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Drayton And Decorum: A Stylistic Study Of The Relation Of Ornament To Subject In 'Peirs Gaveston' (1593) And 'Englands Heroicall Epistles' (1619)
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Drayton And Decorum: A Stylistic Study Of The Relation Of Ornament To Subject In 'Peirs Gaveston' (1593) And 'Englands Heroicall Epistles' (1619)
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Content
DRAYTON AND DECORUM: A STYLISTIC STUDY OF THE RELATION
OF ORNAMENT TO SUBJECT IN PEIRS GAVESTON (1593)
AND ENGLANDS HEROICALL EPISTLES ( l 6 l 9 )
by
K a th e r in e D a v is C a r t e r
A D i s s e r t a t i o n P r e s e n t e d to th e
FACULTY OF THE GRADUATE SCHOOL
UNIVERSITY OF SOUTHERN CALIFORNIA
I n P a r t i a l F u l f i l l m e n t o f th e
R e q u ire m e n ts f o r t h e D egree
DOCTOR OF PHILOSOPHY
( E n g lis h )
Ju n e 1971
i
i
7 1 -2 1 ,4 4 4 |
CARTER, K ath erin e D a v is, 1942- !
D R A Y T O N AN D D EC O R U M : A STYLISTIC STUDY OF TH E j
RELATION OF O R N A M E N T T O SUBJECT IN PEIRS GAVESTON !
(1593) A N D ENGLANDS HEROICALL EPISTLES (1 6 1 9 ). 1
i
U n iv e r s ity o f Southern C a lif o r n ia , Ph.D., 19 71 !
Language and L ite r a tu r e , modern
; University Microfilms, A X E R O X Company, Ann Arbor, Michigan 1
i
C opyright © by
KATHERINE DAVIS CARTER
1971
THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED
UNIVERSITY O F SOU THERN CALIFORNIA
T H E GRADUATE SCHOOL
U N IV ER SITY PARK
LOS A N G ELES, CA LIFO RN IA 9 0 0 0 7
This dissertation, written by
.......................... th e.r i n e . Da.y_i.s_Q a r t e r....................
under the direction of k&x. Dissertation Com
mittee, and approved by all its members, has
been presented to and accepted by The Gradu
ate School, in partial fulfillment of require
ments of the degree of
D O C TO R OF P H IL O S O P H Y
Dean
Date .June-IST-IL
DISSERTATION COM M ITTEE
..........
Chairman
TABLE OF CONTENTS
C h a p te r
I . INTRODUCTION .............................................................
I I . FEIRS GAVESTON ........................................................
The L i t e r a r y and H i s t o r i c a l Background
The Major Ornaments
The M ajor Ornaments i n R e la ti o n to the
S u b je c ts
I I I . ENGLANDS HEROICALL EPISTLES .....................
The L i t e r a r y Background
The Method o f A n a ly s is
E p i s t l e C o n te x t
The M ajor Ornaments and T h e ir F u n c tio n s
The R e l a t i o n o f Ornament to " R e a c tio n " i n
P e i r s G aveston and E n g lan d s H e r o i c a l l
E p i s t l e s
P r a i s e o f th e B elo ved
A R h e to r i c o f P r a i s e
The M ajor Ornaments and T h e ir F u n c tio n s
R e p o rt o f H i s t o r y
The M ajor Ornaments and T h e ir F u n c tio n s
The R e l a t i o n o f Ornament to " H is to ry " i n
P e i r s G aveston and E ng lands H e r o i c a l l
E p i s t l e s
IV. CONCLUSION.............................................................................................262
1
38
128
BIBLIOGRAPHY............................................................................................................272
ii
CHAPTER I
INTRODUCTION
M ichael D r a y to n 's r e p u t a t i o n a s a p o e t h a s u ndergone
many c h a n g e s. A lthough h i s p o e t r y was adm ired d u r in g h i s
own lif e tim e ., I n t e r e s t In h i s p o e t r y d e c lin e d somewhat in
th e e i g h t e e n t h and n i n e t e e n t h c e n t u r i e s . D uring th e m id
t w e n t i e t h c e n t u r y , how ever, t h e r e h a s been a m o d erate r e
v i v a l o f c r i t i c a l I n t e r e s t i n D r a y to n 's p o e tr y .
There i s much e v id e n c e t h a t D rayton was a h i g h l y r e
s p e c te d and even a p o p u la r p o e t In h i s own tim e . F i r s t ,
a l l o f h i s w orks w ent th ro u g h many e d i t i o n s . T here were
p u b lis h e d d u rin g h i s l i f e t i m e , f o r exam ple, t h i r t e e n e d i
t i o n s o f E n g la n d s H e r o i c a l l E p i s t l e s , n in e e d i t i o n s o f h i s
leg en d P e i r s G a v esto n , and e i g h t e d i t i o n s o f h i s M o rtim er-
la d o s and th e B arons W a r r e s .^ M oreover, theBe e d i t i o n s
a p p a r e n t l y found a r e c e p t i v e a u d ie n c e . In h i s p r e f a c e to
M a tild a , D ray to n sp eak s o f th e "k in d and f a v o u r a b le a c c e p t
ance o f my l a t e d is c o u r s e o f th e l i f e and d e a th o f P e i r s
G a v e s to n ." And even i n l a t e r l i f e , when he had come to
condemn h i s r e a d in g p u b l i c as " l u n a t i q u e , " s t i l l t h a t pub
l i c had n o t , I n f a c t , d e s e r t e d him . The r e c e p t i o n o f h i s
F o ly -O lb io n was " f l a t t e r i n g enough f o r even h i s te m p e ra
m e n ta l g e n i u s . " ^
1
2
D r a y to n 's n o t a b l e r e p u t a t i o n i n h i s tim e i s a ls o i n d i
c a te d by th e f r e q u e n t a p p e a ra n c e o f p a s s a g e s from h i s works
i n th e p o e t i c m i s c e l l a n i e s and a n th o l o g i e s o f th e tim e.
Q u o ta tio n s from D r a y to n 's work a p p e a r, f o r exam ple, in
E n g lan d s H e lic o n (1 6 0 0 ), B e l- v e d e r e (1600) and E nglands
P a rn a s s u s ( 1 6 0 0) . In E ng lands P a rn a s s u s h i s works a re
q u o te d some 226 t i m e s —a c o u n t second o n ly to 386 q u o ta -
4
t i o n s from S p e n s e r 's w orks. And i n E n g lan d s H e lic o n f i v e
o f h i s poems a p p e a r .^ (P e rh a p s a f u r t h e r comment on th e
esteem i n which D rayton was h e ld comes from a d i f f e r e n t
k in d o f q u o t a t i o n —R ic h a rd B u rto n , i n The Anatomy o f M elan-
c h o ly (1 6 2 4 ), 2nd e d i t i o n , q u o te s one p a ssa g e from M o r ti-
m eriad o s and s i x from E ng lan d s H e r o i c a l l E p i s t l e s .^)
The many l a u d a to r y a l l u s i o n s t o D rayton by s i x t e e n t h
and s e v e n te e n th c e n tu r y p o e ts and r h e t o r i c i a n s a l s o i n d i
c a t e s h i s c o n tem p o rary p o p u l a r i t y . Thomas Lodge, f o r e x
am ple, p r a i s e d D rayto n a s " d i l l i g e n t and f o r m a l l" and
C h a rle s F i t s g e f f r e y gave D rayton th e e p i t h e t "G olden-
m o u th e d ."^ Soon a f t e r th e p u b l i c a t i o n o f E n g la n d s H ero
i c a l l E p i s t l e s , Jo sh u a S y l v e s t e r l a b e l e d him " o u r new Naso,
t h a t so p a s s i o n a t e s / T h 1 H e ro ic k L ig h ts o f l o v e - s i c k P o te n -
Q
t a t e s . " L a t e r In h i s c a r e e r D rayto n r e c e i v e d p r a i s e from
th e y o u n g e r g e n e r a t i o n o f p o e t s , i n c l u d i n g George W ith e r,
Drummond o f Hawthornden, W illia m S l a y t e r , and W illia m
Browne, a l l o f whom c o n s id e r e d him an "adm ired s u r v i v o r o f
an e a r l i e r g o ld e n a g e ." ^ In th e p r e f a c e to t h e P o ly -
3
O lb io n , George W ith er sp e ak s w i s t f u l l y o f D r a y to n 's "Hero-
i c k Rymes." Drummond r e f e r s to th e F o ly -O lb io n a s th e o n
l y e p ic o f w hich E ngland can be proud,"1 * 0 and S l a y t e r , i n
th e p r e f a c e to h i s own P a l e - A l b i o n , c a l l s D rayton th e "Eng
l i s h V i r g i l . " W illia m Browne a d d r e s s e s D rayton a s " h o n o r'd
. . , D r a y to n ," and a sk s him to "come and l e n d / An e a r e to
t h i s sweet M elo dye." Browne a ls o r e p e a t s th e p r a i s e t h a t
D rayton i s " o u r second O v id ." 11
D rayton was adm ired a l s o by t h e o r i s t s a b o u t p o e t i c s
and w r i t i n g . Henry Peacham, whose Garden o f E loquence
( 1 5 9 3) l i s t s many r h e t o r i c a l te c h n iq u e s t h a t c o u ld le a d to
th e r e f in e m e n t o f E n g lis h p o e tr y , s u g g e s ts t h a t D rayton
had a c h ie v e d some m a je s ty and r e f in e m e n t i n h i s p o e t i c .
I n T h a l la s B an quet ( 1 6 2 0) Peacham c a l l s on D rayto n to w i t
n e s s and judge th e f a l l e n s t a t e o f E n g li s h p o e tr y :
What t h i n k s t th ou w orth y M ich ael o f o u r Tim es,
Where o n e ly Almanack and b a l l a d rim e s
Are i n r e q u e s t now . . . ?12
And Henry B o lte n in H y p e r c r i t i c a ( 1 6 2 2) recommends th e
r e a d in g o f D ray to n to h i s a u d ie n c e f o r ' what th e y can l e a r n
a b o u t a s p e c i f i c c o m p o s itio n a l te c h n iq u e . He sa y s t h a t
E n g lan d s H e r o i c a l l E p i s t l e s i s "w orth r e a d in g a l s o , f o r
th e Purpose o f o u r S u b je c t; w hich i s : to f u r n i s h an Eng
l i s h H i s t o r i a n w ith C hoice and copy o f T o n g u e ." 1 ^
F u r t h e r , some o f th e m ajo r p o e ts o f th e day p a id t r i b
u t e to D ra y to n . In C o lin C lo u ts Come Home A g a in e , SpenBer
l i s t e d s e v e r a l c o n tem p o rary p o e t s who were p o p u la r i n th e
4
1 5 9 0 's . Among them i s A etio n whom some s c h o l a r s have I d e n -
14
t i f i e d a s D ra y to n . A e tio n i s d e s c r ib e d a s
A g e n t l e r sh e p h ea rd may no where be found:
Whose Muse f u l l o f h ig h th o u g h ts I n u e n t l o n ,
D oth l i k e h lm s e lf e H e r o i c a l l y s o u n d .15
L a t e r , D ra y to n was to be e x t r a v a g a n t l y p r a i s e d by Jon so n
i n "The V i s i o n o f Ben. Jo n so n , on th e Muses o f h i s F r ie n d
M. D r a y to n ." In t h i s poem Jo n so n l i s t s many o f D r a y to n 's
works and p r a i s e s them by com paring D rayton w ith th e c l a s
s i c a l i n n o v a t o r i n each g e n re . Reading t h e p a s t o r a l s ,
Jon son s a y s t h a t th e y " . . . made me t h in k e , th e o ld The
o c r i t u s , / Or R u r a l l V i r g i l come, to p ipe t o u s ! " B ut a f
t e r r e a d i n g D r a y to n 's " e p i s t o l a r H eroick Songs" Jonson e x
c la im s : " . . . who c a n / W ith u s be c a l l ' d , th e Haso, b u t
t h i s man?" D ray to n a ls o becomes Orpheus f o r h i s Owle,
Lucan f o r h i s B aron s W arres, and Homer f o r h i s B a t t a i l e o f
A g i n c o u r t . Of t h i s l a s t work Jonson sa y s, "T h ere, thou
a r t Homer! P ray t h e e , u se th e s t i l e / Thou h a s t d e-
1 f i
s e r v ' d . " J o n s o n 's p r a i s e d o e s, o c c a s i o n a l l y , b o r d e r on
th e i r o n i c a s when he sa y s t h a t he could s c a r c e l y r e a d The
M is e r i e s o f Queene M a r g a r ite b e c a u se he was w eeping. Y e t
i n a l l , J o n s o n 's p r a i s e o f D ray to n i s s i n c e r e sin c e he f o
c u s e s on D r a y t o n 's p o e t i c s t r e n g t h s . Thus Jonson p r a i s e s
D r a y to n 's l e a r n i n g i n th e L eg e n d s, th e v i v id n e s s o f th e
b a t t l e s c e n e s I n th e B a t t a i l e , and so f o r t h .
j A lthough D rayton was w id e ly h a i l e d d u rin g h i s l i f e -
i tim e , h i s r e p u t a t i o n d e c l i n e d i n th e e i g h t e e n t h and n i n e
t e e n t h c e n t u r i e s . D uring th e e ig h t e e n t h c e n t u r y , he was
u s u a l l y remembered f o r th e F o ly -O lb io n , w hich was con
s i d e r e d a l e a r n e d b u t a n t i q u a t e d work, and f o r E nglands
H e r o i c a l l E p i s t l e s , which s e rv e d a s one o f th e m odels f o r
17
P o p e 's v e rs e e p i s t l e s . B ut even Pope, who found some
t h in g u s e f u l i n one o f D r a y to n 's poems, w ro te d i s p a r a g i n g l y
o f D ra y to n , c a l l i n g him a "v e ry m ediocre p o e t" who i s " y e t
t a k e n some n o t i c e o f , b e c a u se S eld en w ro te a few n o t e s on
one [ P o ly - O lb io n ] o f h i s poem s." And d u rin g th e n i n e
t e e n t h c e n t u r y , D ray ton was b o th p r a i s e d and d i s p r a i s e d .
A r e p r e s e n t a t i v e c r i t i c , S i r E g e rto n B ry d g es, say s t h a t
even though D rayton was a man o f "uncommon i n d u s t r y and
g r e a t l e a r n i n g , " s t i l l he had i n mind s t o r i e s "more c o p i
o u s and w e ig h ty th a n th e s t r e n g t h o f h i s g e n u is c o u ld man
a g e . " ^ A few p ro m in e n t w r i t e r s o f th e n i n e t e e n t h c e n t u r y
p r a i s e d D ra y to n . CharleB Lamb, a lth o u g h u n c e r t a i n o f th e
a u t h o r s h i p o f th e F o ly - O lb io n , hoped t h a t D rayton was i n
deed " t h a t P a n e g y r i s t o f my n a t i v e E a r th ; who h a s gone
o v e r h e r s o i l , i n h i s P o ly o lb io n , w ith th e f i d e l i t y o f a
20
h e r a l d , and th e p a i n f u l lo v e o f a s o n ." C o le rid g e s a id
t h a t "D rayton i s a sw eet p o e t" and S c o tt w ent so f a r a s to
s a y , "D ray to n , th o l e s s known th a n S p en ser p o s s e s s e s p e r -
21
h a p s e q u a l pow ers o f p o e t r y . "
6
E a r ly i n th e t w e n ti e t h c e n t u r y , O l i v e r E lto n p u b lis h e d
a s y m p a th e tic s tu d y o f a l l o f D r a y to n 's w orks i n th e hope
t h a t " th e t r u e r a n k o f D rayton may be c l e a r l y d i s c e r n e d and
a d m itte d . . . and th e l i v i n g fam e, t h a t he p ro m ised to h i s
22
own v e r s e s , sh o u ld n o t a l t o g e t h e r f a i l h im ." B ut E l t o n 's
work d id n o t i n s p i r e a g e n e r a l r e v i v a l o f c r i t i c a l i n t e r e s t
i n D ra y to n . The c r i t i c a l s t u d i e s d u rin g th e 15 y e a r s f o l
low ing E l t o n 's s tu d y a re l a r g e l y c o n fin e d to th e P o l y -
O lb io n . J However, w ith th e p u b l i c a t i o n o f a com p lete e d i
t i o n o f th e poems ( H e b e l - T i l l o t s o n , 1931~19^1j r e v i s e d
19 6 l) c r i t i c a l i n t e r e s t , i f n o t p o p u la r i n t e r e s t , i n Dray
to n h a s become somewhat more l i v e l y . T h is e d i t i o n h a s been
e x c e p t i o n a l l y v a lu a b le f o r s c h o l a r s b e c a u se i t r e p r i n t s
a lo n g w ith th e works a l l o f th e v a r i a n t r e a d in g s from th e
e d i t i o n s p u b l is h e d d u rin g D r a y t o n 's l i f e t i m e .
The c r i t i c a l s t u d i e s o f D rayton i n r e c e n t y e a r s can be
d iv id e d i n t o t h r e e c a t e g o r i e s a c c o rd in g t o how c e n t r a l l y
th e y a r e c o n ce rn e d w ith th e p o e t and how much o f h i s canon
t h e y u n d e rta k e to exam ine. F i r s t , t h e r e i s a b o o k - le n g th
s tu d y o f D rayton by Jo sep h B e r t h e l o t . B e r t h e l o t exam ines,
i n a g e n e r a l m anner, a l l o f D r a y to n 's p o e t r y w ith th e aim
o f p r e s e n t i n g D ray ton a s " th e co m plete R e n a iss a n c e p o e t;
one who w ro te e f f e c t i v e l y i n a lm o st a l l o f th e p o e t i c a l
forms o f h is day—a sonneteer, a l y r i c i s t , a p a sto r a liB t,
,,24
an h i s t o r i c a l and t o p o g r a p h i c a l p o e t . " B e r t h e l o t i s a ls o
c o n ce rn e d w ith showing th e e v o l u t i o n o f D r a y to n 's s t y l e by
7
2R
e x a m in in g t h e many r e v i s i o n s o f t h e s o n n e t s e q u e n c e .
A seco n d k i n d o f c r i t i c a l w ork i n w hich D r a y t o n 's p o
e t r y i s exam ined i s g e n r e s t u d i e s . C r i t i c a l w o rk s t h a t
d e s c r i b e th e R e n a i s s a n c e p o e t i c k i n d s , t h e o d e , t h e e l e g y ,
t h e p a s t o r a l and so f o r t h , o f t e n i n c l u d e i l l u s t r a t i o n s
from D r a y t o n 's r e l e v a n t poem s. Thus t h e r e a r e r a t h e r
l e n g t h y d i s c u s s i o n s o f D r a y t o n 's poems i n s e v e r a l w o rk s,
i n c l u d i n g Homer N e a r i n g ' s E n g l i s h H i s t o r i c a l P o e t r y , 1599-
l 6 4 l ( 1 9 4 8 ), L o u is Z o c c a 's E l i z a b e t h a n N a r r a t i v e P o e t r y
( 1 9 5 0 ) , and C a r o l M a d d is o n 's A p o llo and th e N in e : A H i s
t o r y o f t h e Ode (1 9 5 9 )• To a l e s s e r e x t e n t , D r a y to n f i g
u r e s i n many e x a m in a t io n s o f t h e E l i z a b e t h a n s o n n e t and
l y r i c p o e t r y , among them J . W. L e v e r 's The E l i z a b e t h a n Love
S o n n e t ( 1 9 5 6) a n d Lou E m ily P e a r s o n ’ s E l i z a b e t h a n Love
C o n v e n tio n s (1 93 3 )*
D r a y t o n ’ s p o e t r y h a s a l s o b e e n t h e s u b j e c t o f many
d i s s e r t a t i o n s . L ik e t h e g e n r e s t u d i e s c i t e d a b o v e , t h e s e
d i s s e r t a t i o n s a r e a l s o c o n c e r n e d w i t h t h e R e n a i s s a n c e p o
e t i c k i n d s . B u t w h e re a s t h e g e n r e s t u d i e s c i t e d above u s e
D ra y to n m a in ly f o r th e p u r p o s e o f i l l u s t r a t i n g w h a t an
E l i z a b e t h a n p o e t c o u ld b e d o in g i n t h e g e n r e , o r f o r i l l u s
t r a t i n g g e n e r a l i z a t i o n s a b o u t t h e dem ands o f g e n r e , m o st o f
t h e d i s s e r t a t i o n s t r y t o d e f i n e D r a y t o n 's s p e c i f i c a c h i e v e
m en t i n th e g e n r e b y n o t i n g w h e r e in h e f o l l o w s t h e c r i t e r i a
g e n e r a l l y s e t f o r t h e g e n r e and w h e r e in h e s u r p a s s e s h i s
m o d e ls th r o u g h i n n o v a t i o n s . T h is g r o u p I n c l u d e s Ray L.
