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changed into that of peace; but the violence of Laud prevailed over the milder counsels of a Hall, an Usher, and a Corbet. When the dangers of the church grew more instant, Hall became its champion, and was met in the field of controversy by Milton, whose respect for the bishop's learning is ill concealed under the attempt to cover it with derision,

By the little power that was still left to the sovereign in 1641, Hall was created bishop of Norwich; but having joined, almost immediately after, in the protest of the twelve prelates against the validity of laws that should be passed in their compelled absence, he was committed to the Tower, and, in the sequel, marked out for sequestration. After suffering extreme hardships, he was allowed to retire, on a small pittance, to Higham, near Norwich, where he continued, in comparative obscurity, but with indefatigable zeal and intrepidity, to exercise the duties of a pastor, till he closed his days at the venerable age of eighty-two.

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Made all the Royal stars recant,
Compound, and take the Covenant?




Nor ladies wanton love, nor wand'ring knight,
Legend I out in rhymes all richly dight.
Nor fright the reader with the Pagan vaunt
Of mighty Mahound, and great Termagaunt.
Nor list I sonnet of my mistress' face,
To paint some Blowesse with a borrowed grace;
Nor can I bide to pen some hungry scene
For thick skin ears, and undiscerning eyne.
Nor ever could my scornful muse abide
With tragic shoes her ancles for to hide.
Nor can I crouch, and writhe my fawning tail
To some great patron, for my best avail.
Such hunger starven trencher poetry,
Or let it never live, or timely die:
Nor under

bank and every tree,
Speak rhymes unto my oaten minstrelsy:
Nor carol out so pleasing lively lays,
As might the Graces move my mirth to praise !.
Trumpet, and reeds, and socks, and buskins fine,
I them bequeath: whose statues wand'ring twine
Of ivy mix'd with bays, circling around
Their living temples likewise laurel bound.
Rather had I, albe in careless rhymes,
Check the mis-order'd world, and lawless times..
Nor 'need I crave the muse's midwifery,
To bring to light so worthless poetry:
Or if we list, what baser muse can bide,
To sit and sing by Granta's naked side?
They haunt the tided Thames and salt Medway,
E'er since the faine of their late bridal day.
Nought have we here but willow-shaded shore,
To tell our Grant his banks are left for lore.


1 In this satire, which is not perfectly intelligible at the first glance, the author, after deriding the romantic and pastoral vein of affected or mercenary poetasters, proceeds to declare, that for his own part be resigns the higher walks of genuine poetry to

that he need not crave the “ Muse's midwifery,” since not even a baser muse would now haunt the shore of Granta (the Cam), which they have left deserted, and crowned with willows, the types of desertion, ever since Spenser celebrated the marriage of the Medway and the Thames.-E.




With some pot fury, ravish'd from their wit,
They sit and muse on some no-vulgar writ:
As frozen dunghills in a winter's morn,
That void of vapours seemed all beforn,
Soon as the sun sends out his piercing beams,
Exhale out filthy smoke and stinking steams.
So doth the base, and the sore-barren brain,
Soon as the raging wine begins to reign.
One higher pitch'd doth set his soaring thought
On crowned kings, that fortune hath low brought:
Or some upreared, high aspiring swain,
As it might be the Turkish Tamberlain :
Then weeneth he his base drink drowned spright,
Rapt to the threefold loft of heaven height,
When he conceives upon his feigned stage
The stalking steps of his great personage,
Graced with huff-cap terms and thund’ring threats,
That his poor hearer's hair quite upright sets.
Such soon as some brave-minded hungry youth
Sees fitly frame to his wide-strained mouth,
He vaunts his voice upon an hired stage,
With high-set steps, and princely carriage;
Now sweeping in side robes of royalty,
That erst did scrub in lousy brokery,
There if he can with terms Italianate
Big sounding sentences, and words of state,
Fair patch me up his pure iambic verse,
He ravishes the gazing scaffolders :
Then certes was the famous Corduban,
Never but half so high tragedian.
Now, lest such frightful shews of fortune's fall,
And bloody tyrant's rage, should chance appal
The dead-struck audience, 'midst the silent rout,
Comes leaping in a self-misformed lout,
And laughs, and grins, and frames his mimic face,
And justles straight into the prince's place;
Then doth the theatre echo all aloud,
With gladsome noise of that applauding crowd.
A goodly hotch-potch! when vile russetings
Are match'd with monarchs, and with mighty kings,
A goodly grace to sober tragic muse,

* This satire is levelled at the intemperance and bombastic fury of his contemporary dramatists, with an evident allusion to Marlowe; and in the conclusion he attacks the buffoonery that disgraced the stage.-E.

When each base clown his clumsy fist doth bruise,
And shew his teeth in double rotten row,
For laughter at his self-resembled show.
Meanwhile our poets in high parliament
Sit watching every word and gesturement,
Like curious censors of some doughty gear,
Whispering their verdict in their fellow's ear.
Woe to the word whose margent in their scroll
Is noted with a black condemning coal.
But if each period might the synod please,
Ho:-bring the ivy boughs, and bands of bays.
Now when they part and leave the naked stage,
'Gins the bare hearer, in a guilty rage,
To curse and ban, and blame his likerous eye,
That thus hath lavish'd his late halfpenny.
Shame that the muses should be bought and sold
For every peasant's brass, on each scaffold.



Fie on all courtesy and unruly winds,
Two only foes that fair disguisement finds.
Strange curse! but fit for such a fickle age,
When scalps are subject to such vassalage.
Late travelling along in London way,
Me met, as seem'd by his disguis’d array,
A lusty courtier, whose curled head
With auburn locks was fairly furnished,
I him saluted in our lavish wise :
He answers my untimely courtesies.

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