*The preceding account of Dr. Still and Gammer Gurton's Needle, is
derived from the same authorities as those referred to in the sketch of
Richard Edwards, and from Hawkins' Origin of the English Drama,
+ This account of Lord Buckhurst, and of the Tragedy of Gorbeduc, is
derived from the same sources.

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even the queen, Videna, whose heart is set on the elder, just as Gorbeduc's is on the younger son, zealously adds fuel to the flame. Porrex, in apprehension that his brother may seek to deprive him of his portion, and thereby unite what primogenital law has sanctioned, arms to prevent the spoliation. Ferrex, hearing of this circumstance, and being taught to believe that the ambition of his brother will be satisfied with nothing less than the whole, also raises troops. At length both advance to the field. It is here that the third act opens, with the lamentations of the aged Gorbeduc on the threatening aspect of things. The allusion to the catastrophe of Troy would be ridiculous enough in any other country than Britain; but here, nothing could be more appropriate, considering that most veracious fact, - the descent of the British monarchs from the Trojan line of princes!

"O cruel fates! O mindful wrath of Gods!

Whose vengeance neither Simois's stained stream,
Flowing with blood of Trojan princes slain,
Nor Phrygian fields made rank with corpses dead,
Of Asia's kings and lords, can yet appease!
No slaughter of unhappy Priam's race,
Nor Ilion's fall, - made level with the soil,
Can yet suffice; but still continued rage
Pursues our lives, and from the farthest seas
Doth chase the issue of destroyed Troy.
Call no man happy till his end be seen!

The noble author might, we should think, have blamed the old man's policy, and not fate, for the evils now impending. By his counsellors, Gorbeduc is advised to send for both princes, and thus prevent the battle. But fate is not to be averted: before his interference can be fully exercised, the elder falls by the hands of the younger.

The fourth act opens with the lamentation of Videna, on the death of her favourite son, and with curses loud and deep on the author of the deed. She concludes with this apostrophe of Porrex:

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And with her hand! - a woful thing to tell!
The noble prince, pierced with the sudden wound,
Out of his wretched slumber quickly starts,
Whose strength now failing straight him overthrew,
When in his fall his eyes even now unclosed,
Beheld the queen and cried to her for help!
We then, alas ! the ladies which that time
Did there attend seeing the heinous deed,
And hearing him oft call the wretched name
Of mother, and cry to her for aid,
Whose direful hand gave him the mortal wound!
Pitying alas! - for nought else could we do.
This ruthful end, ran to the woful bed,
Despoiled straight his breast, and all we might
Wiped in vain, with napkins next at hand,
The sudden streams of blood that flowed fast
Out of the gaping wound. Oh what a look,
Oh what a ruthful steadfast eye methought
He fixed upon my face! which to my death
Will never part from me. When with a braid
A deep-fetched sigh he gave, and therewithal
Clasping his hands together he cast his sight,
And straight pale death piercing within his face,
The flying ghost his wretched corpse forsook."

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Sackville was a poet no less than a dramatist. was who projected, and who partly executed, that remarkable work, the Mirror of Magistrates. The design, which was formed about the year 1557, was, though not quite original, striking. All the illustrious characters of English history, whose lives had been unfortunate, -a wide field! - from the conquest to the end of the fourteenth century, were to pass in review before the poet, who, like Dante, visited the infernal regions, under the guidance of Sorrow. Every one of them was to relate his misfortunes. But he had not leisure, who, indeed, ever could have? — to execute such a design.