GAVIN DOUGLAS.
This eminent prelate was a younger son of Archibald, the fifth Earl of Angus. He was born in Brechin about the year 1474. He studied at the University of Paris. He became a churchman, and yet united with attention to the duties of his calling great proficiency in polite learning. In 1513 he finished a translation, into Scottish verse, of Virgil's 'Aeneid,' which, considering the age, is an extraordinary performance. It occupied him only sixteen months. The multitude of obsolete terms, however, in which it abounds, renders it now, as a whole, illegible. After passing through various subordinate offices, such as the 'Provostship' of St Giles's, Edinburgh, and the 'Abbotship' of Arbroath, he was at length appointed Bishop of Dunkeld. Dunkeld was not then the paradise it has become, but Birnam hill and the other mountains then, as now, stood round about it, the old Cathedral rose up in mediaeval majesty, and the broad, smooth Tay flowed onward to the ocean. And, doubtless, Douglas felt the poetic inspiration from it quite as warmly as did Thomas Brown, when, three centuries afterwards, he set up the staff of his summer rest at the beautiful Invar inn, and thence delighted to diverge to the hundred scenes of enchantment which stretch around. The good Bishop was an ardent politician as well as a poet, and was driven, by his share in the troubles of the times, to flee from his native land, and take refuge in the Court of Henry VIII. The King received him kindly, and treated him with much liberality. In 1522 he died at London of the plague, and was interred in the Savoy Church. He was, according to Buchanan, about to proceed to Rome to vindicate himself before the Pope against certain charges brought by his enemies. Besides the translation of the 'Aeneid,' Douglas is the author of a long poem entitled the 'Palace of Honour;' it is an allegory, describing a large company making a pilgrimage to Honour's Palace. It bears considerable resemblance to the 'Pilgrim's Progress,' and some suppose that Bunyan had seen it before composing his allegory. 'King Hart' is another production of our poet's, of considerable length and merit. It gives, metaphorically, a view of human life. Perhaps his best pieces are his 'Prologues,' affixed to each book of the 'Aeneid.' From them we have selected 'Morning in May' as a specimen. The closing lines are fine.
'Welcome the lord of light, and lamp of day,
Welcome fosterer of tender herbis green,
Welcome quickener of flourish'd flowers sheen,
Welcome support of every root and vein,
Welcome comfort of all kind fruit and grain,' &c.
Douglas must not be named with Dunbar in strength and grandeur of genius. His power is more in expression than in conception, and hence he has shone so much in translation. His version of the 'Aeneid' is the first made of any classic into a British tongue, and is the worthy progenitor of such minor miracles of poetical talent—all somewhat more mechanical than inspired, and yet giving a real, though subordinate glory to our literature-as Fairfax's 'Tasso,' Dryden's 'Virgil,' and Pope's, Coper's, and Sotheby's 'Homer.' The fire in Douglas' original verses is occasionally lost in smoke, and the meaning buried in flowery verbiage. Still he was an honour alike to the Episcopal bench and the Muse of Scotland. He was of amiable manners, gentle temperament, and a noble and commanding appearance.