- Didactic.
- Tusser.
- Davies Sir J.
- Davors.
- Fletcher G.
- Satiric.
- Lodge.
- Hall.
- Marston.
- Donne.
- Wither.
- Sonnet.
- Spenser.
- Sidney.
- Constable.
- Watson.
- Shakespeare.
- Daniel.
- Drayton.
- Barnes.
- Barnefield.
- Smith.
- Stirling.
- Drummond.
- Pastoral.
- Spenser.
- Chalkhill.
- Marlow.
- Drayton.
- Fairefax.
- Brown.
- Translators.
- Chapman.
- Harrington.
- Fairefax.
- Sylvester.
- Golding.
We have thus, in as short a compass as the nature of the subject would admit, given, we trust, a more accurate view of the poetry of the Shakspearean era, as it existed independent of the Drama, than has hitherto been attempted.
That Shakspeare was an assiduous reader of English Poetry; that he studied with peculiar interest and attention his immediate predecessors and contemporaries, there is abundant reason to conclude from a careful perusal of his volume of miscellaneous poetry, which is modelled on a strict adherence to the taste which prevailed at the opening of his career. The collection, indeed, may, with no impropriety, be classed under the two divisions of Historic and Lyric poetry; the former concluding "Venus and Adonis," and the "Rape of Lucrece," and the latter the "Sonnets," the "Passionate Pilgrim," and the "Lover's Complaint."
The great models of Historic poetry, during the prior portion of Shakspeare's life, were the "Mirror for Magistrates" and "Warner's Albion's England;" but for the mythological story of Venus and
Adonis, though deviating in several important circumstances from its prototype, we are probably indebted to Golding's Ovid; and for the Rape of Lucrece and the structure of the stanza in which it is composed, to the reputation and the metre of the Rosamond of Daniel, printed in 1592. For the Sonnets, he had numerous examples in the productions of Spenser, Sidney, Watson, and Constable; and, through the wide field of amatory lyric composition, excellence of almost every kind, in the form of ode, madrigal, and song, might be traced in the varied effusions of Gascoigne, Greene and Raleigh, Breton and Lodge.
How far our great bard exceeded, or fell beneath, the models which he possessed; in what degree he was independent of their influence, and to what portion of estimation his miscellaneous poetry is justly entitled, will be the subjects of the next chapter, in which we shall venture to assign to these efforts of his early days a higher rank in the scale of excellence than it has hitherto been their fate to obtain.