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The Verse Epistles Op Samuel Daniel

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The Verse Epistles Op Samuel Daniel THE VERSE EPISTLES OP SAMUEL DANIEL: A CRITICAL EDITION DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree.Doctor of Philosophy in the Graduate School of The Ohio State University By ANN LOUISE HENTZ, B. A., M. A. The Ohio State University 1956 Approved by: ■ • - Adviser/L ser/ / Department of,if/Eng li Ah A CKNOWLEDGMENTS I wish to thank the Huntington Library and the Public Record Office for granting me permission to reproduce my copy-te:xt3 and collated material of A Letter from Octauia, Certaine Epistles, and To lame 3 Montagu. I am also in­ debted to the staffs of the University of Pennsylvania Library and the Ohio State University Library for their cooper a t i on. I am grateful to Professor Edwin Robbins and Professor Francis Utley for reading this dissertation and for their helpful advice and suggestions. Finally, I would like to acknowledge my indebtedness to Professor Ruth Hughey, my adviser, whose profound knowledge, dedicated scholarship, and sympathetic teaching have inspired me to a greater understanding and love of the Renaissance, and without whom this dissertation would never have been written. ii TABLE OP CONTENTS Abbreviations Used in this W o r k ....................... iv Introduction I Renaissance Verse Epistles ...........1 II Daniel’s Life and Work............. 33 III A Letter frotn Qctauia .............................. 69 IV Certaine Epistle a ............ 86 V To Iaines ulontnp.'u Bishop of Wincheste r .......... 128 VI A Note on the Text ...................... 133 A Letter from Qctaui a .................. 135 Certaine Epistles ...... ......................... 160 To lames Montagu Bishop _of Wincheste r ...................191 V a r i a n t s .................................................* .196 Explanatory Notes ................................ 213 Bibliographical Descriptions ..................... 299 List of Works Cited .................................... 312 iii Abbreviations Used in this Work DUB; Dictionary of National Biography, ed. Sir Leslie Stephen and Sir Sidney Lee. London; Oxford Univer sity Press, 1949-1950. 22 vols. Grosar t; The Complete Works in Ver ae and Pr c ao of Samue 1 Daniel, ed. Alexander B. Groaart. London, 1885- 1896.' 5 vols. Sprague; Samuel Daniel, Poema and A Defence of Rytne, ed. Arthur Colby Sprague. Cambr idge ,~ Ma"s s .; Harvard Univeraity Press, 1930; reissued London; Routledge & Keg an Paul, 19 50. Stationers* Register: Transcript of the Register of the Company of Stationer a of London, 1554-1640, ed. Edward Arber. Tondon, 187 5-1894. 5 volsT STC; A.W. Pollard and R.G. Redgrave, A Short-tltle Catalogue of Books Printed in England, Scotland, & Ireland, And of Eng1iah Books Pr1nted Abroad, 1475- 1640. London; The BTBTlograpLical Society, i926; reprinted 1950. iv INTRODUCTION I Samuel Daniel’s verae epistles fall into three chronological groups. A Letter from Octauia (1599) is a dramatic epistle modeled upon Ovid’s Heroidea, a type which finds its most prominent English example in Drayton’s Englands HeroleaII Epistle s » A Letter from Octauia wa s followed in 1603 by Daniel’s Certaine Epistles "after the manner of Horace,"^ a group of six poems, moralizing, elevated, didactic, written to distinguished personages of the day. The last group Is composed of one poem written to James Montagu, Bishop of Winchester, on his "seacret- wasting Sicknes," a poem evidently written late in Daniel’s life, and not published during his lifetime. Although these poems show many striking differences, they have one thing in common: they were all considered I — — ■ • i . w i l l . ..m. I. ....... ......... «... i i.ai . «.u . h n » . — .. , ......... 1 Some copies of the 1603 folio A Panegyrike Congratulatory delivered to the Kings most excellent majesty atBurlelgh TTarr IngTori' "in 'Rutland shir e . Also certaine Epl sties. ~Wl th a Defence of Ryme heeretofore written, and now pubTished~~~by the Author have a second tit'ie°’page:m ^ srCer talne Epl sties.. after the manner of Horace, written to divers noble Person­ ages. 1603." Cf. John Payne Collier, A Bibliographical and Critical Account of the Rarest Books in the English Language, iTTNew Y or k7T866") VlTie^gTv ; Colli'lgF7~T~C¥tiTogue Bibliographical and Critical, of Early English LTterature; Forming a Portion of the Library at Bridgewater House (London^ r§3T)'7 pp^ 8()^82; Thomas Corser, Collectanea Anglo Poetica (Chetham Society, 1875), Part V, pp. 40-41; Groaart Ij 190; A Catalogue of the Printed Books, Manuscripts, AutograpK”Tlietters~ and !Sngravings, Collected by Henry Huth, II (London, 1880), 385. ' 1 2 verse epistles, Now, what did the poets and critics of the Renaissance consider a verse letter? How exact were they in their use of the label "verse epistle”? And finally we should ask ourselves, what writers did they choose as