Part 2 — CHAPTER IV. (continued 3)

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

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

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

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

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

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

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

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

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

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

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

Of the editor of the Phœnix Nest, intended by the initials R. S., no certain information has been obtained. The work has been attributed to Richard Stanyhurst, Richard Stapleton, and to Robert Southwell, by Coxeter, by Warton, and by Waldron; but their claims, founded merely on conjecture, are entitled to little confidence. It is perhaps more interesting to know, that the chief contributors to this miscellany were among the best lyric poets of their age, that Thomas Watson, Nicholas Breton, and, above all, Thomas Lodge, assisted the unknown editor. Not less than sixteen pieces have the initials of this last bard, and many of them are among the most beautiful productions of his genius. Beside these, George Peele, William Smith, Matthew Roydon, Sir William Herbert, the Earl of Oxford, and several others, aided in completing this elegant volume.

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

Of the valuable Collection thus mentioned, the first edition made its appearance in 1600, with the following title-page: "England's Helicon.

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

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

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

England's Helicon, which, in its first impression, contained one hundred and fifty poems, and in its second one hundred and fifty-nine, has the felicity of enrolling among its contributors all the principal poets of its era. These, enumerated alphabetically, are as follow:—Richard Barnefield has two pieces; Thomas Bastard, one; Edmund Bolton, five; Nicholas Breton, eight; Christopher Brooke, one; William Browne, one; Henry Constable, four; John Davis, one; Michael Drayton, five; Sir Edward Dyer, six; John Ford, one; Robert Greene, seven; Fulke Grevile, two; John Gough, one; Howard, Earle of Surrie, two; Howell, one: William Hunnis, two; Thomas Lodge, ten; Jervis Markham, two; Christopher Marlow, one; Earle of Oxenford, one: George Peele, three; Sir Walter Raleigh, fourteen; William Shakspeare, two; Sir Philip Sidney, fourteen; William Smith, one; Edmund Spenser, three; Shepherd Tonie, seven; Thomas Watson, five; John Wootton, two, and Bartholomew Yong, twenty-five. Of anonymous contributions there are sixteen.

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

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

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

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

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

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

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

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

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

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

1. Thomas Achelly.

2. Thomas Bastard.

3. George Chapman.

4. Thomas Churchyard.

5. Henry Constable.

6. Samuel Daniel.

7. John Davies.

8. Thomas Dekkar.

9. Michael Drayton.

10. Edmund Fairfax.

11. Charles Fitzgeffrey.

12. Abraham Fraunce.

13. George Gascoigne.

14. Edward Gilpin.

15. Robert Greene.

16. Sir John Harrington.

17. John Higgins.

18. Thomas Hudson.

19. James, King of Scots.

20. Benjamin Jonson.

21. Thomas Kyd.

22. Thomas Lodge.

23. Gervase Markham.

24. Christopher Marlowe.

25. John Marston.

26. Christopher Middleton.

27. Thomas Nash.

28. Oxford, Earl of.

29. George Peele.

30. Matthew Roydon.

31. Sackville, Lord Buckhurst.

32. William Shakspeare.

33. Edmund Spenser.

34. Thomas Storer.

35. Surrey, Earl of.

36. Sir Philip Sidney.

37. Joshua Sylvester.

38. George Turberville.

39. William Warner.

40. Thomas Watson.

41. John Weever.

42. William Weever.

43. Sir Thomas Wyatt.

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

In the same year with England's Parnassus came forth another compilation, to which its editor, John Bodenham, gave the following title: "Bel-vedere, or the Garden of the Muses.

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

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

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

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

Thomas, (Henry) Earl of Surrey.

The Lorde Marquesse of Winchester.

Mary Countess of Pembrooke.

Sir Philip Sidney.

"From poems and workes of these noble personages extant:

Edward, Earle of Oxenford.

Ferdinando, Earle of Derby.

Sir Walter Raleigh.

Sir Edward Dyer.

Fulke Grevile, Esq.

Sir John Harrington.

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

Edmund Spencer.

Henry Constable, Esq.

Samuel Daniell.

Thomas Lodge, Doctor of Physicke.

Thomas Watson.

Michaell Drayton.

John Davies.

Thomas Hudson.

Henrie Locke, Esq.

John Marstone.

Chr. Marlowe.

Benjn. Johnson.

William Shakspeare.

Thomas Churchyard, Esq.

Tho. Nash.

Tho. Kidde.

Geo. Peele.

Robert Greene.

Josuah Sylvester.

Nicolas Breton.

Gervase Markham.

Thomas Storer.

Robert Wilmot.

