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With fliding rolles, and bound his neck with ropes.
The shade of Hector, in the same book, thus appears.
Ah me! What one? That Hector how unlike,
Whom, after slaughter of our many frends,
• That is, Boys and girls, pueri innuptæque puella. Antiently Child (or Children) was restrained to the young of the male sex. Thus, above, we have, « the Child “ Iulus,” in the original Puer Ascanius. So the Children of the chapel, fignifies the Boys of the king's chapel, And in the
royal kitchen, the Children, i. e. the Boys of the Scullery. In the western counties, to this day, Maid simply and distinctly means Girl: as, “ I have got a Boy and a “ Maid." -"My wife is brought to bed “ of a Maid, &c. &c."
i Arms. Armour.
“ What sory chaunce hath stained thy lively face?
This was a noble attempt to break the bondage of rhyme. But blank verse was now growing fashionable in the Italian poetry, the school of Surrey. Felice Figlinei, a Sanese, and Surrey's cotemporary, in his admirable Italian commentary on the ETHICS of Aristotle, entitled FILOSOSIA MORALE SOPRA IL LIBRI D' ETHICA D'ARISTOTILE, declaims against the barbarity of rhyme, and strongly recommends a total rejection of this Gothic ornament to his countrymen. He enforces his precept by his own example; and translates all Aristotle's quotations from Homer and Euripides into verse without rhyme. Gonsalvo Perez, the learned secretary to Philip of Spain, had also recently translated Homer's Odyssey into Spanish blank-verse. How much the excellent Roger Ascham approved of Surrey's disuse of rhyme in this tranflation from Virgil, appears from the following passage in his SchOIEMASTER, written about the year 1566". “ The noble lord Thomas earle of Surrey, FIRST OF ALL “ ENGLISHMEN, in translating the fourth [and second] booke “ of Virgill: and Gonsalvo Perez, that excellent learned man, “ and secretarie to king Philip of Spayne", in translating the “ Ulysses of Homer out of the Greeke into Spanish, have “ both by good judgement avoyded the FAULT OF RYMING.
The spying of this fault now is not the curiositie of English eyes, but even the good judgement also of the best
u I know of no English critic besides, salvo Perifio Regis Carbolici Secretario primawho has mentioned Surrey's Virgil, except rio et Confiliario intimo, Amico meo carislimo. Bolton, a great reader of old English books. In which Ascham recommends the embas. HYPERCRIT. p. 237. Oxon. 1772. fador fir William Cecil to his acquaintance
Among Ascham's Epifles, there is one and friendship. Epistol. LIB. UN. P. to Perez, inscribed Clarissimo viro D. Gone 228. b. edit. Lond. 1581.
“ that write in these dayes in Italie.--And you, that be able to “ understand no more than ye find in the Italian tong: and
never went further than the schoole of PETRARCH and “ Ariosto abroade, or else of CHAUCER at home, though you have pleasure to wander blindlie still in
wronge way, envie not others, that seeke, as wise men have done " before them, the FAYREST and RYGHTEST way. And “ therefore, even as Virgill and Horace deserve most worthie
prayse, that they, spying the unperfitness in Ennius and “ Plautus, by trewe imitation of Homer and Euripides, brought
poetrie to the same perfectnes in Latin as it was in Greeke, “ even so those, that by the same way would BENEFIT THEIR “ TONG and country, deserve rather thankes than disprayse *.”
The revival of the Greek and Roman poets in Italy, excited all the learned men of that country to copy the Roman versification, and consequently banished the old Leonine Latin verse. The same classical idea operated in some degree on the vernacular poetry of Italy. In the year 1528, Trissino published his ITALIA LIBERATA DI Goti, or, ITALY DELIVERED FROM THE Goths, an heroic poem, professedly written in imitation of the Iliad, without either rhyme, or the usual machineries of the Gothic romance. Trislino's design was to destroy the TERZA RIMA of Dante. We do not, however, find, whether it be from the facility with which the Italian tongue falls into rhyme, or that the best and established Italian poets wrote in the stanza, that these efforts to restore blank-verse, produced any lasting effects in the progress of the Italian poetry. It is very probable, that this specimen of the Eneid in blank-verse by Surrey, led the way to Abraham Fleming's blank-verse translation of Virgil's Bucolics and Georgics, although done in Alexandrines, published in the year 1589".
Lord Surrey wrote many other English poems which were never
* B. ii. p. 54. b. 55. a. edit. 1589.
y London, 4to.
published, and are now perhaps entirely lost. He translated the ECCLESIASTES of Solomon into English verse. This piece is cited in the Preface to the Translation of the Psalms, printed at London in 1567. He also translated a few of the Psalms into metre. These versions of Scripture shew that he was a friend to the reformation. Among his works are also recited, a Poem on his friend the young duke of Richmond, an Exhortation to the citizens of London, a Translation of Boccace's Epistle to Pinus, and a sett of Latin epistles. Aubrey has preserved a poetical Epitaph, written by Surrey on fir Thomas Clere, his faithful retainer and constant attendant, which was once in Lambeth-church'; and which, for its affection and elegance, deserves to be printed among the earl's poems. I will quote a few lines.
Shelton for love, Surrey for lord thee chase :
John Clerc, who travelled into Italy with Pace, an eminent linguist of those times, and secretary to Thomas duke of Norfolk father of lord Surrey, in a dedication to the latter, prefixed to his TRETISE OF NoBilitie printed at London in 1543 °, has mentioned, with the highest commendations, many translations done by Surrey, from the Latin, Italian, French, and
y See Aubrey's SURREY, V. 247. z Chose.
a Surrender. b Towns taken by lord Surrey in the Bologne expedition.
· He died in 1545. See Stowe's CHRON. p. 586. 588. edit. 1615.
& Lond. 12mo. A translation from the French.
Spanish languages. But these it is probable were nothing more than juvenile exercises.
Surrey, for his justness of thought, correctness of style, and purity of expression, may justly be pronounced the first English classical poet. He unquestionably is the first polite writer of loveverses in our language. It must, however, be allowed, that there is a striking native beauty in some of our love-verses written much earlier than Surrey's. But in the most favage ages and countries, rude nature has taught elegance to the lover.