Into that mortall battell I heir sane,
Of the Romanis maist worthie weiriouris,
By presonaris, war fourty thousand slane,
Of quhome thair was thretty wise Senatouris,
And xx lordis, the quhilkis had bin pretouris,
That deit to in defence of thair cuntrie,
And for till hald thair land at libertie."

Lindesay's Works, p. 121. The only other instance, which it appears necessary to select, is that of Sardanapalus. "Sardanapalus, kyng of Sirrie, clethit hym in vemens claitis, & span on ane roc. "Lindsay, who details the history of Sardanapalus at some length, has the following passage: "And as ane woman he was cled, With wemen counsalit and led, And schamefullie he was settand, With spindill & with rock spinnand.

Lindesay's Works, p. 95.

This coincidence is the more striking, because the citation from the Complaynt occurs in the margin, in a passage where it was only necessary, for the discussion, to state that Sardanapalus was an effeminate prince. Many other historical examples occur in both works, and are adduced for nearly the same purposes, as Semiramis, Hercules, Mithridates. Indeed, the historical sources, to which Lindsay and the author of the Complaynt have had recourse for their instances, are nearly the same. The authorities cited by Lindsay, are, Virgil, Cicero, St Jerome, Orosius, Josephus, Diodorus, Boccace, Ethesias, Eusebius, Livy, Carion's Chronicle, Herodotus, Life of Alexander "in Inglische toung, in his greit

buke,

buke," Avicenna, Valerius Maximus, Polydorus Vir. gilius, Fasciculus Temporum & Cronica Cronicorum, St Augustine, and the Old and New Testament, with the Apocrypha. Those quoted in the Complaynt of Scotland, are, Chato, p. 11.; Diodorus, p. 12.; Aristoteles Politicks, p. 16.; Cicero, p. 141.; De Offic.Parad.-De Finibus; Persius, p. 17.; Plutarch, p. 19.; Justin, p. 44.; John Carion, p. 54.; Josephus, p. 72. ; Lactantius, p. 79.; St Augustine-Juvenal, p. 124. ; Boccace, p. 126.; Seneca, the tragic writer, p. 126.; Titus Livius, p. 145.; Valerius Maximus, p. 145.; Sallust, p. 168.; Thucydides, p. 179.; Mimus Publianus, p. 198.; the Priests of Pcblis, p. 223.; Boetius, p. 237.; Phileremo Fregoso, p. 265.; Vincentius, p. 267. Besides these, references occur to the Civil and Canon law, to the Annals of Rome, p. 284, and, in many instances, to the Old and New Testament, when the Bible of Junius is always quoted.

I

Lindsay's

Of Fregoso, the following account occurs in De Bure Biblio

graph. No 3483 & 4.

Opere di Messer Phileremo Antonio Eregoso; cioe,

Il riso di Democrito et Pianto di Heraclito.

In Milano, per Zanoto di Castione, 1515, 4to.

Opera nova del medesimo Cavalier Fregoso nella quale si contiene, Lamento d'amore Mendicante; Dialogo di Musica; Pergoletta de le laudi d'amore : Discorsi cottidiani non vulgare de lo instituto naturale; dela Probità et de i tre Peregrini.

In Milano per Bartolameo da Crema ad instantia de

Messer Joanne Jacobo et fratelli de Lignano, l'anno

1525, in 4to.

De Bure remarks, "Ces deux volumes se rassemblent ordinairement et complettent l'edition des Poesies de cet auteur; les exemplaires en sont rares. "

Lindsay's Dream, a work, which, like the Com playnt of Scotland, combines sound advice and poignant satire, with all the learning of the age, strong moral observation, and considerable powers of description, likewise exhibits various vestiges of that similarity which we have attempted to trace between the Complaynt and the Monarchy of that author. The machinery of the Dream is similar to that which prevails in all the visionary poems of the early periods. The poet first displays his descriptive powers in depicting a rural scene. He is then met very opportunely by "ane lady of portrature perfite," whom he discovers to be Dame Remembrance, and who transports him, with wonderful rapidity, through all the regions of nature and existence, and conducts him safely back to the cave where his journey had commenced. In the rural scene, the Song of the Lark is uncommonly poctical.

