containing fifty-one 'Amours' and a sonnet addressed to 'his ever kind Mecaenas, Anthony Cooke.' Drayton acknowledged his devotion to 'divine Sir Philip,' but by his choice of t.i.tle, style, and phraseology, the English sonnetteer once more betrayed his indebtedness to Desportes and his compeers. 'L'Idee' was the name of a collection of sonnets by Claude de Pontoux in 1579. Many additions were made by Drayton to the sonnets that he published in 1594, and many were subtracted before 1619, when there appeared the last edition that was prepared in Drayton's lifetime.

A comparison of the various editions (1594, 1599, 1605, and 1619) shows that Drayton published a hundred sonnets, but the majority were apparently circulated by him in early life. {435a}

Percy's 'Coelia,' 1594.

William Percy, the 'dearest friend' of Barnabe Barnes, published in 1594, in emulation of Barnes, a collection of twenty 'Sonnets to the fairest Coelia.' {435b} He explains, in an address to the reader, that out of courtesy he had lent the sonnets to friends, who had secretly committed them to the press. Making a virtue of necessity, he had accepted the situation, but begged the reader to treat them as 'toys and amorous devices.'

Zepheria, 1594.

A collection of forty sonnets or 'canzons,' as the anonymous author calls them, also appeared in 1594 with the t.i.tle 'Zepheria.' {435c} In some prefatory verses addressed 'Alli veri figlioli delle Muse' laudatory reference was made to the sonnets of Petrarch, Daniel, and Sidney.

Several of the sonnets labour at conceits drawn from the technicalities of the law, and Sir John Davies parodied these efforts in the eighth of his 'gulling sonnets' beginning, 'My case is this, I love Zepheria bright.'

Barnfield's sonnets to Ganymede, 1595.

Four interesting ventures belong to 1595. In January, appended to Richard Barnfield's poem of 'Cynthia,' a panegyric on Queen Elizabeth, was a series of twenty sonnets extolling the personal charms of a young man in emulation of Virgil's Eclogue ii., in which the shepherd Corydon addressed the shepherd-boy Alexis. {435d} In Sonnet xx. the author expressed regret that the task of celebrating his young friend's praises had not fallen to the more capable hand of Spenser ('great Colin, chief of shepherds all') or Drayton ('gentle Rowland, my professed friend').

Barnfield at times imitated Shakespeare.

Spenser's 'Amoretti', 1595.

Almost at the same date as Barnfield's 'Cynthia' made its appearance there was published the more notable collection by Edmund Spenser of eighty-eight sonnets, which in reference to their Italian origin he ent.i.tled 'Amoretti.' {435e} Spenser had already translated many sonnets on philosophic topics of Petrarch and Joachim Du Bellay. Some of the 'Amoretti' were doubtless addressed by Spenser in 1593 to the lady who became his wife a year later. But the sentiment was largely ideal, and, as he says in Sonnet lx.x.xvii., he wrote, like Drayton, with his eyes fixed on 'Idaea.'

'Emaricdulfe,' 1595.

An unidentified 'E.C., Esq.,' produced also in 1595, under the t.i.tle of 'Emaricdulfe,' {436a} a collection of forty sonnets, echoing English and French models. In the dedication to his 'two very good friends, John Zouch and Edward Fitton Esquiers,' the author tells them that an ague confined him to his chamber, 'and to abandon idleness he completed an idle work that he had already begun at the command and service of a fair dame.'

Sir John Davies's 'Gullinge Sonnets,' 1595.

To 1595 may best be referred the series of nine 'Gullinge sonnets,' or parodies, which Sir John Davies wrote and circulated in ma.n.u.script, in order to put to shame what he regarded as 'the b.a.s.t.a.r.d sonnets' in vogue.

He addressed his collection to Sir Anthony Cooke, whom Drayton had already celebrated as the Mecaenas of his sonnetteering efforts. {436b} Davies seems to have aimed at Shakespeare as well as at insignificant rhymers like the author of 'Zepheria.' {436c} No. viii. of Davies's 'gullinge sonnets,' which ridicules the legal metaphors of the sonnetteers, may be easily matched in the collections of Barnabe Barnes or of the author of 'Zepheria,' but Davies's phraseology suggests that he also was glancing at Shakespeare's legal sonnets lx.x.xvii. and cx.x.xiv.

Davies's sonnet runs:

My case is this. I love Zepheria bright, Of her I hold my heart by fealty: Which I discharge to her perpetually, Yet she thereof will never me acquit[e].

For, now supposing I withhold her right, She hath distrained my heart to satisfy The duty which I never did deny, And far away impounds it with despite.

I labour therefore justly to repleave [_i.e._ recover]

My heart which she unjustly doth impound.

But quick conceit which now is Love's high shreive Returns it as esloyned [_i.e._ absconded], not to be found.

Then what the law affords I only crave, Her heart for mine, in wit her name to have (_sic_).

Linche's 'Diella,' 1596.