Chr. Middleton.

Richard Barnefield.

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

Thomas Norton, Esq.

George Gascoigne, Esq.

Frauncis Hindlemarsh, Esq.

Thomas Atchelow.

George Whetstones.

"These being deceased, have left divers extant labours, and many more held back from publishing, which for the most part have been perused, and their due right here given them in the Muses Garden.

"Besides, what excellent sentences have been in any presented Tragedie, Historie, Pastorall, or Comedie, they have been likewise gathered, and are here inserted in their proper places."[727:A]

It will be perceived that eleven poets are here enumerated, who had no share in England's Parnassus; and it may be worth while to remark, that, among the verses prefixed in praise of the book, are some lines by R. Hathway, whom Mr. Malone conjectures to have been the kinsman of Ann Hathaway, the wife of our immortal bard.[727:B]

A small contribution of pieces by a few of the chief poets of the age, was, in 1601, annexed to a production by Robert Chester, entitled, "Love's Martyr, or Rosalin's Complaint, allegorically shadowing the Truth of Love in the constant fate of the Phœnix and Turtle. A poem, enterlaced with much varietie and raritie; now first translated out of the venerable Italian Torquato Cæliano, by Robert Chester. With the true legend of famous King Arthur, the last of the nine worthies; being the first Essay of a new British poet: collected out of authenticall records. To these are added some new compositions of several modern writers; whose names are subscribed to their severall workes; upon the first subject; viz. the Phœnix and Turtle."

These new compositions have the following second title immediately preceding them: "Hereafter follow diverse poetical essaies on the former subject; viz. the Turtle and Phœnix. Done by the best and chiefest of our modern writers, with their names subscribed to their particular workes. Never before extant. And now first consecrated by them all generally to the love and merit of the truly noble Knight, Sir John Salisburie."

The only known copy of this collection was in Major Pierson's possession, and it is solely from Mr. Malone, to whom we are indebted for the above titles, that we learn the names of the principal contributors; these are Shakspeare, Ben Jonson, Marston, and Chapman.[728:A] Shakspeare's contribution forms the twentieth poem in "The Passionate Pilgrim," commencing

A miscellany upon a more extensive scale than the preceding, and of great value for the taste exhibited in its selection, succeeded in 1602, under the appellation of "A Poetical Rapsodîe; containing diverse Sonnets, Odes, Elegies, Madrigals, Epigrams, Pastorals, Eglogues, with other Poems, both in Rime and Measured Verse. For varietie and pleasure, the like never yet published.

London. 12mo."

The editor and principal contributor, was Francis Davison, a poet of no mean talents, and son of that Secretary of State, who experienced in so remarkable a degree the duplicity of Elizabeth, in relation to Mary Queen of Scots. In an Address to the Reader, he thus accounts for the form which the volume assumes:—"Being induced by some private reasons, and by the instant entreaty of speciall friends, to suffer some of my worthlesse poems to be published, I desired to make some written by my deere friends Anonymoi, and my deerer Brother, to beare them company: both, without their consent; the latter being in the low-country warres, and the rest utterly ignorant thereof. My friends names I concealed; mine owne and my brother's, I willed the printer to suppresse, as well as I had concealed the other, which he having put in without my privity, we must now undergo a sharper censure perhaps than our namelesse workes should have done; and I especially. For if their poems be liked, the praise is due to their invention; if disliked, the blame both by them and all men will be derived upon me, for publishing that which they meant to suppresse."

He then enters upon a defence of poetry, experience proving, he remarks, "by examples of many, both dead and living, that divers delighted and excelling herein, being princes or statesmen, have gouerned and counselled as wisely; being souldiers, have commanded armies as fortunately; being lawyers, have pleaded as judicially and eloquently; being divines, have written and taught as profoundly; and being of any other profession, have discharged it as sufficiently, as any other men whatsoever;" and concludes by alleging, as an excuse "for these poems in particular, that those under the name of Anonymos were written (as appeareth by divers things to Sir Philip Sidney living, and of him dead) almost twenty years since, when poetry was farre from that perfection to which it hath now attained: that my brother is by profession a souldier, and was not eighteen years old when he writ these toys: that mine owne were made most of them sixe or seven yeares since, at idle times as I journeyed up and downe during my travails."

