808 MIRROUR OF MAGISTRATES.-ORIGIN OF HISTORICAL PLAYS. both of these, especially the former, the MIRROUR OF MAGISTRATES is cited at large, and has a conspicuous share1. At the latter end of the reign of queen Elizabeth, as I am informed from some curicus MSS. authorities, a thin quarto in the black letter was published, with this title, 'The MIRROUR OF MIRROVRS, or all the tragedys of the 'Mirrovr for Magistrates abbreuiated in breefe histories in prose. Very necessary for those that haue not the Chronicle. London, in'printed for James Roberts in Barbican, 15982. This was an attempt to familiarise and illustrate this favorite series of historic soliloquies : or a plan to present its subjects, which were now become universally popular in rhyme, in the dress of prose. It is reasonable to suppose, that the publication of the MIRROUR OF MAGISTRATES enriched the stores, and extended the limits of our drama. These lives are so many tragical speeches in character. We have seen, that they suggested scenes to Shakespeare. Some critics imagine, that HISTORICAL Plays owed their origin to this collection. At least it is certain, that the writers of this MIRROUR were the first who made a poetical use of the English chronicles recently compiled By the way, in the Register of the Stationers, jun. 19. 1594, The lamentable end of Shree's Wife is mentioned as a part of Shakespeare's Richard III. And in a pamphlet called Pylico or Runaway Redcap, printed in 1596, the well-frequented play of SHORE is ment med with Pericles Prince of Tyre. From Beaumont and Fletcher's Knight of the Burning Pestle, written 1613, JANE SHORE appears to have been a celebrated tragedy. And in the Stationer's Register (Ŏxenbridge and Busby, Aug. 28. 1599.) occurs The History of the Life and Death of Master Shore and Jane Shore his wife, as it was lately acted by the earl Der'bie his servants.' Str John 1 Allot's is much the most complete performance of the two. The method is by far more judicious, the extracts more copious, and made with a degree of taste. With the extracts he respectively cites the rames of the poets, which are as follows. Thomas Achelly. Thoms Bastard. George Chapman. Thomas Churchyard. Henry Constable. Samuel Daniel. John Daviees. Michael Drayton. Thomas Dekkar. Edmund Fairfax. Charles Fitz jeffrey. Abraham Fraunce. George Gascoigne. Edward Gilpin. Sir John Harrington, John Higgins. Thomas Hudson. James King of Scots. [i.e. James I.] Benjamin Jessca Thomas Kyd. Thomas Lodge. [M.M. i.e. Mirrour of Magistrates.] Christopher Marlow. Jarvis Markham. John Marston. Christopher Middleton. Thomas Nashe. [Vaulx] Farl of Oxford. George Peele. Matthew Raydon. Master Sackville. William Shakespeare. Philip Sidney. Edmund Spenser. Thomas Storer. [H. Howard] Earl of Surrey. Sylvester. George Turberville. William Warner. Thomas Watson. John, and Willa, Weever. Sir Thomas Wyat. I suspect that Wood, by mistake, has attributed this collectica by Allot, to Charles Fitz-jeffrey above-mentioned, a poet before and after 1600, and author of the AFFANIE But I will quote Wood's words. 'Fitz-jeffrey hath also made, as tis said, A Collection of choice Flowers and Descriptions, as well out of his, as the works of sever others the most renowned poets of our nation, collected about the beginning of the reign of 'King James I. But this tho I have been years seeking after, yet I cannot get a sight of it.' ATH. OXON. p. 606. But the most comprehensive and exact Common-place of the works of Our most eminent poets throughout the reign of queen Elizabeth, and afterwards, was published about forty years ago, by Mr. Thomas Hayward of Hungerford in Berkshire, viz. The 'British Muse, A Collection of Thoughts, Moral, Natural, and Sublime, of our English Poets, who flourished in the sixteenth and seventeenth Centuries. With several curious Topics, and beautiful Passages, never before extracted, from Shakespeare, Jonson, Beaumont 'Fletcher, and above a Hundred more. The whole digested alphabetically, &c. In three 'volumes. London, Printed for F. Cogan, &c. 1738.' 12mo. The PREFACE, of twenty pages, was written by Mr. William Oldys, with the supervisal and corrections of his friend doct Campbell. This anecdote I learn from a MSS. insertion by Oldys, in my copy of Aller's 'Englands Parnassus, above-mentioned, which once belonged to Oldys. 