these pages; but the truth is that the deplorable misconceptions respecting the nature and special function of the sonnet, which Daniel shared in common with his contemporaries-Shakespeare (always exceptional) excepted—cramped and perverted his natural powers as often he essayed this form, leaving his achievements in it but sorry witnesses to his great qualities. One of the examples chosen, however-that on page 24-cannot but be regarded as entirely worthy of his or any genius, and abundantly justifies the eulogy of a critic in The Quarterly Review (Art. The Sonnet,' January, 1873, p. 195), that for 'mellifluous tenderness and pensive grace of expression' it might rank amongst the first in the language.'’

PAGE

23-XLIV, 10. thy: so all eds. except 1623, which reads 'the', possibly intended rather for the 'thy' of 1. 9. The two sonnets immediately succeeding this in Delia may find a place here. They should be compared with the 58th and 59th of Barnabe Barnes's Parthenophil and Parthenophe, 1593 (ed. Grosart, 1875, pp. 39-40).

(37)

But love whilst that thou maist be lov'd againe,
Now whilst thy May hath fild thy lap with flowres,
Now whilst thy beauty beares without a staine;
Now use the Sommer smiles, ere Winter lowers.
And whilst thou spreadst unto the rising sunne
The fairest flowre that ever saw the light,
Now joy thy time before thy sweet be done,
And (Delia) thinke thy morning must have night,
And that thy brightnes sets at length to West,

When thou wilt close up that which now thou show'st,
And thinke the same becomes thy fading best,

Which then shall most invaile and shadow most.

Men do not wey the stalke for that it was,

When once they find her flowre her glory pas.

(38)

When men shall find thy flower, thy glory passe,
And thou with carefull brow sitting alone,
Received hast this message from thy glasse,
That tells the truth, and sayes that all is gone;
Fresh shalt thou see in me the wounds thou madst,
Though spent thy flame, in me the heat remaining;
I that have lov'd thee thus before thou fadst,
My faith shall waxe, when thou art in thy waining.
The world shall finde this myracle in me,
That fire can burne when all the matter's spent:
Then what my faith hath bene thy selfe shall see,
And that thou wast unkinde, thou mayst repent.
Thou maist repent that thou hast scornd my teares,
When winter snowes upon thy sable haires.

PAGE

Samuel Daniel.

XLV, 11-14. The 3rd ed. of Delia (1594) reads:

'When time hath made a pasport for thy feares,
Dated in age, the Kalends of our death.

But ah! no more, this hath beene often tolde,
And women,' &c.

24-XLVI. Care-charmer Sleep. Appropriated, as Mr. Collier pointed out (Biblio. Acct. Eng. Lit., 1865, ii, 556), by B. Griffin in the 15th Sonnet of his Fidessa, 1596-an appropriation conceded by Dr. Grosart, Griffin's latest editor (1876), who however acquits his author of all the other charges of plagiarism which Mr. Collier brings against him from Daniel, Gascoigne, and Shakspeare.' I subjoin Griffin's sonnet for the reader's gratification, though he may hardly endorse Dr. Grosart's opinion that it 'more than holds its own' beside Daniel's :

Care-charmer Sleepe, sweet ease in restles miserie,
The captives libertie, and his freedomes song;
Balm of the brusèd heart, mans chiefe felicitie,
Brother of quiet death, when life is too too long.
A Comedie it is, and now an Historie-
What is not sleepe unto the feeble minde?
It easeth him that toyles, and him that's sorrie,
It makes the deaffe to heare, to see the blinde.
Ungentle sleepe, thou helpest all but me,
For when I sleepe my sole is vexèd most;
It is Fidessa that doth master thee:

If she approach (alas) thy power is lost.
But here she is: see how he runnes amaine ;
I feare at night he will not come againe.

Bartholomew Griffin.

