Collected Works of Michael Drayton
Page 1
Michael Drayton
(1563-1631)
Contents
The Life and Poetry of Michael Drayton
BRIEF INTRODUCTION: MICHAEL DRAYTON
The Poetry Collections
THE HARMONY OF THE CHURCH
IDEA, THE SHEPHERD’S GARLAND
THE LEGEND OF PIERS GAVESTON
IDEA’S MIRROR
MATILDA
ENDIMION AND PHOEBE
MORTIMERIADOS
THE LEGEND OF ROBERT, DUKE OF NORMANDY
ENGLAND’S HEROICAL EPISTLES
THE BARONS’ WARS IN THE REIGN OF EDWARD II
TO THE MAIESTIE OF KING JAMES
THE OWL
A PAEAN TRIUMPHALL
THE MAN IN THE MOON
BALLAD OF AGINCOURT
POLY-OLBION
IDEA, 1619
THE BATTLE OF AGINCOURT
NIMPHIDIA, THE COURT OF FAERY
THE QUEST OF CINTHIA
THE SHEPHERD’S SIRENA
ELEGIES UPON SUNDRY OCCASIONS
THE MOON CALF
MOSES’ BIRTH AND MIRACLES
THE MUSES’ ELIZIUM
DAVID AND GOLIAH
THE SHORTER POEMS
The Poems
LIST OF POEMS IN CHRONOLOGICAL ORDER
LIST OF POEMS IN ALPHABETICAL ORDER
The Play
SIR JOHN OLDCASTLE
The Biography
MICHAEL DRAYTON by Cyril Brett
The Delphi Classics Catalogue
© Delphi Classics 2015
Version 1
Michael Drayton
By Delphi Classics, 2015
COPYRIGHT
Michael Drayton - Delphi Poets Series
First published in the United Kingdom in 2015 by Delphi Classics.
© Delphi Classics, 2015.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of the publisher, nor be otherwise circulated in any form other than that in which it is published.
Delphi Classics
is an imprint of
Delphi Publishing Ltd
Hastings, East Sussex
United Kingdom
Contact: sales@delphiclassics.com
www.delphiclassics.com
Interested in Elizabethan poetry?
Then you’ll love these eBooks…
For the first time in publishing history, Delphi Classics is proud to present the complete works of these writers, with beautiful illustrations and the usual bonus material.
www.delphiclassics.com
NOTE
When reading poetry on an eReader, it is advisable to use a small font size and landscape mode, which will allow the lines of poetry to display correctly.
The Life and Poetry of Michael Drayton
Drayton was born at Chapel Cottage in Hartshill Green, near Nuneaton, Warwickshire, in 1563.
Another image of the birthplace, which no longer stands
BRIEF INTRODUCTION: MICHAEL DRAYTON
by Arthur Henry Bullen
MICHAEL DRAYTON (1563–1631) was born at Hartshill, near Atherstone, Warwickshire, in 1563. He states in his epistle to Henry Reynolds that he had been a page, and it is not improbable that he was attached to the household of Sir Henry Goodere of Powlesworth; for in a dedicatory address prefixed to one of his ‘Heroical Epistles’ (Mary, the French queen, to Charles Brandon) he acknowledges that he was indebted to Sir Henry Goodere for the ‘most part’ of his education. Aubrey says that he was the son of a butcher; but Aubrey also describes Shakespeare’s father as a butcher. We have it on Drayton’s own authority (‘The Owle,’ 1604) that he was ‘nobly bred’ and ‘well ally’d.’ There is no evidence to show whether he was a member of either university. His earliest work, ‘The Harmonie of the Church,’ a metrical rendering of portions of the scriptures, was published in 1591. Prefixed is a dedicatory epistle, dated from London, 10 Feb. 1590–1, ‘To the godly and vertuous Lady, the Lady Jane Deuoreux of Merivale,’ in which he speaks of the ‘bountiful hospitality’ that he had received from his patroness. This book, which had been entered in the ‘Stationers’ Register,’ 1 Feb. 1590–1, under the title of ‘The Triumphes of the Churche,’ for some unknown reason gave offence and was condemned to be destroyed; but Archbishop Whitgift ordered that forty copies should be preserved at Lambeth Palace. Only one copy, belonging to the British Museum, is now known to exist. ‘A Heavenly Harmonie of Spirituall Songs and Holy Hymnes,’ 1610 (unique), is the suppressed book with a different title-page. In 1593 appeared ‘Idea. The Shepheards Garland. Fashioned in nine Eglogs. Rowlands Sacrifice to the Nine Muses.’ These eclogues, which were written on the model of the ‘Shepherd’s Calendar,’ afterwards underwent considerable revision. There was room for improvement, the diction being frequently harsh and the versification inharmonious, though much of the lyrical part is excellent. In the fourth eclogue there is introduced an elegy, which was afterwards completely rewritten, on Sir Philip Sidney; and it is probably to this elegy (not, as some critics have supposed, to a lost poem) that N[athaniel?] B[axter?], in speaking of Sidney’s death, makes reference in ‘Ourania,’ 1606:
O noble Drayton! well didst thou rehearse
Our damages in dryrie sable verse.