2 From MSS. of Mr. Coxeter, of Trinity college Oxford, lately in the hands of Mr. Wise Radclivian Librarian at Oxford, containing extracts from the copyrights of our old printers, and registers of the Stationers, with several other curious notices of that kind. Ames had mone of Coxeter's papers. He died in London about 1745. by Fabyan, Hall, and Holinshed, which opened a new field of subjects and events; and, I may add, produced a great revolution in the state of popular knowledge. For before those claborate and voluminous compilations appeared, the History of England, which had been shut up in the Latin narratives of the monkish annalists, was unfamiliar and almost unknown to the general reader. SECTION LII. IN tracing the gradual accessions of the MIRROUR Of Magistrates, an incidental departure from the general line of our chronologic series has been incurred, But such an anticipation was unavoidable, in order to exhibit a full and uninterrupted view of that poem, which originated in the reign of Mary, and was not finally completed till the beginning of the seventeenth century. I now therefore return to the reign of queen Mary. To this reign I assign Richard Edwards, a native of Somersetshire about the year 1523. He is said by Wood to have been a scholar of Corpus Christi college in Oxford: but in his early years, he was employed in some department about the court. This circumstance appears from one of his poems in the PARADISE OF DAINTIE DEVISES, a miscellany which contains many of his pieces. In youthfull yeares when first my young desires began To pricke me forth to serve in court, a slender tall young man, My fathers blessing then, I asked upon my knee, Who blessing me with trembling hand, these wordes gan say to me, In the year 1547, he was appointed a senior student of Christ Church in Oxford, then newly founded. In the British Museum there is a small set of MSS. sonnets signed with his initials, addressed to some of the beauties of the courts of queen Mary, and of queen Elizabeth'. Hence we may conjecture, that he did not long remain at the university. About this time he was probably a member of Lincoln'sinn. In the year 1561, he was constituted a gentleman of the royal chapel by queen Elizabeth, and master of the singing boys there. He had received his musical education, while at Oxford, under George Etheridge'. 1 MSS. COTTON. Tit. A. xxiv. To some court Ladies.'-Pr. 'Howarde is not hawghte, &c.' ** George Etheridge, born at Thame in Oxfordshire, was admitted Scholar of Corpus 810 RICHARD EDWARDS; HIS COMEDIES AND INTERLUDES. When queen Elizabeth visited Oxford in 1566, she was attended by Edwards, who was on this occasion employed to compose a play called PALAMON AND ARCITE, which was acted before her majesty in Christ Church hall. I believe it was never printed. Another of his plays is DAMON AND PYTHIAS, which was acted at court. It is a mistake. that the first edition of this play is the same that is among M:. Garrick's collection, printed by Richard Johnes, and dated 1571. [Qto. Bl. lett.] The first edition was printed by William How in Fleet-street, in 1570, with this title, 'The tragical comedie of DAMON 'AND PITHIAS, newly imprinted as the same was playde before the " queenes maiestie by the children of her graces chapple. Made by 'Mayster Edward then being master of the children'.' There is some degree of low humour in the dialogues between Grimme the coilier and the two lacquies, which I presume was highly pleasing to the queen. He probably wrote many other dramatic pieces now lost. Puttenham having mentioned lord Buckhurst and Master Edward Ferrys, cr Ferrers, as most eminent in tragedy, gives the prize to Edwards for Comedy and Interlude. The word interlude is here of wide extent For Edwards, besides that he was a writer of regular dramas, appears to have been a contriver of masques, and a composer of poetry for pageants. In a word, he united all those arts and accomplishments which minister to popular pleasantry: he was the first fiddle, the most fashionable sonnetteer, the readiest rhymer, and the most facetious mimic, of the court. In consequence of his love and his knowledge of the histrionic art, he taught the choristers over which he presided to act plays; and they were formed into a company of players, like those of St. Paul's Cathedral, by the queen's licence, under the superintendency of Edwards. Christi college Oxford, under the tuition of the learned John Shepreve, in 1534 Fellow, in 1539. In 1553, he was made royal professor of Greek at Oxford. In 1556, he was recommended by lord Williams of Thame, to Sir Thomas Pope, founder of Trinity college in