The Lives of the Poets of Great Britain and Ireland (1753) Volume I Part 13

12. Musophilus, a Defence of Learning; written dialogue-wise, addressed to Sir Fulk Greville.

13. Various Sonnets to Delia, 57 in number.

14. An Ode. 15. A Pastoral. 16. A Description of Beauty. 17. To the Angel Spirit of Sir Philip Sidney. 18. A Defence of Rhime. All these pieces are published together in two volumes, 12 mo. under the t.i.tle of the poetical pieces of Mr. Samuel Daniel.

But however well qualified our author's genius was for poetry, yet Langbain is of opinion that his history is the crown of all his works.

It was printed about the year 1613, and dedicated to Queen Anne. It reaches from the state of Britain under the Romans, to the beginning of the reign of Richard II. His history has received encomiums from various hands, as well as his poetry: It was continued by John Trusul, with like brevity and candour, but not with equal elegance, 'till the reign of Richard III. A.D. 1484. Mr. Daniel lived respected by men of worth and fashion, he pa.s.sed through life without tasting many of the vicissitudes of fortune; he seems to have been a second rate genius, and a tolerable versifier; his poetry in some places is tender, but want of fire is his characteristical fault. He was unhappy in the choice of his subject of a civil war for a poem, which obliged him to descend to minute descriptions, and nothing merely narrative can properly be touched in poetry, which demands flights of the imagination and bold images.

Sir JOHN HARRINGTON,

Born at Kelston near the city of Bath, was the son of John Harrington esquire, who was imprisoned in the Tower in the reign of Queen Mary, for holding a correspondence with the Lady Elizabeth; with whom he was in great favour after her accession to the crown, and received many testimonies of her bounty and grat.i.tude. Sir John, our author, had the honour to be her G.o.d-son, and both in respect to his father's merit, and his own, he was so happy to possess her esteem to the last[1].

He had the rudiments of his education at Eaton; thence removing to Cambridge, he there commenced master of arts, and before he arrived at his 30th year, he favoured the world with a translation of the Orlando Furioso of Ariosto, by which he acquired some reputation. After this work, he composed four books of epigrams, which in those times were received with great applause; several of these mention another humorous piece of his called Misacmos Metatmorphosis, which for a while exposed him to her Majesty's resentment, yet he was afterwards received into favour. This (says Mrs. Cooper) is not added to the rest of his works, and therefore she supposes was only meant for a Court amus.e.m.e.nt, not the entertainment of the public, or the increase of his fame. In the reign of King James I. he was created Knight of the Bath[2], and presented a ma.n.u.script to Prince Henry, called a Brief View of the State of the Church of England, as it stood in Queen Elizabeth and King James's reign in the year 1608. This piece was levelled chiefly against the married bishops, and was intended only for the private use of his Highness, but was some years afterwards published by one of Sir John's grandsons, and occasioned much displeasure from the clergy, who did not fail to recollect that his conduct was of a piece with his doctrines, as he, together with Robert earl of Leicester, supported Sir Walter Raleigh in his suit to Queen Elizabeth for the manor of Banwell, belonging to the bishopric of Bath and Wells, on the presumption that the right reverend inc.u.mbent had incurred a Premunire, by marrying a second wife.

Sir John appears to be a gentleman of great pleasantry and humour; his fortune was easy, the court his element, and which is ever an advantage to an author, wit was not his business, but diversion: 'Tis not to be doubted, but his translation of Ariosto was published after Spenser's Fairy Queen, and yet both in language and numbers it is much inferior, as much as it is reasonable to suppose the genius of Harrington was below that of Spenser.

Mrs. Cooper remarks, that the whole poem of Orlando is a tedious medley of unnatural characters, and improbable events, and that the author's patron, Cardinal Hippolito De Este, had some reason for that severe question. Where the devil, Signior Ludovico, did you pick up all these d.a.m.ned lies? The genius of Ariosto seems infinitely more fit for satire than heroic poetry; and some are of opinion, that had Harrington wrote nothing but epigrams, he had been more in his own way.

