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bereft of flowers, herbs, and grass: in every holt and forest, the woods were stripped of their array. Boreas blew his bugle horn so loud, that the solitary deer withdrew to the dales: the small birds flocked to the thick briers, shunning the tempestuous blast, and changing their loud notes to chirping: the cataracts roared, and every linden-tree whistled and brayed to the sounding of the wind. The poor labourers went wet and weary, draggled in the fen. The sheep and shepherds lurked under the hanging banks, or wild broom.- Warm from the chimney-side, and refreshed with generous cheer, I stole to my bed, and laid down to sleep; when I saw the moon shed through the windows her twinkling glances, and watery light: I heard the horned bird, the night-owl, shrieking horribly with crooked bill from her cavern: I heard the wild-geese, with screaming cries, fly over the city through the silent night. I was soon lulled asleep; till the cock clapping his wings crowed thrice, and the day peeped. I waked and saw the moon disappear, and heard the jack-daws cackle on the roof of the house. The cranes, prognosticating tempests, in a firm phalanx, pierced the air with voices sounding like a trumpet. The kite; perched on an old tree, fast by my chamber, cried lamentably, a sign of the dawning day. I rose, and half-opening my window, perceived the morning, livid, wan, and hoary; the air overwhelmed with vapour and cloud; the ground stiff, gray, and rough; the branches rattling; the sides of the hills looking black and hard with the driving blasts; the dew-drops congealed on the stubble and rind of trees; the sharp hailstones, deadly-cold, hopping on the thatch and the neighbouring causeway,” &c.
Bale, whose titles of English books are often obscured by being put into Latin, recites among Gawin Douglass's poetical works, his Narrationes aurea, and Comædiæ aliquot sacræ, Of his NARRATIONES AUREÆ, our author seems to speak in the EPILOGUE to Virgil, addressed to his patron lord Sinclair,
* Ut supr. p. 183.
i xiv. 58.
I have also a strange command [comment] compyld,
To expone strange hystoryes and termes wild. Perhaps these tales were the fictions of antient mythology. Whether the Com@DIÆ were sacred interludes, or MYSTERIES, for the stage, or only sacred narratives, I cannot determine. Another of his original poems is the PALICE or Honour, a moral vision, written in the year 1501, planned on the design of the TABLET of Cebes, and imitated in the elegant Latin dialogue De Tranquillitate Animi of his countryman Florence Wilson, or Florentius Volusenus'. It was first printed at London, in 1553m. The object of this allegory, is to shew the instability and insufficiency of worldly pomp; and to prove, that a constant and undeviating habit of virtue is the only way to true Honour and Happiness, who reside in a magnificent palace, situated on the summit of a high and inaccessible mountain. The allegory is illustrated by a variety of examples of illustrious personages; not only of those, who by a regular perseverance in honourable deeds gained admittance into this splendid habitation, but of those, who were excluded from it, by debasing the dignity of their eminent stations with a vicious and unmanly behaviour. It is addressed, as an apologue for the conduct of a king, to James the Fourth; is adorned with many pleasing incidents and adventures, and abounds with genius and learning
Lugd. apud Seb. Gryph. 1549, 4to, tory of Scotland, See also a Dialogue
m In quarto. Again, Edinb. 1579. concerning a theological subject to be 4to. “When pale Aurora with face la- debated between duos famatos viros, mentable.” (Mr. Pinkerton has since G. Douglas provost of saint Giles, and published another allegorical poem by master David Cranstoun bachelour of Douglas, called King Hart. Vide An- divinity, prefixed to John Major's Comcient Scottish Poems. 1786.-Edit.] MENTARU in grrim. Sentent. Paris. 1519, Douglas also wrote a small Latin Hisa fol,
ITH Dunbar and Douglass I join Sir David Lyndesay, although perhaps in strictness he should not be placed so early as the close of the fifteenth century. He appears to have been employed in several offices about the person of James the Fifth, from the infancy of that monarch, by whom he was much beloved; and at length, on account of his singular skill in heraldry, a science then in high estimation and among the most polite accomplishments, he was knighted and appointed Lion king of arms of the kingdom of Scotland. Notwithstanding these situations, he was an excellent scholar".
Lyndesay's principal performances are The DREME, and The MONARCHIE. In the address to James the Fifth, prefixed to the DREME, he thus, with much tenderness and elegance, speaks of the attention he paid to his majesty when a child.
Quhen thou wes young, I bure the in myne arme
With lute in hand, synep softlye to the sang. He adds, that he often entertained the young prince with various dances and gesticulations, and by dressing himself in feigned characters, as in an interlude 4. A new proof that the atrical diversions were now common in Scotland. See the WARKIS OF THE PAMOUS
° began to walk.
