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With scrip on hip, and pykstaff in his hand,
Forsuthe thay call me Jhone* the Commoun-weill. The reply of Syr COMMONWEALTH to our poet's question, is a long and general satire on the corrupt state of Scotland. The spiritual prelates, he says, have sent away Devotion to the mendicant friars: and are more fond of describing the dishes at a feast, than of explaining the nature of their own establishment
Sensual Plesour hes baneist Chaistitie. Liberality, Loyalty, and Knightly Valour, are fled,
And Cowardice, with lordis is laureate. From this sketch of Scotland, here given by Lyndesay, under the reign of James the Fifth, who acted as a viceroy to France, a Scotch historian might collect many striking features of the state of his country during that interesting period, drawn from the life.
The poet then supposes, that REMEMBRANCE conducts him back to the cave on the sea-shore, in which he fell asleep. He is awakened by a ship firing a broadside. He returns home, and entering his oratory, commits his vision to verse. To this
" if you please.
Henry the Fifth, before Hareflete, re* John, for what reason I know not, ceived a taunting message from the is a name of ridicule and contempt in Dauphine of France, and a ton of tennis, most modern languages,
balls by way of contempt, “he anoone Y SIGNAT. F. i.
lette make tenes balles for the Dolfin * Thay sparit nocht the poulder nor (Henry's ship) in all the haste that they
myght, and they were great GONNESTOS ES the stanis.
for the Dolfin io playe with alle." But A proof that stones were now used in- this game at tennis was too rough for stead of leaden bullets. At first they the besieged, when Henry "playede at shot darts, or carrieaur, i. e. quarrels, the tenes with his harde GONNESTONES," from great guns. Afterwards stones, &c. See Strutt's CustOMS AND MANNERS which they called gun-stones. In the OF THE Enolish, vol, ii, p. 32, Lond, BRUT OF ENGLAND, it is said, that when 1775,
is added an exhortation of ten stanzas to king James the Fifth: in which he gives his majesty advice, and censures his numerous instances of misconduct, with incredible boldness and asperity. Most of the addresses to James the Fifth, by the Scotch poets, are satires instead of panegyrics.
I have not at present either leisure or inclination, to enter into å minute enquiry, how far our author is indebted in his DREME to Tully's Dream of Scipio, and the Hell, PURGATory, and HEAVEN, of Dante, a
Lyndesay's poem, called the MONARCHIE, is an account of the most famous monarchies that have flourished in the world : but, like all the Gothic prose-histories, or chronicles, on the same favorite subject, it begins with the creation of the world, and ends with the day of judgment. There is much learning in this poem. It is a dialogue between EXPERIENCE and a courtier. This mode of conducting a narrative by means of an imaginary mystagogue, is adopted from Boethius. A descriptive prologue, consisting of octave stanzas, opens the poem, in which the poet enters a delightful park. The sun clad in his embroidered mantle, brighter than gold or precious stones, extinguishes the horned queen of night, who hides her visage in a misty veil. Immediately Flora began to expand
Depaynt with mony hundreth hevinlie hewis. * In the Medicean library at Florence, Julius Niger, SCRIPTOR. FLORENT. and the Ambrosian at Milan, there is a p. 404. long manuscript Italian poem, in three In a manuscript at Lambeth [332.] books, divided into one hundred chap- this poem is said to have been begun ters, written by Matteo Palmeri, a Jun. 11, 1556. This is a great mistake. learned Florentine, about the year 1450. [The meaning is, that the transcript was It is in imitation of Dante, in the lerza begun on that day.--Chalmers.] It rima, and entitled CITTA DI VITA, or was printed Hafn, 1552. 4to. The City of Life. The subject is, the • Signat. i. B. A park is a favorite peregrination of the soul, freed from the scene of action in our old poets. See shackles of the body, through various Chaucer's Compl. Bl. Kn. v. 39. ideal places and situations, till at length Toward a park enclosid with a wall, &c. it arrives in the city of heaven. This poem was publicly burnt at Cortona, And in other places. Parks were an. because the author adopted Origen's tiently the constant appendage of almost heresy concerning a third class of angels every considerable manerial house. The who for their sins were destined to ani- old patent-rolls are full of licences for mate human bodies. See Trithem. c.797. imparcations, which do not now exist.