Oxited, to be admitted a fellow of his college at its first foundation. But Etheridge chusing to p sue the medical line, that scheme did not take effect. He was persecuted for popery by queen Elizabeth at her accession: but afterwards practised physic at Oxford with much reputation, and established a private seminary there for the instruction of catholic youths in the classes, music, and logic. Notwithstanding his active preseverance in the papistic persuasion, be presented to the queen when she visited Oxford in 1566, an Encomium in Greek verse on her father Henry, now in the British Museum, MSS. BIBL. REG. 16 C. x. He prefixed a not inelegant preface in Latin verse to his tutor Shepreve's HYPPOLYTUS, an Answer to Ovid's PHP DRA, which he published in 1584. Pits his cotemporary says, 'He was an able mathema cian, and one of the most excellent vocal and instrumental musicians in England, but be chiefly delighted in the lute and lyre. A most elegant poet, and a most exact composer of English, Latin, Greek, and Hebrew verses, which he used to set to his harp with the great 'est skill. ANGL. SCRIPT. p. 784. Paris. 1619. Pits adds, that he translated several David's Psalms into a short Hebrew metre for music. Wood mentions his musical compor tions in MSS. His familiar friend Leland addresses him in an encomiastic epigram, and asserts that his many excellent writings were highly pleasing to Henry VIII. ENCOM Lond. 1589. p. III. His chief patrons seem to have been Lord Williams, Sir Thomas Pope, Sir Walter Mildmay, and Robertson dean of Durham. He died in 1588, at Oxford. I have given Etheridge so long a note, because he appears from Pits to have been an English puet Compare Fox, MARTYROLOG. iii. 500. 1 Quarto. Bl. lett. The third edition is among Mr. Garrick's Plays. 4to. Bl. L. dated 1552. 2 ARTE OF ENGLISH POETRY. fol. 51. The most poetical of Edwards' ditties in the PARADISE OF DAINTIE DEVISES is a description of May. The rest are moral sentences in stanzas. His SOUL-KNELL, supposed to have been written on his death-bed, was once celebrated. His popularity seems to have altogether arisen from those pleasing talents of which no specimens could be transmitted to posterity, and which prejudiced his partial cotemporaries in favour of his poetry. He died in the year 15663. In the Epitaphs, Songs, and Sonets of George Turbervile, printed in 1570, there are two elegies on his death; which record the places of his education, ascertain his poetical and musical character, and bear ample testimony to the high distinction in which his performances, more particularly of the dramatic kind, were held. The first is by Tubervile himself, entitled, 'An Epitaph on Maister Edwards, some 'time Maister of the Children of the Chappell and gentleman of Lyn 'colnes inne of court.' His vaine in verse was such, That, whilst he lived here, So stately eke his stile, His feate in forging sugred songes With cleane and curious file; 1CARM. 6. edit. 1585. It seems to have been a favourite, and is complimented in another riece, A reply to M. Edwardes May, subscribed M. S. ibid. CARM. 29. This miscellany, ot which more will be said hereafter, is said is the title to be devised and written for the most 'parte by M. Edwardes sometime of her maiesties Chappell.' Edwards however had been dead twelve years when the first edition appeared, viz. in 1578, 2 It is mentioned by George Gascoigne in his Epistle to the young Gentlemen, before his works, 1587. qu. 3 Wood, ATH. Oxon. i. 151. ibid. FAST. 71 4 Shakespeare has inserted a part of Edwards's song In Commendation of Musicke, extant at length in the PARADISE OF DAINTIE DRUISES, (fol. 34. b.) in ROMEO AND JULIET. When griping grief, &c.' ACT iv. Sc. 5. In some Miscellany of the reign of Elizabeth, I have seen a song called The WILLOW-GARLAND, attributed to Edwards: and the same, I think, that is licenced to T. Colwell in 1564, beginning, I am not the fyrst that hath taken in hande, the wearynge of the willowe garlande." This song, often reprinted, seems to have been written in consequence of that sung by Desdemona in OTHELLO, with the burden, Sixg, O the greene willowe shall be my garland." OTHELL. ACT iv. Sc. 3. See REGISTER OF THE STATIONERS, A. fol. 119. b. Hence the antiquity of Desdemona's song may in some degree be ascertained. I take this opportunity of observing, that the ballad of SUSANNAH, part of which is sung by sir Toby in TWELFTH NIGHT, was licenced to T. Colwell, in 1562, with the title, 'The godlye and constante wyfe Susanna. Ibid. fol. 89. b. There is a play on this subject, ibid. fol. 176. a. Tw. N. Acr ii. Sc. 3. And COLLECT. PEPYSIAN. tom. i. p. 33, 496. 