In 1593 Drayton published the first of his historical poems, ‘The Legend of Piers Gaveston,’ 4to, which was followed in 1594 by ‘Matilda, the faire and chaste Daughter of the Lord Robert Fitzwater.’ Both poems, after revision, were reprinted in 1596, with the addition of ‘The Tragicall Legend of Robert, Duke of Normandie,’ the volume being dedicated to Lucy, countess of Bedford. After the dedicatory epistle comes a sonnet to Lady Anne Harington, wife of Sir John Harington. There is also an address to the reader, in which Drayton states that ‘Matilda’ had been ‘kept from printing’ because the stationer ‘meant to join them together in one little volume.’ The statement is curious, for the 1594 edition of ‘Matilda’ is dedicated to Lucy, daughter of Sir John Harington, afterwards Countess of Bedford, and must have been published with Drayton’s knowledge. A poem in rhymed heroics on the subject of ‘Endymion and Phœbe,’ n.d., 4to, entered in the ‘Stationers’ Register’ 12. April 1594, was doubtless published in that year. Lodge quotes from it in ‘A Fig for Momus,’ 1595. There are some interesting allusions to Spenser, Daniel, and Lodge. It was not reprinted, but portions were incorporated in ‘The Man in the Moone,’ and the dedicatory sonnet to the Countess of Bedford was included in the 1605 collection of Drayton’s poems.
Before leaving Warwickshire Drayton paid his addresses to a lady who was a native of Coventry and who lived near the river Anker. In her honour he published, in 1594, a series of fifty-one sonnets under the title of ‘Ideas Mirrovr: Amours in Quatorzains,’ 4to. Drayton attached no great value to the collection, for twenty-two of the sonnets printed in ‘Ideas Mirrovr’ were never reprinted. The lady (celebrated under the name ‘Idea’) to whom the sonnets were addressed did not become the poet’s wife, but he continued for many years to sing her praises with exemplary constancy. In the 1605 collection of his poems he has a ‘Hymn to his Lady’s Birth-place,’ which is written in a strain of effusive gallantry. The magnificent sonnet, ‘Since there’s no help, come let us kiss and part,’ first appeared in the 1619 folio. An epistle, ‘Of his Lady’s not coming to town,’ first published in the 1627 collection, shows that his devotion, after thirty years’ service, was unchanged. All his biographers agree that he lived and died a bachelor; but it is to be noticed that Edmond Gayton (not a very sure guide), in ‘Festivous Notes on Don Quixote,’ 1654, , states that he
was married.
The first poem planned on a large scale is ‘Mortimeriados,’ published in 1596, and republished with many alterations in 1603. under the title of ‘The Barrons Wars.’ To the revised edition Drayton prefixed an address to the reader, in which he states that, ‘as at first the dignity of the thing was the motive of the dooing, so the cause of this my second greater labour was the insufficient handling of the first.’ Originally the poem had been written in seven-line stanzas, but in the second edition the ‘ottava rima’ was substituted, ‘of all other the most complete and best proportioned.’ Drayton was constantly engaged in revising his works, and ‘The Barons’ Wars’ saw many changes before it reached its final shape. ‘Mortimeriados’ was dedicated, in nine seven-line stanzas, to the Countess of Bedford; but when, in 1603, Drayton reissued the poem, he withdrew the dedication and cancelled various references to his patroness. In the eighth eclogue of ‘Poemes Lyrick and Pastorall,’ n.d. (1605?), he inveighs against a certain Selena, who had temporarily befriended ‘faithfull Rowland,’ but had afterwards transferred her patronage to ‘deceitfull Cerberon.’ Rowland is the pastoral name which Drayton had adopted for himself; Cerberon’s personality is matter for conjecture; but it is more than probable that Selena was intended for the Countess of Bedford. The invective was cancelled in later editions.
