry, 1612, ii. 329; on the Prince  Mirror of Modesty, 1584, by Robert
Palatine and Elizabeth, ii. 330;   Greene, ii. 87, note; iv. 13; of
List of his works, ii. 330.         Fancies, by John Tatham, iv. 131;
May, Thomas, his Edward III. ii.   of Love, by Miles Hoggarde, 1555,
331; his MS. poem on the death   ii. 135; of Monsters, 1587, by Wilof Lady Bridgwater, ii. 331.        liam  Rankins, i. 34; iii. 281; of
Meditations, &c., 1589, by  Oliver    Mutability, by Anthony Munday,
Pygge, iii. 249.                    1579, ii. 339.
Meeting, merry, of Maidens of Lon- Mirum in Modum, 1602, by John
don, by Edward Hake, ii. 268.       Davies of Hereford, i. 224.
Meg, Long, of Westminster, iv. 181. Mist, the Printer, and his profitable
Melibseus, an Eclogue, by Thomas    Journal, ii. 303, note.
Watson, iv. 224.                  Moffat, Dr. Thomas, his Silkworms
Melicert, a name given to Shaks-    and their Flies, 1599, i. 77, 97; ii.
peare by H. Chettle in 1603, i.   335.
161.                              Moorfields, Richard Johnson's pleasMerchant of Venice, the story of,   ant Walks of, ii. 174.
as told in 1674, i. 126; and in Syl- More Fools yet, 1610, by  Roger
vain's Orator, 1596, iii. 209.      Sharp, iv. 41.
Mercury and a Soldier, Dialogue be- More, Mrs., Daughter of Sir Thomas,
tween, by B. Rich, iii. 296; Mer-   and her dispute of philosophy, i.
cury and Virtue, Dialogue be-   183; Sir Thomas, his Utopia, 1551,
tween, by Thos. Salter, iv. 12.     ii. 337; mentioned, iii. 205; his
Meres, Francis, PalladisTamia,Wit's   servants and the Widow Edyth,
Treasury, 1598, iii. 25.            iv. 65.
Merriments, Mother Bunch's, or Pas- Morison, Fines, his Epitaph on his
quil's Jests, 1604, iii. 149.       brother Henry, ii. 234.
Merryman, Dr., Jests by Samuel More the Merrier, 1608, epigrams, by
Rowlands, iii. 295.                 Henry Parrot, iii. 136.
Mervine, the History of, 1612, ii. Mort Arthur, old editions of, by Cax332.                                ton, Copeland, &c., i. 38; East's
Metamorphosis of Pigmalion's Im-    edition of the, i. 38.
age, by John Marston, ii. 319.    Mother Bomby, a comedy, by John
Metamorphosis of Tobacco, 1602,   Lyly, iii. 23.
perhaps by Sir John Beaumont, Mother Hubberd's Tales, by Spenii. 206, note.                      ser, called in again, ii. 335; the
Middleton, Christopher, Weever's   offence given by it, iv. 26.




~niexr.                            325
Motive to Good Works, 1593, by    Fitzgeoffrey, 1601, iii. 3; poem on
Philip Stubbes, iv. 115.             his death, ii. 334; the Anatomy of
Muffat, or Moffat, Dr., his Silkworms    Absurdity, 1589, iii. 1; his love
and their Flies, 1599, i. 77, 97; ii.   and  travels, iii. 3; Return  of
335.                                 Pasquil of England, 1589, iii. 5;
Mulcaster, Richard, Master of Mer-    Pasquil's Apology, doubt if it
chant Tailors' School, ii. 338,   were by him, iii. 6; not the
note; poem on the death of Eliza-    author of Plain Percival, iii. 7;
beth, ii. 338.                       his denial of the authorship  of
Munday, Anthony, some particulars    Green's Groatworth of Wit, iii.
of his life, &c., i. 127; Anecdotes    8; Sonnet to the Earl of Derby,
of, ii. 352; his Mirror of Mutabil-   iii. 10; Summers Last Will and
ity, 1579, ii. 339; account of the    Testament, 1600, iii. 9; Strange
taking of Edmond  Campion, i.   News, 1592, iii. 11; Have with you
306; Discovery of Edmond Cam-    to Saffron Walden, 1596, iii. 13,
pion, &c., 1582, i. 128; View of   20; Sonnet upon Gabriel Harvey,
sundry Examples, 1580, ii. 343;    1592, iii. 12; the son of Rev. W.
Answer to two seditious pam-   Nash of Lowestoft, iii. 12; his lost
phlets, 1582, ii. 345; his appren-    Play, the Isle of Dogs, iii. 13;
ticeship  with  John  Allde, ii.    Terrors of the Night, 1594, iii.
346; his translation of Paladine    13; Lenten Stuff, 1599, iii. 15;
of England, 1588, ii. 347; Pal-    Christ's Tears over Jerusalem,
merin d'Oliva, ii. 348; Palmen-    1593 and 1594, iii. 16; his profdos, ii. 348; Palmerin of England,    fred Amends to Gab. Harvey, iii.
ii. 348; his supposed connection    17; progress of their quarrel, iii.
with Sylvain's Orator, 1596, iii.   21; G. Harvey's Caricature  of
209.                                Nash, iii. 23; lamented  by F.
Murmurer, 1607, by Nicholas Bre-    Meres in 1598, iii. 25; entries at
ton, ii. 350.                        Lowestoft of his family, iii. 1,
Murray, David, Sophonisba, 1611, ii.   note; his poetry, iii. 11, note; let351.                                 ter to his relative Sir Rob. Cotton,
Musical Composers of the reigns of   iii. 161, and note; his opinion of
Elizabeth and James I., iv. 74.      classical measures in English, iv.
Mychel, Johan, Printer of an edit.   98.
of the Churl and the Bird, i. 175. Nastagio and Traversari, translated
My Ladv's Looking Glass, 1616, by    by C. T., 1569, iii. 25; iv. 177.
Barnabe Rich, iii. 317.           Nature of a Woman, falsely imputed
Mythomistes, a Survey of Poesy, by    to C. Marlowe, ii. 315.
H. R., ii. 352.                    Nenia Consolans, by Richard Mulcaster, ii. 338.
Nest of Wasps, by William Goddard,
N.                    1615, ii. 58.
New Exchange, date of the buildNaples, Joan, Queen of, and Mary,   ing of, iii. 351.
Q. of Scots compared, iii. 253.   Newnham, John, his  Nightcrow,
Narbonus, 1580, a Romance, by    1590, iii. 27.
Austin Saker, iv. 7.              News, a Sack-full of, 1640, iv. 4.
Narcissus, the Tale of, by T. H., News come from Hell, 1565, iii. 28.
1560, ii. 352, note; translated by  News from Gravesend, 1604, iii. 30.
H. R., ii. 352.                   News from the North, probably by
Nash, Tlomas, his edition of Sid-    Francis Thynne, iii. 32.
ney's Astrophel and Stella, 1591, News out of Bartholomew Fair, by
i. 43; ridicule of Robert Greene in    Richard West, 1607, i. 63.
1591, i. 43; Pierce Penniless, his  News out of Hell, a Dialogue, 1536,
Supplication, 1592, i. 244, iii.   iii. 30.
8; his Praise of the Counter, ii. News out of Paul's Churchyard by
13; his death  recorded  by C.   Edward Hake, 1579, ii. 103.




326                             nttex.
News out of Purgatory  sent by    i. 40; perhaps imputed by Nash to
Richard Tarlton, iv. 129.            John Lyly, iii. 24.
News, wonderful, from  Wood-street Norris, Sir John, and Sir F. Drake,
Counter, iv. 280.                    their expedition in 1589, i. 317.
Newton, Thomas, his Atropoion De- North, Sir Thomas, his translation of
lion, 1603, iii. 34; of Cheshire, not    Amyot's Plutarch, 1579, i. 23;
the author of Atropoion Delion,   verses in, i. 24, note; his Moral
iii. 34; his Old Man's Dietary,    Philosophy of Doni, 1570, i. 24;
iii. 36; Treatise  on Dice-play,   iii. 67.
1586, iii. 36; History of the Sara- Northbrooke,  John, his Treatise
cens, 1575, iii. 37; doubt if there    against Plays, &c., 1577, iii. 68.
were not two poets of the names, Northern Mother's Blessing, an old
iii. 40.                             printed poem, iv. 86.
Nlew-vear's Gift to the Pope, by Ber- Norton, Thomas, his Advice to the
nard  Garter, 1579, ii. 48; or a    Lord Mayor of London, iii. 72; Adheavenly Act of Parliament, 1569,   dress to the Rebels of the North,
iii. 40.                             1569, iii. 71; Remembrancer to
Niccols, Richard, his Epicedium or   the City of London, iii. 72; MemFuneral Oration on Q. Elizabeth,    ber for the City, iii. 74; when and
iii. 41; Beggar's Ape, 1627, iii.    where born, iii. 74; his share in
44; Winter-night's Vision, iii. 45;   the Tragedy of Gorboduc, 1561,
Cuckow, and imitation of Spen-   i. 3.
ser in it, 1607, iii. 49; London's  Norton, Christopher and Thomas,
Artillery, 1616, iii. 49.            Sampson  Davie on  their  ExNicholas, Thomas, his Discovery,    ecution, 1570, i. 222; their Con&c., of Peru, &c., 1581, iii. 52;   fessions and Execution at Tyburn,
History of the West Indies, 1596,   i. 222.
iii. 54.                           Northwest Passage; Discourse of,
Nichol, John, Houre Glasse of In-    by Sir Humphrey Gilbert, 1576,
dian Newes, 1607, iii. 56.           ii. 55.
Nicholson, Samuel, Acolastus his  Nothing, the Praise of, by Sir EdAfterwit, 1600, iii. 58; strange    ward Dyer, 1585, iii. 31, 75.
Plagiarisms in it, iii. 58, note.  Nott, Dr., his edit. of Dekker's Gull's
Nightcrow, by John Newnham, 1590,   Hornbook, 1609, iv. 24.
iii. 27.                           Nnlgent, Richard, his Cynthia, 1604,
Nightingale, 1632, a poem, by Mar-   iii. 73.
tin Parker, iii. 115.             Nursery of Names, 1581, by William
Night Raven, a tract, by Samuel    Warren, iv. 218.
Rowlands, i. 250.                 Nutbrown Maid, the ballad of, in
Nine Worthies of London, by Rich-    Arnold's Chronicle, i. 37; the
ard Johnson, 1592, ii. 183.          supposed date of it, i. 38.
Nineveh, its dimensions in 1611, i.
139.
Niobe, and Niobe dissolved into a                    O.
Nilus, with other productions, by
Anthony Stafford, 1611, iv. 90.    Obstinate Lady, a comedy, by Sir
Nixon, Anthony, his Travels  of   A. Cokayne, i. 181.
Three English Brothers, 1607, iii.  Occasions  Off-spring,  1645,  by
61; Great Britain's General Joys,    Mathew Stevenson, iv. 103.
1613, iii. 62; his first and other  (Edipus, 1615, by Thomas Evans, i.
publications, iii. 62; his Plagiar-    821.
isms. iii. 63; Strange Foot-post,  Offley, John, the friend of Izaac
iii. 65; Christian Navy, an alle-    Walton, his autograph, i. 23.
gory, iii. 65.                     Oldcastle, Sir John, Lord Cobham,
Nobility, Habits of the, engraved, iii.   Weever's Poem on, 1601, iv. 230;
67.                                 the earliest name given to FalNobleness of the Ass, by A. B., 1595,   staff, iv. 231.




