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of fir Thomas Wyat the elder, who died, as I have remarked, in 1541 ". Another on the death of lord chancellor Audley, who died in 1544*. Another on the death of master Devereux, a son of lord Ferrers, who is said to have been a Cato for his counsel"; and who is probably Richard Devereux, buried in Berkyng church", the son of Walter lord Ferrers, a distinguished statesman and general under Henry the eighth *. Another on the death of a lady Wentworth". Another on the death of fir Antony Denny, the only person of the court who dared to inform king Henry the eighth of his approaching dissolution, and who died in 1551 °. Another on the death of Phillips, an eminent musician, and without his rival on the lute". Another on the death of a countess of Pembroke, who is celebrated for her learning, and her perfeół virtues linked in a chaine * : probably Anne, who was buried magnificently at saint Pauls, in 1551, the first lady of fir William Herbert the first earl of Pembroke, and sister to Catharine Parr, the fixth queen of Henry the eighth ". Another on mafter Henry Williams, son of fir John Williams, afterwards lord Thame, and a great favorite of Henry Henry's wars, we have here an elegy", with some verses on his pićture'. Here is also a poem on a treasonable conspiracy, which is compared to the stratagem of Sinon, and which threatened immediate extermination to the British constitution, but was speedily discovered "... I have not the courage to explore the formidable columns of the circumstantial Hollingshed for this occult piece of history, which I leave to the curiosity and conjećtures of some more laborious investigator. It is certain that none of these pieces are later than the year 1557, as they were published in that year by Richard Tottell the printer. We may venture to say, that almost all of them were written between the years 1530 and 155o ". Most of them perhaps within the first part of that period. The following nameless stanzas have that elegance which results from fimplicity. The compliments are such as would not disgrace the gallantry or the poetry of a polished age. The thoughts support themselves, without the aid of expression, and the affectations of language. This is a negligence, but it is a negligence produced by art. Here is an effect obtained, which it would be vain to seek from the studied ornaments of style.

the eighth'. On the death of fir James Wilford, an officer in y Fol. 89. and Fox says, “he was so notable a fing* Fol. 69. “ing-man, wherein he gloried, that where• Fol. 5 i. “soever he came, the longest song with

* Stowe, Surv. Lond. p. 131. fol. ed. * Who died in 1558. See Dugd. Bar. ii. 177. * Fol. 73. Margaret. See Dugd. Bar. ii. 310. * Fol. 78. There is fir John Cheek's gp1t Aphium in Anton. Denneium, Lond. *55; 4to, Fol.7.1. One Philipsismentioned among the famous English musicians,in Meres's Witt Wresurie, 1598. fol. 288. I cannot ascertain who this Phillips, a musician, was. But one Robert Phillips, or Phelipp, occurs among the gentlemen of the royal chapel under Edward the fixth and queen Mary. He was also one of the fingingmen of saint George's chapel at Windsor:

“most counterverses in it should be set up “against him.” Fox adds, that while he was finging on one fide of the choir of Windsor chapel, O Redemptrix et Salvatrix, he was answered by one Testwood a finger on the other side, Non Redemptrix nee Salvatrix. For this irreverence, and a few other slight herefies, Testwood was burnt at Windsor. Acts and Monu M. vol. ii. p. 543, 544. I must add, that fir Thomas

helyppis, or Philips, is mentioned as a musician before the reformation. Hawkins, Hist. Mus. ii. 533.

s Fol. 85.

* Strype, Mzm. ii. p. 317.

* Fol. 99. See Liri or sis. Thomas

Porn, P. 232.

Give place, ye ladies, and be gone,
Boast not yourselves at all :
For here at hand approcheth one
Whose face will staine you all.

The vertue of her lively lokes
Excels the precious stone:
I wish to have none other bokes

To reade or loke upon.

* Fol. 36. a lady, called Arundel, is highly celebra! Fol. 6 ted for her incomparable beauty and acOl. O2. complishments: perhaps of lord Arundel's * Fol. 94, 95. family. * There is an epitaph by W. G. made Thus ARUNDEL fits throned still with on himself, with an answer, fol. 98, 99. Fame, &c. I cannot explain those initials. At fol. iii. Vol. III. - G In

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We are to recolle&t, that these compliments were penned at a time, when the graces of conversation between the sexes were unknown, and the dialogue of courtship was indelicate ; when the monarch of England, in a style, which the meanest gentleman would now be ashamed to use, pleaded the warmth of his affection, by drawing a coarse allusion from a present of venison, which he calls flesh, in a love-letter to his future queen, Anne Boleyn, a lady of distinguished breeding, beauty, and modesty'.

In lord Vaux's Ass AULT of CuPIDE, abovementioned, these are the most remarkable stanzas.

When Cupide scaled first the fort,
Wherin my hart lay wounded sore;
The batry was of such a sort,
That I must yelde, or die therfore.

There sawe I Love upon the wall
How he his baner did display;
Alarme, Alarme, he gan to call,
And bade his souldiours kepe away.

The armes the which that Cupid bare,
Were pearced hartes, with teares besprent.—

: j. 67. * See Hearne's Avesbury, APPEND. ol. 84. P. 354- *

G 2 ... And

And even with the trumpettes sowne
The scaling ladders were up set ;
And Be AUTY walked up and downe,
With bow in hand, and arrowes whet.

Then first Des IRE began to scale,
And shrouded him under his targe, &c'.

Puttenham speaks more highly of the contrivance of the allegory of this piece, than I can allow. “ In this figure [counter“fait ačtion] the lord Nicholas ‘Vaux, a noble gentleman, and “ much delighted in vulgar making", and a man otherwise of “ no great learning, but having herein a marvelous facilitie, “ made a dittie representing the Battayle and Affault of Cupid “ so excellently well, as for the gallant and propre aplication of “ his fićtion in every part, I cannot choose but set downe the “ greatest part of his ditty, for in truth it cannot be amended: When Cupid scaled, &c".” And in another part of the same book. “The lord Vaux his commendation lyeth chiefly in the “ facilitie of his meetre, and the aptnesse of his descriptions, “ suche as he taketh upon him to make, namely in sundry of “ his songes, wherein he sheweth the cou N TER FAIT Act 1on “very lively and pleasantly *.” By counterfait action the critic means fictitious action, the aëtion of imaginary beings expresfive of fact and reality. There is more poetry in some of the old pageants described by Hollingshed, than in this allegory of Cupid. Vaux seems to have had his eye on Sir David Lyndsey's GoLDEN TER G E 7.

In the following little ode, much pretty description and imagination is built on the circumstance of a lady being named

Bayes. So much good poetry could hardly be expected from

a pun.

{...}. 72. a w o 2Co. or 1 nomas. * Pag. 51. * English poetry. * See supr. Vol. ii. p. 270.

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