umbylowe."

Rhymes in similar pasquinade against the south were composed on the
occasion of the nuptials of the young Prince, David Bruce, with the
daughter of Edward II., which were entered into as a mean of cementing
the alliance between the two kingdoms.

After the oblivion of a century, the Scottish Muse experienced a revival
on the return, in 1424, of James I. from his English captivity to occupy
the throne. Of strong native genius, and possessed of all the learning
which could be obtained at the period, this chivalric sovereign was
especially distinguished for his skill in music and poetry. By Tassoni,
the Italian writer, he has been designated a composer of sacred music,
and the inventor of a new kind of music of a plaintive character. His
poetical works which are extant--"The King's Quair," and "Peblis to the
Play"--abound not only in traits of lively humour, but in singular
gracefulness. To his pen "Christ's Kirk on the Green" may also be
ascribed. The native minstrelsy was fostered and promoted by many of his
royal successors. James III., a lover of the arts and sciences,
delighted in the society of Roger, a musician; James IV. gave frequent
grants to Henry the Minstrel, cherished the poet Dunbar, and himself
wrote verses; James V. composed "The Gaberlunzie Man" and "The Jollie
Beggar," ballads which are still sung; Queen Mary loved music, and wrote
verses in French; and James VI., the last occupant of the Scottish
throne, sought reputation as a writer both of Latin and English poetry.
Under the patronage of the Royal House of Stewart, epic and lyric poetry
flourished in Scotland. The poetical chroniclers Barbour, Henry the
Minstrel, and Wyntoun, are familiar names, as are likewise the poets
Henryson, Dunbar, Gavin Douglas, and Sir David Lyndsay. But the authors
of the songs of the people have been forgotten. In a droll poem entitled
"Cockelby's Sow," ascribed to the reign of James I., is enumerated a
considerable catalogue of contemporary lyrics. In the prologue to Gavin
Douglas' translation of the AEneid of Virgil, written not later than
1513, and in the celebrated "Complaynt of Scotland," published in 1549,
further catalogues of the popular songs have been preserved.

The poetic gift had an influence upon the Reformation both of a
favourable and an unfavourable character. By exposing the vices of the
Popish clergy, Sir David Lyndsay and the Earl of Glencairn essentially
tended to promote the interests of