3nbex.                            827
Old Man's Dietary, by T. Newton,   1591, iii. 102; ballads upon, iii.
iii. 36.                           103; a lost tragedy by Ben JonOld Woman's Tale in her solitary    son and Dekker upon, iii. 102.
Cell, 1594, ii. 221.             Palace of Pleasure by  William
O per se 0, 1612, by Thomas Dek-   Paynter, iii. 106; Private Pleasker, i. 256.                       ure, a poor Knight's, edited by
Orator, Sylvain's, by Anthony Mun-   I. C. 1579, iii. 222.
day, or Lazarus Piot, 1596, iii. Paladine of England, by Anthony
209.                               Munday, ii. 347.
Orchestra, 1596, on Dancing, by  Palamon and Arcite, a play, by
Sir John Davys, i. 234.             Richard Edwards, i. 299.
Orpharion, 1599, a tract, by Robert Palingenins' Zodiac of Life, transGreene, ii. 81.                    lated by Barnabe Googe, 1560, ii.
Orpheus his Journey to Hell, a    65, iii. 108, 112.
poem, 1595, i. 62, note.         Palinodia, Pasquil's, and his Pint of
Ostella, Love and Beauty, by John    poetical Sherry, 1619, iii. 156.
Tatham, 1650, iv. 132.           Pallavicino, Sir H., Elegies on his
Ottoman Empire, the Offspring of,   death, 1600, ii. 20.
by Hugh Goughe, iii. 79.         Palmendos, translated by Anthony
Ourania, Sir P. Sidney's, 1606, not   Munday, ii. 348.
by Nicholas Breton, but by Nicho- Palmerin d'Oliva, translated by A.
las Baxter, i. 75, 76, note.       Munday, ii. 348; of England, by
Overbury, Sir T., the first edit. of   A. Mnnday, ii. 348.
his Wife, 1614, iii. 82, note; his Pancharis, the history of the Love
Wife, c&c., iii. 82; his Remedy of   of Owen Tudor and Q. Katherine
Love, iii. 97.                     by Hugh Holland, 1603, iv. 165.
Overthrow of Stage-Plays, by Dr. Pandora, poems, &c., by  John
John Rainoldes, 1599 and 1600, iii.   Soowthern, 1584, iv. 75.
266.                             Pandosto, the Triumph of Time, or
Ovid's Remedie of Love, 1600, iii.   Dorastus and Fawina, by Robert
95; Elegies, by Christopher Mar-   Greene, ii. 87.
lowe, ii. 311; Epistle of Dido to  Panegyric Congratulatory to James
Eaneas, iii. 97; Epistles by Geo.   I., by Samuel Daniel, i. 216, 218.
Turbervile, 1567, iii. 86; Invective  Pangs of Love and Lovers' Fits, a
against Ibis, by Thomas Under-   ballad by Elderton, mentioned by
down, iii. 90; Metamorphoses,    Shakspeare, i. 129, note.
translated by Arthur Golding, ii. Pan his Pipe, 1595, by Francis Sabie,
62.'                    iv. 1.
Owen's Epigrams, translated by T. Panton, Capt., Sonnet to, by RichPecke, iii. 171.                   ard Niccols, iii. 51.
Owlglass, Jest of a Man called, ii. Pap with a Hatchet, a tract, by
140.                               John Lylv, ii. 292; iii. 5.
Owl's Almanack, 1618, i. 254; per- Paradise of Dainty  Devices, by
haps by Thomas Dekker, iii. 98.    Richard Edwards, different edits.
Oxford, Conntess of, four Epitaphs    of, i. 297; edit. 1578, i. 298; new
by, mentioned, iv. 78.             assignment of Poems in, i. 302.
Oxford, Earl of, Poem by, i. 45, note; Paris and Vienna, the Popular RoPoems by, published by Thomas    mance of, iv. 204.
Nash, in 1591, 45; his insult to Sir Parismus, the History of, iii. 296.
Philip Sidney, ii. 343.          Paris Garden, accident at, in 1583,
Oxford, the memorable fatal Assizes   John Field's tract upon, iii. 214,
at, in 1577, iii. 223.             note; iii. 267.
Park, Thomas, his reprint of the
Gorgeous Gallery, &c.. 1578, iii.
P.                    243; his omissions in the reprint
of The Phoenix Nest, 1593, iii. 196.
Page of Plymouth, the murder of, Parker, Martin, his Nightingale,




328
1632, iii. 115; Robin Conscience, Pastime of Pleasure, a poem, by
1635, iii. 116, note; iii. 125; Narra-    Stephen Hawes, ii. 125.
tion of the Earthquake in Cala- Patelin, Monsieur, converted  into
bria, iii. 122; Poet's Blindman's    No Song no Supper, iii. 183.
Bough, 1641, iii. 123; Harry  Pattern of painfiul Adventures, by
White, his Humour, iii. 125; His-    Lawrence Twyne, iii. 189.
tory of Prince Arthur, iii. 125; Paulet, Sir William, Marquis of
True Tale of Robin Hood, iii. 114;    Winchester, R. Broughton's poem
Ballad on Shirley's Masque of   on his death, 1572, i. 115.
Peace, iii. 117; Germany's afflic- Paulet, William, Marquis of Wintion, 1638, iii. 120; History of   chester, his tract called Idleness,
King Arthur, 1660, iii. 125; his   1586, ii. 157, note; iii. 161.
initials to various pieces, iii. 125; Pauls, St., the burning of, in 1561,
Garland of withered  Roses, iii.   tract upon, iii. 164.
127; Guy of Warwick, iii. 127; Pauls, the Boys of, interdicted from
Valentine and Orson, iii. 127.       acting, iii. 23.
Parker, Henry, Lord Morley, his  Paulus  Jovius, Samuel Daniel's
translation from Petrarch, iii. 77.   Translation of, i. 208.
Parkes, W., Curtain Drawer of the  Paynell, Thomas, his work on the
World, 1612, iii. 127.              mensuration of land, &c., iii. 165.
Parliamentary  Mercies, by  John  Paynter, William, his Palace of
Vicars, iv. 201.                     Pleasure, 1566, i. 22, iii. 106; his
Parnassus, England's, by  R. A.,   promised 3d vol. of the Palace of
(Robert Allot) 1600, iii. 132.       Pleasure, iii. 107; his ridicule of
Parrot, Henry, his Laquei Ridicu-    Prognostications, i. 22, iii. 106.
losi, 1613, iii. 136; Mastive, 1615, Peacham, Henry, two authors of the
iii. 138; Works by him, iii. 136;   same names, iii. 171, note; Prince
perhaps an Actor, iii. 139.          Henrv Revived, 1615, iii. 166;
Parry, William, Discourse of the    April Shower on the death of the
Travels of the Sherleys, 1601, iii.   Earl of Dorset, iii. 169.
140.                              Pecke, or Peeke, Richard, his Three
Partridge, John, list of his Works,   to one, 1625, iii. 174.
iii. 143; Sir Plasidas, 1566, iii. Pecke, Thomas, Parnassi Puerpe144; Astianax and Polixena, 1566,   rium, Owen's Epigrams, 1659, iii.
iii. 147; Lady Pendavola, iii. 149.   171.
Pasquil the Plain, by Sir Thomas  Peckham, Sir George, his Report on
Elyot, 1540, i. 313.                 the discovery of Newfoundland,
Pasauil's Apology, probably not by    by Gilbert, iii. 172.
Thomas Nash, 1590. iii. 6.        Peele, George, his Polyhymnia, 1590,
Pasquil of England, the Return of,   iii. 177, note; the Honour of the
by Thomas Nash, 1589, iii. 5.        Garter, 1593, iv. 72; Tale of Troy,
Pasquil's Mad-cap and his Message,   1604, iii. 176; Jests, 1607, iii. 178,
1600, by Nicholas Breton, i. 107;    335; the hero of The Widow of
the second Part, 1600, i. 109.       Watling Street, iii. 178; Stephen,
Pasquil's Palinodia and Pint of Po-    probably father of George Peele,
etical Sherry, 1619, iii. 156; Jests   iii. 177, note.
and Mother Bunch's Merriments, Peend, Thomas, his Hermaphrodiwith the twelve Gulls, 1604, iii.   tus and Salmasis, ii. 62.
149.                              Pelops and Hippodamia, 1587, by
Passionate Pilgrim, 1599, poems by    Mathew Grove, ii. 95.
Shakspeare and Barnfield in, i. Pembroke, Countess of, T. NTash's
59.                                  extravagant praise of, in 1591, i.
Passionate Shepherd, 1604, unknown    43; her letter to Lord Burghley,
poems by Nicholas Breton, i. 98.    iii. 179, note; lines on her Picture,
Passion of a Discontented Mind,   iii. 181; Earl of, his Letter in
1602, by Nicholas Breton, i. 109.    favor of Arthur AMassinger, iv. 239,




