The Lives of the Poets of Great Britain and Ireland (1753) Volume I Part 12

29. Julius Caesar, a Tragedy.

30. The Tragedy of Macbeth; the plot from Buchanan, and other Scotch writers.

31. Hamlet Prince of Denmark, a Tragedy.

32. King Lear, a Tragedy; for the plot see Leland, Monmouth.

33. Oth.e.l.lo the Moor of Venice, a Tragedy; the plot from Cynthio's Novels.

34. Anthony and Cleopatra; the story from Plutarch.

35. Cymbeline, a Tragedy; the plot from Boccace's Novels.

36. Pericles Prince of Tyre, an historical play.

37. The London Prodigal, a Comedy.

38. The Life and Death of Thomas Lord Cromwell, the favourite of King Henry VIII.

39. The History of Sir John Oldcastle, the good Lord Cobham, a Tragedy. See Fox's Book of Martyrs.

40. The Puritan, or the Widow of Watling-street, a Comedy.

41. A Yorkshire Tragedy; this is rather an Interlude than a Tragedy, being very short, and not divided into Acts.

42. The Tragedy of Locrine, the eldest son of King Brutus. See the story in Milton's History of England.

Our age, which demonstrates its taste in nothing so truly and justly as in the admiration it pays to the works of Shakespear, has had the honour of raising a monument for him in Westminster Abbey; to effect which, the Tragedy of Julius Caesar was acted at the Theatre Royal in Drury Lane, April 28, 1738, and the profits arising from it deposited in the hands of the earl of Burlington, Mr. Pope, Dr. Mead, and others, in order to be laid out upon the said monument. A new Prologue and Epilogue were spoken on that occasion; the Prologue was written by Benjamin Martyn esquire; the Epilogue by the hon. James Noel esquire, and spoke by Mrs. Porter. On Shakespear's monument there is a n.o.ble epitaph, taken from his own Tempest, and is excellently appropriated to him; with this let us close his life, only with this observation, that his works will never be forgot, 'till that epitaph is fulfilled.--When

The cloud capt towers, the gorgeous palaces, The solemn temples, the great globe itself And all which it inherit shall dissolve, And like the baseless fabric of a vision Leave not a wreck behind.

[Footnote 1: Preface to Shakespear]

[Footnote 2: Alluding to the sea voyage of Fletcher.]

JOSHUA SYLVESTER,

The translator of the famous Du Bartas's Weeks and Works; was cotemporary with George Chapman, and flourished in the end of Elizabeth and King James's reign; he was called by the poets in his time, the silver-tongu'd Sylvester, but it is doubtful whether he received any academical education. In his early years he is reported to have been a merchant adventurer.[1] Queen Elizabeth is said to have had a respect for him, her successor still a greater, and Prince Henry greater than his father; the prince so valued our bard, that he made him his first Poet-Pensioner. He was not more celebrated for his poetry, than his extraordinary private virtues, his sobriety and sincere attachment to the duties of religion. He was also remarkable for his fort.i.tude and resolution in combating adversity: we are further told that he was perfectly acquainted with the French, Italian, Latin, Dutch and Spanish languages. And it is related of him, that by endeavouring to correct the vices of the times with too much asperity, he exposed himself to the resentment of those in power, who signified their displeasure, to the mortification and trouble of the author. Our poet gained more reputation by the translation of Du Bartas, than by any of his own compositions. Besides his Weeks and Works, he translated several other productions of that author, namely, Eden[2], the Deceit, the Furies, the Handicrafts, the Ark, Babylon, the Colonies, the Columns, the Fathers, Jonas, Urania, Triumph of Faith, Miracle of Peace, the Vocation, the Daw; the Captains, the Trophies, the Magnificence, &c. also a Paradox of Odes de la Nove, Baron of Teligni with the Quadrians of Pibeac; all which translations were generally well received; but for his own works, which were bound up with them, they received not, says Winstanley, so general an approbation, as may be seen by these verses:

We know thou dost well, As a translator But where things require A genius and fire,

Not kindled before by others pains, As often thou hast wanted brains.

In the year 1618 this author died at Middleburgh in Zealand, aged 55 years, and had the following epitaph made on him by his great admirer John Vicars beforementioned, but we do not find that it was put upon his tomb-stone.

Here lies (death's too rich prize) the corpse interr'd Of Joshua Sylvester Du Bartas Pier; A man of arts best parts, to G.o.d, man, dear; In foremost rank of poets best preferr'd.

[Footnote 1: Athenae Oxon. p. 594.]

[Footnote 2: Winstanley, Lives of the Poets, p. 109.]