‘England’s Heroicall Epistles,’ 1597, his next work of importance, is the most readable of Drayton’s longer works. The book was modelled on Ovid’s ‘Heroides,’ and Drayton has shown himself to be no unworthy pupil of the skilful Roman artist. A second edition appeared in 1598; a third, with the addition of the sonnets, in 1599; a fourth in 1602, again with the sonnets; and a fifth, with ‘The Barons’ Wars,’ in 1603. Historical notes are appended to each epistle; and to each pair of epistles (with a few exceptions) Drayton prefixed a dedication to some distinguished patron. In the dedication to the Earl of Bedford he mentions the obligations under which he stood to the family of the Haringtons, and states that he had been commended to the patronage of Sir John Harington’s daughter, Lucy, countess of Bedford, by ‘ that learned and accomplished gentleman Sir Henry Goodere (not long since deceased), whose I was whilst hee was, whose patience pleased to beare with the imperfections of my heedles and unstayed youth.’
From Henslowe’s ‘Diary’ it appears that Drayton was writing for the stage between 1597 and 1602. He wrote few plays single-handed, but worked with Henry Chettle [q. v.], Thomas Dekker [q. v.], and others. In December 1597 he was engaged with Munday on a lost play called ‘Mother Redcap.’ On 20 Jan. 1598–9 he received three pounds ‘in earneste of his playe called Wm. Longberd’ (Diary, ed. Collier, ), and on the following day he acknowledged the receipt of ‘forty shillinges of Mr. Phillip Hinslowe, in part of vili, for the playe of Willm. Longsword’ (ib. ). Probably both entries refer to the same lost play. In 1599 he wrote the ‘First Part of Sir John Oldcastle,’ with Wilson, Hathway, and Munday; and in January 1599–1600 he was engaged with the same authors on ‘Owen Tudor.’ There was a ‘Second Part of Sir John Oldcastle;’ but it is not clear whether it was written by the four playwrights or whether Drayton was solely responsible. ‘The First Part of the true and honorable History of the Life of Sir John Oldcastle’ was published in 1600 in a corrupt form. Some copies fraudulently bear Shakespeare’s name on the title-page. In May 1602 Drayton wrote, with Dekker, Webster, Middleton, and Munday, a play which Henslowe calls ‘too harpes’ (‘Two Harpies’). The anonymous ‘Merry Divel of Edmonton,’ 1608, has been attributed to Drayton on the authority of Coxeter, but no evidence has been adduced in support of Drayton’s claim.
There is a tradition that Drayton was employed by Queen Elizabeth on a diplomatic mission in Scotland. In an obscure passage of the satirical poem ‘The Owle,’ 1604, he states that he went in search of preferment ‘unto the happie North,’ and ‘there arryv’d, disgrace was all my gayne.’ On the accession of James he published ‘To the majestie of King James. A gratulatorie Poem,’ 1603, 4to, and in the following year gave a further proof of his loyalty in ‘A Pæan Triumphall: composed for the societie of the Goldsmiths of London congratulating his Highnes Magnificent Entring the Citie,’ 1604. But his hopes of gaining advancement from James were rudely disappointed; his compliments met with indifference and contempt. Many years afterwards (1627) in an epistle to his friend George Sandys he refers to the ill-treatment that he had experienced. Chettle, in ‘England’s Mourning Garment,’ n.d. (1603), hints that he had been too hasty in paying his addresses to the new sovereign:
Think ’twas a fault to have thy Verses seene
Praising the King ere they had mournd the Queen.
In 1604 appeared ‘The Owle,’ an allegorical poem, in imitation of Spenser’s ‘Mother Hubbard’s Tale,’ on the neglect shown to learning. If Drayton had not expressly stated that it was written earlier than the ‘Gratulatorie Poem,’ it would be reasonable to assume that it was inspired by indignation at the treatment that he had received from the king. ‘The Owle’ was dedicated to the young Sir Walter Aston [q. v.], to whom he also dedicated the 1603 edition of ‘The Barrons Wars’ and ‘Moyses in a Map of his Miracles,’ 1604. From a passage in the last-named poem it has been hastily inferred that Drayton had witnessed at Dover the destruction of the Spanish armada. At his investiture as knight of the Bath in 1603 Sir Walter Aston made Drayton one of his esquires (Douglas, Peerage, ed. Wood, i. 127), a title which Drayton afterwards used somewhat ostentatiously. In ‘Poems: by Michaell Draiton Esquire,’ 1605, the word ‘Esquire’ is made to occupy a line by itself. About 1605 appeared the undated ‘Poemes Lyrick and Pastorall: Odes, Eglogs, the Man in the Moone,’ 8vo, with a dedication to Sir Walter Aston. The volume contains some of Drayton’s choicest work. Here first appeared the famous ‘Ballad of Agincourt,’ which is unquestionably the most spirited of English martial lyrics; the fine ode ‘To the Virginian Voyage,’ the charming canzonet ‘To his coy Love,’ the address ‘To Cupid,’ and other delightful poems. Two of the odes (‘Sing we the Rose’ and the address to John Savage) were never reprinted; the rest of the volume, after revision, was included in the 1619 folio. The collection of ‘Poems,’ 1605, 8vo, with commendatory verses by Thomas Greene, Sir John Beaumont, Sir William Alexander, &c., embraces ‘The Barons’ Wars,’ ‘England’s Heroical Epistles,’ ‘Idea,’ and the ‘Legends.’ Other editions appeared in 1608, n. d., 1610, and 1613. The edition of 1610 has at the end an additional leaf containing a commendatory sonnet by Selden. In 1607 Drayton published another of his legends, ‘The Legend of Great Cromwell,’ which was republished with alterations in 1609, and was included in the 1610 ‘Mirour for Magistrates.’
