At curfew-time, and at the dead of night, I will appear, thy conscious soul to fright, Make signs, and beckon thee my ghost to follow To sadder groves, and churchyards, where we’ll hollo To darker caves and solitary woods, To fatal whirlpools and consuming floods; I’ll tempt thee to pass by the unlucky ewe, Blasted with cursed droppings of mildew; Under an oak, that ne’er bore leaf, my moans Shall there be told thee by the mandrake’s groans; The winds shall sighing tell thy cruelty, And how thy want of love did murder me; And when the cock shall crow, and day grow near, Then in a flash of fire I’ll disappear.

But I cannot persuade myself that his Grace of Newcastle wrote those lines himself.  Published in 1677, they were as much of a portent as a man in trunk hose and a slashed doublet.  The Duke had died a month or two before the play was published; he had grown to be, in extreme old age, the most venerable figure of the Restoration, and it is possible that the Humorous Lovers may have been a relic of his Jacobean youth.  He might very well have written it, so old was he, in Shakespeare’s lifetime.  But the Duke of Newcastle was never a very skilful poet, and it is known that he paid James Shirley to help him with his plays.  I feel convinced that if all men had their own, the invocation I have just quoted would fly back into the works of Shirley, and so, no doubt, would the following quaintest bit of conceited fancy.  It is part of a fantastical feast which Boldman promises to the Widow of his heart: 

The twinkling stars shall to our wish Make a grand salad in a dish; Snow for our sugar shall not fail, Fine candied ice, comfits of hail; For oranges, gilt clouds will squeeze; The Milky Way we’ll turn to cheese; Sunbeams we’ll catch, shall stand in place Of hotter ginger, nutmegs, mace; Sun-setting clouds for roses sweet, And violet skies strewed for our feet; The spheres shall for our music play, While spirits dance the time away.

This is extravagant enough, but surely very picturesque.  I seem to see the supper-room of some Elizabethan castle after an elaborate royal masque.  The Duchess, who has been dancing, richly attired in sky-coloured silk, with gilt wings on her shoulders, is attended to the refreshments by the florid Duke, personating the river Thamesis, with a robe of cloth of silver around him.  It seems the sort of thing a poet so habited might be expected to say between a galliard and a coranto.

At first sight we seem to have reached a really good rhetorical play when we arrive at Bancroft’s tragedy of Sertorius, published in 1679, and so it would be if Dryden and Lee had never written.  But its seeming excellence is greatly lessened when we recollect that All for Love and Mithridates, two great poems which are almost good plays, appeared in 1678, and inspired our poor imitative Bancroft. Sertorius is written in smooth and well-sustained