See also:

• MICHAEL
• MICHAEL (1596-1645)
• MICHAEL (Hebrew Sn,q, " Who is like God? ")

MICHAEL See also:

• MICHAEL DRAYTON (1563-1631)

DRAYTON (1563-1631)  , See also:

• ENGLISH

English poet, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Hartshill, near See also:

• ATHERSTONE
• ATHERSTONE, WILLIAM GUYBON (1813-1898)

Atherstone, in See also:

• WARWICKSHIRE

Warwickshire in 1563 . Even in childhood it was his See also:

• GREAT

great ambition to excel in See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing verses . At the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of ten he was sent as See also:

• PAGE
• PAGE, THOMAS NELSON (1853- )
• PAGE, WILLIAM (1811-1885)

page into some great See also:

• FAMILY

family, and a little later he is supposed to have studied for 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 at See also:

• OXFORD
• OXFORD, EARLS OF
• OXFORD, EDWARD DE VERE, 17TH EARL
• OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
• OXFORD, PROVISIONS OF
• OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
• OXFORD, ROBERT HARLEY, 1ST

Oxford . See also:

• SIR

Sir 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 Goodere of Powlesworth became his See also:

• PATRON

patron, and introduced him to the countess of See also:

• BEDFORD

Bedford, and for several years he was See also:

• ESQUIRE (0. Fr. escuyer, Mod. Fr. ecuyer, derived through the form escudier from Med. Lat. scutarius, " shield-bearer ")

esquire to Sir See also:

• WALTER, HUBERT (d. 1205)
• WALTER, JOHN (1738/9-1812)

Walter See also:

• ASTON, ANTHONY (fl. 1712-1731)

Aston . How the See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• PART

part of his See also:

• LIFE

life was spent, however, we possess no means of ascertaining . It has been surmised that he served in the See also:

• ARMY
• ARMY (from Fr. armee, Lat. armata)

army abroad . In 1590 he seems to have come up to See also:

• LONDON

London, and to have settled there . In 1591 he produced his first See also:

• BOOK

book, The See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

Harmony of the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

Church, a See also:

• VOLUME

volume of spiritual poems, dedicated to See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

Lady Devereux . The best piece in this is a version of the See also:

• SONG

Song of See also:

• SOLOMON, ODES OF
• SOLOMON, PSALMS OF

Solomon, executed with considerable richness of expression . A singular and now incomprehensible See also:

• FATE

fate befell the book; with the exception of See also:

• FORTY

forty copies, seized by the See also:

• ARCHBISHOP (Lat. archiepiscopus, from Gr. apxceatorcoros)

archbishop of See also:

• CANTERBURY
• CANTERBURY, CHARLES

Canterbury, the whole edition was destroyed by public See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order . It is probable that he had come up to See also:

• TOWN

town laden with poetic writings, for he published a vast amount within the next few years . In 1593 appeared See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

Idea: The Shepherd's See also:

• GARLAND, JOHN (fl. 1202—1252)

Garland, a collection of nine pastorals, in which he celebrated his own love-sorrows under the poetic name of See also:

• ROWLAND, HENRY AUGUSTUS (1848-1901)

Rowland .

The circumstances of this See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion appear more distinctly in the See also:

• CYCLE
• CYCLE (Gr. KUK)^os, a circle)

cycle of 64 sonnets, published in 1594, under the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title of Idea's See also:

• MIRROR (through O. Fr. mirour, mod. miroir, from a sup-posed Late Lat. miratorium, from mirari, to admire)

Mirror, by which we learn that the lady lived by the See also:

• RIVER

river Ankor in Warwickshire . It appears that he failed to win his " Idea," and lived and died a See also:

• BACHELOR (from Med. Lat. baccalarius, with its late and rare variant baccalaris—cf. Ital. baccalare—through O. Fr. bacheler)

bachelor . In 1593 appeared the first of See also:

• DRAYTON, MICHAEL (1563-1631)

