See also:- THOMAS
- THOMAS (c. 1654-1720)
- THOMAS (d. 110o)
- THOMAS, ARTHUR GORING (1850-1892)
- THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
- THOMAS, GEORGE (c. 1756-1802)
- THOMAS, GEORGE HENRY (1816-187o)
- THOMAS, ISAIAH (1749-1831)
- THOMAS, PIERRE (1634-1698)
- THOMAS, SIDNEY GILCHRIST (1850-1885)
- THOMAS, ST
- THOMAS, THEODORE (1835-1905)
- THOMAS, WILLIAM (d. 1554)
THOMAS See also:CAMPION (1567-1620)
, See also:English poet and musician, was See also:born in See also:London on the 12th of See also:February 1567, and christened at St See also:Andrew's, See also:Holborn
.
He was the son of See also:John See also:Campion of the See also:Middle See also:Temple, who was by profession one of the cursitors of the See also:chancery See also:court, the clerks " of course," whose duties were to draft the various writs and legal See also:instruments in correct See also:form
.
Hismother was See also:Lucy Searle, daughter of Laurence Searle, one of the See also:queen's serjeants-at-arms
.
Upon the See also:death of Campion's See also:father in 1576, his See also:mother married See also:Augustine Steward and died herself soon after
..
Steward acted for some years as See also:guardian of the See also:orphan, and sent him in 1581, together with See also:- THOMAS
- THOMAS (c. 1654-1720)
- THOMAS (d. 110o)
- THOMAS, ARTHUR GORING (1850-1892)
- THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
- THOMAS, GEORGE (c. 1756-1802)
- THOMAS, GEORGE HENRY (1816-187o)
- THOMAS, ISAIAH (1749-1831)
- THOMAS, PIERRE (1634-1698)
- THOMAS, SIDNEY GILCHRIST (1850-1885)
- THOMAS, ST
- THOMAS, THEODORE (1835-1905)
- THOMAS, WILLIAM (d. 1554)
Thomas See also:Sisley, his stepson by his second wife See also:Anne, relict of See also:Clement Sisley, to Peterhouse, See also:Cambridge, as a See also:gentleman pensioner
.
He studied at Cambridge for four years, and See also: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 upon his subsequent See also:work
.
In See also:April 1587 he was admitted to See also:- GRAY
- GRAY (or GREY), WALTER DE (d. 1255)
- GRAY, ASA (1810-1888)
- GRAY, DAVID (1838-1861)
- GRAY, ELISHA (1835-1901)
- GRAY, HENRY PETERS (1819-18/7)
- GRAY, HORACE (1828–1902)
- GRAY, JOHN DE (d. 1214)
- GRAY, JOHN EDWARD (1800–1875)
- GRAY, PATRICK GRAY, 6TH BARON (d. 1612)
- GRAY, ROBERT (1809-1872)
- GRAY, SIR THOMAS (d. c. 1369)
- GRAY, THOMAS (1716-1771)
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 in the See also:French expedition under See also:Essex, sent for the assistance of See also:- HENRY
- HENRY (1129-1195)
- HENRY (c. 1108-1139)
- HENRY (c. 1174–1216)
- HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
- HENRY, EDWARD LAMSON (1841– )
- HENRY, JAMES (1798-1876)
- HENRY, JOSEPH (1797-1878)
- HENRY, MATTHEW (1662-1714)
- HENRY, PATRICK (1736–1799)
- HENRY, PRINCE OF BATTENBERG (1858-1896)
- HENRY, ROBERT (1718-1790)
- HENRY, VICTOR (1850– )
- HENRY, WILLIAM (1795-1836)
Henry IV. against the See also:League; and in 16o6 he first appears with the degree of See also:doctor of physic, though the See also:absence of records does not permit us to ascertain where this was obtained
.
The See also:rest of his See also: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's-in-the-See also:West, See also:Fleet See also:Street
.