8
H e f f n e r 's "M ichael D ray to n a s P a s t o r a l P o et" (Yale U n iv e r
s i t y , 1956), Glenn P. H a s k e l l 's " D r a y to n 's Secondary Modes,
A C r i t i c a l Study" ( U n i v e r s i t y o f I l l i n o i s , 193&) [odes,
e l e g i e s , and s a t i r e s ] , Anthony L a B ra n c h 's " D r a y to n 's H i s
t o r i c a l P o e t r y : The B a ro n s W a rre s" (Yale U n i v e r s i t y , 1957)*
and C h a rle s D. P e e t 's "The P a s t o r a l and H e ro ic P o e try o f
M ichael D ray to n " ( P r i n c e t o n U n i v e r s i t y , 1956). Most o f
th e s e works a l s o make some m en tio n o f D r a y to n 's e x te n s iv e
r e v i s i o n s i n th e poems t h a t a re th e s u b j e c t o f th e p a p e r .
Most o f t e n t h e y u se such r e v i s i o n s a s e v id e n c e o f D r a y to n 's
i n c r e a s i n g com petence i n th e g e n r e .
As t h e s e c i t a t i o n s sh o u ld s u g g e s t, much o f th e stu d y
o f D rayton i n r e c e n t y e a r s h as b een c o n ce rn e d e i t h e r c e n
t r a l l y o r i n c i d e n t a l l y w ith h i s r e v i s i o n s and w ith h i s work
i n d i f f e r e n t g e n r e s . T h is p a p e r w i l l be c o n ce rn e d w ith
D r a y to n 's developm ent a s a p o e t b u t n o t w ith s p e c i f i c I te m s
o f r e v i s i o n ; th e p a p e r w i l l be c o n ce rn e d w ith g e n re , b u t
n o t p r i m a r i l y w ith p l a c i n g th e p o e t i n a t r a d i t i o n along
w ith o t h e r p o e t s w r i t i n g In th e same g e n re . The aim o f
t h i s p a p e r I s to d e te rm in e th e d i r e c t i o n o f D r a y to n 's
changin g p o e t i c by exam ining th e k in d s o f o rn a m e n ta tio n o r
f i g u r e s o f sp e e c h , t h e i r form s and f u n c t i o n s , i n a homo
geneous body o f p o e t r y . I have chosen f o r t h e main s t y
l i s t i c a n a l y s i s two poems, P e i r s G aveston (1593) and Eng
la n d s H e r o i c a l l E p i s t l e s ( l 6 l 9 e d n . ) . I have choBen th e s e
b e c a u s e : ( l ) P e i r s G aveston iB th e e a r l i e s t poem in w hich
9
D rayton u s e s h i s t o r y a s h i s s u b j e c t and i l l u s t r a t e s h i s e x
p e r im e n ts and a tte m p ts to f i n d a s t y l e a p p r o p r i a t e to h i s
s u b j e c t . (2) E n g lan d s H e r o i c a l l E p i s t l e s i s a poem t h a t
i s s t y l i s t i c a l l y n o rm a tiv e . A lth o u g h he c o n s t a n t l y r e v i s e d
a lm o st a l l o f h i s work,, D rayton was r e l a t i v e l y c o n te n t w ith
th e s t y l e o f t h i s poem. ( 3 ) X hav e chosen t o co u p le th e s e
two poems t o g e t h e r b e c a u s e th e y a r e a l i k e i n o v e r a l l s t r u c
t u r e . They a re n a r r a t e d i n th e f i r s t p e r s o n , u n l i k e th e
26
e p ic poems M o rtim er!ad o s and th e B arons W a r r e s .
The d e c i s i o n to make th e s tu d y p r i m a r i l y a s t y l i s t i c
a n a l y s i s was su g g e s te d to me by th e f a c t t h a t D r a y to n 's
c o n te m p o r a rie s c o n s i s t e n t l y found som ething p r a is e w o r th y
i n h i s s t y l e . In th e q u o t a t i o n s c i t e d abo v e, E i t z g e f f r e y 1s
"G olden-m outhed" and S p e n se r "Doth l i k e h im s e lf e h e r o i c a l l y
sound" a r e comments on th e s t y l e a s i n J o n s o n 's e x p l i c i t
"P ray t h e e , u se th e s t i l e / Thou h a s t d e s e r v 'd . " A d i r e c
t i o n f o r t h e e x a m in a tio n o f D r a y t o n 's s t y l e was s u g g e s te d
to me by an o b s e r v a t i o n o f Rosemond Tuve on D r a y to n 's r e
v i s i o n o f M o rtim e ria d o s i n t o th e B arons W a r r e s . A f t e r
n o tin g some o f D r a y to n 's s t y l i s t i c ch an g es, she a s s e r t s :
"These chang es show n o t a sim ple o u tgrow ing o f ' r h e t o r i c '
b u t r a t h e r a m a tu r e r a t t e n t i o n to th e Decorum which g ov -
27
e rn e d th e r e l a t i o n o f ornam ent t o s u b j e c t . " S in ce t h i s
a s s e r t i o n can be a p p l i e d n o t o n ly to s p e c i f i c r e v i s i o n s
b u t to t h e d i r e c t i o n o f D r a y to n 's changing p o e t i c a s a
w hole, I have tak en i t a s a p o i n t o f view from w hich t o e x -
10
amine th e poems. I w i l l d e s c r i b e th e o rn am en ts i n th e
poems w ith th e aim o f d e te r m in in g w h e th e r D r a y to n 's p o e t i c
d e v e lo p s i n t h i s d i r e c t i o n .
In M iss T u v e 's a s s e r t i o n t h e r e a re f o u r words t h a t a re
c e n t r a l to th e d i r e c t i o n and l i m i t a t i o n o f t h i s p a p e r:
" r h e t o r i c , " "Decorum ," "ornam ent" and " s u b j e c t . " Hence
th e r e s t o f t h i s c h a p t e r w i l l be co n ce rn e d w ith d e f i n i n g
th e s e words and making c l e a r what th e y mean i n r e l a t i o n to
D r a y to n 's "d e v e lo p in g P o e t i c . "
The c a s e f o r w hat i s m eant by th e word " s u b j e c t " i s
n o t a sim p le one. As M iss Tuve u s e s th e te rm , i t seems to
have a t l e a s t t h r e e o v e r la p p in g r e f e r e n t s . J u s t a f t e r th e
s ta te m e n t q u o te d above, M iss Tuve g o e s on to sa y , "The
a r t i f i c e s u s e d d i f f e r a s th e y p r o p e r l y sh o u ld a c c o rd in g to
m a t t e r , g e n re , c au se o f th e poem." T hat a l l th e s e words
r e f e r to " s u b j e c t " i s i n d i c a t e d by th e s t r u c t u r e o f h e r
s e n te n c e . She u s e s " m a tte r " i n th e se n se o f s u b j e c t m at
t e r o r w hat th e poem i s a b o u t — lo v e , h i s t o r y and so f o r t h .
The word " s u b j e c t can a l s o r e f e r to " g en re " o r b ro a d ty p e
o f poem—h e r o i c , p a s t o r a l , s a t i r e , and so f o r t h a s th e
above c i t a t i o n makes c l e a r . F i n a l l y th e word " s u b j e c t " can
be synonymous w ith th e "p u rp o se " o r " i n t e n t i o n " o f th e p o
e t a s s u g g e s te d i n th e word " c a u s e ." I s h a l l u s e " s u b j e c t "
p r i m a r i l y i n th e f i r s t two s e n s e s . I s h a l l o c c a s i o n a l l y ,
b u t l e s s f r e q u e n t l y , u s e " s u b j e c t " to mean th e I n t e n t i o n
o f th e p o e t .
11
S in c e th e term s u b j e c t can mean " g e n r e , " X s h a l l f i r s t
comment on th e g e n re o f th e s e poems. B oth P e i r s G aveston
and E n g lan d s H e r o i c a l l E p i s t l e s c l e a r l y have h i s t o r y a s
one o f t h e i r main s u b j e c t m a t t e r s . T h a t i s , b o th poems r e
p o r t a g r e a t d e a l o f h i s t o r i c a l i n f o r m a t i o n —a s t h i s a n a l
y s i s w i l l make c l e a r . I n d e e d , th e s e poems a r e p a r t o f th e
g e n e r a l u p s u rg e i n " h i s t o r i c a l p o e tr y " t h a t Homer N earing
h a s su rv e y e d and p a r t o f th e g e n e r a l Tudor i n t e r e s t i n h l s -
28
t o r y t h a t L i l y Bess C am pbell h as docum ented. B ut what
o f " h i s t o r i c a l p o e tr y " a s a g e n re ? A cco rd in g to one mod
e rn s c h o l a r , h i s t o r i c a l p o e t r y came t o be I d e n t i f i e d w ith
h e r o i c o r e p ic p o e t r y : "The term s ' h e r o i c 1 and ' e p i c ' had
m eant th e same th in g to t h e L a tin s and I t a l i a n s ; now w ith
th e E l i z a b e t h a n s , s t i l l a n o th e r word becomes synonymous—
' h i s t o r i c a l . 1"2^ The b a s i s o f th e i d e n t i f i c a t i o n i s n o t
e a s y to d e te r m in e . P e rh a p s th e two p o e t i c k in d s came to
be I d e n t i f i e d b e ca u se i t was th o u g h t t h a t th e c l a s s i c a l
e p i c s d e a l t w ith p e rs o n a g e s who w ere u l t i m a t e l y " h i s t o r
i c a l . " ^ P e rh ap s th e i d e n t i f i c a t i o n came b e ca u se b o th
" h e r o ic " and " h i s t o r i c a l " poems w ere th o u g h t to d e p i c t th e
a c t s o f n o b le p e rs o n a g e s . But w h a te v e r th e r e a s o n , th e
f a c t o f i d e n t i f i c a t i o n i s c l e a r from c e r t a i n pronouncem ents
a b o u t poems d e a lin g w i t h h i s t o r y . P utten h am , f o r exam ple,
sp e a k s o f John Hardyng a s "a Poet E p ic k o r H i s t o r l c a l l "
and i n h i s s e c t i o n "Of h i s t o r l c a l l P o e s ie " P u ttenham u s e s
th e word " H e r o ic k ." ^ 2 F r a n c i s Meres I d e n t i f i e s th e f o r e -
12
most h e r o l c a l p o e ts w i t h E n g lis h p o e t s u s in g h i s t o r y when
he s a y s , "As Homer and V e r g il among th e G reeks and L a t i n s
a r e t h e c h i e f H eroic P o e t s : so S p en ser & W arner be our
c h i e f h e r o i c a l l m a k e r s . M o r e o v e r , D rayton was to con
s i d e r h i s h i s t o r i c a l poems in th e g e n e r a l c l a s s i f i c a t i o n o f
" h e r o ic " p o e t r y . Thus he l a b e l s h i s m ost p o p u l a r poem
E ng lan d s H e r o i c a l l E p i s t l e s and he c a l l s h i s le g e n d s "S pe
c i e s o f an E pick o r H e ro ic k P o e m e ." ^
To c o n s id e r " h i s t o r i c a l p o e tr y " a s a s p e c i e s o f e p ic
p o e t r y h a s more d e c id e d i m p l i c a t i o n s f o r th e s t y l e o f th e
p o e t r y t h a n f o r i t s form ( s t r u c t u r e and o r g a n i z a t i o n ) . A
p e r u s a l o f poems d e a l i n g w ith h i s t o r y , and w r i t t e n betw een
1559 l 6 4 l , shows t h a t th e s e poems v a ry i n n a r r a t i v e
s t r u c t u r e from th e compendious M irro r poem t o th e e x t e n
s i v e , expanded, t o p o g r a p h i c a l poem. They do n o t fo llo w
one n a r r a t i v e s t r u c t u r e such a s t h a t o f th e e p i c . P e rh a p s
" h i s t o r i c a l p o e tr y " c o u ld n o t f i n d a s t r u c t u r a l model i n
e p ic p o e t r y b e ca u se d u r in g th e s i x t e e n t h c e n t u r y th e s t r u c
t u r e o f e p ic p o e tr y was n o t s t r i c t l y d e f in e d o r p e r c e i v e d .
S e v e ra l r e c e n t c r i t i c s have a rg u e d f o r a g e n e r a l f o r m le s s
n e s s i n t h e R e n a iss a n c e e p ic . Lewis B a l l , f o r exam ple,
h o ld s t h a t "th e s i x t e e n t h c e n tu r y was l i t t l e i n t e r e s t e d i n
. . , g e n r e s p e r s e . . . . T h is d e f i c i e n c y t o g e t h e r w ith
a g e n e r a l ig n o ra n c e [ o f th e t h e o r i e s b e in g expounded on th e
c o n t i n e n t ] was u n d o u b te d ly a f a c t o r i n th e lo o s e n e s s o f
e p ic s t r u c t u r e . Similarly, Vernon H a ll f i n d s e v id e n c e
13
for* a g e n e r a l " l a x i t y o f r u l e s o f c o n s t r u c t i o n " i n th e f a c t
t h a t such s t r u c t u r a l l y d i v e r s e works a s th e I l i a d , Orlando
F u rio s o and th e A rc ad ia w ere a l l g e n e r a l l y c o n s id e r e d
" e p i c s .
But i f th e r e q u ir e m e n ts f o r th e form o f th e e p ic poem
w ere n o t c l e a r o r were n o t t o p i c s o f p a r t i c u l a r a t t e n t i o n ,
th e r e q u ir e m e n ts f o r h e r o i c s t y l e were somewhat c l e a r e r
and v o ice d more o f t e n . I t was a g e n e r a l l y a c c e p te d d ictum
t h a t f o r decorum to be o b s e r v e d , t h e h e r o i c poem sh o u ld be
w r i t t e n i n th e "high s t y l e . " The b a s i s o f t h i s re q u ire m e n t
seems to be t h a t th e s u b j e c t o f th e h e r o i c poem was u s u a l l y
th o u g h t to be a "high" o r w e ig h ty m a t t e r . P uttenham ex
p r e s s e d t h i s commonplace i n th e c h a p t e r i n which he seek s
to d e f in e th e "h ig h , low, and meane s u b i e c t " :
The m a t t e r s t h e r e f o r e t h a t c on cerne th e
Gods and d iu in e t h i n g s a r e h i g h e s t o f a l l
o t h e r to be couched i n w r i t i n g , n e x t to
them th e noble g e s t s and g r e a t f o r t u n e s
o f P rin c eB , and th e n o t a b l e a c c i d e t s o f
tim e , a s the g r e a t e s t a f f a i r e s o f war &
p e a c e , th e s e be a l l h ig h s u b i e c t e s , and
t h e r e f o r e a re d e l i u e r e d o u e r t o th e P o e ts
Hymnick & h i s t o r l c a l l who be o c c u p ie d e i t h e r
i n d i u i n e la u d e s o r in h e r o i c a l l r e p o r t s . 37
And f u r t h e r , decorum w ould i n d i c a t e th e h ig h s t y l e f o r t h i s
h ig h s u b j e c t :
B u t g e n e r a l l y to haue th e s t i l e d e c e n t &
com ely i t b e h o o u e th th e m aker o r P oet to fo llo w
th e n a tu r e o f h i s s u b j e c t , t h a t i s i f h i s m a t t e r
be h i g h and l o f t i e t h a t th e s t y l e be so t o . . . .38
The n e x t q u e s t io n to be asked, th e n , i s w hat e x a c t l y
i s th e c o m p o s itio n o f t h e h ig h s t y l e . Does i t s e s s e n c e
14
r e s t i n c e r t a i n d i c t i o n , m e te r, o r im ag ery? What a r e th e
t e c h n iq u e s o f lan g u ag e t h a t t h e "high s t y l e " would i n d i c a t e
f o r a p o e t? To t u r n a g a in to Puttenham , i n h i s a c c o u n t o f
th e s t y l e a p p r o p r i a t e to " d iv in e la u d e s" and " h e r o i c a l l r e
p o r t s " he g i v e s e le m e n ts o f th e h ig h s t y l e . T his s t y l e
sh o u ld be "aduaunced by choyse o f w ords, p h r a s e s , s e n t e n
c e s , and f i g u r e s , h ig h , l o f t i e , e lo q u e n t, & m a g n ifik i n
proportion. A modern c r i t i c h as sum m arized th e r e q u i r e
m ents by sa y in g t h a t th e w e ig h ty c a u se s o f h e r o i c p o e t r y
"b ro u g h t i n t h e i r t r a i n l o f t y a m p l i f i c a t i o n s , l e i s u r e l y
r a t h e r th a n d i a l e c t i c a l e x p a n sio n o f s i m i l e s , many m a je s
t i c a l l y e lo q u e n t f i g u r e s a s a g a i n s t few er p o i n t e d l y e l o -
..40
q u e n t o n e s .
B ut p e rh a p s to f u r t h e r d e te rm in e j u s t what would be
r e q u i r e d , a t l e a s t t h e o r e t i c a l l y , o f th e h e r o i c s t y l e , i t
would be e n l i g h t e n i n g to c o n s i d e r th e u l t i m a t e p u rp o s e s o f
t h a t p a r t i c u l a r k in d o f h e r o i c p o e t r y i d e n t i f i e d a s h i s
t o r i c p o e t r y . Homer N e a rin g , i n d i s c u s s i n g th e g r e a t p o p
u l a r i t y o f h i s t o r i c a l p o e tr y d u rin g th e l a t e Tudor p e r i o d ,
a t t r i b u t e s th e u p su rg e ' o f t h i s p o e tr y to t h r e e im p u ls e s on
th e p a r t o f p o e t s : th e a e s t h e t i c , by w hich he means th e im
p u l s e to r e f i n e th e la n g u a g e ; th e p a t r i o t i c , by w hich he
means th e im p u lse to g l o r i f y th e c o u n try ; and th e m o ra l, by
4 l
w hich he means th e im p u lse to te a c h v i r t u e . I t i s t h i s
l a s t im p u lse t h a t I w ish to e x p lo r e more c a r e f u l l y , w ith
th e aim o f making a comment on s t y l e .
