We may add that some few of these variations were adopted in the Folio Edition of 1602, but only very few, and the chief portion of them were here introduced for the first time, a circumstance which renders this Impression valuable. It was the last of the separate Editions of the Civil Wars.

Daniel pays several compliments in this work to his early Patroness, Mary, Countess Dowager of Pembroke. There is a beautiful Stanza of invocation to her in Book 8, S. 1, in which allusion is also made to his former Patrons, Essex and Mountjoy, "those bright starres now set for euermore." See also Stanza 75, where she is again addressed.

This Edition is unnoticed by Ritson, and was not in the Bibl. Ang. Poet. See Collier's Bridgew. Cat., p. 79; Rice's sale, No. 765, 19s.; Bindley's ditto, pt. i. No. 565, 17. 118. 6d.; Marquis Townshend's ditto, No. 817, 17. 148.; Heber's ditto, pt. iv. No. 539, 27. 15s.; and pt. viii. No. 690, 37.; Bright's ditto, No. 1598, 8l.

Collation: Sig. A B and C four leaves each; D to R 4 in eights; A 4 is a blank leaf.

From the Libraries of Morgan Graves, Esq.; Mr. W. Combes; and F. Urry, Ch. Ch., with his autograph.

Bound in Calf, with sprinkled edges.

DANIEL, (SAMUEL.) The Civile Wares betweene the Howses of
Lancaster and Yorke, corrected and continued by Samuel
Daniel, one of the Groomes of hir Maiesties most honorable
Priuie Chamber.

Ætas prima canat veneres postrema tumultus.
Printed at London by Simon Watersonne. 1609. 4to, pp. 240.

Another copy of this Edition of the "Civile Wars," with the engraved Frontispiece by Cockson, containing the portrait of Daniel. Although Daniel lived till 1619, ten years longer, this was the last Edition of the "Civile Wars" published by himself, and containing his latest corrections and improvements.

A copy sold at Sotheby's in 1824 for 57. 18s.

Collation as before.

The Heber copy, pt. viii. Bound by Herring.

In Red Morocco, with joints, gilt leaves.

VOL. III. PART I.

I

DANIEL, (SAMUEL.) — Hymens Trivmph. A Pastorall Tragicomædie. Presented at the Queenes Court in the Strand at her Maiesties magnificent intertainement of the Kings most excellent Maiestie, being at the Nuptials of the Lord Roxborough. By Samvel Daniel.

London, Imprinted for Francis Constable, and are to bee sold at his shop in Pauls Churchyard at the signe of the white Lyon. 1615. 8vo, pp. 80.

This was one of Daniel's latest productions, he having died four years after, in 1619. It was produced on the occasion of the marriage of Sir Robert Ker, Lord Roxborough or Roxburgh, with Jane, third daughter of Patrick, Lord Drummond, and was played at Somerset House on the 3rd of February, 1613-14. Mr. Collier has noticed that in reference to this performance "John Chamberlain thus speaks in a letter to Sir Dudley Carlton: The entertainment was great, and cost the Queen, they say, above 30007.; the Pastoral by Samuel Daniel was solemn and dull, but perhaps better to be read than represented.""

Daniel calls both this and the "Queens Arcadia" a Pastoral Tragi-Comedy. On the title-page is the device of the University of Cambridge, with the motto, "Hinc lucem et pocula sacra." It is dedicated to Anne of Denmark, Queen of James I., to whom the entertainment was given by his Queen at her Court in the Strand. The piece is preceded by a Prologue, in which "Hymen opposed by Auarice, Enuie, and Iealousie, the disturbers of quiet marriage, first enters," and by a list of "The Speakers." The following is a pleasing and tender description by Thyrsis, of his early affection for his lost Sylvia:

Ah! I remember well (and how can I

But euermore remember well) when first

Our flame began, when scarce we knew what was
The flame we felt, when as we sate and sigh'd
And look'd vpon each other, and conceiu'd
Not what we ayl'd, yet something we did ayl.
And yet were well, and yet we were not well,
And what was our disease we could not tell.

Then would we kisse, then sigh, then looke: and thus
In that first garden of our simplenesse

Wee spent our childhood :—but when yeeres began

To reape the fruite of knowledge;-ah! how then

Wold she with grauer looks, with sweet stern brow
Check my presumption and my forwardnes
Yet still would giue me flowers, still would me shew
What she would haue me, yet not haue me know.

And when in sports with other company

Of Nimphes and Shepherds we haue met abroade
How would she steale a looke :-and watch mine eye
Which way it went :-and when at Barley breake

It came vnto my turne to rescue her

With what an earnest, swift, and nimble pace
Would her affection make her feet to run
And farther run then to my hand? —her race
Had no stop but my bosome where to end.
And when we were to breake againe, how late
And loth her trēbling hand wold part with mine,
And with how slow a pace would shee set forth
To meet th' encountring party, who contends

T' attaine her, scarce affording him her fingers ends.

