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The Augustan Reprint Society

THOMAS WARTON

_A History of English Poetry_: an Unpublished Continuation

Edited, with an Introduction, by Rodney M. Baine

Publication Number 39

Los Angeles
William Andrews Clark Memorial Library
University of California
1953

GENERAL EDITORS

H. RICHARD ARCHER, _Clark Memorial Library_
RICHARD C. BOYS, _University of Michigan_
RALPH COHEN, _University of California, Los Angeles_
VINTON A. DEARING, _University of California, Los Angeles_

ASSISTANT EDITOR

W. EARL BRITTON, _University of Michigan_

ADVISORY EDITORS

EMMETT L. AVERY, _State College of Washington_
BENJAMIN BOYCE, _Duke University_
LOUIS BREDVOLD, _University of Michigan_
JOHN BUTT, _King's College, University of Durham_
JAMES L. CLIFFORD, _Columbia University_
ARTHUR FRIEDMAN, _University of Chicago_
EDWARD NILES HOOKER, _University of California, Los Angeles_
LOUIS A. LANDA, _Princeton University_
SAMUEL H. MONK, _University of Minnesota_
EARNEST MOSSNER, _University of Texas_
JAMES SUTHERLAND, _University College, London_
H. T. SWEDENBERG, JR., _University of California, Los Angeles_

CORRESPONDING SECRETARY

EDNA C. DAVIS, _Clark Memorial Library_




INTRODUCTION


Among the unpublished papers of Thomas and Joseph Warton at Winchester
College the most interesting and important item is undoubtedly a
continuation of Thomas Warton's _History of English Poetry_. This
continuation completes briefly the analysis of Elizabethan satire and
discusses the Elizabethan sonnet. The discussion offers material of
interest particularly for the bibliographer and the literary historian.
The bibliographer, for example, will be intrigued by a statement of
Thomas Warton that he had examined a copy of the _Sonnets_ published in
1599--a decade before the accepted date of the first edition. The
literary historian will be interested in, inter alia, unpublished
information concerning the university career of Samuel Daniel and in the
theory that Shakespeare's sonnets should be interpreted as if addressed
by a woman to her lover.

Critically appraised, Warton's treatment of the Elizabethan sonnet seems
skimpy. To dismiss the sonnet in one third the amount of space devoted
to Joseph Hall's _Virgidemiarum_ seems to betray a want of proportion.
Perhaps even more damaging may seem the fact that Warton failed to
mention more sonnet collections than he discussed. About twenty years
later, in 1802, Joseph Ritson listed in his _Bibliographia Poetica_ the
sonnet collections of Barnaby Barnes, Thomas Lodge, William Percy, and
John Soowthern--all evidently unknown to Warton. But Warton was not
particularly slipshod in his researches. In his immediately preceding
section, on Elizabethan satire, he had stopped at 1600; and in the
continuation he deliberately omitted the sonnet collections published
after that date. Thus, though he had earlier in the _History_ (III, 264,
n.) promised a discussion of Drayton, he omitted him here because his
sonnets were continually being augmented until 1619. Two sixteenth
century collections which Warton had mentioned earlier in the _History_
(III, 402, n.) he failed to discuss here, William Smith's _Chloris_
(1596) and Henry Lock's _Sundry Christian Passions, contayned in two
hundred Sonnets_ (1593). Concerning Lock he had quoted significantly
(IV, 8-9) from _The Return from Parnassus_: "'Locke and Hudson, sleep
you quiet shavers among the shavings of the press, and let your books
lie in some old nook amongst old boots and shoes, so you may avoid my
censure.'" A collection which certainly did not need to avoid censure
was Sir Philip Sidney's _Astrophel and Stella_; and for Warton's total
neglect of Sidney's sonnets it seems difficult to account, for in this
section on the sonnet Sidney as a poet would have been most aptly
discussed. The _Astrophel and Stella_ was easily available in
eighteenth-century editions of Sidney's works, and Warton admired the
author. Both Thomas and Joseph Warton, however, venerated Sidney mainly
for his _Arcadia_ and his _Apology for Poetry_. For Joseph Warton,
Sidney was the prime English exhibit of great writers who have not, he
thought, "been able to express themselves with beauty and propriety in
the fetters of verse."[1] And Thomas Warton quoted evidently only once
from Sidney's verse,[1] and then only by way of _England's
Helicon_.[2] The omission of Sidney, then, is the glaring defect; of the
dozen or so other Elizabethan sonnet collections which escaped Warton,
most were absolutely or practically unknown, and none seem to have been
available to him in the Bodleian or the British Museum.