812 THOMAS TWYNE.-THE YOUTHFUL PLAYERS. His verse with scornefull eine. If they did live againe, to vewe [Fol. 142 b.] The other is written by Thomas Twyne, an assistant in Phaer's Translation of Virgil's Eneid into English verse, educated a few years after Edwards at Corpus Christi college, and an actor, in Edwards's play at PALAMON AND ARCITE before queen Elizabeth at Oxford in 15661. It is entitled, 'An Epitaph vpon the death of 'the worshipfull Mayster Richarde Edwardes late Mayster of the 'Children in the queenes maiesties chapell.' O happie house, O place Of Corpus Christi2, thou And Christ-church3, which enioydste Plunge up a thousand sighes, for griefe Whilst Childe and Chapell dure1, 1 Miles Winsore of the same college was another actor in that play, and I suppose his per formance was much liked by the queen. For when her Majesty left Oxford, after this vis he was appointed by the university to speak an oration before her at lord Windsor's at Bradesham in Bucks: and when he had done speaking, the queen turning to Gama de Sylva, the Spanish ambassador, and looking wistly on Winsore, said to the ambassador, Is not this a "pretty young man? Wood, ATH. OXON. i. 151, 489. Winsore proved afterwards a d gent antiquary. 2 Corpus Christi college at Oxford. 4 While the royal chapel and its singing-boys remain. 3 At Oxford. In a puritanical pamphlet without name, printed in 1569, and entitled, "The Children t the Chapel stript and whipt,' among bishop Tanner's books at Oxford, it is said, 'Pivis 'will neur be supprest, while her maiesties unfledged minions flaunt it in silkes and sattens "They had as well be at their popish service, in the deuils garments, &c.' fol. xii. a. tama This is perhaps the earliest notice now to be found in print, of this young company of come dians, at least the earliest proof of their celebrity. From the same pamphlet we learn, that it gave still greater offence to the puritans, that they were suffered to act plays on profane subjects in the royal chapel itself." Even in her maiesties chapel do these pretty vpstart youthes profane the Lordes Day by the lascivious writhing of their tender limbs, and ger geous decking of their apparell, in feigning fables gathered from the idolatrous heathen 'poets, &c.' ibid. fol. xiii. b. But this practice soon ceased in the royal chapels. Yet in one of Stephen Gosson's books against the stage, written in 1579, is this passage. In playe either those thinges are fained that neur were, as CUPID AND PSYCHE plaid at PAULES, 2nd 'a great many comedies more at the Black-friars, and in euerie playhouse in London, &c." SIGNAT. D 4. Undoubtedly the actors of this play of CUPID AND PSYCHE were the choristers of saint Paul's cathedral: but it may be doubted, whether by Paules we were here to understand the Cathedaal or its Singing school, the last of which was the usual theatre of those choristers. See Gossons 'PLAYES CONFUTED IN FIVE ACTIONS, &c. Prouing that they are not to be suffred in a christian common weale, by the waye both the cauils of Thomas 'Lodge, and the Play of Playes, written in their defence, and other objections of Players 'frendes, are truly set downe and directly aunswered.' Lond. Impr. for T. Gossen, to date. Bl. Lett. 12mo. We are sure that RELIGIOUS plays were presented in our churches long after the reformation. Not to repeat or multiply instances, see SECOND AND THIRD BLAST OF RETRAIT FROM PLAIES, printed 1580, p. 77. 12mo. And Gosson's SCHOOL OF ABUSE, p. 24. b. edit. 1579. As to the exhibition of plays on SUNDAYS after the reformation, we are told by John Field, in his DECLARATION OF GOD'S JUDGEMENT at Paris Gardes, that in the year 1580, The Magistrates of the citty of London obteined from queene Eliza beth, that all heathenish playes and enterludes should be banished upon sabbath dayes.' fol ix. Lond. 1583. 8vo. It appears from this pamphlet, that a prodigious concourse of peeple were assembled at Paris Garden, to see plays and a bear-baiting, on Sunday, Jan. 13. 1583 when the whole theatre fell to the ground, by which accident many of the spectators were killed. [Henry Cave's Narration of the Fall of Paris Garden, Lond. 1588. And D. Beard's Theatre of God's Judgements, edit. 3. Lond. 1631. lib. i. c. 35. p. 212. Also Refutation of Heywood's Apologie for Actors, p. 43. by J. G. Lond. 1615. 4to. And |