Changes in the poetic style of Thomas Watson

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Authors Onstott, Mary Brown

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Link to Item http://hdl.handle.net/10150/553197 Changes in the Poetic Style of Thomas Watson

by Mary Brown O nstott

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Master of Arts in the College of letters. Arts, and Sciences, of the

University of Arizona :

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Approved: g o . 1 ^ 3 Major adviser ate 1 O J*M-

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M , ... . / 933 3~JZ Table of Contents C + fJ , 5L " Page Introduction. I. The place of the Hecatompathia as a sonnet sequence. 1 A• Watson'a sources # 1* Classical sources • 2* Italian Sources• B. Watson1s originality. !• Technical skill. 2. *Tew symbolism. C. Watson's debt to Lyly. 1. Connection of Watson with lyly. 2. ^uphulstlc traits in the Hecatompathia. II. Influence of the Hecatompathia upon poetry of the period. 26 A# Conventionalities of description in comparison with Shakespeare's Sonnet XXXIII. B. Apostrophe to tine in the Hecatompathia and its later use • 1. By minor poets. 2. In Shakespeare’s "Luoreoe"• I II . Change from the Hecatompathia to style of elegy and later sonnets. 38 A* The classiocl pastoral. 1. The Italian yadrlgels as developments of classical form • 2. Kellboeua as an imitation of classical models. 3. effect of the 3ngl1sh translation of the elegy on Watson. B. The Tears of 7anote. 1. Development of the narrative sequence. 2. Simplicity of imagery. IV. Conclusion 63 Introduction

It Is the purpose of this discussion to show the develop­ ment of poetic style in the writings of Thomas Watson, tracing the changes which may be seen in his poetry. The influences which led Watson to write in the forms which he chose, his eon- tri but ions to the various literary styles of the day, and the influence which his poetry exerted upon certain of hi a contem­ poraries are to be noted. Watson's first important English work, the geoatompathla published in 1582, differs in many re­ spects from the Meliboeus, an elegy, and The Tears of Fanoie, a sonnet sequence which he later wrote. It is the purpose of this paper to note some of the influences, and especially that of John Lyly, on the Heoatompathla, and the extravagant language which was a result of close following of models; the use of the Hecatompathia, not as a literary model but as a store-house of phrases represents another aspect of the influences of Watson’s predecessors on his work. How Watson's style, because of lapse of interest in the fashion set by lyly and because of a new in­ terest in simplicity, changed in the ten years of his writing career is to be shown through a comparison of his earlier with his later poems. The place of this minor figure among Eliza­ bethan poets in setting literary stylos as well as in adapting his writing to foreign influences is to bo discussed. Changes in the Poetic Style of Thomas Watson

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Upon the poetry of the age of Elizabeth onme two great in­ fluences, emerging from the multi-patterned background of the age. The learning of classic antiquity, Greek and Homan poetry with the tradition of the ancient world as it was preserved in letters, brought its full weight to bear upon the writers of Sixteenth Century England. The manner of the Court of Love, half mediaeval and half Renaissance,also had a great influence upon the poetry of the time. Fusion of learning and courtly manner, had it come in the character of a scholar-poet, might have given to verse the depth of scholarly thought as well as. the grace of courtly style. Amatory verse, which flourished under the Tudors and Stuarts, might have assumed a tone of deeper sincerity through the study of classical and contemporary mas­ ters. A scholar-poet might have been produced by the age. Thomas Watson was called an English Petrarch by his con­ temporaries. He was a student who understood Latin, Greek, French and Italian languages and literatures, and took great pleasure in scholarly pursuits. He was a college man who took no degree, a small gentleman who lived in the shadow of the court, a poet whose verse became obscured. During his lifetime - 2 -

he was cited by Meres as one "best for tragedy*.^ His Latin Antigone seems to have awed his contemporaries. Other Latin works which may have added to Watson's fame as a poet were a Da Rente dio Amor is . an Amintae Oaudiae and an Amyntaa. as well as other Latin verses to which he refers in sane of his English poems. The English poems of Watson which are now known to be his work are the Heoatompathia, a sequence of one hundred poems which he calls sonnets, ITellboeus, an elegy. Italian Madrigals Englished, translations of Italian songs set to Byrd's music, and The Teares of Eanoie. a sonnet sequenOe published post­ humously. Despite the praise whioh his Latin work received, Watson’s English poems were noticed but little by critics of his own day, and his contribution to the development of the sonnet has been ignored, with the exception of the few lyrics which found their way into the Phoenix’ Hast and England's Heli­ con. The rest of his poetry dropped from sight. Minor poets have been remembered for a few lines, but Watson, the first man in England to publish a sonnet sequence, received no. plaudits from those who oame after him. The external facts of Watson's life have been preserved by Anthony & Wood, and may be supplemented by the few references to the poet in contemporary literature• A Wood wrote: "Thomas Watson, a Londoner born, did spend some time in this University, not in Logic and Philosophy, as ho ought to have done; but in the smooth and pleasant studies o f Poetry and Romance, whereby he obtained an honourable

1. Smith, Elizabethan Critical Essays, vol. II. p. 315. - 8 -

• : Heme among the Students in those Faculties. Afterwards retiring to the Metropolis studied the Common Law at riper years, and for a diversion wrote, MEologa in obi turn D Franc is ci walsinghaa Rq. our. London 15^0, in two sheets In qu • "Amintae Gaudia Lond . 1592, qu. Written in Lat. Hexameter', and dedicated to the incomparable Mary Count ess of Pembroke, who was a Patroness of his Studies. Tie hath written otker things of that nature or strain, and some­ thing pertaining to the Pastoral, which I have not yet seen, and was highly valued among ingenious men, in the l a t t e r end of Q. E liz a b e th . The dates of Watson's birth and death are not known, but it is evident that he had died by 1593, since in that year George Peelo, one of his friends, wrote To Watson, many worth Rpitaphes For~hla sweet Poosie. for Amintas toares. And joyes so wall set down.^ Presumably he spent part of his youth in Paris as secretary to Sir Francis WalaIngham. In 1681 his translation of the Antigone of Sophocles was entered by the clerk of the Stationers * Company July 31. The first important English poetry published by Watson was the Heoatompathia, "Passionate Centurio of Love", which ap­ peared in 1582. Aayntaa,' a Latin poem, was published in 1585; and in the same year a Compendium Memoriae L o ca lis, both of them dedicated to Henry Noel; in 1586 "Coluthus' Raptae Helena®. Tho. Watsonao Londiniensi. London 1686. Dedicated to the Duke of Northumberland." Amyntas was translated without Watson's permission. In 1587 appeared Abraham Fraunoo's "The Lamentations of Amyntas for the death of Phillis, paraphrastioally translated

1. Athenae Oxoniansis, pp. 362-363. 2. Ad Maecaenatum. in The Honour of the G arter, quoted in Arlui^s introduction to Watson7!? Poems, p. 14. 4-

out of latine into English Hexameters by Abraham Praunoe. London, 1587." No mention la made of the author of the original poem in the dedication which Fraunce wrote to Mary Countess of Pembroke. Watson's attitude toward the theft is expressed in the dedication to Mellbeous. printed in 1592, in which he says, "I interpret myself lest Melibooua in speaking Hnglish by an­ other man's labour, should loose my name in his ohaunge, as my Amyntas did In 1690 Watson had already written the Madrigals, for which Byrd's music was used. Amlntee Gaud la, dedicated to .. : • ; ■ , - ' .. •' . ■ . , the Countess of Pembroke, was printed in 1592. Following Wat­ son's death The Teares of Pancio or Love Disdained. a sequence of sixty sonnets appeared, Watson's authorship being established by the initials at the end of the volume and by the Stationers' register. In the register of the parish of St. Bartholomew the Less is the notice of the death of one Thomas Watson, who was buried September 26, 1592• While the name is common, the date coincides with the conjectured time of Watson's death. While Watson speaks of "my travail© in penning these love- passions, or for pitie of my paines in suffering them (although but supposed)" and in the phraso condemns himself as a courtly writer of little feeling, the lightness of his verse differs from that of the court poetry of the period in lack of emotion and in play upon thought rather than in sustaining a slightly humourous emotion. Watson makes no attempt to achieve the mood of Wyatt's • " "Marvel no more although The songs I sing do moan. —5-

For other lifo than- woe I never proved none. And in ray heart also Is graven with letters deep A thousand sighs and moans, A flood of tears to weep.”1 v/atson has been called a follower of Wyatt, but he has neither the fluency nor frivolity of the earlier lyricist. Trivial though Watson’s inspiration may be, it is supported by a height of imagery and a rhetorical gravity which never turns to lighter moods. In the poetry of Wyatt the mediaeval tradi­ tion of English verse, both ballad and lyric, is mingled with new models from Renaissance Italywatson devotes him self to foreign forms, paying little attention to the English poetic antecedents of lyric verse. His attainments in Latin verse earned him far greater recognition among his contemporaries than did his facility in English. This judgment upon watson may have been influenced by the Elizabethan reverence for the classics Meres mentions Watson among those "best for tragedy" perhaps be­ cause, like other critics of the time, he had been impressed by the Latin translation of the Antigone» The epithet "scholler" is usually applied to Watson, while his English lyrics are sel­ dom mentioned. Meres, however, groups the lyricists rather more carelessly than the tragic poets. His mention of watson as a lyric writer is thus more or less perfunctory. The emphasis put by others upon his erudition may have been partly responsible

