printed various poems, including some or all of his Satires, which Freeman complains were too brief.

66

"Epigram 84. To John Dunne.

Thy Storme describ'd hath set thy name afloate;
Thy Calme a gale of famous winde hath got;
Thy Satyres short, too soone we them o'erlooke :
I prethee, Persius, write a bigger booke."

"The Storme," in the edition of 1633, p. 56, is dedicated "to Mr. Christopher Brooke," and it is immediately followed by "The Calme." The Satires contain many proofs that they were written while Elizabeth was on the throne. In a copy of the impression of 1633, now before us, the blanks are filled up in a hand-writing of about the time.

I. 37. The remaining five pieces are only found in this volume.]-The reader may like to see a specimen of Daniel's subsequently excluded poems: one sonnet runs thus :

"The slie Inchanter, when to worke his will,

;

And secret wrong, on some forespoken wight,
Frames waxe in forme to represent aright
The poore unwitting wretch he meanes to kill
And prickes the image fram'd by magick's skill,
Whereby to vexe the partie day and night.
Like hath she done whose shewe bewitcht my sight,
To beauties charmes her Lover's bloud to spill;
For first like waxe she fram'd me by her eyes,
Whose rayes, sharp poynted, set upon my brest,
Martyrs my life, and plagues me in this wise,
With lingring paine to perish in unrest.

Naught could, save this, my sweetest faire suffice
To trie her arte on him that loves her best."

We are not sure whether the sprightly lines here imputed to the Earl of Oxford have ever been reprinted in modern times (we suspect that they have been), but we add them by way of illustration. This was the Earl of Oxford who had put the affront upon Sir Philip Sidney he died in 1604. We divide the lines exactly as they stand in the original copy of 1591. "Faction that ever dwelles in Court where wit excelles

hath set defiance :

Fortune and Love have sworne, that they were never borne
of one alliance.

Cupid, which doth aspire to be God of desire,

sweares he gives lawes;

That where his arrowes hit, some joy, some sorrow it,
Fortune no cause.

Fortune sweares weakest hearts, (the bookes of Cupids arts)
turnd with her wheele,

Sensles themselves shall prove venter hath place in love,
aske them that feele.

This discord is begot Atheists that honor not:

Nature thought good

Fortune should ever dwell in Court where wits excell;
Love keepe the wood.

So to the wood went I, with Love to live and die,
Fortune's forlorne.

Experience of my youth made me thinke humble Truth
in desarts borne.

My Sainte I keepe to mee, and Joane her selfe is shee,
Joane faire and true:

She doth onely move passions of love with love.

Fortune, adieu !

Finis, E. O."

L. 43. An office which we know that Ferrers had filled under Edw. VI. and his royal father.]-See respecting George Ferrers and his employments, Hist. Engl. Dram. Poetry and the Stage, Vol I. p. 151, &c.

I. 47. The Encomion of Lady Pecunia.]—In giving the title of "Barnfield's Encomion of Lady Pecunia," the words "Horace. By Richard Barnfield, Graduate in Oxford,' have by a strange accident been omitted. It may be questioned whether John Jaggard were brother or son to William Jaggard : there was an Isaac Jaggard, who followed the business of & stationer about the same date.

L. 50. He mentions a second book assigned to him.]—The full title of “Orpheus his Journey to Hell." is this-"Orpheus, his Journey to Hell, and his Musicke to the Ghosts for the regaining of faire Eurydice, his Love and new spoused Wife. By R B." 4to. 1595. We cannot say that the "music to the ghosts" is very seductive, and his song before Pluto and Proserpine is not much better, each stanza ending with Quod Amor vincit omnia. We quote a stanza, specially addressed to Pluto :

"Thou great Commaunder of this Court,
Triumphant victor over Death,

To whom so manie soules resort,

When pale-fac'd death gins stop their breath,
Witnesse the trueth of this I say,

Quod Amor vincit omnia."

I. 52. We believe the above to be unique.]-Playford's " Pleasant Musical Companion," 1701, supplies us with two Bartholomew Fair songs, shewing the nature of some of the sights and entertainments there nearly two centuries ago. The earliest of these is called "The Second Part of Bartholomew Fair," and the music to it was by the famous Dr. John Blow. It runs as follows:

"Here are the rarities of the whole fair!

Pimperle-Pimp, and the wise Dancing Mare.

Heres valiant St. George and the Dragon, a farce,

A girl of fifteen with strange moles on her

Here is Vienna besieg'd, a rare thing,

And here is Punchinello, shown thrice to the King.

Ladies mask'd to the Cloysters repair,

But there will be no raffling-a pox take the Mayor !"