an' tex.                          329
note; and Sir B. Rudyerd, their Phillippes Venus, a prose tract, by
Poems, 1660, iii. 179.             J6. M., 1591, iii. 195, note.
Pendavola, Lady, by John Partridge, Phillips, John, or Flatman, Don
iii. 149.                          Juan Lamberto, by, i. 135, ii. 221.
Penitent Publican, 1610, by Thomas  Phillis, a collection of Poems, by
Collins, i. 185.                  Thomas Lodge, 1593, ii. 247.
Percy, Bishop, his reprints of blank- Philomythie, or Philomnythologie, by
verse before Milton, iv. 124.      Thomas Scott, 1616, iv. 26.
Peregrination of William Lithgow, Philotas, by Samuel Daniel, applied
1628, ii. 242.                     to the Earl of Essex, i. 218.
Pericles, by Shakspeare, mentioned, Phiston, William, or W. Phist. iv.
iii. 356; founded upon Lawrence    234.
Twyne's Novel, iv. 180; the Novel, Phoenix Nest, a poetical Miscellany,
as founded on Shakspeare's Play,   1593, iii. 196; omissions in, iii.
by George Wilkins, 1608, i. 248,   197.
iv. 181, 259; the story of, by Law- Pierce Penniless' Supplication to
rence Twyne, iii. 189.             the Devil, by Thomas Nash, 1592,
Persia, Sir Anthony Sherley's Trav-   i. 244; its great popularity, iii. 8.
els into, iv. 47.                Pierce Plainness, his Seven Years'
Persiles and Sigismunda, the Travels    Apprenticeship, 1595, iii. 11; imof, from Cervantes, 1619, iii. 181.    puted to Henry Chettle, iii. 11,
Peru, History of its Discovery, by    200.
Thomas Nicholas, 1581, iii. 52.    Pierce Ploughman's Vision, i550,
Pesistratus and Catanea, by Ed-   iii. 207; used by Michael Draymund Elviden, i. 312.              ton, i. 284; Creed, 1553, iii. 207;
Pestilence, Regimen against the, by    in prose, really in verse, iii. 205.
William  Bullein, M.D. 1573, i. Pigeons, Carrier, employed by the
121.                               Turks in 1600, iii. 142.
Peters, Hugh, an Actor of Clowns Pilgrimage to Paradise, 1592, by
in Shakspeare's Company, iii. 182,   Nicholas Breton, i. 104.
185; Tales and Jests of, 1660, iii. Pilkington, James, Bishop of Dur181; notice of, in Arbitrary Gov-   ham, sermon on the burning of
ernment Displayed, iii. 185; Ex-   St. Paul's, in 1561, iii. 164.
ecution of, 16th Oct. 1660, iii. 182, Pinnace, the, with silken sail, a
note.                               popular ballad, iii. 355.
Petrarch's Seven Penitential Hymns, Plot, Lazarus, his Orator, 1596, iii.
translated into English by George    208.
Chapman, 1612, i. 148.           Pithy Not~e to Papists, by Thomas
Petrarch's Triumph of Death, quot-   Knell, ii. 219.
ed by Sir Edward Dyer, iii. 176.   Pitts, John, his Poor Man's BenevoPettie, George, his Petite Palace of   lence to the Church, 1566, iii.
Pettie his Pleasure, iii. 107, note.    211; Broadsides by him, 1577, iii.
Phaer, Thomas, his Seven Books of   212.
Virgil, 1558, iii. 186; B. Googe's  Plague, mock-prescription for the,
Epitaph upon, ii. 66, iii. 187.    i. 93; Term  held in the country
Pheander, the famous History of,   during the, i. 178; driving Lon1661, iii. 190.                    doners into the country, ii. 274;
Philip, John, A cold Pye for Papists,   bills placed on infected houses, iv.
a broadside, iii. 195; Life and    43; cured by the use of cold waDeath gf Sir Philip Sidney, 1587,   ter, i. 178.
iii. 191; Epitaph on Sir W. Gar- Plain Path to perfect Virtue, 1568,
rat, 1571, iii. 191; Examination    by George Turberville, ii. 105.
of Witches at Chelmsford, 1566, Plain Percival, the Peace-maker, by
iii. 190; Commemoration of the    Richard Harvey, iii. 7.
Countess of Lenox, 1578, iii. 193; Plasidas, History of, by John ParCleomenes and Juliet, a romance,   tridge, 1566, iii. 143; the story, as
iii. 191, 196.                     contained in Cotton MSS., iii. 147.




330                            nlkr,.
Players, estimation of, in 1630, iv.   by John Taylor, iv. 135; of Noth38; and Minstrels among the early   ing, a prose tract, by Sir Edward
Reformers, iv. 96; the Stage, their    Dyer, 1585, i. 293, iii. a5.
Complaint, 1641, iv. 92.         Preachers' Travels, by J. CartPlayford, John, the Musical Corn-   wright, 1611, i. 138.
panion, 1701, i. 65, note.       Preservation of Henry VII., a poem
Plays and Theatres, Northbrooke's   in English hexameters, iv. 99,
Treatise against, iii. 68; the De-   note.
fence of, by Thomas Lodge, ii. 67; Price, Lawrence, his Disputation
and Theatres, Second and Third    between York and Canterbury,
Blast of Retreat from, 1580, iii.   1642, iii. 228; a popular Ballad212; confuted in five Actions, a    writer of that period, iii. 228.
tract, by Stephen Gosson, ii. 67.   Pricket, Robert, Honors Fame in
Play of Plays, representation of a    Triumph riding, 1604, iii. 230;
Drama so called, ii. 70.           Times Anatomy, 1606, iii. 235;
Pleasant, Plain and Pithy Pathway,   his imprisonment and its cause,
&c., by U. L., iii. 217.           iii. 235; Love's Song, iii. 236.
Plutarch's Lives, translated by Sir Pride and  Lowliness, Debate beThomas North, i. 23.               tween, by Francis Thynne, iv.
Pocahuntas, an  Indian  Princess,   146.
married to an Englishman, ii. 117. Prior, Mathew, his Thief and the
Poems, the early purchase and sale    Cordelier, ii. 169.
of MS., iii. 2, note; iii. 22.   Prisoner against the Prelate, by
Poetical Varieties, 1637, by Thomas    Thomas Granthamn, iii. 236.
Jordan, ii. 183.                 Prisons in London, enumeration of,
Poets, enumeration of, by John Tay-   by John Taylor, iv. 137.
lor, water-poet1 iv. 136.        Proctor, John, Master of Tunbridge
Poet's Blindman's Bough, 1641, by    School. iii. 241.
Martin Parker, iii. 123; Lives of Proctor, Thomas, his Gorgeous Galthe, contemplated  by  Thomas   lery of gallant Inventions, 1578,
Heywood, ii. 133, note; quoted in   iii. 241; Pretty Panmphlets by, iii.
England's Parnassus, 1600, list of,   243; made free of the Stationers'
iii. 132.                          Company by his father, iii. 241.
Politic Plat by Robert Hitchcock, Prodigies and Apparitions by John
1580, ii. 135.                     Vicars, iv. 202.
Polybius, Histories of, by Christo- Prognostication, W. Paynter's propher Watson, iii. 219.             ductions against, iii. 106; Mock,
Polyhvmnia, a collection of MS.   by Dekker and others, iv. 210.
Poems, by William Basse or Bas, Prophesy of Cadwallader, by Sir
i. 70.                             William Harbert, 1604, ii. 119.
Ponsonby and Harrison, their dis- Prosopopeia, probably by Thomas
pute about Sidney's Arcadia, iv.   Lodge, 1596, ii. 259, and note.
52.                              Proud Wife's Paternoster, 1560, iii.
Poor Man's  Benevolence to the    245.
Church, by J. Pitts, iii. 211; Pas- Proverbs in English, French, Dutch,
sions, 1605, by Arthur Warren, iv.   Italian, and Spanish, by N. R.,
217.                               1659, i. 11; Scottish, collected by
Popular Poetry, reprinted by Mr.   R. B., i. 11; in verse, iii. 358; of
E. V. Utterson, iii. 246.          John Lydgate, ii. 289; Collection
Popular Tunes in 1613, iii. 354.     of Witty, iii. 325.
Posthuma Hollandi, by Abraham   Prujean, Thomas, Aurorata, and
Holland, 1626, ii. 137.            Love's Looking Glass, 1644, iii.
Powell, Thomas, his Mystery of   247.
Lending and Borrowing, 1623, iii. Psflms, translated by F. Bacon,
226.                                Lord Verulam, 1625, i. 49; SlaPraise at Parting, a Play, by Stephen    tyer's version of, in four languages,
Gosson, ii. 69; of Hempseed, 1620,   iv. 58.