At the time of his death, on 21 May 1790, there were in print only
eleven sheets,[3] or eighty-eight pages, of the fourth and final volume,
which was scheduled to bring the history of English poetry down to the
close of the seventeenth century. For four years after the publication
of the third volume in 1781 Warton repeatedly promised to complete the
work,[4] and a notice at the end of his edition of Milton's _Minor
Poems_ advertised in 1785 the "speedy publication" of the fourth volume.
But to his printer Warton evidently sent nothing beyond Section XLVIII.
The present continuation was probably written during or shortly after
1782: it contains no reference to any publication after William Hayley's
_Essay on Epic Poetry_, which appeared in 1782; and according to Thomas
Caldecott, Warton for the last seven years of his life discontinued work
upon the _History_.[5]

The notes which Thomas Warton had made for the completion of the
_History_ were upon his death commandeered by his brother, Joseph, at
that time headmaster of Winchester College. Joseph Warton made some
halfhearted efforts to get on with the volume,[6] but neither Winchester
nor Wickham, whither he retired in 1793, was a proper place in which to
carry on the necessary research. Moreover he was much more interested in
editing Pope and Dryden; and securing advantageous contracts to edit
these poets whom he knew well, he let the _History_ slide.

Joseph Warton appears, however, to have touched up the present
continuation, for a few expansions seem to be in his script rather than
in his brother's. It is difficult to be positive in the discrimination
of hands here, as Thomas Warton's hand in this manuscript is quite
irregular. Pens of varying thicknesses were used; black ink was used for
the text and red ink for footnotes, and one note (16) was pencilled.
Moreover, certain passages appear to have been written during periods of
marked infirmity or haste and are legible only with difficulty if at
all. In any case, those additions which were presumably made by Joseph
Warton merely expand the original version; they do not alter or modify
any of Thomas Warton's statements.

In the text of the present edition the expansions which appear to be in
Joseph Warton's hand are placed within parentheses, which were not used
for punctuation in the text of the manuscript itself. Because of the
difficulties of reproduction, all small capitals have been translated
into lover case italics.

This continuation, discovered by the editor among the Warton papers in
the Moberly Library at Winchester College, is here published with the
kind permission of the Right Honorable Harold T. Baker and Sir George
Henry Gates, retired and present Wardens of Winchester College, and of
the Fellows of the College. The editor is indebted also to the Reverend
Mr. J. d'E. Firth, Assistant Master and Chaplain; and Mr. C. E. R.
Claribut and Mr. J. M. G. Blakiston, past and present Assistant Fellows'
Librarians. The Richmond Area University Center contributed a generous
grant-in-aid.

Rodney M. Baine

The University of Richmond

Richmond, Virginia




NOTES TO THE INTRODUCTION

[1] Joseph Warton, _An Essay on the Writings and Genius of Pope_
(London, 1756-1782), I, 270-271.

[2] John Milton, _Poems upon Several Occasions_ (London, 1785), ed.
Thomas Warton, p. 331, n.

[3] Nineteenth-century editions of the _History_ give the false
impression that the eight sheets were prepared from manuscript material
left at Thomas Warton's death, but these sheets were certainly printed
before Thomas died, and probably in the early 1780's. See John Nichols,
_Literary Anecdotes of the Eighteenth Century_ (London, 1812-1816), III,
702-703. They contain no reference postdating that to Isaac Reed's
revised edition of Robert Dodsley's _Collection of Old Plays_, published
in 1780.