Drayton's See also:

• HISTORICAL

historical poems, The See also:

• LEGEND (through the French from the med. Lat. legenda, things to be read, from legere, to read)

Legend of Piers See also:

• GAVESTON, PIERS (d. 1312)

Gaveston, and the next See also:

• YEAR

year saw the publication of See also:

• MATILDA (1046-1115)
• MATILDA (1102-1164)

Matilda, an epical poem in See also:

• RHYME

rhyme royal . It was about this time, too, that he brought out Endimion and See also:

• PHOEBE

Phoebe, a volume which he never republished, but which contains some interesting autobiographical See also:

• MATTER

matter, and acknowledgments of See also:

• LITERARY

literary help from See also:

• LODGE
• LODGE, EDMUND (1756-1839)
• LODGE, H
• LODGE, HENRY CABOT (1850– )
• LODGE, SIR OLIVER JOSEPH (1851– )
• LODGE, THOMAS (c. 1558–1625)

Lodge, if not from See also:

• SPENSER, EDMUND (c. 1552-1599)
• SPENSER, JOHN (1559-1614)

Spenser and See also:

• DANIEL
• DANIEL (DANIL)
• DANIEL, BOOK
• DANIEL, GABRIEL (1649-1728)

Daniel also . In his Fig for See also:

• MOMUS

Momus, Lodge has reciprocated these friendly courtesies . In 1596 Drayton published his See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long and important poem of Mortimerades, which deals with the See also:

• WARS

Wars of the See also:

• ROSES, WARS OF THE

Roses, and is a very serious See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production in ottava rima . He afterwards enlarged and modified this poem, and republished it in 1603 under the title of The Barons' Wars . In 1596 also appeared another historical poem, The Legend of See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert, See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

Duke of See also:

• NORMANDY

Normandy, with which Piers Gaveston was reprinted . In 1597 appeared See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England's Heroical Epistles, a See also:

• SERIES (a Latin word from serere, to join)

series of historical studies, in See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation of those of See also:

• OVID [PUBLIUS OvID1us NASO] (43 B.C.–A.D. 17)

Ovid . These last poems, written in the heroic See also:

• COUPLET

couplet, contain some of the finest passages in Drayton's writings . With the year 1597 the first See also:

• HALF

half of the poet's literary life closes . He had become famous by this rapid production of volumes, and he rested on his oars .

It would seem that he was much favoured at the See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court of See also:

• ELIZABETH
• ELIZABETH (1533-1603)
• ELIZABETH (1596-1662)
• ELIZABETH (1635–1650)
• ELIZABETH [ AMELIE EUGENIE ] (1837—1898)
• ELIZABETH [1lisabeth Philippine Marie Helene of France] (1764—1794)
• ELIZABETH [PAULINE ELIZABETH OTTILIE LOUISE] (1843– )
• ELIZABETH [PETROVNA] (1709-1762), EMPRESS
• ELIZABETH, SAINT (1207-1231)

Elizabeth, and he hoped that it would be the same with her successor . But when, in 1603, he addressed a poem of compliment to See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James I., on his See also:

• ACCESSION (from Lat. accedere, to go to, to approach)

accession, it was ridiculed, and his services rudely rejected . His bitterness of spirit found expression in a See also:

• SATIRE (Lat. satira, satura; see below)

satire, The See also:

• OWL (O. Eng. Ule, Swed. Uggla, Ger. Eule—all allied to Lat. Ulula, and evidently of imitative origin)

Owl, which he printed in 1604, although he had no See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent in this See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition . Not much more entertaining was his scriptural narrative of See also:

• MOSES (Gr. Mwvo c, Mcoo-i3s)
• MOSES, ASSUMPTION OF

Moses in a See also:

• MAP
• MAP (or MAPES), WALTER (d. c. 1208/9)

Map of his Miracles, a sort of epic in heroics printed the same year . In 1605 Drayton reprinted his most important See also:

• WORKS

works, that is to say, his historical poems and the Idea, in a single volume which ran through eight See also:

• EDITIONS

editions during his lifetime . He also collected his smaller pieces, hitherto unedited, in a volume undated, but probably published in 16o5, under the title of Poems Lyric and See also:

• PASTORAL (from Lat. pastor, a shepherd)

Pastoral; these consisted of odes, eclogues, and a fantastic satire called The See also:

• MAN
• MAN, ISLE OF (anc. Mona)

Man in the See also:

• MOON (a common Teutonic word, cf. Ger. Mond, Du. maan, Dan. maane, &c., and cognate with such Indo-Germanic forms as Gr. µlip, Sans. ma's, Irish mi, &c.; Lat. uses luna, i.e. lucna, the shining one, lucere, to shine, for the moon, but preserves the word i
• MOON, SIR RICHARD, 1ST BARONET (1814-1899)

Moon . Some of the odes are extremely spirited . In this volume he printed for the first time the famous Ballad of See also:

• AGINCOURT (AZINCOURT)

Agincourt . He had adopted as early as 1598 the extraordinary See also:

• RESOLUTION

resolution of celebrating all the points of topographical or antiquarian See also:

• INTEREST

interest in the See also:

• ISLAND (O.E. ieg =isle, +land')

island of Great See also:

• BRITAIN (Gr. Hperavuml vi7vot, Bperravia; Lat. Britannia, rarely Britannia)

Britain, and on this laborious See also:

• WORK

work he was engaged for many years . At last, in 1613, the first part of this vast work was published under the title of Poly-Olbion, eighteen books being produced, to which the learned See also:

• SELDEN, JOHN (1584–1654)

Selden supplied notes . The success of this great work, which has since become so famous, was very small at first, and not until 1622 did Drayton succeed in finding a publisher willing to undertake the See also:

• RISK

risk of bringing out twelve more books in a second part . This completed the survey of England, and the poet, who had hoped " to See also:

• CROWN

crown See also:

• SCOTLAND
• SCOTLAND, CHURCH OF
• SCOTLAND, EPISCOPAL CHURCH OF

Scotland with See also:

• FLOWERS, ARTIFICIAL

flowers," and arrive at last at the Orcades, never crossed the See also:

• TWEED

Tweed .

In 1627 he publishedanother of his See also:

• MISCELLANEOUS

miscellaneous volumes, and this contains some of his most characteristic and exquisite writing . It consists of the following pieces: The See also:

• BATTLE

Battle of Agincourt, an historical poem in ottava rima (not to be confused with his ballad on the same subject), and The Miseries of See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

Queen See also:

• MARGARET
• MARGARET (1283–1290)
• MARGARET (1353-1412)
• MARGARET (1489–1541)
• MARGARET, ST (c. 1045–1093)
• MARGARET, ST (SANCTA MARGARITA)

Margaret, written in the same 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 and manner; Nimphidia, the Court of Faery, a most joyous and graceful little epic of fairyland; The Quest of Cinthia and The Shepherd's Sirena, two lyrical pastorals; and finally The Moon See also:

• CALF
• CALF, THE GOLDEN

Calf, a sort of satire . Of these Nimphidia is perhaps the best thing Drayton ever wrote, except his famous ballad on the battle of Agincourt; it is quite unique of its kind and full of rare fantastic See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy . The last of Drayton's voluminous publications was The See also:

• MUSES, THE (Gr. Mo6o-at, the thinkers)

Muses' Elizium in 163o . He died in London on the 23rd of See also:

• DECEMBER (Lat. decent, ten)

December 1631, was buried in See also:

• WESTMINSTER
• WESTMINSTER, MARQUESSES AND DUKES OF
• WESTMINSTER, STATUTES OF
• WESTMINSTER, SYNODS OF

Westminster See also:

• ABBEY (Lat. abbatia; from Syr. abba, father)
• ABBEY, EDWIN AUSTIN (1852– )

Abbey, and had a See also:

• MONUMENT (Lat. monumentum or monumentum; from monere, to advise, bring to mind, remind; the German equivalent is Denkmal)

monument placed over. him by the countess of See also:

• DORSET, EARLS, MARQUESSES AND DUKES OF

Dorset, with memorial lines attributed to See also:

• BEN (from Old Eng. bennan, within)

Ben See also:

• JONSON

Jonson . Of the particulars of Drayton's life we know almost nothing but what he himself tells us; he enjoyed the friendship of some of the best men of the age . He corresponded familiarly with See also:

• DRUMMOND, HENRY (1786-r86o)
• DRUMMOND, HENRY (1851-1897)
• DRUMMOND, THOMAS (r797-1840)
• DRUMMOND, WILLIAM (1585-1649)

Drummond; Ben Jonson, See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William See also:

• BROWNE
• BROWNE, EDWARD HAROLD (18,1–1891)
• BROWNE, ISAAC HAWKINS (1705-1760)
• BROWNE, JAMES (1793–1841)
• BROWNE, MAXIMILIAN ULYSSES, COUNT VON, BARON DE CAMUS AND MOUNTANY (1705-1757)
• BROWNE, PETER (?1665-1735)
• BROWNE, ROBERT (1550-1633)
• BROWNE, SIR JAMES (1839–1896)
• BROWNE, SIR THOMAS (1605-1682)
• BROWNE, WILLIAM (1591–1643)
• BROWNE, WILLIAM GEORGE (1768-1813)

Browne, See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George See also:

• WITHER, GEORGE (1588-1667)

Wither and others were among his See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends . There is a tradition that he was a friend of See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare, ,supported by a statement of See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• WARD
• WARD, ADOLPHUS WILLIAM (1837- )
• WARD, ARTEMUS
• WARD, EDWARD MATTHEW (1816-1879)
• WARD, ELIZABETH STUART PHELPS (1844-1911)
• WARD, JAMES (1769--1859)
• WARD, JAMES (1843– )
• WARD, JOHN QUINCY ADAMS (1830-1910)
• WARD, LESTER FRANK (1841– )
• WARD, MARY AUGUSTA [MRS HUMPHRY WARD]
• WARD, WILLIAM (1766-1826)
• WARD, WILLIAM GEORGE (1812-1882)

Ward, once See also:

• VICAR (Lat. vicarius, substitute)

vicar of Stratfordon-See also:

• AVON

Avon, that "Shakespear, Drayton and Ben Jonson had a merry See also:

• MEETING (from " to meet," to come together, assemble, 0. Eng. metals ; cf. Du. moeten, Swed. mota, Goth. gamotjan, &c., derivatives of the Teut. word for a meeting, seen in O. Eng. Wit, moot, an assembly of the people; cf. witanagemot)

meeting, and it seems, drank too hard, for Shakespear died of a feavour there contracted." In one of his poems, an " See also:

• ELEGY

elegy " or See also:

• EPISTLE

epistle to Mr Henry See also:

• REYNOLDS, JOHN FULTON (182o-1863)
• REYNOLDS, SIR JOSHUA (1723-1792)
• REYNOLDS, WALTER (d. 1327)

Reynolds, he has See also:

• LEFT

left some valuable criticisms on poets whom he had known . He was even engaged in the labour of the dramatists; at least he had a See also:

• SHARE (O. Eng. scearu, chiefly in compounds, e.g. land-scearu, a share of land, from sceran to cut; cf. " shear" )

share, with See also:

• MUNDAY (or MONDAY), ANTHONY (c. 1553-1633)

Munday, See also:

• CHETTLE, HENRY (1564?–16o7?)