Jnuex.                          331
Public-houses and Signs in London,   1618, iii. 278; Dialogue between
ii. 300; by John Taylor, iv. 142.    a Councellor and a Justice of
Purser, Arnold, and Clinton, the pi-   Peace, iii. 234; To-day a Man, torates, verses by, i. 179.          morrow none, 1644, iii. 272.
Puttenham, George, his ridicule of, Ram-Alley and Milford Lane, their
Soowthern in his Art of English    bad reputation, iii. 227.
Poesie, iv. 76.                  Ramble, the, of Capt. James Hind,
Pygge, Oliver, his Meditations, &c.,   1651, ii. 133.
1589, iii. 249.                  Rankin, William, his Mirror of MonPyramus and Thisbe, by Dunstan    sters, 1587, i. 34, iii. 279, 281;
Gale, 1617, ii. 43.                probably author of the English
Ape, 1588, i. 34; his dramatic
writings, iii. 279; his tergiversaQ.                    tion as regards the Stage, iii. 279,
280; Seven Satires applied to the
Quarles, Francis, his Solomon's Re-   Week, and other poems, 1598, iii.
cantation, 1645, iii. 251; John,   278.
Continuation of Shakspeare's Lu- Rape of Lucrece, a play, by T. Heycrece, iii. 252.                   wood, Cries of Rome in, i. 203.
Quarterman and Waterton, ii. 213.  Rapeseed and Hempseed, Jest of, iv.
Queen of Scots, Mary, Defence of   39.
the Sentence upon, iii. 252.     Rastell, John, his edition of the
Queen's College, Cambridge, found-   Jests of the Widow Edyth, iv. 68.
ed by Lady Elizabeth Grey, iv. Ratsey, Gamaliel, his Life  and
17.                                Death, 1605, iii. 283; Second Part
Questions, Quips upon, 1600, prob-   of his Life and Death, iii. 285.
ably by John Singer, iii. 254.   Raven's Almanack, 1609, by Thomas
Quin, Walter, Poem on the death of   I)ekker, i. 253.
the Duke of Lennox, iii. 259.    Rebels of the North, William Seres's
Quip for an Upstart Courtier, by    Answer to, i. 28; Norton's prose
Robert Greene, 1592, ii. 83; stolen    Address to, iii. 70.
from Francis Thynne, iv. 149.    Recantation of Pasquin of Rome, by
Quips for Upstart new-fangled Gen-   R. W., 1570, i. 49.
tlewomen, 1595, by Stephen Gos- Recorde,  Robert, his Castle  of
son, ii. 71, iii. 262.              Knowledge, 1556, iii. 287.
Recreations, &c., 1595, by William
Hunnis, ii. 146.
R.                 Redbourne, Robert, printer only of
Lord Berner's translation of ArRacster, John, his Answer to Ala-   thur of Britain, i. 81.
baster's Seven Motives, 1598, i. Reed, Immanuel, a Player, iv. 92.
19.                              Remedy against Love, by W. A.,
Rainoldes, Dr. John, Ovierthrow of   1579, iii. 288.
Stage Plays, 1600, iii. 266.     Remedy of Love, by Ovid, translatRaleigh, Sir Walter, his History of   ed, 1600, iii. 95.
the World, ii. 66; Henry Lok's  Remedy for Sedition, 1536, iii. 290.
Sonnet to, 1597, ii. 263; Epitaph  Repentance of Gamaliel Ratsey, the
on the Earl of Leicester, iii. 271;   highwayman, 1605, iii. 284.
his Discovery of Guiana, 1596, iii. Return of the Knight of the Post
268; comnfission to, for the Dis-   from Hell, i. 244, 247.
covery, iii. 269; his poem Like  Reward of Wickedness, by Richard
Hermit poor, &c., iii. 272; The    Robinson, iii. 330.
Lie or Soul's Errand, iii. 273; Reynard the Fox, editions of, iii.
original Letter to Carr Earl of   292, 293; chap-book of, iii. 292;
Somerset, iii. 276; his autograph    early  impressions  of, iii. 293,
on the title-page of A good Speed    note.
to Virginia, iv. 209; News from, Reynolds, Henry, Drayton's Epistle




332                           3nbex.
to him, ii. 352; perhaps the author Robinson, Ralph, his translation of
of Mythomistes, ii. 353.           More's Utopia, 1551, ii. 337.
Rhyme, Samuel Daniels's tract in  Robinson, Richard, and his works, iii.
Defence of, i. 217.                225; the Rewarde of Wickedness,
Rhymes, double, too often used, ii.  iii. 320; Hemidos and Thelay, iii.
250.                               332; Thomas, his Anatomy of an
Richard the Third, by Shakspeare,   English Nunnery at Lisbon, iii.
when first produced, iii. 317, 319,   335.
the  Ghost of, by  Christopher Rock of Regard, 1576, by George
Brooke, 1614, i. 114; Sir George    Whetstone, iv. 237.
Buck's character of, i. 118.     Roderick, the last of the Goths, EpiRich, Barnabe, his Dialogue be-   taph upon, iii. 39.
tween Mercury and a Soldier, Rod for Runawayes, by  Thomas
1574, iii. 296; Don Simonides,   Dekker, i. 256.
1581, iii. 299; Second Tome of Romances and early Jest-books enuDon  Simonides, 1584, iii. 300;   merated, ii. 76.
Farewell to Military Profession, Romances, T. Nash's opinion of,
1581, iii. 302; Brusanus, a ro-   iii. 4.
mance, 1592, iii. 304; his Greene's  Romeo and Juliet, by Shakspeare,
News both from Heaven and Hell,  i. 10; the story of, mentioned in
iii. 307; Fruits of Long Expe-   1579, iii. 224; Epistles from and
rience, 1604, iii. 311; Faults and   to, by Thos. Prujean, iii. 247.
nothing but Faults, 1606, iii. 312; Room for a Mess of Knaves, 1610, ii.
Room for a Gentleman, iii. 313;   212; for a Gentleman, 1609, by B.
the Excellency of good Women,   Rich, iii. 313.
1613, iii. 313; My Lady's Look- Rosalind, Edmund  Spenser's first
ing-Glass, 1616, iii. 317; perhaps   love, so named, i. 234.
the author of Greene's Funerals, Rosalynde, a novel, by Thomas
1594, ii. 82, note; his Martial Con-   Lodge, 1590, ii. 246.
ference between  two  Soldiers, Rosamond, S. Daniel's Complaint of,
1598, iii. 296, note; probably not   when first printed, i. 210; Fair, T.
the translator of first two Books    Deloney's ballad on, i. 260; a Play
of Herodotus, 1584, iii. 314, note.    on her story, iii. 319.
Richmond, the Duchess of, Darcie's  Rouland, David, his History of LaFuneral Tears for, i. 220.         zarillo de Tormes, 1586, iii. 335.
Ricraft, Josiah, Survey of England's  Rowland,  Samuel, his  Common
Champions, iii. 321.               Cries of the Belman of London, i.
Riddles, the Book of Merry, 1600,   204; Heaven's Glory, seek it, 1628;
1630, &c., iii. 322, 323, note.    i. 204.
Rising to the Crown of Richard the  Rowland, Samuel, Night Raven,
Third, a poem, iii. 317, 319.      1618, i. 250; Martin  Mark-all,
Roaring Meg, Tyro's, 1598, iv. 181.    1610, i. 255; Guy Earl of WarRobert Duke of Normandy, his   wick, iii. 365, note; his lines on
Life, by Thomas Lodge, 1591, ii.   Ben Jonson's Volpone, iii. 131;
252.                               Battle between Time and Death,.
Robin Conscience, 1635, by Martin   iii. 336;'ris merry when Gossips
Parker, iii. 116, note; 125.       meet, 1602, iii. 340; Letting of
Robin Good-fellow, his Mad Pranks    Humours Blood, &c., iii. 346;
and Merry Jests, iii. 326; narrated    Look to it or I'll stab ye, 1604, iii.
in a ballad, iii. 328.             347; his Democritus, or Dr. MerRybin Hood, Martin Parker's True    ryman, iii. 295, 348; Humour's
Tale of, iii. 114; Epitaph upon, iii.   Looking-glass, 1608, iii. 350; Crew
120.                               of Kind Gossips, 1609, iii. 352;
Robin Hood's Choice, or Hobson's    Night-raven, 1620, iii. 358; DioChoice, iv. 210; Garland, iii. 295.   genes' Lanthorn, iii. 357; Good
Robinson, Clement, and his various    and Bad News, 1622, iii. 360; a
works, iii. 225.                   Pair of Spy-Knaves, iii. 361; his




