Sackville has two poems of considerable length in the Mirrour of Magistrates, which fortunately furnish us with the means of comparison: and every scene of Gorboduc is visibly marked with his characteristical manner, which consists in a perspicuity of style, and a command of numbers, superior to the tone of his times. Thomas Norton’s poetry is of a very different and a subordinate cast.” Certainly all the choruses bear such strong similarity to our author’s style and versification, as to leave no question of his well-founded claim to the entire outline of the whole performance. There cannot here be omitted: “the Order and Signification of the Domme Shew before the fourth Act. First the musick of howeboies began to playe, during which there came from under the stage, as though out of hell, three furies, Alecto, Megera, and Ctisiphone, clad in blacke garmentes sprinkled with bloud and flames, their bodies girt with snakes, their heds spred with serpentes instead of haire, the one bearing in her hand a snake, the other a whip, and the third a burning firebrand; ech driving before them a king and a queene, which moved by furies unnaturally had slaine their owne children. The names of the kings and queenes were these, Tantalus, Medea, Athamas, Ino, Cambises, Althea; after that the furies and these had passed about the stage thrise, they departed, and than the musick ceased: hereby was signified the unnaturall murders to follow, that is to say: Porrex slaine by his owne mother; and of king Gorboduc, and queen Videna, killed by their owne subjects.” This shadowing out of the plot, and the extraordinary characters to be personified in the procession, are too similar to the model upon which the Mirror for Magistrates was to have been completed, had he carried his own plan into effect, to let us doubt, without supposing the author a mannerist, that the composing the Induction and the drama were nearly coeval, and that before entering his twenty-fifth year he had entirely forsaken the Muse. This circumstance leads to an inquiry of his other poetical effusions, which are supposed to be lost, or remain undiscovered. Jasper Heywood, in a poetical address before his translation of the tragedy of Thyestes, 1560, has the following lines: There _Sackvylde’s_ SONNETS sweetly sauste, And featly fyned bee: There _Norton’s_ DITTIES do delight, There _Yelverton’s_ do flee Well pewrde with pen: such yong men three As weene thou mightst agayne, To be begotte as Pallas was Of myghtie Jove his brayne.