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treasurer of the queen's chamber. I shall speak of each man's translation distinétly ". The HYPPol IT Us, MEDEA, HERCULES OETEUs, and AGAMEMNoN, were translated by John Studley, educated at Westminster school, and afterwards a scholar of Trinity college in Cambridge. The HYPPol IT Us, which he calls the fourth and most ruthfull tragedy, the ME DEA, in which are some alterations of the chorus ", and the HERCULES OETEUs, were all first printed in Thomas Newton's collection of 1581, just mentioned”. The AG AM EMNoN was first and separately published in 1566, and entitled, “ The eyght Tragedie of Seneca enti“ tuled AGAMEMNoN, translated out of Latin into English by John Studley student in Trinitie college in Cambridge. Imprinted at London in Flete streete beneath the Conduit at the signer of S. John Euangelyst by Thomas Colwell A. D. M.D. lxvi. ".” This little book is exceedingly scarce, and hardly to be found in the choicest libraries of those who colle&t our poetry in black letter”. Recommendatory verses are prefixed, in praise of our translator's performance". It is dedicated to secretary Cecil. To the end of the fifth ačt our translator has added a whole scene: for the purpose of relating the death of Cassandra, the imprisonment of Electra, and the flight of Orestes. Yet these circumstances were all known and told before. The narrator is Euribates, who in the commencement of the third ačt had informed Clitemnestra of Agamemnon's return. These efforts, however imperfect or improper, to improve the plot of a drama by a new conduct or contrivance, deserve particular

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notice at this infancy of our theatrical taste and knowledge. They shew that authors now began to think for themselves, and that they were not always implicitly enslaved to the prescribed letter of their models. Studley, who appears to have been qualified for better studies, misapplied his time and talents in translating Bale's Aéts of the Popes. That translation, dedicated to Thomas lord Essex, was printed in 1574". He has left twenty Latin distichs on the death of the learned Nicholas Carr, Cheke's successor in the Greek professorship at Cambridge ‘. The Oct Avi A is translated by T. N. or Thomas Nuce, or Newce, a fellow of Pembroke-hall in 1562, afterwards reëtor of Oxburgh in Norfolk, Beccles, Weston-Market, and vicar of Gaysley, in Suffolk"; and at length prebendary of Ely cathedral in 1586*. This version is for the most part executed in the heroic rhyming couplet. All the rest of the translators have used, except in the chorus, the Alexandrine measure, in which Sternhold and Hopkins rendered the psalms, perhaps the most unsuitable species of English versification that could have been applied to this purpose. Nuce's Oct Avi A was first printed in 1566'. He has two very long copies of verses, one in English and the other in Latin, prefixed to the first edition of Studley's AGAMEMNon in 1566, just mentioned. Alexander Nevyle, translated, or rather paraphrased, the OEDIPus, in the fixteenth year of his age, and in the year 1560, not printed till the year 1581 *. It is dedicated to doćtor Wootton, a privy counsellor, and his godfather. Notwithstand

* In quarto. Bl. Lett. “The pageaunt “of Popes, &c. &c. Englished with sun“drye additions, by J. S.” For Thomas Marshe, 1574.

* At the end of Bartholomew Dodington's EP is T L E of Carr's Life and Death,

addressed to fir Walter Mildmay, and sub-.

joined to Carr's Latin Translation of seven Orations of Demosthenes. Lond. 1571. 4to. Dodington, a fellow of Trinity college, succeeded Carr in the Greek chair, 1560. See Canden's Monu M. Eccles. Coll. Westmon, edit. 16oo. 4to. Signat. K2.

* Where he died in 1617, and is buried with an epitaph in English rhyme. See Bentham's Elx. p. 251.

* Feb. 21.

* For in that year, there is a receipt for licence to Henry Denham to print it. ReG1st R. St At 1 on. A. fol. 148. b.

But in 1563, is a receipt for Thomas

Colwell's licence to print “a boke entituled “ the Lamentable History of the prynce “Oedypus.” Regist R. Station. A. fol. 89. a.

ing the translator's youth, it is by far the most spirited and elegant version in the whole collection, and it is to be regretted that he did not undertake all the rest. He seems to have been persuaded by his friends, who were of the graver sort, that poetry was only one of the lighter accomplishments of a young man, and that it should soon give way to the more weighty pursuits of literature. The first ačt of his Oedipus begins with these lines, spoken by Oedipus.

The night is gon, and dreadfull day begins at length t apeere, And Phoebus, all bedimde with clowdes, himselfe aloft doth reere: And gliding forth with deadly hue, a dolefull blase in skies Doth beare: great terror and dismay to the beholders eyes | Now shall the houses voyde be seene, with Plague deuoured quight, * And slaughter which the night hath made, shall day bring forth to light. Doth any man in princely throne reioyce O brittle ioy How many ills, how fayre a face, and yet how much annoy, In thee doth lurk, and hidden lies What heapes of endles strife 2 They iudge amisse, that deeme the Prince to haue the happie life ".