Knaves of Clubs, Spades, iii. 361;  Salter, Thomas, his Mirror of ModesHistory of Guy Earl of Warwick,   ty, iv. 10, ii. 87, note.
1654, iii. 363.                   Saltonstall, Wye, his Maide, a poem,
Rowland, the poetical appellation of   in Picturin Loquentes, 1631, iii.
Michael Drayton, i. 275.             85.
Rowley, William, Search for Money, Sampson, Davie, Poems on  the
1609, iii. 366; his Epitaph upon    Treason of the Nortons, 1570, i.
Hugh Atwell, the actor, iii. 368;    222.'anecdote of Rowley, iv. 38.        Sampson, Thomas, Fortune's FashRoxana, a Latin Tragedy, by Wil-   ion, 1613, iv. 15.
liam Alabaster, i. 21.             Sanquhar, Lord, his murder of TurRoxburghe Club, its reprint of Barn-    ner the Fencer, iv. 27.
field's Lady Pecunia, 1598, i. 60.  Sapphics, English, by  Tristram
Royal Arbor of Loyal Poesie, by    White, 1614, iv. 258.
Thomas Jordan, ii. 186.            Sarate, or Zarate, A., his DiscovRoydon, Owen, his concern in The    ery, &c., of Peru, translated by
Gorgeous Gallery, &c., 1578, iii.    Thomas Nicholas, iii. 52.
242; perhaps father to Mathew  Satire, Whipping of the, 1601, iv.
Roydon, iii. 242; Poems to pop-    253.
ular tunes, iii. 245.              Satirists, English, their order as to
Roy, his Rede me and be not wroth,    publication, ii. 114.
a Satire on Wolsey, iii. 206.      Saville and Baskerville, Sir Thomas,
Rudyerd, Sir B. and Lord Pembroke,   their Answer to A Libel of Spantheir Poems, 1660, iii. 178.        ish Lies, 1596, i. 67.
Runaways, whipping of, 1604, iv.  Saviolo, Vincentio, a fencer, his
251.                                 Practice, 1595, iv. 20.
Rush, the History of Friar, a prose  Saxony, the Duke of, a romance, by
romance, 1626, iii. 369.             H. R., 1590, iv. 21.
School-house of Women, by Edward
Gosynhill, ii. 74.
S.                  Schoolmaster, or Teacher of Table
Philosophy, 1583, translated by
Sabie, Francis, his Adam's Com-    Thomas Twvne, iv. 179.
plaint, &c., 1596, iv. 1; Fisher-  School of Abuse, the, 1579, by
man's Tale, 1595, iv. 1; Pan's    Stephen Gosson, ii. 67.
Pipe, 1595, iv. 1; a Schoolmaster  School of Slovenry, 1605, translated
at Lichfield in 1587, iv. 1, note.   by R. F., iv. 23.
Sack-full of News, a Jest Book, 1640, Scourge for Folly, by John Davies,
iv. 4; an early Play, iv. 5; men-   i. 229; of Paper-persecutors, by
tioned, ii. 109.                     John Davies, 1625, i. 229; of BaseSackville and Norton, their tragedy    ness, 1624, by John Taylor, iv.
of Gorboduc, 1565, i. 183.           138; of Venus, 1614, by H. A., iv.
Sackville (Thomas) his share in the    197; differences in editions of the
tragedy of Gorboduc, i. 3; his In-    poem, iv. 199; Villany, Satires by
duction to the Mirror for Magis-   John Marston, 1598, ii. 320.
trates, i. 2, note; his contribution  Scott, Sir Walter, his gift of the
to the Mirror for Magistrates, i.   poem  of Flodden Field  to the
3; Abp. Abbot's Sermon upon his    Marquis of Stafford, ii. 30.
death. i. 1.                       Scott, Thomas, his Philomy thie, or
Saker, Austin, his Narbonus, a ro-    Philomythologie, 1616, iv. 26.
mance, 1580, iv. 7.                Search for Money, 1609, by William
Salisbury, Owen, killed in the re-    Rowley, iii. 366.
volt of the Earl of Essex, iii. 279. Sedition, Remedy for, 1536, iii. 290.
Salmasis and Hermaphroditus, prob-  Selimus, Emperor of the Turks, his
ably not by Francis Beaumont, i.   cruelties, iii. 80.
77; misprints in the later editions  Seneca, his Book of Consolation,
of, i. 78.                          translated by R. C., 1635, iii. 28.




334                              ~nbex.
Seres, William, Answer to the Reb-    302; Armado drawn from a charels of the North, 1569, i. 28; his    acter, by B. Rich, 1592, iii. 305;
Patent to print Primers and Psal-    Love's Labours Lost, illustrated,
ters, i. 30.                         iii. 326; mentioned, iv. 155; a poet,
Servingmen, Health to the Gentle-    named by John Taylor, iv. 136;
manly Profession of, 1598, iv. 29.    Venus and Adonis mentioned, iii.
Seven Champions of Christendom,    335, iv. 199; Two Gentlemen of
by Richard Johnson, ii. 180; dead-    Verona, iii. 344; Pericles mentionly  Sins of London, 1606, by    ed, iii. 356; Hamlet, or the older
Thomas Dekker, i. 239; Satires    tragedy so called, iii. 359; Luapplied to the days of the Week,    crece, 1607, iv. 34; the poet's
by  William  Rankins, 1598, iii.   burial at Stratford mentioned, iv.
278.                                 38; alluded to by John Weever,
Seward, R., his King and Queen of   1601, iv. 228, 231.
the Fairies, 1635, ii. 203, note.  Sharpe, Roger, his more Fools yet,
Shakspeare, William, his Taming    1610, iv. 41; Lewis, a known
of the Shrew, i. 4; referred to by    dramatist, iv. 42.
C. Fitzgeffrey in 1596, i. 69, note;  Shaving, a Treatise, answering the
his Rormeo and Juliet, i. 10; the    Book of Beards, iv. 44.
words of Catches in his Winter's  Shepherd's Calendar, by Edmund
Tale and in his Twelfth Night, i.   Spenser, iv. 85; Content, 1594, by
31; illustrated  by  Ballads and    Richard Barnfield, iii. 203; Pipe,
Tunes, 1605, ii. 232; his claim to    1614, by Browne and Wither, i. 95;
Poems in the Passionate Pilgrim,    Spring Song, by H. Chettle, i. 161.
1599, i. 59; praised by R. Barn-  Sherborne, and Sir Walter Raleigh's
field in 1598 and 1605, i. 60;    estate there, iii. 276, note.
Poems by, in England's Helicon, Sherley, Sir Anthony, his Travels
1600, 1614, i. 91; his Passionate   into Persia, 1613, i. 138; iv. 47;
Pilgrim  imitated, i. 99; his Rich-    Travels of, by  William  Parry,
ard  the Third  praised  by  C.   1601, iii. 140; and his two Brothers,
Brooke, 1614, i. 114; not on the    iii. 367; Sir Robert, his Travels
stage in 1593, iii. 319; his Mer-    with Sir A. Sherley, 1613, iv. 49;
clant of Venice, the story of, i.   tile Three Brothers, Travels of, by
126; his Works mentioned in Jo-    Anthony  Nixon, 1607, iii. 61;
cabella, 1640, i. 147; Chettle's   tracts issued regarding their Travnotice of, under the name of Mel-   els, iii. 62.
icert, 1603, i. 16.1; Midsummer  Sherry and Sack, the praise of, in
Niolt's Dream, illustrated by Jyl   a Song, iii. 158.
of Brentford's Testament, i. 192;  Shirley, James, ballad on his Masque
2 Henry IV. and Twelfth Night    of Peace, iii. 117.
illustrated, i. 194; 2 Henry IV.  Shore's Wife, by Tho. Churchyard,
illustrated by Cosby's Verses, i.   iii. 20, note; a Play, iii. 319.
198; a note upon his King Lear, Sick, Exhortation to the, printed by
i. 251; Passage in 1 Henry VI.    William Copland, i. 93.
illustrated, ii. 83; the Winter's  Sidney, Sir Philip, Drayton's EcTale, founded upon R. Greene's   logue on the death of, i. 276;
Pandosto, ii. 88; Jordan's Ballads,   Astrophel and Stella, 1591, i. 42;
founded on his Plays, ii. 187; Ken-    his Arcadia, 1590, iv. 50; difficulilworth in 1575, ii. 229; his Seven    ties regarding its publication, iv.
Ages, ii. 283; Plagiarisms from,    51; Fulke Greville's letter regard-'iii. 59; quotations from his Plays    ing it, iv. 51; Sonnet on Matriin Enlgland's Parnassus, iii. 134;    mony, iv. 55; Apology for Poetry,
his Company of Actors, iii. 182,   1595, iv. 56.
185; Merry  Wives, &c., illus-  Signs of Public Houses in and near
trated, iii. 280; alluded to in Rat-    London, ii. 300.
sey's Ghost, iii. 286; Twelfth Night Silkworms and their Flies, by Dr.
founded on a novel, by B. Rich,jiii.    Thomas Moffat, 1599, ii. 335.