This proves that at the commencement of the eighteenth century masked
Ladies used to frequent the cloisters of Christ Church, and that the
Lord Mayor had interposed to put an end to gambling there. The siege
of Vienna, in a show, affords a curious note of time. The next piece is
called merely "A Catch," and no author of the music is mentioned its
contents are still more singular and amusing it carries us back to the
date of Charles II., as is proved by the mention of Jacob Hall, the famous
rope-dancer, who was so great a favourite with the Duchess of Cleveland.
"Here's that will challenge all the Fair!

Come buy my nuts and damsons, my burgamy pear!
Here's the Whore of Babylon, the Devil and the Pope!
The Girl is just a going on the rope!

Here's Dives and Lazarus and the World's Creation!
Here's the Dutch woman; the like's not in the nation.
Here is the booth where the tall Dutch Maid is!
Here are bears that dance like any ladies!

To-ta, to-ta-tot goes the little penny trumpet !
Here's Jacob Hall that can jump it, jump it.

Sound, Trumpet, sound! A silver spoon and fork :

Come, here's your dainty Pig and Pork !"

Although it has no relation to Bartholomew Fair, we cannot refuse a place to the following bacchanalian Catch, "words by Mr. Otway," which may, however, have been elsewhere printed :

Would you know how we meet o'er our jolly full bowls,

As we mingle our liquors we mingle our souls,

The sweet melts the sharp, and the kind sooths the strong,
And nothing but friendship grows all the night long.
We drink, laugh, and gratify every desire;

Love only remains, our unquenchable fire."

I. 53. It happened that Drake died off Portobello.]-Several pieces were published on the death of Sir Francis Drake; but the most popular, as well as the best, was by Charles Fitzgeffrey, under the title "Sir Francis Drake, his honorable Life's Commendation, and his tragicall Death's Lamentation," of which two editions appeared in 1596 in the second edition it is stated that it had been "newly printed with additions," the additions being to the commendatory poems. The work has been reprinted in modern times, but very unsatisfactorily, because not only is the spelling of nearly every word altered, but some are totally misrepresented; as, for instance, "all" is changed to that, “ lightend" to lighted, when the poet's meaning is enlightened," and even the rhyme is sometimes deserted: when Fitzgeffrey wrote and printed,

"For he that sings of matchlesse Drake hath neede

To have all Helicon within his braine,"

the printer altered "neede" to new, making nonsense of the passage, and leaving the worde "reede," at the close of the preceding line, without any rhyme. These errors are near the commencement, but we have not had patience to go through the whole of the 101 pages, of which the reprint consists. As Fitzgeffrey was a very ambitious, vigorous, and often striking poet, we will quote, in his own words, his address to the great dramatists of his day, in which he calls upon them to abandon inferior subjects, and to celebrate the name and achievements of Drake.

"O you, the quaint Tragedians of our times,

Whose statelie shanks embuskend by the Muses
Draw all the world to wonder at your rimes,
Whose sad Melpomene robs Euripides
And wins the palme and price from Sophocles,
While Poe and Seine are sicke to thinke upon
How Thames doth ebbe and flowe pure Helicon :
"Who at your pleasures drawe, or else let downe
The floud-hatches of all spectators' eies,
Whose full-braind temples, deckt with laurell crowne,
Ore worlds of harts with words doe tirannize,
To whom all Theaters sing plaudities,

46

While you with golden chaines of well-tun'd songes

Linke all mens eares and teares unto your tongues:

Cease to eternize in your marble verse

The fals of fortune-tossed Venerists

And straine your tragicke Muses to rehearse

The high exploites of Jove-borne Martialists,
Where smoakie gun-shot clouds the air with mists,
Where groves of speares, pitch'd ready for the fight,
Dampe up the element from Eagles sight."

That Fitzgeffrey had Shakespeare in his mind when he wrote the above is evidenced by the fact that he almost quotes one of our great dramatist's lines, (1 Henry IV. A. II. sc. 4) with the alteration of the word "floodhatches" for flood-gates. It is the earliest allusion to the play.

I. 59. It does not belong to Nicholas Breton.]-It is but fair to the memory of that excellent antiquary, the Rev. Joseph Hunter, to say, that we

66

are not sure whether he was not the first to point out the fact that Nicholas Baxter was the author of the work entitled "Sir Philip Sidney's Ourania," 1606. We think that we confirmed his statement by the production of our volume, signed and corrected by Baxter, which we subsequently lent to him.

I. 69. One of the writers in the Mirror for Magistrates.]-The fact is, that as early as 1578, Thomas Blenerhasset, or Blener Hasset, published his "second part" of the work, and we give the full title of this separate contribution to the same design: "The Seconde part of the Mirrour for Magistrates, conteining the falles of the infortunate Princes of this Lande. From the Conquest of Cæsar, unto the commyng of Duke William the Conquerour.-Imprinted by Richard Webster, Anno Domini, 1578. Goe straight and feare not." This motto is at the bottom of an architectural compartment; and the author's Epistle to his unnamed friend is dated 15th May, 1577. The work contains twelve Legends.

