Of the POEM made by King JAMES I. on JANE, afterwards his Queen, while he was a prisoner in England.

THIS ancient poem, though mentioned by several writers of the life of James I. and well known in his time, yet has lain hid for these three centuries, and probably would have shared the same fate with most of his other compositions, now lost, but for the preservation of one single manuscript copy of it, which is now in the Bodleian Library at Oxford. The title which this manuscript bears, is The QUAIR, maid be King JAMES of Scotland the First, callit THE KING'S 'QUAIR. Maid qn. his Ma. was in England.'

By what accident this poem came into the editor's hands, it may be proper to give some account. Although all the Scottish writers mention King James I. as the author of many poetical pieces, yet as in the age of James, and for a century after, printing was not introduced into Britain, it is not to be wondered that most of his pieces should now be lost.

Joannes Major, in his History of Scotland, mentions this poem of King James I. thus: Artificio

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sum libellum de Regina dum captivus erat compo'suit, antequam eam in conjugem duxerat.'

Dempster also, in his Historia Ecclesiastica, mentions, amongst the works of James, this poem, Super Uxore futura. A later writer, Tanner Bishop of St Asaph, in his Bibliotheca Britannico-Hibernica, mentions it still more particularly, under the article Jacobus Stuartus Primus Rex Scotiae, thus: Lamentatio facta dum in Anglia fuit Rex." It appears that Bishop Tanner had both seen and read this poem, as he recites the first line of it,

M. S. Bib. Bod. Selden. Archiv. B. 24. and • In fine poematis (says Tanner) Gowerum et Chau'cerum mirificé laudat-Rex.

The above authorities concurring in mentioning this poem, and the particular reference to its being amongst the Seldenian manuscripts in the Bodleian Library, excited the editor's curiosity to search for it. After several fruitless attempts, on his applying to an ingenious young gentleman, a student of Oxford, he undertook the task, and found the MS. accordingly. From a very acou

rate copy made by him, the present publication is given.

From the title of the poem, it may be presumed that, in the age in which it was composed, it was held in estimation by the public. The word Quair, in the old English language, signifies a book; hence, by way of eminence, this poem was distinguished by the title of the King's book; and, in that age, it must have been considered as a great work.

As to its merit, the public, after due consideration of the age in which it was written, just beginning to emerge from that darkness that had long obscured the western hemisphere, will judge. Thus far may, I think, be said, that, for the invention and fancy, the genuine simplicity of sentiment, and the descriptive poetry which runs through it, it is a remarkable work.

The design, or theme, is the Royal poet's love for his beautiful mistress Jane, with whom he became enamoured while a prisoner at the castle of Windsor. The recollection of the misfortunes of his youth, his early and long captivity, the incident which gave rise to his love, its purity, con

stancy, and happy issue, are all set forth by way of allegorical vision, according to the reigning taste of the age of King James I. as we find from the poems of Chaucer, Gower, and Lydgate, his contemporaries. The taste for poetical allegory and vision was derived from the Provençal writers, which probably was introduced into England by Richard I. who ranks among the most eminent of the Troubadours. It was highly in fashion in the age of Lydgate, Gower, and Chaucer, and continued to be so down to the age of Spencer, and the end of Queen Elizabeth's reign. Every story had its moral, and was told in the way of allegory and vision. The machinery of these poems were fiery dragons, giants, and fairies; the scenery enchanted forests, castles, and lakes. The virtues, vices, and passions were personified, and the mythology was a mixture of the Greek, Roman, Arabian, and Christian. The advancement of learning has long banished this false taste; and it cannot be denied, that perhaps the meanest modern composition, even the flimsy flowers of a monthly miscellany, will better stand the test of criticism; yet how fleetly do these short-lived embryos vanish, never to appear again, at the approach of the great visionary figures, called up by our old bards! How is the imagination carried away, in

their lofty flights into the regions of fancy, adorn. ed with the glow of genuine poetry!

In pursuing the several parts of the allegorical vision in King James's poem, perhaps it may appear prolix, a fault which attends almost every allegorical poem. It might be imputed to prejudice, were I to rank our Royal poet with Chaucer, his contemporary, whose genius, like the morning-star, broke out after a long obscure night!

Chaucer, the father of English poetry, as he may be styled the first, so he is the best poet of his time. His universal genius has comprehended, in his Canterbury Tales, the various manners and humours of every rank of men in his age and country, from his accomplished knight, who had served in the holy wars, down to the reeve, ploughman, and miller: And he has shewn the extent of his genius and learning, in almost every species of poetry, from his heroic poem of Palamon and Arcite to his ballads. Having said this in preference of Chaucer,

I may, however, be allowed to compare the episode of the Court of Venus, in the following poem of James, with the Court of Love of Chaucer; in