And few passages can exceed the force and passion of the reply of the same, when told by Palæmon not to waste his youth in vain, or feed on shadows when he might find other nymphs

As louely, and as faire, and sweete as she.

Thi. As faire and sweete as she ?-Palamon, peace.

Ah! what can pictures be vnto the life,
What sweetnes can be found in Images ?

Which all Nimphes els besides her seemes to me.

She onely was a reall creature,—shee,

Whose memory must take vp all of mee.
Should I another loue, then must I haue
Another heart, for this is full of her,
And euermore shall be:-here is shee drawne
At length, and whole, and more, this table is
A storie, and is all of her :-and all
Wrought in the liueliest colours of my bloud;
And can there be a roome for others heere?
Should I disfigure such a peece, and blot
The perfect'st workmanship loue euer wrought?
Palamon, no, ah no! it cost too deere,

It must remaine intire whilst life remaines,
The monument of her, and of my paines.

The Pastoral is interspersed with some short songs, with one of which our extracts shall close:

Loue is a sicknesse full of woes,
All remedies refusing

A plant that with most cutting growes,
Most barren with best vsing.

Why so?

More we enioy it, more it dyes,
If not enioy'd, it sighing cries,
Hey ho.

Loue is a torment of the minde,

A tempest euerlasting;

And Ioue hath made it of a kinde,

Not well, nor full nor fasting.
Why so?

More we enioy it, more it dies,

If not enioy'd, it sighing cries,

Hey ho.

Hymens Triumph was licensed for publication January 13, 1614, but was not printed till the following year. This is the first Edition. It is of extreme rarity, and is unknown to bibliographers. It was afterwards incorporated along with his other works, and is included in the Edition of 1623, 4to. See Langbaine's Dram. Poets, p. 102; Collier's Annals of the Stage, vol. i. p. 382; Jones's Biogr. Dram., vol. ii. p. 316.

Collation: Sig. ¶ four leaves; then A to E 4 in eights.

The present copy, which sold in Dr. Bandinel's sale, No. 301, for 187. 108., is believed to be unique.

In Maroon coloured Morocco.

DANIEL, (SAMUEL.) - The Order and Solemnitie of the Creation of the High and mightie Prince Henrie, Eldest Sonne to our sacred Soueraigne, Prince of Wales, Duke of Cornewall, Earle of Chester, &c.-As it was celebrated in the Parliament House, on Munday the fourth of Iunne last past.--Together with the Ceremonies of the Knights of the Bath, and other matters of speciall regard, incident to the same. Whereunto is annexed the Royall Maske, presented by the Queene and her Ladies, on Wednesday at night following.

Printed at Britaines Bursse for Iohn Budge, and are there to be sold. 1610. 4to, pp. 48.

King James's eldest son Henry being at that time about seventeen years old, was on the 4th of June, 1610, created Prince of Wales with great ceremony, on which occasion also there was a very large creation of Knights of the Bath and on the following day the "Mask of Tethys Festival or the Queenes Wake," composed by Daniel, was represented at Whitehall, under the superintendence of Sir George Buck, then acting for Edmund Tylney as Master of the Revels. The first portion of the present work recites the journey of the Lord Mayor, Aldermen, and Companies of the City in procession by water to meet the Prince, who came up from Richmond to Whitehall. It then gives an account of the Investiture of the Prince on the 4th of June with much ceremony in the House of Parliament, when he was created Prince of Wales, and invested in his Principality, and afterwards dined publicly in great state and magnificence in Westminster Hall. A list is given of "The Names of such Noblemen as were imployed in severall places of office or attendance at the creation of the Prince," and of other Noblemen who were present on that occasion; and is followed by a curious account of "The manner of the Creation of the Knights of the Bath, and the ceremonies observed in solemnizing the same;" together with "The Names of such Lordes and Gentlemen as were made Knights of the Bath, in honour of his Highnesse Creation, in order as they were Knighted on Sonday the third of June, 1610." This closes the first part;

there is then a new title:

"Tethys Festival: or, The Queenes Wake. Celebrated at Whitehall, the fifth day of June 1610. Deuised by Samvel Daniel, one of the Groomes of her Maiesties most Honourable priuie Chamber. London Printed for Iohn Budge. 1610."

Daniel seems not to have undertaken this labour willingly; but being a member of the Queen's household he could not easily decline the task; and in his modest "Preface to the Reader," which precedes the Mask, he says that he does not publish his description of the Mask "out of a desire to be seene in pamphlets, or of forwardnes to shew my invention therin: for I thank God, I labour not with that disease of ostentation, nor affect to be known to be the man digitoq: monstrarier, hic est, having my name already wider in this kind then I desire, and more in the winde then I would. Neither doe I seeke in the divulging hereof, to giue it other colours then those it wore, or to make an Apologie of what I haue done: knowing, howsoeuer, it must passe the way of censure wherevnto I see all publications (of what nature soeuer) are liable." And in alluding to his own share of the performance he