The See also:body of his See also:works is considerable, the earliest known being a See also:group of five See also:anonymous poems included in the Songs of See also: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-books so fashionable in his day,the See also:music of which was contributed in equal proportions by himself and See also:- PHILIP
- PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
- PHILIP, JOHN (1775-1851)
- PHILIP, KING (c. 1639-1676)
- PHILIP, LANOGRAVE OF HESSE (1504-1567)
Philip Rosseter,while the words were almost certainly all written by him
.
The following See also:year he published his Observations in the See also:Art of English Poesie, " against the vulgar and unartificial See also:custom of riming," in favour of See also:rhyme-less See also:verse on the See also:model of classical quantitative See also:poetry
.
Its See also:appearance at this See also:stage was important as the final statement of the crazy See also:prejudice by one of its sanest and best equipped champions, but the See also: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
.
In 1607 he wrote and published a masque for the occasion of the See also:marriage of See also:Lord See also:Hayes, and in 1613 he issued a See also:volume of Songs of See also:Mourning (set to music by Coperario or John See also:- COOPER
- COOPER (or COUPER), THOMAS (c. 1517-1594)
- COOPER, ABRAHAM (1787—1868)
- COOPER, ALEXANDER (d. i66o)
- COOPER, CHARLES HENRY (18o8-1866)
- COOPER, JAMES FENIMORE (1789-1851)
- COOPER, PETER (1791-1883)
- COOPER, SAMUEL (1609-1672)
- COOPER, SIR ASTLEY PASTON (1768-1841)
- COOPER, THOMAS (1759–1840)
- COOPER, THOMAS (1805–1892)
- COOPER, THOMAS SIDNEY (1803–1902)
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 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 (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time in or after 1617 appeared his Third and See also:Fourth Booke of Ayres; while to that year probably also belongs his New Way of making Foure Parts in See also:Counter-point, a technical See also:treatise which was for many years the See also:standard See also:text-See also:book on the subject
.
It was included, with annotations by See also:Christopher Sympson, in Playf See also:air's Brief Introduction to the Skill of Musick, and two See also: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
- KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
- KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
- KING, CHARLES WILLIAM (1818-1888)
- KING, CLARENCE (1842–1901)
- KING, EDWARD (1612–1637)
- KING, EDWARD (1829–1910)
- KING, HENRY (1591-1669)
- KING, RUFUS (1755–1827)
- KING, THOMAS (1730–1805)
- KING, WILLIAM (1650-1729)
- KING, WILLIAM (1663–1712)
king's entertainment there, the music by See also:- MASON, FRANCIS (1799—1874)
- MASON, GEORGE (1725—1792)
- MASON, GEORGE HEMMING (1818–1872)
- MASON, JAMES MURRAY (1798-1871)
- MASON, JOHN (1586-1635)
- MASON, JOHN YOUNG (1799-1859)
- MASON, LOWELL (1792—1872)
- MASON, SIR JOHN (1503–1566)
- MASON, SIR JOSIAH (1795-1881)
- MASON, WILLIAM (1725—1797)
Mason and Earsden, while the words were almost certainly by Campion; and in 1619 he published his See also:Epigram-taciturn Libri II
.
See also:Umbra Elegiarum See also: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 oblivion
.
No doubt this was due to the nature of the See also: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 it was practically extinguished
.
The See also: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 music, effectively put an end to the See also: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 has been recognized and his See also:place among the foremost See also:rank of Elizabethan lyric poets restored to him
.
Campion set little See also: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 (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
- GRACE, WILLIAM GILBERT (1848– )
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, 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, while they frequently shift from See also:line to line
.
His range was very See also:great both in feeling and expression, and whether he attempts an elaborate See also:epithalamium or a See also:simple See also:country ditty, the result is always full of unstudied freshness and tuneful See also:charm
.
In some of his sacred pieces he is particularly successful, combining real poetry with genuine religious fervour
.
(P
.
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