We cannot certainly fix the time that Sir John died, but it is reasonable to suppose that it was about the middle, or rather towards the latter end of James I's reign. I shall subjoin an epigram of his as a specimen of his poetry.

IN CORNUTUM.

What curl'd pate youth is he that sitteth there, So near thy wife, and whispers in her eare, And takes her hand in his, and soft doth wring her.

Sliding his ring still up and down her finger?

Sir, 'tis a proctor, seen in both the lawes, Retain'd by her in some important cause; Prompt and discreet both in his speech and action, And doth her business with great satisfaction.

And think'st thou so? a horn-plague on thy head!

Art thou so-like a fool, and wittol led, To think he doth the bus'ness of thy wife?

He doth thy bus'ness, I dare lay my life.

[Footnote 1: Muses Library, p. 296.]

[Footnote 2: Ubi supra.]

THOMAS DECKER,

A poet who lived in the reign of King James I. and as he was cotemporary with Ben Johnson, so he became more eminent by having a quarrel with that great man, than by all his works. Decker was but an indifferent poet, yet even in those days he wanted not his admirers; he had also friends among the poets; one of whom, Mr. Richard Brome, always called him Father; but it is the misfortune of little wits, that their admirers are as inconsiderable as themselves, for Brome's applauses confer no great honour on those who enjoy them. Our author joined with Webster in writing three plays, and with Rowley and Ford in another; and Langbaine a.s.serts, that these plays in which he only contributed a part, far exceed those of his own composition. He has been concerned in eleven plays, eight whereof are of his own writing, of all which I shall give an account in their alphabetical order.

I. Fortunatus, a comedy, printed originally in 4to but with what success, or when acted, I cannot gain any account.

II. Honest Wh.o.r.e, the first part; a comedy, with the humours of the Patient Man, and the Longing Wife, acted by the Queen's Servants, 1635.

III. Honest Wh.o.r.e, the second part, a comedy; with the humours of the Patient Man, the Impatient Wife; the Honest Wh.o.r.e persuaded by strong arguments to turn Courtezan again; her refusing those arguments, and lastly the comical pa.s.sage of an Italian bridewel, where the scene ends. Printed in 4to, London 1630. This play Langbaine thinks was never exhibited, neither is it divided into acts.

IV. If this be not a good play the devil is in it; a comedy, acted with great applause by the Queen's majesty's servants, at the Red-Bull, and dedicated to the actors. The beginning of this play seems to be writ in imitation of Machiavel's novel of Belphegor, where Pluto summons the Devils to council.

Match me in London, a Tragi-Comedy, often presented, first at the Bull's head in St. John's-street, and then at a private house in Drury-lane, called the Phoenix, printed in 4to. in 1631.

VI. Northward Ho, a comedy, often acted by the children of Paul's, printed in 4to. London, 1607. This play was writ by our author and John Webster.

VII. Satyromastix, or the untrussing the humourous poet, a comical satire, presented publickly by the Lord Chamberlain's servants, and privately by the children of Paul's, printed in 4to, 1602, and dedicated to the world. This play was writ on the occasion of Ben Johnson's Poetaster, for some account of which see the Life of Johnson.

VIII. Westward Ho,[1] a comedy, often acted by the children of Paul's, and printed in 4to. 1607; written by our author and Mr. Webster.

IX. Wh.o.r.e of Babylon, an history acted by the prince's servants, and printed in 4to. London 1607. The design of this play, by feigned names, is to set forth the admirable virtues of queen Elizabeth; and the dangers she escaped by the happy discovery of those designs against her sacred person by the Jesuits and bigotted Papists.

X. Wyatt's History, a play said to be writ by him and Webster, and printed in 4to. The subject of this play is Sir Thomas Wyat of Kent, who made an insurrection in the first year of Queen Mary, to prevent her match with Philip of Spain.

Besides these plays he joined with Rowley and Ford in a play called, The Witch of Edmonton, of which see Rowley.

