Cuddie, iv.; iii.

THE NON-DRAMATIC POETS OF THE ELIZABETHAN AGE EDMUND SPENSER (1552-1599) (Cuddie) "Piers, I have pipéd erst so long with pain

They han the pleasure, I a slender prize: I beat the bush, the birds to them do fly: What good thereof to Cuddie can arise? (Piers) Cuddie, the praise is better than the price, The glory eke much greater than the gain:..." Shepherd's Calendar, October

They han the pleasure, I a slender prize: I beat the bush, the birds to them do fly: What good thereof to Cuddie can arise? (Piers) Cuddie, the praise is better than the price, The glory eke much greater than the gain:..." Shepherd's Calendar, October

He describes the person who gave the title to the novelRobert Paterson, of the parish of Closeburn, in Dumfriesshireand introduces a good deal of historical knowledge, but takes exception to many of the circumstances mentioned in the story, at the same time quoting some of the best passages about Cuddie Headrigg and his mother.

She marries Cuddie Headrigg.

The 'February' is a disputation between youth and age in the persons of Cuddie and Thenot.

Willie and Peregot meeting on the green lay wagers in orthodox fashion, and, appointing Cuddie judge, begin their singing match.

Many a reader of the anonymous quarto of 1579 must have joined in Cuddie's exclamation: Sicker, sike a roundel never heard I none!

The 'October' eclogue belongs to the stanzaic group, and consists of a dialogue on the subject of poetry between the shepherds Piers and Cuddie.

In Cuddie we have a poet for whom the prize is more than the praise, whose inspiration is cramped because of the indifference of a worldly court and society.

When Cuddie, acknowledging his own unworthiness, adds:

And throughout this high discourse the homely names of Piers and Cuddie seem somehow more appropriate, or at least touch us more nearly, than Mantuan's Sylvanus and Candidus, as if, in spite of all Spenser owes to foreign models, he were yet conscious of a latent power of simple native inspiration, capable, when once fully awakened, of standing up naked and unshamed in the presence of Italy and Greece.

The last poem is a fragment 'concerning old age,' which connects itself by its theme with the February eclogue, though the form is stanzaic.[109] Again we find mention of Cuddy, a name evidently assumed by the author, though whether he can be identified with the Cuddie of the Calender it is impossible to say.

With the exception of one or two of Browne's, these fourteen eclogues all deal with the personal relation of the friends who disguise themselves respectively, Browne as Willy, Wither as Roget (a name later exchanged for that of Philarete), Brooke as Cuddie, and Davies as Wernock.

He was the brother of the Christopher Brooke who appears in Wither's eclogues under the pastoral name of Cuddie.

HEADRIGG, CUDDIE (i. e. Cuthbert), a ploughman in "Old Mortality.