A little poem of ineffable softness and beauty, sung to music in Beaumont and Fletcher's tragedy of Valentinian, may also be quoted for its points of resemblance (ed. Dyce, 1844, v, 297):'

1 Dr. Grosart has effectually vindicated Griffin's authorship of the sonnet in The Passionate Pilgrime (1599)—an unauthoritative miscellany never in any way acknowledged by Shakspeare-beginning

Venus, with Adonis sitting by her.'

of which the 3rd in the Fidessa, beginning

Venus, and yong Adonis sitting by her,'

is a superior as well as earlier version.

Pass by his troubled senses; sing his pain,
Like hollow murmuring wind or silver rain;
Into this prince gently, oh, gently slide,
And kiss him into slumbers like a bride.' '

The late Mr. Corser notes (Collectanea Anglo-Poetica, Pt. II, 1861, p. 369) that Daniel's sonnet has been made rather free with by Richard Brathwaite too, in his poem A Griefe (Time's Curtaine Drawne, &c., 1621):—

Care charming sleepe, thou sonne of sable night,
That cheares our drowping spirits with delight,
Making us forget care, as if kept under

By some sweete spell, or some Lethean slumber :
Away and leave me,' &c.

and an instance of the initial phrase occurs in Sylvester's Du Bartas (Fifth Day of First Week, p. 46, fol. 1641):

And when the honey of care-charming sleep

Sweetly begins through all their veines to creep.'

Brother to Death: an immemorial classical common-place of frequent recurrence in our elder as in our later literature, of which the following selection of examples, in addition to those from Griffin and Beaumont and Fletcher as above, may be useful to the student :Geo. Chapman's Cæsar and Pompey (ed. Lond. 1873, iii, 188): 'but when death

(Sleepes naturall brother) comes ;'

John Webster's White Devil (p. 40, ed. Dyce, 1857:

-

Drummond of Hawthornden (Poems, p. 46, ed. Turnbull, 1856):

'If Death Sleep's brother be ;

Sir Tho. Browne, in allusion to sleep (Hydriotaphia, § 4): 'Since the brother of death daily haunts us with dying mementos;' Tho. Washbourne (Poems, p. 230, ed. Grosart, 1868):

"let Death suceed

His elder brother, Sleep; '

Hon. W. Herbert (quoted by Scott, Woodstock, chap. vi, motto): 'Sleep steals on us even like his brother Death;'

1 It

may be noticed in passing that these lines have been included, as 'never before printed,' in our best edition of Donne (Poems of John Donne, D.D., ed. Grosart, 1872-3, ii, 246), on the strength of the discovery ofan inaccurate transcript of them, signed Dr. Donn,' in the library of Trinity Coll., Cambridge (MS. B. 14. 22). Nor is this the less curious from the circumstance that Daniel's sonnet was itself once the subject of a similar mistake; for a draft of it having been found among the papers of his friend and correspondent Drummond of Hawthornden, Phillips gave it a place (p. 185) in the posthumous edition of the Scottish poet edited by him in 1656. In that case, however, there was no obvious incongruity between the work and the putative workman.

Samuel Daniel.

PAGE

Shelley (Queen Mab, 1):

'How wonderful is Death

Death, and his brother Sleep!'

Tennyson (In Memoriam, lxviii) :

'When in the down I sink my head,

Sleep, Death's twin-brother, times my breath;'

Landor (Last Fruit off an Old Tree, 1853, p. 402):
'That gentle Power,

Gentle as Death, Death's brother;

and R. S. Hawker (Poetical Works, 1879, p. 161):

'When darkness fills the western sky,
And sleep, the twin of death, is nigh,
What soothes the soul at set of sun?
The pleasant thought of duty done.'

Cf. also Sackville (Induction, 1563, xli), R. Southwell (St. Peter's Complaint, 1596? st. 121, p. 41, ed. Grosart, 1872), and Davies of Hereford (Scourge of Folly, 1610-11, p. 33, ed. Grosart, 1876); and see under CXIV, 14. L. 4 care: earlier eds, 'cares.' 23-24-XLIV-XLVI. From Delia, first published 1592. The text used is that of the collective quarto, edited by John Daniel, the poet's brother: The Whole Workes of Samuel Daniel Esquire, In Poetrie. 1623.1

Michael Drayton.

