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and institution that tend to crush, debase, ami brutalize him, it has done more to refine the taste, to kindle the imagination, to enlarge the understanding, to give strength to the reasoning powers, and to supply the mind with images of beauty, tenderness, and sublimity, than all other books which have been borne down to us on the stream of time: while our present permanent version has secured for our language what Tithonus begged of Aurora— immortality; and secured, besides, what he forgot to ask—perpetual youth. But above all and beyond all this, it is The (hiEat Lever Job Elevatino

THS JlOiliL WORLD.1

THOMAS SACKVILLE. 153G—1608.

Thomas Sackville, Lord Buckhurst, and ultimately Earl of Dorset and lord high treasurer of England, deserves consideration, if for no odier reason, as the author of the first regular English tragedy, entitled "Ferrex and Porrex." It is also called "The Tragedie of Gorboduc," and was acted before Queen Elizabeth in 1561. The story is this. Gorboduc, an ancient king ol Britain, divided, in his lifetime, his kingdom between his sons Ferrex and Porrex. They quarrel for sovereignty, and Porrex kills his brother. Their mother Viden, who loved Ferrex best, rovenged his death by entering Porrex's chamber in the night and murdering liim in his sleep. The people, exasperated at this, rose in rebellion, and killed both Viden and Gorboduc. The nobility then assembled, collected an army, and destroyed the insurgents.

Every act of this play is closed by something like the chorus of the Greek tragedy, namely, an ode in long-lined stanzas, drawing back the attention of the audience to the substance of what has just passed, and illustrating it by moral reflections. The following ode closes the third act, the moral beauties as well as the spirit of which must strike every reader. Sir Philip Sidney, in his "Defence of Poesy/' says that this whole tragedy is «full of notable morality."

11 cannot but nlve room to the following just and beauUful remarks of Mrs. Ellis, in her work entitled the "Poetry of Life :"—

"With our established Ideas of beauty, grace, pathos, and sublimity, either concentrated in the minutest point, or extended to the wideat range, we can derive from the Scriptures a fund of gratification not to be found In any oUier memorial of the past or present time. From the worm that grovels In the dust beneath our feet, to the track of Uie leviathan In the foaming deep—from the moth that corrupts the secret treasure, to tltc eagle that soars above his eyrie in the clouds—from the wild ass in the desert, to the lamb within the shepherd's fold—from Uie consuming locust, to the cattle on a thousand bills—from the rose of Sliaron, to Uie cedar of Lebanon—from the clear crystal stream, gnshing forth out of the flinty rock, to the wide waters of the deluge—from the barren waste, to the fruitful vineyard, and the land flowing with milk and honey—from the lonely path of the wanderer, to the gatherer of a mighty niulUtude— from Uie tear that falls in secret, to the din of battle and the shoot of a triumphant host—from the solitary In the wilderness, to the satrap on the throne—from the mourner clad in his sackcloth, to the prince in purple robes—from the gnawlngs of the worm that dleth not, to the seraphic vision of the blessed—from the still small voice, to the thunders of Omnipotence—from the depths of hell, to tltc regions of eternal glory, there Is no degree of beauty or deformity, no tendency to goo 1 or evil, no shale of darkness or gleam of light, which does not come within the coiriilzMnrc of tlx; Holy Scriptures; and, thcrcfare, there is no expression or conception of the mind that may not hero find a corresponding picture; no thirst for excellence tliat here may not meet with its full supply; and no condition of humanity excluded from the unlimited scope of adaptation and sympathy comprehended in the language and spirit of the Bible.''

The lust of kingdom knows no sacred faith,
No rule of reason, no regard of right,
No kindly love, no fear of Heaven's wrath:
But with contempt of God's and man's despight,

Through bloody slaughter doth prepare the ways
To fatal sceptre, and accursed reign:
The son so loathes the father's lingering days,
Nor dreads his hand in brother's blood to stain!

0 wretched prince! nor dost thou yet record
The yet fresh murders done within the land
Of thy forefathers, when the cruel sword
Bereft Morgain his life with cousin's hand!

