Amongst them is the Latin version only of "The Rebel Scot," two " Elegies upon Ben. Jonson," "On Christ Church Windows," "An Entertainment at Cotswold," from the Annalia Dubrensia, "The Puritan," "The May Pole," and others. At the end of the poems on p. 83 is a fresh title: "Jo: Cleveland his Orations and Epistles, on Eminent Occasions, in Latin. Englisht by E. W. Printed for Nath. Brook, at the Angel in Corn-hill, 1659." These orations and epistles are in the original Latin, with Williamson's translations, and are seven in number. At the end is a notice concerning the errata, and a list of books sold by Nath. Brook; four leaves. This edition sold in Nassau's sale, pt. i. No. 719, for 38.; White Knight's ditto, No. 859, 48.; Bindley's ditto, pt. i. No. 1046, 58.; Bibl. Heber, pt. iv. No. 306, 128. Collation: Title A 2, in fours; Sig. A to K 4, in eights; including Brook's list of books, four leaves. In Brown Speckled Calf. CLEVELAND, (JOHN.) - The Works of Mr. John Cleveland, containing his Poems, Orations, Epistles, collected into one Volume, with the Life of the Author. London, Printed by R. Holt, for Obadiah Blagrave, at the Bear and Star, over against the little North Door in St. Paul's Church-Yard. 1687. Sm. 8vo. pp. 546. Opposite the title is a portrait of Cleveland in a clerical habit with a wig and falling band, although he never was in holy orders. The work is dedicated to Francis Turner, D.D., Master of St. John's College, Cambridge, successively Bishop of Rochester and Ely, formerly a pupil of Cleveland's. It is written in a smart and epigrammatic style by Dr. John Lake, Bishop of Chichester, and Dr. Samuel Drake, Vicar of Pontefract, also pupils of his, whose initials J. L. and S. D. are affixed at the end. In this Epistle Dedicatory they complain much of "some late Editions vended under his name, wherein his Orations are murthered over and over in barbarous Latine, and a more barbarous Translation: and wherein is scarce one or other Poem of his own to commute for all the rest. Cleveland thus revived, dieth another death." This is followed by "A short Account of the Author's Life," and by some commendatory verses in Latin by J. L. (John Lake), L. T. (English), Gaspar Justice (Latin), Eduardus Thurman (Latin), and A. B. (English). The poems in this edition are "digested in order," and divided into three sections, the first containing his Love Poems; the second, Poems which relate to State Affairs; and the third the Miscellanies. At the end of these are his Characters, Orations, and Epistles in Latin and English, which close this portion of the volume. On p. 179 is a new title-page : "John Cleaveland's Revived Poems, Orations, Epistles, and other of his Genuine Incomparable Pieces now at last Published from his Original Copies by some of his intrusted Friends. Non norunt hæc monumenta mori. London, Printed by R. Holt for Obadiah Blagrave at the Bear in St. Pauls Church-yard. 1687." This por This part, which extends to the end of p. 384, is entirely in verse, and contains those poems which had before been collected and printed by E. Williamson in Cleaveland Revived, 1659, 8vo, together with an appendix supplying some additional pieces. Some of the poems in this impression are disfigured by coarseness and indelicacy, which was not the case in the former edition; and many of the others are written on low and vulgar subjects, which formed too much the character of Cleveland's wit and humour. tion contains also some elegies on the death of Cleveland by various writers. The poem of "The Hermaphrodite," which had already been printed, as we have seen in Beaumont's Poems, 1640 and 1653, and appeared also in Randolph's Works, but which was the undoubted production of Cleveland, is printed in the first part of the present volume, among the Love Poems; together with some lines, "The Author to his Hermaphrodite made after Mr. Randolph's Death, yet inserted into his Poems," thus clearly proving Cleveland's authorship. On p. 385 another title occurs: "The Rustick Rampant, or Rurall Anarchy affronting Monarchy: in the Insurrection of Wat Tyler. By J. C. Claudian. Asperius nihil est humili cum surgit in altum. London, Printed by R. Holt for Obadiah Blagrave at the Bear in This was Cleveland's tract of The Idol of the Clownes, first published, we believe, in 1654, again under the present title in 1658, and now reprinted in this edition. It has prefixed six stanzas in blk. lett. from Lydgate's Poem, lib. iv., and an address "To the Reader." The historical parts of this tract are chiefly taken from Froissart, Thomas of Walsingham, Grafton, and other chroniclers. They relate the insurrection of Wat Tyler, Jack Straw and others in the time of Richard the Second. At the end is a table or index, which closes the volume. This is the best and most complete edition of Cleveland's Works. A copy sold at Hibbert's sale, No. 1753, for 4s.; Perry's ditto, pt. i. No. 936, 4s. 6d. ; Bibl. Heber, pt. iv. No. 308, 11s.; Bibl. Ang. Poet, No. 162, 17. 18. Collation: Title A 2; Sig. A, eight leaves; a, four leaves; B to Ll 6, in eights. In the original Brown Calf binding. CLYOMON.