[4] Thomas Warton to Richard Price, 13 October 1781, in Thomas Warton,
_Poetical Works_, ed. Richard Mant (Oxford, 1802), I, lxxviii; Daniel
Prince to Richard Gough, 4 August 1783, in Nichols, _Literary
Anecdotes_, III, 702.

[5] Thomas Caldecott to Bishop Percy, 21 March 1803, in Nichols,
_Illustrations of the Literary History of the Eighteenth Century_
(London, 1817-1858), VIII, 372.

[6] Joseph Warton to William Hayley, 12 March 1792, in John Wooll,
_Biographical Memoirs of the late Revd. Joseph Warton_ (London, 1806),
p. 404.




A HISTORY OF ENGLISH POETRY: AN UNPUBLISHED CONTINUATION


(In enumerating so many of these petty Epigrammatists, I may have been
perhaps too prolix,--but I did it to shew the taste & turn of writing at
this time; & now proceed to observe, that, in the year, 1614,)[1] the
vogue which satire had acquired from Hall and Marston, probably
encouraged Barten Holiday of Christ-Church in Oxford, to translate
Persius, when he was scarcely twenty years of age. The first edition is
dated 1616. This version had four editions from its publication to the
year 1673 inclusive, notwithstanding the versification is uncommonly
scabrous. The success of his Persius induced Holiday to translate
Juvenal, a clearer & more translatable satirist. But both versions, as
Dryden has justly observed,[2] were written for scholars, and not for
the world: and by treading on the heels of his originals, he seems to
have hurt them by too near an approach. He seized the meaning but not
the spirit of his authors. Holiday, however, who was afterwards
graduated in divinity and promoted to an archdeaconry, wrote a comedy
called the _Marriage of the Arts_, acted before the court at
Woodstock-palace, which was even too grave and scholastic for king James
the first.

I close my prolix review of these pieces by remarking, that as our old
plays have been assembled and exhibited to the public in one uniform
view,[3] so a collection of our old satires and epigrams would be a
curious and useful publication. Even the dull and inelegant productions,
of a remote period which have real Life for their theme, become valuable
and important by preserving authentic pictures of antient popular
manners: by delineating the gradations of vice and folly, they furnish
new speculation to the moral historian, and at least contribute to the
illustration of writers of greater consequence.


_Sect._ XLIX.

The _Sonnet_, together with the _Ottava Rima_, seems to have been the
invention of the Provincial bards, but to have been reduced to its
present rhythmical prosody by some of the earliest Italian poets. It is
a short monody, or Ode of one stanza containing fourteen lines, with
uncommonly frequent returns of rhymes more or less combined. But the
disposition of the rhymes has been sometimes varied according to the
caprice or the convenience of the writer. There is a sonnet of the
regular construction in the Provincial dialect, written by Guglielmo de
gli Amalricchi, on Robert king of Naples who died in 1321.[4] But the
Italian language affords earlier examples. (The multitude of identical
cadences renders it a more easy and proper metre to use in Italian than
in English verse.)

No species of verse appears to have been more eagerly and universally
cultivated by the Italian poets, from the fourteenth century to the
present times. Even the gravest of their epic and tragic writers have
occasionally sported In these lighter bays. (A long list of them is
given in the beginning of the fourth Volume of Quadrios History of
Italian Poetry.) But perhaps the most elegant Italian sonnets are yet to
be found in Dante. Petrarch's sonnets are too learned (metaphysical) and
refined. Of Dante's compositions in this style I cannot give a better
idea, than in (the ingenious) Mr. Hayley's happy translation of Dante's
beautiful sonnet to his friend Guido Calvacanti [sic], written in his
youth, and probably before the year 1300.

