JOHN LYDGATE Was born at a place of that name in Suffolk, about the year 1370. His translation (taken through the medium of Laurence's version) of Boccaccio's Fall of Princes, was begun while Henry VI. was in France, where that king never was, but when he went to be crowned at Paris, in 1432. Lydgate was then above threescore. He was a monk of the Benedictine order, at St. Edmund's Bury, and in 1423 was elected prior of Hatfield Brodhook, but the following year had licence to return to his convent again. His condition, one would imagine, should have supplied him with the necessaries of life, yet he more than once complains to his patron, Humphry, Duke of Gloucester, of his wants; and he shews distinctly in one passage, that he did not dislike a little more wine than his convent allowed him. He was full thirty years of age when Chaucer died, whom he calls his master, and who probably was so in a literal sense. His Fall of Princes is rather a paraphrase than a translation of his original. He disclaims the idea of writing “a stile briefe and compendious." A great story he compares to a great oak, which is not to be attacked with a single stroke, but by "a long processe." Gray has pointed out beauties in this writer which had eluded the research, or the taste, of former critics. "I pretend not," says Gray, "to set him on a level with Chaucer, but he certainly comes the nearest to him of any contemporary writer I am acquainted with. His choice of expression and the smoothness of his verse, far surpass both Gower and Occleve. He wanted not art in raising the more tender emotions of the mind." Of these he gives several examples. The finest of these, perhaps, is the following passage, descriptive of maternal agony and tenderness. CANACE, CONDEMNED TO DEATH BY HER FATHER ÆOLUS, SENDS TO HER GUILTY BROTHER MACAREUS THE LAST TESTIMONY OF HER UNHAPPY PASSION. BOOK I. FOLIO 39. OUT of her swoone when she did abbraide, This is mine end, I may it not astarte; O brother mine, there is no more to saye; If it befall my littel sonne to dye, * That thou mayst after some mynd on us have, I hold him strictly twene my armès twein, On thee and me dependeth the trespace Our childè, young in his pure innocence, A mouth he has, but wordis hath he none; Writing her letter, awhapped all in drede, Upon whose facè in her barme sleepynge SCOTTISH POETRY. THE Origin of the Lowland Scottish language has been a fruitful subject of controversy. Like the English, it is of Gothic materials; and, at a certain distance of time from the Norman conquest, is found to contain, as well as its sister dialect of the South, a considerable mixture of French. According to one theory, those Gothic elements of Scotch existed in the Lowlands, anterior to the Anglo-Saxon settlements in England, among the Picts, a Scandinavian race: the subsequent mixture of French words arose from the French connexions of Scotland, and the settlement of Normans among her people; and thus, by the Pictish and Saxon dialects meeting, and an infusion of French being afterwards superadded, the Scottish language arose, independent of modern English, though necessarily similar, from the similarity of its materials. According to another theory, the Picts were not Goths, but Cambro-British, a Celtic race, like the Western Scots who subdued and blended with the Picts, under Kenneth Mac Alpine. Of the same Celtic race were also the Britons of Strathclyde, and the antient people of Galloway. In Galloway, though the Saxons overran that peninsula, they are affirmed to have left but little of their blood, |