(9) Under-layd, trodden down in a slovenly manner. (10) Tell blear-eyed, &c. These, and many of the succeeding lines are very animated, and truly conceived and expressed in the indignant spirit of genuine Satire.

(11) Last day---Yesterday.

(12) Skuce-excuse.

(13) Heares-hairs.

(14) Will-passion. I know not, where these lines are surpassed in force, truth, or elegance.

Thus with the world, the world dissembles still,

And to their own confusions follow will,

Holding it true felicitie to flie,

Not from the sinne, but from the seeing eie.

(15) I. That is, ay-I confess, I do not, comprehend the meaning of these concluding lines.

EUPHUES GOLDEN LEGACIE,

Found after his Death in his Cell at Silexedra. Bequeathed to Philautus Sonnes, nursed up with their Father in Englund.

Fetcht from the Canaries by T, L. Gent. Imprinted at London, for John Smethwick, and are to be sold at his Shop in Saint. Dunstanes Church Yard, in Fleet Street, under the Dyall. 1612.

THIS Tract is by the same author as that which precedes, Thomas Lodge, of whom Warton remarks

I 4

remarks that he was fitted for a different mode of composition than Satire. This, however, will not easily be allowed by those who have perused his Satires, which Warton confessedly had not.

This Tract deserves commemoration, as well for its great rarity, as that by the acknowledgledgment of all the Commentators, it furnished the Plot of Shakspeare's As YOU LIKE IT. There are a great many poetical pieces interspersed, which indicate much true poetical feeling and taste. One or two specimens of Lodge's Poetry are to be found in Ellis's work, but I have no where seen any portion of the present performance.

The following examples may well entitle the Author to a distinguished place among our early English Poets.

"

MADRIGAL.

Love in my bosome like a bee

'Doth suck his sweete,

Now with his wings he plaies with me,
Now with his feete.

Ile shut my eyes to keepe you in,
Ile make you fast it for your sinne,

Ile court your power not worth a pinne,
Alas what hereby shall I winne,

The swayne that saw her squint eide kind,
Heigh ho squint eide kinde,

His arms about her body twind,

And faire lasse, how faire yee? well.

The country Kit said well forsooth,
Heigh ho, well forsooth,

But that I haue a longing tooth,
A longing tooth that makes me crie:
Alas, said he, what garres thy griefe?
Heigh ho, what garres thy grife?
A wounde, quoth she, without reliefe ;
I feare a maide that I shall die.

If that be all, the shepheard said,
Heigh ho, shepheard said,

He make thee wiue it, gentle maide,
And so secure thy maladie,

Hereon they kist with many an oath,
Heigh ho, with many an oath,

And fore god Pan did plight their troth,
And to the church they hied them fast.

And God send euery pretty peate,
Heigh ho, the pretty peate
That feares to die of this conceite,
So kind a friend to helpe at last.

EPIGRAM

EPIGRAMMATISTS.

.r I

I HAVE by no means exhausted the subject of rare Poetical Tracts, which are to be found, either in the Museum, or in the Collections of my friends; but wishing to exhibit to the reader as various amusement as possible, I shall close part of my work with a brief description of some rarer Epigranimatic productions of the earliest period.

this

1. "THE LETTING OF HUMORS, BLOOD IN THE HEAD-VAINE, with a New Morissco, daunced by Seven Satyres upon the bottom of Diogenes Tubbe.

Imprinted at London, by W. White. 1611"

This must have been a very popular work in its day, as there were several editions of it under various titles. The author was Samuel Rowlands.

The following specimen shows how much Tarlton was praised and followed for his performance of the Clown's part.

EPIG. $1.

When Tarlton clown'd it in a pleasant vaine,
And with conceites did good opinions gaine
Upon the stage his merry humours shop,..

Clownes knew the Clowne by his great clownish slop:

But