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in his Euphues, probably did not create the new style, but only collected and methodised the floating affectations of phraseology.--Drayton ascribes the overthrow of Euphuism to Sir P. Sydney, who, he says,

did first reduce Our tongue from Lylie's writing then in use, Talking of stones, stars, plants, of fishes, flies, Playing with words and idle siinilies, As th' English apes and very zanies be Of every thing that they do hear and see.

Sydney died in 1584, and Euphues had appeared but four years earlier. We may well suppose Sydney to have been hostile to such absurdity, and his writings probably promoted a better taste ; but we hear of Euphuism being in vogue many years after his death; and it seems to have expired, like all other fashions, by growing vulgar. Lyly wrote nine plays, in some of which there is considerable wit and humour, rescued from the jargon of his favourite system,

CUPID AND CAMPASPE.

Cupid and my Campaspe play'd
At cards for kisses : Cupid paida

He stakes his quiver, bow, and arrows,
His mother's doves and team of sparrows;
Loses them too: then down he throws
The coral of his lip-the rose
Growing on 's cheek, but none knows how,
With these the crystal on his brow,
And then the dimple of his chin;
All these did my Campaspe win:
At last he set her both his eyes;
She won, and Cupid blind did rise ;
O Love, hath she done this to me?
What shall, alas ! become of thee?

SONG.

FROM ALEXANDER AND CAMPASPE.

What bird so sings, yet so does wail ?
O 'tis the ravish'd nightingale-
Jug, jug, jug, jug-tereu-she cries,
And still her woes at midnight rise.

Brave prick-song! who is’t now we lear ?
None but the lark so shrill and clear ;
Now at Heaven's gate she claps her wings,
The morn not waking till she sings.

Hark! hark! but what a pretty throat, Poor Robin red-breast tunes his throat;

Hark! how the jolly cuckoos sing
Cuckoo--to welcome in the spring.

FROM MOTHER BOMBIE.

O CUPID, monarch over kings,
Wherefore hast thou feet and wings ?
Is it to shew how swift thou art,
When thou wound'st a tender heart?
Thy wings being clipt and feet held still,
Thy bow so many could not kill.

It is all one in Venus wanton school,
Who highest sits, the wise man or the fool-
Fools in Love's college
Have far more knowledge,
To read a woman over,
Than a neat-prating lover;
Nay, 'tis confest
That fools please women best.

ALEXANDER HUME

Was the second son of Patrick, fifth Baron of Polwarth, from whom the family of Marchmont are descended. He was born probably about the middle, and died about the end, of the sixteenth century. During four years of the earlier part of his life, he resided in France, after which he returned- home and studied law, but abandoned the bar to try his fortune at court. There he is said to have been disgusted with the preference shewn to a poetical rival, Montgomery, with whom he exchanged flytings, (or invectives) in verse, and who boasts of having “ driven Polwart from the chimney nook.” He then went into the church, and was appointed rector or minister of Logic; the names of ecclesiastical offices in Scotland then floating between presbytery and prelacy. In the clerical profession he continued till his death. Hume lived at a period when the spirit of Calvinism in Scotland was at its gloomiest pitch, and when a reformation, fostered by the poetry of Lyndsay, and by the learning of Buchanan, had begun to grow hostile to elegant literature. Though the drama, rude as it was, had been no mean engine in the hands of Lyndsay against popery, yet the Scottish reformers of this latter period even anticipated the zeal of the English puritans against dramatic and romantic poetry, which they regarded as emanations from hell. Hume bad imbibed so far the spirit of his times as to publish an exhortation to the youth of Scotland to forego the admiration of all classical heroes, and to read no other books on the subject of love than the Song of Solomon. But Calvinism itself could not entirely eradicate the

This upce gloomy influence of Calvinism on the literary character of the Scottish churchmen, forms a contrast with more recent times, that needs scarcely to be suggested to those ac.

beauty of Hume's fancy, and left him still the high fountain of Hebrew poetry to refresh it. In the following specimen of his poetry, describing the successive appearances of nature during a summer's day, there is a train of images that seem peculiarly pleasing and unborrowed—the pictures of a poetical mind, humble but genuine in its cast.

THANKS FOR A SUMMER'S DAY.
O PERFECT light which shaid ' away
The darkness from the light,
And set a ruler o'er the day,
Another o'er the night.

Thy glory, when the day forth fries,
More vively does appear,
Norat midday unto our eyes
The shining sun is clear.

The shadow of the earth anon
Removes and drawis by,
Synes in the east, when it is gone,

Appears a clearer sky. quainted with Scotland. In extending the classical fame, no less than in establishing the moral reputation of their country, the Scottish clergy have exerted a primary influence; and whatever Presa byterian eloquence might once be, the voice of enlightened principles and universal charity is no where to be heard more distinctly than at the present hour from their pulpits.

* For shaded.-- Scotticè for than. Then,

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