an$leX.                            335
Simonides, Don, by Barnabe Rich, Sophonisba, a tragedy, by David
1581, iii. 299, 300.               Marrav, 1611, ii. 351.
Singer, John, his Quips upon Ques-  Soul's Errand, or the Lie, by Sir
tions, 1600, iii. 254; a distinguish-    Walter Raleigh, iii. 273; Solace
ed Comic Actor under Henslowe,   by Thomas Jenner, ii. 163.
iii. 255; his Voluntary, iii. 255.   Southampton, Earl of, Nash's DedSix Idyllia, from  Theocritus, by    ication of his Life of Jack Wilton,
Sir Edward Dver, 1588, i. 292.     1594, to him, iii. 10.
Skelton, John, described by Dr. Bul- Southern, or Soowthern, mentioned
lein in, 1573, i. 121.             by Drayton, iv. 75.
Skeltonic Verse, by Lemeke Avale, Southwell, Robert, the supposed Ed1569, i. 47.                       itor of the Phoenix Nest, 1593, iii.
Skialetheia, or the Shadow of Truth,   200; Mary Magdalen's Funeral
1598, by Edward Guilpin, ii. 99.   Tears, 1594, iv. 79, 81, note; ExSlander, a plain Description, &c., of,   ecution of him, in 1595, iv. 82;
1573, iv. 57.                      St. Peter's Complaint and other
Slatyer, William, translations  of   Works, 1620, iv. 82.
Psalms of David, iv. 58.         Spain and Portugal, the Expedition
Slender, Master, and his'elopement   to, in 1589, vindicated, i. 317.
with a boy, iii. 280.            Spectacle of Lovers, by William
Small HandfuLll of Fragrant Flowers,   Walter, iv. 211.
1575, by Nicholas Breton, i. 105.  Spenser, Edmund, his praise of AlaSmith, Capt., his True Relation of   baster in 1591, i. 19; praised by
Virginia, 1608, iv. 207; Descrip-    R. Barnfield in 1598 and 1605, i.
tion of New  England, 1616, iv.   59; by W. Browne, i. 113; referred
59.                                to, i. 134; allusion by S. Daniel to
Smith, Richard, his Sonnet before    his Fairy Queen, i. 213; applaudH. Constable's Diana, edit. 1594,   ed in Davison's Poetical Rhapsoi. 189; Editor of Mathew Grove's   dy, i. 233; his Fairy Queen unPoemss, 1587, ii. 98.              finished, i. 246; his poetical apSmith, Sir Thomas, his Voyage to    pellation of Colin, i. 275; address
Russia, 1605. iv. 60; Waiter, his   to, by A1. Drayton, i. 282; FairJests of the Widow Edyth, 1573,   fax's obligations to, ii. 2; Joseph
iv. 63; William, his poems under   Hall's admiration of, ii. 115; Sir
the title of Chloris, 1596, iv. 68.  W. Harbert's tribute to, ii. 119;
Smythe, Robert, possibly the Editor    Sonnet to Gabriel Harvey in 1586,
of the Phenix Nest, 1593, iii. 200.   ii. 125; and Howleglas, Scoggin,
Soldier, the honourable Reputation    Skelton, and Lazarillo, ii. 142;
of, a tract by George Whetstone,   and  Daniel praised  by  Tho.
1585, iv. 244.                     Lodge, ii. 248; his Mother HubSoliman and Perseda, origin of the    berdt's Tale, called in, ii. 33%, iv.
plot of the Play, iv. 288.         26; imitated by R. Niccols, iii. 44,
Solomon's Recantation, 1645, by    49; and Geo. Tubervile, iii. 86, iv.
Francis Quarles, iii. 251.         178; W. Smith's Sonnets in ChloSommers, William, Jester to Henry   ris addressed to, iv. 69; ComVIII., iv. 270; date of his death    plaints, &c., 1591, iv. 83; Lost
in Shoreditch, iv. 270.            pieces by, iv. 84; Four Hymns,
Songs and Airs, by Tho. Campion,   1596, iv. 85; Shepherd's Calendar,
iv. 71; and Sonnets, 1557, by the   iv. 85; Certain Poems dedicated
Earl of Surrey and Sir Thomas   to him in 1597, iv. 86, 87; burial
Wyatt iv. 118; first edition of,   of, iv. 216; praised by Thomas
iv. 118; of Mourning, 1613, by    Watson, iv. 225; his Ruins of
Thomas Campion, iv. 74.            Time called in, iv. 229; Weever's
Sonnet-writing, the fashion of, iv.   Epigrams to, iv. 229, 231; Tris223.                               train White's quotations from, iv.
Soowthern, or Southern, John, his   257.
Pandora, 1584, iv. 75.




336                             ~nbex.
Spider and Fly, by John Heywood, Survey of England's Champions, by
1556, ii. 131.                       Josiah Ricraft, iii. 321.
Sports of Wit, Treatise on, by Rich-  Susanna and the Elders, the story
ard Flecknoe, ii. 24.                as related by Robert Greene, iv.
Stafford, Anthony, his Heavenly    13.
Dog, Diogenes, iv. 90.             Swearers, customable, an exhortaStafford, W., his Examination of   tion to, iv. 125.
certain Ordinary Complaints, &c., Swift, Jonathan, a saying by him
1581, iv. 89.                        illustrated, i. 195.
Stage-players  Complaint, a Dia- Sword and Buckler, a poem, by Willogue, 1641, iv. 92.                 liam Basse or Bas, iv. 125.
Stage-plays, a short Treatise against,  Sword and Spirit, by Thomas Wiliv. 94.                              liamson, iv. 266.
Stalbridge, Henry, his Epistle Ex- Sylvain, Alex., his Orator, translated
hortatory, iv. 95.                   by Lazarus Plot, 1596, iii. 208.
Stanyhurst, Richard, his first four  Sylvester, Joshua, his Canticle on
books of Virgil, 1583, iv. 97.       the Victory by  Henry  IV. at
Stationers' Hall, dates when  R.    Yvry, iv. 127; his Triumph of
Greene's  pieces  were  entered    Faith, iv. 128; his family, iv. 129.
there, ii. 87.                     Synesius, his Paradox of Baldness
Statutes of War, published  by    by Abraham Fleming, ii. 27.
Henry VIII. in 1513, iv. 101.
Stevenson, Mathew, Occasions Offspring, 1645, iv. 103.                             T.
Still, Bishop, and his Gammer Gurton's Needle, iv. 270, note.       Tale of Troy, by George Peele, 1589
Stow, John, his license to beg, iv.    and 1604, iii. 176.
216.                               Tales and Jests of Hugh Peters,
Strafford, Earl of, his Farewell to the    1660, iii. 181.
World, 1641, iv. 103.              Tamburlaine, the Great, two Plays
Strange Histories, by Thomas De-    on, by Christopher Marlowe, iii.
loney, 1607, i. 262; News, by    38; Thomas Newton's Account
Thomas Nash, 1592 and 1593, iii.   of Tamerlane, &c., 1575, iii. 38.
11; News out of divers Countries, Taming  of the Shrew, by Shaks1622, by Nicholas Breton, i. 110.    peare, regarding hats, i. 4.
Strappado for the Devil, 1615, by  Tarleton, Richard, his Jests, and
Richard Braithwaite, i. 94.          Themes answered  by him, iii.
Stretner, his concern in Baldwin's    256; his Toys, i. 210, iii. 15; J.
Beware the Cat, i. 55.               Singer's Poem upon, iii. 258; his
Stripping, Whipping, and Pumping,    song, iii. 310; News out of Purthe five Shavers of Drury Lane, a    gatory, iv. 129; Portrait of, iv.
tract, iv. 105.                      130; his Jests in three Parts,
Stubbes, Philip, his Anatomy  of   iv. 130; his Ballad on the Floods
Abuses, 1583, iii. 4, iv. 106, 112;   in Bedfordshire, iv. 131; his Tragproductions in verse, by, 1581,   ical Treatises, iv. 131.
&c., iv. 113; his Motive to good  Tasso, Torquato, his  Jerusalem,
Works, 1593, iv. 115; probable   translated by R. Carew, 1594, i.
death of, iv. 117.                   131; by E. Fairfax, i. 132.
Stukeley, Thomas, killed in the bat-  Tatham, John, Mirror of Fancies, iv.
tfe of Alcazar, 1578, ii. 109.       131; Ostella, 1650, iv. 132.
Summa  Totalis, 1607, by  John  Taylor, John, the Water-poet, his
Davies of Hereford, i. 225.          error regarding T. Nash, iii. 7;
Surrey, Earl of, title to his transla-    Eighth  Wonder of the  World,
tion of Virgil, iv. 100, iii. 186,    1613, iii. 190, iv. 133; Urania, 1615,
note; Songs and Sonnets by, 1557,   iv. 134; the Praise of Hempseed,
iv. 118; first four books of the    1620, iv. 135; Praise of a Jail and
ZEneid, iv. 122.                     Jailors, iv. 137; Praise of clean