Tl dumber 25, p. 8&; ^The Poetry of sir Thomas Wyatt," b .m.W. ' Tillyard, The Scholastic Press, London, 1926. 2. Tillyard, op. clt., p. 14. for the notes whloh pra£®a® the Heoatonpethia and record proh- ahle sources for poetic figures or allusions which need no ex­ planation. . - Wyatt carried into English poetry not only the delicacy of the Italian and French lyrio, hut also in some instances the slow line of the classical motor — not only in imitation, (that is, in similar long English lines) but in the quantitative me­ ters* Watson, on the.other hand, made no attempt to carry, classical meters -into English verse* The iambic pentameter, constructed with few feminine end-syllables, .is his usual Eng­ lish meter* However, he drew heavily upon Latin soarceo. The peace and equanimity of the Horatian ode, imitated by Wyatt, seems to have found no reflection in his work; his quotations from Ovid, however, are numerous, and from the Metamorphoses he draws many of the stories alluded to or narrated in the Heoa- tompathia. Probably Watson himself regarded his Latin poetry as superior to his English verses; he quotes from his own Latin writings in the prefaces of the Heoatompathia, as though to strengthen the reputation of his "sugrod sonnets’’ by more sub­ stantial literary ability. Latin poems also found their way into the sequence. The apparent stylistic difference between Wat­ son's Latin and English verses is not farthered by a difference of content. Ho distinction in subject matter is made. Latin love lyrics, translations:of Petrarch or of Watson ’a own English poems continue in th@ usual vein of the Heoatompathia. The charming songs to Phillis:which make up a greater part of the 7>

Italian Madrigals Englished are written in the oonrtly style of pastoral, as are the lines to Phillis translated by Watson from his Amyntas. Whatever the poetic form he ohose Watson wrote seri­ ously of love, whether the emotion

figures of e peeoh or the principal these, of the poom, the notes sre designed to e id the reader in comprehending them. ?h# total number of Bllusiona to the olasnics eacl to natural history la icrgo, end many of these references aro duly documented in the prefaces. poem has n note, v?bother thero is o- definite foreign source to be given or not; wherever there is any occasion the writer of the notes has given some authority for what Wat­ son says. As actual s oar oe material, tho most important re for- enoos are those to writers of the HenaiSssnco period in Italy end in France, whose works seem to have been of greet interest to 7/at son. Watson’s sources include Petrarch, from whose sonnets com® eight of Watson's, in whole or in part; Watson's Passion 5 from 3onnet 103. with the addition, of two lines; 40 from 105; 6 and 6 (L atin) from 153; 90 (L atin) . from 333; and in part . 21 ftom 211, and .39 from £, From geraflno doll* Aquila (14G5-1S00) are translated nine; Passions 22, 23, 24, 45, 56, 78, 94, 99 en­ t i r e l y , 21, 47, 55, and 61 in p a rt. 7o Herou3.es Strozxs he is indebted for 20, 22, and 86; from Eonaard come 27, 28, 33, end "here and there" 54. 66 and 100 ore taken in part from Girolamo Psrabasoo; 70 from Oervcsios Herponius; 34,.78 and 91 from Aguola Flrcnzuola (1492-1648) . A French. poet,; Htienno Foroadol, known os roroatulus (1514V-1573) is credited with the source of 38 and

68-1 . , ■ Thus of one hundred poses, thirty-four may be assigned to direct foreign influence, and of these thirty-four, nine are drawn T. Sidney L^Q ilfe oT"5iT:espeare. p. 179. note 1. - lo ­

om y in part from other authors. The assumption that Watson *8 entire sequence is composed of "paraphrases of the foreign Pet- rarchians" is thus untrue. That of the general attitude of the Petrarchians he may have transmitted to his own poetry is a mat­ ter of the spirit of the times rather then one of slavish follow- in g .1 : ' In the prose prefaces, end Latin footnotes to the poems as well, are references to many classical authors, both Latin and Greek, giving citations of parallel ideas rather than definite source material . It would seem that-Watson has drawn upon some line or well-known phrase in the older writers, or a statement of a parallel rather than a translation. The notes have given Watson the name of pedant and poet of insincerity; he has been called one of the worst offenders among the minor poets. Analy­ sis of the notes shows, however, that they were not only written to inform the reader, but also to show the erudition of the au­ thor. The tone of the prefaces is one of condescension. Of his task Watson says, "That tho vulgar may the bettor understand this Passion, I will briefly touch those, whom the Author tmth named herein.Thus the necessity of meeting popular taste was realized by Watson; the point of interest in the explanations lie s not go mueh in the attempt to popularize the poems as in the means employed. The commentaries really add to the diffi­ culty of the figures and allusions of the poem rather than to

Tl fjegouls, History of English Literature, voi. I. p. 1^8. 2. Watson, Heoatompathla. p. 98, Passion LXII. 11-

their olassifloation. Both poems and explanations sbound In eententiae, elaborate figures, allusions to the Glassies, and references to natural history, neither the style of the poems nor the explanations forms part of the classical tendency of an imitator of Petrarch, hut of a disciple of John lyly. Lyly was Watson's friend, as wo learn from the preface to the original edition of the Heoatompathis, published in 1582. This preface, written in a light vein by Lyly in commendation of his friend's rerae, praises the sequence, and closes with the statement, "And seeing you have used mo so friendly as to make me acquainted with your passions, I will shortly make you pryvle to mine, which I woulde be loth the printer shoalde see, for that my fancies being never so crooked he would put them In streight lines, unfit for my humour, neoessario for his art, who setteth downs, blinde, in as many letters as seeing.” Whether or not this is an allusion to a sequence written by Lyly or a mere figurative phrase continuing the light teme of the whole preface is a matter of conjecture. If Lyly were planning such a composition, or a prose romance, the influence of his work upon Watson is made s t i l l more d ire c t than would be judged from th e internal evidence of the poems and prefaces themselves. To L yly's peiron. Lord Edward do Vere, l a r i o f Oxford, Lord High Chamberlain of England, the Heoatompathla is dedicated. The dedication, written by Watson, also shows the influence of the

1. Watson, p. 29. 12-

styliatio qualities of lyly. A story of Apellos, a favorite with Lyly, among other olaasioal tales, is included in the dedica­ tion, Lyly's printer, Gabriel Cairood, brought out the book, Lyly * s connection with Oxford is first recorded in the dedica­ tion of MT2uphues and his England”, 1680. Lyly, at twenty-four, „ was private .secretary to Oxford, who was himself a dramatist, and lyricist and acted the Maecenas to the Elizabethan poets. In this capacity Lyly may have aided his friend Watson. Lyly and Oxford were of about the same age; 'Watson, according to the scanty information preserved byaWood, the younger. Where the two met is not known; it has been hazarded that they were college ac­ quaintances, as a Wood*a descriptions of the two as students are somewhat s im ila r, , This connection between Lyly and Watson became more than a friendship of the successful court dramatist for the striving poet. Kuphues, which appeared in 1679, set the literary fashion of the time• The figurative and rhythmic language which became popular w ith the p u b licatio n o f Kuphues had few antecedents in English prose. Both the poetry and prose of the period which immediately preceded the fashion set by Lyly were experimental. The deliberate archaism of Spenser, the pointed journalistic style of Deloney, and the courtly conciseness of sir Philip Sid­ ney are part of the development of the language; Lyly,' despite the obvious and monotonous sculpture of the language of Biphase. \ ' " ...... r:r“.. contributed to English stylo a richness of expression, a treas­ ure of allusion. In transferring this ornate richness to poetic phraseology, Wats on was one of th® establish era of the conven­ tions of English poetry, end especially of the sonnet in the manner in which it was to be written during the next two decades in England. In following the tradition of Eaphnes Watson did not abandon the Latin syntax which characterized the style of his other poet­ ry os well. The sentence of balance, antithesis, and allitera­ tion were not copied, but the style of the figures of speech, and in many cases the figures themselves, were taken from Lyly’s work. How mazy fig u res were common property and how many owe a direct origin to Lyly is a difficult problem; in many oases classical allusions are taken by Watson from original Latin or Greek so u rce s. P utting h is sch o larly learning to a somewhat pedantic use, Thomas Watson quoted legends from Ovid and natural history from Pliny. The classical authors wore used in the original, not in English translation, while Lyly took many of his figures from later sources. Instances of Flinlan natural history which occur in both the Hooatompathla and EUphues a re ; "...the Harts being pearoed with the darte. runneth out of hand to the herb Dlotanua and is h ea le d (gaphuea. p. 308) which may be compared with: ' "If t ’were like those, wherewith in Ida plaine The Craotan hunter wounds the chased (Caere, I could with Diotame drawe it out again#, • And cure me so, that skarre should scarce appeare. (Heoatompat hia. Pas . LXVIII) Lyly writes: "the Fly which plaith with the fir® is singed in the flame." (p. 212). -1 4 -

A figure'in Passion XLVIII reads: • "Or, as the Five, when oaMies are alight. Still plays about the flame until he bume One of the many references to the eagle in guphues roads: "for as no birde can looks again© the Sunno, but those that be birdes of the Eagle." ■ Watson writes: - ’ "The haughtie Aegle Birde of Birdes the best. Before the featHers of Her younglings growe. She l i f t s the® one by one from out th e ire n e s t. To views the Sunne thereby her own to knows." (XCIX) The interest in style which led the Elizabethans to imitate olasaio meters and foreign poetic forms led also to a concentra­ tion upon form for its own sake. In the Heoatompathia Watson carefully worked out several unusual rhetorical devices, aoros- tics, and a "pasquin pillar"« From attention to verbal form to care in the actual physical appearance of the poem is a step which the writers of the period seem to have found easy when their chief interest was translation and repetition• Watson’s scholar­ ship made him a good translator and writer of Latin verse: hie fondness for the unusual led him to.introduce into England the curious.practice of writing poems which, through lines of vary­ ing lengths, represented different figures. The first and sim­ plest were pillars, and later circles, hearts, and other shapes were written, George Herbert’s "Easter Wings",being one of the last and most artistic examples of this strange use of words. Buttonham, in his "Art of Poetry", introduces a number of fantastic pasquin pillars, assigns an Eastern origin to them. is-;.