SAMUEL DANIEL

Was the son of a music master, and born near Taunton in Somersetshire, in the year 1562. In 1579 he was admitted a commoner in Magdalen Hall in Oxford, where he remained about three years, and by the a.s.sistance of an excellent tutor, made a very great proficiency in academical learning; but his genius inclining him more to studies of a gayer and softer kind, he quitted the University, and applied himself to history and poetry. His own merit, added to the recommendation of his brother in law, (John Florio, so well known for his Italian Dictionary) procured him the patronage of Queen Anne, the consort of King James I.

who was pleased to confer on him the honour of being one of the Grooms of the Privy-Chamber, which enabled him to rent a house near London, where privately he composed many of his dramatic pieces. He was tutor to Lady Ann Clifford, and on the death of the great Spenser, he was appointed Poet Laureat to Queen Elizabeth. Towards the end of his life he retired to a farm which he had at Beckington near Philips Norton in Somersetshire, where after some time spent in the service of the Muses, and in religious contemplation, he died in the year 1619. He left no issue by his wife Justina, to whom he was married several years. Wood says, that in the wall over his grave there is this inscription;

Here lies expecting the second coming of our Lord and Saviour Jesus Christ, the dead body of Samuel Daniel esquire, that excellent poet and historian, who was tutor to Lady Ann Clifford in her youth, she that was daughter and heir to George Clifford earl of c.u.mberland; who in grat.i.tude to him erected this monument to his memory a long time after, when she was Countess Dowager of Pembroke, Dorset and Montgomery. He died in October, Anno 1619.

Mr. Daniel's poetical works, consisting of dramatic and other pieces, are as follow;

1. The Complaint of Rosamond.

2. A Letter from Octavia to Marcus Antonius, 8vo. 1611.

These two pieces resemble each other, both in subject and stile, being written in the Ovidian manner, with great tenderness and variety of pa.s.sion. The measure is Stanzas of seven lines. Let the following specimen shew the harmony and delicacy of his numbers, where he makes Rosamond speak of beauty in as expressive a manner as description can reach.

Ah! beauty Syren, fair inchanting good, Sweet silent rhetoric of persuading eyes; Dumb eloquence whose power doth move the blood, More than the words or wisdom of the wife; Still harmony whose diapason lies, Within a brow; the key which pa.s.sions move, To ravish sense, and play a world in love.

3. Hymen's Triumph, a Pastoral Tragi-Comedy presented at the Queen's Court in the Strand, at her Majesty's entertainment of the King, at the nuptials of lord Roxborough, London, 1623, 4to. It is introduced by a pretty contrived Prologue by way of dialogue, in which Hymen is opposed by avarice, envy and jealousy; in this piece our author sometimes touches the pa.s.sions with a very delicate hand.

4. The Queen's Arcadia, a Pastoral Tragi-Comedy, presented before her Majesty by the university of Oxford, London 1623, 4to.

5. The Vision of the Twelve G.o.ddesses, presented in a Masque the 8th of January at Hampton-Court, by the Queen's most excellent Majesty and her Ladies. London 1604, 8vo. and 1623, 4to. It is dedicated to the Lady Lucy, countess of Bedford. His design under the shapes, and in the persons of the Twelve G.o.ddesses, was to shadow out the blessings which the nation enjoyed, under the peaceful reign of King James I. By Juno was represented Power; by Pallas Wisdom and Defence; by Venus, Love and Amity; by Vesta, Religion; by Diana, Chast.i.ty; by Proserpine, Riches; by Macaria, Felicity; by Concordia, the Union of Hearts; by Astraea, Justice; by Flora, the Beauties of the Earth; by Ceres, Plenty; and by Tathys, Naval Power.

6. The Tragedy of Philotas, 1611, 8vo. it is dedicated to the Prince, afterwards King Charles I.

This play met with some opposition, because it was reported that the character of Philotas was drawn for the unfortunate earl of Ess.e.x, which obliged the author to vindicate himself from this charge, in an apology printed at the end of the play; both this play, and that of Cleopatra, are written after the manner of the ancients, with a chorus between each act.

7. The History of the Civil Wars between the Houses of York and Lancaster, a Poem in eight books, London, 1604, in 8vo. and 1623, 4to.

with his picture before it.

8. A Funeral Poem on the Death of the Earl of Devonshire, London, 1603, 4to.

9. A Panegyric Congratulatory, delivered to the King at Burleigh-Harrington in Rutlandshire, 1604 and 1623, 4to.

10. Epistles to various great Personages in Verse, London, 1601 and 1623, 4to.

11. The Pa.s.sion of a Distressed Man, who being on a tempest on the sea, and having in his boat two women (of whom he loved the one who disdained him, and scorned the other who loved him) was, by command of Neptune, to cast out one of them to appease the rage of the tempest, but which was referred to his own choice. If the reader is curious to know the determination of this man's choice, it is summed up in the concluding line of the poem.

She must be cast away, that would not save.