nubes.                           337
Linen, 1624, iv. 137; Armado, or   puted author of the tragedy of
Navy of 103 Ships, 1627, iv. 138;   Locrine, 1595, i. 119, iv. 156.
Scourge of Baseness, iv. 139; Wit Tilney, or Tylney, Edmund, Duties
and Mirth, 1629, iv. 140; Travels,   in Marriage, 1568, iv. 156; Master
and Worthiness of the Vine, 1636,   of the Revels, iv. 156.
iv. 141; Crop-ear curried, iv. 143; Time and Death, the Battle between,
Aqua-Muse against George With-    by Samuel Rowlands, iii. 336.
er, iv. 144; Bull, Bear, and Horse, Times Anatomy, by Robert Pricket
iv. 145; Famous Fight at Sea, iv.   1606, iii. 235.
144; all the Works of, 1630, iv. Tinker of Turvey, 1630, iv. 129.
139.'Tis merry when Gossips meet, 1602,
Tears of Fancy, 1539, Sonnets by    by Samuel Rowlands, iii. 340.
Thomas Watson, iv. 220.           Tofte, Robert, Laura, the Toys of a
Tears and Lamentations of a sorrow-    Traveller, 1597, iv. 157; Alba, the
ful Soul, poems by Sir William      Month's Mind of a Lover, 1598,
Leighton, 1613, ii. 239.            iv. 159; Ariosto's Satires, transTears of Love, 1615, by Thomas   lated by, 1608, iv. 160; Honour's
Collins, i. 184.                    Academy, 1610, iv. 161.
Tempest's Cries of London, i. 204.   Tom of Lincoln, History of, iii. 295.
Temple of Glass, not by Stephen  Tom Long, the Carrier's Journey to
Hawes, but by Lydgate, ii. 126.     London, 1634, iv. 272.
Temple, the, religious  poems by  Tom Tell-truths Message, 1600, by
George Herbert, ii. 128.            John Lane, ii. 223.
Terrors of the Night, 1594, by  Tottel's Miscellany, differences in
Thomas Nash, iii. 13.               the editions of in 1557, iv. 118, 119.
Testament of John Lydgate, ii. 287. Touchstone's allusions in As You
Theatre and Curtain open in 1577, iii.   Like It to Saviolo on Lies, iv. 20.
69; mentioned in 1579, iii. 33; T. Toy, J., his Worcester's Elegie and
White's Sermon against, 1576, iv.   Eulogie, 1638, iv. 281.
255; Executions near the, iv. 233. Toys, by Richard Tarlton, iii. 15.
Theatres, state of the, in 1641, iv. 93. Tragical Cases, fifty-five, translated
Theatre for Worldings, by  John    by E. A., iii. 209; Discourses by
Vander Noodt, iii. 86.              Geoffrey Fenton, 1567, ii. 14;
Theatrical Performances, List of   Tales, by George Turbervile, 1587,
Tracts for and against, iii. 313.   iv. 175.
Themes given to Comic Performers  Transactions of these latter Years,
at Theatres, iii. 256.              by John Vicars, iv. 203.
Thersites, an early Interlude, iv. 307. Trappolin, supposed a Prince, by Sir
Theseus and Ariadne, by Thomas    Aston Cokavne, 1658, i. 182.
Underdowne, 1566, iii. 91, 94.    Travels of three English Brothers, a
Thomas of Reading, a novel, by    play, by Day, Rowley, and WilThomas Deloney, i. 264.             kins, i. 138, iii. 367.
Three  Miseries of Barbary, by  Travels, with the Worthiness of the
George Wilkins, iv. 262.            Vine, by J. Taylor, 1636, iv. 141.
Three to One, an English  Spanish  Tresham, Sir Thomas, Sir F. MadCombat, 1625, iii. 174.             den's mistake regarding, iv. 87.
Thynne, Francis, Epistle  to, by  Treveris, Peter, the printer of ArGeorge  Turbervile, iv. 175; his   nold's Chronicle, i. 37.
Debate between Pride and Low- Trial of true Friendship, a romantic
liness, ij. 86, iv. 147; perhaps    tract, 1596, iv. 163.
author of News from  the North, Triumphs of Death, translated by
1579, iii. 32; the Case is Altered,    Lord Morley, iii. 77; of Faith, by
1604, iv. 154; his MS. Emblems    Joshua Svlvester, iv. 128.
and Epigrams, iv. 147, note.      Troilus and Cressida, by Chaucer,
Tie the Mare Tom  Boy, William        mentioned, iv. 162.
Kethe's Parody upon, ii. 196.     Troy, the Tale of, by G. Peele, 1589,
Tilney, or Tylney, Charles, the re-    1604, iii. 176; the fall of, as reVOL. IV.                  22




338                           Jurx.
lated in Hecuba's Mishaps, 1590, Tyro's Roaring Meg, Epigrams, or
ii. 9; the Destruction of, by Sir    Satires, iv. 181.
Thomas Wrothe, 1620, iv. 290; the  Tyronis Epistolae, 1598, iv. 183.
Ancient History of the Siege and
Destruction of, 1636, iv. 164.                    U.
True Tale of Robin Hood, by Martin
Parker, iii. 114.                 Udall, Nicholas, perhaps author of
True Testimony of a faithful Sub-   a Pleasant, Plain, and Pithy Pathject, by Richard Vennar, iv. 196.    way, iii. 217; certainly the author
True Use of Armorie, by William       of Ralph Roister Doister, iv. 269.
Wyrley, 1592, iv. 292.            Ulster, Blenerhasset's Direction for
Trumpet of War, 1598, a Sermon by    the Plantation of, 1610, i. 87.
Stephen Gosson, ii. 71.           Ultimum  Vale, verses by Arnold
Trussell, John, his Continuation of   Cosby, 1591, i. 197.
S. Daniel's History of England, i. Underdowne, Thomas, his Theseus
220; poem by, imputed to Robert   and Ariadne, 1566, i. 288, iii. 91,
Southwell, iv. 79, 82.              94, iv. 183; poem  by, on Titus
Tudor, Owen, history of his love in    and Gesyppus, &c., i. 288; transHolland's Pancharis, 16038, iv. 166.   lation of Ovid's Invective against
Tuke, Thomas, Poem  on the Eu-   Ibis, iii. 90; Ethiopian History,
charist, 1636, iv. 169.             1587, 1605, iv. 185.
Tunes, popular, in 1613, iii. 354; Unlucky Citizen, an autobiography
popular ballad tunes, iii. 330; and    by Francis Kirkman, 1673, ii. 208.
Songs mentioned in 1623, iv. 46.   Urania, by J. Taylor, 1615, iv. 134.
Turbervile, George, Epigrams, Songs  Urchard, Sir Thomas, Epigrams
and Sonnets, 1567, iv. 170, iii. 86,   1641, iv. 186; Portrait of, iv. 188'
note; his Plain Path to perfect   note.                             X
Virtue, 1568, ii. 105; Epitaph  Utterson, E. V., his Early Popular
upon  Richard Edwards, i. 299;   Poetry, ii. 75; reprint of Guilpin's
Turbervile and Spenser, iii. 86;    Skialetheia, ii. 102; Reprint of the
his Ovid's Epistles, 1567, iii. 86;   Proud Wife's Paternoster, iii. 245.
Tragical Tales, 1587, iv. 175; two
old editions of, iv. 178; the poet                V.
not killed by his man Morgan, iii.
336, iv. 178.                     Vade Mecum  for Malt-worms, ii.
Turner, Dr. P., his Song of Praises,   303, note.
1589, iii. 249.                   Vagabonds, the Fraternity of, 1575,
Turner, the Fencer, murdered by    ii. 122, note; Thomas Harman's
Lord Sanquhar, iv. 27.              Caveat against, ii. 122.
Turner, W., his ballad on the Cries  Valentine and Orson, History of, by
of London, i. 202.                  Martin Parker, iii. 127; the older
Twelfth Night, words of a Catch in    Romance of, iv. 188.
that comedy, i. 31.               Valentine and the two Beggars, ii.
Twine, or Twyne, Thomas, his   2-98.
Epitaph upon Richard Edwards, Vallans, William, Tale of Two
i. 299, iv. 173; Schoolmaster or    Swans, 1590, iv. 189; Honorable
Teacher of Table Philosophy,   Prentice, 1615, iv. 189.
1583,iv. 179; his completion of Vander Noodt, John, his Theatre for
Phaer's Virgil, with Supplement,   Worldings, iii. 86; iv. 84.
nii. 189; Lawrence, his translation  Vaughan, Rowland, Most approved
of the original Story of Pericles,   Water-works, 1610, iv. 192.
iii. 189.                         Velvet-breeches and Cloth-breeches,
Two Lancashire Lovers, by Richard    dispute between, by R. Greene,
Brathwaite, i. 98.                  iv. 149.
Tye, Christopher, not the translator Vennar, Richard, his England's Joy,
of Nastagio and Traversari, iii.   1603, ii. 12; mentioned, i. 96,
25.                                 iv. 193, note; Apology  of, and




antbeX.                           339
autobiography, 1614, iv. 193; the    poem upon his Death, iv. 263;
author of Broadsides, iv. 195; his    Fulke Greville's Letter to, on Sidtrue Testimony of a faithfu Sub-   ney's Arcadia, iv. 51.
ject, iv. 196.                   Walter, William, the Spectacle of
Vennar, Richard, and Fenner, Wil-   Lovers, iv. 211; tragedy of Guisliam, distinguished, ii. 13, note.  tard and Sismond, iv. 88, note.
Venus and Adonis, a poem upon,by  Walton and Clinton, execution of;Thomas Lodge, 1589, ii. 245, note;   these pirates in 1583, i. 180, note.
by  Shakspeare, mentioned, iii. Walton, alias Purser, a pirate, verses
335.                               by, i. 180.
Venus, the Scourge of, a poem, by  Walton, Izaac, his residence in
H. A., 1614, iv. 197.              Chancery Lane, in 1638, i. 23;
Vicars, John, Babel's Balm, 1624,   his edition of Chalkhill's Thealma
iv. 200; Parliamentary Mercies,   and Clearchus, 1683, i. 144.
iv. 201; Prodigies and Apparitions, Warden of the Stanneries, poem by
iv. 202; his account of the Trans-   the, imputed to Lord Walden, iii.
actions of these latter Years, iv.   271.
203.                             Warner, William, his Albion's EngVienna, Sir Paris and the fair, a    land, 1586, 1589, iv. 213; calling
Romance of, iv. 204.               in of his Albion's England, iv.
View of sundry Examples, by An-   214; a Londoner by birth, iv. 217;
thony Munday, 1580, ii. 343.       death of, at Amwell, in 1609, iv.,
Vinegar and Milustard, or Wormwood    217.
Lectures, 1673, iv. 205.         Warren, Arthur, Poor Man's PasVirgidemiarum, Six Books of Sat-   sions, &c., 1605, iv. 217.
ires, by Joseph Hall, 1597, ii. 113.  Warren, William, his Nursery of
Virgil, two books of the 2Eneid,   Names, 1581, iv. 218; Discourse
translated by Lord  Surrey, iv.   on War and Peace, iv. 219.
122; first four books, translated  Wars, Wars, Wars, a  tract by
by Richard Stanyhurst, iv. 97;   Thomas Dekker, i. 257.
iEneid, seven books translated by  Warton, Thomas, his mistake about
Phaer, in 1558, iii. 186; Bucolics,   Sylvain's Orator, 1596, iii. 210.
translated by Abraham Fleming, Warwick, Anne Countess of, praised
1575, ii. 25.                      by G. Turbervile in 1567, iv. 172.
Virginia, A trueRelation of, by Capt. Waterhouse, Mother, and Joan her
Smith, 1608, iv. 207; a good Speed    daughter, Witches examined at
to, 1609, iv. 208.                 Chelmsford, iii. 192.
Virtue Triumphant, by Sir William  Water-works, approved by Rowland
Leighton, 1603, ii. 238.           Vaughan, iv. 192.
Vision of Robert Greene at the in- Watson, Christopher, verses in his
stant of his Death, ii. 89.       translation of Polybius, iii. 220;
Volpone, or the Fox, by Ben Jon-   Lamentation on his death, a broadson, lines by S. R. upon, iii. 131.    side, 1581, iii. 221.
Vox Graculi, or Jack Daw's Prog- Watson, Thomas, his EcKaTo7LraOLta
nostication, 1623, iv. 210.        i. 5, iv. 224, 225; its real date, iv.
Voyages, divers, respecting Ameri-   225, note; his Meliboeus, on the
ca, 1582, by Richard Hakluyt, ii.   death of Walsingham, 1590, iv.
266.                               224; his First Set of Italian Madrigals, 1590, iv. 225; his HexastiW.                   con before Robert Greene's Ciceronis Amor, ii. 86; his Tears of
Waldegrave, Robert, the Printer, his   Fancy, 1593, iv. 220; Memoria
offences, ii. 325; persecution of   Localis, iv. 222; his Death in
him and his family, ii. 325, note.  1592, iv. 221.
Walden, Lord, a poem by Raleigh, Watson, Thomas, or Smith, True
falsely imputed to, iii. 271.      Relation of Virginia, iv. 207.
Walsingham, Sir Francis, Willet's