    Henry! I wish that you, and Charles, and I,
      By some sweet spell within a bark were plac'd,
      A gallant bark with magic virtue grac'd,
      Swift at our will with every wind to fly:

    So that no changes of the shifting sky
      No stormy terrors of the watery waste,
      Might bar our course, but heighten still our taste
      Of sprightly joy, and of our social tie:

    Then, that my Lucy, Lucy fair and free,
      With those soft nymphs on whom your souls are bent,
      The kind magician might to us convey,

    To talk of love throughout the livelong day:
      And that each fair might be as well content
      As I in truth believe our hearts would be.[5]

We have before seen, that the _Sonnet_ was imported from Italy into
English poetry, by lord Surrey and Wyat, about the middle of the
sixteenth century. But it does not seem to have flourished in its
legitimate form, till towards the close of the reign of queen Elisabeth.
What I call the legitimate form, in which it now appeared, was not
always free from licentious innovations in the rythmical arrangement.

To omit Googe, Tuberville [sic], Gascoigne, and some other petty writers
who have interspersed their miscellanies with a few sonnets, and who
will be considered under another class, our first professed author in
this mode of composition, after Surrey and Wyat, is Samuel Daniel. His
_Sonnets_ called _Delia_, together with his _Complaint of Rosamond_,
were printed for Simon Waterson, in 1591.[6] It was hence that the name
of Delia, suggested to Daniel by Tibullus, has been perpetuated in the
song of the lover as the name of a mistress. These pieces are dedicated
to Sir Philip Sydney's sister, the general patroness, Mary countess of
Pembroke. But Daniel had been her preceptor.[7] It is not said in
Daniel's Life, that he travelled. His forty-eighth sonnet is said to
have been "made at the authors being in Italie."[8] Delia does not
appear to have been transcendently cruel, nor were his sufferings
attended with any very violent paroxysms of despair. His style and his
expressions have a coldness proportioned to his passion. Yet as he does
not weep seas of tears, nor utter sighs of fire, he has the merit of
avoiding the affected allusions and hyperbolical exaggerations of his
brethren. I cannot in the mean time, with all these concessions in his
favour, give him the praise of elegant sentiment, true tenderness, and
natural pathos. He has, however, a vigour of diction, and a volubility
of verse, which cover many defects, and are not often equalled by his
contemporaries. I suspect his sonnets were popular. They are commended,
by the author of the _Return from Parnassus_, in a high strain of
panegyric.

    Sweet honey-dropping Daniel doth wage
    War with the proudest big _Italian_
    That melts his heart in sugar'd sonnetting.[9]

But I do not think they are either very sweet, or much tinctured with
the Italian manner. The following is one of the best; which I the rather
chuse to recite, as it exemplifies his mode of compliment, and contains
the writer's opinion of Spenser's use of obsolete words.

    Let others sing of knights & Paladines,
      In aged accents, and untimely words,
      Paint shadowes in imaginarie lines,
      Which well the reach of their high wit records;

    But I must sing of thee, and those faire eyes
      Autentique shall my verse in time to come,
      When yet th' vnborne shall say "Loe, where she lyes,
      Whose beauty made Him speak that els was dombe."

    These are the arkes, the trophies I erect,
      That fortifie thy name against old age,
      And these thy sacred vertues must protect
      Against the Darke, & Times consuming rage.
    Though th' errour of my youth they shall discouer,
    Suffise, they shew I liu'd, and was thy louer.[10]

But, to say nothing more, whatever wisdom there may be in allowing that
love was the errour of his youth, there was no great gallantry in
telling this melancholy truth to the lady.

