consisting of dramatic and other pieces,
are as follow;

1. The Complaint of Rosamond.

2. A Letter from Octavia to Marcus Antonius, 8vo. 1611.

These two pieces resemble each other, both in subject and stile, being
written in the Ovidian manner, with great tenderness and variety of
passion. The measure is Stanzas of seven lines. Let the following
specimen shew the harmony and delicacy of his numbers, where he makes
Rosamond speak of beauty in as expressive a manner as description can
reach.

Ah! beauty Syren, fair inchanting good,
Sweet silent rhetoric of persuading eyes;
Dumb eloquence whose power doth move the blood,
More than the words or wisdom of the wife;
Still harmony whose diapason lies, Within a brow; the key
which passions move,
To ravish sense, and play a world in love.

3. Hymen's Triumph, a Pastoral Tragi-Comedy presented at the Queen's
Court in the Strand, at her Majesty's entertainment of the King, at
the nuptials of lord Roxborough, London, 1623, 4to. It is introduced
by a pretty contrived Prologue by way of dialogue, in which Hymen
is opposed by avarice, envy and jealousy; in this piece our author
sometimes touches the passions with a very delicate hand.

4. The Queen's Arcadia, a Pastoral Tragi-Comedy, presented before her
Majesty by the university of Oxford, London 1623, 4to.

5. The Vision of the Twelve Goddesses, presented in a Masque the 8th
of January at Hampton-Court, by the Queen's most excellent Majesty and
her Ladies. London 1604, 8vo. and 1623, 4to. It is dedicated to the
Lady Lucy, countess of Bedford. His design under the shapes, and in
the persons of the Twelve Goddesses, was to shadow out the blessings
which the nation enjoyed, under the peaceful reign of King James I. By
Juno was represented Power; by Pallas Wisdom and Defence; by Venus,
Love and Amity; by Vesta, Religion; by Diana, Chastity; by Proserpine,
Riches; by Macaria, Felicity; by Concordia, the Union of Hearts;
by Astraea, Justice; by Flora, the Beauties of the Earth; by Ceres,
Plenty; and by Tathys, Naval Power.

6. The Tragedy of Philotas, 1611, 8vo. it is dedicated to the Prince,
afterwards King Charles I.

This play met with some opposition, because it was reported that the
character of Philotas was drawn for the unfortunate earl of Essex,
which obliged the author to vindicate himself from this charge, in an
apology printed at the end of the play; both this play, and that of
Cleopatra, are w