in a volume, and might perhaps when time was, be in very good request."[241:A]

The dramas here alluded to, but of which Phillips has given a defective and incorrect enumeration, are—

The volume mentioned by Phillips was published by Edward Blount in 1632, containing six of these pieces, to which he has affixed the title of "Sixe Court Comedies."

Notwithstanding the encomia of Mr. Blount, the genius of this "insufferable Elizabethan coxcomb," as he has been not unaptly called, was by no means calculated for dramatic effect. Epigrammatic wit, forced conceits, and pedantic allusion, are such bad substitutes for character and humour, that we cannot wonder if fatigue or insipidity should be the result of their employment. Campaspe has little interest, and no unity in its fable, and though termed a tragi-comedy, is written in prose; Sappho and Phaon has some beautiful passages, but is generally quaint and unnatural; Endimion has scarcely any thing to recommend it, and disgusts by its gross and fulsome flattery of Elizabeth; Galatea displays some luxuriant imagery, and Phillida and Galatea are not bad copies from the Iphis and Ianthe of Ovid; Mydas is partly a political production, and though void of interest, has more simplicity and purity both of thought and diction than is usual with this writer; Mother Bombie is altogether worthless

in a dramatic light; The Woman in the Moon is little better; The Maid her Metamorphosis, the greater part of which is in verse, is one of the author's experiments for the refinement of our language,—an attempt which, if any where more peculiarly absurd, must be pronounced to be so on the stage; Love his Metamorphosis, of which the very title-page pronounces its condemnation, being designated as "A Wittie and Courtly Pastoral."[242:A]

Though only two or three of Lilly's earlier dramas fall within the period allotted to this chapter, yet, in order to prevent a tiresome repetition of the subject, we have here enumerated the whole of his comedies; a plan that we shall pursue with regard to the remaining poets of this era.

It may be necessary to remark, that we must not estimate the poetical talents of Lilly from his failure as a dramatist; for in the Lyric department he has shown very superior abilities, whether we consider the freedom and melody of his versification, or the fancy and sentiment which he displays. His plays abound with songs alike admirable for their beauty, sweetness, and polish.[242:B]

Lilly, who had received an excellent classical education, and was a member of both the Universities, died about the year 1600.

15. Hughes, Thomas, the author of a singular old play, entitled "The Misfortunes of Arthur (Uther Pendragon's sonne) reduced into tragical notes by Thomas Hughes, one of the Societie of Graye's Inne." 12mo. 1587.