15
L i l y B ess Campbell h a s s a i d t h a t " th e most i m p o r t a n t
r e a s o n f o r th e overw helm ing p o p u l a r i t y w hich h i s t o r y o f a l l
s o r t s e n jo y e d was th e b e l i e f t h a t h i s t o r i c a l p a t t e r n s were
42
im p o r ta n t c o n t r i b u t i o n s to th e d a y 's wisdom." T h a t i s ,
i t was th e b e l i e f t h a t h i s t o r y was a g r e a t te a c h e r t h a t i n
s p i r e d th e p o p u l a r i t y o f a l l s o r t s o f h i s t o r y w r i t i n g . And
s i g n i f i c a n t l y . , among th e p o e ts and t h e o r i s t s , i t i s p o s
s i b l e to f i n d th e en dorsem ent o f h i s t o r i c a l - h e r o i c p o e t r y
on th e grou n d s o f i t s g r e a t c a p a c i t y to te a c h . S i r John
H a r in g to n , i n h i s p r e f a c e to h i s own " e p i c , " sa y s:
What b e t t e r and more m eete s t u d i e i s t h e r e f o r a young
man th e n P o e t r i e ? s p e c i a l l y H e r o i c a l l P o e s ie , t h a t w ith
h e r sw eet s t a t e l i n e s s e d o th e r e c t th e mind & l i f t i t vp
to th e c o n s i d e r a t i o n o f t h e h i g h e s t m a t t e r s , and a l l u r -
e t h them t h a t o f th e m s e lv e s would o th e r w is e l o t h them to
ta k e and sw allow & d i g e s t th e holsom e p r e c e p t s o f P h i
lo s o p h i c , and many tim e s even th e t r u e d i u i n i t i e . ^ 3
Puttenham a ls o l i n k s th e d i d a c t i c to th e e p ic when he e x
p l a i n s th e o r i g i n s o f e p ic s u b j e c t m a t t e r :
Now b e c a u se th e a c t i o n s o f meane & b a se p e rs o n a g e s
te n d i n v e ry few caBes to any g r e a t good exam ple: f o r who
p a s s e t h to f o llo w th e s t e p s , and m aner o f l i f e o f a
c r a f t e s man, sh e p h e a rd , o r B a i l e r , th o u g h he were h i s
f a t h e r o r d e a r e s t f r i e n d ? . . . T h e re fo re was n o th in g
com m itted to h i s t o r i e b u t m a t t e r s o f g r e a t and e x c e l l e n t
p e r s o n s & t h i n g s , t h a t th e same b y i r r i t a t i o n o f good
c o u ra g e s (su ch a s e m u la tio n c a u s e th ) m ight worke more
e f f e c t u a l l y . ^
And S id n e y recommends " H e r o ic a l l " p o e t r y , "whose v e r y name
sh o u ld d a u n t a l l b a c k b i t e r s " b e c a u se i t
d o th n o t o n e ly te a c h and moue to a t r u t h , b u t t e a c h e t h
and mooueth to th e most h i g h and e x c e l l e n t t r u t h ; who
m aketh m agnanim ity and i u s t l c e s h in e th ro u g h o u t a l l m is ty
f e a r e f u l n e s and foggy d e s i r e s ; who, i f th e sa y in g o f
P l a t o and T u l l i e bee t r u e , t h a t who c o u ld see V e rtu e
16
would be w o n d e r f u lly r a u i s h e d w ith th e lo u e o f h e r b e a u
t y : t h i s man s e t s h e r o u t to make h e r more l o u e l y I n h e r
h o ly d a y a p p a r e l l , to th e eye o f any t h a t w i l l d a in e n o t
t o d i s d a in e v n t l l l th e y v n d e rs ta n d . But i f any t h in g be
a l r e a d y sayd i n th e d e fe n c e o f sw eete P o e tr y , a l l c o n -
c u r r e t h to th e m a in ta in in g th e H e r o i c a l l , w hich i s n o t
o n e ly a k in d e , b u t th e b e s t and m ost a cc o m p lish e d k in d e
o f P o e tr y . For a s th e image o f eac h a c t i o n s t y r r e t h and
i n s t r u c t e t h th e m ind, so th e l o f t l e image o f such Wor
t h i e s most i n f l a m e t h th e mind w ith d e s i r e t o be w o rth y ,
and in fo rm e s w ith c o u n s e l how to be w o r t h y .^5
These w r i t e r s seem to a g re e t h a t h e r o i c a l p o e tr y i s
th e b e s t t e a c h e r b e c a u s e i t l i f t s th e mind by f o c u s in g i t
on h ig h m a t t e r s and b e ca u se i t somehow makes t r u t h m an i
f e s t . T h is l a s t f a c u l t y o f h e r o i c p o e t r y i s e s p e c i a l l y
c l e a r i n S id n e y 's rem a rk s i n such p h r a s e s a s "maketh mag
n a n im ity and i u s t i c e s h in e th ro u g h o u t a l l m is ty f e a r e f u l -
n e s s and foggy d e s i r e s " [ i t a l i c s m in e ].
A ltho ugh i n a l e s s p r e c i s e manner th a n S id n e y , D ray
to n a l s o was to recommend h i s h i s t o r i c a l p o e t r y on t h e s e
46
g ro u n d s . In th e poem R o b e rt, Duke o f Normandy (15 9 6 ),
a d e b a te betw een Fame and F o rtu n e a b o u t who m ost c o n t r o l l e d
R o b e rt d u rin g h i s l i f e , Fame d e c l a r e s t h a t she h a s power
to make R o b e r t 's name known th ro u g h o u t h i s t o r y . In l a n
guage t h a t r e c a l l s b o th h i s t o r i c and h e r o i c modes o f w r i t
i n g , Fame c a l l s on " E t e r n i t i e " to " E a r th s m is ty v a p o rs from
h i s s i g h t r e m o v e ,/ And i n th e A nnals o f th e g l o r i o u s s u m /
E n ro le h i s w o rth , i n Times l a r g e c o u rs e to ru n " (11. 908-
9 1 0 ). Then D rayton g oes on to e x p la in t h a t i t i s th ro u g h
p o e t r y t h a t t h i s t r u t h w i l l be made m a n i f e s t :
17
T ru th i n h i s l if e ., b r i g h t P o e s ie u p h o ld .
H is l i f e i n t r u t h a d o rn in g P o e s ie :
Which c a s t i n g l i f e i n a more p u r e r mold,
P r e s e r v e s t h a t l i f e to i m m o r t a l i t i e ,
B oth t r u l y w o rk in g , e y t h e r g l o r i f i e j
T ru th by h e r pow er, A r ts power to j u s t i f i e .
T ru th i n A r ts r o a b s , a d o r n 'd by P o e s ie .
(11. 911-917)
T h at i s , p o e t r y h a s th e power t o make h i s t o r y c o h e r e n t —
" c a s t i n g l i f e i n a more p u r e r m o ld ," and a s a c o r o l l a r y , i t
h a s th e power to make t r u t h c l e a r e r — " T ru th i n h i s l i f e ,
b r i g h t P o e s ie u p h o ld " [ i t a l i c s m in e ],
How p e rh a p s n o t c o i n c i d e n t a l l y , much o f th e lan g u a g e
u s e d to d e s c r i b e th e g e n e r a l power o f h e r o i c p o e t r y i s
q u i t e s i m i l a r t o th e lan g u a g e u s e d i n th e m id-1500'B i n
r h e t o r i c te x tb o o k s to d e s c r i b e th e power and p u rp o se o f
" o rn a m e n t." A r e p r e s e n t a t i v e r h e t o r i c a l handbook o f th e
p e r i o d , Henry Peacham 1s The Garden o f E lo q u en ce (1593) j
4 7
c l e a r l y i l l u s t r a t e s th e s i m i l a r i t i e s . I n th e P r e f a c e ,
Peacham e x p l a i n s h i s book i n lan g u a g e t h a t r e c a l l s th e quo
t a t i o n s a b o u t th e power o f h e r o i c p o e t r y to t e a c h . He b e
g i n s by sa y in g t h a t some r e a d e r s m igh t ta k e o b j e c t i o n to a
work on mere e lo q u e n c e , b u t he a rg u e s t h a t C ic e ro d e fe n d s
e lo q u e n ce i n th e s e n te n c e V t h om in is d ecu s e s t iug en ium ,
s i c l n g e n i lumen, e s t e l o q u e n t l a . Peacham g o e s on to i n
t e r p r e t t h i s s e n t e n c e :
T h at i s , a s w i t i s mans w o rs h ip , o r wisdome mans h o n o r,
bo e lo q u e n ce i s th e l i g h t and b r i g h t n e s s e o f wisedom e, i n
w hich s e n te n c e , he b o th e x p r e s s e t h th e s i n g u l a r p r a i s e s
o f two moBt w o r th ie v e r t u e s [wisdom and e lo q u e n c e ] , and
a l s o e n f o r c e t h th e n e c e s s l t l e , and commendeth th e v t i l i -
t i e o f t h e i r e x c e l l e n t c o n i u n c t i o n . 4 8
18
Peacham c o n tin u es,, em phasizing th e p o i n t t h a t e lo q u e n c e i s
n e c e s s a r y to make wisdom m a n i f e s t :
Now l e s t so e x c e l l e n t a g i f t o f th e d i u i n e goodnesse
(a s wisedome h e re a p p e a r e th t o h e , and i s ) sh o u ld ly e
s u p p r e s t hy s i l e n c e , and so rem a in e h i d i n d a r k n e s s e , a l -
m lg h tie God . . . h a th opened th e mouth o f man . . . a s
a h e a v e n ly p l a n e t to shew f o o r t h , (by t h e s h in in g beames
o f speech) th e p r i u i e t h o u g h ts and s e c r e t c o n c e l t e s o f
h i s mind. By th e b e n e f i t o f t h i s e x c e l l e n t g i f t ( l meane
o f a p t sp e ec h g iu e n by n a t u r e , and g u id e d by A rt) wisdome
a p p e a re th i n h e r b e a u t i e , sh ew eth h e r m a i e s t i e , and e x
e r c i s e t h h e r pow er, working i n th e minde o f th e h e a r e r .
. . . T h is th e n i s th e v e r t u e which t h e O r a to r i n h i s
p r a i s e b e f o r e m etio n ed c a l l e d elo q u en ce . . . f o r euen
as by th e power o f th e Sun beam es, th e n a t u r e o f th e
r o o te i s shewed i n th e b lo sso m e , & th e g ood n esse o f th e
sap t a s t e d i n th e sw ee tn e sse o f th e f r u t e , euen so th e
p r e c i o u s n a t u r e , and w o n d e r f u ll power o f wisdome, i s by
th e commendable A rt and v se o f e lo q u e n c e , p rodu ced and
b ro u g h t i n t o open l i g h t . ^9
But by w hat means i s t h i s w o n d e rfu l pow er o f e lo q u e n ce
to be a c h ie v e d ? Peacham i s q u i t e c l e a r i n h i s answ er:
The p r i n c i p a l i n s t r u m e t s o f mans h e lp i n t h i s w o n d e r f u ll
e f f e c t , a r e th o s e f i g u r e s and form es o f sp e ec h c o te in e d
i n t h i s booke w hich a r e th e f r u t e f u l l b r a n c h e s o f e lo q u u -
t i o n [ s i c ] , and th e m ig h tie stre a m e s o f e lo q u e n c e : Whose
v t i l l t i e , pow er, and v e r t u e , I can n o t s u f f i c i e n t l y com-
med, b u t sp e a k in g by s i m i l i t u d e , I say t h e y a r e a s s t a r s
to g iu e l i g h t . . . and as o r i e n t c o lo u r s to b e a u t i f i e
r e a s o n .50
These f i g u r e s were c a l l e d by t h e L a tin s " l i g h t s , c o lo u r s
and o rn a m e n ts .
The p o i n t s o f s i m i l a r i t y i n d i c t i o n betw een Peacham
and th e o t h e r com m entators s h o u ld be c l e a r . Peacham con
t i n u a l l y r e l i e s on v a r i o u s imageB o f l i g h t — " l i g h t and
b r i g h t n e s s e , " " s h in in g beames o f s p e e c h ," and " b ro u g h t i n t o
open l i g h t . " S i m i l a r l y , D ra y to n r e f e r s to " b r i g h t P o e s ie "
and Sidney r e f e r s to l i g h t and o b s c u r i t y i n " s h i n e ,"
19
" m is ty ," and " fo g g y ." The language o f Peacham 1 b f i l l e d
w ith l i t e r a l r e f e r e n c e s to p e r c e p t i o n , a s "shew f o r t h , "
" a p p e a r e t h ," and " sh e w e th ," w h ile S id ney r e f e r s f i g u r a
t i v e l y to p e r c e p t i o n i n " to th e eyes o f a n y . " , T h is s im i
l a r i t y o f lan g u ag e grows o u t o f a com parable a t t i t u d e
tow ard " t r u t h . " The a t t i t u d e s a re e s p e c i a l l y c l e a r in
Sidney and Peacham. B oth w r i t e r s b e l i e v e t h a t t r u t h (w is
dom) i s n o t r e a d i l y d i s c e r n i b l e to man. S idney makes t h i s
p o i n t when he sa y s t h a t "who c o u ld see V e rtu e would be won
d e r f u l l y r a u i s h e d w ith th e lo u e o f h e r b e a u t y ." He im p lie s
h e re t h a t u s u a l l y V e rtu e c a n n o t be seen s in c e everyone i s
n o t r a v i s h e d . Peacham comes to th e same p o i n t , a lth o u g h
from a d i f f e r e n t a n g le , when he s a y s , "Now l e s t so e x c e l
l e n t a g i f t o f th e d i u in e g ood nesse (a s wisedome h e re a p
p e a r e t h to be . . .) sh o u ld ly e s u p r e s t by s i l e n c e " God
h a s g iv e n man speech and A rt to g u id e sp e e c h . T hat i s ,
w ith o u t a r t , wisdom would "rem aine h i d i n d a r k n e s s e ."
I n view o f th e s e s i m i l a r i t i e s o f p e r c e p t i o n o f h e ro -
i c a l v e r s e and o f o rn am e n ts, i t m ight b e a l o g i c a l s te p f o r
a p o e t t o d e c id e t h a t o rn am e n ts were a p p r o p r i a t e to a poem
t h a t had h i s t o r y a s i t s s u b j e c t . I say " l o g i c a l " because
a p o e t m ight d e c id e t h a t s i n c e orn am en ts made t r u t h mani
f e s t , th e y would be e s p e c i a l l y a p p r o p r i a t e to a k in d o f
p o e t r y t h a t made wisdom m a n i f e s t . And in d e e d , i n 1586 i t
i s p o s s i b l e to f i n d a t l e a s t one t h e o r i s t coming to j u s t
t h e s e c o n c l u s i o n s . W illia m Webbe, i n h i s d i s c u s s i o n o f
20
" H e ro y c a ll w o r k s , " d e c l a r e s t h a t "wee haue no E n g li s h worke
a n u sw e rab le i n r e s p e c t o f t h e g l o r i o u s ornam ents o f g a l -
l e n t h a n d lin g " o f form er a g e s . ^ 2 B ut he a rg u e s t h a t th e
lan g u a g e i s c a p a b le o f such elo q uence b e c a u se th e a r t o f
o r a t o r y h a s shown t h a t E n g li s h can a t t a i n to th e s e
h e i g h t s —he p r a i s e s th e " g r e a t good g r a c e and sw eete vayne
w hich E loquence h a th a t t a i n e d i n o u r s p e e c h e ." - ^ Webbe
c o n ti n u e s t h a t i n view o f t h e need f o r elo qu en ce th ro u g h
o rn am en ts and i n view o f t h e a t t a i n m e n t o f them i n th e a r t
o f o r a t o r y , e v e n t u a l l y E n g li s h v e rs e "m ight by l i t t l e and
l i t t l e be b r o u g h t to th e v e ry e m a ie s ty o f a r y g h t H e r o i c a l l
rjl
v e r s e .
The above comments., t h e n , e s t a b l i s h some t h e o r e t i c a l
p r e c e p t s a b o u t h i s t o r i c p o e t r y ( s u b j e c t ) and itB r e l a t i o n
t o s t y l e ( o r n a m e n ts ) . B ut I must acknow ledge t h a t t h i s
e v id e n c e i s d e d u c tiv e r a t h e r th an i n d u c t i v e . As W ebbe's
s ta te m e n t r e v e a l s , th e s t a t e o f E n g lis h h i s t o r i c a l p o e tr y
was i n f l u x . Webbe a rg u e s a b o u t what p o e t r y n e e d s, th u s
im p ly in g t h a t t h e r e was a s y e t no s e t t l e d s t y l e f o r t h a t
p o e t r y , a t l e a s t i n p r a c t i c e . The aim tow ard w hich we
w ould e x p e c t a p o e t to be moving iB to w a rd the h ig h s t y l e .
B u t t h i s does n o t mean t h a t such a s t y l e was s u i t a b l e to
e v e r y p o e t ' s p u rp o s e o r t h a t e v e ry p o e t acco m p lish ed t h i s
en d . The M ir ro r poems and W a rn e r's A lb io n s England ( 1589),
f o r exam ple, a r e o n ly s p o r a d i c a l l y e l o q u e n t. I w ould tak e
M iss T uve1s o b s e r v a t i o n on t h i s prob lem o f s t y l e a s a u th o r -
21
I t a t l v e . She a s s e r t s t h a t " t h i s was a p e r i o d o f f e r t i l e
e x p e r im e n ta tio n w i t h th e g e n r e s ." And i n " s m a lle r m a t t e r s
l i k e im ag ery a s w e ll a s l a r g e r ones l i k e e p ic s t r u c t u r e
. . . men were e x p e rim e n tin g w ith th e c u r r e n t g e n e r a l i z a
t i o n t h a t ' h i s t o r i e s 1 w ere b e s t w r i t t e n i n th e h ig h
s t y l e .
I t i s a p p r o p r i a t e now to i n c l u d e a few b r i e f rem arks
on D r a y t o n 's a t t i t u d e tow ard th e t o p i c s t h a t have been con
s i d e r e d i n th e p r e c e d in g s e c t i o n : h i s t o r y (ta k e n now to
mean a g e n e r a l s u b j e c t m a t t e r f o r a poem), decorum , r h e t
o r i c and o rn a m e n t. These rem arks w i l l be such a s can be
g a r n e r e d from D r a y to n 's e x p l i c i t and t h e o r e t i c a l comments
on t h e s e t o p i c s . Hence t h e s e rem ark s a r e p r e l i m i n a r y .
I n w hat may be c o n s id e r e d h i s " c r i t i c a l " w r i t i n g s ,
t h a t i s h i s p r e f a c e s to th e poems and com m entaries f o llo w
in g them, D rayton m ost o f t e n comments on s p e c i f i c d e t a i l s
o f th e h i s t o r y a t hand and e s p e c i a l l y on th e a c c u ra c y o f
h i s n a r r a t i v e —w hat s o u r c e s he h a s u s e d , w hat th e s e s o u r c e s
say a b o u t s p e c i f i c i n c i d e n t s , and so f o r t h . D rayton does
n o t, how ever, comment e x p l i c i t l y on h i s t o r y p e r se o r i n
d i c a t e why he v a lu e d h i s t o r y a s a s u b j e c t m a t t e r f o r h i s
poems. S u re ly h i s p r a c t i c e a s a p o e t shows h i s d e v o tio n to
h i s t o r y a s a s u b j e c t m a t t e r . He s p e n t much o f h i s c a r e e r
w r i t i n g such poems. He began to w r i t e h is to r y .p o e m s i n th e
159 01s ( P e i r s G a v e sto n , M a tild a , R o b e rt, Duke o f Normandy,
M o rtlm e ria d o s) when h i s t o r i c a l p o e t r y was e n jo y in g a vogue.
22
and c o n tin u e d to produce h i s t o r i c a l poems i n th e 16 2 0 's
( M is e r i e s o f Queene M a r g a r i t e , B a t t a i l e o f A g in c o u rt) when
h i s t o r i c a l p o e t r y was no l o n g e r p o p u la r . (T h a t D rayton
c o n tin u e d to u s e h i s t o r y a s a s u b j e c t m a tte r a f t e r the p o p
u l a r i t y o f t h i s k in d o f p o e t r y had p a sse d i s s i g n i f i c a n t
s i n c e D rayton h a s som etim es b een c a l l e d a p o e t who fo llo w e d
p o e t i c f a s h i o n too c a r e f u l l y . )
In a d d i t i o n to w r i t i n g h i s t o r y poems f o r much o f h i s
c a r e e r , D rayton e x p e rim e n te d w ith v a rio u s k i n d s o f h i s t o r
i c a l p o e t r y ra n g in g from th e M ir r o r poem to t h e to p o g ra p h
i c a l poem to th e e p ic poem. And he i s th e o r i g i n a t o r o f
one form o f E n g lis h h i s t o r i c a l p o e t r y — the a m a to ry h i s t o r
i c a l poem (E n g lan d s H e r o i c a l l E p i s t l e s ) . I n d e e d , o f th e
n in e c l a s s i f i c a t i o n s o f h i s t o r i c a l p o e tr y t h a t N earing
i d e n t i f i e s , D r a y to n 's poems a p p e a r i n s ix , t h u s le a d in g
N e arin g to c a l l him "th e h i s t o r i c a l p o e t o f t h e E n g lis h
66
R e n a is s a n c e ." - 3 Y et D rayto n h a s l i t t l e to s a y a b o u t h i s
a t t r a c t i o n to h i s t o r y a s a s u b j e c t m a tte r f o r p o e t r y .
D r a y to n 's e x p l i c i t comments on the c o n c e p t o f decorum
a r e more p l e n t i f u l th a n hiB comments on h i s t o r y . In h i s
w orks th r o u g h o u t h i s c a r e e r , D rayto n was to show h im s e lf
aw are o f a t l e a s t th e t h e o r e t i c a l demands o f decorum . As
e a r l y a s 1593 j i n th e p a s t o r a l poem Id ea The Sheph eards
G a rla n d , we f i n d D rayton commenting on decorum and th e
s t y l e t h a t decorum would demand o f a p a s t o r a l poem. In
23
t h i s poem, th e sh e p h e rd Rowland., who speaks f o r th e p o e t,
e x c la im s ,
I may n o t s in g o f such a s f a l l ., n o r clym e.
Nor c h a u n t o f arm es, n o r o f h e ro iq u e d eed e s
I t f i t t e t h n o t poore s h e p h e a rd s r u r a l l rime.,
Nor i s a g r e e in g w ith my o a te n r e e d e s .5 7
Of c o u rs e th e a d m issio n o f In co m p eten ce i s a c o n v e n tio n o f
p a s t o r a l p o e t r y , h u t D r a y to n 's a w a re n e ss o f th e demands o f
decorum g o es beyond t h i s c o n v e n t io n a l m o tif . I n one I n t e r
e s t i n g exam ple, D ray to n u s e s h i s own la p s e from decorum a s
an i n s t a n c e f o r commenting on th e t o p i c . In th e f i f t h
"Eglog" Rowland f o r g e t s th e lo w ly p a th o f th e p a s t o r a l
s p e a k e r and h u r s t s o u t i n t o a p r a i s e o f I d e a t h a t u s e s th e
f i g u r e s s y s tr o p h e and a p o s tro p h e and i s f i l l e d w ith d e c o
r a t e d d i c t i o n . The s e c t i o n b e g i n s .
Oh h i e i n t h r o n i s e d Jo v e, i n th y Olympicke r a i g n e
Oh h a t t e l - w a g i n g M arte, oh s a g e - s a w 'd M ercury
Oh Golden s h r i n e d S o l, Venus lo v e s s o v e r a ig n e ,
Oh d r e a d f u l l S a tu r n e , fla m in g aye w ith f u r i e ,
Moyst-humord C in th y a , A u th o r o f L u n ac ie ,
Conjoyne h e lp e to e r e c t o u r f a l r e I d e a s t r o p h i e .
(11. 71-76)
Then, i n an a d d r e s s t o Phehe, he c o n ti n u e s ,
D e lic io u s f o u n t a i n e , l i q u i d c h r i s t a l l i n e ,
M ornings v e r m ilio n , v e r d a n t s p r i n g - t i m e s p r i d e .
P u r e s t o f p u r e s t , m ost r e f i n e d f i n e ,
Which crim so n t i n c t u r e c u r i o u s l y I d y 'd ,
M other o f Muses, g r e a t A p o llo s b r i d e .
(11. 107-111)
The re m a in d e r o f th e p r a i s e i s s i m i l a r l y h e ig h t e n e d . B ut
f o r t h i s b re a c h o f decorum , Rowland I s s e v e r e l y reb u k e d by
M otto:
24
Cease sh e p h e rd c e a s e , r e s e r v e th y Muses sto re,,
T i l l a f t e r tim e s h a l l te a c h th y O aten r e e d e .
A l o f t i n a y re w ith E g le s w ings to s o r e .
And s in g i n h o n o r o f some w o r th ie s d eed e.
( 1 1 . 1 6 2- 1 6 5)
T hat i s , Rowland i s t o l d t h a t h i s s t y l e i s n o t o n ly i n a p
p r o p r i a t e to h i s a b i l i t i e s . , b u t t h a t i t i s i n a p p r o p r i a t e
to h i s s u b j e c t m a t t e r .
D rayton was to c o n tin u e h i s i n t e r e s t i n th e th e o r y o f
decorum , r e f i n i n g and e n la r g in g h i s t h e o r e t i c a l p ro n o u n ce
m ents on i t . In th e p r e f a c e to th e 1619 e d i t i o n o f th e
p a s t o r a l s , f o r exam ple, he g o e s much beyond th e comments
j u s t q u o te d from t h e body o f th e e a r l i e r p a s t o r a l poem.
I n d e e d , b e f o r e p r e s e n t i n g th e r e v i s e d p a s t o r a l poem, he
f e e l s com pelled to comment on th e decorum o f p a s t o r a l p o
e t r y i n g e n e r a l :
Somewhat i s to be s a i d , by way o f g e n e r a l l p r e p a r a t i v e ,
to u c h in g th e name, and n a t u r e o f P a s t o r a l l P o e s ie , b e
f o r e I g iv e th e e my P a s t o r a l s . P a s t o r a l s , a s th e y a r e a
S p e c ie s o f P o e s i e , s i g n i f i e f a i n e d D ia lo g u e s , o r o t h e r
s p e e c h e s i n V e r s e , f a t h e r e d upon Heardsmen, w h e th e r
O p i l i o n e s , b u b u l c i , & c. t h a t i s to sa y , S h e p h e a rd s, N eat-
h e a r d s , &c. who a r e o r d i n a r i e p e rs o n s i n t h i s k in d o f
Poeme, w o r t h i l y t h e r e f o r e to be c a l l e d b a s e , o r low.
T h is , a s a l l o t h e r form es o f P o e s ie . . . h a t h been e r e
c e iv e d from th e G re e k e s, and a s a t th e secon d han d , from
th e Romanes. . . . The c h i e f e Law o f P a s t o r a l s i s th e
same w hich i s o f a l l P o e s ie , and o f a l l w ise c a r r i a g e , to
w i t , decorum, and t h a t n o t to be ex ceeded w ith o u t le a v e ,
o r w ith o u t a t l e a s t f a i r e w a r n i n g . 58
The p r e c i s e n e s s w i t h w hich D ra y to n a tt e m p t s to t r a c e th e
o r i g i n s and th e m eaning o f eac h word i s an in d e x to th e
c a r e and s e r i o u s n e s s w ith w hich he c o n s c i o u s ly c o n s id e r e d
th e demands o f decorum i n th e p a s t o r a l poem.
25
Nor was D ra y to n c o n c e rn e d o n ly w i t h decorum i n p a s
t o r a l p o e tr y . He was a l s o v i t a l l y i n t e r e s t e d i n th e d e
corum o f th e h e r o i c poem and o f o t h e r g e n r e s . In th e p r e f
ace to th e B a r ro n s Wars (1 6 0 3 )j f o r exam ple, he e x p l a i n s
t h a t th e re a s o n b e h in d one o f th e c h i e f and most l a b o r i o u s
f e a t u r e s o f th e r e v i s i o n was decorum. D rayton r e v i s e d th e
e n t i r e M o rtim e ria d o s (some 2912 l i n e s ) , w hich i s i n rim e
r o y a l , to th e B a rro n s Wars (some 3330 l i n e s ) , w hich i s
o t t a v a r i m a , b e c a u se in t h e rime r o y a l s ta n z a , "The o f te n
Harmony t h e r e o f , s o f tn e d t h e v e rs e more th en th e m a j e s t i e
o f th e s u b j e c t would p e r m i t . " * ^ S u r e ly t h i s i s a n o ta b le
e f f o r t in b e h a l f o f decorum . Then, In th e d e d i c a t o r y poem
b e f o r e th e Owle (l6o4), D ra y to n m e n tio n s , i n a c o n v e n tio n a l
m anner, th e d i s t i n c t i o n s I n s t y l e b etw een th e h e r o i c poem
and th e s a t i r i c poem.
For th e s h r i l l T rum pet, and s t e r n e T ra g ic k soun ds,
O b je c ts o u t - r a g i o u s and so f u l l o f feare,*
Our Fen l a t e B te e p 'd I n E n g lis h B aro ns woundB,
Sent W a r - lik e a c c e n t s to y ou r t u n e f u l l e a r e .
Our a c t i v e Muse, to g e n t l e r M o rals d i g h tj
Her s l i g h t c o n c e i t e s , i n humbled tu n e s d o th s in g ;
And w ith th e B ird , r e g a r d l e s s e o f th e l i g h t ,
Slow ely d o t h moue h e r l a t e h ig h -m o u n tin g w ing.
The W reathe I s Iu y e t h a t I n g i r t B o u r brow es,
Where-In this Nights-Bird harboreth all the day:
We d a re n o t looke a t o t h e r Crowning boughgs,
But le a u e t h e L a w re ll vnto them t h a t may.°0
H ere D rayton u s e s th e c o n v e n tio n a l im ages o f th e mean
B ty le — th e iv y w r e a th , t h e low f l y i n g , and so f o r t h .
I n th e 1 6 1 9 e d i t i o n o f a l l o f t h e poems (th e e d i t i o n
by w hich D ray ton w ished h i s works to be rem em bered), th e
26
p r e f a c e s a r e f i l l e d w i t h e x p l i c i t r e f e r e n c e s to decorum
and w ith d e s c r i p t i o n s o f th e s t y l e a p p r o p r i a t e to th e g e n re
i n w hich th e p o e t i s w r i t i n g . I n th e p r e f a c e to th e Odes.,
f o r exam ple, D rayton sa y s t h a t an ode i s " p r o p e r ly a s o n g ,"
th en g o e s on to g iv e th e a n c e s t r y o f th e form . He co n
c lu d e s w i t h rem arks on th e s t y l e o f th e o de, o b se rv in g t h a t
some a r e " t r a n s c e n d e n t l y l o f t i e " w h ile o t h e r s a re " o f a
mixed k i n d e , " such a s th o s e o f H o r a c e . ^ In t h i s p r e f a c e ,
D rayton shows h i s h ig h v a lu e o f decorum i n a l l c ircu m
s ta n c e s b y going so f a r a s to say t h a t he c a n n o t g iv e a
com plete d e s c r i p t i o n o f an ode b e ca u se t h a t would be
" s in n in g a g a i n s t t h e Decorum o f a P r e f a c e , by re a d in g a
L e c t u r e ." A lso i n t h e 1619 e d i t i o n , D rayton d e s c r i b e s th e
decorum o f a Legend by sa y in g t h a t i t i s a "S p e cie s o f an
E p ic k o r H e ro ic k Poeme" and a tt e m p t s to l i s t b r i e f l y th e
62
s t y l i s t i c r e q u ir e m e n ts o f th e g e n re .
The p u rp o se o f t h i s e v id e n c e i s to s u g g e s t t h a t D ray
ton had a t l e a s t a t h e o r e t i c a l g r a s p o f some o f the more
o b v io u s demands o f decorum —he seems to have been aware
th r o u g h o u t h i s c a r e e r t h a t t h e r e sh o u ld be some c o r r e l a
t i o n b etw een s u b j e c t and s t y l e . The body o f t h i s p a p e r,
th e n , w i l l be co n ce rn e d w ith such q u e s t io n s a s : ( l) Did
D r a y to n 's t h e o r e t i c a l g r a s p o f decorum r e f l e c t i t s e l f i n
h i s p o e t i c p r a c t i c e ? (2) I f so , how e x a c t l y ? ( 3 ) Did h i s
c o n s t a n t e x p e r i m e n t a t io n s in p o e t r y le a d him to a d e e p e n -
2T
in g u n d e r s ta n d in g o f th e th e o r y and a deep ening u n d e r
s ta n d in g o f w h at t h a t t h e o r y would r e q u i r e o f an a c t u a l
poem?
Turning f i n a l l y to " r h e t o r i c , " D r a y to n 's a t t i t u d e
to w a rd t h i s s u b j e c t i s more c o n v e n i e n t l y found i n h i s p r a c
t i c e than i n h i s t h e o r e t i c a l s ta te m e n ts on th e s u b j e c t .
D ray to n d o e s, how ever, make one comment on " r h e t o r i c " t h a t
i s o f i n t e r e s t i n th e s e i n t r o d u c t o r y rem a rk s b e ca u se i t
shows him to be p a r t o f th e r h e t o r i c a l t r a d i t i o n r e p r e
s e n te d by Henry Peacham. I n th e Muses E liz iu m ( 1 6 3 0) ,
D ray to n d e s c r i b e s r h e t o r i c th u s :
Then Polyhym nia most d e l i c i o u s Mayd,
I n R h e to r ic k s F low ers t h a t a r t a ra y d ,
I n T ro p es and F i g u r e s , r i c h l y d r e s t ,
The F y le d P h ra s e t h a t l o v e s t b e s t ,
T h at a r t a l l E lo c u ti o n , and
The f i r s t t h a t g a v ' s t to u n d e rs ta n d
The f o r c e o f w ordes i n o r d e r p l a c 'd
And w ith a sw eet d e l i v e r y g r a c 'd . ° 3
I n t h i s d e s c r i p t i o n o f " R h e to ric " D ray to n m ention s two,
p o s s i b l y t h r e e o f th e t r a d i t i o n a l f i v e p a r t s o f c l a s s i c a l
r h e t o r i c . I t a k e "sw eet d e l i v e r y " to r e f e r c l e a r l y to u t
t e r a n c e o r a c t i o . P erh ap s "words i n o r d e r p l a c 'd " m ight
r e f e r to d i s p o s i t i o , b u t s i n c e d i s p o s i t i o n so o f t e n r e
f e r r e d to th e a rra n g e m e n t o f arg u m e n ts, i t i s more l i k e l y
t h a t D rayton i s r e f e r r i n g h e re to th e a rra n g em e n t o f words
o r th e f i g u r e s o f grammar. D e sp ite t h e s e r e f e r e n c e s to th e
o t h e r p a r t s o f r h e t o r i c , D rayto n c l e a r l y se e s r h e t o r i c p r i
m a r i l y as i t s one p a r t " e l o c u t i o n " — "T h at a r t a l l E lo c u
28
t i o n . " M oreover, D ray ton d e s c r i b e s e l o c u t i o n a s made up
p r i m a r i l y o f o rn a m e n ts : " in T ropes and F i g u r e s , r i c h l y
d r e s t , / The F y le d P h ra s e t h a t l o v e s t b e s t . " These l i n e s
p ro b a b ly r e f e r to th e f i g u r e s o f r h e t o r i c and th e f i g u r e s
o f grammar, t h a t i s , to th e o rn am e n ts.
T h is r e d u c t i o n o f " r h e t o r i c " to th e one p a r t o f th e
c l a s s i c a l f i v e , e l o c u t i o n , and th e d e s c r i p t i o n o f e l o c u
t i o n a s a m a t t e r o f o rn a m e n ts, i s i n l i n e w ith th e m ed iev a l
t r a d i t i o n o f r h e t o r i c e x te n d in g from a t l e a s t as f a r b ack
as John o f G a r l a n d 's P o e t r i a (c a . 1270) up to th e t r e a t i s e s
o f Peacham, S h e rry , and P uttenham . A ll o f th e s e R e n a is
san ce t h e o r i s t s d e v o te l a r g e s e c t i o n s o f t h e i r works to
64
d e s c r i p t i o n s o f th e f i g u r e s o f grammar and r h e t o r i c . I n
deed, D r a y to n ’ b p e r s o n i f i c a t i o n o f r h e t o r i c h e re r e c a l l s
L y d g a te 's p e r s o n i f i c a t i o n o f r h e t o r i c i n th e C ourt o f
Sapyence ( l 4 8 l ) a s "Dame R eth o ry k e moder o f e lo q u e n c e /
6 * 5
Moost e le g a u n t m oost p u re and g l o r y o u s ."
In a d d i t i o n to showing D rayton i n t h i s e l o c u t i o n -
f i g u r l s t t r a d i t i o n , t h i s p a ssa g e a ls o u s e s some term s t h a t
were q u i t e p r e v a l e n t i n th e R e n a iss a n c e and t h a t m e r i t s p e
c i a l a t t e n t i o n . H ere, i n th e words "a ra y d " and " r i c h l y
d r e s t " D ray ton u s e s th e commonplace m etap h o r o f th e " g a r
ment o f s t y l e " t h a t i s met w ith a g a in and a g a in i n R e n a is
sance p e r s o n i f i c a t i o n s and d e s c r i p t i o n s o f r h e t o r i c . P u t
tenham, f o r exam ple, i n h i s p r e s e n t a t i o n o f "ornam ent"
draw s on t h i s m e ta p h o r. A f t e r f i r s t d e c l a r i n g t h a t no wo
29
man of. t h e c o u r t w ould a p p e a r w ith o u t h e r e l a b o r a t e g a r
m en ts, he c o n t i n u e s ,
Even so c a n n o t o u r v u l g a r P o e s ie shew i t s e l f e e i t h e r
g a l l a n t o r g o r g i o u s i f any lymme be l e f t naked a n d b a r e
and n o t c la d i n h i s k i n d l y c l o t h e s an d c o u lo u r s , s u c h as
may conuey them somwhat o u t o f s i g h t , t h a t i s from t h e
common c o u rs e o f o r d i n a r y speach and c a p a c i t i e o f th e
v u l g a r iu d g e m e n t, and y e t b e in g a r t i f i c i a l l y h a n d le d m ust
n e e d e s y e l d i t much more b e w tie and com m endation. T h is
o rn am e n t we sp e ak e o f i s g iu e n to i t b y f i g u r e s an d f i g -
u r a t i u e s p e a c h e s , w hich be th e f l o w e r s , a s i t w e re , and
c o u lo u r s t h a t a P o e t s e t t e t h vpon h i s la n g u a g e by a r t e ,
a s t h e e m b ro d e re r d o th h i s sto n e and p e r l e . 6 5
Or i n S te p h en H a w e s's The P a stim e o f P l e a s u r e ( 1 5 0 6) ,
Grande Amour g o e s t o th e cham ber o f Dame R h e to r i c an d f i n d s
h e r m a g n i f i c e n t l y gowned. In d e e d , one may r e c a l l h e r e t h a t
S id n ey i n th e p a s s a g e s q u o te d e a r l i e r ( p . 16) d e s c r i b e d th e
p o e t ' s f u n c t i o n by u s i n g th e m etaphor o f t h e g a rm e n t o f
s t y l e : " T h is man [ t h e p o e t ] s e t s h e r [ V e r t u e ] o u t t o make
h e r more l o v e l y I n h e r h o ly d a y a p p a r e l l . "
I p o i n t o u t t h i s m e ta p h o r b e cau se t h e I n t e r p r e t a t i o n
we u l t i m a t e l y g i v e I t i s e s s e n t i a l to t h e a s s u m p tio n s and
d i r e c t i o n s o f t h i s p a p e r . The m etap h o r " t h e g a rm e n t o f
s t y l e " can s u g g e s t two t h e o r i e s o f o r n a m e n t. In t h e o n e ,
R e n a is s a n c e o rn am e n t I s I n t e r p r e t e d a s a d e ta c h a b le b e a u t y ,
o r a s som ething a d d ed o n to m eaning. To expand th e a n a lo g y
w i t h c l o t h e s , J u s t a s th e d r e s s may b e t a k e n o f f and th e
e s s e n t i a l body w i l l re m a in , so th e o rn a m e n t can be t a k e n
o f f and t h e e s s e n c e o f t h e poem w i l l r e m a i n . B ut t h i s i s
n o t th e o n ly i n t e r p r e t a t i o n o f ornam ent o r o f th e m e ta p h o r
"garm ent o f s t y l e . " In my f i r s t p r e s e n t a t i o n o f o rn a m e n t,
I t r i e d to a p p ro a c h th e t o p i c i n such a way a s to su g g e s t
t h a t ornam ent need n o t n e c e s s a r i l y be seen a s d e ta c h a b le
from m eaning. The whole d i s c u s s i o n o f h e r o i c s t y l e a s
grow ing o u t o f th e f i n a l p u rp o s e s o f th e h e r o i c poem, and
th e c i t a t i o n o f P each am 's d e f i n i t i o n o f eloquence., were to
s u g g e s t t h a t ornam ent m ig h t w e ll be c o n s id e r e d a means by
w hich th e e n t i r e i n t e n t i o n o f a poem i s r e a l i z e d . At l e a s t
ornam ent co u ld be so c o n s id e r e d by R e n a iss a n c e t h e o r i s t s
and p o e t s . B ut now a g a i n , i n m ee tin g th e "g arm en ts'' m eta
p h o r i n D r a y to n 's d e s c r i p t i o n o f r h e t o r i c , I am a g a in fa c e d
w ith th e problem o f w h e th er s t y l e , and p a r t i c u l a r l y o r n a
m ent, i s to be seen as a d e ta c h a b le b e a u ty .
I t h i n k t h a t Miss Tuve, i n h e r e x p l o r a t i o n o f th e
R e n a iss a n c e u n d e r s ta n d in g o f th e m etaphor "garm en t o f
s t y l e , " p r e s e n t s a v a l i d ap p ro a ch to t h i s p ro b lem . Be
g in n in g w ith th e a s s e r t i o n t h a t th e m etaphor a d u m b rates a
w hole th e o ry o f o rn am en t, she p o i n t s o u t t h a t a t h e o r y o f
s t y l e a s d e ta c h a b le " b e a u t i e s " would have c e r t a i n p r e d i c t
a b le e f f e c t on th e p o e ts and t h e o r i s t s . For t h e p o e t i t
would p r e s e n t th e t e m p ta tio n "to make g a rm e n ts t h a t co u ld
s ta n d a lo n e , so s t i f f w i t h ' e x t e r n a l G o r g io u s n e s s ’ t h a t
th e y needed no body w i t h i n . F o r th e t h e o r i s t i t would
mean t h a t he c o u ld recommend im ages o n ly f o r t h e i r i n h e r
e n t b e a u ty and f o r no o t h e r p u rp o s e . But M iss Tuve f i n d s
t h a t n e i t h e r p o e t s n o r t h e o r i s t s a p p ro a c h ornam ent i n t h i s
way. Even P uttenh am , f o r exam ple, who seems to show s t y l e
31
a s a d e ta c h a b le g a rm e n t, ends h i s p a ssa g e by n o tin g t h a t
s t y l e must f i t th e p o e t 's s u b j e c t and i n t e n t i o n .
. . . w h e rfo re th e c h i e f p r a y s e and cunning o f o u r P o e t
i s i n th e d i s c r e e t v sin g o f h i s f i g u r e s , a s th e s k i l f u l l
p a i n t e r s i s i n th e good conueyance o f h i s c o u lo u rs and
shadowing t r a i t s o f h i s p e n s i l l , w ith a d e l e c t a b l e v a -
r i e t i e , by a l l m easure and l u s t p r o p o r t i o n , and i n p l a c e s
m ost a p t l y to be besto w ed .
H ere th e words " p r o p o r t i o n , " "m e a su re ," and " a p tly " a l l
p o i n t to th e w r i t e r ' s c o n cern w ith th e r e l a t i o n betw een
s t y l e and s u b j e c t . F u r t h e r , P u tte n h a m ’s I n t e n s e co ncern
w i t h decorum, a s u b j e c t w hich he comes to a g a in and a g a i n ,
shows t h a t he s e e s s t y l e a s a m a t t e r o f r e l a t e d n e s s — i t
m ust be r e l a t e d t o th e s u b j e c t o f th e poem. M iss Tuve c o n
c lu d e s h e r argum ent by sa y in g t h a t to see ornam ent a s d e
t a c h a b l e from th e s u b j e c t o f th e poem i s
o n ly one way o f u n d e r s ta n d in g th e m etaphor, th e one r e
s p o n s ib le f o r m ost modern a s p e r s i o n s c a s t upon i t . An
o t h e r t r a d i t i o n a l meaning seems to h e lp e x p la in th e c h a r
a c t e r o f much E li z a b e th a n im a g e ry , b o th bad and good:
th e n o tio n o f s t y l e a s a garm ent i n th e se n se t h a t th e
f l e s h i s th e s o u l ' s g a rm e n t, i t s b o d y i n g - f o r t h o r m ani
f e s t a t i o n .69 [ i t a l i c s m ine]
I would em phasize th e word " m a n i f e s ta t io n " b e ca u se i t
p o i n t s to some o f th e c u r r e n t s and a t t i t u d e s t h a t I have
t r i e d to e x p lo r e i n t h i s i n t r o d u c t i o n . On th e one s id e i t
would r e c a l l such a t t i t u d e s a s th o s e o f Thomas W ilson on
t h e r e l a t i o n o f a r t and n a t u r e i n g e n e r a l : "Yet i s a r t e a
s u r e r guide th e n n a t u r e , c o n s i d e r i n g we see a s l l u e l y by
a r t e what we do, a s though we r e a d a th in g i n w r i t i n g ,
70
w h e ras N a tu re s d o in g s a re n o t so open to a l l m en ,"' On
32
th e o t h e r sid e i t r e c a l l s P e a c h a m 's a s s e r t i o n s about th e
s p e c i f i c te c h n iq u e s o f r h e t o r i c : "Euen so th e p r e c i o u s n a
t u r e , and w o n d e r fu ll power o f wisdome., i s by th e commend
a b le A rt and vse o f e lo q u e n ce j pro d u ced and b ro u g h t i n t o
open l i g h t . ” And i t r e c a l l s D r a y to n 's " T ru th i n h i s l i f e ,
b r i g h t P o e s ie u p h o l d ."
33
FOOTNOTES
1. E ng lands H e r o i c a l l E p i s t l e s was p u b l is h e d i n 1597,
1 5 9 8, 1 5 9 9/ 1 8 0 0, 1602, 1603, 1805, 1 6 0 8, l 6 lO, 1 6 1 3, 1 619,
1 6 3 0, and in Poems, n .d .
P e i r s G aveston E a r l e o f C ornw all was p u b l is h e d i n
1593 o r 1 5 9 4, 1 5 9 5 (? J , 1505, 1603, l b 1 0, 1 6 1 3, 1 6 1 9, 1 6 3 0,
and i n Poems, n . d .
M o r tim e r ia d o s : The L am entable C i v e l l W arres o f Edward
th e second w ith t h e B a rro n s and The B aron s W arres, i n th e
r e i g n e o f Edward th e second' were p u b l is h e d i n 159b (Morti~-
m e r i a d o s j , I 6O3, 1605, 1608, 1610, 1 6 1 9, 1 6 3 0, and i n
Poems, n .d .
2. M a tild a , The f a l r e and c h a s te D a u g h ter o f th e
Lord R o b e rt F i t z w a t e r in The Works o f M ich ael D ra y to n , ed.
J . W illia m H ebei '('Oxford,"'1931-1941, r e v . 1961), I , 211.
T h is e d i t i o n o f D r a y to n 's com plete works c o n s i s t s o f
f i v e volum es. The i n t r o d u c t i o n s , n o t e s and v a r i a n t r e a d
i n g s , e d i t e d by K a th le e n T i H o t s o n and B e rn a rd H. Newdi-
g a t e , a p p e a r i n volume V. T h is e d i t i o n w i l l h e r e a f t e r be
c i t e d a s W orks.
3. Homer N e a rin g , E n g lis h H i s t o r i c a l P o e tr y , 1599-
1641 ( P h i l a d e l p h i a , 1945'), p . 1 3 8 .
4. "Index t o Q u o t a ti o n s ," E nglands P a rn a s s u s com
p i l e d by R o b e rt A l l o t , l6 0 0 , ed. C h a rle s Craw ford (O xford,
19 1 3 ), PP. 374-375.
5 . " I n d e x ," E n g lan d s H e lic o n , 1600, l 6 l 4 , ed. Hyder
E. R o l l i n s (C am bridge, M a ss., 1935), P* 2 1 3 .
6. T h is in f o r m a tio n i s c i t e d i n Works, V, x x ix .
7. Both o f t h e s e e p i t h e t s a r e q u o te d i n Works, V,
x x i .
8. "Du B a r t a s H is Second Weeke . . . , " I n The Com
p l e t e Works o f Jo s h u a h S y l v e s t e r , ed. A le x an d e r B. G r o s a r t
(E d in b u rg h , 1 880 ), 1, I0o7
9. B e rn ard H. N ew digate, M ichael D rayton and H is
C i r c l e (O xford, 19 4 1 ), pp . 194-195.
10. The L i f e o f W. Drummond, ed. David Masson (Lon-
don, 1 8 7 3 )7 P. 8 4 . _______________________________
3 4
11. B r i t a n n l a s P a s t o r a l s , Book I I , a s quoted i n New-
d i g a t e , M ichael D ra y to n and H is C i r c l e , p . 194.
12. As q u o te d i n N ew digate, M ichael D rayton and H is
C i r c l e , p. 195*
13. As q u o te d i n Works, V, p . x x v i i .
14. Joseph A. B e r t h e l o t , M ichael D ray to n (New Y ork,
19 6 7 ), P. 142.
15. The Works o f Edmund S p en ser A V ariorum E d i t i o n :
The M inor Poems volume o n e , e d s . C h a rle s G rosvenor Osgood
and Henry Gibbons L o ts p e ic h ( B a ltim o re , 1 9 4 3 ) j P* l6o.
1 6 . Quoted i n Works, I I I , 3~5.
17. R u s s e l l Noyes, M ich ael D ra y to n ’ s L i t e r a r y Vogue
S in c e 1631 (B loom ington, 1935}j P* 6 .
18. In a l e t t e r to W arburton Nov. 2 7 , 1742, q u o te d by
Noyes, p . 6 ,
19. Im a g in a tiv e B io g rap h y (London, 18 3 4 ), I I , 2 3 7 -
2 3 8 .
20. ''C h a r a c te rs o f D ram atic W r i t e r s , " The Works o f
C h a r le s and Mary Lamb, ed. E. V. Lucas (London, 1 9 0 3 ), I ,
w .
21. B oth o f t h e s e comments a re q u o te d by Noyes, p . 17.
22. O liv e r E l t o n , M ichael D rayton: A C r i t i c a l S tu d y
(New Y ork, 1 9 6 6) , p . x i i . T h is work was f i r s t p u b l is h e d
i n 1905 and th e q u o t a t i o n a p p e a re d i n t h a t e d i t i o n a l s o .
2 3 . The f o llo w in g a re r e p r e s e n t a t i v e o f t h i s c r i t i
c ism : Vernam E. H u l l , "The E n g lis h and W elsh T o p o g ra p h ic a l
S o u rc e s o f D r a y t o n 's P o ly o lb io n ," U n p u b lish e d Ph.D. T h e s is
(H a rv a rd U n i v e r s i t y , 1 926) ; H ild a T a y lo r , T o p o g ra p h ic a l Po
e t r y i n England i n th e R e n a iss a n c e (C h ica g o , 1 9 2 6 ); Iv a n
G o u rv itc h , D r a y t o n 's Debt t o G e o ffrey o f Monmouth," Re
view o f E n g lis h S t u d i e s , IV (O cto b er 1 9 2 8 ), 394-403; R. R.
Cowley, " D ra y to n ' s Use o f W elsh H i s t o r y , " S tu d ie s i n P h i
l o l o g y , XXII ( A p r i l 1925), 2 3 4 - 2 5 5.
24. M ichael D rayton (New York, 19^7)» P- 8 *
2 5 . Two works t h a t d e a l w ith s m a ll e r p o r t io n s o f Dray
t o n ' s p o e t r y a re P a u l G. B u ch lo h , M ichael D rayton: B ard e
und H i s t o r i k e r , P o l i t i k e r und P ro p h e t (N eum unster, 1 9 6 4 ),
35
and N. 0 . Nagy, M ic h a e l D r a y t o n 's E n g la n d s H e r o i c a l l E p i s
t l e s : Themes and C o m p o s i t io n a l D e v ic e s (B e rn e , 1 9 6 9 ) .
26. I h a v e d e c i d e d t o com pare P e i r s G a v e sto n w i t h E ng
l a n d s H e r o i c a l l E p i s t l e s i n s t e a d o f w i t h a l a t e r v e r s i o n o f
P e l r s G a v e s to n ( s e e n o t e l ) b e c a u s e I f i n d t h a t E n g la n d s
H e r o i c a l l E p i s t l e s c l e a r l y shows a s i g n i f i c a n t d e v e lo p m e n t
i n D r a y t o n 's s t y l e . I n t h e l a t e r v e r s i o n s o f P e i r s G a v es
to n j D ra y to n m e r e ly u s e s fe w e r o r n a m e n ts ; t h e form o f t h e
o rn a m e n ts t h a t he d o e s u s e i s o f t e n l i k e th e form o f o r n a
m en ts i n t h e 1593 P e i r s G a v e s to n ( e . g . , c o p io u s m e t a p h o r s ,
e p i c s i m i l e ) .
2 7 . E l i z a b e t h a n an d M e t a p h y s i c a l Im a g e ry : R e n a i s s a n c e
P o e t i c an d T w e n t i e t h - C e n t u r y C r i t i c s ( C h ic a g o , 1 9 4 7 ), P-
35.
2 8 . T udor C o n c e p tio n s o f H i s t o r y and T ra g e d y i n A _
M ir r o r f o r M a g i s t r a t e s ( B e r k e l e y , 1 9 3 ^ ) , P- 1-
2 9 . L ew is P. B a l l , "The B a ck g ro u n d o f t h e M inor E ng
l i s h R e n a i s s a n c e E p i c s , " E n g l i s h L i t e r a r y H i s t o r y , I ( A p r i l
1 9 3 ^ ), 7 5 .
30. S i r Jo hn H a r i n g t o n , f o r e x a m p le , shows t h i s t e n
dency when he s a y s , "A r i s t o t l e . . . w ould h a u e t h e E po -
p e i a , t h a t i s th e h e r o i c a l l Poem s h o u ld g ro u n d on some h i s -
t o r i e . " From t h e P r e f a c e t o t h e t r a n s l a t i o n o f O rla n d o
F u r i o s o , r e p r i n t e d i n E l i z a b e t h a n C r i t i c a l E s s a y s , e d . G.
G re g o ry S m ith (O x fo rd , 1 9 0 4 - 7 I I , 2 1 b .
31. P u tte n h a m m akes t h i s b e l i e f c l e a r when h e s p e a k s
o f " h i s t o r i c a l P o e s i e , b y w h ich t h e fam ous a c t s o f P r i n c e s
and t h e v e r t u o u s and w o r th y l i u e s o f o u r f o r e f a t h e r s w ere
r e p o r t e d . " The A rte o f E n g l i s h P o e s i e , e d s . G la d y s D oidge
W il l c o c k and A l i c e W alk er (.Cambridge, 1 9 3 6 ) , p . 39-
32. A r t e , p p . 4 l a n d 6 2 .
33- Q uoted by B a l l , p . j6.
34. W orks, I I , 3 8 2 .
35- B a l l , p . 75-
3 6 . R e n a i s s a n c e L i t e r a r y C r i t i c i s m : A S tu d y o f I t s
S o c i a l C o n te x t (New Y o rk , 1 9 4 5 ), P* 190'.
37 * A r t e , p . 152.
3 8 . A r t e , p . 149.
36
39- Arte., p . 152.
40. Rosamond Tuve, E l i z a b e t h a n an d M e ta p h y s ic a l Im
a g e r y , p . 2 3 8 .
41. E n g l i s h H i s t o r i c a l P o e t r y , p . 8 .
42. Tudor C o n c e p t io n s , pp. 3 - 4 .
43. E l i z a b e t h a n C r i t i c a l E ssays., ed. G. G re g o ry Sm ith,
I I , 198.
44. A r t e , p . 4 l .
45. S m ith, I , 179.
46. The T r a g i e a l l Legend o f R o b e r t , Duke o f Normandy,
i n W orks, I , p p . 2 5 2 - 3 0 3 . A ll s u b s e q u e n t r e f e r e n c e s to
t h i s poem i n t h i s c h a p t e r a re i n c l u d e d i n th e t e x t by l i n e
num ber.
4 7 . The G arden o f E lo q u e n ce , c o n t e i n i n g t h e m ost ex
c e l l e n t Orn a m e n ts , E x o r n a t i o ns, L i g h t s , f l o wer s , and form es
o f sp e e c h , commonly c a l l e d th e F i g u r e s o f R h e t o r l k e . . .
C o r r e c t e d and augm ented . . . (L ondon, 1593J — h e r e a f t e r
c i t e d a s The G a rd en .
48. The G ard en , p p . i - i i .
49.
The G a rd en , p p . i i - i i i .
50. The G a rd en , p p . i v - v .
•
1 — 1
LA
The G ard en , p . 1 .
5 2 . A D is c o u r s e o f E n g lis h P o e s i e (London, 1 5 8 6 ) , pp.
2 5 5 - 2 5 6 .
5 3 .
A D i s c o u r s e , p . 2 5 6 .
5 4 . A D i s c o u r s e , p . 2 5 6 .
55 .
E l i z a b e t h a n and M e ta p h y s ic a l Im ag ery , p1. 2 3 8 .
5 6 .
E n g l i s h H i s t o r i c a l P o e t r y , p . 24. The n i n e c a t e -
g o r i e s t h a t h e d e s i g n a t e s to c o v e r t h e whole o f E n g l i s h
h i s t o r i c a l p o e t r y a r e "The Amatory H i s t o r i c a l Poem ," "The
S c h o o l o f t h e M i r r o r f o r M a g i s t r a t e s , " "The E p ic o f C i v i l
W ar, 1 1 "The E p ic o f N a t i o n a l A n t i q u i t y , " "The H i s t o r i c a l
B a l l a d , " "The E p ic o f Tudor G l o r i f i c a t i o n , " "The E p ic o f
S c o t l a n d , " "The C a r o l i n e E p ic ," an d "The S a t i r i c a l E p ic ."
37
57* W orks, I , 6 6 , 1 1 . 3 1 -3 4 . A l l s u b s e q u e n t r e f e r
e n c e s to t h i s poem i n t h i s c h a p t e r a r e i n c l u d e d i n th e
t e x t by l i n e number.
5 8 . W orks, I I , 5 1 7 -5 1 8 .
59. The B a r r e n s W ars i n th e r a i g n e o f Edward th e
seco n d . . . (London, 1 6 0 3 ), A2V-A3V.
60. The Owle (London, 16o4), A3V.
81- W o rk s, I I , 345.
62. W orks, I I , 382.
6 3 . W o rk s, I I I , 280.
64. D o nald Lemen C l a r k a rg u e s t h a t such a c o n c e p tio n
o f r h e t o r i c ( t h e r e d u c t i o n o f th e f i v e p a r t s o f c l a s s i c a l
r h e t o r i c to e l o c u t i o n o n ly ) i s p r i m a r i l y m e d ie v a l. R h e t
o r i c and P o e t r y i n th e R e n a i s s a n c e : A S tu dy o f R h e t o r i c a l
Terms i n E n g l i s h R e n a is s a n c e L i t e r a r y C r i t i c i s m (New Y ork,
1922), pp. 43-55.
6 5 . As q u o te d I n C l a r k , p . 48.
6 6 . A r t e , p p . 1 3 7- 1 3 8 .
6 7 . E l i z a b e t h a n and M e t a p h y s ic a l Im a g e ry , p . 6 l .
68 . A r t e , p . 1 3 8 .
6 9 . E l i z a b e t h a n and M e ta p h y s ic a l Im a g e ry , p . 6 l .
70. W i l s o n 's A rte o f R h e t o r i q u e , e d . G. H. M air (Ox
f o r d , 1909) j P- 5-
CHAPTER I I
PEIRS GAVESTON
The L i t e r a r y and H i s t o r i c a l Background
The e a r l i e s t poem In which D rayton u s e s E n g li s h h i s
t o r y as h i s h a s i c s u b j e c t m a t t e r i s P e i r s G a v e s to n , e n
t e r e d i n th e S t a t i o n e r ' s R e g i s t e r i n December, 1 5 9 3 .^ The
poem, p r o b a b ly th e work o f th e autumn o f 1593j d e a l s w ith
a p e r io d o f h i s t o r y t h a t was to i n t e r e s t D ra y to n th r o u g h
o u t h i s c a r e e r a s a h i s t o r i c a l p o e t : th e r e i g n o f Edward
I I and th e e v e n ts le a d in g up to and f o llo w in g E d w ard's
d e a th . I n P e i r s G aveston D rayton exam ines t h e e v e n ts In
t h e i r e a r l y s t a g e s and from th e p o i n t o f view o f th e young
l o v e r s , Edward and G a v esto n . L a t e r , i n M o rtim e rla d o s
( 1 5 9 6) , he w i l l exam ine some o f th e p o l i t i c a l e v e n ts s u r
rou nding E d w a rd 's im priso n m en t from th e p o i n t o f view, g e n
e r a l l y , o f M ortim er and Queen I s a b e l . In th e e p ic poem th e
B a rro n s Wars ( 1 6 0 3) , he w i l l examine th e b r o a d sweep o f
h i s t o r i c a l , p o l i t i c a l , and m a r t i a l e v e n ts s u rr o u n d in g th e
r e b e l l i o n o f th e B a ro n s. F i n a l l y , In E n g lan d s H e r o i c a l l
E p i s t l e s , D ray to n w i l l u s e e v e n ts from th e r e i g n o f Edward
a s th e b a s i s f o r two o f th e e p i s t l e s . A lth o u g h theBe many
poems on th e s u b j e c t show D r a y to n 's l i v e l y I n t e r e s t in th e
38 ■ ’
p e r i o d and i t s h is to ry ., t h a t i n t e r e s t was n o t e x c e p t i o n a l
f o r a p o e t i n 1 5 9 0^ f o r by 1600 th e s u b j e c t had become a
p o p u la r one i n b o th poems and drama.
The poem P e i r s G a v e s to n , l i k e m ost o f D r a y to n 's work,
i s th e p r o d u c t o f wide r e a d i n g i n b o th l i t e r a t u r e and h i s
t o r y . And th e poem r e f l e c t s i n b o th form and c o n t e n t t h a t
c a r e f u l r e a d i n g o f o t h e r w orks. Many o f th e s p e c i f i c r e
sem blances b e tw e e n t h i s poem and th e poems t h a t D ra y to n
p ro b a b ly r e a d b e f o r e w r i t i n g i t have b een docum ented by
I ^
I Mrs. T i l l o t s o n and o t h e r s . But th e i n f l u e n c e s on P e i r s
I " "" —
j
1G aveston s h o u ld be g e n e r a l l y n o te d h e r e . The poem c l e a r l y
j r e f l e c t s a r e a d i n g o f t h e M irro r f o r M a g i s t r a t e s , t h a t
j
" p r a c t i c a l " o r " a p p lie d " p o e t r y i n w hich p h ilo s o p h y , h i s -
| t o r y , and m o ra l d i d a c t i c i s m were combined i n a p o e t i c
1 c
m o ld .J D ra y to n c o n s c i o u s ly p u t s h i s poem i n th e M ir r o r
t r a d i t i o n when i n th e p r e f a c e he l a b e l s i t a " t r a g i c a l l
d is c o u r s e " an d say s t h a t t h e s t o r y o f G aveston h a s been
o v e rlo o k e d by th e " T ra g e d ia n s" o f th e tim e (p. 158)• As
I L i l y B. C am pbell and W i l l a r d Farnham have n o te d , i t was a
| commonplace f o r th e M ir r o r w r i t e r s to c a l l t h e i r w orks
1 1 1
" t r a g e d i e s . " ^ The word tr a g e d y o f t e n o c c u r s , f o r exam ple,
i n B a ld w in 's p r o s e l i n k s — "Whan m a i s t e r F e e re s had ended
t h i s f r u y t f u l l t r a g e d y e ." ^
In fo rm a l c o n v e n tio n s P e i r s G aveston i s c l e a r l y l i k e
a M irro r poem: i t i s a p r o t r a c t e d c o m p la in t, n a r r a t e d i n
th e f i r s t p erB o n by a g h o s t from th e g r a v e . M oreover, th e
4o
c au se o f th e tr a g e d y i s G a v e sto n 1s v i c e s , p a r t i c u l a r l y h i s
a m b itio n (se e 11. 709 -7 2 0 , 1219-1230) . T h is c o n c e p tio n o f
t r a g e d y i s t y p i c a l o f . t h e l a t e r M ir r o r poems^ and th e l e s
son o f r e t r i b u t i o n p ro m ised by t h e L a t in m otto to th e 1559
e d i t i o n o f th e M i r r o r , F a e llx quem f a c i u n t a l i e n a p e r i c u l a _
7
cautum , i s e v id e n t i n P e i r s G a v e s to n . 1
In a d d it i o n to t h e M irro r poem p r o p e r , D ra y to n a ls o
knew th o s e "progeny" o f th e M ir r o r f o r M a g i s t r a t e s t h a t
were d i s t i n c t in i n c o r p o r a t i n g an am atory v e in i n t o the
b a s i c a l l y h i s t o r i c a l - m o r a l s u b j e c t m a t t e r . Such poems a s
C h u t e 's B eaw tie D ish o n o u red (1 5 9 3 )j L o d g e's E l s t r e d (1 5 9 3 )j
and th e e a r l i e s t o f t h i s k in d , C h u r c h y a r d 's S h o re s w ife
( 1 5 9 3)t made th e woman th e s p e a k e r and hence made h e r lo v e
c o n c e rn s one o f th e c e n t r a l i n t e r e s t s o f th e poem. Ac
c o rd in g to Homer W earing, i t was D a n i e l 's C om p laint o f
Rosamond ( 1 5 9 2) , a " h y b rid b etw een h i s t o r i c a l t r a g e d y and
th e am atory v e i n , " t h a t made th e a m a t o r y - h i s t o r i c a l poem
p o p u l a r . D a n ie l became a fo cu s f o r I m i t a t i o n b e c a u se I t
was he who " f i r s t p e r c e i v e d th e a e s t h e t i c p o s s i b i l i t i e s o f
Q
th e M irro r fo rm ."
The am atory o r e r o t i c v e in I n P e i r s G a v e s to n , however,
i s n o t e n t i r e l y d e r i v e d from D r a y t o n 's r e a d in g o f th e Com
p l a i n t o f Rosamond an d i t s i m i t a t o r s . There i s evid ence
t h a t D ray ton a ls o knew th e e r o t i c e p y l l i a Venus and Adonis
( 1 5 9 3) and Hero and L eand er ( i n m a n u s c rip t) a s w e ll as
M arlow e's p la y Edward th e Second (1593)* J- W. H ebei,
41
a rg u in g t h a t D rayton knew th e e r o t i c e p y l l i a , h a s p o in te d
to s e v e r a l e x p l i c i t r e f e r e n c e s to H ero, L ea n d er, Venus,
and A d o n is.^ He f i n d s th e s e e s p e c i a l l y i n t h e s i m i l e s .
Mrs. T i l l o t s o n a rg u e s t h a t D rayton knew Venus and Adonis
b e c a u se t h e r e a re many s t y l i s t i c s i m i l a r i t i e s betw een
F e i r s G aveston and t h a t e r o t i c e p y l l i o n , i n c l u d i n g com
pound e p i t h e t s , s e n t e n t i a e and s i m i l e s t h a t a r e " r u r a l i n
m a t e r i a l ; e l a b o r a t e and m arkedly v i s u a l i n m e th o d ."'1 '0
j These s t y l i s t i c c h a r a c t e r i s t i c s i n b o th poems r e s u l t i n a
i
|" g e n e r a l t r e a tm e n t q u i t e la c k in g i n m oral a u s t e r i t y . "
l i t must be n o te d , how ever, t h a t a lth o u g h D ra y to n may have
|b o rro w ed s t y l i s t i c d e v ic e s from S h a k e sp e a re , th o s e d e v ic e s
|d o n o t i n D r a y to n 's h a n d s r e s u l t i n th e " i n d u l g e n t , i r o n i c ,
o r ro m a n tic " to n e t h a t c r i t i c s have p r a i s e d i n Venus and
A d o n is . 12
A ltho ugh D r a y to n 's r e a d in g o f Edward th e Second i s
i n d i s p u t a b l e , th e p l a y i n f l u e n c e s t h e s t y l e o f th e poem
v e ry l i t t l e . R a th e r, i t i n f l u e n c e s D r a y to n 's d e p i c t i o n and
i
| i n t e r p r e t a t i o n o f c h a r a c t e r , f o r from M arlow e's p l a y D ray
to n d e r iv e d th e i n t e r p r e t a t i o n o f G aveston and Edward a s
1R
l o v e r s and th e a tta c h m e n t a s a h i g h l y ro m a n tic one.
F i n a l l y , t h e r e i s much e v id e n c e t h a t D ra y to n r e a d e x
t e n s i v e l y i n th e h i s t o r i c a l docum ents a v a i l a b l e to him,
p a r t i c u l a r l y th e c h r o n i c l e h i s t o r i e s . In th e n o te appended
t o th e end o f P e i r s G a v esto n , D ra y to n s t a t e s t h a t he u se d
c h r o n i c l e s from th e tim e o f Edward I I and Edward I I I .
42
F u r t h e r * he h a d a c c e s s t o t h e l i b r a r y o f h i s i n t i m a t e
f r i e n d John Stow and made u s e o f t h a t l i b r a r y * e x a m in in g
n o t o n l y t h e c o l l e c t i o n s t h a t Stow h i m s e l f h a d g a th e r e d *
b u t a l s o p r o b a b l y su c h w o rk s a s Thomas o f W a ls in g h a m 's
C h r o n i c l e s * F o x e 1s A c te s and Monuments* Ho U n s h e d * s C h ro n
i c l e s , t h e A n n a le s F a u l i n i * t h e V i t a E dw ardi* and de
T r o k e l o w e 's A n n a l e s . Such e x t e n s i v e r e a d i n g i n p r e p a r a
t i o n f o r a h i s t o r i c a l poem was r e l a t i v e l y r a r e . M rs. T i l -
l o t s o n w r i t e s t h a t t h e poem i s " u n u s u a l among E l i z a b e t h a n
I
j h i s t o r i c a l poems a s a p r o d u c t o f i n d e p e n d e n t and e x h a u s
t i v e r e s e a r c h .
p
i
I n h i s r e a d i n g o f t h e h i s t o r i e s * D ra y to n was n o t m ere -
j l y g a t h e r i n g b i t s an d e v e n t s t h a t c o u ld b e u s e f u l f o r f i c -
! t i o n a l p u r p o s e s o f h i s own* b u t was i n t e n s e l y i n t e r e s t e d
I
i n t h e a c c u r a c y o f h i s s o u r c e s a s h i s t o r y a s w e l l a s i n th e
a c c u r a c y o f h i s own poem a s h i s t o r y . H is n o te a p p e n d e d a t
t h e end o f P e i r s G a v e s to n * f o r example* shows t h a t h e v a l
u e d t h e s e c h r o n i c l e s b e c a u s e t h e y w ere m o st l i k e l y t o be
i
! t r u t h f u l . He u s e d
i
| t h o s e W r i t e r s who ly v e d i n t h e tyme o f Edward t h e second*
w h e r in h e o n e ly f l o r i s h t * o r im m e d ia te l y a f t e r * I n th e
g o ld e n r a i g n e o f Edward t h e t h i r d , when a s y e t h i s mem
o r y was f r e s h i n e v e r y mans m outh: w hose a u t h o r i t i e s ( i n
myne o p i n i o n ) can h a r d l i e be r e p r o v e d o f any* t h e same
b e e i n g w i t h i n t h e com passe o f p o s s i b i l i t y * and t h e Au
t h o r s names e x t a n t * a v o u c h in g w hat t h e y have w r i t t e n .
(p . 2 0 8 )
F u r t h e r * h e p r a i s e s John Stow* whose c o l l e c t i o n s h e u s e d a s
" a d i l i g e n t C h r o n l g r a p h e r o f o u r tim e . A man v e ry h o n e st*
^3
e x ce ed in g p a i n f u l l , and r l t c h i n th e a n t i q u i t i e s o f t h i s
l i e " (p. 2 0 8 ). When he came to w r i t e h i s own poem, D ray
to n was c o n c e rn e d w ith the d i s c r e p a n c i e s he h a d found i n
o t h e r a c c o u n ts and wanted to t r i m a co u rse t h a t would l e a d
to th e h i s t o r i c a l acc u ra c y he so s tr o n g ly d e s i r e d .
D iv e rs have been th e o p i n i o n s , o f th e b y r t h and f i r s t
r y s i n g o f G aveston (amongst t h e W rite r s o f th e s e l a t t e r
t im e s : ) some o m ittin g t h i n g s w o rthy o f memory, some i n
f e r r i n g t h i n g s w ith o u t p r o b a b i l i t i e , d i s a g r e e i n g i n many
p a r t i c u l a r s , and c a v e ll i n g i n th e c ir c u m s ta n c e s o f h i s
sun dry b a n is h m e n ts; which h a t h b red some d o u b t amongst
th o s e who have b u t s l i g h t l y r u n over th e H i s t o r y o f h i s
f o r t u n e , s e e in g e v ery man r o v e by h i s owne ayme i n t h i s
c o n fu s io n o f o p in io n s , (p . 208)
In d e e d , th e o n ly p o i n t s on w h ich th e c h r o n i c l e s ag re ed
were " h i s e x c e e d in g c r e d i t e w i t h th e King" and "the m aner
j o f h i s d e a t h , and o f the pompe w h erln he ly v e d " (p. 2 0 8 ) .
In e v a l u a t i n g D r a y to n 's u se o f v a rio u s s o u r c e s , Mrs, T i l -
l o t s o n h a s c o n c lu d e d :
What P r o f e s s o r Greenlaw w ro te o f S p e n s e r 's survey o f
B r i t i s h h i s t o r y a p p li e s p r e c i s e l y to D r a y t o n 's poem. "He
d id n o t g e t u p th e s u b j e c t by r e a d in g some s ta n d a rd work
and c o n v e r t in g I t i n to s t a n z a s . He r e a d many s o u rc e s .
He b r o u g h t to b e a r what c r i t i c a l h i s t o r i c a l sense he
i p o s s e s s e d . I n h i s u se o f h i s a u t h o r i t i e s . He used many , c
| s o u r c e s . I t was th e p r o d u c t o f long and I n t e n s e s t u d y . " -
i A f t e r i n t e n s i v e r e s e a r c h i n th e a v a i l a b l e h i s t o r i c a l
i
s o u r c e s , a s w e l l a s re a d in g i n t h e l i t e r a t u r e t h a t d e a l s
w ith th e m a t t e r , th e n a r r a t i v e D rayton f i n a l l y d e c id e d on
1 b t h i s : G av esto n ap p ea rs and t e l l s how he came to E n g lan d
w ith h i s f a t h e r a s a young b o y d u rin g th e r e i g n o f Edward
L ongshanks. L iv in g a t c o u r t , he became th e p a g e , f r i e n d ,
and u l t i m a t e l y th e lo v e r o f t h e young P r in c e Edward. The
44
two young men e n jo y e d y e a r s o f p l e a s u r e t o g e t h e r u n t i l th e
K ing, f e a r i n g th e e v i l i n f l u e n c e o f G aveston on h i s son
and e n c o u ra g e d i n t h i s f e a r by th e e n v io u s B aro n s, b a
n is h e d G a v esto n . D uring t h i s b a n is h m e n t, how ever. King
Edward d ie d and th e new King c a l l e d G aveston home and hon
o re d him i n e v e ry way. G aveston was made E a r l o f C o rn w all,
he was g iv e n th e K in g 's n i e c e , C la r e , i n m a rr ia g e , and he
was a llo w e d t o be th e c h i e f f i g u r e i n th e e n te r ta i n m e n t
p ro v id e d f o r th e King when he m a rrie d I s a b e l l a .
G aveston l i v e d i n pomp and power u n t i l e v e n t u a l l y h i s
h ig h h an d ed ways e n ra g e d th e B a ro n s, who a g a in sought h i s
b a n is h m e n t. In o r d e r to p r o t e c t G aveston and a t th e same
tim e to a p p ea se th e B a ro n s, Edward s e n t G aveston o u t o f
th e c o u n tr y , b u t to be g o v e rn o r o f I r e l a n d . In I r e l a n d ,
G aveston l i v e d a t g r e a t e x p e n se . When Edward a g a in worked
h i s r e t u r n to E nglan d, th e B a ro n s a g ain b ro u g h t him to
t r i a l and b a n is h e d him, t h i s tim e , to th e N e th e r la n d s .
Once a g a in , G aveston c o n tr i v e d a r e t u r n , b u t t h i s tim e i n
d is g u iB e . When th e B arons l e a r n e d o f t h i s , th e y p u rsu e d
and e v e n t u a l l y c a p tu r e d him a t S c a rb o ro u g h , d e s p i t e th e
a tt e m p t s o f t h a t town ( a t th e i n s t i g a t i o n o f Edward) to
p r o t e c t him . G aveston was ta k e n by h i s archenem y, th e
E a r l o f W arwick, to W arw ick sh ire where he was e x e c u te d .
45
The M ajo r O rnam ents
j
I t I s a comm onplace i n t h e c r i t i c a l d e s c r i p t i o n s o f
D r a y t o n 's s t y l e I n t h e e a r l y l e g e n d s t o l a b e l i t " d e c o
r a t e d , , ” " o r n a t e , " o r ev en " e x u b e r a n t . " F o r e x a m p le , J o
se p h B e r t h e l o t s p e a k s o f t h e " m y t h o l o g i c a l a l l u s i o n s and
d e c o r a t i o n s common t o h i s e a r l y w o rk "^8 and M rs. T l l l o t -
so n , c o n t r a s t i n g E n g la n d s H e r o i c a l l E p i s t l e s w i t h t h e e a r
l i e r L e g e n d s , s a y s " t h e s e a r e t h e f i r s t o f h i s poems In
w h ic h t h e d e c o r a t i o n i s p e r f e c t l y u n d e r c o n t r o l . " 1^ Sim
i l a r l y , A nthony L aB ranche f i n d s t h a t I n h i s e a r l y L e g e n d s,
D r a y to n I s i n l i n e w i t h t h e " o r n a t e p o e t i c f a s h i o n s c u r
r e n t a t t h a t tim e " and he I s h e i r t o " t h e e x u b e r a n t r h e t
o r i c o f t h e 1 5 9 0 ' s ." 18
B u t how i s one t o u n d e r s t a n d t h e s e te rm s so o f t e n u s e d
to d e s c r i b e D r a y t o n 's e a r l y r h e t o r i c ? I f th e w o rd s " d e c
o r a t e d , " " o r n a t e , " and " e x u b e r a n t " a r e t a k e n to mean o n ly
"a s t y l e r i c h I n f i g u r e s o f s p e e c h , " t h e n t h e s e te rm s
s u r e l y a p p ly t o t h e s t y l e o f t h e e a r l y L e g e n d s , f o r even
th e m o st c u r s o r y r e a d i n g w i l l r e v e a l t h a t e v e r y s t a n z a
u s e s some d e v ic e o f o r n a m e n t a t i o n . U n f o r t u n a t e l y , how
e v e r , t h e s e w o rd s do n o t seem t o b e u s e d o n l y f o r d e s c r i p
t i o n , b u t f o r a k i n d o f a u t o m a t i c c o n d e m n a tio n o f t h e s t y l e
o f t h e poem. And t h a t c o n d e m n a tio n i s a t p r e c i s e l y th e
p o i n t t h a t i s t h e m a jo r c o n c e rn o f t h i s p a p e r : t h e r e l a
t i o n o f s u b j e c t t o o rn a m e n t. O fte n t h e word " d e c o r a t i o n , "
46
f o r exam ple, I s u s e d to s u g g e s t a k in d o f b e a u t y a p p llq u e d
on "m ean in g ." T h at i s , i t s u g g e s t s t h a t t h e r e i s l i t t l e
v a l i d r e l a t i o n betw een s u b j e c t and ornam ent. Anthony La
B ranche condemns th e e a r l y L egends on t h i s p o i n t , sa y in g
"The e a r l y Legends . . . rem a in e d c r i p p l e d by a h o llo w
h y p e r b o l i c k in d o f r h e t o r i c w hich d e s tr o y e d a l l n a r r a t i v e
c o n t i n u i t y . j n o t h e r w ords, i f th e s u b j e c t o f th e poem
i s ta k e n o n ly as a n a r r a t i v e o f e v e n t s , th e n th e o rnam ents
b e a r no r e l a t i o n t o t h a t s u b j e c t ; in d e e d , t h e o rn am en ts
un derm in e th e r e a l i z a t i o n o f th e s u b j e c t .
L o u is R. Z occa, who v a lu e s P e i r s G aveston b e c a u se i t
" i l l u s t r a t e s a d m ira b ly " th e c h a n g e s t h a t th e prog en y o f
th e M ir r o r f o r M a g i s t r a t e s u n d e rw e n t d u rin g th e t h i r t y
y e a r s a f t e r B aldw in, sa y s t h a t th e poem i s "a p l a i n n a r
r a t i v e o f h i s sad f a t e , u se d m e re ly as a fram ew ork upon
20
w hich to hang a s e r i e s o f e x u b e r a n t d e s c r i p t i o n s . "
Z occa, t h e n , a l s o s e e s an u n b r id g e d g u l f betw een th e su b
j e c t and th e o rn am en t, o r most sim p ly , betw een w hat D ray
to n had to say and t h e way t h a t h e s a id i t . The word
t
" d e c o r a t i o n , " th e n , condemns th e poem.
B ut th e word " d e c o r a tio n " n e ed n o t o n ly r e f e r to a
d e ta c h a b le " b e a u t i e . " In " E liz a b e th a n D e c o r a tio n s : P a t
t e r n s i n A rt and P a s s io n " (TLS), t h e w r i t e r a tt e m p t s to
d e f i n e th e E li z a b e th a n a t t i t u d e t o what i s now c a l l e d
" d e c o r a t i o n " by s a y in g .
4 7
The E l i z a b e t h a n s do n o t seem to have made much d i s t i n c
tio n b etw een d e c o r a t i o n i n an o b j e c t and what would now
be c a l l e d i t s f u n c t i o n a l q u a lity ., th e q u a l i t y by v i r t u e
o f w hich i t does th e work f o r w hich i t e x i s t s . 2!
Ros.emo.nd Tuve i s g e t t i n g a t th e same p o i n t when she a rg u e s
t h a t to th e E l i z a b e t h a n s , im agery was n o t a t o p ic d i s
cu ssed a p a r t from ’'m eanin g1 ' — t h e r e was n o t th e d i s t i n c t i o n
betw een a poem and i t s " p a r a p h r a s a b le c o n t e n t , " b u t r a t h e r
im agery (and I ta k e i t o t h e r k in d s o f o rn a m e n ta tio n ) would
be viewed by th e E li z a b e t h a n s a s " i n s t r u m e n t s f o r a p u r -
22
p o s e ." A l l k in d s o f o rn am en t, no m a t t e r how a p p a r e n t l y
d e c o r a t i v e , were c o n c e iv e d o f as f u n c t i o n a l by th e E l i z a
b e th a n p o e t .
When th e end o f p o e t r y i s spoken o f , th e poem d o e s
n o t seem to be c o n c e iv e d o f a s a u n i t made up o f " l o g
i c a l l y s t a t e a b l e [ s i c ] s t r u c t u r e o f m eaning" p lu s " o r n a
m en t," b u t as a u n i t i n w hich " ca u se " i s m a n if e s te d by
"mode o f o p e r a t i o n . " F i g u r a t i v e la n g u a g e , o rn am en t, i s
c o n c e iv e d o f as one o f th e modes th ro u g h which a p u rp o se
o p e r a t e s . 23
T hat i s , ornam ent i s one way t h a t th e p o e t r e a l i z e s h i s
p u rp o s e s .
W hat, t h e n , were D r a y t o n 's p u r p o s e s i n th e poem? He
g iv e s an i n d i c a t i o n o f one dom inant p u rp o se i n h i s n o te
appended to th e poem when he say s t h a t he s e t o u t to " f a s h
io n a body o f h y s t o r i e , w ith o u t maime o r d e f o r m i ti e " (p.
208). T h is s ta te m e n t, o f c o u rs e , docum ents th e d e s i r e f o r
a c c u ra c y t h a t was e v id e n t from th e p o e t ’s wide r e a d i n g o f
h i s t o r i c a l and l i t e r a r y s o u r c e s . B ut f u r t h e r , t h i s s t a t e
ment shows t h a t D rayton th o u g h t o f th e poem a s e s s e n t i a l l y
a h i s t o r i c a l w ork and p r e s u m a b ly one i s t h e n f r e e t o e x
amine t h e o r n a m e n ts i n r e l a t i o n to t h i s s u b j e c t . How a r e
th e o rn a m e n ts i n s t r u m e n t s f o r t h i s p u r p o s e ? F u r t h e r , t h a t
th e s u b j e c t o f t h e poem i s n o t m e re ly a r e p o r t o r a b a r e
n a r r a t i v e o f t h e h i s t o r i c a l e v e n t s su c h a s w ould a p p e a r i n
a c h r o n i c l e h i s t o r y l i k e W a r n e r 's A lb i o n s E n g la n d may b e
i m p l i e d by th e w ord " f a s h i o n . " T h is w o rd m ig h t s u g g e s t
a r t f u l n e s s , t h a t t h e p o e t muBt do s o m e th in g w ith h i s ma
t e r i a l s beyond w h a t t h e h i s t o r i a n w ould do w i t h t h e m a t e
r i a l s . And i n d e e d , D r a y t o n 's v e ry n e x t comments show t h a t
he saw h i m s e l f a s a p p l y i n g a r t t o h i s t o r y . He acknow
l e d g e s t h a t he h a s l e f t o u t c e r t a i n e v e n t s , " f e a r i n g to
make [ t h e ] T ra g e d y more tr o u b le s o m e , a m o n g s t so many c u r
r a n t s [ s i c ] a s h a v e f a l l e n o u t i n th e sam e" (p. 2 0 8 ) . The
p o e t who i s c o n c e r n e d w i t h how th e b r o a d e r e v e n ts may b e
so f i t t e d o r f a s h i o n e d t o g e t h e r t h a t t h e y make a c o h e r e n t
w hole w ou ld be e x p e c t e d a l s o t o be c o n c e r n e d w ith how t h e
s m a l l e r e le m e n ts o f th e poem su c h a s o r n a m e n t a t i o n w o u ld
f u n c t i o n t o make t h e w hole c o h e r e n t .
W h ile g r a n t i n g and i n d i c a t i n g t h e p o i n t s w h e r e in P e i r s
G a v e s to n i s an a p p r e n t i c e w o rk , th e r e s t o f t h i s c h a p t e r
w i l l exam in e t h e fo rm and f u n c t i o n s o f d o m in a n t o r n a m e n ts .
The a im o f th e e x a m in a tio n w i l l be to d e t e r m i n e w h e th e r
t h e s e o rn a m e n ts c an b e c o n s i d e r e d i n s t r u m e n t s f o r t h e p u r
p o se o f t h e p o e m - - " t o f a s h i o n a body o f h y s t o r i e . " I n
t h e i r fo rm and f u n c t i o n s , do t h e s e o r n a m e n ts s u g g e s t t h a t
49
D rayton was s t r i v i n g to f a s h i o n a body o f h i s t o r y , w h e th e r
o r n o t he u l t i m a t e l y a c h ie v e d t h a t aim s u c c e s s f u l l y ?
A lthou gh P e i r s G aveston would seem t o be a t i s s u e o f
f i g u r e s , t h e r e a r e , in f a c t , o n ly a few f i g u r e s o f r h e t o r i c
t h a t make up t h e o rn a m e n ta tio n o f th e poem. These a r e sim
i l e , m e ta p h o r, s y s tr o p h e , and a p o s t r o p h e . Among t h e
schemes o f t h e poem, a n a p h o ra i s th e m ost f r e q u e n t. A l
though th e s e f i g u r e s do n o t o c c u r e x c l u s i v e o f one a n o t h e r ,
in d e e d th e a p o s tro p h e s a r e o f t e n p a t t e r n e d by s y s t r o p h e .
I s h a l l a t t e m p t h e re to d i s c u s s them s e p a r a t e l y s i n c e t h i s
i s th e most c o n v e n ie n t way o f i s o l a t i n g a s p r e c i s e l y a s
p o s s i b l e th e f u n c tio n o f e a c h .
One o f t h e most f r e q u e n t f i g u r e s i n th e poem and one
t h a t p r o v i d e s an a p p r o p r i a t e a r e a i n w hich to s t a r t e x
am ining th e r e l a t i o n o f s u b j e c t and o rn am ent i s th e f i g u r e
s i m i l e . So f r e q u e n t i s t h i s f i g u r e , t h a t C h arles P e e t h a s
d e s c r ib e d th e s t y l e o f th e poem a s an e x e r c i s e i n th e u s e
/ r 24
(and abuse) o f s i m il e s . D r a y to n 's fo n d n e s s f o r s i m i l e
i s e v id e n t i n h i s u n h e s i t a t i n g u se o f t h e f i g u r e i n many
p o e t i c c irc u m s ta n c e s and i n s e v e r a l fo rm s. He u s e s t h e
f i g u r e s i m i l e to p r a i s e t h e v i r t u o u s c o u r t o f Edward Long
shanks :
Then M achiv els w ere l o t h ' d a s f i l t h i e to a d e s ,
And good men as r a r e p e a r l e s w ere r i c h l y p r i z e d ,
The l e a r n e d were a c c o u n te d l i t t l e Gods,
The v i l e s t A t h e is t a s th e p la g u e d e s p is e d :
(11. 73-76)
50
And he u s e s th e f i g u r e t o d i s p r a i s e t h e a c t i o n s o f Gaves-
to n : "Our innocence , o u r c h i l d - b r e d p u r i t i e / I s now d e f l l d e
and a s o u r dreames f o r g o t " ( l l . 2 9 5 -29 6 ) , o r "By f i l t h y
vice,, a s w ith a mole a r t s t a y n 'd " (1 . 303)j and "And th u s
l i k e s l a v e s we s e l l o u r s o u l e s to s i n n e " ( l . 313) . And he
a ls o u s e s s im ile to d i s p r a i s e the l o v e r ' s enem ies: " F lo c k -
me 11 th e y swarme l i k e f l i e s about th e b rim " ( l . 539) . The
f i g u r e can be used f o r c o n c r e t e a c t i o n a s i n th e d e s c r i p
t i o n o f th e B arons' r e a c t i o n to G a v e s to n ’ s e x tra v a g a n c e i n
I r e l a n d : "T h is (as a k n i f e ) th e y r v e r y h a r t - s t r i n g s c u t s , , /
And gnawes them l ik e t h e C o l ll c k i n t h e g u ts " (1 1 . 1091-
1 0 9 2); o r i t can be u s e d f o r a b s t r a c t i o n s such a s th e
change o f f o r tu n e as i n " Cam elion- l i k e ., th e w orld th u s
t u r n s h e r h u e .,/ And l i k e t o P ro te u s p u t s on su n d ry shap es"
(11. 5 3 5 -5 3 6 ). D r a y to n 's tenden cy t o c o n s t r u c t s ta te m e n t s
i n term s o f l ik e n e s s i n s t e a d of i d e n t i t y can o c c a s i o n a l l y
le a d him t o i l l o g i c a l sta te m e n ts., a s when G aveston i s d e
s c r i b e d a f t e r h i s c a p t u r e : "Away t h u s ( l i k e a p r y s o n e r ) am
I le d " ( l . 1519), G av esto n i s n o t l i k e a p r i s o n e r , he i s
a p r i s o n e r .
As t h e s e examples i n d i c a t e , th e fo rm o f th e s i m i l e can
be a com parison t h a t i s s u s t a i n e d f o r o n l y one l i n e . But
th e form i n which D rayton m ost f r e q u e n t l y c a s t s t h e sim
i l e s i s t h e s ta n z a - lo n g com parison o r e x te n d e d s i m i l e - -
th e " e p ic " s i m il e . S i m i l e s c a s t i n t h i s form o c c u r on
alm o st e v e ry page o f th e poem, and hence b u l k l a r g e a s a
form o f o r n a m e n ta tio n .
The s t r u c t u r e o f th e e x te n d e d s i m il e I n P e i r s G aves
ton i s a lm o s t alw ay s th e same and may be I l l u s t r a t e d by
alm o st any e p ic s i m i l e from th e poems
As g o rg io u s Phoebus i n h i s f i r s t u p r i s e
D is c o v e r in g now h i s S c a r l e t - c o l o u r e d h e a d ,
By tr o u b lo u s m o tio n s o f th e low rin g S k ie s
H is g l o r i o u s beames w ith fo g g e s a re o v e r s p r e d ,
So a re h i s c h e e r e f u l brow es e c l i p s ' d w ith
so rro w e,
'Which clo u d th e s h in e o f h i s y o u t h s - s m i li n g
morrow, ( l l . 457“ 462)
A modern d e f i n i t i o n o f e p ic s i m il e i s , "The t r u e e p ic
s [ i m i l e ] in v o lv e s th e com parison o f one c o m p o site a c t i o n
CC
o r r e l a t i o n w ith a n o th e r c o m p o site a c t i o n o r r e l a t i o n . "
By "c o m p o site " t h i s w r i t e r means an a c t i o n form ed o f s e v
e r a l d i s t i n c t p a r t s . In th e above exam ple, a s i n o t h e r
e p ic s i m i l e s , th e f i r s t l i n e s t a t e s an e q u a tio n w ith some
o b j e c t o f t e n drawn from c l a s s i c a l m ythology. The second
l i n e a lw ay s d e s c r i b e s th e a c t i o n o f t h a t o b j e c t . The p a t
t e r n o c c u r s o v e r and o v e r a g a in i n PeirB G aveston a s i n
"Like tr id e n t- m a c e d Neptune . . . / Mounted upon a D olphin"
( l . 8 2 9 ) o r "Even l i k e a s C a s to r . . . / B e h o ld in g th en h i s
s t a r r y - t r e s s e d b r o t h e r " (1. 847) o r "Like to th e b r i d e o f
Ledaes" (1 . 4 2 1 ). The t h i r d and f o u r t h l i n e s u s u a l l y e x
t e n t t h e d e s c r i p t i o n o f th e a c t i o n s to form a com pleted o r
s e r i e s o f a c t i o n s . The f i f t h and s i x t h l i n e s com p lete th e
e q u a tio n w ith th e w ords "so" o r " a s . " O c c a s io n a lly , a s i n
52
t h e above example ("As g o rg io u s P hoebu s" ) , D ray to n m ain
t a i n s th e term s o f th e s i m il e i n t h e c o n clu d in g c o u p l e t —
"browes e c l i p s ’d" o r " y o u t h s - s m i li n g morrow"— a lth o u g h th e
c o m p le tio n o f th e e q u a t io n i n th e l a s t two l i n e s i s u s u a l l y
n o n - t r o p l c a l , a s i n "Such was th e c o n f l i c t th e n b e tw ix t o u r
e y e s" ( l . 622) o r "Such was th e lo v e which now by s ig n e s
we b re a k e " (1. 8 5 7)*
The s t a n z a - lo n g s i m i l e s , th e n , f a l l i n t o an i n t e r n a l
p a t t e r n t h a t h a s been l a b e l e d " e p ic " s i m il e . The v e ry l a
b e l , o f c o u r s e , s u g g e s ts t h a t by u s i n g t h i s f i g u r e , D rayton
was p u t t i n g h i s poem i n t o an e p ic t r a d i t i o n t h a t goes back
t o Homer. In d e e d , th e f i g u r e o f sp e ec h c a l l e d " e p ic sim
i l e " h as i t s f i r s t e x am p les, a c c o rd in g to P re m in g e r, In th e
26
I l i a d . Going fo rw a rd i n tim e , exam ples o f e p ic s i m il e s
may c e r t a i n l y be found i n some o f t h e works w hich D rayton
u s e d as s o u r c e s . A s i m i l e from th e e r o t i c e p y l l i o n Venus
and A donis, f o r exam ple, f a l l s i n t o much th e same i n t e r n a l
p a t t e r n a s D r a y to n 's e x te n d e d o r e p i c s i m i l e s .
Even a s an empty e a g l e , s h a r p by f a s t ,
T i r e s w ith h e r b e a k on f e a t h e r s , f l e s h and
bo ne,
S haking h e r w in g s, d e v o u rin g a l l i n h a s t e ,
T i l l e i t h e r g o rg e be s t u f f ' d o r p re y b e gone:
Even so she k i s s ' d h i s brow , h i s ch ee k ,
h i s c h in ,
And where she ends she d o th anew b e g i n . 27
But p e rh a p s i t i s too e a sy a m a t t e r to say t h a t b e
c au se th e poem u s e s " e p i c " s i m i l e s i t i s s t r i v i n g f o r e p ic
d i g n i t y . In d e e d , such an argum ent seems t a u t o l o g i c a l . On
t h e o t h e r hand* by exam ining th e p u rp o se o f th e f i g u r e a s
d e s c r i b e d i n some R e n a iss a n c e r h e t o r i c te x tb o o k s , I may be
a b l e to d e te rm in e th e dynam ics o f th e f i g u r e and p e rh a p s
s u g g e s t why i t came to be v a lu e d in th e "h ig h " s t y l e . I
c a n then s u g g e s t how D ray to n was se e k in g to make h i s e p ic
s i m i l e s se rv e t h e pu rp o se o f a m p l i f i c a t i o n t h a t i s a s s o c i
a t e d w ith th e h i g h s t y l e .
