of a satirical character, though in a much gayer vein than his longer ones, and embrace such subjects as Court patronage, and the absurdities of female fashion, the latter of which appears to have been a theme for discussion even in Lyndsay's day. In another fugitive piece entitled "Kittei's Confessioun," the author again sounds the familiar key note against the abuses of the Church, but more particularly against auricular confession, and it is not free from coarseness and burlesque. "The Historie and Testament of Squyer Meldrum,” which appeared in 1550, is perhaps the most pleasant and amusing any of his minor works, written in the measure of the old romances and obviously for its own sake. The simplicity of both the rhythm and the romance makes it pleasant reading, while the theme gives to it a perennial interest and might be briefly indicated as follows:-In the army of King Henry VIII., which lay at Calais in 1513, there was an English soldier named Talbot renowned for his strength and valour, who is said to have held in contempt Frenchmen and Scot alike. In this spirit he sent forth a challenge to fight any one of them either on foot or horseback who might be matched against him. His challenge was at once accepted by Meldrum, a native of Kinross, and a contemporary of Lyndsay's, and after a spirited contest Meldrum overpowered his opponent. According to the conclusion of the poem, Talbot was so disgraced "He thocht sic schame and dishonour, And never wes sene into Ingland.” Three years after the publication of "The Historie of Squyer Meldrum," Lyndsay is said to have written his last and longest poem, "The Monarchie." After the light and sportive vein of Squyer Meldrum, "The Monarchie" is a dull and tedious production showing the author's lack of constructive power and knowledge of literary art to a greater extent than any of his other writings. The plan of the work, as it appears, is an attempt to review the history of humanity from Adam to the day of judgment, and, though it bears the impress of honest conviction and deep earnestness, it discloses the palsied hand of age when the fervid inspiration and optimistic visions of youth have fled away. The Reformation in Scotland, to which Lyndsay contributed his share in preparing the way, was so it thorough in its character that it not only revolutionised the Church, but it changed the tone and complexion of literary thought and art in the nation. Indeed, Sir David Lyndsay was almost the only poet whose works survived its sweep and pressure, though they were inferior to some of the writings of his predecessors. If a comparison might be instituted between any two poets about this period, it is between Lyndsay and Dunbar, but it can scarcely be maintained that he was so great a genius as Dunbar, though his writings played so important a part in the Reformation movement. If a reason can be assigned for the more enduring popularity of Lyndsay's writings it was doubtless due to the fact that he so thoroughly grasped the spirit and tendency of the time; and though there was much similarity in the themes which engaged the attention of Dunbar and Lyndsay, the satires of Lyndsay had less of the personal and acrimonious spirit than those of Dunbar. Thus may be claimed for Lyndsay that he was the greatest satirist among the vernacular writers of his century, and the most potent factor in exposing to public view the prevailing evils of Church and State. From the abundant stores of information that can be gleaned of the early part of the sixteenth century, the Church and the Clergy were an inexhaustible theme of bitter reproof; and, while the trend of Lyndsay's satires were political as well as theological, there were other writers of verse whose inspiration was mainly stimulated by hatred of the erring Church of Rome. Chief among the poetical relics of the earlier part of the century, and exclusively aimed at the Church, is the collection known as the "Gude and Godly Ballates," which is eminently satirical and iconoclastic in its character. This collection, subsequently entitled the "Dundee Psalms," exercised a powerful influence in the direction of Church reform. Neither the exact date nor authorship of this book of verse has been satisfactorily established. The authorship, it is true, has been assigned to one of three brothers named Wedderburn, natives of Dundee. The brothers Wedderburn are known to have been the translators of Lutheran hymns and the Psalms of David, and had the additional reputation of having produced many old secular songs, and turned profane ballads into godlie songs and hymns. Perhaps the safest conclusion, however, is to assume that this collection of poems was originally fugitive pieces scattered over a period of many years, and subsequently collected, for "there is no reference to the book earlier than 1570.' ""* As Sir David Lyndsay makes honourable mention of a contemporary poet, it will perhaps be as well to make a brief reference to him here. Bellenden, 1490-1553, probably. In the list of makars or poets mentioned in the prologue to Lyndsay's "Complaynt of the Papyngo" is Bellenden, who appears to have become known as a poet in 1530. It is believed that John Bellenden was born in Haddingtonshire, though the exact place of his birth is not definitely settled. After studying at St. Andrews University he finished his education at the University of Paris, where he took the degree of Doctor of Divinity. When he returned to Scotland after his university career in France he impressed James V. with his learning and literary ability, who selected him to translate the history of Scotland by Hector Boece from the Latin into the vernacular tongue. Bellenden subsequently became Archdeacon of Moray and Canon of Ross, showing much sincerity and devotion for the religion he professed, though it did not deter him from cultivating those more secular literary tastes apparently so natural to him, and with which his name has become specially