The first eighteen songs of Drayton’s longest and most famous poem, ‘Poly-olbion, or a Chorographicall Description of all the Tracts, Rivers, Mountaines, Forests, and other Parts … of Great Britaine,’ fol., appeared in 1613, with an engraved as well as a printed title-page, a portrait by Hole of Prince Henry, to whom the work was dedicated, and eighteen maps. To each song are appended copious annotations, full of antiquarian learning, by John Selden. A second part, containing songs xix–xxx, was written later, and the complete poem (with commendatory verses before the second part by William Browne, George Wither, and John Reynolds) was published in 1622. Selden’s annotations are confined to the first part. It is not surprising that Drayton experienced some difficulty in finding a publisher for so voluminous a work. In a letter to William Drummond of Hawthornden, dated 14 April 1619, he writes: ‘I thank you, my dear, sweet Drummond, for your good opinion of “Poly-Olbion.” I have done twelve books more; … but it lieth by me, for the booksellers and I are in terms. They are a company of base knaves, whom I both scorn and kick at.’ The nature of the subject made it impossible for the poem to be free from monotony. The ‘Poly-Olbion’ is a truly great work, stored with learning of wide variety, and abounding in passages of rare beauty. It was the labour of many years, for so early as 1598 Francis Meres reported that ‘Michael Drayton is now in penning in Engli
sh verse a poem called “Pola-olbion.”’ Prince Henry, to whom it was dedicated, held Drayton in esteem; for it appears from Sir David Murray’s account of the privy purse expenses of the prince that Drayton was an annuitant to the expense of 10l. a year.
In 1619 Drayton collected into a small folio all the poems (with the exception of the ‘Poly-Olbion’) that he wished to preserve, and added some new lyrics. The collection consists of seven parts, each with a distinct title-page dated 1619, but the pagination is continuous. In some copies the general title-page is undated; in others it bears date 1620. At the back of the general title-page is a portrait of Drayton, engraved by Hole, and round the portrait is inscribed ‘Effigies Michaelis Drayton, Armigeri, Poetæ Clariss. Ætat. suæ L. A Chr. ciɔ. dc. xiii.’ A fresh volume of miscellaneous poems, ‘The Battaile of Agincourt,’ &c., appeared in 1627, sm. fol. Here was published for the first time the dainty and inimitable fairy poem, ‘Nimphidia.’ ‘The Shepheards Sirena’ and ‘The Quest of Cynthia’ are agreeably written, though the latter poem is far too long. ‘The Battaile of Agincourt’ (not to be confused with ‘The Ballad of Agincourt’) and ‘The Miseries of Queen Margarite’ contain some spirited passages, but tax the reader’s patience severely. Among the ‘elegies’ is the interesting ‘Epistle to Henry Reynolds,’ in which Drayton delivers his views on the merits of various contemporary English poets. It may be doubted whether Drayton had any great liking for the drama; his praise of Shakespeare is tame in comparison with his enthusiasm for Spenser. One epistle is addressed to William Browne of Tavistock, and another to George Sandys, the translator of Ovid’s ‘Metamorphoses;’ both are written in a tone of sadness. ‘An Elegie vpon the death of the Lady Penelope Clifton’ and ‘Vpon the three Sonnes of the Lord Sheffield, drowned in Humber’ had previously appeared in Henry Fitzgeoffrey’s ‘Certayn Elegies,’ 1617. At the beginning of the volume are commendatory verses by I. Vaughan, John Reynolds, and the fine ‘Vision of Ben Jonson on the Muses of his friend, M. Drayton,’ which opens with the question whether he was a friend to Drayton. When he visited William Drummond of Hawthornden in 1619, Jonson stated that ‘Drayton feared him; and he [Jonson] esteemed not of him [Drayton],’ spoke disparagingly of the ‘Poly-Olbion,’ and had not a word to say in Drayton’s praise.