A History of the French Novel. Volume 1. From the Beginning to 1800. Saintsbury George

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A History of the French Novel. Volume 1. From the Beginning to 1800 - Saintsbury George

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let me sleep, embracing clouds in vain;

      And never wake to feel the day's disdain."

      But as a rule he is perhaps too much given to musing, and too little to rapture. In form he is important, as he undoubtedly did much to establish the arrangement of three alternate rhymed quatrains and a couplet which, in Shakespere's hands, was to give the noblest poetry of the sonnet and of the world. He has also an abundance of the most exquisite single lines, such as

      "O clear-eyed rector of the holy hill,"

      and the wonderful opening of Sonnet XXVII., "The star of my mishap imposed this pain."

      The sixty-three sonnets, varied in different editions of Drayton's Idea, are among the most puzzling of the whole group. Their average value is not of the very highest. Yet there are here and there the strangest suggestions of Drayton's countryman, Shakespere, and there is one sonnet, No. 61, beginning, "Since there's no help, come let us kiss and part," which I have found it most difficult to believe to be Drayton's, and which is Shakespere all over. That Drayton was the author of Idea as a whole is certain, not merely from the local allusions, but from the resemblance to the more successful exercises of his clear, masculine, vigorous, fertile, but occasionally rather unpoetical style. The sonnet just referred to is itself one of the very finest existing – perhaps one of the ten or twelve best sonnets in the world, and it may be worth while to give it with another in contrast: —

      "Our flood's Queen, Thames, for ships and swans is crowned;

      And stately Severn for her shore is praised.

      The crystal Trent for fords and fish renowned;

      And Avon's fame to Albion's cliffs is raised;

      Carlegion Chester vaunts her holy Dee;

      York many wonders of her Ouse can tell.

      The Peak her Dove, whose banks so fertile be;

      And Kent will say her Medway doth excel.

      Cotswold commends her Isis to the Tame;

      Our northern borders boast of Tweed's fair flood

      Our western parts extol their Wily's fame;

      And the old Lea brags of the Danish blood.

      Arden's sweet Ankor, let thy glory be

      That fair Idea only lives by thee!"

      "Since there's no help, come, let us kiss and part!

      Nay, I have done. You get no more of me

      And I am glad, yea, glad with all my heart

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      1

      In original "tencrease," and below "timbrace." This substitution of elision for slur or hiatus (found in Chaucerian MSS.) passed later into the t' and th' of the seventeenth and eighteenth centuries.

      2

      As printed exactly in both first and second editions this sonnet is evidently corrupt, and the variations between the two are additional evidence of this. I have ventured to change "hid" to "hides" in line 10, and to alter the punctuation in line 13. If the reader takes "that" in line 5 as = "so that," "that" in line 10 as = "which" (i. e.

1

In original "tencrease," and below "timbrace." This substitution of elision for slur or hiatus (found in Chaucerian MSS.) passed later into the t' and th' of the seventeenth and eighteenth centuries.

2

As printed exactly in both first and second editions this sonnet is evidently corrupt, and the variations between the two are additional evidence of this. I have ventured to change "hid" to "hides" in line 10, and to alter the punctuation in line 13. If the reader takes "that" in line 5 as = "so that," "that" in line 10 as = "which" (i. e. "black"), and "that" in line 11 with "which," he will now, I think, find it intelligible. Line 13 is usually printed:

"In summer, sun: in winter's breath, a frost."

Now no one would compare a black silk hood to the sun, and a reference to line 2 will show the real meaning. The hood is a frost which lasts through summer and winter alike.

3

In reading these combinations it must be remembered that there is always a strong cæsura in the midst of the first and Alexandrine line. It is the Alexandrine which Mr. Browning has imitated in Fifine, not that of Drayton, or of the various practitioners of the Spenserian stanza from Spenser himself downwards.

4

In these extracts () signifies that something found in text seems better away; [] that something wanting in text has been conjecturally supplied.

5

Thickets.

6

This Alexandrine is not common, and is probably a mere oversight.

7

The precedent descriptions of Sorrow herself, of Misery, and of Old Age, are even finer than the above, which, however, I have preferred for three reasons. First, it has been less often quoted; secondly, its subject is a kind of commonplace, and, therefore, shows the poet's strength of handling; thirdly, because of the singular and characteristic majesty of the opening lines.

8

Refusal.

9

Short for "whether."

10

This and the next extract are given literatim to show Stanyhurst's marvellous spelling.

11

The letter is given in full by Mr. Arber in his introduction to Ascham's Schoolmaster, p. 5.

12

It will be seen that Cheke writes what he argues for, "clean and pure English." "Other excellent" is perhaps the only doubtful phrase in the extract or in the letter.

13

The final s of such names often at the time appears unaltered.

14

i. e. "in proportion."

15

"Blinde" with the e according to the old spelling having six letters, the same number as seeing. This curious epistle is both in style and matter an epitome of Euphues, which had appeared some three years before.

16

Apparently = the book's.

17

"Assays."

18

Adulteress.

19

Understand "me."

20

Cf. Milton's "elms star-proof" in the Arcades. Milton evidently knew Peele well.

21

The outburst

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