to a number of songs, we shall detect in all of them a theme, as it is termed by musicians, of which the different individuals of the species warble their respective variations. Every song is, technically speaking, a fantasia constructed upon this theme, from which none of the species ever departs.
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1
SPENSER: Faery Queen. See also the Two Cantos of Mutability, Cant. VII.:–
"That old Dan Geffrey, in whose gentle spright
The pure well-head of poesie did dwell."
2
MILTON: Il Penseroso.
3
WORDSWORTH: Poems of Later Years.
4
CHAUCER: Clerke's Tale, Prologue.
5
WARTON: Ode on his Majesty's Birthday, 1787
6
Tyrwhitt's Chaucer: Hi
1
SPENSER: Faery Queen. See also the Two Cantos of Mutability, Cant. VII.:–
"That old Dan Geffrey, in whose gentle sprightThe pure well-head of poesie did dwell."
2
MILTON: Il Penseroso.
3
WORDSWORTH: Poems of Later Years.
4
CHAUCER: Clerke's Tale, Prologue.
5
WARTON: Ode on his Majesty's Birthday, 1787
6
Tyrwhitt's Chaucer: Historical Notes on his Life.
7
Masque of the Fortunate Islands
8
History of English Poetry, Vol. II. pp. 335-336, ed. 1840.
9
WARTON: Birthday Ode, 1787.
10
See his British Poets, from Chaucer to Jonson, Art. Daniel. Southey contemplated a continuation of Warton's History, and, in preparing for that labor, learned many things he had never known of the earlier writers.
11
Jonson's classification. See his Poetaster.
12
Lamb's Works, and Life, by Talfourd, Vol. IV. p. 89.
13
Hesperides, Encomiastic Verses.
14
Herrick, ubi supra.--To the haunts here named must be added the celebrated Mermaid, of which Shakspeare was the Magnus Apollo, and The Devil, where Pope imagines Ben to have gathered peculiar inspiration:– "And each true Briton is to Ben so civil, He swears the Muses met him at The Devil." Imitation of Horace, Bk. ii. Epist. i.
15
Election of a Poet-Laureate, 1719, Works, Vol. II.
16
Feast of the Poets, 1814.
17
Fable for Critics, 1850.
18
This story rests on the authority of Thomas Betterton, the actor, who received it from Davenant.
19
Dedication of the Pastorals of Virgil, to Hugh, Lord Clifford, the son of Sir Thomas.
20
There were some indications that portions of the farce had been written while Davenant was living and had been intended for him. Mr. Bayes appears in one place with a plaster on his nose, an evident allusion to Davenant's loss of that feature. In a lively satire of the time, by Richard Duke, it is asserted that Villiers was occupied with the composition of The Rehearsal from the Restoration down to the day of its production on the stage:–
"But with playhouses, wars, immortal wars,He waged, and ten years' rage produced a farce.As many rolling years he did employ,And hands almost as many, to destroyHeroic rhyme, as Greece to ruin Troy.Once more, says Fame, for battle he prepares,And threatens rhymers with a second farce:But, if as long for this as that we stay,He'll finish Clevedon sooner than his play." The Review
21
It is little to the credit of Dryden, that, having saved up his wrath against Flecknoe so long, he had not reserved it altogether. Flecknoe had been dead at least four years when the satire appeared.
22
Macaulay quotes Blackmore's Prince Arthur, to illustrate Dryden's dependence upon Dorset:–
"The poets' nation did obsequious waitFor the kind dole divided at his gate.Laurus among the meagre crowd appeared,An old, revolted, unbelieving bard,Who thronged, and shoved, and pressed, and would be heard."Sakil's high roof, the Muse's palace, rungWith endless cries, and endless songs he sung.To bless good Sakil Laurus would be first;But Sakil's prince and Sakil's God he curst.Sakil without distinction threw his bread,Despised the flatterer, but the poet fed."
Laurus, of course, stands for Dryden, and Sakil for Dorset.
23
The Squire of Alsatia is said to have realized him £130.
24
An Allusion to the Tenth Satire of the First Book of Horace.–The word "censure" will, of course, be understood to mean judgment, not condemnation.
25
Imitation of Horace, Bk. ii. Epist. i.
26
See the History of England, Vol. IV., Chapter 17, for reference to Shadwell's Volunteers.
to a number of songs, we shall detect in all of them a theme, as it is termed by musicians, of which the different individuals of the species warble their respective variations. Every song is, technically speaking, a fantasia constructed upon this theme, from which none of the species ever departs.