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Ireland when the rebellion broke out under Tyrone, 1598, but that being plundered of his fortune, he was obliged to return into England, where he died, that same, or the next year * Camden adds, that he was buried in the a bey of Westminster, with due folemnities, at the expence of the earl of Effex. If Drummond's account be true, it is most probable, that the earl, whose benefaction came too late to be of any use, ordered his body to be conveyed into England, where it was interred as Camden relates. It must be owned that Jonson's account, in Drummond, is very circumstantial; and that it is probable, Jonson was curious enough to collect authentic information, on so interesting a subject. At least his profeffion and connections better qualified him to come at the truth. Perhaps he was one of the poets who held up Spenser's pall +.
B. vi. c. vi. s. xx.
To whom the prince, him faining to embase.
Him for HIMSELF is the language of poetry at present. The elder poets took greater liberties in this
Jonson conceived so high an opinion of Drummond's genius, that he took a journey into Scotland, on purpose to converse with him, and remained some time with him, at his house at Hawthornden,
* Camden. Annales Eliz. p. 4. pag. 729. Lugd. Batav. See also Sir J. Ware's pref. to Spenser's Viezu of Ireland, Dublin. fol. 1633. edit. 1. t Poetis funus ducentibus. Camden ubi fupr.
point, so that sometimes it is difficult to determine whether him is used for se or illum. Of this the verse before us is an instance.
Scudamore coming to Care's house
Doth sleep from him expell. 4. 5. Arg. That is, “ expells sleep from HIMSELF." Thus in Raleigh's elegant Vision upon the conceipt of the FAERIE QUEENE.
At whose approache the foule of Petrarcke wept,
We are apt, at first, to refer HIM down, &c. to Petrarcke, “ OBLIVION laid PETRARCKE down;" while the meaning is, “ OBLIVION LAID himself DOWNE."
The initial line of this fonnet seems to have been thought of by Milton, viz.
Methought I sawe the grave where Laura lay. Thus Milton on his Deceased Wife*.
Methought I saw my late-espoused saint.
And he probably took the hint of writing a visionary sonnet on that occasion, from this of Raleigh.
* Sonn. 23•
There * Par, Loft, 10. 872'
There is a particular beauty in the allegorical turn of this little composition in praise of the FAFRIE QUEENE, as it imitates the manner of the author whom it compliments.
B. vi. c. iv. s. xix.
Her target alwaies over her pretended. . PRETENDED, “ stretched or held over her.” This latinisin is to be found in Milton, but in a sense fomewhat different.
Left that too heavenly form PRETENDED
B. iii. c. ii. s. xxxii.
The time that mortall men their weary cares
These verses, which, at first sight, seem to be drawn from Dido's + night in the fourth Æneid, are translated from the Ceiris attributed to Virgil, as it has been before in general hinted, Sect. 3.
Tempore quo fesas mortalia peétora curas,
+ Ver. 232.
B. iv. c. vi. s. xliv. '
With that the wicked Carle, the master smith,
In these verses the allegory is worked up to an amazing height. What he says of Erinnys in the Ruins of Rome, is somewhat in this strain,
What fell Erinnys with hot-burning tongs,
From the fame stanza Milton probably drew the expression Blind Fury, in Lycidas ; as it was not taken from the authority of antient mythology.
Comes the Blind Fury, with th’abhorred shears,
If the Blind furie, which warres breedeth oft,
So Sackville, in Gordobucke.
O Jove, how are these peoples hearts abus'd;
* Act. 5. 3.
B. v, c. vii. f. xxi.
Magnificke virgin, that in QUEINT DISGUISE
That is, “ in strange disguise.” In this sense the word QUEINT is used in Comus.
Left the place,
Somewhat in this fignification it is likewise applied by the shepherd Cuddy, in our author's October.
With Queint Bellona.
Where E. K. in explaining it, has discovered more learning than penetration.
Skinner seems to have wrongly interpreted QUAINT, elegans. If it ever signifies elegant or beautifull, it implies a fantastic kind of beauty arising from an odd variety. Thus Milton, in Lycidas, of flowers.
Throw hither all your Queint enameld eyes.
And in Arcades; where it expresses an elegance resulting from affectation rather than nature.
And CURL the grove