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a cork! Some students, in their zeal for antiquity, like some book. sellers, in their ardour for profit, seem to fix a preposterous value on all that bears an ancient date; but the former are likely to lose their credit, and the latter their respectable connexions, since it must be sciolists and witlings only who can submit to be misled by ignorance or craft.

Mr. Leyden, the editor of this publication, is a writer calculated to rescue the study of antiquities from that obloquy in which it has by some of his compatriots been involved. Distinguished, even beyond his lettered fellows, by native genius, by extensive erudition, by sedulous application, and critical acumen; he unites the polished style of a gentleman with the intelligent pen of a scholar; and we are uniformly gratified in proportion as we are informed.

The "Complaynt of Scotland," had for some time attracted the observation of the inquisitive, in consequence of several interesting extracts which had been given from it, in the Scotish songs and ballads published by Ritson and Pinkerton; but the few copies that are known to exist, still slumbered in the closets of the curious, till the recommendation of a friend* prevailed on Mr. Leyden to reprint and illustrate this earliest specimen of classical Scotish prose; a task that he has executed with such ornate fidelity as to challenge the grateful praise of every reader.

Mr. L. in a most ingen ious preliminary dissertation, has drawn the following notices together, respecting the original title to this work, and the name of its disputed author.

"The first person by whom the Complaynt of Scotland is mentioned, is James Watson, who published a short history of printing in 1713; but as he assigns, as its date, 1540, in contradiction to the work itself, the composition of which, from a calculation it contains,† is undeniably referred to 1548, it is doubtful whether he intended the present work, or some other of the same title. The Complaint of Scotland seems to have been a common title about this period, One of the divisions of Lindsay's Dreme, addressed to James V. is denominated The Complaint of the Commounweill of Scotland,' and may probably be the work alluded to by Watson. A ballad entitled The Complaint of Scotland'

* This friend was Richard Heber, Esq. whose assiduity and skill as a bookcollector are very generally known.

+ This calculation, however, is taken from Carion's Chronicle, and it should be recollected that Carion's Chronicle, as edited by Lynne, did not make its appearance till 1550. Rev.

At a later æra it was transferred to South Britain. Herbert mentions "The Complaint of England," 1587, as a book in his possession. Typogr. Antiq. p. 1173. Rev.

occurs in Major Pierson's collection, which has no date, and exhibits the name of neither author nor printer. It apparently relates to the murder of Henry Stewart, Lord Darnley, and consists of twenty-four stanzas of five lines. It is not probable that Watson alluded to this performance; but if he intended the real Complaynt of Scotland, the date must have been an error of the printer.

The next person who mentions the Complaynt of Scotland is Dr. Mackenzie in his Lives, vol. iii. p. 42, 1722. He assigns it, without hesitation, to Sir James Inglis, Knight. In Catalog. Bibl. Harl. 1742-5, the same work is mentioned twice, and, in both instances, assigned to Vedderburn, or Wedderburn. These slight and contradictory notices constitute all the information which has been as yet discovered concerning the author. Mr. Pinkerton assumes the posi tion that Wedderburn is the author, on the authority of the Harleian Catalogue. But such an authority as that on which he depends, is just better than no authority at all, and can never be deemed satisfactory. The only argument that can be deduced from it, amounts to no more than a slight probability. Because the compiler of the Harleian Catalogue gives Vedderburn as the name of the author, a presumption arises, that the copy, from which he extracted the title, had a title page bearing the name of the author, though at the same time it must be admitted, that no perfect title-page exists in any copy known to be extant. But if this can be presumed in the case of the compiler of the Harleian Catalogue, the argument will apply with still greater force to Dr. Mackenzie, who is a more ancient authority, and who peremptorily ascribes it to Sir James Inglis, Knight. Herbert suggests, that probably both Mackenzie and the compiler transcribed from written title-pages, or perhaps from tradition. This supposition is strengthened by the fact, that though Mackenzie and the compiler of the Harleian Catalogue seem, from the phraseology, to have copied the same title, they not only vary in the orthography, but the two titles in the Harleian Catalogue differ considera. bly from each other, as appears undeniably on a comparison. Herbert's conjecture of the suppression of the title-page, is contradicted by a fragment of one being preserved in the copy in the possession of the Duke of Roxburgh, which I am informed only contains The Comp."

We pause at this place, for the purpose of remarking that the information conveyed to Mr. L. must have been inexact. Having had an opportunity of inspecting the fragment of a title-page before his Grace of Roxburgh's copy, we can affirm that the only letters distinguishable, are part of a capital T at the upper corner of th page, an O at the beginning of the third line, and a small fi some distance below, which, it is possible, may have formed part of the word exortafione. But we pass from this conjecture, to communicate the editor's new hypothesis, after discrediting the auctorial claims of Inglis and Wedderburn.

"In this state of uncertainty with respect to external evidence, perhaps we are justified in having recourse to that internal evidence, which arises from an examination of the work itself; especially as it is scarcely possible that any thing in the form of evidence can have less weight than those which have already been adduced. Though aware of the fallacious nature of such speculations, their fre

quent futility, and the slight degree of conviction which they are calculated to produce, I am not deterred from hazarding an opinion, which early occurred, to my own mind, and which successive inquiries have tended to confirm."..

This opinion is soon after shewn to originate from something like~ a literary prepossession, that Sir David Lindsay, of the Mount, was the real author of the Complaynt, nor has the learned critic failed to enforce his supposition by many striking coincidences in subject, sentiment, and phraseology; or by similar shades of thought: but whether his comparative investigations will produce an equal con viction on the public mind, with what they have wrought upon his own, time only can decide. We are admiring auditors, at least, if we do not appear to range ourselves within the pale of his partizans.

