(1563-1631)
hile London still crowded to the new "Theatre" in Shoreditch, the first built in England; while Ben Jonson was still soldiering in the Low Countries; while Marlowe was working out the tragedy that was to revolutionize all stage traditions, and Shakespeare was yet but a "looker-on at greatness,"—there came up from Warwickshire a young man of good family who had served as page in a noble house, who had studied possibly at Oxford, and who in the first flush of manhood aspired to a place among those prodigies who made the later Elizabethan period immortal. This was Michael Drayton, whose gentle birth and breeding, education and talents, knowledge of the world and of men, together with a most sweet and lovable disposition, made him at once welcome in the literary Bohemia of the day. He became the "deare and bosom friend" of Beaumont and Fletcher, and his work received unquestioned honor from his illustrious contemporaries.
Michael Drayton
As a child he had demanded of his elders to know what kind of beings poets were, had spent many hours in writing childishly fantastic verses, and had begged of his tutor to make a poet of him. And although he seems to have been poor and to have lived by the gifts of wealthy patrons, he cast in his lot with literature, and cherished no other ambition than that of writing well. His first book, a volume of spiritual poems, or metrical renderings of the Bible, was published in 1590 under the title 'The Harmony of the Church.' It is difficult to see why this commonplace and orthodox performance should have given such umbrage that the Archbishop of Canterbury condemned the entire edition to destruction. Yet this was its fate, with the exception of forty copies which Archbishop Whitgift ordered to be reserved for the ecclesiastical library at Lambeth Palace. Undiscouraged, the poet next produced a cycle of sixty-four sonnets and a collection of pastorals entitled 'Idea: the Shepherd's Garland,' in which under the name "Rowland" he celebrated an early love. It is strange that the intrinsic merit of these verses, and their undoubted popularity, should not have urged Drayton to continue in the same vein. Instead, however, he set about the composition of a series of historical poems which extended over the next twenty-four years, and to which he gave the best energies of his life. Beginning with the epic 'Matilda,' studied from English history, the series was continued by a poem on the 'Wars of the Roses,' afterward enlarged into 'The Barons' Wars.' This was followed by the epic 'Robert, Duke of Normandy.' Destitute of imagination, prolix and tedious, these verses were yet so popular in Drayton's day that in 1612 he began the publication of a poem in thirty books, meant to include the entire chronology and topography of Great Britain, from the earliest times. This was the famous 'Poly-Olbion,' in which, in spite of the inspiring work of his contemporaries, Drayton harked back in spirit to the dreary monotony of the Saxon Chronicle; the detail is so minute, the matter so unimportant, and the absence of discrimination so apparent, that notwithstanding many noticeable beauties of thought and style, it is hard to realize that this poem was a favorite with that brilliant group which had known Shakespeare, and still delighted in Ben Jonson. After issuing eighteen books of 'Poly-Olbion,' his publishers—with whom he was always quarreling, and whom he declared that he "despised and kicked at"—refused to undertake the remaining twelve books of the second part. His friends, however, loyal in their love and praise of him, secured a more complaisant tradesman to bring out the rest of the already famous poem.
Fortunately for his fame, Drayton had in the mean time produced two other volumes of verse, which displayed the real grace and fancifulness of his charming muse. The first of these, 'Poems Lyrical and Pastoral,' included the satire 'The Man in the Moon'; while in the second were printed the 'Ballad of Agincourt,' the most spirited of English martial lyrics, and that delightful fantasy 'Nymphidia, or the Court of Faery,' in which the touch is so light, the fancy so dainty, and the conceit so delicate, that the poem remains immortally fresh and young. Because everybody wrote plays, Drayton turned playwright, and is said to have collaborated with Massinger and Ford. Of his long works, the 'Heroicall Episodes' is perhaps the most readable. His last effort was 'The Muses' Elizium,' published in 1630. A year later he died, and was buried in Westminster, where a monument was erected to him by the Countess of Dorset.
Drayton's place in English literature is with that considerable and not unimportant band who have done somewhat, but whose repute is much more for what they were in their friends' eyes than for what they did. In an age of great intellectual achievement, he yet managed, in spite of the stimulus of kindred minds and his own undoubted gift, to produce little that has sustained the reputation accorded him by his acquaintances. Most of his work lives chiefly to afford pleasing studies for the literary antiquary, to whom the tide of time brings nothing uninteresting. Yet in the art of living, in the unselfish devotion of his powers to his chosen calling, in the graces of affection and the offices of noble friendship, he was so excellent and exemplary that he won and kept the undying regard of the most able men of the most brilliant period of English literature—men who felt a personal and unrequitable loss when he passed away, and who spoke of him always with admiring tenderness.
In person he seems to have been small and dark. He describes himself as of "swart and melancholy face." Yet his talk was most delightful, and a strong proof of his wide popularity appears in the fact that he is quoted not less than one hundred and fifty times in 'England's Parnassus,' published as early as 1600. The tributes of his friends are innumerable, from the "good Rowland" of Barnfield to the "golden-mouthed Drayton, musicall," of Fitz-Geoffrey, the "man of vertuous disposition, honest conversation, and well-preserved carriage" of Meres, or the tender lines of his friend Ben Jonson:—
"Do, pious marble, let thy readers know
What they and what their children owe
To Drayton's name; whose sacred dust
We recommend unto thy trust.
Protect his memory, and preserve his story,
Remain a lasting monument of his glory.
