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left the university, it would appear, without a degree, but strongly imbued with those tastes for classical literature which exercised such powerful See also:

INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence upon his subsequent See also:

WORK

work . In See also:

APRIL

April 1587 he was admitted to See also:

Gray's See also:

Inn, possibly with the intention of adopting a legal profession, but he had little sympathy with legal studies and does not appear to have been called to the See also:

bar . His subsequent movements are not certain, but in 1591 he appears to have take,. See also:

PART

part in the See also:

French expedition under See also:

Essex, sent for the assistance of See also:

Henry IV. against the See also:

LEAGUE

League; and in 16o6 he first appears with the degree of See also:

DOCTOR (Lat. for " teacher ")

doctor of physic, though the See also:

ABSENCE (Lat. absentia)

absence of records does not permit us to ascertain where this was obtained . The See also:

REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest of his See also:

LIFE

life was probably spent in London, where he practised as a physician until his death on the 1st of See also:

March 162o, leaving behind him, it would appear, neither wife nor issue . He was buried the same See also:

day at St See also:

DUNSTAN, SAINT (924 or 925-g88)

Dunstan's-in-the-See also:

West, See also:

FLEET

Fleet See also:

Street . The See also:

BODY

body of his See also:

WORKS

works is considerable, the earliest known being a See also:

GROUP

group of five See also:

ANONYMOUS

anonymous poems included in the Songs of See also:

DIVERS

Divers Noblemen and Gentlemen, appended to See also:

Newman's surreptitious edition of See also:

Sidney's Astrophel and Stella, which appeared in r5g . In 1595 appeared under his own name the Poemata, a collection of Latin panegyrics, elegies and epigrams, which evince much skill in handling, and won him considerable reputation .

This was followed in 16or by A Booke of Ayres, one of the See also:

SONG

song-books so fashionable in his day,the See also:

MUSIC

music of which was contributed in equal proportions by himself and See also:

Philip Rosseter,while the words were almost certainly all written by him . The following See also:

YEAR

year he published his Observations in the See also:

Art of English Poesie, " against the vulgar and unartificial See also:

CUSTOM (from O. Fr. costume, costume or coustume; Low Lat. costuma, a shortened form of consuetudo)

custom of riming," in favour of See also:

RHYME

rhyme-less See also:

VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse on the See also:

MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model of classical quantitative See also:

POETRY

poetry . Its See also:

APPEARANCE (from Lat. apparere, to appear)

appearance at this See also:

STAGE (Fr. 6/age; from Lat. stare, to stand)

stage was important as the final statement of the crazy See also:

PREJUDICE (Lat. praejudicium)

prejudice by one of its sanest and best equipped champions, but the See also:

CHALLENGE (O. Fr. chalonge, calenge, &c., from Lat. calumnia, originally meaning trickery, from calvi, to deceive, hence a false accusation, a " calumny ")

challenge thus thrown down was accepted by See also:

Daniel, who in his See also:

Defence of Ryme, published the same year, finally demolished the See also:

MOVEMENT

movement . In 1607 he wrote and published a masque for the occasion of the See also:

MARRIAGE

marriage of See also:

Lord See also:

HAYES, RUTHERFORD BIRCHARD (1822–1893)

Hayes, and in 1613 he issued a See also:

VOLUME

volume of Songs of See also:

MOURNING (from the verb " to mourn," to be sorrowful, 0. Eng. murnan; cf. O.H.G. mornen, Goth. maurnan, to be anxious, O.N. morna, to pine away; by some referred to root seen in Gr. jdptpva, sorrow, by others to root mer-, to die)

Mourning (set to music by Coperario or John See also:

Cooper) for the loss of See also:

Prince Henry, which was sincerely lamented by the whole English nation . The same year he wrote and arranged three masques, the Lords' Masque for the marriage of Princess See also:

Elizabeth, an entertainment for the amusement of Queen Anne at Caversham See also:

House, and a third for• the marriage of the See also:

EARL

earl of See also:

Somerset to the infamous Frances See also:

Howard, countess of Essex . If, moreover, as appears quite likely, his Two Bookes of Ayres (both words and music written by himself) belongs also to this year, it was indeed his annul mirabilis . Some See also:

time in or after 1617 appeared his Third and See also:

FOURTH

Fourth Booke of Ayres; while to that year probably also belongs his New Way of making Foure Parts in See also:

COUNTER

Counter-point, a technical See also:

TREATISE

treatise which was for many years the See also:

standard See also:

TEXT (Lat. textum, woven fabric, from texere, to weave)

text-See also:

BOOK

book on the subject . It was included, with annotations by See also:

CHRISTOPHER, SAINT (Christophorus, Christoferus)

Christopher Sympson, in Playf See also:

air's Brief Introduction to the Skill of Musick, and two See also:

EDITIONS

editions appear to have been bought up by 166o . In 1618 appeared The Ayres that were sung and played at See also:

Brougham See also:

Castle on. the occasion of the See also:

king's entertainment there, the music by See also:

Mason and Earsden, while the words were almost certainly by Campion; and in 1619 he published his See also:

EPIGRAM

Epigram-taciturn Libri II . See also:

UMBRA (Lat. for shade or shadow)

Umbra Elegiarum See also:

LIBER

liber onus, a reprint of his 1595 collection with considerable omissions, additions (in the form of another book of epigrams)and corrections . While Campion had attained a considerable reputation in his own day, in the years that followed his death his works sank into See also:

COMPLETE

complete oblivion . No doubt this was due to the nature of the See also:

MEDIA

media in which he mainly worked, the masque and the song-book .

The masque was an amusement at any time too costly to be popular, and with the See also:

REBELLION

Rebellion it was practically extinguished . The See also:

VOGUE, EUGENE MELCHIOR, COMTE DE (1848- )

vogue of the song-books was even more ephemeral, and, as in the See also:

case of the masque, the Puritan ascendancy, with its distaste for all See also:

SECULAR (Lat. saecularis, of or belonging to an age or generation, saeculum)

secular music, effectively put an end to the See also:

MADRIGAL (Ital. madrigale)

madrigal . Its loss involved that of many hundreds of dainty lyrics, including those of Campion, and it is due to the enthusiastic efforts of Mr A . H . Bullen, who first published a collection of the poet's works in 1889, that his See also:

GENIUS (from Lat. genere, gignere)

genius has been recognized and his See also:

PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place among the foremost See also:

RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank of Elizabethan lyric poets restored to him . Campion set little See also:

STORE (from O. Fr. estor or estoire, Late Lat. staurum or instaurum, stock, provisions, supply, from the late use of instaurare, to provide, properly to construct, renew, restore)

store by his English lyrics; they were to him " the superfluous blossoms of his deeper studies," but we may thank the fates that his precepts of rhymeless versification so little affected his practice . His rhymeless experiments are certainly better conceived than many others, but they lack the spontaneous See also:

grace and freshness of his other poetry, while the whole See also:

SCHEME (Lat. schema, Gr. oxfjya, figure, form, from the root axe, seen in exeiv, to have, hold, to be of such shape, form, &c.)

scheme was, of course, unnatural . He must have possessed a very delicate musical See also:

EAR (common Teut.; O.E. are, Ger. Ohr, Du. oor, akin to Lat. auris, Gr. ovs)

ear, for not one of his songs is unmusical; moreover, the fact of his composing both words and music gave rise to a metrical fluidity which is one of his most characteristic features . Rarely indeed are his rhythms See also:

UNIFORM

uniform, while they frequently shift from See also:

LINE

line to line . His range was very See also:

GREAT

great both in feeling and expression, and whether he attempts an elaborate See also:

EPITHALAMIUM (Gr. hirl, at or upon, and BhXayos, a nuptial chamber)

epithalamium or a See also:

SIMPLE

simple See also:

COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country ditty, the result is always full of unstudied freshness and tuneful See also:

CHARM (through the Fr. from the Lat. carmen, a song)

charm . In some of his sacred pieces he is particularly successful, combining real poetry with genuine religious fervour . (P .

End of Article: THOMAS CAMPION (1567-1620)

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JEAN GALBERT DE CAMPISTRON (1656-1723)

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