The division of the "Rapsodie" more peculiarly occupied by these kindred bards, is that including "Sonnets, Odes, Elegies, Madrigals, and Epigrams, by Francis and Walter Davison, brethren;" and they were assisted in that, and the residue of the work, by Spenser, Sidney, Sir John Davis, Mary Countess of Pembroke, Thomas Campion, Thomas Watson, Charles Best, Thomas Spelman, and by others, whose initials are supposed to indicate Henry Constable, Walter Raleigh, Henry Wotton, Robert Greene, Andrew Willet, and Joshua Sylvester.[730:A]

The "Poetical Rapsodie" is dedicated by Davison in a sonnet, "To the most noble, honorable, and worthy Lord William Earl of Pembroke, Lord Herbert of Cardiffe, Marmion, and St. Quintine," and was successively republished with augmentations in 1608, 1611, and 1621. It may be said to present us, not only with a felicitous choice of topics, but it claims the merit of having preserved several valuable poems not elsewhere to be discovered, and which, owing to the rarity of the book, although four times subjected to the press, have not, until lately, attracted the notice that is due to them.

Independent of the ten miscellanies which we have now enumerated, an immense multitude of Airs, Madrigals, and Songs, set to music, and printed in Parts, were published during the latter part of the reign of Elizabeth, and during the reign of James the First. These Collections contain a variety of lyric poems not elsewhere to be met with, and which were either written expressly for the Composers, or selected by the latter from manuscripts, or rare and insulated printed copies. Foremost among these Professors of Music, who thus indirectly contributed to enrich the stores of English Poetry, stands William Byrd. This celebrated composer's first printed work in English was licensed in 1587, and has the following title:—"Tenor. Psalmes, Sonets, and Songs of sadnes and pietie, made into musicke of five parts: whereof, some of them going a broad among divers, in untrue coppies, are heere truely corrected, and the other being Songs very rare and newly composed, are heere published, for the recreation of all such as delight in Musicke. By William Byrd, one of the Gent. of the Queene's Maiesties Royall Chappell." 4to.

The volume is dedicated to Sir Christopher Hatton; and he tells his reader, in an epistle subscribed the most assured friend to all that love or learne musicke, William Byrd,—"heere is offered unto thy courteous acceptation, musicke of sundrie sorts, and to content divers humors. If thou bee disposed to pray, heere are psalmes. If to bee merrie, heere are sonets. If to lament for thy sins, heere are songs of sadnesse and pietie. If thou delight in musicke of great cõpasse, heere are divers songs, which beeing originally made for instruments to expresse the harmony, and one voyce to pronounce the dittie, are now framed in all parts for voyces to sing the same. If thou desire songs of smal compasse and fit for the reach of most voyces, heere are most in number of that sort."

Next to Byrd, whose publications of this kind are numerous, we may mention Thomas Morley, no less remarkable for his skill in music, and for his fertility in the production of madrigals, ballets, and canzonets. How fashionable and universal had become the practice of singing these compositions at every party of amusement, may be drawn from one of the elementary works of this writer:—"Being at a banquet," he relates, "supper being ended, and music books brought to table, the mistress of the house, according to custom, presented me with a part, earnestly intreating me to sing; when, after many excuses, I protested unfeignedly that I could not, every one began to wonder, yea, some whispered to others demanding how I was brought up."[732:A]

Of the various collections of lyric poetry adapted to music and published by Morley, who died about the period of the accession of James the First, we shall notice two; one as indicatory of the manners of the age, and the other of the estimation in which the science was held by our composer, who seems, on this occasion, to have partaken the enthusiasm of Shakspeare; for in a dedication, "To the Worshipfull Sir Gervis Clifton, Knight," prefixed to "Madrigals to five voyces. Selected out of the best approved Italian Authors. By Thomas Morley, Gentleman of hir Maiesties Royall Chappell, 1598," he tells his worthy patron, "I ever held this sentence of the poet, as a canon of my creede; That whom God loveth not, they love not Musique. For as the Art of Musique is one of the most Heavenly gifts, so the very love of Musique (without art) is one of the best engrafted testimonies of Heavens love towards us."

In 1601, Morley published in quarto, "Cantus Madrigales. The triumphes of Oriana, to 5 and 6 voices: composed by divers severall aucthors,"—a collection remarkable for its object, as it consisted of twenty-five songs, composed by twenty-four several musicians, for the express purpose of commemorating the beauty and virginity of Elizabeth, under the appellation of Oriana, and who was now in the sixty-eighth year of her age, one, among innumerable proofs, of the extreme vanity of this singular woman.

That a great proportion of these musical miscellanies consisted of translations from the Italian, is evident from the publications of Byrd and Morley, and from the Musica Transalpina of Nicolas Yonge, printed in two parts, in the years 1588 and 1597, where, however, equal industry appears to have been exerted in collecting English songs; the dedication, indeed, points out very distinctly the sources whence these popular works were derived. "I endeavoured," says Yonge, "to get into my hands all such English songes as were praise worthie, and amongst others I had the hap to find in the hands of some of my good friends certaine Italian Madrigales translated most of them five years ago by a gentleman for his private delight." The two parts of Musica Transalpina contain eighty-one songs.

