(2) At last he came unto a gloomy shade, Covered with boughes and shrubs from heavens light, Whereas he sitting found in secret shade An uncouth, salvage, and uncivile wight,[91] Of griesly hew and foule ill favour’d sight; His face with smoke was tand and eies were bleard, His head and beard with sout were ill bedight, His cole-blacke hands did seeme to have ben seard In smythes fire-spitting forge, and nayles like clawes appeard. His yron cote, all overgrowne with rust, Was underneath enveloped with gold; Whose glistring glosse, darkened with filthy dust, Well yet appeared to have beene of old A worke of rich entayle[92] and curious mould, Woven with antickes and wyld ymagery; And in his lap a masse of coyne he told, And turned upside downe, to feede his eye And covetous desire with his huge threasury. And round about him lay on every side Great heapes of gold that never could be spent; Of which some were rude owre,[93] not purifide Of Mulcibers devouring element; Some others were new driven, and distent[94] Into great Ingowes[95] and to wedges square; Some in round plates withouten moniment; But most were stampt, and in their metal bare The antique shapes of kings and kesars straunge and rare. OTHER POETS =1. Sir Thomas Wyat (1503–42)= was descended from an ancient Yorkshire family which adopted the Lancastrian side in the Wars of the Roses. He was educated at Cambridge, and, entering the King’s service, was entrusted with many important diplomatic missions. In public life his principal patron was Thomas Cromwell, after whose death he was recalled from abroad and imprisoned (1541). Though subsequently acquitted and released, he died shortly afterward. None of Wyat’s poems is very long, though in number they are considerable. The most numerous of them are his love-poems, ninety-six in all, which appeared in a compendium of the day called _Tottel’s Miscellany_ (1557). The most noteworthy of these poems are the sonnets, the first of their kind in English, thirty-one in number. Of these, ten are written almost entirely in the Italian or Petrarchan form. In sentiment the shorter poems, and especially the sonnets, are serious and reflective; in style and construction they are often too closely imitative to be natural and genial; but as indications of the new scholastic and literary influences at work upon English, sweetening and chastening the earlier uncouthness, they are of the highest importance. Wyat’s epigrams, songs, and rondeaux are lighter than the sonnets, and they also reveal a care and elegance that were typical of the new romanticism. His _Satires_ are composed in the Italian _terza rima_, once again showing the direction of the innovating tendencies.