identified. The translation of Boece he divided into seven books, and apparently anticipated continuing the history to his own time. He introduced into his translation two original poems of considerable length; the one entitled "The Proheme of the Cosmographie," called by Allan Ramsay in the evergreen "Vertue and Vyce"; the other "The Proheme of the History," in which his references to ancient authors manifest a familiar knowledge of classical literature. The translation was so far satisfactory to his royal patron that he induced Bellenden to attempt a similar translation of Livy's "Roman History," but he did not advance beyond the fifth book. Being a strong antagonist of the new heresy, as the Reformation was termed by its opponents, and rather than witness the realisation of its principles in his native land. Bellenden sought an asylum in Rome, where he is said to have died about 1553. His translation of Boece's history speedily became the standard one of its day, and was the source from which Shakespeare * "Three Centuries of Scottish Literature," vol. i., p. 42, H. Walker, M.A. derived his story of Macbeth. In several instances the translator took liberties with the text, but as a literary contribution it is interesting as being one of the earliest specimens of Scottish prose, and illustrative of the power and variety of the Scottish vernacular. In addition to the verses accompanying his translations he wrote a work called "The Banner of Pietie," the subject of which is the Incarnation, and a treatise on the Pythagoric letter. If Bellenden may be judged by the few specimens of his poetry which are still extant, it is fair to assume that if he had devoted himself to poetry with the attention he did to prose he would have made a reputation that would have survived through the changing fortunes of poetical fashion. Even as it is, what he has written is sufficient to show that he had the necessary fire and vivacity without which no poet can achieve greatness. In the words of Dr. Irving, Bellenden's poems "are the effusions of an excursive fancy and a cultivated taste. He has been extolled as a master of every branch of divine and human learning; and it is at least apparent that his literature was such as his contemporaries did not very frequently surpass.' George Buchanan, 1506-1582, was almost the antithesis of Bellenden, both in disposition and modes of thought. Bellenden was a strenuous defender of the G. Buchanan, Catholic Church and the religious institutions 1506-1582. connected therewith, using his utmost efforts to prevent the principles of the Reformation from gaining ascendancy in Scotland. Buchanan, on the other hand, attacked its teaching and institutions in the most daring and outspoken manner, assisted with a keen and incisive logic, which earned for him the title of the Erasmus of the Scottish Reformation among his sympathisers. It is highly probable that his early environment helped to engender that fearlessness which characterised most of his later actions. In his youth he was compelled to struggle with extreme poverty, and, in fact, during his entire career the course of his life was never a smooth one. With a pronounced mental bias for progress, he frequently found himself out of sympathy with the old-world spirit which clung to most of his contemporary schoolmen. He did not even hesitate to revolt against John Major, his former teacher, and certainly one of the greatest of the school* "Lives of the Scottish Poets," Irving, vol. ii., p. 127. men. The mere fact that his old tutor had for some time successfully held the balance between the Reformers and the old Church party, in addition to having gained a European reputation as one of the first philosophers of his age, did not in the least over-awe him. Buchanan, besides being a skilful controversialist, was a bold and original thinker, with a large admixture of stoical philosophy in his nature, thus readily appealing to the progressive minds of his day who had grown weary of stereotyped modes of thought which had lost their vital force. It has been said, and there is much truth in the statement, that no Scotsman of letters was more popular than Buchanan in his own time, and no one so completely forgotten in modern times. As an author, Buchanan wrote chiefly in Latin, a language in which he had attained great distinction, writing it with freshness and vigour, and while in France was Montaigne's Latin tutor. Among George Buchanan's famous pupils might be mentioned the Admirable Crichton, who was under his tuition at St. Salvator's College, St. Andrews, where he graduated M.A. in 1575. As a successful teacher Buchanan had few equals and no superiors in his day. From the few vernacular writings associated with his name, however, it is evident he could handle his native tongue with taste and skill, and he must be granted the credit of having done much for letters and thought in Scotland, placing him among the first scholars of the Renaissance spirit. During his own time his most popular writings were his "History of Scotland," in Latin, and his "Paraphrase of the Psalms of David," the former being his own favourite production. Whatever defects it may have as a historical production, it was instrumental in diffusing a knowledge of Scottish history among Continental scholars, but though the "Paraphrase of the Psalms" was popular also, it was certainly not due to the retention of their original spirit, for the author appears to have translated much of the Hebraic spirit into the classical. From an ardent theologian in his youth, Buchanan became an ardent politician in his old age, carrying that classical spirit into his political speculations so apparent in his "Paraphrase of the Psalms." In politics Buchanan was a strong partizan, but it did not prevent him from being a sagacious observer and practical statesman, as well as one of the most brilliant representatives of the intellectual and religious movements of his age. In his |