I. 71. Such as Spenser, Constable, &c. were dead.]-This is a mistake as regards Constable, who did not die until after 1604, when he wrote to the Earl of Shrewsbury from the Tower. See Mr. W. C. Hazlitt's edit. of Constable's "Diana," 1859, p. xiv.

II 73. A slip pasted over, on which is printed Ignoto.]-This was written about 1840; after which date the writer lent his copy of "England's Helicon," 1600; and the old paste having given way, the minute slip came off, and the book was returned without it, but the place where it, and others, were stuck on is clearly discernible. ¡

I. 76. King Richard's exclamation had been parodied by John Marston.]-He quotes it in one of his comedies; and in his "Parasitaster," 1606, he introduces another line from "Richard III."

"Plots ha' you laid, inductions dangerous?"

In the same comedy he again thus parodies Richard's exclamation, “ A foole, a foole! my coxcombe for a foole !" Here, too, we meet with a couplet that more than reminds us of the two lines in "The M. W. of W." A. II. sc. 2,

"Love like a shadow flies, when substance love pursues,
Pursuing that that flies, and flying what pursues."

Marston's lines are,

"So may we learn that nicer love's a shade;

It follows fled, pursued flies as afraid."

L. 76. Fenner's "England's Joy."]-Read Vennar's "England's Joy." See also Vol. II. p. 466. In this Vol. p. 88, Fenner's name is wrongly inserted: he had, in fact, no concern in "England's Joy ;" it belongs solely to Vennar or Vennard.

I. 89. The only edition of this satirical poem mentioned by bibliographers is dated 1658.]-The edit. of 1624 is noticed by Mr. Bohn in his 2nd edit. of Lowndes B. M. p. 269, from the copy in the Bridgw. Catalogue.

I. 103. His "Lamentation of Follie," printed by Edward Allde.]—It was reprinted by the Percy Society in 1840, with a more interesting, but not more curious ballad, entitled The Panges of Love and Lover's Fittes," which is quoted by Shakespeare in "Twelfth Night," and in "Romeo and

Juliet." It is also mentioned in the old play, " The Triumphs of Love and
Fortune," 1589, and in the interlude of "The Trial of Treasure," 1567.
We quote a single stanza relating to Troilus and Cressida :-

"Knowe ye not how Troylus
Languished, and lost his joye,
With fittes and fevers mervailous,
For Cressida that dwelt in Troye ?
Tyll pytie planted in hir brest,
Ladie! Ladie!

To slepe with him and graunt him rest,
My deare Ladie !"

:

I. 109. "The gardner hath her sickle sharpte."]-The figure, resembling a garden to a kingdom, will bring to mind A. III. sc. 4, of Shakespeare's "Richard II."

I. 116. Row well, ye mariners.]-Regarding this tune, see Chappell's admirable work "Popular Music of the olden Time," pp. 712, 770.

I. 117. Alcilia, Philoparthens Loving Folly.]-See also, respecting this work and the edition of 1613 (which we never saw until sometime after the appearance of the Bridgw. Catalogue), the Rev. T. Corser's valuable Collectanea Anglo-poetica, printed for the Chetham Society in 1860, p. 15.

I. 120. Misirere Domine.]—Read Miserere Domine.

I. 130. Nor doth the silver tongued Melicert.]-We may here notice that Melicertus is one of the heroes in R. Greene's "Menaphon," 1587: we never saw any edition of it earlier than 1589.

I. 133. "A Myrrour for Man."]-In 1594, Churchyard published another work under a similar title, and of a similar character: he called it "The Mirror of Man, and manners of Men," and it was printed "by Arnold Hatfield for W. Holme." In it he refers to "a little booke almost fifty years ago made by me," of which we might suppose that that of 1594 was a reprint; but they are entirely different, and the "Mirror" is there succeeded by what is thus entitled,

"Heere follows a glance, and dash with a pen

On worlds great mischance, and maners of men."

It was dedicated to Sir Robert Cecil, and is not by any means so offensive to the great, as the production under the same name printed in the reign of Edward VI. The method is the same, but the matter different, as may be seen by a brief quotation :

"Who safely will goe, or surely would stand,

Dwels in some low place, and walks on playne land.
These mountaynes are hye, and hard for to clime,
Where tempests and stormes blowes roughly some time.

Great trees have weake bowes, that bends at each blast;
Small graffs do grow long and stands in stock fast.
The poore sleeps in peace, and rise in great rest,
And thinks at their meate ynough is a feast.
Brown bread unto them is sweeter, God knowes,
Then manchet to some that goes in gay cloes."

Churchyard, like many other writers of that day, was apparently altogether careless of his concords.

than

I. 136. The following remarkable obituary.]—We may add a list of no fewer 18 "Epitaphs" upon different individuals, which Churchyard had written before 1580: it is taken from his "Pleasant Laborinth, called Churchyardes Chance framed in Fancies," published in that year: