This text uses UTF-8 (Unicode) file encoding. If the apostrophes and quotation marks in this paragraph appear as garbage, you may have an incompatible browser or unavailable fonts. First, make sure that your browser’s “character set” or “file encoding” is set to Unicode (UTF-8). You may also need to change the default font. Typographical errors are shown in the text with mouse-hover popups. The spelling “Fift” is used consistently. In the main poem, v is used initially, u non-initially. Exceptions are noted in the same way as errors. Links to the editor’s “Illustrative Notes” are [The portrait of Michael Drayton given here as a frontispiece is from a picture, taken at the age of sixty-five (three years before he died), in the Cartwright Collection at the Dulwich Gallery. The name of the painter is not known, but the picture is signed “Ano 1628.”] portrait of author THE BATTAILE OF AGINCOURT |
PAGE | |
Introduction | vii |
Drayton’s Dedication | 3 |
Upon the Battaile of Agincourt, by I. Vaughan | 5 |
Sonnet to Michael Drayton, by John Reynolds | 7 |
The Vision of Ben Jonson on the Muses of his Friend M. Drayton | 9 |
The Battaile of Agincourt | 13 |
To my Frinds the Camber-Britans and theyr Harp | 93 |
Illustrative Notes | 101 |
INTRODUCTION.
All civilized nations possessing a history which they contemplate with pride endeavour to present that history in an epic form. In their initial stages of culture the vehicles of expression are ballads like the constituents of the Spanish Romanceros and chronicles like Joinville’s and Froissart’s. With literary refinement comes the distinct literary purpose, and the poet appears who is also more or less of an artist. The number of Spanish and Portuguese national epics, from the Lusiad downwards, during the sixteenth and the first half of the seventeenth centuries, is astonishing; and it was impossible that English authorship, rapidly acquiring a perception of literary form under classical and foreign influences, should not be powerfully affected by the example of its neighbours.
A remarkable circumstance, nevertheless, while encouraging this epical impulse, deprived its most important creations of the external epical
Epic poets, however gifted, could be but
“His rimes were smooth, his meeters well did close,
But yet his maner better fitted prose.”
This is one way of putting it; from another point of view Daniel may be regarded as almost the most remarkable literary phenomenon of his time; he is so exceedingly modern. He outran the taste of his own period by a hundred years, and without teacher or example displayed the excellences which came to be preferred to all others in the eighteenth century. “These poems of his,” says his editor in that age (1718), “having stood the test of above a century, and the language and the versification being still pure and elegant, it is to be hoped they will still shine among his countrymen and preserve his name.” At this time, and for long afterwards, Drayton,
The nineteenth century has reversed this with other critical verdicts of the eighteenth, and, with all due respect to Daniel, Drayton now stands higher. Yet, where the two poets come most directly and manifestly into competition, Drayton’s superiority is not so evident. As a whole, Daniel’s “Civil War” is a better poem than Drayton’s “Barons’ Wars.” The superiority of the latter lies in particular passages, such as the description of the guilty happiness of Isabella and Mortimer, quoted in Mr. Arthur Bullen’s admirable selection. This is to say that Drayton’s genius was naturally not so much epical as lyrical and descriptive. In his own proper business as a narrative poet he fails as compared with Daniel, but he enriches history with all the ornaments of poetry; and it was his especial good fortune to discover a subject in which the union of dry fact with copious poetic illustration was as legitimate to the theme as advantageous to the writer. This was, of course, his “Polyolbion,” where, doing for himself what no other poet ever did, he did for
The “Polyolbion” was completed by 1619, though the concluding part was not published until 1623. “The Battaile of Agincourt,” the poem now reprinted, appeared with others in 1627. As none of the pieces comprised in it had appeared in the collected edition of Drayton’s works (the “Polyolbion” excepted) which he had published in 1620, it is reasonable to conclude that they had been composed between that date and 1627. They prove that his powers were by no means abated. “Nimphidia,” in particular, though lacking the exquisite sweetness of some of his lyric pastorals, and the deep emotion of passages in his “Heroicall Epistles,” excels all his other productions in airy fancy, and is perhaps the best known of any of his
Notwithstanding these defects, which one might have thought would have been avoided even by a poet endowed with less of the bright and sprightly invention which Drayton manifests in so many of his pieces, “The Battaile of Agincourt” is a fine poem, and well deserving the honour of reprint. It is above all things patriotic, pervaded throughout by a manly and honourable preference for England and all things English, yet devoid of bitterness towards the enemy, whose valour is frankly acknowledged, and whose overweening pride, the cause of their disasters, is never made the object of ill-natured sarcasm. It may almost be said that if Drayton had been in some respects a worse man, he might on this occasion have been a better poet. He is so sedulously regardful of the truth of history, or what he takes to be such, that he neglects the poet’s prerogative of making history, and rises and falls with his model like a moored vessel pitching in a flowing tide. When his historical authority inspires, Drayton is inspired accordingly; when it is dignified, so is he; with it he soars and sings, with it he also sinks and creeps. Happily the subject is usually picturesque, and old Holinshed at his worst was no contemptible writer. Drayton’s heart too was in his work, as he had proved long before
“The little bird yet to salute the morn
Upon the naked branches sets her foot,
The leaves then lying on the mossy root,
And there a silly chirruping doth keep,
As if she fain would sing, yet fain would weep;
Praising fair summer that too soon is gone,
Or sad for winter too soon coming on.”
On a more exact comparison of Drayton with Holinshed we find him omitting some circumstances which he might have been expected to have retained, and adding others with good judgment and in general with good effect, but which by some fatality usually tend in his hands to excessive prolixity. This is certainly not the case with his dignified and spirited exordium, but in the fourth stanza he begins to copy history, and his muse’s wing immediately flags. No more striking example of the superiority of dramatic to narrative poetry in vividness of delineation could be found than the contrast between Shakespeare’s scene representing the Archbishop of Canterbury and the Bishop of Ely in actual conversation, and Drayton’s tame exposition of the outcome of their deliberations. In his report of the session of Parliament where the French war is discussed he closely follows Holinshed, so closely as to omit Shakespeare’s masterly embellishment of Henry’s solemn appeal to the Archbishop to pronounce on the justice of
Of the literary history of “The Battaile of Agincourt” there is little to be said. It was first published in 1627, along with “Nimphidia,” “The Shepheard’s Sirena,” and others of Drayton’s best pieces. It was accompanied by three copies of congratulatory verse, reprinted here, the most remarkable of which is that proceeding from the pen of Ben Jonson, who admits that some had accounted him no friend to Drayton, and whose encomiums are to our apprehension largely flavoured with irony. Drayton, in his “Epistle to Reynolds,” which Jonson must have seen, had
Comparisons between modern and ancient poets must necessarily be very imperfect; yet our Drayton might not inaptly be termed the English Theocritus. If not so distinctly superior to every other English pastoral poet as Theocritus was to every other Greek, he yet stands in the front rank. He is utterly free from affectation, the great vice of pastoral poetry; his love of the country is sincere; his perception of natural phenomena exquisite; his shepherds and shepherdesses real swains and lasses; he has happily varied the conventional form of the pastoral by a felicitous lyrical treatment. Paradoxical as it may appear, Drayton was partly enabled to approach Theocritus so nearly by knowing him so imperfectly. Had he been acquainted with him otherwise than through Virgil, he would probably have been unable to refrain from direct imitation; but as matters stand, instead of a poet striving to write as Theocritus wrote in Greek, we have one actually writing as Theocritus would have written in English. But the most remarkable point of contact between Drayton and Theocritus is that both are epical as well as pastoral poets. Two of the Idylls of Theocritus are believed to be fragments of an epic on the exploits of Hercules; and in the enumeration of his lost works, amid others of the same description,
Richard Garnett.
1 Pope’s celebrated verse,—
“Drink deep, or taste not the Pierian spring,”—
is “conveyed” from this passage of Drayton.
woodcut portrait with text
Text
[The preceding page is a reduced reproduction of the title-page of the first edition, which contains, as will be seen, several poems besides “The Battaile of Agincourt” which are not included in the present reprint.]
To you those Noblest of Gentlemen, of these Renowned Kingdomes of Great Britaine: who in these declining times, haue yet in your braue bosomes the sparkes of that sprightly fire, of your couragious Ancestors; and to this houre retaine the seedes of their magnanimitie and Greatnesse, who out of the vertue of your mindes, loue and cherish neglected Poesie, the delight of Blessed soules, and the language of Angels. To you are these my Poems dedicated,
By your truly affectioned Seruant,
Michaell Drayton.
VPON
THE BATTAILE
OF AGINCOVRT, WRITTEN
BY HIS DEARE FRIEND
MICHAEL DRAYTON
ESQVIRE.
Had Henryes name beene onely met in Prose, Recorded by the humble wit of those, Who write of lesse then Kings: who victory, As calmely mention, as a Pedigree, The French, alike with vs, might view his name His actions too, and not confesse a shame: Nay, grow at length, so boldly troublesome, As, to dispute if they were ouercome. But thou hast wakte their feares: thy fiercer hand Hath made their shame as lasting, as their land. By thee againe they are compeld to knowe How much of Fate is in an English foe. They bleede afresh by thee, and thinke the harme Such; they could rather wish, t’were Henryes arme: Who thankes thy painfull quill; and holds it more To be thy Subiect now, then King before. By thee he conquers yet; when eu’ry word Yeelds him a fuller honour, then his sword. Strengthens his action against time: by thee, Hee victory, and France, doth hold in fee. So well obseru’d he is, that eu’ry thing Speakes him not onely English, but a King. And France, in this, may boast her fortunate That shee was worthy of so braue a hate. Her suffring is her gayne. How well we see The Battaile labour’d worthy him, and thee, Where, wee may Death discouer with delight, And entertaine a pleasure from a fight. Where wee may see how well it doth become The brau’ry of a Prince to ouercome. What Power is a Poet: that can add A life to Kings, more glorious, then they had. For what of Henry, is vnsung by thee, Henry doth want of his Eternity. I. Vavghan. |
TO
MY WORTHY FRIEND
MR. MICHAELL DRAYTON VPON
THESE HIS POEMS.
SONNET.
What lofty Trophyes of eternall Fame, England may vaunt thou do’st erect to her, Yet forced to confesse, (yea blush for shame,) That she no Honour doth on thee confer. How it would become her, would she learne to knowe Once to requite thy Heauen-borne Art and Zeale, Or at the least her selfe but thankfull showe Her ancient Glories that do’st still reueale: Sing thou of Loue, thy straines (like powerfull Charmes) Enrage the bosome with an amorous fire, And when againe thou lik’st to sing of Armes The Coward thou with Courage do’st inspire: But when thou com’st to touch our Sinfull Times, Then Heauen far more then Earth speakes in thy Rimes. Iohn Reynolds. |
THE VISION OF
BEN. IONSON, ON THE
MVSES OF HIS FRIEND
M. DRAYTON.
It hath beene question’d, Michael, if I bee A Friend at all; or, if at all, to thee: Because, who make the question, haue not seene Those ambling visits, passe in verse, betweene Thy Muse, and mine, as they expect. ’Tis true: You haue not writ to me, nor I to you; And, though I now begin, ’tis not to rub Hanch against Hanch, or raise a riming Club About the towne: this reck’ning I will pay, Without conferring symboles. This ’s my day. It was no Dreame! I was awake, and saw! Lend me thy voyce, O Fame, that I may draw Wonder to truth! and haue my Vision hoorld, Hot from thy trumpet, round, about the world. I saw a Beauty from the Sea to rise, That all Earth look’d on; and that earth, all Eyes! It cast a beame as when the chear-full Sun Is fayre got vp, and day some houres begun! And fill’d an Orbe as circular, as heauen! The Orbe was cut forth into Regions seauen. And those so sweet, and well proportion’d parts, As it had beene the circle of the Arts! When, by thy bright Ideas standing by, I found it pure, and perfect Poesy, There read I, streight, thy learned Legends three, Heard the soft ayres, between our Swaynes & thee, Which made me thinke, the old Theocritus, Or Rurall Virgil come, to pipe to vs! But then, thy’epistolar Heroick Songs, Their loues, their quarrels, iealousies, and wrongs Did all so strike me, as I cry’d, who can With vs be call’d, the Naso, but this man? And looking vp, I saw Mineruas fowle, Pearch’d ouer head, the wise Athenian Owle: I thought thee then our Orpheus, that wouldst try Like him, to make the ayre, one volary: And I had stil’d thee, Orpheus, but before My lippes could forme the voyce, I heard that Rore, And Rouze, the Marching of a mighty force, Drums against Drums, the neighing of the Horse, The Fights, the Cryes, and wondring at the Iarres I saw, and read, it was thy Barons Warres! O, how in those, dost thou instruct these times, That Rebells actions, are but valiant crimes! And caried, though with shoute, and noyse, confesse A wild, and an authoriz’d wickednesse! Sayst thou so, Lucan? But thou scornst to stay Vnder one title. Thou hast made thy way And flight about the Ile, well neare, by this, In thy admired PeriÉgesis, Or vniuersall circumduction Of all that reade thy Poly-Olbyon. That reade it? that are rauish’d! such was I With euery song, I sweare, and so would dye: But that I heare, againe, thy Drum to beate A better cause, and strike the brauest heate That euer yet did fire the English blood! Our right in France! if ritely vnderstood. There, thou art Homer! Pray thee vse the stile Thou hast deseru’d: And let me reade the while Thy Catalogue of Ships, exceeding his, Thy list of aydes, and force, for so it is: The Poets act! and for his Country’s sake Braue are the Musters, that the Muse will make. And when he ships them where to vse their Armes, How do his trumpets breath! What loud alarmes! Looke, how we read the Spartans were inflam’d With bold TyrtÆus verse, when thou art nam’d, So shall our English Youth vrge on, and cry An Agincourt, an Agincourt, or dye. This booke! it is a Catechisme to fight, And will be bought of euery Lord, and Knight, That can but reade; who cannot, may in prose Get broken peeces, and fight well by those. The miseries of Margaret the Queene Of tender eyes will more be wept, then seene: I feele it by mine owne, that ouer flow, And stop my sight, in euery line I goe. But then refreshed, with thy Fayerie Court, I looke on Cynthia, and Sirenas sport, As, on two flowry Carpets, that did rise, And with their grassie greene restor’d mine eyes. Yet giue mee leaue, to wonder at the birth Of thy strange Moon-Calfe, both thy straine of mirth, And Gossip-got acquaintance, as, to vs Thou hadst brought Lapland, or old Cobalus, Empusa, Lamia, or some Monster, more Then Affricke knew, or the full Grecian shore! I gratulate it to thee, and thy Ends, To all thy vertuous, and well chosen Friends, Onely my losse is, that I am not there: And, till I worthy am to wish I were, I call the world, that enuies mee, to see If I can be a Friend, and Friend to thee. |