P then AND WORTHIE KxichT SCHIR David a So also his COMPLAYNT to the Kingis LYNDESAY of the Mount, &c. Newly Grace. Signat. E. iii. correctit and vindicate from the former
-As ane chapman beris his pack, errouris, &c. Pr. by Johne Scott, A.D. I bure thy grace upon my back ; 1568. 4to. They have been often printed. And sumtymes stridlingis on my nek, I believe the last edition is at Edinburgh, Dansand with mony bend and bek.1709. 12mo. [The last edition is by And ay quhen thow come fra the scule, Mr. G. Chalmers, 3 vols. 8vo. London, Than Í behuffit to play the fule.1806. by which the present text has I wat thou luffit me better than been corrected.- Epit. )
Nor now sum wyfe dois hir gude man.
And sumtyme lyke ane feind s transfigurate,
And sumtyme disagysit full plesandlye“. In the PROLOGUE to the DREME, our author discovers strong talents for high description and rich imagery. In a morning of the month of January, the poet quits the copse and the bank, now destitute of verdure and flowers, and walks towards the sea-beach. The dawn of day is expressed by a beautiful and brilliant metaphor. ' playing farces, frolics.
That is, the prophecies of Thomas Ryin the shape of a fiend.
mour, venerable Bede, and Merlin. the griesly ghost of Guy carl of [See supr. vol. i. p. 79, 80. seq. And Warwick.
MSS. Ashm. 337. 6.) Thomas the u Disguised, masked, to make sport. Rimour, or Thomas Leirmouth of ErSignat. D. i. He adds, what illustrates celdoun, seems to have wrote a poem on the text, above,
Sir Tristram. Rob. BRUNNE says this So sen thy birth I have continuallye
story would exceed all others, Bene occupyit, and ay to thy plesour, If men yt sayd as made THOMAS. And sumtyme Sewar, Coppar, and Car
That is, “If men recited it according
to the original composition of Thomas That is, sewer, and cupper or butler. Erceldoun, or the Rimour.” See LangHe then calls himself the king's secreit toft's CHRON. Append. Pref. p. 100. Thesaurar, and chief Cubicular. After- vol. j. edit. Hearne. Oxon. 1725. 8vo. wards he enumerates some of his own He flourished about 1280. I do not works.
understand, The reid Etin, and the gyir I have at lenth the storeis done discryve carling: but gyir is a maske or masOf Hector, Arthur, and gentill Julius, querade. , [ The tayle of the red Etin is Of Alexander, and worthy Pompeius.
mentioned in The Complaynt of Scotland;
as a popular story of a giant with three Of Jason and Medea, al at lenth, heads. Chalmers. The Gyir-carling is Of Hercules the actis honorabill, Hecate, or the mother witch 'of the And of Sampson the supernaturall (Scottish) peasants, Dr. Jamieson. ]— strenth,
Many of Lyndesay's Interludes are And of leill luffaris [lovers) stories ami- among Lord Hyndford's manuscripts abill :
of Scotch poetry, and are exceedingly And oftymes have I feinzeit mony fabill, obscene. One of Lyndesay's MORAL:. Of Troylus the sorrow and the joy, TIES, called, ANE SATYRE OF THE THREE And seiges all of Tyre, Thebes, and Estairs in commendation of vertew and Troy.
vytuperation of vyce, was printed at The prophecyis of Rymour, Beid, and Edinburgh, 1602. This piece, which is Marling,
entirely in rhyme, and consists of a va. And of iony uther plesand storye, riety of measures, must have taken up of the reid Étin, and the gyir carling. four hours in the representation.
Be this, fair Titan with his lemis licht
Over all the land had spred his banner bricht. In his walk, musing on the desolations of the winter, and the distance of spring, he meets Flora disguised in a sable robe. "
I met dame Flora in dule weid disagysit*,
Under dame NATURIS mantill lurkyng lawa. The birds are then represented, flocking round NATURE, complaining of the severity of the season, and calling for the genial warmth of summer. The expostulation of the lark with Aurora, the sun, and the months, is conceived and conducted in the true spirit of poetry.
“ Allace, AURORE, the sillie lark can cry,
Quhare art thow, May, with JUNE thy sister schene,
grene Enamilit with rosis reid and whyte ?" The poet ascends the cliffs on the sea-shore, and entering a cavern, high in the crags, sits down to register in rhyme some mery mater of antiquitie. He compares the fluctuation of the sea with the instability of human affairs; and at length, being comfortably shrouded from the falling sleet by the closeness of
SIGNAT. D. ü, disguised in a dark (sad) garment. Y violent.
once, one while, (formerly. ]