Daniel is a multifarious writer, and will be mentioned again. I shall
add nothing more of him here than the following anecdote. When he was a
young student at Magdalen-Hall in Oxford, about the year 1580,
notwithstanding the disproportion of his years, and his professed
aversion to the severer acadamical [sic] studies, the Dean and Canons of
Christchurch, by a public capitular act now remaining, gave Daniel a
general invitation to their table at dinner, merely on account of the
liveliness of his conversation.[11]

About the same time, Thomas Watson published his _Hecatompathia, Or the
passionate century of love_, a hundred sonnets.[12] I have not been able
to discover the date of this publication:[13] but his _First set of
Italian Madrigals_ appeared at London, in 1590.[14] I have called them
_sonnets_: but they often wander beyond the limits, nor do they always
preserve the conformation [or] constraint,[15] of the just Italian
_Sonetto_.[16] Watson is more brilliant than Daniel: but he is
encumbered with conceit and the trappings of affectation. In the
love-songs of this age, a lady with all her load of panegyric, resembles
one of the unnatural factitious figures which we sometimes see among the
female portraits at full length of the same age, consisting only of
pearls, gems, necklaces, earings, embroidery, point-lace, farthingale,
fur, and feathers. The blooming nymph is lost in her decorations.
Watson, however, has sometimes uncommon vigour and elegance. As in the
following description.

    Her yellow locks exceed the beaten gold,
    Her sparkling eyes in heau'n a place deserue;
    Her forehead high and faire, of comelie mould,
      Her wordes are musical, of syluer sound, &c.
    Her eye-browe hangs like Iris in the skies,
    Her eagle's nose is straite, of stately frame;
    On either cheeke a rose and lillie lyes;
    Her breathe is sweet perfvme, or holie flame:
      Her lippes more red than any coral-stone, &c.
    Her breast transparent is, like cristal rock,
    Her fingers long, fit for Apollo's lute,
    Her slipper such, as Momus dare not mock,
      Her virtues are so great, as make me mute, &c.[17]

Spenser's Sonnets were printed with his _Epithalamium_. They are
entered, in the year 1593, under this title to William Ponsonby,
"_Amoretti_, and _Epithalamium_, written not long since by Edmond
Spencer."[18] In a recommendatory sonnet prefixed, by G. W. senior, it
appears that Spenser was now in Ireland. Considered under the idea which
their title suggests, undoubtedly these pieces are too classical,
abstracted, and even philosophical. But they have many strokes of
imagination and invention, a strength of expression, and a stream of
versification, not unworthy of the genius of the author of the _Faerie
Queene_.[19] On the whole however, with the same metaphysical flame
which Petrarch felt for the accomplished Laura, with more panegyric
than passion, Spenser in his sonnets seldom appeals to the heart, and
too frequently shews more of the poet and the scholar than of the lover.
The following, may be selected in illustration of this opinion.

    When those renowned noble peers of Greece,
      Through stubborne pride among themselues did iar,
      Forgetful of the famous golden fleece,
      Then _Orpheus_ with his harp their strife did bar.
    But this continual, cruel, civil war,
      The which myselfe against myselfe doe make,
      Whilst my weake powres of passions warried arre,
      No skill can stint, nor reason can aslake.
    But when in hand my tunelesse harpe I take,
      Then doe I more augment my foes despight,
      And grief renew, and passion doe awake
      To battaile fresh against myselfe to fight.
    Mongst whom, the more I seeke to settle peace,
    The more I find their malice to increase.[20]

But the following is in a more intelligible and easy strain, and has
lent some of its graces to the storehouse of modern compliment. The
thought on which the whole turns is, I believe, original, for I do not
recollect it in the Italian poets.

    Ye tradeful Merchants, that with weary toyle,
      Doe seek most precious things, to make your gaine,
      And both the Indias of their treasure spoile;
      What needeth you to seeke so farre in vaine?
    For lo, my Love doth in herselfe containe
      All this worlds riches that may farre be found:
      If saphyres, loe, her eyes be saphyres plaine;
      If rubies, loe, her lips be rubies sound;
    If pearles, her teeth be pearles both pure & round;
      If iuorie, her forehead iuorie were [wene];
      If gold, her locks are finest gold on ground;
      If siluer, her faire hands are siluer sheene:
    But that which fairest is, but few behold,
    Her mind adornd with vertues manifold.[21]

The last couplet is platonic, but deduced with great address and
elegance from the leading idea, which Gay has apparently borrowed in his
beautiful ballad of _Black-eyed Susan_.

