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HE EPIGRAMS of Martial were translated in part by
Timothy Kendall, born at North Afton in Oxfordshire, successively educated at Eton and at Oxford, and afterwards a ftudent of the law at Staple’s-inn. This performance, which cannot properly or strictly be called a translation of Martial, has the following title, “ FLOWRES OF EPIGRAMMES out of “ sundrie the most fingular authors selected, etc. By Timothie “ Kendall late of the vniuersitie of Oxford, now student of “ Staple Inn. London, 1577 :.” It is dedicated to Robert earl of Leicester. The epigrams translated are from Martial, Pictorius, Borbonius, Politian, Bruno, Textor, Ausonius, the Greek anthology, Beza, fir Thomas More, Henry Stephens, Haddon', Parkhurst', and others. But by much the
But by much the greater part is from Martial'. It is charitable to hope, that our translator Timothy Kendall wasted no more of his time at Staples-inn in culling these fugitive blossoms. Yet he has annexed to these versions his TRIFLES or juvenile epigrams, which are dated the same year.
• In duodecimo. They are entered at Stationers Hall, Feb. 25, 1576. Registr. B. fol. 138. a. To John Sheppard.
• Walter Haddon's Poemata, contain ing a great number of metrical Latin epi. taphs, were collected, and published with his Life, and verses at his death, by Giles Fletcher and others, in 1576. See T. Baker's Letters to bishop Tanner, MS. Bibl. Bodl. And by Hatcher, 1567. 4to.
© John Parkhurst, bishop of Norwich, a great reformer, published, LUDICRA SEU EPIGRAMMATA JUVEnilin, Lond. 1572.
Meres, in his Wits TREASURY, mentions doctor Johnson, as the translator of Homer's BATRACHOMUOMACHY, and Watson of Sophocles's Antigone, but with such ambiguity, that it is difficult to determine from his words whether these versions are in Latin or English'. That no reader may be misled, I observe here, that Christopher Johnson, a celebrated headmaster of Winchester school, afterwards a physician, translated Homer's FROGS AND Mice into Latin hexameters, which appeared in quarto, at London, in 1580%. Thomas Watson author of a Hundred SONNETS, or the pasonate century of Love, published a Latin Antigone in 1581". The latter publication, however, shews at this time an attention to the Greek tragedies.
Christopher Marlowe, or Marloe, educated in elegant letters at Cambridge, Shakespeare's cotemporary on the stage, often applauded both by queen Elisabeth and king James the first, as a judicious player, esteemed for his poetry by Jonson and Drayton, and one of the most distinguished tragic poets of his age, tranflated Coluthus's Rape of Helen into English rhyme, in the year 1587. I have never seen it; and I owe this information to the manuscript papers of a diligent collector of these fugacious anecdotes ·. But there is entered to Jones, in 1595, “ A booke “ entituled RAPTUS HELENÆ, Helens Rape, by the Athenian « duke Theseusk.” Coluthus's poem was probably brought into vogue, and suggested to Marlowe's notice, by being paraphrased in Latin verse the preceding year by Thomas Watson, the writer
great elegance. But Joachim du Bellai
Non dico Nugas esse, sed esse puto. f Fol. 289. P. 2.
& Entered to T. Purfoote, Jan. 4, 1579. With “ certen orations of Isocrates." RE: GISTR. Station. B. fol. 165. d.
ho In quarto. Licenced to R. Jones Jul. 31, 1581. Ibid. fol. 182. b.
i MSS. Coxeter.