Thus fatal plagues pursue the guilty race,
Whose murderous hand imbrued with guiltless blood,
Asks vengeance still before the Heaven's face,
With endless mischief on the cursed brood.

The wicked child thus brings to woful sire
The mournful plaints, to waste his weary life:
Thus do the cruel flames of civil fire
Destroy the parted reign with hateful strife:
And hence doth spring the well, from which doth flow
The dead black streams of mourning, plaint, and woa.

But the poem by which Sackvillc is best known, is entitled "The Mirror for Magistrates." In it, most of the illustrious but unfortunate characters of English history, from the Conquest to the end of the fourteenth century, are made to pass in review before the poet, who, conducted by Sorrow, descends, like Dante, into the infernal regions. Each character recites his own misfortunes in a separate soliloquy. But Sackville finished only the preface called the 11 Induction," and one legend, the Life of the Duke of Buckingham. He left the completion of the whole to Richard Baldwyne and Georgo Ferrers. These called in others to aid them, and the whole collection or set of poems was published in 1559, with this title, "A Mirror for Magistrates, wherein may be seen, by example of others, with how grievous plagues vices arc punished, and how frail and how unstable worldly prosperity is found, even of those whom fortune seemeth most highly to favor."

The whole poem is one of a very remarkable kind for the age, and the part executed by Sackville exhibits a strength of description and a power of drawing allegorical characters scarcely inferior to Spenser, and had he completed the whole, and with the same power as that exhibited in the commencement, he would have ranked among the first poets of England.

ALLEGORICAL CHARACTERS IN HELL.

And first, within the porch and jaws of hell,
Sat deep Remorse or Consciikck, all besprent
With tears; and to herself oft would she tell
Her wretchedness, and, cursing, never stent
To sob and sigh, but ever thus lament
With thoughtful care; as she that, all in vain,
Would wear and wa.stt; continually in pain:

Her eyes unstcadfast, rolling here and there,

Whirl'd on each place, as place that vengeance brought,

So was her mind continually in fear,

Tost and tormented with the tedious thought

Of those detested crimes which she had wrought;

With dreadful cheer, and looks thrown to the sky,

Wishing for death, and yet she could not die.

Next, saw we Dhead, all trembling how he shook,
With foot uncertain, proiFcr'd here and there;
Benumb'd with speech; and with a ghastly look,
Search'd every place, all pale and dead for fear,
His cap borne up with staring of his hair;
:Stoin'd and amazed at his own shade for dread,
And fearing greater dangers than was need.

And, next, within the entry of this lake,

Sat fell Retcxoe, gnashing her teeth for ire:

Devising means how she may vengeance take;

Never in rest, till she have her desire;

But frets within so far forth with the fire

Of wreaking flames, that now determines she

To die by death, or 'veng'd by death to be.

When fell Revenoe, with bloody foul pretence,
Had ahow'd herself, as next in order set,
With trembling limbs we softly parted thence,
Till in our eyes another sight we met;
When fro my heart a sigh forthwith I fet,
Rucing, alas, upon the woful plight
Of Aiiseht, that next appear d in sight:

His face was lean, and some-deal pined away,
And eke his hands consumed to the bone;
But, what his body was, l cannot say,
For, on his carcase miment had he none,
Save clouts and patches pieced one by one;
With staff in hand, and scrip on shoulders cast,
His chief defence against the winter's blast:

His food, for most, was wild fruits of the tree,
Unless sometime some crumbs fell to his share,
Which in his wallet long, God wot, kept he,
As on the which full daint'ly would he fare;
His drink, the running stream; his cup, the bare
Of his palm closed; his bed, the hard cold ground
To this poor life was Misehy ybound.

Whose wretched state when wo had well beheld,

With tender ruth on him, and on his fears,

In thoughtful cares forth then our pace we held;

And, by and by, another shape appears

Of greedy Cahe, sti',1 brushing up the briers;

But let the night's black misty mantles rise,
And with foul dark never so much disguise
The fair bright day, yet ceascth be no while,
But hath his candles to prolong his toil.

