Command thefts, rapes, murder of innocents,
The spoil of towns, ruins of mighty realms;
Think you such princes do suppose themselves
Subject to laws of kind and fear of Gods?
Murders and violent thefts in private men
Are heinous crimes, and full of foul reproach;
Yet none offence, but deck'd with noble name
Of glorious conquests in the hands of kings."

The principal characters make as many invocations to the names of their children, their country, and their friends, as Cicero in his Orations, and all the topics insisted upon are open, direct, urged in the face of day, with no more attention to time or place, to an enemy who overhears, or an accomplice to whom they are addressed; in a word, with no more dramatic insinuation or bye-play than the pleadings in a court of law. Almost the only passage that I can instance, as rising above this didactic tone of mediocrity into the pathos of poetry, is one where Marcella laments the untimely death of her lover, Ferrex.

"Ah! noble prince, how oft have I beheld

Thee mounted on thy fierce and trampling steed,
Shining in armour bright before the tilt;
And with thy mistress' sleeve tied on thy helm,
And charge thy staff to please thy lady's eye,
That bowed the head-piece of thy friendly foe!
How oft in arms on horse to bend the mace,
How oft in arms on foot to break the sword,
Which never now these eyes may see again!"

There seems a reference to Chaucer in the

wording of the following lines—

"Then saw I how he smiled with slaying knife Wrapp'd under cloke, then saw I deep deceit Lurk in his face, and death prepared for me."

Sir Philip Sidney says of this tragedy: “ Gorboduc is full of stately speeches, and well sounding phrases, climbing to the height of Seneca his style, and as full of notable morality; which it doth most delightfully teach, and thereby obtain the very end of poetry." And Mr. Pope, whose taste in such matters was very different from Sir Philip Sidney's, says in still stronger terms: "That the writers of the succeeding age might have improved as much in other respects, by copying from him a propriety in the sentiments, an unaffected perspicuity of style, and an easy flow in the numbers. In a word, that chastity, correctness, and gravity of style, which are so essential to tragedy, and which all the tragic poets who followed, not excepting Shakespear himself, either little understood, or perpetually neglected." It was well for us and them that they did so!

The Induction to the Mirrour for Magistrates

"The smiler with the knife under his cloke."

Knight's Tale.

does his Muse more credit. It sometimes reminds one of Chaucer, and at others seems like an anticipation, in some degree, both of the measure and manner of Spenser. The following stanzas may give the reader an idea of the merit of this old poem, which was published in 1563.

"By him lay heauie Sleepe cosin of Death
Flat on the ground, and still as any stone,
A very corps, saue yeelding forth a breath.
Small keepe tooke he whom Fortune frowned on,
Or whom she lifted vp into the throne

Of high renowne, but as a liuing death,
So dead aliue, of life he drew the breath.

The bodies rest, the quiet of the hart,
The trauailes ease, the still nights feere was he.
And of our life in earth the better part,
Reuer of sight, and yet in whom we see
Things oft that tide, and oft that neuer bee.
Without respect esteeming equally
King Cræsus pompe, and Irus pouertie.

And next in order sad Old Age we found,
His beard all hoare, his eyes hollow and blind,
With drouping cheere still poring on the ground,
As on the place where nature him assign'd
To rest, when that the sisters had vntwin'd
His vitall thred, and ended with their knife
The fleeting course of fast declining life.

There heard we him with broke and hollow plaint
Rew with himselfe his end approching fast,
And all for nought his wretched mind torment,

With sweete remembrance of his pleasures past,
And fresh delites of lustic youth forewast.
Recounting which, how would he sob and shreek?
And to be yong againe of Ioue beseeke.

But and the cruell fates so fixed be,
That time forepast cannot returne againe,

This one request of Ioue yet prayed he:

That in such withred plight, and wretched paine,
As eld (accompanied with lothsome traine)

Had brought on him, all were it woe and griefe,
He might a while yet linger forth his life,

And not so soone descend into the pit:

Where Death, when he the mortall corps hath slaine,
With wretchlesse hand in graue doth couer it,
Thereafter neuer to enioy againe

The gladsome light, but in the ground ylaine,
In depth of darknesse waste and weare to nought,
As he had nere into the world been brought.

But who had seene him, sobbing how he stood
Vnto himselfe, and how he would bemone
His youth forepast, as though it wrought him good
To talke of youth, all were his youth foregone,
He would haue musde and maruail'd much whereon
This wretched Age should life desire so faine,
And knowes ful wel life doth but length his paine.

Crookebackt he was, toothshaken, and blere eyde,
Went on three feete, and sometime crept on foure,
With old lame bones, that ratled by his side,
His scalpe all pil'd, and he with eld forelore:
His withred fist still knocking at Deaths dore,
Fumbling and driueling as he drawes his breath,
For briefe, the shape and messenger of Death."

John Lyly (born in the Weold of Kent about the year 1553), was the author of Midas and Endymion, of Alexander and Campaspe, and of the comedy of Mother Bombie. Of the last it may be said, that it is very much what its name would import, old, quaint, and vulgar.-I may here observe, once for all, that I would not be understood to say, that the age of Elizabeth was all of gold without any alloy. There was both gold and lead in it, and often in one and the same writer. In our impatience to form an opinion, we conclude, when we first meet with a good thing, that it is owing to the age; or, if we meet with a bad one, it is characteristic of the age, when, in fact, it is neither; for there are good and bad in almost all ages, and one age excels in one thing, another in another:-only one age may excel more and in higher things than another, but none can excel equally and completely in all. The writers of Elizabeth, as poets, soared to the height they did, by indulging their own unrestrained enthusiasm: as comic writers, they chiefly copied the manners of the age, which did not give them the same advantages over their successors. Lyly's comedy, for instance, is " poor, unfledged, has never winged

from view o'th' nest," and tries in vain to rise above the ground with crude conceits and clumsy levity. Lydia, the heroine of the piece, is silly