[123] See note, p. xxxvi.
[124] e. g. the portrait on the title-page of Dyuers Balettys and Dyties solacyous (evidently from the press of Pynson; see Appendix II. to this Memoir) is given as a portrait of “Doctor Boorde” in the Boke of Knowledge (see reprint, sig. I); and (as Mr. F. R. Atkinson of Manchester obligingly informed me by letter some years ago) the strange fantastic figure on the reverse of the title-page of Faukes’s ed. of the Garlande of Laurell, 1523 (poorly imitated in The Brit. Bibliogr. iv. 389) is a copy of an early French print.
[125] “Warton has undervalued him [Skelton]; which is the more remarkable, because Warton was a generous as well as a competent critic. He seems to have been disgusted with buffooneries, which, like those of Rabelais, were thrown out as a tub for the whale; for unless Skelton had written thus for the coarsest palates, he could not have poured forth his bitter and undaunted satire in such perilous times.” Southey,—Select Works of Brit. Poets (1831), p. 61.
[126] Amen. of Lit. ii. 69.
[127] Vol. i. 313.
“Satire should, like a polish’d razor, keen,
Wound with a touch that’s scarcely felt or seen:
Thine is an oyster-knife that hacks and hews,” &c.
Verses addressed to the imitator of the First Satire of the Second Book of Horace (the joint-composition of Lord Hervey and Lady M. W. Montagu).