ART. XVI.-Skeltonical Song, by John Heywood, the dramatist. Any illustration of our old dramatic poetry, or of our ancient stage, I presume, comes within the objects of the Shakespeare Society: I therefore enclose a specimen of what has been termed "Skeltonical verse," by John Heywood, who may, in some sense, be called the father of our dramatic poetry, since he was the earliest author of productions which are neither "Miracle-plays," founded upon Scripture history, nor "Moralities," consisting of allegorical or abstract impersonations, nor an union of both species of dramatic composition, but are original humorous performances, intended to depict the life and manners of the times in which he flourished-the reign of Henry VIII. In this respect, justice has never been done to John Heywood; and while the comparatively worthless and indecent rhymes of some of his contemporaries have been republished in portly volumes, John Heywood's works, full of variety and interest, have been almost entirely neglected. I hope yet to live long enough to see this deficiency supplied; and in the mean time I have the less reserve in forwarding the subsequent extract, because the Rev. A. Dyce, in his late edition of "Skelton's Works," and in his enumeration of the writers of "Skeltonical verses," has wholly omitted John Heywood, although one of Skelton's contemporaries. He will probably not object to see this deficiency supplied, which possibly has arisen in some degree out of the undue neglect with which the works of a man, who was unquestionably the greatest dramatic genius of his age, have been treated. My quotation is from John Heywood's "Play of Love," of which there is an edition in the Bodleian Library, "Printed at London in Farster laen by John Waley," I think, no where mentioned by bibliographers. It is in the form of a "SONG IN PRAISE OF HIS MISTRESS. "And to begyn At settyng in; Fyrst was her skyn Whith, smoth and thyn, And every vayne So blewe sene playne; Her golden heare To see her weare, To tell all to you Her nose not long, Nor stode not wrong: Her finger typs So clene she clyps; Her rosy lyps, Her chekes gossyps, So fayre so ruddy, It axeth studdy 1 The "Biographia Dramatica" mentions, clearly at random, an edition printed in 4to., 1533, without giving any printer's name or other particulars. The Rev. Dr. Dibdin does not include "the Play of Love among works from the press of John Walley, or Waley: Ames and Herbert are also silent regarding it, and there is no notice of it in Collier's "History of English Dramatic Poetry." Such omissions decisively establish the rarity of "The Play of Love." There can be no dispute that the above is at least as good Dyce as anything of the kind by Skelton; and if the Rev. A. had read Heywood's "Play of Love," he could not have failed to quote the song. That he was acquainted with some of the other works of the same poet is obvious, because he cites them here and there, and to good purpose. Oxford, May 20, 1844. PHILO-HEYWOOD. ART. XVII.-Shakespeare's Bust at Stratford-upon-Avon. A member of the Shakespeare Society is desirous to ascertain if the Council, or any member of the Society, can give information whether the bust of Shakespeare in the chancel of the church at Stratford-upon-Avon, placed there by his daughter Susanna and her husband, Dr. Hall (his two executors), a few years after his death, is composed of marble or stone, The sculptured effigies on the tombs of Clopton and Combe families in the said church are of polished marble, stained according to the colouring of nature, with the habiliments also stained in colours (as was the practice in those days), of which we have evidence among the tombs in Westminster Abbey. Upon Mr. Malone's visit to Stratford in 1793, he, being displeased with Shakespeare's bust in colour, caused it to be painted over with white paint, upon which an indignant critic, incensed at such defacement, wrote the following lines: 66 Stranger, to whom this monument is shown, Whose meddling zeal his barb'rous taste betrays, The object of the writer is to ascertain if the bust, as originally placed, was of marble stained in colours, or of stone painted in colours with common paints; for, if it should be of marble stained (like the other effigies in the church), it is presumable that it will not be a difficult process to divest it of its present coat of white paint, and so restore it to its original appearance. It is reasonable to conclude that the coloured bust was as perfect a likeness of Shakespeare as sculpture could produce,. since it was placed there by his daughter Susanna, who, we may be assured, entertained the most affectionate regard for the memory of her all-gifted father, by placing so distinguished a memorial of him in the parish church. And that she possessed a mind capable of appreciating the exalted genius of that "wonder of the age," may be gathered from the lines inscribed upon her own tomb, after her decease in 1649, viz.— 66 Witty above her sexe, but that's not all, Wise to salvation was good Mistris Hall; Something of Shakespeare was in that, but this The restoration of the bust to its primitive state seems due not only to the memory of Shakespeare, but also as a tribute of respect to the memory of his daughter, who acted as if she had felt it a duty to transmit the most perfect likeness of him to the admiration of posterity. With a view towards effecting the proposed restoration, it is submitted to the Society generally, as a request, that such as may feel an interest therein do express their sentiments thereupon (by letter, addressed to the Secretary), in order that the Council may form a judgment whether the public feeling is sufficiently developed as to justify their addressing an application to the proper authorities at Stratford to sanction and give effect to the measure. |