ana gives several examples , of hie own,1 The aastom, he vjrites, was inaugarated by lovers who sent their ladies tokens.with verses inscribed upon them. The examples given by puttenham usually have lines adapted to the shape of the figure; Watson’s pillar is written as proso, with the lines broken to fit the • diamond-shaped design. A double aeroatlo — at both beginning and end of the line— adds to the complexity of the figure. A curious preface to the poem shows the pride of the poet in his creation. He says that those who are skilled in arithmetic may judge Mhowe much art and study the Author hath bestowed in the same." With the utmost patience the oommentator showe how first, the whole pillar "is by relation of either halfo to tho other An­ tithetical! or Antislllabloall"; second, that the posio, amare est insanlre. runs thr%gh the column twice; that the vorses be­ gin and end with the same l e t t e r , although tho rhyme scheme is preserved; that the foot of the column is orohematioal, "founded by transilition or over skipping of number by rule and order, as from 1 to 3, 5, 7, and 9; the secret vertue of which may be learned in TrlthemiusThis onrioas passage and the equally carious poem which it explains are pedantic to a degree which justifies the adverse criticism heaped upon Watson by modem commentators. The search for innovatIon and elaboration led him to the inclusion of matter which no present day critic could con­ sider art, puttenham, in his explanation of the pillar does not

TZ Puttenham. The.Arte of English poosie, p. 104. " " 2. Watson, p. 116. 16-

refer to Wiatabn, but claims the creation for himself. From the jealous manner in which he guaras his authorship, it would appear that the invention of the device was regarded as an achievement. The poem itself is inferior, obviously merely an exercise in form. The poet has become the exponent of an ingenious pus- ale, delighted in his own conjuring with numbers. The secret virtue of numbers to be learned from Trithemiua has nothing to do with the art of poetry, but to both Watson and Puttenham the : i ' cleverness of form was associated with the art itself, similar i - " V is Passion H I, which is in the form of an aorostio, although 1 otherwise preserving the sonnet rhyme scheme* The preface, which characterizes the poem with its "dolourous discourse% Closes by commenting "that the first letters of all the verses in this Passion being joined together as they stand, do eonteine this posie agreeable to this meaning. Amor me pungit at u rit." This poem, while it is less of an exercise than the "pasquln pillar", is still a conscious striving toward effoot. Not only in mere m aterial form, but in rh e to ric a l use, Watson sought for relief from simplicity in strange or outworn stylistic devices. One of these, pointed out for the reader in the preface of Passion XU, is the figure of reduplication, which by repetition of a word from each line to the next adds ingenui­ ty to the poem: "0 Happy men that finde no laoke in Love; I love, and laoke what most I do desire; My deep# desire no reason can remove; • All reason shunnes my brest, that's set one fire..."2

TZ Watson, p. 88. “ 2. Watson, p. 77 . -1 7 -

Tho preface states that, "This Passion Is frames upon a somewhat tedious or too much affooted continuation of that figure in Hhetorique....Reduplloatlo: whereof susenbrotus (if I well remember me) aUcadgeth this example out" of V irgin, Soquitur puloherrious Auatur, Austur equo fidehs. Aeneid 10": She intricacies of repetition leave little doubt in the mind of the reader th a t Watson was in th is case much more con­ cerned with the careful echo — one word in each line being re­ peated in the next — than in the creation of a poem. The elaborateness of stylo emphasised by Lyly clearly presents it- self in such linos as these.x Similar to the figure of reduplioatio is the device em­ ployed in Passion XLVII. Despite the effort expended upon the structural devices, the poem nevertheless reaches a height at­ tained hy few in the sequence, and was one of the few copied by later poets, "In time the Bull is brought to wears the yoske", the sententfa of the first line, finds an echo in the seventh and the thirteenth line, each line in the first stanza receiv­ ing the same treatment♦ • ; "This passion contain#th a relation throughout from lino to line; as, from every line of the first staffs as It stendeth in order, unto every lin^bf the second staffs: and from the second staffs unto the third. The oftener it is read of him that is no great elerke, the more.pleasure he shall have in it. And this posio a soholler set down over this Sonnet, when he had well considered of it; Tam QB8U, quern a rte ot In d u s trie . ..." * That technicality does not in this poem detract from the

1. Feral, les Arts Poetiques> gives Mattfileu As tenddhe's . duplioatio. similar to fhis. p. 178. 2 2. Watson, p. 83. 18—

beauty of the lines, and the reader does not find the same atten­ tion to Ingenuity which Is the prinoipal Interest in the peaquln pillar, Why the poem should appeal to one who "is no great olarke" Is puzzling; some idea of the appeal of repetition must have influenced .Wstson in making the statement. Other instances in the prefaces show Watson's interest in mechanical dete11. He is at pains to explain in the preface to Passion XLVIII that the poem is based upon two principal points, in the first of which are placed two "similitudes", (similes) and in the second a comparison. Many of the passions include similios and metaphors, and why Watson should have taken pains to explain these figures and discuss them as the basis of the poem is a puzzling question. He compares himself to the "sillie Bird amida the night" and the "Flye, when candles aro alight," and his mistress' eyes to the ha si Usque • Similar figures are to be found elsewhere. This adherence to the technicality of verse-writing is like the peaquin figure and the reduplloatio, A pedantry which reflects.both the microscopic interests of an over-careful classical scholar and the love of farm chareoter- ' , . . ; ■ : • - ' • ' '■ - ; ■■ ■ - . : ■ ' istlo of the Middle Ages is exemplified here. in copying seraphine in Passion IKXVII, Watson inverted the order, he tells us in the preface, "some times for his rimes sake, but for the most part, upon some other allowable considera­ tion." This passion (which is important for reasons to be dis­ cussed further on) needed little explanation, as the sentiment of the "fleetingness of time" has many antecedents in Italian poetry. In this instance the care of the author is again a matter of detail, of explaining a technicality to the uninitiat­ ed. : ' The effect of classical legend, traditional natural his­ tory, and abstractions upon the style of the Hecatompathia is one of aocumulation of epithet. The excessive use of figures heightens the pictorial quality, but lessens the clarity of style. The entire passion may be concerned with love in terms of Venus and Oupid; as may be found in sonnets it may merely present al­ lusions to Greek and Homan legends; it may apostrophize love, it may apostrophize the lady. The poem will seldom give straight­ forwardly the idea of the passion; an elaboration is an In­ tegral part of the structure. The same figuration may run through several poems, although no definite sequence of action is to be found in the oenturie. In sonnets XI, XII, XIII, XIV, XV, and XVI Watson writes of his mistress singing. The commentaries list no foreign sources for the group, which, dwelling upon the tk@me of the lady's ability in song, form a unit in the sequence. It is noteworthy that in this group the number of classical al­ lusions is smaller than in many of the passions which were trans­ lated or imitated from foreign sources. With tho adoption of the idea and language of another poet, Watson became more the sc h o la r and less the poet, putting into the lines only added comparisons, contrasts, and other devices of rhetoric instead of making the poem hie own by infusing it with something of tho stylo of which he was capable. -2 0 -

Glassloal allusions in the Heoatompathia are derived prin­ cipally from Ovia. The body of myth and legend which dwells at length upon Apollo and his mortal lores, Jove, Diana — especially in connection with Actaeon and Cupid and his mother, foia an in­ tegral part of the fabric. Apollo, as god of poetry, finds place in many of the poems. Among references to him in connection with several legends are his laurel tree, (TV); Apollo's lute, (VII) "arte in musical daviso", (XII); his voice, (XIV); as judge of music, (XV); "As Phebus doth excell a twinokeling starre," (XXXIII); "As Phoebus goulden rayes obscures the rest of Planet s ta r re s ," (XXXIV); Phebus---- to win a ru s tic maid, (XXXVII); Phoebus, as the sun, (XXXVIII) Phoebus, in the sto ry of P aris end the apple, (XLIIh "Phoebus delights to view his lawrol Tree," (XCII). References to Venus are even more numerous. She does not always retain her character as goddess of beauty but be­ comes identified with beauty itself. There is nothing new in ’fatson’s interpretation of the classical characters in the in­ stances in which he is dealing with the classical machinery of deities familiar in ancient and mediaeval timos, so often used that to call their names was rather the epitome of a human trait than reference to a definite character, wets on was dwelling upon commonplaces, but the use of the legends and myths to iden­ tify the poet’s mistress in some way with a Somele, Helen, or Diana, was a Renaissance tradition which, appearing in the Heoa- tompathia. lent a figuration and distinct trait to the sonnet literature of England. Ovid, whose romantic stories formed a large part of the class leal toeakgroand of poetry of the period, was zealously quoted, dlreetly and Indlreetly by v/atgon. For example, in one of the prefaees, {LXXIV) he verifies the location o f the sacred fount of Diana# "which (as Ovid w itn e sse th ; 3 Metam; ) was in the valley Gargaphie. adjoining to Thebes". References for stories which he uses are also traced to their definite source in the Metamorphoses. Lyly frequently referred to stories of Apelles and Alexan­ der, seme invented and some with classical antecedents. Pam­ pas pe . which was written in 1683, presents the story of Apelles and Alexander in full, but many references to the painter and emperor abound in Euphues and other earlier writings of Lyly* In the dedicatory note of guphuee addressed to Delaware, lyly tells an anecdote of how Alexander, when Apelles was painting a portrait of him, strove to hide a soar which he had on hie oheek*A This story seems to have been invented by Lyly, as neither Pliny nor Plutarch, Lyly’s principal sources, makes men­ tion of the incident. In writing the note entitled "John lyly to the Authour his friend," which prefaces the Hecatompathia,

