Of the literary history of “The Battaile of Agincourt” there is little to be said. It was first published in 1627, along with “Nimphidia,” “The Shepheard’s Sirena,” and others of Drayton’s best pieces. It was accompanied by three copies of congratulatory verse, reprinted here, the most remarkable of which is that proceeding from the pen of Ben Jonson, who admits that some had accounted him no friend to Drayton, and whose encomiums are to our apprehension largely flavoured with irony. Drayton, in his “Epistle to Reynolds,” which Jonson must have seen, had compared him to Seneca and Plautus,[1] and Jonson seems to burlesque the compliment by comparing Drayton himself to every poet whom he had ever imitated, until his single person seems an epitome of all Parnassus. The poem and its companions had another edition in 1631, since which time it has been included in every edition of Drayton’s works, but has never till now been published by itself. Even here it is graced with a satellite, the splendid Ballad of Agincourt (“To my Frinds the Camber-Britans and theyr Harp”), originally published in “Poemes lyric and pastoral,” probably about 1605. This stirring strain, always admired, has attracted additional notice in the present day as the metrical prototype of Tennyson’s “Charge of the Light Brigade,” which, in our estimation, fails to rival its model. The lapses of both poets may well be excused on the ground of the difficulty of the metre, but Drayton has the additional apology of the “brave neglect” which so correct a writer as Pope accounted a virtue in Homer, but which Tennyson never had the nerve to permit himself.
Comparisons between modern and ancient poets must necessarily be very imperfect; yet our Drayton might not inaptly be termed the English Theocritus. If not so distinctly superior to every other English pastoral poet as Theocritus was to every other Greek, he yet stands in the front rank. He is utterly free from affectation, the great vice of pastoral poetry; his love of the country is sincere; his perception of natural phenomena exquisite; his shepherds and shepherdesses real swains and lasses; he has happily varied the conventional form of the pastoral by a felicitous lyrical treatment. Paradoxical as it may appear, Drayton was partly enabled to approach Theocritus so nearly by knowing him so imperfectly. Had he been acquainted with him otherwise than through Virgil, he would probably have been unable to refrain from direct imitation; but as matters stand, instead of a poet striving to write as Theocritus wrote in Greek, we have one actually writing as Theocritus would have written in English. But the most remarkable point of contact between Drayton and Theocritus is that both are epical as well as pastoral poets. Two of the Idylls of Theocritus are believed to be fragments of an epic on the exploits of Hercules; and in the enumeration of his lost works, amid others of the same description, mention is made of the “Heroines,” a curious counterpart of Drayton’s “Heroicall Epistles.” Had these works survived, we might not improbably have found Drayton surpassing his prototype in epic as much as he falls below him in pastoral; for the more exquisite art of the Sicilian could hardly have made amends for the lack of that national pride and enthusiastic patriotism which had died out of his age, but which ennobled the strength and upbore the weakness of the author of “The Battaile of Agincourt.”
Richard Garnett.
[1] Pope’s celebrated verse,—
“Drink deep, or taste not the Pierian spring,”—
is “conveyed” from this passage of Drayton.