Meanwhile, Eolus and Neptune restrain their fury, that no rude sounds might mar the melody of the birds which echoed among the rocks. d
In the park our poet, under the character of a courtier, meets EXPERIENCE, reposing under the shade of a holly. This pourtrait is touched with uncommon elegance and expression.
Into that park I saw appeir
Amavgis the flowris soft and sweit. In the midst of an edifying conversation concerning the fall of man and the origin of human misery, our author, before he proceeds to his main subject, thinks it necessary to deliver a formal apology for writing in the vulgar tongue. He declares
& Instead of Parnassus he chuses afterwards supposed to have been a bimount Calvary, and his Helicon is the shop of Cesarea, and to have suffered stream which flowed from our Saviour's martyrdom. See Tillemont. MEMOR. side on the cross, when he was wounded Hist. Ecclesiast. tom. i. pp. 81. 251. by Longinus, that is Longias. This is And Fabric. A PocR. Nov. Testam. a fictitious personage in Nicodemus's tom. i. p. 261. In the old Greek traGospel. I have mentioned him before. gedy of Christ SUFFERING, the CONVERTBeing blind, he was restored to sight by ED CENTURION is expressly mentioned, wiping his eyes with his hands which but not by this name. Almost all that were bloody. See more of him in Chau- relates to this person, who could not cer's LAMENTAT. Mary Magd. v. 176. escape the fictions of the monks, has In the Gothic pictures of the Crucifixion, been collected by J. Ch. Wolfius, Cur. he is represented on horseback, piercing PHILOL. ET Crit. in S. EVANGEL tom. i. our Saviour's side and in Xavier's p. 414, ii. 984. edit. Basil. 1741. 4to. Persic History of Christ, he is called a See also Hoffman. LEXIC. UNIVERSAL. horseman. This notion arose from his CONTINUAT. in Voc. tom. i. p. 1036. using a spear, or lance: and that weapon, col. 2. Basil. 1683. fol.
undoub edly gave rise to his ideal f SIGNAT. B. i. naine of Longias, or Longinus. He is
that his intention is to instruct and to be understood, and that he writes to the people, 8 Moses, he says, did not give the Judaic law on mount Sinai in Greek or Latin. Aristotle and Plato did not communicate their philosophy in Dutch or Italian. Virgil and Cicero did not write in Chaldee or Hebrew. Saint Jerom, it is true, translated the bible into Latin, his own natural language; but had saint Jerom been born in Argyleshire, he would have translated it into Erse. King David wrote the psalter in Hebrew, because he was a Jew. Hence he very sensibly takes occasion to recommend the propriety and necessity of publishing the scriptures and the missal, and of composing all books intended for common use, in the respective vernacular language of every country. This objection being answered, which shews the ideas of the times, our author thus describes the creation of the world and of Adam.
Quhen God had maid the hevinis bricht,
Quharefore to coilzearis, carteris, and to cukis,
Siaxat. C. i.
To that intent God maid him thus,
Bot mater of humilite, bo Some of these nervous, terse, and polished lines need only to be reduced to modern and English orthography, to please a reader accustomed solely to relish the tone of our present versification.
To these may be added the destruction of Jerusalem and Solomon's temple.
Prince Titus with his chevalrye
Sancta Sanctorum into fire. The appearance of Christ coming to judgement is poetically painted, and in a style of correctness and harmony, of which few specimens were now seen.
As fyreflaucht haistely glansing",
a in their rage.
† SIGNAT. C. iii.
escape. * smothered.
I white. * f. rased, (or dashed.]
• SIGNAT. L. iii. PA meteor quickly glancing along, (lightning.)