Chettle and See also:

• WILSON, ALEXANDER (1766-1813)
• WILSON, HENRY (1812–1875)
• WILSON, HORACE HAYMAN (1786–1860)
• WILSON, JAMES (1742—1798)
• WILSON, JAMES (1835— )
• WILSON, JAMES HARRISON (1837– )
• WILSON, JOHN (1627-1696)
• WILSON, JOHN (178 1854)
• WILSON, ROBERT (d. 1600)
• WILSON, SIR DANIEL (1816–1892)
• WILSON, SIR ROBERT THOMAS (1777—1849)
• WILSON, SIR WILLIAM JAMES ERASMUS
• WILSON, THOMAS (1663-1755)
• WILSON, THOMAS (c. 1525-1581)
• WILSON, WOODROW (1856— )

Wilson, in writing Sir John See also:

• OLDCASTLE, SIR JOHN (d. 1417)

Oldcastle, which was printed in 1600 . That he was a restless and discontented, as well as a worthy, man may be gathered from his own admissions . The works of Drayton are bulky, and, in spite of the high See also:

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

place that he holds in See also:

• CRITICAL (in alphabetical order of authors)

critical esteem, it cannot be pretended that he is much read . For this his ponderous See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style is much to blame .

The Poly-Olbion, the most famous but far from the most successful of his writings, is tedious and barren in the extreme . It was, he tells us, a " Herculean toil " to him to compose it, and we are conscious of the effort . The See also:

• METRE ((terpuc?, sc. rFxvf, from Gr. Or poi', measure)

metre in which it is composed, a couplet of alexandrines, like the See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French classical measure, is wholly unsuited to the English See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language, and becomes excessively wearisome to the reader, who forgets the learning and ingenuity of the poet in labouring through the harsh and over-grown lines . His historical poems, which he was constantly re-writing and improving, are much more interesting, and often rise to a true poetic eloquence . His pastorals are brilliant, but overladen with See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour and sweet to insipidity . He is, with the one magnificent exception of " Since there's no help, come let us See also:

• KISS

kiss and part," which was first printed in 1619, an indifferent sonneteer . The poet with whom it is most natural to compare him is Daniel; he is more rough and vigorous, more varied and more daring than the latter, but Daniel surpasses him in 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, delicacy and See also:

• JUDGMENT

judgment . In their elegies and epistles, however, the two writers frequently resemble each other . Drayton, however, approaches the very first poets of the Elizabethan era in his charming Nimphidia, a poem which inspired See also:

• HERRICK, ROBERT (1591-1674)

Herrick with his sweet See also:

• FAIRY (Fr. fee, faerie; Prov. facia; Sp. hada; Ital. fata; med. Lat. fatare, to enchant, from Lat. fatum, fate, destiny)

fairy fancies and stands alone of its kind in English literature; while some of his odes and lyrics are inspired by See also:

• NOBLE, SIR ANDREW (1832- )

noble feeling and virile See also:

• IMAGINATION

imagination . In 1748 a See also:

• FOLIO (properly the ablative case of the Lat. folium, leaf, but also frequently an adaptation of the Ital. foglio)

folio edition of Drayton's See also:

• COMPLETE

complete works was published under the editorial supervision of William See also:

• OLDYS, WILLIAM (1696-1761)

Oldys, and again in 1753 there appeared an issue in four volumes . But these were very unintelligently and inaccurately prepared . A complete edition of Drayton's works with variant readings was projected by See also:

• RICHARD
• RICHARD (d. 1184)
• RICHARD, FRANCOIS MARIE BENJAMIN (18,9-1908)
• RICHARD, HENRY (1812-1888)
• RICHARD, ST

Richard See also:

• HOOPER, JOHN (d. 1555)

Hooper in 1876, but was never carried to a conclusion; a volume of selections, edited by A .

H . Bullen, appeared in 1883 . See especially See also:

• OLIVER, ISAAC (c. 1566--1617)
• OLIVER, PETER (1594-1648)

Oliver See also:

• ELTON, CHARLES ISAAC (1839–1900)

Elton, See also:

• MICHAEL
• MICHAEL (1596-1645)
• MICHAEL (Hebrew Sn,q, " Who is like God? ")

Michael Drayton (1906) . (E .