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tials R. A. appear subscribed to two Sonnets prefixed, one to sir Thomas Mounson, and the other to the Reader. The other compilation of this sort is entitled, "BELVIDERE, or the Garden of the Muses. London, imprinted for Hugh Astly, 1600." The compiler is one John Bodenham. In both of these, especially the former, the MIRROUR OF MAGISTRATES is cited at large, and has a conspicuous share. At the latter end of the

These may be seen in the Harleian Miscellany, vol. x. pp. 165, 166.—Park.] "Or, sentences gathered out of all kinds of poets, referred to certaine methodical heads, profitable for the use of these times to rhyme upon any occasion at a little warning." Octavo. But the compiler does not cite the names of the poets with the extracts. This work is ridiculed in an anonymous old play, "The RETURN FROM PARNASSUS, Or the Scourge of Simony, publickly acted by the students in Saint John's College Cambridge, 1606." quarto. JUDICIO says, Considering the furies of the times, I could better see these young can-quaffing hucksters shoot off their pelletts, so they could keep them from these ENGLISH FLORES POETARUM; but now the world is come to that pass, that there starts up every day an old goose that sits hatching up these eggs which have been filched from the nest of crowes and kestrells," &c. ACT i. Sc. ii. Then follows a criticism on Spenser, Constable, Lodge, Daniel, Watson, Drayton, Davis, Marston, Marlowe, Churchyard, Nashe, Locke, and Hudson. Churchyard is

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commended for his Legend of SHORE'S WIFE in the MIRROUR OF MAGISTRATES.

Hath not Shores Wife, although a lightskirts she,

Given him a long and lasting memory?

By the way, in the Register of the Stationers, Jun. 19. 1594, The lamentable end of SHORE'S WIFE is mentioned as a part of Shakespeare's Richard the Third. And in a pamphlet called PYMLICO, OR RUN AWAY REDCAP, printed in 1596, the well-frequented play of SHORE is mentioned with PERICLES PRINCE of TYRE. From Beaumont and Fletcher's KNIGHT OF THE BURNING PESTLE, written 1613,

JANE SHORE appears to have been a celebrated tragedy. And in the Stationer's Register (Oxenbridge and Busby, Aug. 28. 1599.) occurs "The History of the Life and Death of Master Shore and JANE SHORE his wife, as it was lately acted by the earl Derbie his servants.


Allot's is much the most complete The method performance of the two. is by far more judicious, the extracts more copious, and made with a degree of taste. With the extracts he respectively cites the names of the poets, which

are as follows. Thomas ACHELLY. Tho-
Michael DRAYTON. Thomas DEKKAR.
Edward FAIRFAX. Charles FITZ-JEF-

George Robert

JAMES King of Scots. [i. e. James the First.] Benjamin JONSON. Thomas Kyn. Thomas LODGE. [M. M. i. e. MIRROUR OF MAGISTRATES.] Christopher MARLOWE. Jarvis MARKHAM. John MARSTON. Christopher MIDDLETON. Thomas NASHE. [Vere] Earl of OXFORD. George PEELE. Matthew Master SACKVILE. William RAYDON. SHAKESPEARE. Sir Philip SIDNEY. Edmund SPENSER. Thomas STORER. [H. Howard] Earl of SURREY. Joshua SYLVESTER. George TURBERVILLE, William WARNER. Thomas WATSON. John, and William, WEEVER. Sir Thomas WYAT. I suspect that Wood, by mistake, has attributed this collection by Allot, to Charles Fitz-jeffrey above mentioned, a poet before and after 1600, and author of the AFFANLE. But I will quote Wood's words: " Fitz-jeffrey hath also made, as tis said, A Collection

reign of queen Elisabeth, as I am informed from some curious manuscript authorities, a thin quarto in the black letter was published, with this title, "The MIRROUR OF MIrrovrs, or all the tragedys of the Mirrovr for Magistrates abbreuiated in breefe histories in prose. Very necessary for those that haue not the Cronicle. London, imprinted for James Roberts in Barbican, 15981." This was an attempt to familiarise and illustrate this favourite series of historic soliloquies or a plan to present its subjects, which were now become universally popular in rhyme, in the dress of prose.

