they have been likewise gathered, and are here inserted in their proper places." It will be seen from the above statement, that this compilation must have been formed with elaborate attention, and that it must necessarily contain many choice and sententious flores poetarum Anglicanorum. Its pervading defects arise from the names of the authors not being annexed to the extracts from their works, as in England's Parnassus; and from the selections having been made with still greater brevity. In a future numbert he CENSURA LITERARIA, some general specimen may not perhaps be unacceptable. T. P. ART. V. The Phanix Nest.* Built up with the most rare and refined workes of Noblemen, worthy Knights, gallant Gentlemen, Masters of Arts, and brave Schollers. Full of varietie, excellent invention, and singular delight. Never before this time published. Set foorth by R.S. of the Inner Temple, Gentleman. Imprinted at London, by John Jackson. 1593. 4to. R.S. was surmised by Wartont to be Richard Stapylton. The other apparent contributors to this collection were Edw. Vere, Earl of Oxford, Sir Wm. Herbert, Dr. Lodge, Watson the sonnetteer, Mathew Roydon, George Peele, Nicholas Breton, and William Smith. The following short specimens, without signature, are ereditable to the taste of the compiler, and to the See CENSURA, Vol. I. 267. D 2 + Hist. of E. P. iii. 402. poetical poetical attainments of the age in which he lived. The orthography having been divested of its antiquarianism, leaves the verse not far behind our modern standard, to the eye and ear of a modern reader. The time when first I fell in love, Which now I must lament; The day wherein I saw too late The follies of a lover; The hour wherein I found such loss As care cannot recover: And last the minute of mishap, Doth make me solemnly protest, As I with pain do prove, There is no time, year, day, nor hour, Nor minute, good to love. Though neither tears nor torments can be thought, Yet earnest Love, with longing to aspire To that which Hope holds in so high regard, When Love with Hope forbears his just reward. Then, blessed Hope! haste on thy happy days, T. F. ART. ART. VI. Love's Kingdom by Richard Flecknoe. SIR, As the works of Flecknoe are not so well known as his name, which has been immortalized by Dryden's admirable satire, I presume the following account of one of his dramatic pieces, "Love's Kingdom," may be acceptable to your curious readers: at least, it will serve to shew my wishes for the success of a work so interesting as the CENSURA LITERARIA. Gloucester Street, Dublin, March 28, 1806. WM. PRESTON. "Love's Kingdom" is particularly noticed in Dryden's Satire. The Veteran Sovereign of Dulness, in addressing his Adopted Heir, tells him. Beyond Love's Kingdom shall you stretch your pen, As much as if he had said, serviet Tibi ultima Thule. The title page of this picce runs thus: Love's Kingdom, a Pastoral Trage-Comedy. Not as it was acted at the Theatre near Lincoln's Inn, but as it was written and since corrected by Richard Flecknoe. With a short Treatise of the English Stage, &c. by the same author. London, Printed by R. Wood for the author, 1654.* It is dedicated to his Excellence, William, Lord Marquess of Newcastle. Then follows an advertisement to the noble readers. The persons represented are Biogr. Dram. gives the date 1674. MAC-FLECK NO was Shadwell, whom Dryden calls the poetical son of Flecknoe. Editor. The Prologue spoken by Venus from the clouds. Theotimus. Love's Arch-Flamin, and Governor of Cyprus. Polydor. Love's Inquisitor. Diophantes. One of the Advocates of Love's Court, Palemon. A noble Cypriot, in love with Bellinda, and loved by Philerea. Evander. A stranger come to Love's Kingdom on devotion. Pamphilus. A vicious young fellow, stranger to Love's Kingdom, and imagining all as vicious as himself. Philander. A noble Cretian and Bellinda's betrothed. Bellinda. A noble Cretian nymph, stranger in Love's Kingdom. Filena. A noble Cyprian nymph. Amaranthe. Governess of the Nymphs. Cloria, Melissa, Lydia, with others. Nymphs of Cyprus. Chorus of Musicians and Young Virgins. Two Aruspices. Love's Sacrificators. The Papa, or sacred Executioner. The scene Cyprus, with all the rules of time and place so exactly observed, as whilst for time it is all comprised in as few hours as there are acts; for place, it never goes out of the view or prospect of Love's Temple. The author's account of this piece, in the Advertisement, is" For the plot, it is neat and handsome, and the language soft and gentle, suitable to the persons, who speak, neither on the ground, nor in the clouds; clouds; but just like the stage, somewhat elevated above the common. In neither no stiffness, and (I hope) no impertinence nor extravagance, into which your young writers are too apt to run, who whilst they know not well what to do, and are anxious to do enough, most commonly overdo." THE PROLOGUE. Spoken by Venus from the clouds. If ever you have heard of Venus' name, For Cupid, you behold him here in me, (For there where Beauty is, Love needs must be) Him 'mong the ladies in each am'rous eye; And 'mongst the gallants may as easily trace Him to their bosoms from each beauteous face. May then, fair ladies, you Find all your servants true; And gallants may you find The Ladies all as kind, As by your noble favours you declare How much you friends unto Love's Kingdom are; In your fair eyes, and in your loving heart. The short Discourse of the English Stage is subjoined. The whole work is contained in about eighty pages, in duodecimo. D 4 Авт. |