Among the sonnet-writers of this period, next to Spenser I place
Shakespeare. Perhaps in brilliancy of imagery, quickness of thought,
variety and fertility of allusion, and particularly in touches of
pastoral painting, Shakespeare is superiour. But he is more incorrect,
indigested, and redundant: and if Spenser has too much learning,
Shakespeare has too much conceit. It may be necessary however to read
the first one hundred & twenty six sonnets of our divine dramatist as
written by a lady:[22] for they are addressed with great fervency yet
delicacy of passion, and with more of fondness than friendship, to a
beautiful youth.[23] Only twenty six, the last bearing but a small
proportion to the whole number, and too manifestly of a subordinate
cast, have a female for their object. But under the palliative I have
suggested, many descriptions or illustrations of juvenile beauty,
pathetic endearments, and sentimental declarations of hope or
disappointment, which occur in the former part of this collection, will
lose their impropriety and give pleasure without disgust. The following,
a few lines omitted, is unperplexed and elegant.

      How like a winter has my absence been
      From thee, the pleasure of the fleeting year!
      What freezings have I felt, what dark days seen!
      What old December's bareness every where!
      And yet this time, remov'd,[24] was summer's time;
      The teeming autumn big with rich increase,
      Bearing the wanton burden of the prime, &c.
      For summer and his pleasures wait on thee,
      And thou away, the very birds are mute:
    Or, if they sing, 'tis with so dull a chear,
    That leaues look pale, dreading the winter's near.[25]

In the next, he pursues the same argument in the same strain.

      From you have I been absent in the spring,
      When proud-pied April dress'd in all his trim,
      Has put a sprite of youth in euery thing;
      That heauy Saturn laugh'd and leap'd with him.
      Yet not the lays of birds, nor the sweet smell
      Of different flowers in odour and in hue,
      Could make me any summer's story tell,
      Or from their proud lap pluck them where they grew:
      Nor did I wonder at the lilies white,
      Nor praise the deep vermilion of the rose:
      They were but sweet, but figures of delight,
      Drawn after thee, thou pattern of all those![26]
    Yet seem'd it winter still, and, you away,
    As with your shadow, I with these did play.[27]

Here are strong marks of Shakespeare's hand and manner. In the next, he
continues his _play_ with the flowers. He chides the _forward_ violet, a
_sweet thief_, for stealing the fragrance of the boy's breath, and for
having died his veins with too rich a purple. The lilly is condemned for
presuming to emulate the whiteness of his hand, and _buds_ of _marjoram_
for stealing the ringlets of his hair. Our lover is then seduced into
some violent fictions of the same kind; and after much ingenious
absurdity concludes more rationally,

    More flowres I noted, yet I none could see,
    But sweet or colour it had stolne from thee.[28]

Shakespeare's _Sonnets_ were published in the year 1599.[29] I remember
to have seen this edition, I think with _Venus and Adonis_ and the _rape
of Lucrece_, a very small book, in the possession of the late Mr Thomson
of Queen's College Oxford, a very curious and intelligent collector of
this kind of literature.[30] But they were circulated in manuscript
before the year 1598. For in that year, they are mentioned by Meres.
"Witness his [Shakespeare's] _Venus and Adonis_, his _Lucrece_, his
sugred _Sonnets_ among his priuate friends, &c."[31] They were reprinted
in the year 1609; one hundred & fifty four in number. They were first
printed under Shakespeares name, among his _Poems_, in the year 1717, by
Sewel, who had no other authority than tradition.[32] But that they were
undoubtedly written by Shakespeare, the frequent intermixture of
thoughts and expressions which now appear in his plays, and, what is
more, the general complexion of their phraseology & sentiment,
abundantly demonstrate, Shakespeare cannot be concealed. Their late
ingenious editor is of opinion, that Daniel was Shakespeare's model.[33]

I have before incidentally mentioned Barnefield's Sonnets,[34] which,
like Shakespeare's, are adressed [sic] to a boy. They are flowery and
easy. Meres recites Barnefelde among the pastoral writers.[35] These
sonnets, twenty in number, are written in the character of a shepherd:
and there are other pieces by Barnefield which have a pastoral turn, in
_Englands Helicon_. Sir Philip Sydney had made every thing Arcadian. I
will cite four of this authors best lines, and such as will be least
offensive.