It seems probable, indeed, from Orlando Gibbons's dedication of his "First set of Mardrigals and Mottets" to Sir Christopher Hatton, dated 1612, that the courtiers of that period sometimes employed themselves in writing lyrics for their domestic Lutenists; for Orlando tells his lord,—"They were most of them composed in your own house, and do therefore properly belong unto you as lord of the soil; the language they speak you provided them; I only furnished them with tongues to utter the same." It may be, however, that Sir Christopher was only a selector of poetry for the lyre of Gibbons.

To enumerate the multitude of music-stricken individuals, who, during this period, were occupied in procuring and collecting lyric poetry for professional purposes, would fill a volume. Among the most indefatigable, may be mentioned John Wilbye, Thomas Weelkes, John Dowland and Robert Jones; "The Musicall Dream," 1609, and "The Muse's Gardin of Delights," 1610, by the last of these gentlemen, were held in great esteem.

We cannot close this subject, indeed, without acknowledging our obligations to this numerous class for the preservation of many most beautiful specimens of lyric poetry, which, it is highly probable, without their care and accompaniments, would either not have existed, or would have perished prematurely.[733:A]

As a further elucidation of the Poetical Literature of this period, and with the view of condensing its retrospect, by an arrangement under general heads, it may prove satisfactory, if we briefly throw into classes, the names of those poets who may be considered as having given ornament or extension to their art. The following divisions, it is expected, will include all that, in this place, it can now be necessary to notice.

Epic Poetry.

Spenser.

Historic.

Sackville.

Higgins.

Niccols.

Warner.

Daniel.

Drayton.

Shakespeare.

Marlow.

Fitzgeffrey.

Storer.

Willobie.

Beaumont.

Lyric.

Gascoigne.

Greene.

Raleigh.

Breton.

Lodge.

Shakespeare.

Jonson.

Wotton.

Wither.

Didactic.

Tusser.

Davies Sir J.

Davors.

Fletcher G.

Satiric.

Lodge.

Hall.

Marston.

Donne.

Wither.

Sonnet.

Spenser.

Sidney.

Constable.

Watson.

Shakespeare.

Daniel.

Drayton.

Barnes.

Barnefield.

Smith.

Stirling.

Drummond.

Pastoral.

Spenser.

Chalkhill.

Marlow.

Drayton.

Fairefax.

Brown.

Translators.

Chapman.

Harrington.

Fairefax.

Sylvester.

Golding.

We have thus, in as short a compass as the nature of the subject would admit, given, we trust, a more accurate view of the poetry of the Shakspearean era, as it existed independent of the Drama, than has hitherto been attempted.

That Shakspeare was an assiduous reader of English Poetry; that he studied with peculiar interest and attention his immediate predecessors and contemporaries, there is abundant reason to conclude from a careful perusal of his volume of miscellaneous poetry, which is modelled on a strict adherence to the taste which prevailed at the opening of his career. The collection, indeed, may, with no impropriety, be classed under the two divisions of Historic and Lyric poetry; the former concluding "Venus and Adonis," and the "Rape of Lucrece," and the latter the "Sonnets," the "Passionate Pilgrim," and the "Lover's Complaint."

The great models of Historic poetry, during the prior portion of Shakspeare's life, were the "Mirror for Magistrates" and "Warner's Albion's England;" but for the mythological story of Venus and Adonis, though deviating in several important circumstances from its prototype, we are probably indebted to Golding's Ovid; and for the Rape of Lucrece and the structure of the stanza in which it is composed, to the reputation and the metre of the Rosamond of Daniel, printed in 1592. For the Sonnets, he had numerous examples in the productions of Spenser, Sidney, Watson, and Constable; and, through the wide field of amatory lyric composition, excellence of almost every kind, in the form of ode, madrigal, and song, might be traced in the varied effusions of Gascoigne, Greene and Raleigh, Breton and Lodge.

How far our great bard exceeded, or fell beneath, the models which he possessed; in what degree he was independent of their influence, and to what portion of estimation his miscellaneous poetry is justly entitled, will be the subjects of the next chapter, in which we shall venture to assign to these efforts of his early days a higher rank in the scale of excellence than it has hitherto been their fate to obtain.

FOOTNOTES:

END OF THE FIRST VOLUME

Printed by A. Strahan, Printers-Street, London.