The darnel of these passages may entitle them to notice in some future edition of Shakspeare, where there are many wild weeds of similar growth.

In a prose epilogue of one page the author describes himself as having "postingly run ouer this Romish Rime, as a priest doeth his masse and mattens, when he hath haste another way." On a distinct leaf follows the short song made long ago, which is given more from curiosity than merit.

"A merry song, and a very song.
"Sospitati pickt our purse with Popish illusio,
Purgatory, scala cœli, pardons cum Iubilio,
Pilgrimage-gate, where Idoles sate with all abominatio,
Channon, Fryers, common lyers, that filthy generatio,
Nunnes huling, pretty puling, as cat in milke-pannio `:
See what knauerie was in Monkerie, and what superstitio :
Becking, belling, ducking, yelling, was their whole religio,
And when women came vnto them, fewe went sine filio.
But Abbeyes all are now downe fall, dei beneficio,*
And we doe pray day by day, that all abominatio
may come to desolatio. Amen."

J. H.

ART. CIV. A Divine poeme, divided into two partes: the Ravisht Soule, and the Blessed Weeper. Compiled by Nicholas Breton, Gentle-man. Imprinted at London, for John Browne and John Deane. 1601. 4to. 24 leaves.

To compile and to compose seem formerly to have been considered as synonimous, and the term compiled does not therefore invalidate Breton's full claim to the merits of this composition; which consists of two parts (as the title expresses) and of two distinct

*From this line it may be considered a composition temp. Hen, VIII.

VOL. II.

modes of versification:-" The ravisht Soule," which describes the devout aspirations of spiritualized affection, is written in the elegiac quatrain; and "the Blessed Weeper," which represents the sorrowful lamentation of Mary Magdalen at the tomb of our Saviour, is written in seven-line stanzas.* To these is prefixeda Hymn, from which I extract nearly half, divested of its ancient spelling, that it may be read with the advantage it deserves.

"Gloria in excelsis Deo.

"Sing, my soul, to God thy Lord!
All in glory's highest key:
Lay the angel's quire aboard,

In their highest holy day;
Crave their helps, to tune thy heart
Unto praise's highest part.

Tell the world-no world can tell,
What the hand of heaven deserveth,

In whose mercies only dwell

All that heaven and earth preserveth:
Death's confounding, sin's forgiving,
Faith's relieving, comfort's living.

Grace and glory, life and love,

Be the sum of all thy ditty;
Where a sinner's tears may prove
Comfort's joy in mercy's pity;

Every note in love alluding,

Endless glory in concluding.

*It seems not unlikely, from Mr. Steevens's MS. list of Breton's pieces, that this production had been printed in 1596, under the title of "Marie Magdalen's Love: whereunto is added a solemne passion of the Sowle's Love."

Praise of praises! where thou dwellest,
Tell me (if the world may know thee)
In what sense thou, most excellest,

When thy wonder worth doth show thee,
In that state of honour's story,
Where thou gain'st thy highest glory.

'Tis not earth, nor earthly wonder, Can discern the dearest honour: All her praises are put under,

When thy glory looks upon her;-
No:-in heaven thy glory dwelleth,
Where thy wonder most excelleth.

Yet in heaven was never living,
Virgin, saint, nor angel's spirit,
Where thy grace may have the giving
Of thine honour's highest merit:
'Tis their glory's admiration,
That deserves thy commendation.

Since then, by all consequences

In the notes of glory's nature,

And the grace's influences,

'Tis not earth, nor heavenly creature ;

In my GOD alone, on high,

Is this only mystery.

Let all kings and princes then

In submission fall before him;

Virgins, angels, holy men,

Both in heaven and earth adore him;

In his mercy only seeing

All and, only, all your being.

And when all the world together

Join with angels' harmony;

Let my soul come singing thither,
With that blessed company-
GOD, in mercy's power victorious,
Be above all glory glorious!"

To the copious catalogue of Breton's various pieces in Ritson's Bibliographia, which derived its formation from the sedulous inquiries of Mr. Steevens, the following (and probably several others) remain to be added.

1. "The Pilgrimage to Paradise," &c. a poem, printed at Oxford, in 1592.

2. "An Old Man's Lesson, and a Young Man's Love:" an interlude, 1605. This is mentioned by Dr. Percy as the publication of Breton,* but Mr. Reed informs us that he was only the editor. It is amusing after this, to hear egotistic Gildon (the improver of Langbaine) pronounce-that "Nicholas Breton has writ and published nothing more than this one interlude."‡

3. "Barley Break, or a Warning for Wantons," 1607. This appears to have been poetical, and occurred in Farmer's Catalogue.

4. "Fantasticks: serving for a perpètuall prognostication. Descants of the world, the earth, water, ayre," &c. 1626, in prose.

5. "The figures of three, foure, five, sixe, and seven: by N. Breton and others :" 1626. See West's Catalogue, p. 59.

Of this poet, as my friend Mr. Brydges has else

*Reliques, III. 62, 4th edit.

Biog. Dram. I. 42.

Lives and Characters of English Dramatic Poets, p. 13.

*

where observed, very little is known. In the Athena of Wood his name is unregistered, nor do I trace it among the Worthies of Fuller. By Phillips he is slightly recorded as "a writer of pastoral, sonnets, canzons, and madrigals; in which kind of writing he keeps company with several other contemporary emulators of Spencer and Sir Philip Sidney, in a publisht collection of selected odes of the chief pastoral sonnetteers, &c. of that age." The collection here alluded to, must have been England's Helicon to which Spenser and Sidney were joint contributors. The critical sentence of Phillips has been re-echoed, or rather re-written by Winstanley and Jacob, in their accounts of the Lives of English Poets. Dr. Percy mentions Breton as "a writer of some fame in the reign of Queen Elizabeth :"+ and so it would appear, from Puttenham's introduction of him between Gascoigne and Turberville, and from Meres's commendation of his lyric poetry and love elegies. Nor could Webbe, it is presumed, by his silent disregard, intend to incorporate Breton among "the rabble of ryming ballet-makers, or the compilers of senceless sonets:" though he had compiled his "Songes of an idle head," and twice printed them, before Webbe's book appeared. In the following dialogue from Beaumont and Fletcher's Scornful Lady, our poet seems to be treated not more sarcastically than either Shakspeare or Dray

ton.

"Rog. Have patience, sir, untill our fellow Ni

*Theatrum Poetarum, p. 319. ↑ Reliques of E. P. III. 62. Discourse of English Poetrie, 1586,