And, first, I beg leave to lay it down as a fixed principle, that the authenticity or spuriousness of the poems attributed to Rowley cannot be decided by any person who has not a _taste_ for English poetry, and a moderate, at least, if not a critical, knowledge of the compositions of most of our poets from the time of Chaucer to that of Pope. Such a one alone is, in my opinion, a competent judge of this matter; and were a jury of twelve such persons empaneled to try the question, I have not the smallest doubt what would be their almost instantaneous decision. Without this critical knowledge and taste, all the Saxon literature that can be employed on this subject (though these learned gentlemen should pour out waggon instead of cart-loads of it,) will only puzzle and perplex, instead of illustrating, the point in dispute. Whether they are furnished with any portion of this critical taste, I shall now examine. But that I may not bewilder either my readers or myself, I will confine my observation to these four points. 1. The verification of the poems attributed to Rowley. 2. The imitations of modern authours that are found in them. 3. The anachronisms with which they abound. 4. The hand-writing of the Mss.-- the parchments, &c.
I. It is very obvious, that the first and principal objection to the antiquity of these poems is the smoothness of the versification. A series of more than three thousand lines, however disfigured by old spelling, flowing for the most part as smoothly as any of Pope’s-- is a difficult matter to be got over. Accordingly the learned Mythologist, Mr. Bryant, has laboured hard to prove, either, that other poets of the fifteenth century have written as smoothly, or, if you will not allow him this, that Rowley was a prodigy, and wrote better than all his contemporaries; and that this is not at all incredible, it happening very frequently. And how, think you, gentle reader, he proves his first point? He produces some verses from Spenser, written about the year 1571; some from Sir John Cheke, written in 1553; and others from Sir H. Lea, master of the Armoury to queen Elizabeth. These having not the smallest relation to the present question, I shall take no notice of them. He then cites some verses of blind Harry, (who knows not blind Harry?) written in the time of King Edward IV.; and some from _the Pilgrimage of the Soul_, printed by Caxton in 1483. I will not encumber my page by transcribing them; and will only observe, that they do not at all prove the point for which they are adduced, being by no means harmonious. But were these few verses ever so smooth, they would not serve to decide the matter in controversy. The question is not, whether in Chaucer, or any other ancient English poet, we can find a _dozen_ lines as smooth as