ins; who having travelled into Italy, and there tasted
the sweet and stately measures and style of the Italian poesy, as
novices newly crept out of the schools of Dante, Arioste, and Petrarch,
they greatly polished our rude and homely manner of vulgar poesy, from
that it had been before, and for that cause may justly be said the first
reformers of our English metre and style[107]."

[Note 107: I have quoted this passage partly for the sake of the
express and authentic testimony which it bears to the fact of Surry's
having visited Italy, which Mr. Chalmers and after him Dr. Nott, in
their respective biographies of the noble poet, have been induced to
call in question.]

After slight notice of the minor poets, who flourished under Edward VI.
and Mary, he goes on to observe that "in her majesty's time that now is,
are sprung up another crew of courtly makers, noblemen and gentlemen of
her majesty's own servants, who have written excellently well, as it
would appear if their doing could be found out and made public with the
rest." And in a subsequent passage he thus awards to each of them his
appropriate commendation. "Of the latter sort I think thus: That for
tragedy the lord Buckhurst and master Edward Ferrys (Ferrers), for such
doings as I have seen of theirs do deserve the highest price. The earl
of Oxford and master Edwards of her majesty's chapel for comedy and
interlude. For eglogue and pastoral poesy, sir Philip Sidney and master
Chaloner, and that other gentleman who wrate the late 'Shepherd's
Calendar'[108]. For dirty and amorous ode I find sir Walter Raleigh's
vein most lofty, insolent and passionate. Master Edward Dyer for elegy,
most sweet, solemn and of high conceit. Gascoigne for a good metre and
for a plentiful vein. Phaer and Golding for a learned and well corrected
verse, specially in translation clear and very faithfully answering
their author's intent. Others have also written with much facility, but
more commendably perchance if they had not written so much nor so
popularly[109]." The passage concludes with a piece of flattery to her
majesty in her poetical capacity, unworthy of transcription.

[Note 108: Spenser published this work under the signature of
"Immerito."]

[Note 109: Art of English Poesy, book i.]

Under the head of "Poetical proportion" or metre, our author writes
learnedly of the measures of the ancients, and on those employed by our
native poets with singular taste and judgement, ex