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So shall our English youth urge on, and cry
An Agincourt! an Agincourt! or die.
This book, it is a catechism to fight,
And will be bought of every lord and knight
That can but read; who cannot, may in
prose
Get broken pieces, and fight well by those.
The miseries of Margaret the queen,
Of tender eyes will more be wept than seen.
I feel it by mine own, that overflow
And stop my sight in every line I go.
But then, refreshed by thy Fairy Court,
I look on Cynthia, and Syrena's sport,
As on two flow'ry carpets, that did rise,
And with their grassy green restored mine eyes.
Yet give me leave to wonder at the birth

Of thy strange Moon-calf, both thy strain of mirth,
And gossip-got acquaintance, as to us

Thou hadst brought Lapland, or old Cobalus,
Empusa, Lamia, or some monster more,
Than Afric knew, or the full Grecian store.
I gratulate it to thee, and thy ends,

To all thy virtuous and well-chosen friends;
Only my loss is, that I am not there,
And till I worthy am to wish I were,
I call the world that envies me, to see
If I can be a friend, and friend to thee.

XVII.

EPITAPH

ON MICHAEL DRAYTON. 9

O, pious marble, let thy readers know
What they, and what their children owe
To Drayton's name; whose sacred dust
We recommend unto thy trust.

Protect his memory, and preserve his story,
Remain a lasting monument of his glory.—
And when thy ruins shall disclaim
To be the treasurer of his name;
His name, that cannot die, shall be,
An everlasting monument to thee.1

9 On Michael Drayton.] Tradition hath generally fixed on Jonson as the author of this Epitaph; nor is it unworthy of his genius, or the friendship between him and Drayton, or unlike the stile and spirit of his smaller poems. WHAL.

In a MS. in Ashmole's Museum, (38,) this Epitaph is attributed to Randolph; Aubrey ascribes it to Quarles; it has also been given to others, and with as little judgment. I see no reason to dispute the common opinion.

His name, that cannot die, shall be,

An everlasting monument to thee.] This too might surprize Mr. Cumberland; for Jonson seems to have been poaching for it among the Greek fragments. See the epigram of Iön on the tomb of Euripides:

Ου

σου μνημα

τοδ' εστ', Ευριπίδη, αλλα σε τουδε,

Τη σῃ γαρ δόξῃ μνημα τοδ' αμπέχεται.

XVIII.

TO MY TRULY BELOVED FRIEND, Master Browne:

ON HIS PASTORALS.2

OME men, of books or friends not speaking right,

May hurt them more with praise, than foes
with spight.

But I have seen thy work, and I know thee:
And, if thou list thyself, what thou canst be.
For, though but early in these paths thou tread,
I find thee write most worthy to be read.

It must be thine own judgment, yet, that sends
This thy work forth; that judgment mine commends.
And, where the most read books, on authors' fames,
Or, like our money-brokers, take up names
On credit, and are cozen'd; see, that thou
By offering not more sureties, than enow,
Hold thine own worth unbroke; which is so good
Upon the Exchange of Letters, as I wou'd
More of our writers would like thee, not swell
With the how much they set forth, but the how well.

2 These lines are prefixed to "Britannia's Pastorals, the second Book," by William Browne, fol. 1616, and 8vo. 1625. They are now added, for the first time, to these volumes.

Browne was but a young man when he published his pastorals; they exhibit, among many pretty passages, some of the characteristics of youth, a gaudy taste, and an undisciplined judgment. There was more than enough, however, to justify the expectations of Jonson, and had he found leisure or inclination to cultivate his natural talents for poetry, his success could scarcely have been matter of doubt.

His literary acquirements were considerable, and these, together with his amiable qualities, powerfully recommended him to our author's great friend and patron, the earl of Pembroke, under whom he is said to have acquired considerable property. The "envious" Ben appears to have felt no jealousy at this; which I notice as a phenomenon that calls for grave inquiry.

XIX.

TO HIS MUCH AND WORTHILY esteemed FRIEND,
THE AUTHOR.

HO takes thy volume to his virtuous hand, 3
Must be intended still to understand:
Who bluntly doth but look upon the same,
May ask, what author would conceal his
name?

Who reads may rove, and call the passage dark,
Yet may as blind men sometimes hit the mark.
Who reads, who roves, who hopes to understand,
May take thy volume to his virtuous hand:
Who cannot read, but only doth desire
To understand, he may at length admire.

3

XX.

TO MY WORTHY AND HONOured Friend,
MASTER GEORGE CHAPMAN.a

HOSE work, could this be, Chapman, to
refine

Old Hesiod's ore, and give it thus! but thine,

Who hadst before wrought in rich Homer's mine.

3 Who takes thy volume, &c.] This little piece stands with Jonson's name, before "Cynthia's Revenge, or Menander's Extasie," 4to. 1613. This tragedy was written by John Stephens, of whom I only know that he was a learned man, and a member of the honourable Society of Lincoln's Inn. Langbaine, who mentions him, merely tells us that he lived in the reign of James I. "His play (he says) is one of the longest that ever was written, and withal the most tedious." Whether Langbaine, when he made this remark," read or roved,” as I never saw the tragedy, I cannot determine.

+ These lines are prefixed to the "Translation of Hesiod's Works

What treasure hast thou brought us! and what store
Still, still, dost thou arrive with at our shore,
To make thy honour, and our wealth the more!

and Days, 4to. 1618." There had always been an extraordinary degree of friendship between Chapman and our author. They united their talents in Eastward Hoe, and when the former was thrown into prison for the political reflections in that piece, Jonson voluntarily accompanied him. He told Drummond in 1619, that "he loved Chapman ;" and we have just seen how he had complimented him in the preceding year. All this signifies nothing, and the old calumny of " envy," "jealousy," and I know not what, is again served up to the nauseated reader. "Jonson," says the editor of the Theatrum Poetarum of Phillips, 8vo. 1800,"being delivered from Shakspeare, (in 1616,) began unexpectedly to be disturbed at the rising reputation of a new theatrical rival." p. 252. Chapman was born in 1557, (about twenty years before our author,) he was therefore threescore, at the death of Shakspeare, and the new theatrical rival at whose rising reputation Jonson began unexpectedly to be disturbed, was one with whom he had lived all his life in strict intimacy, as appears by their mutual correspondence, and who had composed almost the whole of his dramatic works, many years before the period in question.

Can the reader discover any trace of "jealousy" in the heartfelt and elegant compliment which Jonson here pays his "worthy and honoured friend?" Shame on it! The common decencies of character are overlooked where this great poet is concerned. To belie him is all that is thought necessary; and when ignorance, or impudence, or both together, have put forth a clumsy falsehood against him, the slander is greedily hailed by the public as an additional triumph on the side of Shakspeare.

I have yet a word to say to the anonymous Editor of this volume, (the Theatrum Poetarum.) That he is actuated by a spirit of hostility towards Jonson, is manifest; but even this will scarcely be admitted as a sufficient apology for quoting a scurrilous attack upon him from a work where it is not to be found. Drummond of Hawthornden, he says, has represented the character of Jonson in "no very unjust light." We are then regaled with the ribaldry of that splenetic hypocrite, in a tissue of malicious charges, concluding with this sentence: "In short, Jonson was in his personal character the very reverse of Shakspeare, as surly, ill-natured, proud and disagreeable, as Shakspeare, with ten times his merit, was gentle, goodnatured, easy and amiable." p. 249.

How has the editor the boldness to father this rancorous language upon Drummond, who has not a syllable of it! "See Drum

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