2

24-XLVII. The 37th Sonnet of Idea (1593): Poems. Newly corrected by the Author, 1608. In ed. of 1619 unto (1. 9) becomes 'else to'. This sonnet, which might have as title the beautiful Scotch saying 'The E'en brings a' hame,' I select chiefly for its magical realization of the feeling of evening. The spirit of the hour, with all its kindliness and peace, was never more perfectly breathed into English verse. It may be linked here with one by that other true Arcadian, the 'sweet singer' of Britannia's Pastorals (“ Cælia,' 13: Lansdowne MSS., Brit. Mus., 777, Art. 1, fol. 17):

1 This is the text adopted in an elaborate edition of Daniel, in 4 vols., on which Dr. Grosart, assisted by eminent collaborators, has been engaged for some years; and it is gratifying to learn that the work, a real desideratum, will now not long be deAre not the poet's own sanguine words being verified? (Certaine Small Workes heretofore divulged, &c., 1607: To the Reader) :

ferred.

I know I shalbe read among the rest

So long as men speake english, and so long
As verse and vertue shalbe in request,

Or grace to honest industry belong.'

2 This has been spritualized in a poem of much beauty by the author (or authoress, I believe) of an anonymous little volume of verse, entitled Spring Songs. By a West Highlander, 1865. (Macmillan).

PAGE

Night, steale not on too fast: wee have not yet
Shed all our parting teares, nor paid the kisses,
Which foure dayes absence made us run in debt,
(O, who would absent be where growe such blisses?)
The Rose, which but this morning spred her leaves,
Kist not her neighbour flower more chast then wee:
Nor are the timelye Eares bound up in sheaves
More strict then in our Armes we twisted be;
O who would part us then, and disunite
Twoo harmeles soules, so innocent and true,
That were all honest Love forgotten quite,
By our Example men might Learne Anew.
Night severs us, but pardon her she maye,
And will once make us happyer then the daye.
William Browne.

25-XLVIII. The 61st, ibid. Poems. With Sondry Peeces inserted never
before Imprinted, 1619. 'From Anacreon down to Moore,' says
Henry Reed, speaking of this sonnet (Lectures on the British Poets,
VII: i, 241, Philadelphia, 1857), 'I know of no lines on the old
subject of lovers' quarrels, distinguished for equal tenderness of
sentiment and richness of fancy. Especially may be observed the
exquisite gracefulness in the transition from the familiar tone in
the first part of the sonnet to the deeper feeling and the higher
strain of imagination at the close.'
24-25-XLVII-XLVIII. As in the case of Samuel Daniel, with whom,

somehow, he is commonly associated, only a scant selection has
been made from Michael Drayton-' that Panegyrist of my native
Earth; who has gone over her soil (in his Polyolbion) with the
fidelity of a herald, and the painful love of a son; who has not left
a rivulet (so narrow that it may be stept over) without honourable
mention; and has animated Hills and Streams with life and passion
above the dreams of old mythology'-the two examples given
being perhaps as many out of the 'Sixtie Three Sonnets' com-
posing his Idea as may with perfect safety be transplanted hither.
Not that many of the others have not their portion of rememberable
beauty, or that any of them is undeserving of study. Take the two
following, for example, so perfect in their verbal mechanism :—
(23)

Love, banish'd Heav'n, in Earth was held in scorne,
Wand'ring abroad in need and Beggerie ;

And wanting Friends, though of a Goddesse borne,
Yet crav'd the Almes of such as passed by :

I, like a Man, devout and charitable,

Clothed the Naked, lodg'd this wand'ring Ghest,

1 Charles Lamb (Dramatic Specimens, i, 49, ed. 1849).