therefore given to Markham with some doubt. But Gervase, or (as he signs his name) Jervis Markham deserves especial remembrance for his "Tragedy" of Sir Richard Grenville, a full and particular account of that most daring of sea-fights, Grenville's action off Florez, in 1591: written in 174 stanzas of eight lines, not without poetic merit, however overwrought and high-flown. A brief extract may show its form.

When Grinuile saw his desperate drierie case;

Gallants (he saith) since three a clock last noone,
Vntill this morning, fifteene houres by course,
We haue maintaind stoute warre, and still vndoone
Our foes assaults, and driue them to the worse.
Fifteene Armados boardings haue not wonne
Content or ease, but beene repeld by force,
Eight hundred cannon shot against our side
Haue not our harts in coward colours died.

Not fifteene thousand men araungd in fight
And fifteene howers lent them to atchiue,
With fifty three great ships of boundlesse might
Haue had no meanes or prowesse to contriue
The fall of one, which mayden vertue dight
Kept in despight of Spanish force aliue.
Then list to mee you imps of memorie;
Borne to assume to immortalitie.

DONNE

Pp. 58-60- Campbell chose the BREAK OF DAY, sufficient imprimatur, one would think, and assurance against neglect by later collectors; Emerson disinterred the UNDERTAKING. its theme perhaps too exalted for general appreciation; every one has missed the FUNERAL. Cramped as these songs are by Donne's quaint pedantry, they are true poetry. With all his faults, Donne stands above the crowd in our anthologies.

66

JONSON

Pp. 61-79 — The EPITHALAMION is the close of a Masque on occasion of Lord Haddington's marriage at Court, on the Shrove Tuesday at night,” 1608. IF I FREELY is in the play of The Poetaster; HER MAN, "described by her own dictamen," IN THE PERSON OF WOMANKIND- a song apologetic, BEGGING ANOTHER, and HIS EXCUSE FOR LOVING, are all from his collection of poems called Underwoods, the neglect of which is specially noticed, but is not revenged, by Trench. In the person of Womankind is given by Campbell. Note what a full Shaksperian flavour is in the SATYRS' SONG, from Oberon! What song but Ariel's will dare to match with it? HER GLOVE, sometimes called The Glove of the Dead Lady, is from the play of Cynthia's Revels. Here-lines 5, 6, Dyce follows the old reading - wear thee, bare thee. MARGARET RATCLIFFE makes an acrostic. The SONG OF NIGHT is in

the Vision of Delight, a masque.

DAVISON

Pp. 71–76 — TO URANIA and her ANSWER are by Francis ; the other poems may be by either of the brothers. They are from Davison's Poetical Rhapsody, first printed in 1602, and containing poems by Raleigh, Watson, Sylvester, and others named, besides many anonymous pieces.

P. 71-Sir Egerton Brydges, followed by Sir Harris Nicolas, in the last stanza, or staff, of the poem to URANIA has their ire. Ellis gives five stanzas of the poem, omitting the fourth, and calls it Strephon's Palinode.

P. 74-UPON HER PROTESTING. Nicolas here adopts other readings: stanza 2, lines 2, 3,

BEAUMONT AND FLETCHER

P. 77 — TELL ME! is by Fletcher. Of this two versions are extant: that I have given, from the play of The Captain, and one in The Knight of the Burning Pestle. Instead of 'Tis a grave, &c. in the first stanza, the copy there has :

SHE 'Tis a smile

Doth beguile

HE The poor hearts of men that prove.

And the second stanza also reads differently, as follows:— HE-Tell me more! Are women true?

SHE
HE

Some love change, and so do you.

Are they fair and never kind?

SHE Yes! when men turn with the wind.

HE

SHE

Are they froward?

Ever toward

Those that love to love anew.

The third stanza is wanting. Here Dyce has wise for wiser. P. 80 HYMN TO PAN. Dyce (edition 1846) has

From that place the morn is broke:

which is ungrammatical nonsense. Where morning broké, I have no doubt, gives Fletcher's meaning, though these very words be not his. He certainly wrote fair English. Another and often quoted Song to Pan- "All ye woods and trees" is in the same most beautiful of all pastoral comedies, Fletcher's Faithful Shepherdess.

The other four Songs may probably be by Beaumont: the WEDDING SONG in The Maid's Tragedy, the DANCE SONG in A Masque of the Middle Temple.

BURTON

P. 81. This poem is prefixed to his Anatomy of Melancholy.

DRUMMOND

P. 85-SEXTAIN. Sith, old usage, for since. The same in DEATH NOT FEARED, p. 86; and in the Madrigal at p. 246.

P. 87-SWEET Rose.

To rhyme with kiss'd in the last line

I have bliss'd, instead of bless'd: the same meaning.

P. 88-A DÆDAL OF MY DEATH. Turnbull's edition, 1856, copying the Edinburgh edition of 1616, has

Now I resemble that subtle worm on earth

Which, prone to its own evil, can take no rest:

two lines devoid of rhythm. Rescuing the rhyme restores the sense. Semble, though out of use, is a good dictionary word, as likely a word as semblance or semblant, used by Spenser. Uneath (rhyming with death) is uneasy, here taken as restless: also Spenserian. "The field is eath to win," Gascoigne writes; and Fairfax, in his Tasso

Who thinks him most secure is eathiest shamed.

Ill was, I think, more often used than evil by old writers.

FIELD

P. 88 MATIN SONG. All the copies have

And ignorance, darker than night.

WEBSTER

P. 89. From that most noble nor less powerful tragedy, The Duchess of Malfy.

BROWNE

P. 90. From the Second Book of Britannia's Pastorals.

HERRICK

P. 91 — The Hesperides is so rich in jewelry, that the most careless selection can hardly be unsatisfactory. Yet being so rich, there might have been more independent taste. One is led to ask how much of popular favouritism even in literature is, like fashion in clothes, due to dictation of the purveyors. P. 93-PANSIES: pensées (French), thoughts. "Pansies for thoughts," says Ophelia. Drayton gives our more commonly used English name:—

The pansy heart's ease maidens call.

66

BRATHWAITE

P. 96. Or Brathwait. "A noted wit and poet;" his writings were numerous." So Ellis, giving two samples of his verse: this, which is also entitled Care's Cure, "from Panedone, or Health from Helicon, 1621;" and a fragment, of like quality, from his Shepherd's Tales. Callet is scold. In line 2 of the first stanza Ellis prints

Take the world as it is.

In line 3 of the fourth stanza he has slop-wise for slope-wise. And in line 3 of the fifth stanza

[Where] lesser flies are quickly ta'en.

GOFFE

P. 98-TO SLEEP. Stoddard, in his choice but insufficiently known Melodies and Madrigals, 1866, has line 5 –

The Witty Fair One I find another version, here subjoined.

IN LOVE'S NAME you are charged hereby

To make a speedy hue and cry

After a face, who t' other day
Came and stole my heart away.

For your directions, in brief,

These are best marks to know the thief.

Her hair, a net of beams, would prove

Strong enough to captive Jove,

Playing the eagle; her clear brow

Is a comely field of snow;

A sparkling eye, so pure a grey

As when it shines it needs no day;

Ivory dwelleth on her nose;

Lilies married to the rose

Have made her cheek the nuptial bed;