Even in his own country, as he admits, the execrable taste of Skelton was reproved. He had a rude kind of vigour, but his verses make it manifest that a new strain of blood, as it were, was needed in English poetry: old forms, such as the allegorical form, were outworn quite, and verse resembling the poem of Aramis, in lines of one syllable, could not endure, while Skelton's "Crown of Laurel" mixes his own blusterous humour with the stale learning, and pompous allegory of the fifteenth century; and "The Tunning of Eleanor Rummyng" (an ale-wife), in doggerel, is as offensive as the Scottish song, "There was a haggis in Dunbar," and extends to 620 lines. Very truly quoth Skelton:-- I have written too mytche Of this mad mummynge Of Elynour Rummynge. Barclay. Alexander Barclay (died 1552) was probably not a Scot, though his name is spelt in the Scots not the English way (Berkeley). His high praises of James IV of Scotland, however, scarcely indicate an English author, and he was very early regarded as a Scot. He was a priest, a monk of Ely; he dwelt long at St. Mary Ottery in Devon, and was a copious translator. His "Ship of Fools" (1508-1509) is from the German "Narrenschiff" of Sebastian Brandt: his "Castle of Labour," from the French of Gringore was an earlier work. His "Eclogues," in part translated, are very unlike those of Virgil, and their contents are growls in the style of "Colyn Clout". Barclay used French and Latin versions of the "Narrenschiff," as well as the original "Dutch". He altered and added to his original as he pleased, and he prolongs the cry against abuses raised by Piers Plowman. A writer who takes all follies and vices for his theme, from the frauds of friars, the wickedness of heretics, the oppressions of knights, to the peevishness of the patient who kicks over the table on which the physic bottles stand, can never want matter, and Barclay's matter is exceeding abundant. But the clever contemporary woodcuts that illustrate his satire are better than his two thousand irregular stanzas in rhyme royal, and if Barclay quarrelled with Skelton the affair is like a feud between Bavius and Maevius. The two writers are characteristic of their rude and chaotic age, which, as regards all but popular poetry, was the dark hour before the dawn. CHAPTER XVI. RISE OF THE DRAMA.