dialogue, but in the less ambitious poems of Delia and Rosamond, especially in such a sonnet as "Care-charmer Sleep," where we come more near to hearing a human heart beat than in any of the others. It is not a mighty heart, but it is one that is gentle, tender and pure.

A glance at the life of Daniel gives opportunity for an easy conjecture as to the personality of the lady honoured under the name of Delia. At seventeen Daniel was at Oxford, and finished a three years' residence at Magdalen College in 1582. After a visit to Italy, he became established at Wilton as tutor to the sons of Mary Sidney, Countess of Pembroke. To those early days at Wilton the poet refers, when in 1603 he dedicates his Defense of Rhyme to William Herbert, Earl of Pembroke, his former pupil. In the introduction to this fine essay Daniel declares that in regard to his poetic studies he was "first encouraged and framed thereunto by your most worthy and honourable mother, and received the first notion for the formal ordering of those compositions at Wilton which I must ever acknowledge as my best school, and thereof always am to hold a feeling and grateful memory." At this time the home of the Herberts at Wilton was a literary centre. The Countess was herself an industrious author, and the subject of innumerable dedicatory addresses. She seems to have been as beautiful as she was gracious and gifted. In the Penshurst picture we see her in extreme youth. The long oval and delicate chiselling of the Sidney face are expressed in their finest perfection, and justify the resemblance, found by Spenser, to "her brother dear." The soft hair is of the same golden-brown as his, the colour her eldest son inherited, and which Shakespeare is said to have described in his figure of the marjoram-buds. In the picture by Gheeraedts at the National Portrait Gallery, painted in 1614, she has lost little of her youthful beauty, but has added the special graces of maturity. The hair is still a rich brown. A thoughtful soul sits brooding behind those attentive eyes—a soul that seems to wish to ask the universal unanswerable questions, one that has grappled with doubt and struggled with environing circumstance, but has not yet consented to be baffled. The face is modern and complex. This accomplished lady received at Wilton the most distinguished people of her time. Her guests included Spenser, Raleigh, probably Shakespeare, Ben Jonson, Inigo Jones, Sir John Harrington, Dr. Donne, and many more; and the Countess's Pastoral Dialogue in Praise of Astraea was probably written in honour of a visit from the Queen herself. It would perhaps be strange if the young poet did not surround the personality of this fascinating patroness with a romantic halo and feel that his poetic fame was linked with hers. The Delia of the sonnets has all the excellencies that a sonnet-honoured lady should have, including locks of gold. But the fact that the poet has slyly changed the word "amber" to "snary" in sonnet xiv., and "golden" to "sable" in sonnet xxxviii., looks as if he desired to shield her personality from too blunt a guess. However, many hints are given; she lives in the "joyful North," in "fair Albion;" she is

And the river by which he sounds her name is the Avon—

The Wiltshire Avon is the proud brook that flows southward by Wilton, "where Delia hath her seat." If it may seem in any degree unfitting that Daniel should address language so glowing as is found in the Delia sonnets to a lady who is established as the head of a household with husband and sons about her, attention may be called to the fact that the sonnets, though they are characterised by warmth of feeling and extravagance of expression, do not contain one tainted line. Posterity must justify what Daniel in proud humility said of himself:

The respectful dignity of Daniel's prose dedication of Delia to Mary Sidney cannot be surpassed; and the introductory sonnet that displaces it in the next edition, while confessing the ardent devotion of the writer, is yet couched in the most reverent terms. Daniel and other sonneteers had the great example of Petrarch in honouring a lady with admiration and love expressed in verses whose warmth might perhaps not have been so excusable, could the poet have been taken at his word. The new sonnets inserted in the editions of 1601 and 1623 show the faithfulness of the poet's homage. A loyal friendship, whether formed upon gratitude only or upon some warmer feeling, inspired the Delia although the poet expresses his devotion in the conventional modes. But that Daniel outgrew to some extent the taste for these fanciful devices is shown by the changes he made in successive editions. Four sonnets from the 1591 edition were never reprinted, another was reprinted once and afterwards omitted. In our text the order of the 1623 edition is followed, the edition that was supervised by the poet's brother; but these omitted sonnets will be found at the end under the head of Rejected Sonnets. It is certain that they are Daniel's and that he rejected them, and it therefore seems no more than fair to the poet, if they are reprinted at all, to insert them under this head.

While, then, these rejected sonnets may have been in two cases omitted by the poet because of their too great frankness of expression, in other cases, notably in the phoenix, the wax-image, the tablet-and-siren, the vanquished fort, and the ermelin sonnets, they seem to have lost their charm, not so much for any personal reason as for the artistic defect in the far-fetched nature of the device.

Daniel lived till 1619, experiencing the usual ups and downs in the career of a "Court-dear poet." In later years, the famous Lady Anne Clifford, wife of Mary Sidney's younger son, caused a monument to be erected in his honour, in the inscription upon which she recorded her pride in the fact that he had once been her tutor.

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TO THE RIGHT HONOURABLE