It is reasonable to suppose, that the publication of the MIRROUR FOR MAGISTRATES enriched the stores, and extended the limits, of our drama. These lives are so many tragical speeches in character. We have seen, that they suggested

of choice Flowers and Descriptions, as well out of his, as the works of several others the most renowned poets of our nation, collected about the beginning of the reign of King James I. But this tho I have been years seeking after, yet I cannot get a sight of it." ATH. OXON. i. 606. But the most comprehensive and exact COMMON-PLACE of the works of our most eminent poets throughout the reign of queen Elisabeth, and after. wards, was published about forty years ago, by Mr. Thomas Hayward of Hungerford in Berkshire, viz. "The BRITISH MUSE, A Collection of THOUGHTS, MORAL, NATURAL, and SUBLIME, of our ENGLISH POETS, who flourished in the sixteenth and seventeenth Centuries. With several curious Topicks, and beautiful Passages, never before extracted, from Shakespeare, Jonson, Beaumont, Fletcher, and above a Hundred more. The whole digested alphabetically, &c. In three volumes. London, Printed for F. Cogan, &c. 1738," 12mo. The PREFACE, of twenty pages, was written by Mr. William Oldys, with the supervisal and corrections of his friend doctor Campbell. This anecdote I learn from a manuscript insertion by Oldys in my copy of Allot's ENGLANDS PARnassus, above mentioned, which once belonged to Oldys.

[Hayward's BRITISH MUSE was in

1740 entitled "The Quintessence of English Poetry," and the name of Mr. Oldys was added as author of the Preface. Other collections of a similar kind had been previously published by Poole, Bysshe and Gildon. Edward Phillips had previously attributed England's Parnassus to Fitz-geoffry, and seems to have been followed implicitly by Wood. See Theatr. Poetr. 1675. p. 219.PARK.]

1 From manuscripts of Mr. Coxeter, of Trinity-college Oxford, lately in the hands of Mr. Wise, Radclivian Librarian at Oxford, containing extracts from the copyrights of our old printers, and registers of the Stationers, with several other curious notices of that kind. Ames had many of Coxeter's papers. He died in London April 19, 1747 [of a fever, which grew from a cold he caught at an auction of books over Exeter 'Change, or by sitting up late at the tavern afterwards. See Oldy's MS. notes on Langbaine in the British Museum, p. 353. Coxeter was the original editor of Dodsley's old Plays, and an early writer in the Biographia Britannica. Ames makes an acknowledgement to him for many hints in his Typographical Antiquities. A daughter of his, advanced in years, received pecuniary assistance from the Literary Fund in 1791, 1793 and 1797, -PARK.]

scenes to Shakespeare. Some critics imagine, that HISTORICAL Plays owed their origin to this collection. At least it is certain that the writers of this MIRROUR were the first who made a poetical use of the English chronicles recently compiled by Fabyan, Hall, and Hollinshed, which opened a new field of subjects and events; and, I may add, produced a great revolution in the state of popular knowledge. For before those elaborate and voluminous compilations appeared, the History of England, which had been shut up in the Latin narratives of the monkish annalists, was unfamiliar and almost unknown to the general reader*.

[Among the historical poems which seem to have been written in imitation of those entitled "The Mirrour for Magistrates," perhaps with an intention of being engrafted on the popular stock of Baldwin and Higgins, must be noticed the "Legend of Mary Queen of Scots," first published from an original MS. by Mr. Fry of Kingsdown near Bristol in 1810, and attributed by its editor to the pen of Thomas Wenman in 1601; a writer of whom nothing material has since been added to the short

account of Wood, which describes him as an excellent scholar', who took his degree of M. A. in 1590, was afterwards Fellow of Baliol College, and public orator of the University of Oxford in 1594. The editor claims for this historic

Or lovinge sayes, which maie theire masters please;

My ruthfull state breeds no remorse in theise:

For as my liffe was still opreste by fate, So after deathe my name semes out of date.