• ; ’ - . lyly writes "Apelles painted the Phenix by hearesay not by sight", Watson begins his dedication of the same book to the Earl of Oxford in these terms: "Alexander the Great, passing on a time by the workeshop of Apelles, ourioualie surveyed some of his do­ ings," and carries out the comparison of Apelles to himself and Alexander to Oxford, In sonnet XXIX Watson writes:

Yl lylyT Works, vol. I. p, 17$. ' ““ 22-

"Apellem yf he liv'd would stand agaat ; With colours to set down her1 oomely faoe, _ Who fs rre ex c e lls though Terras wero in pls@ ##^ and odds o footnote which gives a source in Ovid• lyly'a in­ terest in the characters of the painter and the emperor, which was perhaps influenced "by the Maecenian attitude toward patron­ age maintained by the literary men of the age of Elisabeth, is thus reflected by Watson. It does not become a part of the style of the poems themselves, as the more general traits of Lyly, but the fact that the story appears in one passion and is used in two of the dedications shows the connection between the two poets. TIo record aside from the dedications themselves points defin­ itely to the friendship of Watson and Lyly. Watson, an obscure gentleman, enjoyed none of the social prestige given Lyly* but seems to have gained by his friend position. As secretary to Sir Francis Wale Ingham, Watson was in fairly close contact with the court life and if the evidence of one of the royal pageant® is to be trusted, some of the smaller orumba of royal recognition oeme to him. John Lyly was hopeful of obtaining the office of Master of Revels until late in his life, and after about 1686 held some minor position in connection with the Bevels offlee. He seems to have been the author of entertainments for Elizabeth during a royal progress. John Wolf entered the "Slvetham Enter­ tainment" at the Stationer’s office "i die Octobrls 1691 John Wolf entered for his oopie, the honorable ontertayneaent gyven to the quenos majestic in pipgresse at Elvotham in Hampshire by

1. Watson, p. 66. -2 3 -

the righte honorable the Erl* of Hertford."1 Tho entertainment Included pageants for four days. The speeches written for these pageants are claimed by Bond for Lyly. with the exception o f songs and speeches of which he says "To the actual songs and speeches I have felt that Watson might urge some claim; he- oause the Latin verse is much better than lyly elsewhere, and Watson is about the b est L atin verse-writer of his .-day."2 The song "0 Beauteous Queens of Second Troy," foras. part of the first day’s entertainment. This song, which is signed "Tho. Watson" in England ’e Helicon (1600) so eras, to make its first appearance here. Several stylistic matters which point to the authorship of Watson include the use of the terra "second sunne", which is an original epithet for tho mistress of the Hecatompathia, and simi­ larities in the Latin versa and the Protreptioon to the oenturie. The language of the entertainment is not, for the most part, that of Lyly. It is rathor. the modified gaphuistio style of Wat­ son, whose claim to a part: of the poetry included in the pageant is Justifiable. Watson’s superior knowledge of music and madri­ gal-composition may also have served him in good stead. The speeches are in Latin and English verso. The prose which describes the events of the days is merely reportorial, of lit­ tle literary interest and dissimilar to Lyly's style. A poet greeted her majesty upon her arrival. "This poet was olad in greens, to signify the Joy of his thoughts at her entrance, a laurel garland on his head, to exprease that Apollo was,pairone of his studios; an olive T! Lyly. Works. vol. I, p. 622, bote on p. 431. ~ 2. Lyly, Works. vol. I, p. 431. POeffl ln: hpn°r ^ th.n given, .« an ICnglish ^ ^ ' The language employed lo.indicative either of +x tio u o f 'Tataon and L ,l,. e, the grafting of the entertainment planned by The aignlf,eent point i E net, however, whioh of the poets had the major part of.the „om position, bat th at in 1691, eleven years after the publievti of the HgqOtampathia, ,ateon still has acme friendly relation^ cuth way. The Style of the court poet .hieh formed so clear a dintinguishing feature of the Hecatompathia has disappeared from

tion as well as the Batin original preserving the Vergiuan oharaeteristios of the Pastoral elegy whloh aifu^ ’ j ^ the atylo of the leva-poems, wateen, . rernatile linguist, seams te have realised the change in atti tnde. the turn te simpler style after the ornate fashions of ’ euphuism. The atylo of m y . patiently copied in the eeura. of the Oonturie. elaborate poem, further ornamented with ped foot-notos^and prefeoes, given way te the simple n arraU v Ity l. irM itS p S g li5 i5 s ^ of The Tears of jtonele, Watson's posthuaoasly pahlished sequence Watson brought before the eyes of English readers the essence of Italian and French sonnet literature, transferring from one tongue to another the poems which might otherwise not have come to form part of the background of the lyrics of the period. To this extent the scholar, interested in poetry as a connoisseur of words, was disinterested in his writing. In the pedantry of the notes with which the poems are prefaced, patiently wrought from the thinnest of sources to add weight to his work, and in the deliberately overly-figurative style, Watson showed his connection with the gentlemen lovers of letters rather than the s c h o la rs . -2 6 -

II

The Heoatompathla proved a store-house of figures t oohoelta, and epithets for Watson's suooeseors anong the sonnettears. Both its noblest and its basest sentiments were imitated, ex­ travagant, praise of the lady to whom the poems were addressed found place in several of the passions. Oaeooigne, in writing of amatory lyrios said, > MIf I should undertake to wryte in praise of a gentle­ woman, I would neither praise her crystal eye, nor her cherrie lippe, etc. For these things ore trlts ot obvia. But I would either find some supernatural! eauae whereby my penne might walk in the superlative degree, or else I would "undertake to answer® fo r any im perfection th a t she ? hath, and thereupon raise the praise of her commendation, likewise, if I should disoloso my pretence in love, I would oyther make a strange discourse of some intolerable passion, or finde occasion to plead© by the example of some historie, or discover my disquiet in shadowes per Allegoriam, or use the ooverteat mesne that I could to avoyde the uncomely oustomes of common writera."I . Watson did "pleade by the example of.some historie" in several of the poems, but the avoidance of the trita and obvia was a rule unknown to him. The extravagant praise-of face, eyes, voice and hands is associated with the Beeatoapathia in oc­ casional linos and one or two entire passions. While it is true that Watson was one of the first to make use of the images, they become trite and obvious oven in his own hands, and such phrases as "ohrlatall eyes" fXXXIV); her locks of gold, ivory forehead.

1. Gascoigne, "Notes of Instruction,"in The 3tele Glass, p. BE. and oheeks h a lf red , h a lf whito (LIV) add nothing to the pas­ sions # Watson does not use figures of this type in many of the sonnets, but he unfortunately sot a ; paee In ano or two poeais which many of the later sonnet writers followed. The ab su rd ity of extravagant phrases does not seem to havo occurred to Watson; In the preface to Passion VII, most extravagantly worded of his poems, he says: ' "This passion of love is lively expressed by the An** thour, in that he lavishlie praieeth the person and beauti- full ornamentea of his love, one after an other as they lie in order. He partly iraitatoth herein Aeneas Sllvius, who setteth down© the like in describing Lucretin, the , love of Huryalua; and partly he followeth-Ariosto cant. 7 where he desoribeth Aleina: and partly borroweth from aome others where they describe the famous Helen of Greece:, you may therefore, if you please, aptlio call this s onnot as a Soholler of good judgement hath already Christened it aine p a r a s itik e . ”1 • The sonnet which follows is worthy of the Greek epithet "flatterer". - •' "Harke you that list to hears what aainte I serve: Her yellowe lookes exceeds the beaten goulde; , Her eparkeling ales in heav'n a place deserve; Her forehead high and f a ir s of comely moulde; Her wordes are musioke all of silver sounds; Her wit so sharpe as like can scarce be found; Each eyebrowe hanges lik e I r i s in the sk ies; Her Eagles nose is straight of stately frame; On e ith e r oheeko a Hose and L illie lie s ; Her breath is sweets perfbme or hollio flame; Her lippos more red than any Corail atone; Her ne@ke more whito than aged fian s th a t mone; Her brest transparent is, like Christall rocks; Her fin g ers long, f i t fo r Apollbss Lute; Her slipper such as Momus dare not mooke; Her verities a l l so great as make me mute: What other partes she hath I needs not say. Whose face alone is cause of my decay."

