Words still with my increasing sorrows grow: To thee the heart that's thine, and so I end." Daniel's In the next reign Daniel wrote also a Tragedy of Cleopatra. At the close of Elizabeth's reign Daniel began writing "Epistles" in the manner of Horace, the first three being addressed to Sir Thomas Egerton, the Lord Henry Howard, and the Countess of Cumberland. He published also, with a dedication to Fulke Greville, "Musophilus: containing a Gene " "Muso ral defence of Learning." This is in dialogue philus. between Philocosmus-who dissuades from an ungainful art, and counsels work that looks to more substantial profits than "that idle smoke of praise" — and Musophilus, who asks: "What good is like to this, "To do worthy the writing, and to write Worthy the reading, and the world's delight?" In this poem, except the first stanza and another here or there which is in octave rhyme, the main body of the verse consists of six-lined stanzas corresponding to the measure of the octave rhyme without its final couplet. Thus in the lines on critics who misuse their learning for depreciation of the writings of their fellow-labourers, there is one stanza of octave rhyme followed by six-lined stanzas: "Yet why should civil learning seek to wound And mangle her own members with despite ? The life of wit, to seem to know aright; As if themselves had fortunately found Some stand from off the earth, beyond our sight, Whence overlooking all as from above, Their grace is, not to work but to reprove. "But how came they placed in so high degree Who hath admitted them only to be Free denizens of skill, to judge the best, There is no power in critical trifling to stay the energies of honest thought. Our country, Daniel argues, great in deeds, shall be great also in utterance of the spirit that produces them : "Or should we careless come behind the rest Is able greater wonders to bring forth, When all that ever hotter spirits expressed Comes bettered by the patience of the North." Daniel looks boldly to a future that is now our present, when our English literature spreads its wealth of thought through a new world. "And who," he asks, "And who, in time, knows whither we may vent The treasure of our Tongue? to what strange shores This gain of our best glory shall be sent To enrich unknowing nations with our stores? What worlds in the yet unformed Occident May come refined with the accents that are ours?” Next he looks to the relation of thought to deed in all true literature : "Or who can tell for what great Work in hand The greatness of our style is now ordained? What powers it shall bring in, what spirits command ? What mischief it may powerfully withstand, And what fair ends may thereby be attained?" So worthily true poets understood their art when Shake speare could achieve its highest aims. Daniel published also a prose Defence of Rhime" in the "A Defence of Rhime." Thomas Campion. first year of James I., as answer to a paper of objections to it published by Thomas Campion in the last year of Elizabeth. Thomas Campion-nearly a generation younger than the Edmund Campion who was executed as a Jesuit in December, 1581--may or may not have been of Edmund's kin; his family, his birthplace, and the year of his birth, are not known. He studied at Cambridge, and was admitted in 1586 to Gray's Inn. Taking medicine for his profession, he graduated as M.D., and practised in London. In 1593 young Dr. Thomas Campion was known for his verse, though he had not yet published anything. George Peele, in "The Honour of the Garter," addresses him as one "that richly clothes conceit with well-made words." Thomas Campion was a good Latin poet, and in 1595, when his age may have been thirty, his first published work was a collection of Latin epigrams, to which many more were added afterwards in an edition published twenty-four years later. We learn from his epigrams that Campion was very thin, and that Barnabe Barnes, William Percy, and Charles Fitzgeoffrey were among his friends and fellow-rhymers. In 1601 Thomas Campion published "A Book of Airs," followed by more such books in the reign of James. Dr. Campion was a poet and musician, who fitted his own songs to his own music. This first "Book of Airs" contained songs of his own to some of which the music was written by himself, and to others by Philip Rosseter. The "Airs," before they were collected, had been written for private use among his friends, and had been copied and recopied until errors were multiplied. Other men also claimed pieces of his work as theirs. England under Elizabeth was full of song. Orchestral music was developed in the reign of James, but the reign of Elizabeth was for the musicians, almost exclusively, an age of song. Thomas Campion, in the address "To the Reader" of his A Book of Airs." "Book of Airs," compared airs in music to epigrams in poetry. They should not be clogged with long preludes, or have rests for necessity of the fugue, but give only the naked air, without guide or prop or colour but its own. "The lyric poets," he says, "among the Greeks and Latins were first inventors of Airs, tying themselves strictly to the number and value of their syllables. of which sort you shall find here only one song in Sapphic verse; the rest are after the fashion of the time, ear-pleasing rhymes without art." They are rhymes by a musician who wrote with an instinctive sense, or sometimes a formed knowledge, of the airs to which they would be set, and the Sapphics at the end of the collection are much less successful than the rhymes. In the rhymes there is full union of verse with song. Take this Air, for example "Follow your saint, follow with accents sweet! Haste you, sad notes, fall at her flying feet! And tell the ravisher of my soul I perish for her love: But if she scorn my never ceasing pain, Then burst with sighing in her sight and ne'er return again ! "All that I sung still to her praise did tend; Still she was first, still she my song did end : The music that her echo is, and beauty's sympathy. Then let my notes pursue her scornful flight: It shall suffice that they were breathed and died for her delight!" Campion's Sapphics, of course, show the unfitness of our language for verse founded on the Latin rules of quantity. He invokes the Father, Son, and Holy Spirit, seeking light and purity Rescue, O rescue me from earthly darkness! Banish hence all these elemental objects! Guide my soul that thirsts to the lively fountain "Cleanse my soul, O God! my bespotted image, O Father of Grace. "But when once Thy beams do remove my darkness; And record, with more than an earthly voice, Thy The spirit of the Latin lyrical poets often breathes through Thomas Campion's rhymed English songs, but in such Sapphics as these there is the form alone, dead and disfigured. Horace himself, alive again as Thomas Campion, could not have written English Sapphics. "Observations in the Art of Eng lish Poesie. Yet Campion, in 1602, attacked rhyme in a little book. printed at London by Richard Field for Andrew Wise, entitled "Observations in the Art of English Poesie. By Thomas Campion. Wherein it is demonstratively prooued, and by example confirmed, that the English toong will receive eight seuerall kinds of numbers, proper to it selfe, which are in this booke set forth, and were neuer before this time by any man attempted." Daniel replied to this book immediately with his prose pamphlet, published in the same year and reprinted in 1603, "A Defence of Rhime against a Pamphlet entitled Observations in the Art of English Poesy. Wherein is demonstratively proved that Rhime is the fittest Harmony of Words that consorts with our language." Campion dedicated his argument to the still living author of "Gorboduc," Thomas Sackville, Lord Buckhurst; and Daniel dedicated his reply to William Herbert, Earl of Pembroke. Campion, having rejected rhyme as a corruption derived from the barbarians of Italy, recognises dactyl, trochee, and iambic, as the three feet that distinguish Greek and Latin verse; spondee, tribrach, and |