The poem extends to 186 stanzas. The following list is given by Mr. Fry, as imitations of the Mirror for Magis


1. The Testament and Tragedie of King Henrie Stewart, 1567. Edinb. (See Dalzel's Scottish Poems of the 16th cent.)

2. Rd. Robinson's Rewarde of Wickednesse, &c. 1574. See Cens. Literar.

3. Ant Munday's Mirror of Mutability, &c. 1579. (See Cens. Lit.)

&c. 1575. (See Cens. Lit.)
4. Ulpian Fulvell's Flower of Fame,

5. Wm. Wyrley's Life and Death of sir Jno. Chandos. 1592.

sir Jno. de Grathy. 1572. (See Cens. 6. Wm. Wyrley's Life and Death of Lit. i. 148.)

legend a higher rank than what Mr. Warton has assigned to the generality of the rhyming chronicles contained in the Mirror for Magistrates: but I rather doubt whether our poetical historian would have ratified the claim; since it appears to run singularly parallel in its construction, in its rhythmical cadence and versification, to the greater portion of the pieces in that once popular collection. Pr.-Baldwyn awake, thie penn hath (in his Challenge,) 1593. Storer's Life

slept to longe;

Ferris is dead; state cares staie Sack

vill's ease;

7. Rd. Johnson's Nine Worthies of

London, &c. 1592. (See Harl. Misc.)
8. Tho. Churchyard's Tragedie of the
Earl of Morton and sir Simon Burley,

and Death of Cardinal Wolsey. 1599.
9. Ch. Middleton's Legend of Duke
Humphrey, 1600. (See Cens. Lit. iii.

Theise latter witts delighte in plea- 256.) saunt songe

10. Tho. Sampson's Fortune's Fa

1 Fasti Oxon. i. 139.

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In the Poetical Works of William Browne, 1772, there is a reprint of Verses by him prefixed to "Richard the Third, his character, legend and tragedy," a poem in quarto with the date of 1614.

This poem I do not recollect

to have seen, but its title makes it presunable to have been of Baldwin's class. Daniel's Complaint of Rosamond first printed in 1592, may be numbered in the same class; and so may Niccols's Vision of Sir Thomas Overbury, &c. published in 1616.

Another of these imitative histories in verse, which from its extreme rarity was not likely to fall under the observation of Mr. Fry, is entitled "Beawtie dishonoured, written under the title of Shore's Wife," printed at London by John Wolfe in 1593, 4to. It contains 197 six-line stanzas, and is inscribed to sir Edward Winckfield knight, by his "worship's most bounden, A. C." that is, A. Chute or Chewt, who speaks of it as an infant labour, and the "first invention of his beginning Muse." As the poem is upon the whole inferior to that of Churchyard on the same subject, which had been published a few years before, it seems rather strange that Chute should have tried his juvenile strength against that of the veteran bard, who published his "Tragedie" in the same year, with 21 additional stanzas, "in as fine a forme as the first impression thereof," and with a soldier-like protestation, that the production was entirely his own, though some malignant it seems had denied him the credit of producing it. Chute did not in his rival effort adopt the seven-line stanza of Churchyard, but many passages bear such partial resemblance, as a choice of the same personal history was likely to in

1 vol. iii. p. 162.

A late reprint of the Mirror for Magistrates will give to many an opportunity of perusing Churchyard's work; but as that of Chute remains in an unique copy, I proceed to extract a few of the best stanzas. The ghost of Shore's Wife is made to narrate her own story, on the plan of Baldwin's heroes and heroines. The following lines express her compunction for having yielded to the criminal passion of Edward IV. Who sees the chast liv'd turtle on a tree In unfrequented groves sit, and com

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straine her;

And there, sad thoughted, howleth to the ayre

The excellencie of her lost-mate's fayre": So I, when sinne had drown'd my soule in badnesse,

To solitarie muse my selfe retired, Where wrought by greefe to discontented sadnesse,

Repentant thoughts my new won shame admired;

And I, the monster of myne owne misfortune,

My hart with grones and sorrow did importune.

She proceeds to lament that posterity will consign her memory to defamation. Thus in thy life, thus in thy death, and boath

Dishonored by thy fact, what mayst thou doe?

Though now thy soule the touch of sinne doth loath,

And thou abhorst thy life, and thy


selfe too:

cannot this redeeme thy spotted


Nor interdict thy body of her shame.

But he that could command thee, made thee sin:

Yet that is no priviledge, no sheeld to


Now thou thyselfe hast drownd thyselfe therein,

Thou art defam'd thyselfe, and so is


2 comeliness.

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