-The Historie of the two valiant Knights Syr Clyomon Knight of the Golden Sheeld, sonne to the King of Denmarke: And Clamydes the white Knight, sonne to the King of Suavia. As it hath bene sundry times Acted by her Maiesties Players. London, Printed by Thomas Creed. 1599. 4to. pp. 64. It was about the middle of the Sixteenth Century, or a little later, that the old religious moralities and mysteries began to disappear, and the dramatic representations and stories drawn from profane history were gradually introduced upon the stage, followed by a taste for classical subjects, shortly after Elizabeth began to reign, which still further improved our national drama. Among the very earliest attempts to emancipate our dramatic literature from the ancient trammels, was the play of Sir Clyomon, which, although not printed until 1599, was undoubtedly written very much earlier. It still partakes of some of the old character of the Morality with its Vice and representation of Rumour, but introducing more of the Romance with its tales and adventures of love and war. It is composed throughout in rhymes in the long measure of fourteen syllables, and is filled with a mass of strange and improbable events. The following passage forms part of a long soliloquy by Neronis, who being in love with Sir Clyomon, follows him disguised as a page. It is written in a singular measure with double rhymes and may serve as a specimen of the author's style. Neronis. How can that tree but withered be That wanteth sap to moist the roote? How can that Vine but waste and pine, How can that spray but soone decay, That is with wild weeds ouergrowne ? How can that wight in ought delight Which showes, and hath no good will showne? Or else how can that heart, alasse But die by whom each ioy doth passe? Neronis, ah I am the Tree, which wanteth sap to moyst the roote. Neronis, ah I am the Vine, whose plants are troden vnder foote. I am the spray which doth decay, and is with wild weeds ouergrowne. I am the wight without delight, which showe, and hath no good wil showne. Mine is the heart by whom alas, each pleasant ioy doth passe, Mine is the heart which vades away, as doth the flower or grasse. In wanting sap to moyst the roote is ioyes that made me glad, And plants being troden vnder foote, is pleasures that was bad. I am the spray which doth decay, whom cares haue ouergrowne. But stay Neronis, thou saist thou showest, and hath no good will showne. Thou saist thy knight indued is, with all good gifts of courtesie: And doth Neronis loue indeed, to whom loue doth she yeeld, Euen to that noble brute of fame, the knight of the golden sheeld. We give one more extract from that part of the play which introduces the same character again, disguised as a shepherd's boy, and may perhaps. be considered as the most interesting portion of the performance. Enter Neronis like a Shepherds boy. Nero. The painfull pathes, the wearie wayes, the trauels and ill fare, As I poore Dame, whose pensiue heart, no pleasure can delight, Since that my state so cruelly fell Fortune holds in spight. Ah! poore Neronis in thy hand, is this a seemely showe, Who shouldst in Court thy Lute supplie, where pleasures erst did flowe, Is this an Instrument for thee to guide a sheepheards flocke? That art a Princes by thy birth, and borne of noble stocke. May mind from mourning more refraine, to thinke on former state? May heart from sighing eke abstaine, to see this simple rate? May eyes from downe distilling teares, when thus alone I am, Resistance make, but must they not, through ceaselesse sorrowes frame Ah! heauens when you are reuengd inough, then looke vpon my case For till I heare some newes alas, vpon my louing Knight, I dare not leaue this loathsome life, for feare of greater spight: And now as did my maister will, as sheepe that is a stray, I must go seeke her out againe, by wild and wearie way. Of this my wofull corps alas, a finall end to make: Yet ere I strike that deadly stroke, that shall my life depraue, Ye muses, ayd me to the Gods, for mercie first to craue. Sing heere. Well now you heauens, receiue my ghost, my corps I leaue behind, Here Providence descends, and by his interference saves the life of Neronis who is the principal heroine, and then ascends again. Among other characters introduced in this ancient and remarkable play, is " King Alexander the Great, as valiantly set forth as may be, and as many souldiers as can:" others are Subtle Shift, who acts as Vice; Rumour, who sends intelligence to the various parties; Knowledge, who inquires What, are all things finished, and euery man eased? Is the pageant packed vp, and all parties pleased? And lastly, God's Providence, who as we have stated, descends and saves the life of the heroine, and all concludes happily. This play is of excessive rarity, and is not noticed in the Biographia Dramatica. See Collier's Hist. Dram. Poet., vol. iii. p. 35. It has of late been attributed to George Peele, and Mr. Dyce has included it in his two editions of the plays of that author, his ground for doing so being that "on |