We will do no more than glance at the further progress of political satire which had now taken a permanent footing in English literature. We see less of it during the reign of Edward III., the greater part of which was occupied with foreign wars and triumphs, but there appeared towards the close of his reign, a very remarkable satire, which I have printed in my "Political Poems and Songs." It is written in Latin, and consists of a pretended prophecy in verse by an inspired monk named John of Bridlington, with a mock commentary in prose--in fact, a parody on the commentaries in which the scholastics of that age displayed their learning, but in this case the commentary contains a bold though to us rather obscure criticism on the whole policy of Edward's reign. The reign of Richard II. was convulsed by the great struggle for religious reform, by the insurrections of the lower orders, and by the ambition and feuds of the nobles, and produced a vast quantity of political and religious satire, both in prose and verse, but especially the latter. We must not overlook our great poet Chaucer, as one of the powerful satirists of this period. Political song next makes itself heard loudly in the wars of the Roses. It was the last struggle of feudalism in England, and the character of the song had fallen back to its earlier characteristics, in which all patriotic feelings were abandoned to make place for personal hatred. [65] "The Vision and the Creed of Piers Ploughman;" with Notes and a Glossary by Thomas Wright. 2 vols. 12mo. London, 1842. Second and revised edition, 2 vols. 12mo. London, 1856. CHAPTER XI. MINSTRELSY A SUBJECT OF BURLESQUE AND CARICATURE.--CHARACTER OF THE MINSTRELS.--THEIR JOKES UPON THEMSELVES AND UPON ONE ANOTHER.--VARIOUS MUSICAL INSTRUMENTS REPRESENTED IN THE SCULPTURES OF THE MEDIÆVAL ARTISTS.--SIR MATTHEW GOURNAY AND THE KING OF PORTUGAL.--DISCREDIT OF THE TABOR AND BAGPIPES.--MERMAIDS.