By him lay heavy Sleep, the cousin of Death,
Flat on the ground, and still as any stone,
A very corpse, save yielding fordi a breath;
Small keep took he, whom fortune frowned on,
Or whom she lifted up into the throne
Of high renown; but as a living death,
So dead alive, of life he drew the breath:

And next in order sad, Oin-AnE we found:
His beard nil hoar, his eyes hollow and blind;
With drooping cheer still poring on the ground,
As on the place where nature him assign'd
To rest, when thaj the sisters had untwined
J lis vital thread, and ended with their knife
The fleeting course of fast declining life:

There heard we him with broke and hollow plaint
Rue with himself his end approaching fast,
"And all for nought his wretched mind torment
With sweet remembrance of his pleasures past,
And fresh delights of lusty youth forewaste;
Recounting which, how would he sob and shriek,
And to bo young again of Jove beseek 1

Crook-back'd lie was, tooth-shaken, and blear-eyed;
Went on three feet, and sometime crept on four;
With old lame bones, that rattled by his side;
His scalp all piled, and he with eld forelore,
His wither'd fist still knocking at death's door;
Fumbling, and drivelling, as he draws his breath;
For brief, the shape and messenger of Death.

And fast by him pale Maladt was placed:
Sore sick in bed, her color all foregone;
Bereft of stomach, savor, and of taste,
Ne could sho brook no meat but broths alone;
Her breath corrupt; her keepers every one
Abhorring her; her sickness past recure,
Detesting physic, and all physic's cure.

But, oh, the doleful sight that then we see 1

We turn'd our look, and on the other side

A grisly shape of Famixe mought we see:

Writh greedy looks, and gaping mouth, that cried

And roar'd for meat, as she should there have died;

Her body thin and bare as any bone,

Whereto was left nought but the case alone.

And that, alas, was gnawen every where,
All full of holes; that I me mought refrain
From tears, to see how she her arms could tear,
And with her teeth gnash on the bones in vain,
When, all for nought, she fain would so sustain
Her starven corpse, that rather seem71 .a shade
Than any substance of a creature made:

Great was her force, whom stone-wall could not stay:
Her tearing nails snatching at all she saw;
With gaping jaws, that by no means ymay
Be satisfied from hunger of her maw,
But eats herself as she that hath no law;
Gnawing, alas, her carcase all in vain,

Where you may count each sinew, bone, and vein. 1

Lastly, stood War, in glittering arms yclad,
With visage grim, stern look, and blackly hued:
In his right hand a naked sword he had,
That to the hilts was all with blood imbrued;
And in his left (that kings and kingdoms rued)
Famine and fire he held, and therewithal
He razed towns and threw down towers and all:

Cities he saok'd, and realms (that whilom flower'd
In honour, glory, and rule, above the rest)
He overwhelm'*!, and all their fame devour'd,
Consumed, destroy'd, wasted, and never ceased,
Till he their wealth, their name, and all oppress'd;
His face jbrehew'd with wounds; and by his side
There hung his targe, with gashes deep and wide.

SIR THOMAS OVERBURY. 1581—1013.

Sia Thomas OvEaurnir, a miscellaneous writer, and "one of the most finished gentlemen about the court'' of James I., is well known by the tragic circumstances of his death. Born of an ancient family in Gloucestershire, after taking his degree at the University of Oxford, he entered the Middle Temple as a law student. B'.it his inclinations turning more to polite literature, he made an ellbrt to advance his fortune at the court, and was successful. But opposing the infamous Countess of Essex in one of her criminal schemes, he was, by her influence, thrown into the Tower, and was soon after taken oif by poison administeied to him by her means, with the knowledge of her husband. The murder, though committed on the 13th of September, 1013, was not discovered till two years after, when all was brought to light, and four of the parties concerned were executed. But James, to his lasting disgrace, pardoned the two principals, the Countess of Essex and her husband, that base favorite of James, the Earl of Somerset.

The murder of this accomplished man is one of the most disgraceful passages in the history of England, and the sympathy which his late excited is demonstrated by the many elegies and tributes of grief which were poured forth from all quarters "on the untimely death of Sir Thoi»as Overbury, poysoned in the Tower." Sir Thomas is known in letters, both as a poet and prose writer. In the former character, his chief productions are his once famous poem called " The Wife,'1 and a smaller one called "The Choice

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