'R. L., gentleman,' probably Richard Linche, published in 1596 thirty-nine sonnets under the t.i.tle 'Diella.' {437a} The effort is thoroughly conventional. In an obsequious address by the publisher, Henry Olney, to Anne, wife of Sir Henry Glenham, Linche's sonnets are described as 'pa.s.sionate' and as 'conceived in the brain of a gallant gentleman.'

Griffin's 'Fidessa,' 1596. Thomas Campion, 1596.

To the same year belongs Bartholomew Griffin's 'Fidessa,' sixty-two sonnets inscribed to 'William Ess.e.x, Esq.' Griffin designates his sonnets as 'the first fruits of a young beginner.' He is a shameless plagiarist. Daniel is his chief model, but he also imitated Sidney, Watson, Constable, and Drayton. Sonnet iii., beginning 'Venus and young Adonis sitting by her,' is almost identical with the fourth poem--a sonnet beginning 'Sweet Cytheraea, sitting by a brook'--in Jaggard's piratical miscellany, 'The Pa.s.sionate Pilgrim,' which bore Shakespeare's name on the t.i.tle-page. {437b} Jaggard doubtless stole the poem from Griffin, although it may be in its essentials the property of some other poet. Three beautiful love-sonnets by Thomas Campion, which are found in the Harleian MS. 6910, are there dated 1596. {437c}

William Smith's 'Chloris,' 1596.

William Smith was the author of 'Chloris,' a third collection of sonnets appearing in 1596. {437d} The volume contains forty-eight sonnets of love of the ordinary type, with three adulating Spenser; of these, two open the volume and one concludes it. Smith says that his sonnets were 'the budding springs of his study.' In 1600 a license was issued by the Stationers' Company for the issue of 'Amours' by W. S. This no doubt refers to a second collection of sonnets by William Smith. The projected volume is not extant. {438a}

Robert Tofte's 'Laura,' 1597.

In 1597 there came out a similar volume by Robert Tofte, ent.i.tled 'Laura, the Joys of a Traveller, or the Feast of Fancy.' The book is divided into three parts, each consisting of forty 'sonnets' in irregular metres.

There is a prose dedication to Lucy, sister of Henry, ninth Earl of Northumberland. Tofte tells his patroness that most of his 'toys' 'were conceived in Italy.' As its name implies, his work is a pale reflection of Petrarch. A postscript by a friend--'R. B.'--complains that a publisher had intermingled with Tofte's genuine efforts 'more than thirty sonnets not his.' But the style is throughout so uniformly tame that it is not possible to distinguish the work of a second hand.

Sir William Alexander's 'Aurora.'

To the same era belongs Sir William Alexander's 'Aurora,' a collection of a hundred and six sonnets, with a few songs and elegies interspersed on French patterns. Sir William describes the work as 'the first fancies of his youth,' and formally inscribes it to Agnes, Countess of Argyle. It was not published till 1604. {438b}

Sir Fulke Greville's 'Caelica.'

Sir Fulke Greville, afterwards Lord Brooke, the intimate friend of Sir Philip Sidney, was author of a like collection of sonnets called 'Caelica.' The poems number a hundred and nine, but few are in strict sonnet metre. Only a small proportion profess to be addressed to the poet's fict.i.tious mistress, Caelica. Many celebrate the charms of another beauty named Myra, and others invoke Queen Elizabeth under her poetic name of Cynthia (cf. Sonnet xvii.) There are also many addresses to Cupid and meditations on more or less metaphysical themes, but the tone is never very serious. Greville doubtless wrote the majority of his 'Sonnets' during the period under survey, though they were not published until their author's works appeared in folio for the first time in 1633, five years after his death.

Estimate of number of love-sonnets issued between 1591 and 1597.

With Tofte's volume in 1597 the publication of collections of love-sonnets practically ceased. Only two collections on a voluminous scale seem to have been written in the early years of the seventeenth century. About 1607 William Drummond of Hawthornden penned a series of sixty-eight interspersed with songs, madrigals, and s.e.xtains, nearly all of which were translated or adapted from modern Italian sonnetteers.

{439a} About 1610 John Davies of Hereford published his 'Wittes Pilgrimage . . . through a world of Amorous Sonnets.' Of more than two hundred separate poems in this volume, only the hundred and four sonnets in the opening section make any claim to answer the description on the t.i.tle-page, and the majority of those are metaphysical meditations on love which are not addressed to any definite person. Some years later William Browne penned a sequence of fourteen love-sonnets ent.i.tled 'Caelia' and a few detached sonnets of the same type. {439b} The dates of production of Drummond's, Davies's, and Browne's sonnets exclude them from the present field of view. Omitting them, we find that between 1591 and 1597 there had been printed nearly twelve hundred sonnets of the amorous kind. If to these we add Shakespeare's poems, and make allowance for others which, only circulating in ma.n.u.script, have not reached us, it is seen that more than two hundred love-sonnets were produced in each of the six years under survey. France and Italy directed their literary energies in like direction during nearly the whole of the century, but at no other period and in no other country did the love-sonnet dominate literature to a greater extent than in England between 1591 and 1597.

Of sonnets to patrons between 1591 and 1597, of which detached specimens may be found in nearly every published book of the period, the chief collections were:

II. Sonnets to patrons, 1591-7.