At length, compofitions profeffedly allegorical, with which that age abounded, were refolved into allegories for which they were never intended. In the famous ROMAUNT OF THE ROSE, written about the year 1310, the poet couches the difficulties of an ardent lover in attaining the object of his paffion, under the allegory of a Rose, which is gathered in a delicious but almost inacceffible garden. The theologists proved this rose to be the white rofe of Jericho, the new Jerufalem, a state of grace, divine wisdom, the holy Virgin, or eternal beatitude, at none of which obftinate heretics can ever arrive. The chemists pretended, that it was the philosopher's stone; the civilians, that it was the most confummate point of equitable decifion; and the physicians, that it was an infallible panacea. In a word, other profeffions, in the most elaborate commentaries, explained away the lover's rofe into the myfteries of their own respective fcience. In conformity to this practice, Taffo allegorised his own poem: and a flimsy structure of morality was raised on the chimerical conceptions of Ariofto's ORLANDO. In the year

1577, a translation of a part of Amadis de Gaule appeared in France; with a learned preface, developing the valuable stores of profound inftruction, concealed under the naked letter of the old romances, which were difcernible only to the intelligent, and totally unperceived by common readers; who, inftead of plucking the fruit, were obliged to rest contented with le fimple FLEUR de la Lecture litterale. Even Spenfer, at a later period, could not indulge his native impulse to descriptions of chivalry, without framing fuch a story, as conveyed, under the dark conceit of ideal champions, a fet of historic transactions, and an exemplification of the nature of the twelve moral virtues. He presents his fantastic queen with a rich romantic mirrour, which thewed the wonderous achievements of her magnificent ancestry.

And thou, O faireft princess under sky,

In this fayre mirrour maist behold thy face,

And

And thine own realmes in Lond of Faery,

And in this antique image thy great ancestry.

It was not, however, folely from an unmeaning and a wanton fpirit of refinement, that the fashion of refolving every thing into allegory fo univerfally prevailed. The fame apology may be offered for the cabalistical interpreters, both of the claffics and of the old romances. The former not willing that those books fhould be quite exploded which contained the antient mythology, laboured to reconcile the apparent abfurdities of the pagan system to the christian mysteries, by demonftrating a figurative resemblance. The latter, as true learning began to dawn, with a view of supporting for a while the expiring credit of giants and magicians, were compelled to palliate those monstrous incredibilities, by a bold attempt to unravel the mystic web which had been wove by fairy hands, and by fhewing that truth was hid under the gorgeous veil of Gothic invention.

THE

HISTORY

O F

ENGLISH POETRY.

Ο

SE C T. XIX.

UR communications and intercourfe with Italy, which began to prevail about the beginning of

the

fixteenth

century, not only introduced the ftudies of claffical literature into England, but gave a new turn to our vernacular poetry. At this period, Petrarch still continued the most favorite poet of the Italians; and had established a manner, which was univerfally adopted and imitated by his ingenious countrymen. In the mean time, the courts both of France and England were distinguished for their elegance. Francis the first had changed the state of letters in France, by mixing gallantry with learning, and by admitting the ladies to his court in company with the ecclefiaftics. His caroufals were celebrated with a brilliancy and a festivity unknown to the ceremonious fhews of former princes. Henry the eighth vied with Francis in these gaieties. His ambition, which could not bear a rival even in diverfions, * See fupr. vol. ii. p. 414. A

VOL. III.

was

was feconded by liberality of difpofition and a love of oftentation. For Henry, with many boisterous qualities was magnificent and affable. Had he never murthered his wives, his politeness to the fair fex would remain unimpeached. His martial sports were unincumbered by the barbaric pomp of the antient chivalry, and foftened by the growing habits of more rational manners. He was attached to thofe fpectacles and public amusements, in which beauty affumed a principal fhare; and his frequent mafques and tournaments encouraged a high spirit of romantic courtesy. Poetry was the natural accompaniment of these refinements. Henry himself was a leader and a chief character in thefe pageantries, and at the fame time a reader and a writer of verses. The language and the manners of Italy were efteemed and ftudied. The fonnets of Petrarch were the great models of compofition. They entered into the genius of the fashionable manners: and in a court of such a complexion, Petrarch of course became the popular poet. Henry Howard earl Surrey, with a mistress perhaps as beautiful as Laura, and at least with Petrarch's paffion if not his taste, led the way to great improvements in English poetry, by a happy imitation of Petrarch, and other Italian poets, who had been moft fuccefsful in painting the anxieties of love with pathos and propriety.

Lord Surrey's life throws fo much light on the character and fubjects of his poetry, that it is almost impoffible to confider the one, without exhibiting a few anecdotes of the other. He was the fon and grandson of two lords treasurers dukes of Norfolk; and in his early childhood discovered the most promifing marks of lively parts and an active mind.

While a boy, he was habituated to the modes of a court at Windfor-castle; where he refided, yet under the care of proper inftructors, in the quality of a companion to Henry Fitzroy, duke of Richmond, a natural fon of king Henry the eighth, and of the highest expectations.

This young nobleman, who also bore other titles and honours, was the child of Henry's affection: not fo much on account of