* April 12. RegistR. STATION. B. fol. 131. b.
of sonnets just mentioned'. Before the year 1598, appeared Marlowe's translation of the Loves of HERO AND LEANDER, the elegant prolusion of an unknown fophist of Alexandria, but commonly ascribed to the antient Musaeus. It was left unfinished by Marlowe's death ; but what was called a second part, which is nothing more than a continuation from the Italian, appeared by one Henry Petowe, in 1598m. Another edition was published, with the first book of Lucan, translated also by Marlowe, and in blank verse, in 1600". At
At length George Chapman, the translator of Homer, completed, but with a striking inequality, Marlowe's unfinished version, and printed it at London in quarto, 1606°. Tanner takes this piece to be one
· Printed at Lond. 1586. 4to.
fons, and which taking their rise from the m For Purfoot, 4to. See Petowe's Pre reformation, abounded in the reign of Elia face, which has a high panegyric on Mar sabeth. Hence, by the way, we see the lowe. He says he begun where Marlowe propriety of reading pious chansons, and not left off. In 1593, Sept. 28, there is an pons chansons, or ballads fung on bridges, entry to John Wolfe of “ A book entitled with Pope. Rowe arbitrarily substituted
Hero and Leander, beinge an amorous Rubric, not that the titles of old ballads " poem devised by Christopher Marlowe.” were ever printed in red. Rubric came at REGISTR. STATION, B. fol. 300. b. The length fimply to fignify title, because, in translation, as the entire work of Marlowe, the old manuscripts, it was the custom to is mentioned twice in Nashe's LENTEN write the titles or heads of chapters in red STUFF, printed in 1599 It occurs again ink. In the Statutes of Winchester and in the registers of the Stationers, in 1597, , New college, every statute is therefore 1598, and 1600. "Registr. C. fol. 31. a. called a RUBRICA.
I learn from Mr. Malone, that But this version of Lucan is entered, Marlowe finished only the two first Settiads, as above, Sept. 28, 1593, to John Wolfe, and about one hundred lines of the third. Ibid. fol. 300. b. Nor does it always apChapman did the remainder. Petowe pub. appear at the end of Museus in 1600. lished the Whipping of Runawaies, for There is an edition that year by P. Short. Burbie, in 1603
• There is another edition in 1616, and There is an old ballad on Jephtha 1629. 410. The edition of 1616, with judge of Israel, by William Petowe. In Chapman's name, and dedicated to Inigo the year 1567, there is an entry to Alex. Jones, not two inches long and scarcely ander Lacy, of " A ballett intituled the one broad, is the most diminutive product " Songe of Jefphas dowghter at his death." of English typography. But it appears a difREGISTR, STATION, A. fol 162. a. Per. ferent work from the edition of 1606. The haps this is the old song of which Hamlet « Ballad of Hero and Leander” is entered in joke throws out some scraps to Polonius, to J. White, Jul. 2, 1614. Registr, Sta-, and which has been recovered by Mr. Tion. C, fol. 252. a. Burton, an excel. Steevens, Hamlet, Act ii. Sc. 7. [See lent Grecian, having occasion to quote also Jeffa judge of Ifrael, in REGISTR, D. MUSæus, cites Marlowe's version, Mefol. 93. Dec. 14, 1624.) This is one of LANCHOLY, pag. 372. seq. fol. edit. 1624. the pieces which Hamlet calls pious chan
of Marlowe's plays. It probably suggested to Shakespeare the allusion to Hero and Leander, in the MIDSUMMER Night's Dream, under the player's blunder of Limander and Helen, where the interlude of Thisbe is presented ?. It has many nervous and polished verses. His tragedies manifest traces of a just dramatic conception, but they abound with tedious and uninteresting scenes, or with such extravagancies as proceeded from a want of judgment, and those barbarous ideas of the times, over which it was the peculiar gift of Shakespeare's genius alone to triumph and to predominate”. His TRAGEDY OF DIDO QUEEN OF CARTHAGE was completed and published by his friend Thomas Nashe, in 1594'.
Although Jonson mentions Marlowe's Mighty Muse, yet the highest testimony Marlowe has received, is from his cotemporary Drayton ; who from his own feelings was well qualified to decide on the merits of a poet. It is in Drayton's Elegy, To psy dearly loved friend Henry Reynolds of Poets and Poesie.