Nevyl was born in Kent, in 1544', and occurs taking a master's degree at Cambridge, with Robert earl of Essex, on . the fixth day of July, 1581 *. He was one of the learned men whom archbishop Parker retained in his family'; and at the time of the archbishop's death, in 1575, was his secretary ". . He wrote a Latin narrative of the Norfolk insurreótion under Kett, which is dedicated to archbishop Parker, and was printed

* Fol. 78. a. * Strype, Life of Parker, p. 497. Lambarde, PE RAM B. KENt. p. 72. He is styled ARM ice R. See also the De* MS. Catal. Grad. Univ. Cant. dication to his Kett Us. * Strype's GR IN DAL, p. 196.

Vol. III. 3 C - in

in 1575°. To this he added a Latin account of Norwich, printed the same year, called Norvicus, the plates of which were executed by Lyne and Hogenberg, archbishop Parker's domestic engravers, in 1574°. He published the Cambridge verses on the death of fir Philip Sydney, which he dedicated to lord Leicester, in 15877. He proječted, but I suspect never completed, an English translation of Livy, in 1577". He died in 1614'. The Hercu LEs FURENs, THY Estes, and TRoAs, were translated into English by Jasper Heywood. The Hercules FURENs was first printed at London in 1561 ", and dedicated to William Herbert lord Pembroke, with the following pedantic Latin title. “ Lucii Annaei Senecae tragoedia prima, quae in“ scribitur Hercules FURENs, nuper recognita, et ab omni

* Lond, 4to. The title is, “Kettus, “five de furoribus Norfolcienfium Ketto “duce.” Again at London, 1582, by Henry Binneman, 8vo. And in English, 1615, and 1623. The disturbance was occasioned by an inclosure in 1549, and began at an annual play, or spectacle, at Wymondham, which lasted two days and two nights, according to antient custom, p. 6. edit. 1582. He cites part of a ballad sung by the rebels, which had a most powerful effect in spreading the commotion, p. 88. Prefixed is a copy of Latin verses on the death of his patron archbishop Parker. And a recommendatory Latin copy by Thomas Drant, the first translator of Horace. See also Strype's Parker, p. 499. Nevile has another Latin work, Apolo G 1a AD. Wallize PRoceries, Lond. for Binneman, 1576, 4to. He is mentioned in that part of G. Gascoigne's poems called Devises. His name, and the date 1565, are inscribed on the CarTULAR 1 U M S. GRE GoR11 CANTu ARIAE, among bishop More's books, with two Latin lines which I hope he did not intend for hexameters.

* It is sometimes accompanied with an engraved map of the Saxon and British kings. See Hollinsh. Chron. i. 139.

* Lond. 4to. viz. “Academiae Canta

“brigiensis Lacrymae tumulo D. Philippi “Sidneii sacratae.”

* See Note in the Register of the Stationers Company, dated May 3, 1577. Registr. B. fol. 139. b. It was not finished in 1597.

* Octob. 4. Batteley's Canterb. App. 7. Where see his Epitaph. He is buried in a chapel in Canterbury-cathedral with his brother Thomas, dean of that church. The publication of Seneca's Oedipus in English by Studley, or rather Gascoigne's Jocast A, produced a metrical tale of Et Focles a ND Poly NicEs, in “The “Forrest of Fancy, wherein is con“tained very pretty Apothec Mes, and * Pleasant Histories, both in meeter “ and prose, Song Es, Sonets, EP1Grams, “ and Epistles, &c. Imprinted at Lon“don by Thomas Purfoote, &c. 1579.” 4to. See Signat. Bij. Perhaps Henry Chettle, or Henry Constable, is the writer or compiler. [See supr. p. 292.] At least the colophon is, “Finis, H. C.” By the way, it appears, that Chettle was the publisher of Greene's Groatsworth of Wit in 1592. It is entered to W. Wrighte, Sept. 20. Regist R. Station. B. fol. 292. b.

* In 12mo,

“ bus

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O kyng of Dytis dungeon darke, and grysly ghost of hell,

That in the deepe and dreadfull denne of blackest Tartare dwell,

Where leane and pale Diseases lye, where Feare and Famyne are,

Where Discord standes with bleeding browes, where euery kinde of care;

“O thou Megaera, then I sayd,
“If might of thyne it bee
“ (Wherewith thou Tantall drouste from

* In 12mo. It is dedicated in verse to fir John Mason. Then follows in verse also, “The translatour to the booke.”

From the metrical Preface which next follows, I have cited many stanzas. See supr. p. 273. This is a Vision of the poet Seneca, containing 27 pages. In the course of this Preface, he laments a promising youth just dead, whom he means to compliment by saying, that he now “lyues “with Joue, another Ganymede.” But he is happy that the father survives, who seems to be fir John Mason. Among the old Roman poets he mentions Palingenius. After Seneca has delivered him the ThyssTEs to translate, he feels an unusual agitation, and implores Megaera to inspire him with tragic rage.

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hell)
“That thus dysturbeth mee,
“Enspyre my pen "
This sayde, I felt the Furies force
Enflame me more and more :
And ten tymes more now chafte I was
Than euer yet before.
My haire stoode vp, I waxed wood",
My synewes all dyd shake :
And, as the Furye had me vext,
My teethe began to quake.
And thus enflamede, &c.

He then enters on his translation. Nothing
is here wanting but a better stanza.

- a Mad.

Where

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