From Mr. Leyden's perspicuous analysis of the nature of the work, we cannot forego the pleasure of making a considerable extract.

"As neither reading, nor the practice of composition, had become either a fashion or an amusement, at the early period when the Complaynt was composed, he who should expect elegance or taste in so ancient a Scotish classic, would highly be disappointed. But if he expect ancient manners to be delineated with rough but impressive energy; if he expect the economy of civil polity to be characterized, and the state of factions and parties to be forcibly described, he will probably be disposed to rank this work with those authentic monuments which throw a certain and steady light upon history and manners. However injudicious our ancient authors may be reckoned, in the selection of their materials, and the arrangement of their topics; however defective in the arts of composi tion, and the polish of style, they can never divest themselves of the manners and babits of thinking familiar to the age in which they lived. It is this circumstance which stamps a real value on the rudest compositions of an early period; a value which continually increases with their antiquity. It was this circumstance which induced the late accurate and judicious Lord Hailes to declare, that if the study of Scotish history should ever revive, a new edition of Inglis's Complaynt would be an acceptable present to the public.* That the Complaynt is well written, and fraught with great learning, will be admitted by every one, who compares it with compositions in prose of the same period. The style of remark is shrewd and forcible, though frequently quaint and affected; and the arrangement of the materials, though sometimes careless, is not devoid of method. The refining, logical mode of demonstrating the plainest truisms, was the fault of the age, as it had formerly been that of the scholastic philosophers; and some traces of the habit may be observed in the Complaynt.

"The work is naturally divided into three parts, of which the first may be properly denominated the Complaint of the author; the second the Monologue of the author; and the third the Dream of the author, or the Complaynt of Scotland. In the first, the author, deeply afflicted by the miseries of his country, begins to speculate concerning their causes. In the second, which has little conHailes's Bannatyne Poems, p. 279.

nexion either with the first or third, a variety of rural scenes and occupations are depicted, which are ingeniously diversified with a sea-fight, and a dissertation on natural philosophy. This division is terminated by the author's falling into a profound sleep, during the unsuccessful experiment of shutting his eyes, and looking through his eye-lids; and, in the third part, he relates his dream or vision. The subject of the third part is the same with that of the first-the miseries of Scotland; but the description is more particular, and the machinery is allegorical.

An Epistil to the Quenis Grace,' which is prefixed, may be properly considered as a part of the work, as it paints, in strong colours, the unhappy state of the country, distracted by the threefold evil of invasion, pestilence, and civil discord. It commences in a highly metaphorical strain; the author seems elevated by his subject; and he shoots the glittering shaft of praise' over a whole cloud of heroines, celebrated in the pages of Plutarch and Boccace."

[To be continued.]

Fugitive Sketches of the History and Natural Beauties of Clifton HotWells, and Vicinity. By W. Manby. Esq. Crown 8vo. Bristol and London, 1802.

We are friendly to these sort of publications; they have their utility in the amusement they afford to persons who, from ill health, are obliged to have recourse to the medicinal qualities of the waters. This is one of the most elegantly printed and decorated works, of the kind, that has recently come before us.

The Picture of London in 1802; being a correct Guide to all the Curiosities, Amusements, Exhibitions, Public Establishments, and remarkable Objects, in and about London. With a Collection of appropriate Tables. For the Use of Strangers, Foreigners, and all Persons who are not intimately acquainted with the British Metropolis. 12mo. 400 pp. London. 1802.

THIS is, indeed, a valuable and laborious compilation. It is more accurate and comprehensive than any previous effort; and its portable and very convenient form will ensure its general reception.

A Walk through Southampton.

R. S. and F. S. A.

By Sir H. C. Englefield, Bart. F. 8vo. London. 1802.

SIR H. C. Englefield proves himself worthy the distinguished honours conferred upon him by the societies that have been pleased to enrol his name amongst their votaries. His observations on the ancient buildings, his general and particular remarks on every object worthy of investigation in Southampton, are instances of deep research and a polished taste.

The probable Effect of the Peace, with respect to the Commercial Interests of Great Britain. Being a brief Examination of some prevalent Opinions. 8vo. London. 1802.

THIS pamphlet contains the most powerful, and, indeed, satisfactory, arguments in favour of the peace with France, and the most complete refutation of the opinions opposed to that peace, which have yet been given to the public.

Remarks on modern Female Manners, as distinguished by Indifference to Character, and Indecency of Dress: extracted from Reflections political and moral, at the Conclusion of the War. By John Bowles, Esq. 8vo. 18 pp. London. 1802.

We have long lamented the prevalent indecency of dress among the fair, and rejoice that so excellent a moral man as the author of the tract before us has written thus eloquently upon the subject. We particularly recommend this little pamphlet to the serious consideration of parents and guardians.

The Minstrel Youth, a Lyric Romance, in three Parts, and other Poems. By W. Case, Junr. 12mo. London. 1802.

HEREAFTER W. Case, Junr. may produce better verses. At present there is a strange inequality in his compositions, and a wildness in his ideas, which time and a close perusal of the works of our best poets may perhaps harmonize.

Pictures of British Female Poesy. 12mo. London. 1802.

THE same Mr. Case, author of the preceding article, has also written these pictures. The work is liable to similar objections-but "time does wonders."

A Sermon preached in the Parish Church of Woburn, March 14, 1802, the Sunday after the Interment of the late Most Noble Francis Duke of Bedford. By Edmund Cartwright, M. A. Rector of Goadby-Marwood, Leicestershire, and Prebendary of Lincoln. 1802.

MR. CARTWRIGHT, the truly pious and amiable author of the excellent discourse before us, has long been known to the literary world by his various productions. His " Armine and Elvira” will be remembered, while taste and feeling may survive, as á poem of traordinary merit in that class of composition.

TT-VOL. XIV.

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