their models for such poems? The English critics of the sixteenth century did not consider the verse epistle as a form, but since in so many o instances French criticism was similar to that of England, the remarks of the French critics may be helpful, Thomas Sebillet, writing in 1548, defined the French verse epistle as he understood it: L»4pi stre Franqoise falte en vers, ha forme de missive envoyee a la personne absente, pour 1’acertener au autrement avertyr de ce que tu veus qu'il sache, on il desire entendre de toy, soit bien, soit mal: soit plaisir, soit desplaisir: soit amour, soit haine. Par ce moien tu discours en I ’Epistre beaucoup de menues choses et de differentes sortes sans autre certitude de suget propre a l’Epistre. St en un mot, l !Epistre Prancoise n ’est autre chose qu'une lettre missive mise en vers: comme tu peus voir aus Epistres d ’Ovide tant Latinea que Fran9oises; et aus Epiatres de Marot, et autres tela fames Pontes. In 1555, Jacques Peletier du Mans attempted to separate the verse letter from other genres: ^ Cf. J .E • Splngarn, A History of Literary Criticism in the Renaissance, 4th impressionTNew York, 1920, p. 253, passim ; Uharles Sears Baldwin, Renaissance Literary Theory and Practice, ed. Donald Lemen Clark (New York: Columbia University Press, 1939). 3 Thomas Sebillet, Art Po(ftlque Francoys, ed. Felix Gaiffe (Paris, 1910), pp. 153-154. 5 Car iz vien/t souuant des narracions, qui n/ s/ peuupt bonn/mant discourir an autr/ g’anre: quel/s sont lea familier/s: qui pour la longueur ne s/ metront pas en Epigramm/: pour la familiarite e pour la continuacion d/ propos, n/ s/ metront paa en vera Liriqu/s. But does such familiar subject matter merit being put into verse? Why should it not be consigned to prose? Peletier feels that the epistle is proper to verae; M^s il i a tez discours qu/ la pros/ ne r/c:/uro6t paa d/ si bonnp grac/, comm/ f/ra l/ v^rs: Comm/ quand on a anui/ d/ psrler^alegoriqu/mant e souz ficcion: e qu’on a fant^si/ de s'ebatr/ par compare- sons, raconter song/s, e autr/s guey/tez: l'Epitr/ s/ f6t an Rim/ continu/ d/ v^rs a autr/: e presqu/ an tout/s m/surps d/ vers. El/ 6t tant longu/ qu?on vent: el/ finit quand on veutj e la ou Ion veut.® The genre, then, to the sixteenth century was a loose one. Its length separated it from the epigram, and its familiar tone separated it from lyric poetry. Both Sebillet and Peletier note that the differences between the epistle and the elegy are not easy to discern.® Although each critic attempts a separation of the two gen­ res/ such distinctions were not clear to Renaissance poets.® ^ Jacques Peletier du Mans, L'Art Poe'tlque, ed. Andre Boulanger (Paris, 1930), p. 18!H "" " ® Lo g . cit» ® Sebillet, op. cit.9 p. 153; Peletier, op. cit., p. 182. ^ Sebillet separates the genres on the grounds t the elegy is restricted to the sad and amorous, and thus does not have the epistle's variety of tone. Peletier adds to this distinction the observation that the epistle uses one meter, while the elegy uses dlstichs. Q Cf. Francis White Weitzmann, ”Notes on the Elizabethan 'Elegie,1M PMLA, L (1935), 435-43. The labels ” elegy*' and ’’verse epi 3 tie” • were not differen­ tiated in practice, so that one can fin,dr, for example, a poem in Davison’s Poetical Rhapsody entitled "Elegie II. Or Letter in Verse.”® More than half fat .Drayton's Elegie3 upon Sundry Occasions are verse episties, including as they do formal salutation and epistolary c o n c l u s i o n * . F o r example, in the poem "To Master George Sandys" Drayton begins, Friend, if you thinke my papers may aupplie You, with some strange omitted Noveltie, Which others Letters yet have left uripovld, You take me off . and closes, Yet I should like it well to be the .first, Whose numbers hence into Virginia, flew.. So (noble Sandl s) for this time adu.e.^ To the Renaissance poets, then, there were not always clear- cut distinctions between the elegy and the verse epistle.^ It was because of the familiar tone of the verse epistle that Du Bellay rejected it in his Deffence et ^ Francis Davison, A Poetical Rhapsody-, 1608-1621, ed. Hyder E. Rollins (Cambridge, Mass.; Harvard University Press, 1931-1932), I, 69-75. 10 Drayton, Works, ed. Hebei, Tillotson, and Newdiga.te (Oxford: Shakespeare Head Press, 1931-11). Ill, 203-41; V. 213-14. 11 Ibid., III, 206-3. 12 Cf. Sir Thomas Slyot, The Boke Named The Governour, ed. Henry II. S. Croft, I (London ^1983) , 123~4: , ,T0u id e, (latullus, Martialis, and all the route of lascltiious poetea that wrate epistles and ditties of loueo, 0sotpe called. In Latine Elegiae and some Epigrammata." 5 XIIns'tratlon de la Langue Prancoyae { 3.549): .Quand aux epistrea, ce n'est un poeme qui puisse grandement enrichir noatre vulgaire, pource quTelles sonfc voluntiers d© choses familieres et domestiques, si tu ne lea voulois falre a l?immitation d!elegies, comma Ovide, ou sentencieuse3 et graves, corame Horace.
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