[428a] See p. 103 supra.
[428b] All Watson’s sonnets are reprinted by Mr. Arber in Watson’s Poems, 1895.
[429a] In a preface to Newman’s first edition of Astrophel and Stella the editor, Thomas Nash, in a burst of exultation over what he deemed the surpassing merits of Sidney’s sonnets, exclaimed: ‘Put out your rushlights, you poets and rhymers! and bequeath your crazed quatorzains to the chandlers! for lo, here he cometh that hath broken your legs.’ But the effect of Sidney’s work was just the opposite to that which Nash anticipated. It gave the sonnet in England a vogue that it never enjoyed before or since.
[429b] With collections of sonnets of the first kind are occasionally interspersed sonnets of the second or third class, but I classify each sonnet-collection according to its predominant characteristic.
[429c] Daniel reprinted all but nine of the sonnets that had been unwarrantably appended to Sidney’s Astrophel. These nine he permanently dropped.
[431] It is reprinted in Arber’s Garner, ii. 225-64.
[432a] Arber’s Garner, v. 333-486.
[432b] Ben Jonson developed the same conceit in his masque, The Hue and Cry after Cupid, 1608.
[433a] Dekker’s well-known song, ‘Oh, sweet content,’ in his play of ‘Patient Grisselde’ (1599), echoes this sonnet of Barnes.
[433b] Arber’s Garner, viii. 413-52.