1. Watson, p. 43. Ho-sonnet sonroea are given for this hyperbollosl descrip­ tion . The sum of descriptive phrases, common enough in later sonnets, is not equalled in quantity in other writers of the period• The extravagance of phraseology was imitated, hut wat- Son, in his attempt to follow the euphuistie fashion, furnished a model which seldom found a copy as elaborate as the original. The trite et obvia became stock phrases; many more were written after Gascoigne's admonition. Jewels and gold wore easy material for figures of speech and comparisons to mythological figures, to flowers, and to anything which fitted well into a sonnet-writer’s vocabulary. All wore used to praise the perfections of the Elizabethan sonnet mistress. Sidney and Sponsor both employed the conventional terminology. In Amorotti, (15), are the lines: "If sapphires, lo, her eyes be sapphires plain; If rubles, lo, her lips be rubles sound; If pearls, her teeth be pearls, both pure and round; If ivory, her forehead ivory ween; If gold, her locks are finest gold on ground; If silver, her fair hands are silver sheen."I Lodge writes in Phillis of his lady’s eyes as "shining suns of true divinity and her lips, neither rose nor eorol, but "even that crimson that adorns the sun". By 1600 the convention was outworn, and ridicule was poured upon the diction of the early sonnet writers by a few oritios. Ho direct reference is made to the part of Watson in instituting this convention; Watson’s se­ quence, which would appear to have enjoyed little popularity outside the circle of London literary men who were his friends, had more imitators among poets than readers in the general pub-

51 Spenser. Works, p. 576. ' ~ -2 9 -

lie. Trivial as Watson's sonnot is in its lock of depth, its concentration upon over-ornamented figures of speech, it is sig­ nificant as a model for later sonnot writers. Watson was not writing in a tradition hut in a vague and nebulous theoretic devotion which demanded of tho lover the height of praise• The inferior poem was read, however, and the manner in which its conventionality impressed readers may be seen in sources not usually given for a much discussed sonnet. In Shakespeare's sonnet OXXX striking parallels are to bo found to Watson's poem.1 The lip®, redder than coral aro answered by "oorall is farro more red then her lips red"• The perfumed breath in Watson's poem is answered by "And in some perfumes there is more delight". Watson's really good line, "Her wordes are musioke all of silver sound", is balanced by "Musioka hath a farre more pleasing sound?1; less direct parallels are in the "slipper such as Momua dare not mooke" and Shakespeare's "My mistress when she walks treads on the ground"; the swans and crystal white in Watson's passion are compared with snow. Parallels listed for the Shakespearean sonnet, and usually considered its sources, do not include Watson's poem. Reference is mode to Sidney (in Astrophel and Stella. 4). love is described as seeking heat in the light of Stella's face, but the compari­ son is only general.); to the Spenserian lines, and many lines referring to the "wires" for hair. In each instance given as a source, only a line or two of the source poom could have found

XT Sonnets of Shakespeare, Alder, p. 314. "" " —30 —

Imitation in Shakespeare’a satire. Watson's poem ooula have been need almost in its entirety, and while the use to whloh the pas­ sion from the Heoatompathia is put in Shakespeare's sonnet is not flattering to Watson, it presents another bit of eviaonce for the extent to which the Heoatompathia was known. To the great poet the trlok imagery had shrunk below the level of rhetorical devising end become merely exaggeration. Watson probably did not find a direct souree for his Imagery, although much of it was already traditional; he, however, combined the many fig u res into one poem end the constant burdening o f the lines with conceits lends itself to Imitation, as well as to the later parody. Shakespeare’s half-jesting treatment of the theme betrays the structural lack of content which doomed the Heeatompathia. The influence of Watson was not confined to the extrava­ gant use of conventional terms. His figures of speech at times were both original and graceful, and several of them, traceable to a definite origin in hie poems, were copied by other poets. In one of the most Unique images of the Heeatompathia. Watson refers to his mistress as the "second sun", and the figure forms the basic theme for several of the most artistic of the sonnets: "When my sheesunne doth either laugh or loure," (IX,I, p. 46) "0 Golden Bird and Phoenix of our age," (XI, I, p. 47) (quoted because of its use in Passion XXXIX) . - "Thou Olasso wherein my Sunne d elig h ts to se e ," (XXXII, I , . .. - - •• ' :.i- :■ : • 69^ "When first mine eyes were blinded with Desire, They had newe seen® a Second Sonne whoa® fa ce." (XXW. : ; . i i . 1, 2, p. ?] "When first these eyes beheld with great delight. The Phoenix of this world, or second Sonne,” (XXXIX, I, ■ “ ~ . . ... ' ... P- 7 6 ). "That Second Sunne, whose beamea have died my s ig h t," (XX.IV, I , p. 80.) "What scowling clouda have ov®reset the skle. That these mine eles cannot, as wont they were, Behold their second Sumo intentively." (DXXVTII, I, p. 114) In Borneo and Juliet occurs the figure, "It is the east and Juliet is the sun." (Act II, scene II) In Chapman’s All Poole a variation on the phrase is to be found in "I tell the®. Love is Nature’s second sun"• Seraphine once used the figure of the sun, in a reference given by Watson in tho preface to Pas­ sion XXIII, in which he says the poem "alludeth somewhat to lines of the Italian sonnet-writer." The image, however, becomes Watson’s own, and is usod in the "Slvetham entertainment". Thus his poems evidently had a fairly wide influence in the years im­ mediately following their publication. In Sonnet XLIX Shakes­ peare writes of "th® sunne thine eye". (1. 6) In Sonnet XXXIII, ("Fall many a glorious morning have I seen") Shakespeare again uses the sun-figure, the first line of the sextet, "Even so my sunne one early morns did shine, With all triumphant splendor on my brow," expressing the conceit in th® usual sonnet vein. Watson’s use of the marigold in Passion IX, which describes the flower’s open­ ing to greet the sun, also is paralleled in Shakespeare’s sonnet XXV, ...... "Great Princes favorites their fair® leaves spread, . Bat a s t h e MarygolA nt the suns ey e ."1 Included among the highly figurative poems in the Heoa- tompathia are several sonnets which, written without referenoe to the delicate Ovidian mythology or exaggerated compliments, show simplicity of style and a philosophic depth of thought not promi­ nent in other poems of the sequence. This is true of Passion X1VII (p» 85) in which, as has been pointed out, the author was concerned with technical devices, the "relation from line to line" being pointed out in the preface. Despite the weakness of oereftilly worked out figures, the sententlae of the first four lines are impressive: "In time the Bull is brought to wears the yoake; ' In time all haggred Hankss will stoope the lures; In time small wedge will oleave the sturdiest Cake; In time the marble wearee with weakest showres• More fierce is ray sweete love, more hard withall. Then B east or Birds, them Tree, or stony wall." In Thomas Kyd's "The Spanish Tragedy," (Act IT, scene i, 1. 3) Lorenzo says: . /.V-: "In time the-savage bull sustains the yoke. In time a l l haggard hawks w ill stoop to lu re . In time small wedges cleave the hardest oak. In time the flint is pierced with softest shower; And she in time will fall from her disdain. p And rue the sufferance of your friendly pain." . The fifth and sixth lines of Batson's poem are given in Balthazar's reply: "Ho, she is wilder, and more hard withal. Than beast or bird or tree or stony wall."

Sonnets of Shakespeare, Alden. p. 72. ' 2. Sohelling aAd Bleok. Typical Elizabethan Plays, p. 46. In Muoh Ado About Nothing, fAot I, sarnie I, 1. 271) the line Is repeated as "In time the savage trail, doth hear the yoke". famlvall suggested that the line had been taken from the Tragedy. 1- hut the readings are not identical. It may be of some signlfi- eanee that although the word ’’savage" has been added to the line, the original copy of the Heoatoapathla (Harleyan ITS• 2277) has the reading "bear", which was evidently later supplanted by "wear*. Shakespeare may have been familiar with the poems, or Watson’s phrase may have passed into a commonplace. Tho conjectured date of Much Ado About nothing is 1599; the sequence may have been popular at that time. Shakespeare was acquainted with other poems of Watson, and may have misquoted a familiar line, con­ fusing it with the line in the Tragedy. Similar to this Passion is sonnet LXK7II, which surpasses the above mentioned poem In content as well as In structure. The description of time, and even the insistence upon the permanence of love with which each stanza closes expresses a thought more profound than the usual sonnet-conceit. Time, as the cause of change, the consumer of virtues, beauty and flowers, is deline­ ated with the half-divine, half-diabolioal powers which the Elizabethans relegated to time. The source given by Watson S>r his poem is a sonnet of Seraphino, whose material may have been drawn from the T ris tia of Ovid (17, 5,1- 10)• The basic Idea is linked with that of Passion XLYII» but in the second descrip­ tion of time the light and fantastic "relation from line to line" T l liolfe edition. )!uoh Ado About Wo thing, p. IBs. hes been abandoned, and the whole of tho poem la devoted to a listing of the oharaoterlstiei of time, each atansa closing with a couplet declaring that love alone escapes time. While the notion of the "fleetingness of time" was to be­ come a commonplace in English poetry of the period * i t would seem that this is one of the earliest examples of sonnot, if not of other forms, devoted to a personalized abstraction* "Time wasteth yeeres and month's and howr's: Time doth consume fame, honour, w itt and stre n g th : Time kills the greenest herbos and swepteat flowr‘s: Time weares out youth and beauties lookos at length; Time doth convoy to ground both foe and friend* And each thing els but love, which hath no ond. Time maketh ev’ry tree to die end ro tt; Time turneth ofte our pleasures into pain©: Time oauaeth warres and wronges to be forgott; Time oleares the skie^ which first hung full of rayne: Time makes an end of a ll human desire. But onely this, which settee ray heart on fire. :. Time turneth into naught each Princely state: Time brings a fludd from newe resolved snowe: Tim© calms,the sea where tempest was of late: Time eats what ere the Moon® ean sea below©: And yet no time prove!les in my behove; _ Nor any time oan make me cease to love In these lines the melancholy mood of the theme of time is tempered by the turn given the thought with each of the three concluding couplets. Beauty shall pass end wars be forgotten, through the beneficial influence of time who oan weaken the In­ tensity of human emotion and the strength of earthly objects. In the Rape of Luorece is to be found a similar passage. "Time's glory is to calm contending kings, To unmask falsehood end bring tru th to lig h t. To stamp the seal of time on aged things, To wake the morn and sentinel the night. To ruinate proud buildings with thy hours. And smear with dust their glittering golden towers,

Tl v/otson, p . 113, Passion 1XXVII. -se~

To f i l l with worm-holea s ta te ly monument■, To feed oblivion with deoay of things, ' To blot old books and alter their contents. To pluck the quills from anolent ravens * wings. To dry the old oak’s sap and cherish springs. To spoil antiquities of hammered steel _ ‘ And turn the giddy round of Wrtuno's wheel."1 The lines in Ludreoe in which the heroine apostrophises time are similar both to Batson's limes and to the lines of Giles Retoher. Fletcher's lines are imitated from the Neapolitan Latinist Ahgerienus. Watson’s sonnet, like Passion XLVII, is linked with Seraphine in the prefatory notes* Sidney lee writes that Shakespeare must have known Watson's chain of reflections since the quotation from Sonnet XLVII proves his knowledge of the other poem.2 The connection between the two passions is one of subject matter rather than direct pursuit of a train of ’thought, but the meditation upon time is to be noted in the son­ nets as well as in Lucreoe. Shakespeare seems to have followed Watson's lines closely in Luorece. In the sonnets Shakespeare's images of time also parallel several found in the Heoatompathla. A suggestion of the lines of Watson may be found in sonnet xili ' "When I behold the violet past prime, ' And sable curls are silvered ore with white; When lofty trees I see barren of leaves,"3 the poem's basic idea of the passing of beauty of course having nothing in common with the lines in the Heoatompathla. in Son­ net IX"Shakespeare suggests the theme again;

Tl Shakespeare, Venus and Adonis and other Poems, Hollo e d itio n , p. 133, 1. 939 ff. 2. Lee. Life of Shakespeare, p. 148. 3. Sonnets of Shakespeare, Alder, p. 38. -56-

"Time doth tra n s fix tho flo u rish s o to n youth. And delves the parallel in beauties brow, Feedea on the rarities of natures'troth, •• ••'”* These parallels do not pretend to show that fatsun suggastei lines or furnished sources for any of the lines in the sonnets of Shakespeare; the poem of Watson woe, however, concerned with one of the principal themes of Elizabethan poetry and is one of the first expressions of the thought in connection with the amatory poetry of the period. Watson was, then, known to a fairly large group of readers. Poetic imagery, delicate conceits, and roman­ tic thoughts characterized the Heeatompathia and struck upon one of the dominant notes of the literary style of the time. Watson bopran his pootio career as a Latinist. It was for his ability in the use of the Latin language that h# was com­ mended by his contemporaries. After publishing two long Latin works, he turned suddenly to the eighteen line stanza, the story of frustrated love, the whole tradition of the Italian renais­ sance, in his Passionate Oenturie of Love. The sequence en­ joyed popularity for a time. Watson, In the opinion of hie oon- V - temporaries, was a great poet. Then he abandoned the style of the Heeatompathia. and the poems which he wrote during the last years of his short life included an elegy in the pastoral style, translations of Italian madrigals, and a sequence of fourteen lino sonnets. In none of these works is the pedantry of the Heeatompathia repeated; the elaborate prefaces with their learned source material, the exaggerated figures of speech have no place

1* Sonnets of Shakespeare, Aiden> p. 152. ^ In the later poems. While the euphulstio fever was at its height, Watson wrote in a poetic style approximating the style of Lyly. Euphuism d ie d . The straig h tfo rw ard proso which ro p lao ei it eliminated much of the artificiality of the language os Lyly had moulded i t . Watson fell a prey to a fashion, end when it passed, he no longer attempted to display the knowledge which was sincerely the knowledge of a scholar, in ornate bits of style. The simplicity of the Meliboeaa. Watson’s elegy, soaroe- ly seems the work of the same hand. Thus one might say that, swayed by a fashion for a time, Watson turned hie ingenuity and skill to a form in which he had but little heart, and then re­ turned to less ostentatious forms of poetry. -ga­

i n • .

Development of the pastoral poem in Hugland earn® early in the literary Renaissance. The classical eclogue of Theocritus and Vergil had been revived by Italian writers of pastoral, end was transplanted to England by Spenser, Sidney, Greene and others. In its very essence an artificial form, an outgrowth of dissatis­ faction with urban civilization, the pastoral from the time of Theocritus has been a poetic plaything. Theocritus was a city poet; restricted by the Alexandria of Ptolemy he painted in his pastorals the life of the Sicilian shepherds, not from observa­ tion but from a tradition of pastoral life which already ideal­ ized the rural. Conventional characters and names, amoebic dia­ logue, and rural background were used by Theocritus. The Bucolics of Vergil and the poems of the Renaissance period follow the tradition of the Greek form. Mythological personages, satyrs, nymphs, and shepherds are the characters; the tendency toward allegory in some of Vergil’s eclogues and in most of the Renais­ sance poems adds a human significance to the actions of the ' . ' i • • stereotyped characters. In lyric and madrigal, in elegy, and In dramatic fora o f the pastoral, the form was widely used in England• Spenser's Shepherds * Calendar adheres closely to the classical form of the

IT Edmonds, Greek Buoolio # o e ts. in tro d u ctio n , p. 10. ; 39-

paetoral, but in the excessive use of allegory associated with the series comes an artificiality which over-neighs the few real touches of dialogue. The prose and dramatic pastorals, elabor­ ating upon the Arcadian atmosphere, lose the sense of sustained illusion through their tedious length. In the elegy, which pre­ serves the classical font, and the song, which is decidedly a modification of the classical eclogue, the Elizabethans were most successful as writers of pastoral. In the light lyric form of the song the artificiality of scene and character is less important than the grace of expression which adapts the pastoral to musical setting. Watson translated a. group of madrigals from the Italian for the musical settings of William Byrd.^ This "First get of Italian Madrigals Englished" was, so the title page discloses, "Englished not to the sense of the original dittle, but after the affection of the noates by Thomas Watson Gentleman. There are also here Inserted two excellent MadrigalIs of Master wil­ liam Byrds, composed after the Italian vaine, at the request of the sayd Thomas Watson". The book was "im printed a t London by Thomas Estes, the assigns of William Byrd, and are to be sold at the house of the sayd Thomas Estes, being in Allergato street, at the signe of the black Horse. 1590. Cum prlvilaglo regime m aleatatis The phrase "after the affection of the noate" seems to in-

Frederic Ives Carpenter, 'Thomas Watson's Italian Madrigals Englished, 1690," The Journal of Germanic Philology, vol. II. no. 1, p. 323. - 40 -

dioate that Watson's madrigals owe merely a general origin to the Italian poems, and were written with much more emphasis upon their suitability for singing than their closeness to the Italian form. Again this echoes to an extent the pedantic Watson of the Heoatompathia who quoted foreign origins as frequently as pos­ sible to add weight to his verse. Collier fin Lyrical poems Selected from Metrical Publications between the Years 1589 and 1606) says, "it is evident that he did not translate the Italian words, and we almost wish that he had done so, considering that those he had substituted, for the sake of greater novelty, are not at all equal to the character of a poet which Watson had ac­ quired in 1590." The lyrics no doubt suffer from the attention paid to the music, but they are like other songs of the period in that reapeot. limited by both style and subject matter, Watson still wrote simply and olearly, without the flourishes of rhetoric which characterize his treatment of amatory verse in the Passionate Centurie. The shepherd sings of his love for Phillis, and the lyrics on this subject make up the greater number of the twenty-five in the collection. The first is ad­ dressed to Astrophel, with a reference to Stella; Watson probably had some slight acquaintance with Sir Philip Sidney, as he was the secretary of Sidney's father-in-law. Sir Francis WaIsIngham. Possibly this madrigal was written before the death of Sidney in 1586. In Madrigal XXIII both Astrophel end Meliboeus are lamented. The sequence then may have been composed during a period of four or more years. The English references show how 41

little Watson adhered to his Itelimi original. They also show that Watson, es he definitely states inthe preface to his Meliboeus. attached allegorical significance to the pastoral in many: of its forms. The c h ief theme of the m adrigals is the happiness of ac­ cepted lovers and the pain endured.by the slighted swain. Phil­ lis and Amaryllis are both addressed; Phillis is kind to the shepherd, Amaryllis slights hip. Ho .order of subject matter or chronology is preserved in tfye series, although the same char­ acters and the same situations find place in several of the poems. The order in which they are placed shows an attempt at continuity of subject-matter; the first .poem, for example, refers to Astrophel as if he were alive, while in the twenty-third and twenty-seventh both Astrophel end Meliboeus (Sir Francis tfal- slngham) are mourned as dead. The delicacy of the lyric yields to sentimentalism in some of the lines, but the very song-like quality which distinguishes the madrigals from other pastorals allows them greater conventionality of form. The lovor calls on Zephirue, the nymphs, and satyrs, to com® and danoe about his lov®, the faithful Phillis.^ A wsunne of gladness" (another use of Watson's favorite figure) he may see, and look upon the Mbeames of beauties treasure".% without music the songs betray the "stretched meter11 and give but little satisfaction in themselves. The "affeotlon of the noato" must have kept Watson constantly

Tl Carpenter, Madrigal VI. p. 2&W. : 2. Carpenter, Madrigal XVI, p. 344. 42-

on guard against phrases which vllghted the music. The English pastoral was not confined- to madrigal, and love narrative. The Greek elegy, with Its refrain. Its lamentation and Its vague consolation, was the model for Watson's Hellboeae, In which he lamented the death of Sir Francis WaleIngham. Eton's Lament fo r Adonis; Mosohus' Lament fo r M on, and the F irs t Idyl of Theocritus formulate In word ond thought the elegy which was to be copied by Spenser, Milton, and Shelley. The Immortality of a pantheistic creed and the desolation of the singer are fused and made inviolably one by the musio shrouding the dimly understood loss. . The Mellhoeus follows the classical tradition of Vergil end T heocritus. Watson wrote the poem f i r s t in L atin hexame­ ters , translating it himself the year of the publication of the o rig in a l. Abraham Fraunoe had tra n sla te d W atson's Amyntas and ' i - given him no credit for the poem. The elegy is constructed in dialogue form, with two shepherds encouraging each other to song. The allegory which figured in.a few of the madrigals is in the elegy all important. In the preface addressed to the "courteous reader", Watson explains the allegorical significance of the characters lest hia "pastoral discourse to the unlearned seem obscure". The pedantry of the statement recalls the tone of the prefaces to the Heoatompathia. Arcadia, in the elegy, represents England; Queen Elizabeth is Diana, sir Francis Wal- 12

1. Watson, p. 146. 2. Watson, p. 147. - 45 -

sIngham, Meliboeua; his lady is Dryas; Sir Philip Sidney, As­ tro phel, and his lady, Hyale; Thomas WalsIngham is Tityros end Watson hitiself is Oorydon. The two shepherds are the real characters of the elegy, the others being merely mentioned and not appearing on the scene. The elegy conforms to the classical pattern. Oorydon asks Tityrus the canso of his grief; Tityrus after some hesitation tells that, • : "Alas too soon by Destine fatall knife Sweet Meliboeus is deprived of life." He asks that Oorydon lament their dead shepherd friend, and Oorydon begins the elegy proper by calling upon the "envious heavens" that have destroyed him. The fates have oraally cut off Oorydon1s life; young Astrophel was also slain before his time. There is no one who can take the place of Meliboeus in performing the homely tasks of building fences and guarding the lambs. Tityrus takes up the lament and calls upon each of the twelve signs of the zodiac to stop their appointed task and grieve. The "sevenfold flames" surrounding the earth are be­ sought to leave their harmony and wail; Jupitor should let Mars kindle strife, the sun should stop shining, and Venus, Phoebus and Luna should all grieve; the air, meteors, comets, and "stars th a t f a l l by night" are a l l c e lle d upon. Oorydon resumes the elegy with an apology for singing in a lower strain. The fauns, satyrs and nymphs of the countryside are invoked, and asked to bewail the death of their friend. The trees should stand leaf- loss, and the birds — except the evil birds of night — put 44-

awe y tholr aonee. The vines should wither, anfl tho flowers die. Tityrua again breaks in upon tho eong, invoking 'Taptune and the ooean to **beato the senseless air with elegies*. All the deities and oreatures of the water are to weep* : The reply of Tityrua suddenly changed the mood of the elegy with the resolution which the classic form perfected; a personal immortality saves Meliboeus from death* "His faith hath fram’d his spirit holie wings, To scare with Astrophill above the sun;n Meliboeus, residing in a paradise of strangely mixed Christian and pagan attributes, is to live among cherubim and seraphim and eat ambrosia. Instead of vainly weeping for one who is so greatly blessed, his friends should gather for the funeral, do­ ing him honor by rich gifts, and setting lights before the body. The faithful weeping Dryas is to be consoled, and a delicate line of consolation is given for Hyale. Above all, Diana must not mourn the loss of Meliboeua. Her praise is far beyond the powers of Corydon; with a sudden dropping of allegory, Watson calls upon Spenser as the only poet able to sing the praises of the queen. The queen may console herself in Hatton, Howard, and . others named by allegorical titles. The shepherds then leave at night fall to return the flocks to the fold• The elegy stands in striking contrast to the Heoatomoathia and the madrigals. Aside from the introduction of allegory, which brings the, author into connection with a less academic pert of the literary fashions of the time, a decided difference in diction ia to be noted. In the TIoeatompathia the amatory tradition of fiporativo language — muses, nymphs, mourning heart®, and worlds of woe — influenced Watson’s style to a certain extent, but in addition to that trend of the sonnet-style was the poet *s own pedantie interest in the euphuistio display of knowledge. In the elegy his language has become surprisingly simple and direct. The : argument might be made that Watson needed fewer indirect refer­ ences to the classical gods and incidents because he was deal­ ing directly with a classical form and subject. This objection is invalidated by the obvious lack of figurative language of any other sort in the poem; that is, the gods are invoked, exactly in the manner of the classical elegy, but the language used is simple. Thus the use of figures almost disappears from Watson's writing, and the classical background is here part of the very structure of the poem, not a flourish to intensify the mood of a sonnet. "Hor honors t i t l e s , nor abundant w ealth, Nor thousand gifts deserving endlesae praise Gould smooth the me11ice of old Saturns brow. Or heate of Mara, or Lunaes death full oolde: 0 envious heavns, that wind® I wotte not how, . Grudging the glories of this earthly molds.M This passage, while Saturn is introduced, is nevertheless free from many of the faults which make the Heoatompathla a literary exercise. In "grudging the glories of this earthly mold" Watson has found some of the dramatic splendor of the iam­ bic line which his great contemporaries had evolved from the ten

1. Watson, p. 163. slight syllables of the sonnot-form. The nymphs, and all weeping iready are not realistic or natural hut in this poem Watson has found expression of an emo­ tion relatively natural, and his setting — in the traditional pastoral — is adapted to the eclogue form. A certain serious­ ness which shows poetic capability not fully expressed permeates the climactic lines in the elegy which leave the pagan grief and turn to confident iteration of the belief that Meliboeue still lives. ' ‘ " • "In Just complaint our sorrows were begun, and,all too little for the man we waile: Yet now at last our sorrows must be done, and more than mourning reason must p r e v a i l .... Our Meliboeus lives where Seraphins do praise the Highest in thoir glorious flames: Where flows the knowledge of wise Oherubins: where Throana exhibit earthlie deeds and"names. The eclogue is not a great poem, but in occasional lines it rises above much of the poetry of the day, and it shows a definite desertion of the high-sounding phrase of the Lylyan style. The figures of Passion XOI afford an interesting contrast with the elegy. lovers are "the "captive foules of blindefold Cyprians.boate"; Folly steers the boat between sighing winds and waves of woe; on Beauty’s rook the luckless passengers may be wrecked; at last they shall hang their votive tablets "in the quire of Cupids ohuroh". The strained figure, doggedly sustained through eighteen lines, clearly exemplifies the style of the Heoatompathia. which relied, except in the few oases when the author rose above the influence of Lyly, upon the turn of word -4 7 - .

and phrase instead of thought end poetic idea. Perhaps the closer connection with reality brought clarity to Watson’s style. He had been associated with v/alsinghao, as his secretary, for some time, walsingham, who had been ambas- sador to France, 1670-1673, was made secretary of stato in 1673; was sent on an embassy to the Netherlands in 1578, to France i n :1681. and to Scotland in 1683. On one occasion, Watson seems to have accompanied him to France. Wo doubt the poet felt a sense of duty if not friendship itself toward the family. Thomas Walsingham, represented by Tityrue in the elegy was prob­ ably a olose friend of Watson, if one may judge by the tone of the dialogue. Watson puts into the mouth of "Tityrus” the curious speech: . "Thy tunes have often pleas'd mine eare of yoare, where milk-white swans did flooke to hears thee sing. Where Seane in P aris makes a double shoaro, - Paris ilirlse blest if shee obey her King .m1 Thomas walsingham probably knew Watson while the poet was secretary to his father; the reference to Paris’ obedience to her king is interesting. Francis walsingham, who was a firm opponent of L’ary Stuart, was probably an influential protes- tant, and the coming of the Huguenot king Henry IV to the throne of France in 1589 may have prompted the secretary to echo his master’s sentiments . The Battle of ivry, at which lTenry defeat­ ed the forces of the Roman Catholics, might have been the im­ mediate occasion for the lines. Other references to England of the time in which Watson was writing include the direct rnfor-

T7 Watson, p. 15?. —48 —

©no© to Spenser, and advico to Elizsboth oonoerning the choosing of WaIsIngham's successor. The elegy shows Batson to have been an observer of affairs; as secretary to an important public figure he must have seen much of Elizabethan policies and state­ craft. His talent was not suited to the more external side of the age; he was from the first to the last a scholar. But in th is elegy the connection with r e a lity shows him a man capable of great admiration and friendship for his master, a certain naive response to the religion of the reformed church, and a realization of:whet"was'happening in England at the time. The polished and academic latinity of his verse may have been in­ fluenced by all these factors. The poem never rises beyond the definite limits of the pastoral elegy, and the weeping trees and grieving stars are well within the limits of conventionality, but a depth of feeling and simplicity of style ore both charac­ teristic of the work. After Watson*8 death, his sonnet sequence The Tears of Panole was "Printed at London for william Barley, dwelling in Gratioua streets over against Leaden Hall, 1593". The date"of the composition of the sequence is unknown, but internal evi­ dence would point to i t s having been composed sh o rtly before the author’s death. Had it been written some years before and not intended for publication it would scarcely have borne an epistle to the reader by the writer himself. The style also would in­ dicate that the sequence was written after the elegy. The sequence is based upon the conceit of the lover’s -4 9 -

tears, as the title would imply. The form need is the English sonnet of fourteen lines, and feminine rimes are common. The sequence is a narrative of sixty sonnets.1 The lover tells how he once scorned lovers, paying no honour to Cupid, (Sonnet I). Love's shaft rebounds from his heart (II) and Venus, amused at her son’s rage, agrees to help him torment the one who will not love, (III). When all arts fail, (IV,V)she at last conceals himself in the lady's eyes, and so wins the poet to love, (VI). The lover is the prey of vain desire, (VII); ho still continues to hope, (VIII); his heart is repelled by his unkind mistress and flees from her, (XVII); he grieves over his heart, (XVIII); he weeps, (XIX); his eyes and heart blame each other for his love, (XX); he s peaks to the lady and is rejected, (XXI); he . sees her in a garden, (XXII); he laments that he cannot pieroe her heart yet chooses to live and die for love, (XXIII, XXIV). While he is lamenting in the "vale of love" the lady walks by, (XXV, XXVI). He weeps end calls the fountain to bear witness to h is g rie f , (XXVII, XXVIII, XXIX, XXX). The second half of the sequence, although no division is indicated, turns from narrative to a series of complaints. Ho is in despair, and tho lady w ill not comfort him, (XXXI, XXXII); she refuses to believe his words of praise, (XXXIII); he asks why he should continue to live, (XXXIV). He cannot tell his grief, his eyes weep tears of woo, and he wishes he could hide his sor-

1. The copy of The Tears of Panels known to Arbor had four pages, containing SonniTs~Ix, to XVII, missing.

90774 —50—

■row, (XXXV, XXXVI, XXXVII) . She s t i l l disdains him, and other delights osnnot oheer him, (XXXIX, XL) • He asks love why he is abused, begs Fortune to assist him and finally turns to death; all three refuse him, (XII, XLII, XLIII, XLIV). He shows his mistress his wounded heart, but she sees only her own image in it, (XLV, XLVI). Spring comes, but he cannot take pleasure in it, (XLVII, XLVIII)*• Hie Diana is kind enough to slay her Ac- taeon, (XLIX); his heart, hand and eye have all loved the lady, (L); he hides himself in spring, (IT); obviously intended to follow, (XLVIII), and cannot love the sun since his sun will not shine upon him, (LII, LIII). She is not to be angry if he chides h e r, (LIV). She i s more glorious than the moon, (LV); he nourishes blaok despair, hounds do not leave his heart alone but continue the chase, (LVII); he finds pain in the delight of other lovers, (LVIII); he acknowledges the supremacy of Oupid, (LIX) and in the la s t sonnet questions h is h eart concerning its woes, the answer to each question being "love". This analysis shows the sim ilarities to the Hecatomoathia find points of difference between the two sequences. The con­ tinuity of the Tears of Foncio is much more clearly expressed. The fig u res ore few and sim ple; An image — fo r example,- the heart and hounds and sonnet LVII/ or Diana and Aotaeon In Son­ net XLIX -- is mode the basis for the poem and elaborated upon. In the Hecatompsthis Watson, describing love, in Passion XCVIII, used twenty-seven metaphor®, few of them linked in thought to . any of the others. The mythological references in the Hecatom- -S l-

jjathia, including allusions, both olaesloal and mediaeval, were obscure and their obscurity was increased rather than light­ ened by the prefaces which merely added the weight of authority to the complexity of the figures. In Passion LXXI of the Heoa- tompathia he tells his friend, whom he addresses as Titus, that his muse has lost her old pleasure; a sententia on the effect of love is then followed by references to Ale idea, to Achilles and Brysea, Jove and heda. Areas and Aglaurus, and Apollo end Daphne* The poem closes w ith a referen ce to hie lady as a goddess. The poem is, like the others of the sequence, leaking in profundity; it la also lacking in grace. The erudi­ tion which Watson felt impelled to put into his love-passions is unwieldy and while no doubt supplying the vocabulary of his contemporaries with many allusions and classical myths, is far from lyrical. Despite the sentimentalism of the tears which Watson took as the basis for the sequence, the poems which make up The Tears of Fanole possess a directness of style and con­ tinuity of thought which differentiate them from the Passionate G enturle. Although more than ten years elapsed between the publica­ tion of Watson's two sonnet sequences, the second is s till early in the history of the English sonnet. The Amorettl of Spenser is yet to bo published; Sidney's Astrophel and Stella la the only important sequence published at the time. It is scarcely fair, than, to dismiss Watson, as one modern critic has done, by quoting one of the most sentimental of the sonnets, ludicrous -6 2 -

to modern taste "because of its extravagance, os representative of the poet’s work. — 63—

IV

Many diverge influences of the Elizabethan era had their effect upon Wetson. The Italian sonnet and the Latin elegy were both attempted by this scholar; he brought to his poetic composition a wide knowledge of literature and this knowledge colored both style and subject matter. The few polished phrases which graced his poems were quickly snatched up by an age in love with words, and appeared in his contemporariesf writings. In interpreting the sonnet, Watson gave it a certain flexibility not to be found In the Italian strict use of rhyme; in the elegy he used a simplicity of phrase which detracted from the severity of the form. Had he been less concerned with the stylistic points which must have required care and thought, and turned greater effort toward the expression of thought itself, his reputation might have lasted longer. Watson was one of the first to use the sonnet form, and his sonnet sequence was the first to be published, as has been noted. He was, however, not only an originator but a copyist of the fashions of the day. For this reason, sensing the preoc­ cupation with style, he abandoned the Latin poetry for which he was highly praised and penned the Heoatompathis with its amazing explanations. Euphuism made c deep impression upon the English, and upon this impression Watson was relying. If one might judge the age from the reflection in the character of one obscure man, and that man through the ©hanging fashions of the age, the transition from unaasimilated Renaissance culture to the development of a national literature and style.may ho seen. In the mass of allusion and imitation to be seen in any part of the Eeoatoapothlo is a glimpse of the beginning of the growth of English poetry from foreign materials# In the Melihoeua is the pastoral in its pure form, alien to English verse hat to be used for some of the greatest elegios in the language. In the madrigals the interest in songs with the emphasis upon music, is evident; the Elizabethans found a kinship between the arts of poetry and music* In the Tears of Panels the culmination of the sonnet sequence development has come. The sonnet, in­ stead of being a complete unit in itself, is to become a atan- zaic pattern. Its conventions are strict and its usages are limited. It is definitely the poem of amatory emotion, just as it was in Italian, but adapted to the less musical English sounds. Most Important among the stylistic changes to be observed in Watson’s work is the definite discarding of euphuism. Had Watson broken with lyly and then attempted to withdraw himself from the influence of the court poet? That conjecture seems improbable when one recalls that the date of the Elvotham Prog­ ress is 1591 and at that time Watson and Lyly were apparently friends. Watson's change in style is rather due to outside influence, the molding of English in accord with the simpler style of Deloney and the polished prose of Sidney. Euphues was a fashion among the lay rather than the literary, and after a "brief, vogue among the poets and dramatists vanished with the other early influences of the Renaissance. Thus in the forms of verse used by this obscure poet may be seen many of the trends'of'the Elizabethan age. The impor­ tance of writers who are but little known may also be seen in the use to which Watson’s lines wore put by other poets. Al­ though he himself was destined not to be read or noticed as an entity for almost three centuries, his words and phrases found a place as the expression of the thoughts of those who wore poorer scholars but better poets. - 5 6 -

Bi'bllograpliy

Cambridge History of English literature, vol. Ill, G. P« “ Putnam'a Sons, New YorE,- 1 5 2 7 • Carpenter, T. I., MThomas Watson's Italian Madrigals Englished, 1590,M The Journal of Qermanio Philology, vol. II. no. 1. p . 323.— — — — — ^—:------' • Chambers. E. K.. English Pastorals. Blackle and Sons. London. 1895. ------: . - - • Chapman. Plays (Mermaid S e rie s ). Charles S crib n ers' Sons. New Y o r k T I W S . - ■• ' ■ ' " • . . ' Courthope. History of English Poetry, vol. II. Macmillan. New YorlE; T9T0T ------Dictionary of National Biography, vol. II, (sir Sidney Lee) Smith U d e r and Company, London, 1895-1910. Edmonds. J • M., Greek Bucolic Foots. G* P. Putnam's Sons. New York, 1919.“r*“ ' ------~ — Faral. Edmond, Las Arts Poetlquea du Xlle et du XIITe Sieole, Le llbraire Anoienne gdouard "SHarapion, Paris', 1923. Gascoigne, George, The Steel Glas, (Arber Heprint), Constable, London, 1895. ------Lee, Sir Sidney L .t A Life of William Shakespeare, Macmillan Company, New York, 19lo. - ...... Legouis, E. H., (with Louis Cazamian) A History of English L iterature. Macmillan Company, New York, 19ST. Lyly, John, Complete Works (edited by R, Warwick Bond), Claren­ don P ress, Oxford, 1902.

Peterson, Houston, Book of Sonnet sequences. Longmans. Green, and Company, Now YorE, 1925. Petrarch, Sonnets. translated by Joseph Auslander, Longmans, Green, and Company, New York, 1932. Puttenham, George, The Arte of English poesie. (Arber Reprint) Constable and Company, W estminster, 1875• - 57-

Rolllne, Hyder %. (editor), A Gorgeous Gallery of Gallant Inventions, Harvard University Press, Cambridge, Hass. Sohelllng, Felix, The Elizabethan lyric. Houghton, M ifflin, and Company, Boston and How York,"191^. Sohelllng and Black, Typlool Blizabothan Plays. Harper and B rothers P u b lish ers, Hew-York, 1926. Shakespeare, Muoh Ado About Nothing, edited by W. J, Bolfe, American Book Company, Mew York, 1906• Shakespeare, Romeo and Juliet, edited by w. J. Rolfe, American Book Company, Mew York, 1905. Shakespeare, Sonnets, edited by Raymond IT. Alien, Houghton, M ifflin Company, Boston and Hew York, 1916. Shakospeare. Sonnets, edited by W. J. Rolfe, American Book Company, Mew York, 1906. Shakespeare, Venus and Adonis Luoreoe and Other Poems, American .Book Company, lew York, 1906. Sidney, Sir Philip, Complete Works, vol. II, University press, Cambridge, Haas.,.1912-1916. Smith, George Gregory, Critical Elizabethan Essays, Clarendon Press, Oxford, 19031 Spenser, Edmund, Works (Edited by R. Morris), Macmillan Com­ pany, Row York, 1892. T illy a rd , K. M. W., The Poetry of S ir Thomas Wyatt, no. 25. The Scholastic Press, London,““I92lTr Watson, Thomas, Poems. fArber English R eprints) Constable and Company, London, 1910. ' Webbe, William, A Discourse of English Poetrie, (1586) Arbor English Reprints, London,. 18701 8 8 8 7 y 933 ET7T1. 1=133 -53 C3

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