Journal of his Embassies to Venice, Manuscript, written in the Library of Edward Lord Conway.
The Propositions to the Count d'Angosciola, relating to Duels.
[Footnote 1: Walton, ubi supra.]
* * * * *
GERVASE MARKHAM.
A gentleman who lived in the reign of Charles I. for whom he took up arms in the time of the rebellion, being honoured by his Majesty with a captain's commission.[1] He was the son of Robert Markham, of Cotham in the county of Nottingham, Esq; and was famous for his numerous volumes of husbandry, and horsemanship; besides what he has wrote on rural recreations and military discipline, he understood both the practice and theory of war, and was esteemed an excellent linguist, being master of the French, Italian, and Spanish languages, from all which he collected observations on husbandry. One piece of dramatic poetry which he has published, says Mr. Langbaine, will shew, that he sacrificed to Apollo and the Muses, as well as Mars and Pallas. This play is extant under the title of Herod and Antipater, a tragedy, printed 4to, 1622; when or where this play was acted, Mr. Langbaine cannot determine; for, says he, the imperfection of my copy hinders my information; for the foundation, it is built on history: See Josephus. Mr. Langbaine then proceeds to enumerate his other works, which he says, are famous over all England; of these he has wrote a discourse of Horsemanship, printed 4to. without date, and dedicated to Prince Henry, eldest son to King James I. Cure of all Diseases incident to Horses, 4to. 1610. English Farrier, 4to. 1649. Masterpiece, 4to. 1662. Faithful Farrier, 8vo. 1667. Perfect Horsemanship, 12mo. 1671. In Husbandry he published Liebault's le Maison Rustique, or the Country Farm, folio, Lond. 1616. This Treatise, which was at first translated by Mr. Richard Surfleit, a Physician, our author enlarged with several additions from the French books of Serris and Vinet, the Spanish of Albiterio and the Italian of Grilli and others. The Art of Husbandry, first translated from the Latin of Cour. Heresbachiso, by Barnaby Googe, he revived and augmented, 4to. 1631. He wrote besides, Farewell to Husbandry, 4to. 1620. Way to get wealth, wherein is comprised his Country Contentments, printed 4to. 1668. To this is added, Hunger's Prevention, or the Art of Fowling, 8vo. His Epitome, 12mo. &c.—In Military Discipline he has published the Soldier's Accidence and Grammar, 4to. 1635—Besides these the second book of the first part of the English Arcadia is said to be wrote by him, in so much that he may be accounted, says Langbaine, "if not Unus in omnibus, at least a benefactor to the public, by those works he left behind him, which without doubt perpetuate his memory." Langbaine is lavish in his praise, and not altogether undeservedly. To have lived a military life, which too often engages its professors in a dissipated course of pleasure, and at the same time, make himself master of such a variety of knowledge, and yield so much application to study, entitles him to hold some rank in literature. In poetry he has no name, perhaps because he did not apply himself to it; so true is the observation that a great poet is seldom any thing else. Poetry engages all the powers of the mind, and when we consider how difficult it is to acquire a name in a profession which demands so many requisites, it will not appear strange that the sons of Apollo should seldom be found to yield sufficient attention to any other excellence, so as to possess it in an equal degree.
[Footnote 1: Langbaine's Lives, p. 340.]
* * * * *
THOMAS HEYWOOD
Lived in the reign of Queen Elizabeth and King James I. He was an actor, as appears from the evidence of Mr. Kirkman, and likewise from a piece written by him called, The Actor's Vindication. Langbaine calls his plays second rate performances, but the wits of his time would not permit them to rank so high. He was according to his own confession, one of the most voluminous writers, that ever attempted dramatic poetry in any language, and none but the celebrated Spaniard Lopez de Vega can vie with him. In his preface to one of his plays he observes, that this Tragi-comedy is one preserved amongst two hundred and twenty, "in which I have had either an entire hand, or at least a main finger." Of this prodigious number, Winstanley, Langbaine, and Jacob agree, that twenty-four only remain; the reason Heywood himself gives is this; "That many of them by shifting and change of companies have been negligently lost; others of them are still retained in the hands of some actors, who think it against their profit to have them come in print, and a third, that it was never any great ambition in me to be voluminously read." These seem to be more plausible reasons than Winstanley gives for their miscarriage; "It is said that he not only acted himself every day, but also wrote each day a sheet; and that he might lose no time, many of his plays were composed in the tavern, on the backside of tavern bills, which may be the occasion that so many of them are lost." That many of our author's plays might be plann'd, and perhaps partly composed in a tavern is very probable, but that any part of them was wrote on a tavern bill, seems incredible, the tavern bill being seldom brought upon the table till the guests are going to depart; besides as there is no account of Heywood's being poor, and when his employment is considered, it is almost impossible he could have been so; there is no necessity to suppose this very strange account to be true. A poet not long dead was often obliged to study in the fields, and write upon scraps of paper, which he occasionally borrowed; but his case was poverty, and absolute want.[1] Langbaine observes of our author, that he was a general scholar, and a tolerable linguist, as his several translations from Lucian, Erasmus, Texert, Beza, Buchanan, and other Latin and Italian authors sufficiently manifest. Nay, further, says he, "in several of his plays, he has borrowed many ornaments from the ancients, as more particularly in his play called the Ages, he has interspersed several things borrowed from Homer, Virgil, Ovid, Seneca, Plautus, which extremely set them off." What opinion the wits of his age had of him, may appear from the following verses, extracted from of one of the poets of those times.[2]