There are four other plays ascribed to our author, in which he is said by Mr. Phillips and Winstanley to be an a.s.sociate with John Webster, viz. n.o.ble Stranger; New Trick to cheat the Devil; Weakest goes to the Wall; Woman will have her Will; in all which Langbaine a.s.serts they are mistaken, for the first was written by Lewis Sharp, and the other by anonymous authors.

[Footnote 1: This was revived in the year 1751, at Drury-lane theatre on the Lord Mayor's day, in the room of the London Cuckolds, which is now discontinued at that house.]

BEAUMONT and FLETCHER

Were two famous dramatists in the reign of James I. These two friends were so closely united as authors, and are so jointly concerned in the applauses and censures bestowed upon their plays, that it cannot be thought improper to connect their lives under one article.

Mr. FRANCIS BEAUMONT

Was descended from the ancient family of his name, seated at Grace dieu in Leicestershire,[1] and was born about the year 1585 in the reign of Queen Elizabeth. His grandfather, John Beaumont, was Master of the Rolls, and his father Francis Beaumont, one of the Judges of the Common Pleas. Our poet had his education at Cambridge,[2]but of what college we are not informed, nor is it very material to know. We find him afterwards admitted a student in the Inner-Temple, but we have no account of his making any proficiency in the law, which is a circ.u.mstance attending almost all the poets who were bred to that profession, which few men of sprightly genius care to be confined to.

Before he was thirty years of age he died, in 1615, and was buried the ninth of the same month in the entrance of St. Benedictine's Chapel, within St. Peter's Westminster. We meet with no inscription on his tomb, but there are two epitaphs writ on him, one by his elder brother Sir John Beaumont, and the other by Bishop Corbet. That by his brother is pretty enough, and is as follows:

On Death, thy murderer, this revenge I take: I slight his terror, and just question make, Which of us two the best precedence have, Mine to this wretched world, thine to the grave.

Thou should'st have followed me, but Death to blame Miscounted years, and measured age by fame.

So dearly hast thou bought thy precious lines; Thy praise grew swiftly, so thy life declines.

Thy muse, the hearer's queen, the reader's love All ears, all hearts, but Death's could please and move.

Our poet left behind him one daughter, Mrs. Frances Beaumont, who lived to a great age and, died in Leicestershire since the year 1700.

She had been possessed of several poems of her father's writing, but they were lost at sea in her voyage from Ireland, where she had lived sometime in the Duke of Ormond's family. Besides the plays in which Beaumont was jointly concerned with Fletcher, he writ a little dramatic piece ent.i.tled, A Masque of Grays Inn Gentlemen, and the Inner-Temple; a poetical epistle to Ben Johnson; verses to his friend Mr. John Fletcher, upon his faithful Shepherd, and other poem's printed together in 1653, 8vo. That pastoral which was written by Fletcher alone, having met with but an indifferent reception, Beaumont addressed the following copy of verses to him on that occasion, in which he represents the hazard of writing for the stage, and satirizes the audience for want of judgment, which, in order to shew his versification I shall insert.

Why should the man, whose wit ne'er had a stain, Upon the public stage present his vein, And make a thousand men in judgment sit To call in question his undoubted wit, Scarce two of which can understand the laws, Which they should judge by, nor the party's cause.

Among the rout there is not one that hath, In his own censure an explicit faith.

One company, knowing thy judgment Jack, Ground their belief on the next man in black; Others on him that makes signs and is mute, Some like, as he does, in the fairest sute; He as his mistress doth, and me by chance: Nor want there those, who, as the boy doth dance Between the acts will censure the whole play; Some, if the wax lights be not new that day: But mult.i.tudes there are, whose judgment goes Headlong, according to the actors clothes.

Mr. Beaumont was esteemed so accurate a judge of plays, that Ben Johnson, while he lived, submitted all his writings to his censures; and it is thought, used his judgment in correcting, if not contriving most of his plots.

[Footnote 1: Jacob's Lives of the Poets.]