SONG OF THE LARK.

Allace, Aurora! the sillie lark can cry,
Quhair hes thou left thy balmy liquour sweit
That us reiosit, we mounting in the sky?
Thy siluer droppis are turnit into sleit :
Offair Phebus, quhair is thy holsum heit?
Quby tholis thou thy hcuinly plesand face
With mystie vapouris to be obscurit allace?

Quhair art thou, May, with June, thy sister schene,
Weill bordourit with daseis of delyte;

And gentill July with thy mantil grene,
Enamilit with rosis reid and quhyte?
Now, auld and cauld Januar, in dispite,

Reiffis

Reiffis from us all pastime and plesure.
Allace, quhat gentill hart may this indure!

Ouirsylit ar with cloudis odious

The goldin skyis of the Orient,

Changing in sorrow our sang melodious,

Quhilk we had wont to fing with gude intent,
Resoundand to the heuinnis firmament;

Bot now our day is changit into nicht."

Lindesay's Works, p. 227. A rural scene is likewise introduced in the chapter of the Complaynt, entitled, " Ane Monolog of the Actor; " but, in some respects, it resembles more the Prologue of the Monarchy, than that of the Dream; for, in the one, "fresche Flora spreads forth her queynt and curious tapestrie;" and, in the other, "the tender flouris are lurking law under dame Nature's mantill. " In the Complaynt, "fayr Dyana, the lantern of the nycht, becomes dym ande pail, quhen Titan hed extinct the light of hyr lamp." In the Prologue of the Monarchy,

Cynthia the hornit nichtis quene,

Scho loist hir licht, and led ane lawer saill,
From time her souerane lord that scho had sene,
And in his presence waxit dirk and paill,

And ouer hir visage kest ane mirkie vaill." In other respects, however, the Monologue accords better with the Prologue of the Dream. The author of the Complaynt "beand sopit in sadnes, seeks neir to the see syde: than under a hingand heuch, he hears mony hurlis of stannirs, and stannis that tumlit doune" vitht the land rusche, quhilk maid ane felloune sound, throcht virkyng of the suelland vallis of the brym seye;

& than he sits doun to see the flouyng of the fame. " Lindsay, in the Prologue to the Dream, describes nearly the same process of observation, when he says, "Pensive in hart, passing ful soberlie,

Unto the sey, forwart I fure anone,

The sey was furth, the sand was smooth and dry;
Than up and doun I musit mine alone,

Till that I spyit a lytill caue of stone

-I wist not at quhat end to begin,

Bot sat still in that caue, quhair I micht se The weltering of the wallis up and downThe skowland craig me couerit from the sleit. ". After the description of the scene, both Lindsay and the author of the Complaynt represent themselves as falling asleep, when their respective visions are presented to them. "Morpheus, that slepye gode," says the author of the Complaynt," assailzeit al my membris, and opressit my dull melancolius nature-quhar for on neid forse, i vas constrenzeit to be his sodiour: than, in ane takyn of obediens, i maid hym reuerens on on my rycht syde on the cald eird, ande i maid ane cod of ane gray stane. "-p. 105. Lindsay climbs into a little cave of stone, and meditates, " till Morpheus with sleip his spreit opprest," when "constranit he was to sleip withoutin moir." The author of the Complaynt is driven from the shore to the green fields, which he had left, by the disagrecable scene of a fight at sea, "The reik, smeuk, and the stink of the gun puldir, fylit al the ayr, maist lyik as plutois paleis hed been birnand in ane bald fyir, quhilk generit sic mirknes and myst, that i culd nocht see my lyntht about me: quhar for i rais, and returnit to the fresche feildis that

i