P Act v. Sc. ult.
queen Elisabeth at Cambridge, in 1564. 9 Nashe in his Elegy prefixed to Mar I have before mentioned the Latin tragedy towe's Dido, mentions five of his plays. of Dido and Eneas, performed at Oxford, Mr. Malone is of opinion, from a similari. in 1583, before the prince Alasco. (See ty of style, that the Tragedy of LOCRINE, fupr. ii. 383.] See what Hamilet says to the published in
attributed to Shake first Player on this favorite ftory. In 1564, speare, was written by Marlowe. SUPPL. was entered a “ ballet of a lover blamynge SHAKESP. ii. 190. He conjectures also “ his fortune by Dido and Eneas for thayre Marlowe to be the author of the old King “ vntruthe.” RegistR. STATION. A fol. John. Ibid. i. 163. And of Titus An 116. a. In the Tempest, Gonzalo menDRONICUS, and of the lines spoken by tions the “ widow Dido.” Act iii. Sc. i. the players in the interlude in Hamlet. On old ballads we read the Tane of queen
Dido. Perhaps from some ballad on the ' In quarto. At London, by the widow subject, Shakespeare took his idea of Dido Orwin, for Thomas Woodcocke. Played ftanding with a willow in her hand on the by the children of the chapel. It begins, sea-shore, and beckoning Eneas back to “Come gentle Ganimed !”
Carthage. Merch. Ven. Act. v. Sc. i.
Shakespeare has also strangely falfified Di. It has been frequently confounded with do's story, in the S. P. of K. HENRY THE John Rightwife's play on the same subject SIXTH, Act iii. Sc. ü. I have before performed at faint Paul's school before mentioned the interlude of Dido and Cardinal Wolsey, and afterwards before Eneas at Chester.
Next Marlowe, bathed in the Thespian springes,
In the RETURN FROM PARNASSUS, a sort of critical play, acted at Cambridge in 1606, Marlowe's buskined Muse is celebrated". His cotemporary Decker, Jonson's antagonist, having allotted to Chaucer and graue Spenser, the highest seat in the Elisian grove of Bayes, has thus arranged Marlowe. “ In another “ companie fat learned Atchlow and, (tho he had ben a player “ molded out of their pennes, yet because he had been their “ louer and register to the Muse) inimitable Bentley: these were “ likewise carowsing out of the holy well, &c. Whilst Mar“ lowe, Greene, and Peele, had gott under the shadow of a large
vyne, laughing to see Nashe, that was but newly come to “ their colledge, still haunted with the fame satyricall spirit that or followed him here vpon earth w."
Marlowe’s wit and spriteliness of conversation had often the unhappy effect of tempting him to sport with facred subjects ; more perhaps from the preposterous ambition of courting the casual applause of profligate and unprincipled companions, than
Langbaine, who cites these lines with. out seeming to know their author, by a pleasant mistake has printed this word fublunary. DRAM. Poets, p. 342.
" Lond. edit. 1753. iv. p. 1256. That Marlowe was a favorite with Jonson, appears from the Pre.ace to one Bosworth's poems; who says, that Jonson used to call the mighty lines of Marlowe's Musoeus fitter for admiration than parallel. Thomas Heywood, who published Marlowe's Jew OF MALTA, in 1633, wrote the Prologue, spoken at the Cockpit, in which Marlowe is highly commended both as a player and a poet. It was in this play that Allen, the
founder of Dulwich college, acted the Jew with so much applause.
u Hawkins's OLD PL. üi. p. 215. Lo 1607. 4to. But it is entered in 1605, Od. 16, to J. Wright, where it is said to have been acted at laint John's. REGISTR. Station. C. fol. 130. b. See other cotemporary teftimonies of this author, in OLD Plays. (in 12 Vol.) Lond. 1780. 1 2mo. Vol. ii. 308.
w A KNIGHT'S CONJURING, Signata L. 1607. 4to. To this company Henry Chettle is admitted, (see fupr. p.291.) and is faluted in bumpers of Helicon on bis arrival,