And when thy ruins shall disclaim
To be the treasurer of his name,
His name, that cannot die, shall be
An everlasting monument to thee."
SONNET
Since there's no help, come, let us kiss and part,—
Nay, I have done, you get no more of me;
And I am glad, yea, glad with all my heart,
That thus so clearly I myself can free:
Shake hands forever, cancel all our vows,
And when we meet at any time again,
Be it not seen in either of our brows
That we one jot of former love retain.
Now, at the last gasp of Love's latest breath.
When, his pulse failing, Passion speechless lies,
When Faith is kneeling by his bed of death,
And Innocence is closing up his eyes,—
Now, if thou wouldst, when all have given him over,
From death to life thou mightst him yet recover!
THE BALLAD OF AGINCOURT
Fair stood the wind for France,
When we our sails advance,
Nor now to prove our chance
Longer will tarry;
But putting to the main,
At Kaux, the mouth of Seine,
With all his martial train,
Landed King Harry.
And taking many a fort,
Furnished in warlike sort,
Marched towards Agincourt
In happy hour—
Skirmishing day by day
With those that stopped his way,
Where the French gen'ral lay
With all his power.
Which in his height of pride,
King Henry to deride,
His ransom to provide
To the King sending;
Which he neglects the while,
As from a nation vile,
Yet, with an angry smile,
Their fall portending.
And turning to his men,
Quoth our brave Henry then:—
"Though they to one be ten,
Be not amazed;
Yet have we well begun—
Battles so bravely won
Have ever to the sun
By fame been raised.
"And for myself," quoth he,
"This my full rest shall be;
England ne'er mourn for me,
Nor more esteem me;
Victor I will remain,
Or on this earth lie slain;
Never shall she sustain
Loss to redeem me.
"Poitiers and Cressy tell,
When most their pride did swell,
Under our swords they fell;
No less our skill is
Than when our grandsire great,
Claiming the regal seat,
By many a warlike feat
Lopped the French lilies."
The Duke of York so dread
The eager vaward led;
With the main Henry sped,
Amongst his henchmen.
Excester had the rear—
A braver man not there:
O Lord! how hot they were
On the false Frenchmen!
They now to fight are gone;
Armor on armor shone;
Drum now to drum did groan—
To hear was wonder;
That with the cries they make
The very earth did shake;
Trumpet to trumpet spake,
Thunder to thunder.
Well it thine age became,
O noble Erpingham!
Which did the signal aim
To our hid forces;
When from a meadow by,
Like a storm suddenly,
The English archery
Struck the French horses,
With Spanish yew so strong,
Arrows a cloth-yard long,
That like to serpents stung,
Piercing the weather;
None from his fellow starts,
But playing manly parts,
And like true English hearts,
Stuck close together.
When down their bows they threw,
And forth their bilbows drew,
And on the French they flew,
Not one was tardy;
Arms were from shoulders sent;
Scalps to the teeth were rent;
Down the French peasants went;—
Our men were hardy.
This while our noble king,
His broadsword brandishing,
Down the French host did ding,
As to o'erwhelm it;
And many a deep wound lent,
His arm with blood besprent,
And many a cruel dent
Bruisèd his helmet.
Glo'ster, that duke so good,
Next of the royal blood,
For famous England stood,
With his brave brother—
Clarence, in steel so bright,
Though but a maiden knight,
Yet in that furious fight
Scarce such another.
Warwick in blood did wade;
Oxford the foe invade,
And cruel slaughter made,
Still as they ran up.
Suffolk his axe did ply;
Beaumont and Willoughby
Bare them right doughtily,
Ferrers and Fanhope.
Upon Saint Crispin's day
Fought was this noble fray,
Which fame did not delay
To England to carry;
Oh, when shall Englishmen
With such acts fill a pen,
Or England breed again
Such a King Harry?
QUEEN MAB'S EXCURSION
From 'Nymphidia, the Court of Faery'
Her chariot ready straight is made;
Each thing therein is fitting laid,
That she by nothing might be stay'd,
For naught must her be letting:
Four nimble gnats the horses were,
The harnesses of gossamer,
Fly Cranion, her charioteer,
Upon the coach-box getting.
Her chariot of a snail's fine shell,
Which for the colors did excel,—
The fair Queen Mab becoming well,
So lively was the limning;
The seat the soft wool of the bee.
The cover (gallantly to see)
The wing of a py'd butterflee,—
I trow, 'twas simple trimming.
The wheels composed of crickets' bones,
And daintily made for the nonce;
For fear of rattling on the stones,
With thistle-down they shod it:
For all her maidens much did fear,
If Oberon had chanced to hear
That Mab his queen should have been there,
He would not have abode it.
She mounts her chariot with a trice,
Nor would she stay for no advice,
Until her maids, that were so nice,
To wait on her were fitted,
But ran away herself alone;
Which when they heard, there was not one
But hasted after to be gone,
As she had been diswitted.
Hop, and Mop, and Drap so clear,
Pip, and Trip, and Skip, that were
To Mab their sovereign dear,
Her special maids of honor;
Fib, and Tib, and Pinck, and Pin,
Tick, and Quick, and Jill, and Jin,
Tit, and Nit, and Wap, and Win,
The train that wait upon her.
Upon a grasshopper they got,
And what with amble and with trot,
For hedge nor ditch they sparèd not,
But after her they hie them.
A cobweb over them they throw,
To shield the wind if it should blow;
Themselves they wisely could bestow,
Lest any should espy them.