340                              nbex.
Way to Thrift, an old Poem, printed  Whole Works of George Gascoigne,
in 1597, iv. 89.                    1587, ii. 51; omissions in, ii. 51.
Webster, John, his lines on Mun- Widkirk  Miracle Plays, and the
day's Palmerin of England, ii. 349.   Fools of Gotham, ii. 76.
Weeping Lady, 1625, by Thomas  Widow of Watling Street, a play
Brewer, i. 112.                     upon the life of George Peele, iii.
Weever, John, Epigrams by, 1599,   178.
iv. 227; his Mirror of Martyrs, Wife, by Sir Thomas Overbury,
Sir John Oldcastle, 1601, iv. 230;   1614, iii. 81; Widow and Maid,
educated at Cambridge, iv. 228.     Debate between, by Sir J. Davys,
Welby, Henry, the Phoenix of these   iii. 342.
late Times, 1637, iv. 232.        Wilkins, George, two poets of the
Weldon, Hartley and Sutton, tract   same names, i. 248, iv. 260; Painon their Execution, 1588, iv. 233.    ful Adventures of Pericles, 1608,
Well-spring of Witty Conceits, 1584,   iv. 259, iv. 260, note; and T. Dekiv. 233.                            ker, their Jests to make you
Werwolves in Ireland, i. 57.          merry, i. 247; Three Miseries of
West Indies, History of the Discov-   Barbary, iv. 262.
ery of, by Tho. Nicholas, iii. 54.   Willet, Andrew, Sacrorum EmbleWest, John and Alice, alias King    matum Centuria una, iv. 262.
and Queen of the Fairies, ii. 203.  Willet, Rowland, Merry Jests of
West, Richard, his School of Virtue,   Popes, Monks, and Friars, 1617,
iv. 237; his News out of Bartholo-   iv. 265.
mew Fair, 1607, i. 63; his Court Williamson, Thomas, The  Sword
of Conscience, 1607, i. 63, iv. 235.   and the Spirit, 1613, iv. 266.
What is Woman's chief Delight, a  Willot, mentioned in William BaldSong, iii. 344.                     win's Beware the Cat, 1584, i. 56.
Wheresoever you see me, Trust unto  Wilson, George, his tract in Com-. yourself, by Tho. Powel, 1623,   mendation of Cocks and Cockiii. 226.                           fighting, 1.607, iv. 268.
Whetstone, George, his Rock of Wilson, Dr. Thomas, his Art of RhetRegard, 1576, iv. 237; poem by,   orique, and Logic, iv. 269.
in the Paradise of Dainty Devices, Winchester, Marquis of, Lord Treas1578, i. 301; his Remembrance of   urer of England, iii. 161; R.
George Gascoigne, iv. 246; Spen-    Broughton's brief Discourse on
ser's Shepherd's Calendar imput-   his death, 1572, i. 115; his work
ed by him to Sir P. Sidney, iv. 247;   called Idleness, and T. Nash's lethis Mirror for Magistrates of Cities,   ter regarding it, iii. 161.
1584, iv. 244; the honourable Rep- Wines, a list of those usually drunkutation of a Soldier, 1585, iv. 244;   en in 1619, iii. 158.
his English Mirror, 1586, iv. 242.  Winter's Tale, words of a Catch inWhetstone, the, a Pack of Knaves,   troduced into, i. 31.
iv. 247; hurling the Whetstone  Winter, Thomas, his translation from
explained, iv. 248.                 Du Bartas, 1603, iv. 271.
Whip for an Ape, or Martin display- Witches at Chelmsford, Examinaed, iv. 249.                        tion of, by John Phillips, 1566, iii.
Whipping of Runaways, 1604, iv.   190.
251; of the Satire, 1601, iv. 253.   Wither, George, attacked by John
White, Harry, his Humour, by Mar-    Taylor, iv. 145; R. Brathwaite's
tin Parlter, iii. 125.              praise of, i. 95; on Tobacco, ii.
White, Thomas, his Sermon against   163; his birth and death, iv. 275;
Theatres in 1576, iv. 255.          Abuses stript and whipped, 1613,
White, Tristram, Martyrdom of St.   iv. 274; Campo Musme, iv. 276;
George, 1614, iv. 257.              Prosopopeia Britannica, iv. 277;
Whitgift, Archbp. Tho. Church-    other Works by Wither, iv. 276.
yard's Poem upon the death of, Wit and Mirth, Jests collected by
1604, i. 173.                       John Taylor, 1629, iv. 140.




inbex.                            341
Wit bought is best, or Tom Long's Wyat's Rebellion, History of, by
Journey, iv. 272.                  John Proctor, iii. 241; Sir Thomas,
Wits, Fits, and Fancies, 1595, 1614,   the elder, his Poems with the Earl
by Anthony Copley, i. 193.          of Surrey's Songs and Sonnets,
Wits, or Sport upon Sport, by Fran-   iv. 119.
cis Kirkman and Robert Cox, ii. Wynkyn de Worde's edit. of The
211.                               Four Sons of Aimon, 1504, i. 17;
Wits Trenchmore, 1597, by Nicholas    his Demands Joyous, i. 267.
Breton, i. 111.                  Wyrley, William, his True Use of
Witty Conceits, the Well-spring of,   Armorie, 1592, iv. 292.
1584, iv. 233.
Wolsey, Cardinal, his character and
conduct applauded in 1536, iii.                  Y.
291.
Women, English, the Habits of, i. Yates, James, three separate poems
316; the cPrayse of all, by E.   by, the Hold of Humility, Castle
Gosynhill, ii. 73; Schoolhouse of   of Courtesy, and Chariot of ChasWomen, ii. 74.                     tity, 1582, iv. 294.
Wonders of the Air, by Thomas  Yonge, William,  his  England's
Churchyard, i. 172; History of   Shame, a Life of the arch-imposstrange Wonders, 1561, iv. 278.    tor Hugh Peters, 1662, iii. 184,
Woodhouse, Peter, The Flea, a poem,   186.
1605, iv. 278.                   Young, Bartholomew, translation of
Woodhouse, W., Fifteen fearful to-    Amorous  Fiammetta, iv. 296;
kens of Doomsday, iv. 277.         translation of Guazzo's Civil ConWorcester's Elegy and Eulogy, by    versation, iv. 297; translation of
T. Toy, 1638, iv. 281.             the Diana of Montemajor, iv. 296.
World's Folly, by J. H., 1615, iv. Young, John, Maker of Plays, &c.,
282.                               to Henry VIII., i. 54.
Wormwood Lectures, or Vinegar Yorkshire Tragedy, two lines in, by
and Mustard, 1673, iv. 205.        Thomas Nash, iii. 10.
Wortley, Sir Francis, Characters  Yvry, Sylvester's Canticle on the
and Elegies, 1646, iv. 284.         Victory at, iv. 127.
Wotton, Henry, his Courtly Controversy of Cupid's Cautels, 1578,
iv. 285; Original Poems in, iv.                   Z.
286.
Wotton, Sir Henry, his annuity as  Zarate, or Sarate, A., his Discovery
Historian of England, i. 52.       of Peru, translated by Thomas
Wrothe, Sir Thomas, his Destruc-   Nicholas, 1581, iii. 52.
tion of Troy, 1620, iv. 290; his  Zepheria, a  Collection  of short
Abortive of an Idle Hour, 1620,   Poems, so named, 1594, iv. 297;
iv. 290; Encomium of his Wife,   B. Griffin's plagiarisms in Fidessa,
1635, iv. 289.                     iv. 300.
THI END.