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in his Euphues, probably did not create the new style, but only collected and methodised the floating affectations of phraseology.-Drayton ascribes the overthrow of Euphuism to Sir P. Sydney, who, he says,
did first reduce
Our tongue from Lylie's writing then in use,
As th' English apes and very zanies be
Sydney died in 1584, and Euphues had appeared but four years earlier. We may well suppose Sydney to have been hostile to such absurdity, and his writings probably promoted a better taste; but we hear of Euphuism being in vogue many years after his death; and it seems to have expired, like all other fashions, by growing vulgar. Lyly wrote nine plays, in some of which there is considerable wit and humour, rescued from the jargon of his favourite system.
CUPID AND CAMPASPE.
CUPID and my Campaspe play'd
He stakes his quiver, bow, and arrows,
FROM ALEXANDER AND CAMPASPE.
WHAT bird so sings, yet so does wail?
Brave prick-song! who is't now we hear? None but the lark so shrill and clear; Now at Heaven's gate she claps her wings, The morn not waking till she sings.
Hark! hark! but what a pretty throat, Poor Robin red-breast tunes his throat;
Hark! how the jolly cuckoos sing
FROM MOTHER BOMBIE.
O CUPID, monarch over kings,
When thou wound'st a tender heart?
It is all one in Venus wanton school,
Who highest sits, the wise man or the fool-
That fools please women best.
WAS the second son of Patrick, fifth Baron of Polwarth, from whom the family of Marchmont are de scended. He was born probably about the middle, and died about the end, of the sixteenth century. During four years of the earlier part of his life, he
resided in France, after which he returned home and studied law, but abandoned the bar to try his fortune at court. There he is said to have been disgusted with the preference shewn to a poetical rival, Montgomery, with whom he exchanged flytings, (or invectives) in verse, and who boasts of having "driven Polwart from the chimney nook." He then went into the church, and was appointed rector or minister of Logic; the names of ecclesiastical offices in Scotland then floating between presbytery and prelacy. In the clerical profession he continued till his death. Hume lived at a period when the spirit of Calvinism in Scotland was at its gloomiest pitch, and when a reformation, fostered by the poetry of Lyndsay, and by the learning of Buchanan, had begun to grow hostile to elegant literature. Though the drama, rude as it was, had been no mean engine in the hands of Lyndsay against popery, yet the Scottish reformers of this latter period even anticipated the zeal of the English puritans against dramatic and romantic poetry, which they regarded as emanations from hell. Hume bad imbibed so far the spirit of his times as to publish an exhortation to the youth of Scotland to forego the admiration of all classical heroes, and to read no other books on the subject of love than the Song of Solomon. But Calvinism itself could not entirely eradicate the
This once gloomy influence of Calvinism on the literary character of the Scottish churchmen, forms a contrast with more recent times, that needs scarcely to be suggested to those ac
beauty of Hume's fancy, and left him still the hight fountain of Hebrew poetry to refresh it. In the following specimen of his poetry, describing the successive appearances of nature during a summer's day, there is a train of images that seem peculiarly pleasing and unborrowed-the pictures of a poetical mind, humble but genuine in its cast.
THANKS FOR A SUMMER'S DAY.
O PERFECT light which shaid' away
And set a ruler o'er the day,
Thy glory, when the day forth flies,
The shadow of the earth anon
quainted with Scotland. In extending the classical fame, no less than in establishing the moral reputation of their country, the Scottish clergy have exerted a primary influence; and whatever Pres byterian eloquence might once be, the voice of enlightened principles and universal charity is no where to be heard more distinctly than at the present hour from their pulpits.
1 For shaded.-2 Scotticè for than.-3 Then.