    Some talk of Ganymede th' Idalian boy,
      And some of faire Adonis make their boast;
      Some talke of him whom louely Leda lost
    And some of Echo's loue that was so coy, &c.[36]

Afterwards, falling in love with a lady, he closes these sonnets with a
palinode.[37]

I have before found occasion to cite the Sonnets of H. C. called _Diana_
printed in 1592.[38] As also _Dieella_ [sic], or _Sonnets_ by R. L.
printed in 1596.[39] With these may be mentioned a set of Sonnets,
entitled _Fidessa more chaste than kinde_. By B. Griffin, Gent. At
London. Printed by the Widow Orwin for Matthew Lownes, 1596.[40] They
are dedicated to Mr William Essex of Lambourne in Berkshire. Then
follows a deprecatory address to the gentlemen of the Inns of Court, who
are earnestly requested to protect at least to approve this first
attempt of a stranger; and who promises, if now successful, to publish a
pastoral the next time. It is possible that some other writers of this
class may have escaped my searches. I do not wish to disturb their
repose, which is likely to be lasting.




NOTES TO THE TEXT


Warton's notes, which in the manuscript are designated by letters or
symbols, have been numbered. Brackets enclose all the editor's
corrections, expansions, and comments. The parentheses are Warton's.

[1] [Thomas Warton's original version began "The temporary vogue which
..." The final version, here parenthesized in the text, represents, it
seems fairly certain, Joseph Warton's expansion. Although this
deprecatory comment seems rather abrupt coming after five sections
devoted to the Elizabethan satirists, Joseph Warton is not disparaging
where his brother praised. Thomas Warton had already (IV, 69) belittled
the "innumerable crop of _satirists_, and of a set of writers differing
but little more than in name, and now properly belonging to the same
species, _Epigrammatists_."]

[2] [Warton here combined several remarks in Dryden's essay "The Original
and Progress of Satire." See John Dryden, _Essays_, ed. W. P. Ker
(Oxford, 1900), II, 111-112. There were six, not four editions of
Holiday's _Persius_.]

[3] [Warton refers presumably to Isaac Reed's _Collection of Old Plays_
(London, 1780).]

[4] [Jehan de] Nostredam [e]. _[Les] Vies des [...] Poet[es]
Provens[aux]._ [Lyon, 1575] n. 59. pag. 199.

[5] [William Hayley. _An] Ess[ay]_ on _Epic Poetry_. [London, 1782]
_Notes, Ess._ iii. v. 81. p. 171.

[6] They are entered to him, feb. 4, under that year [1591/92]. Registr.
_Station._ B. fol. 284. a. In sixteens. I have a copy. Wh[ite] Lett[er
i. e., roman]. With vignettes.

[7] [Daniel was tutor to her son William Herbert and preceptor to Ann
Clifford, Countess of Pembroke, but Sidney's sister seems to have been
the patroness rather than the pupil of Daniel.]

[8] His sister married John Florio, author of a famous Italian
dictionary, and tutor to queen Anne, consort of James the first, in
Italian, under whom Daniel was groom of the Privy-Chamber. [Anthoney a]
Wood, _Ath[enae]_ _Oxon[ienses]_. [London, 1691-92.] i. 379. col. 1.
[Warton's mention of "Daniel's Life" refers presumably to the brief
biography by Wood, here cited.]

[9] A. i. _Sc._ i[i]. [Warton was evidently quoting from the edition
prepared by Thomas Hawkins and sold by his own printer, Prince--_The
Origin of the English Drama_ (Oxford,