A lthough t h e means o f c l a s s i f i c a t i o n v a ry among th e
R e n a is s a n c e r h e t o r i c i a n s , m ost r h e t o r i c books c l a s s i f y
s i m i l e under t h e p la c e s i m i l i t u d e . Som etim es, as i n
Peacham, th e te r m " s i m i l i t u d e " i s synonymous w ith s i m i l e .
I n o t h e r w r i t e r s , e . g . , P uttenham , s i m i l i t u d e i s u s e d a s
a g e n e r i c te rm u n d e r w hich th e w r i t e r c l a s s i f i e s th e f i g
u r e s im ile a s w e l l as a l l e g o r y , c a t a c h r e s i s , and som etim es
m e ta p h o r (Peacham does n o t c l a s s i f y m etap h o r a s a s i m i l i
t u d e , b u t r a t h e r as a t r o p e ) . W hatever th e f i g u r e s c l a s
s i f i e d as s i m i l i t u d e ( s i m i l e alw ays i s ) , th e r h e t o r i c i a n s
seem to a g re e a b o u t th e f u n c t i o n s o f t h e f i g u r e . Peacham
recommends th e f i g u r e : "The u s e o f s i m i l i t u d e s i s v e r i e
g r e a t , y e ld in g b o th p r o f i t and p l e a s u r e , p r o f i t by t h e i r
28
p e r s p i c u i t l e an d p l e a s u r e b y t h e i r p r o p o r t i o n . " S im i
l a r l y , P uttenham v a lu e s th e f i g u r e s i m i l i t u d e and l i s t s
i t s f u n c tio n s — "The f i g u r e o f S i m ilitu d e i s v e ry n e c e s s a r y ,
b y w hich we n o t o n e ly b e w t i f i e o u r t a l e , b u t a ls o v e ry
much i n f o r c e & i n l a r g e i t , " ^ and Thomas W llB o n's e x p la n a
t i o n o f th e f u n c t i o n s o f s i m i l i t u d e p r o v i d e s a u s e f u l .
54
th o u g h b r i e f summary. A c c o rd in g t o W ils o n , t h e f i g u r e
s e r v e s " to b e a u t i f i e [a m a t t e r ] , t o d e l i t e t h e h e a r e r s , t o
make th e m a t t e r p l a i n e , and t o shewe a c e r t a i n e m a i e s -
t i e . " 30
Thus t h e r h e t o r i c i a n s a r e d e s c r i b i n g t h e s e f u n c t i o n s
f o r s i m i l e : i t a m p l i f i e s th e s u b j e c t and m akes t h e s u b j e c t
c l e a r . T h a t s i m i l e was t h o u g h t t o a m p l i f y i s e v i d e n t i n
P e a c h a m 's l i s t i n g b e c a u s e h e c l a s s i f i e s s i m i l i t u d e a s a
f i g u r e o f a m p l i f i c a t i o n s ; s i m i l a r l y P u t t e n h a m ' s " i n f o r c e
& i n l a r g e " p o i n t t o two k i n d s o f a m p l i f i c a t i o n s . I t a k e
" i n f o r c e " t o mean t o make th e s u b j e c t i m p o r t a n t and " i n
l a r g e " to make th e s u b j e c t seem p l e n t i f u l o r e x p a n s i v e .
The e x a c t d i s t i n c t i o n b etw een t h e w ords i s n o t c l e a r . P e r
h a p s " i n l a r g e " can be u n d e r s t o o d a s synonymous w i t h W il
s o n ' s "shew a c e r t a i n e m a i e s t i e " w hich p o i n t s t o t h e " h ig h "
o r d i g n i f i e d s t y l e g a i n e d t h r o u g h a m p l i f i c a t i o n . The
o t h e r f u n c t i o n o f s i m i l e t h a t t h e r h e t o r i c i a n s d e s c r i b e i s
t h a t i t m akes t h e s u b j e c t c l e a r t o th e h e a r e r ' s u n d e r
s t a n d i n g . T h is f u n c t i o n i s i n d i c a t e d i n P e a c h a m 's " p e r -
s p i c u i t i e " and i n W i l s o n 's " t o make t h e m a t t e r p l a i n e . "
M o reo v er, P u tte n h a m h a s c l a s s i f i e d t h e f i g u r e u n d e r " F i g
u r e s s e n t e n t i o u s , o t h e r w i s e c a l l e d R h e t o r i c a l l , " and t h e s e
a r e g e n e r a l l y f i g u r e s t h a t a f f e c t t h e u n d e r s t a n d i n g .
A c c o rd in g t o t h e r h e t o r i c i a n s , t h e n , t h e f i g u r e i s
u s e f u l b e c a u s e i t w i l l make t h e h e a r e r u n d e r s t a n d t h e s u b
j e c t , and i t m akes t h e h e a r e r r e a l i z e t h e im p o r t a n c e o f
55
th e s u b j e c t . I s h a l l now t r y to d e te rm in e I n what way t h e
e p ic s i m i l e s a re an a i d to u n d e r s ta n d in g and i n what way
th e y f u n c t i o n to a m p l i f y a s u b j e c t .
The s i n g l e s t a n z a s im ile s m ig h t be s a i d sim p ly to
"make p l a i n e " by means o f sim ple a n a lo g y . They have w h a t
e v e r l o g i c a l fo rc e i s i n h e r e n t i n an alo g y ; n am ely, th e y
i l l u s t r a t e a lth o u g h t h e y are n o t a d e q u a te to p ro v e . A
s im ile such a s th e one u se d to d e s c r i b e G a v e s to n 's sorrow
and h i s i n a b i l i t y to e x p re s s t h a t sorrow m ust be in te n d e d
to e x p la in sim ply b e c a u s e i t h a s no o r n a te f u n c t i o n . I t
does n o t p r e s e n t a p r e t t y p i c t u r e , b u t a p i c t u r e which i s
to le a d t o u n d e r s t a n d i n g .
Lyke to a v e s s e l l w ith a narrow v e n t .
Which i s f i l d up w ith l i q u o r to th e to p ,
A lthough t h e mouth be e v e r em inent,
Y e t i s i t s e e n e n o t to d i s t y l l a d r o p :
Even so o u r b r e a s t s , b r i m - f u l l w i t h
p e n siv e c a r e ,
Stopping o u r to n g u e s, w ith g r i e f e wee
s i l e n t a r e . (11. 955-960 )
But more i n t e r e s t i n g f o r t h e l i g h t th e y throw on th e
problem o f making p l a i n a re D r a y t o n 's s i m il e s e r i e s — th e
t h r e e s t a n z a s e r i e s w h ich o c cu r so f r e q u e n t l y i n the poem.
Was D r a y to n 's p u rp o se to "make p l a i n e " and i f so , in what
sense can th e s im ile s e r i e s be t a k e n as an a i d to u n d e r
s ta n d in g ? To b eg in t h e i n q u i r y b y n e g a tio n , I would a rg u e
t h a t th e p r o c e s s by w h ic h th e s e im ag es im p a r t u n d e r s t a n d
in g o f t h e s u b j e c t w ould be q u i t e u n l i k e th e p r o c e s s by
which Im ages Im p art u n d e r s ta n d in g i n some o f t h e poems o f
56
John Donne. L et u s consid er,, f o r exam ple, a s ta n z a from
D o n n e's The C a n o n iz a tio n i n w hich th e s p e a k e r 's im ages a re
a ls o h a s e d on th e p l a c e s i m i l i t u d e (even though th e y a re
n o t s i m i l e s ) . I n an a tte m p t to e x p la in th e e x a c t n a t u r e o f
h i s lo v e r e l a t i o n s h i p th e s p e a k e r begins.,
C a ll u s w hat you w i l l , wee a r e made such by lo v e ;
C a ll h e r one, mee a n o th e r f l y e ,
We1a re T ap e rs to o , and a t o u r owne c o s t d i e ,
And wee i n u s f in d e t h e 'E a g l e and th e Dove.
The P h o en ix r i d l e h a th more w i t
By u s , we two b e in g o n e , a r e i t . 31
In t h i s p a s s a g e , th e s i m i l i t u d e s a r e h e ld t o g e t h e r b e ca u se
th e te rm s o f each s u g g e s t th e term s o f t h e o t h e r . They a r e
c o n n o t a t l v e l y a l i k e and p r o g r e s s i v e . Thus th e s p e a k e r
f i r s t p r e s e n t s th e im ages o f " f l y e " and "T ap ers" ( f l i g h t
and l i g h t ) , th en p r o g r e s s e s to th e more n o b le "E agle" and
"Dove" ( f l i g h t ) , and f i n a l l y p r e s e n t s th e most n o b le "Phoe
n ix , " which com bines th e s u g g e s t i o n s o f b o th f l i g h t and
l i g h t . B ecause t h e c o n n o ta ti o n s and d e n o t a t i o n s o f theBe
p r o g r e s s i v e s i m i l i t u d e s a r e so c a r e f u l l y m o d u la ted , c r i t i c s
have b een le d to a rg u e t h a t th e y p r o g r e s s by a p r o c e s s o f
" f r e e a s s o c i a t i o n . " T hat i s , th e s p e a k e r , a s he g r a p p l e s
w ith t h e e x p e r i e n c e s , comes upon t h e s e im ages a s h i s own
u n d e r s ta n d in g o f h i s own m eaning d e e p e n s. The a u d ie n c e
s e e s t h e drama p la y e d w i th in th e poem, and th e r e a d e r , by
f o llo w in g th ro u g h t h i s e x p l o r a t i o n by means o f th e Im ages,
g a in s u n d e r s t a n d i n g . I t i s a s th oug h th e r e a d e r i s a sk ed
by th e p o e t ' s c h o ic e and o r g a n i z a t i o n o f Images to r e a s o n
57
a lo n g w i t h th e s p e a k e r . B ut t h i s i s n o t t h e means b y w hich
D ra y to n *s s i m i l e s make th e m a t t e r p l a i n . C o n s id e r , f o r e x
am p le, th e s e r i e s o f s i m i l e s u s e d to d e s c r i b e th e sound o f
t h e b a t t l e when t h e B arons f i n a l l y r i s e i n ra g e a g a i n s t
G a v e s to n :
As when u n d e r a v a s t and v a u l t y r o o f e ,
Some g r e a t a sse m b ly h a p p i l y a p p e a r s ,
A man (fro m th e n c e ) t h a t s t a n d e t h o u t a l o o f e ,
A murmuring c o n fu se d ru m or h e a r s .
Such i s t h e no yse, from e a r t h t o heaven
r e b o u n d in g ,
With s h r i k e s and c la m o r s e v e ry w here
r e s o u n d i n g .
Lyke a s t h e Ocean c h a f i n g w ith hy s b o u n d s,
W ith r a g i n g b i ll o w e s f l y e s a g a i n s t t h e R ocks,
And to t h e s h o re se n d s f o r t h h i s h y d e o u s s o u n d s ,
Making t h e e a r t h to t r e m b l e w ith h i s sh o c k sj
Even t h u s th e murmure f l y e s from sh o re to
s h o r e ,
Lyke t o t h e Canons b a t t e r i n g f e a r e f u l l r o r e .
L ike to a c r y o f r o r in g - m o u th e d h o u n d s ,
Rouzing t h e l o n g - l i v (d s t a g g o u t o f h i s l a y r e ,
Pursue t h e c h a s e th r o u g h v a s t i e f o r r e B t groundB ,
So lyke a t h u n d e r r a t l i n g i n th e a y r e .
(11. 1 4 5 3 -1 4 6 4 , 1471-1474)
T hese im ages a r e d i f f e r e n t from t h e Donne im ages i n s e v e r a l
w ay s. F i r s t , t h e im ag es a r e n o t e a c h s u b t l y r e l a t e d to
e a c h o t h e r b e c a u s e t h e y a l l o c c u r i n th e m ind o f G a v e s to n .
The p o e t does n o t u s e the s p e a k e r s s e n s i b i l i t y to c r e a t e
a s u p e r s t r u c t u r e t h a t h o ld s t h e d i s p a r a t e im ages t o g e t h e r .
I n d e e d , D rayton i s n o t a t a l l c a r e f u l to c r e a t e i n t h e poem
a d i s t i n c t p e r s o n a l i t y f o r G a v e s to n . P a r a d o x i c a l l y , a l
th o u g h th e poem i s e n t i r e l y c e n t e r e d i n G a v e sto n , I t I s
c u r i o u s l y i m p e r s o n a l. T here i s l i t t l e a t t e n t i o n drawn t o
58
th e f a c t t h a t G a v e sto n i s s p e a k in g t h e l i n e s — t h e y a r e n o t
honed down t o s u i t h i s p e r s o n a l i t y and to c h a r a c t e r i z e him .
H ence, b e c a u s e t h e r e i s no e m p h a sis on t h e s p e a k e r 's p e r
s o n a l i t y , i t i s n o t p o s s i b l e t o a rg u e t h a t t h e im ag es a r e
foun d b y a p r o c e s s o f f r e e a s s o c i a t i o n . The c o n s e q u e n c e o f
t h i s d i f f e r e n c e b e tw e e n t h e poems i s t h a t t h e im a g es do n o t
make t h e m a t t e r p l a i n b y a s k i n g t h e r e a d e r t o f o llo w t h e
s p e a k e r 's m ind t h r o u g h an e x e r c i s e i n w hich t h e r e i s a
d e e p e n in g u n d e r s t a n d i n g o f t h e s u b j e c t .
E s s e n t i a l l y , D r a y t o n 's im a g e s make t h e s u b j e c t p l a i n
b y d o c u m e n tin g i t fro m s e v e r a l p o i n t s o f v ie w . The f i r s t
s t a n z a , f o r e x am p le, d o cu m en ts t h e sound a s a w hole an d a s
i t w ould b e p e r c e i v e d from a d i s t a n c e . The se c o n d s t a n z a
a l s o f o c u s e s on t h e sou nd b u t p e r s i s t e n t l y s u g g e s t s t h e
f e a r f u l n e s s o n ly g l a n c e d a t i n t h e l a s t l i n e o f th e f i r s t
s t a n z a . E ach l i n e o f t h e se c o n d s t a n z a i n s i s t s on t h e a s
p e c t o f f e a r f u l n e s s , a s i n " c h a f i n g , " " r a g i n g , " " h y d e o u s ,"
and so f o r t h . F u r t h e r , t h i s s t a n z a i s c o n c e r n e d e s s e n
t i a l l y w i t h how t h e n o i s e t r a v e l s — "Even t h u s t h e murmure
f l y e s " — n o t w i t h how i t i s p e r c e i v e d a s i n t h e f i r s t s im
i l e . The t h i r d s i m i l e com b in es t h e s u g g e s t i o n s o f t h e
e a r l i e r s t a n z a s — how t h e sound i s p e r c e i v e d i n " c r y " a n d
movement an d f e a r f u l n e s s i n " r o r ln g - m o u t h e d h o u n d s , /
R o u z in g ." What t h e p o e t i s a c c o m p l i s h i n g t h r o u g h t h e im
a g e s i s t o p r e s e n t d i f f e r e n t a s p e c t s o f t h e same s u b j e c t .
59
I f , i n f a c t , t h i s te c h n iq u e i n th e s i m i l e s s e r v e s to
make the s u b j e c t c l e a r , I t i s a p p a r e n t t h a t th e c r i t i c a l
v o c a b u la ry w h ich would u s e such term s a s " s p e a k e r 's s e n s i
b i l i t y " o r " f r e e a s s o c i a t i o n " o r " e x e r c i s e " would n o t f i t
D r a y to n 's im a g e ry . But w hat te rm in o lo g y can one u s e to
d e s c r ib e th e e f f e c t o f th e im agery on th e u n d e r s ta n d in g ?
In h e r d i s c u s s i o n o f th e A r i s t o t e l i a n P re d ic a m e n ts as
" S p rin g s f o r Im a g e r y ," ^ 2 Rosemond Tuve p r o v id e s a vocabu
l a r y and a m eans o f a p p ro a c h in g such image g ro u p s a s t h e s e .
Miss Tuve i s I n t e r e s t e d i n r e e v a l u a t i n g some R e n a is s a n c e
im ages w hich have been d i s c a r d e d by c r i t i c s i n c l u d i n g T. S.
E l i o t who p r e f e r th e m ethods o f Donne o r H e rb e r t o v e r th o s e
o f Spenser o r D ra y to n . She g iv e s th e g ro u n d s f o r h e r r e -
e v a l u a t i o n i n s t a t i n g ,
A w e l l - i n v e n t e d f i g u r e d id n o t o n ly mean an I n g e n io u s o r
i n t e l l e c t u a l l y cunning f i g u r e ; i t m eant a s u i t a b l e and
p e n e t r a t i n g f i g u r e ; one w hich w ent t o th e h e a r t o f th e
t r u e n a t u r e o f th e m a t t e r . 33
She goes on t o a rg u e t h a t one o f th e c h i e f means t h a t Ren
a is s a n c e l o g i c a l t r a i n i n g u se d to g e t t o th e " h e a r t o f th e
t r u e n a tu r e o f th e m a t t e r " was th e a p p l i c a t i o n o f th e te n
A r i s t o t e l i a n P re d ic a m e n ts to th e s u b j e c t . The P red icam en ts,
l i k e A r i s t o t l e ' s T o p ic s, w ere a means o f lo o k in g a t a sub
j e c t from v a r i o u s p o i n t s o f view so a s to u n d e r s ta n d I t
more f u l l y . They were recommended by r h e t o r i c i a n s , among
them Thomas W ilso n , who Bays t h a t th e P re d ic a m e n ts "name
th e very N a tu re o f th y n g e s" and th e y d e c l a r e "what t h e i a r e
!in v e ry d e e d e . " ^ The P re d ic a m e n ts g e n e r a l l y l i s t e d a re
q u a l i t y , manner o f d o in g , q u a n t i t y , s u b s ta n c e , s i t u s ,
h a b i t a s , and a f f e c t .
The P re d ic a m e n ts p ro v id e a v o c a b u la r y f o r d e s c r i b i n g
some, i f n o t a l l , o f D r a y to n 's s i m i l e s . More p a r t i c u l a r l y ,
th e P re d ic a m e n ts h e lp p o i n t o u t t h e d i f f e r e n c e s betw een
what e ac h s ta n z a makes c l e a r a b o u t th e s u b j e c t . C o n s id e r,
f o r exam ple, a g ro u p o f s i m i l i t u d e s u se d to d e s c r i b e th e
f i r s t m ee tin g o f G aveston and Edward a f t e r G a v e s to n 's f i r s t
b a n ish m e n t.
Who e v e r sawe th e k i n d e s t romane dame
W ith extream e jo y e y e e l d up h e r l a t e s t b r e a t h .
When from th e w a rre s h e r sonne triu m p h in g came,
When s t a t e l y Rome had mourned f o r h i s d e a th :
Her p a s s i o n h e re m ig h t have e x p r e s t a r i g h t ,
When once I came i n t o th e P r i n c e s s i g h t .
Who e v e r had h i s L ad ie i n h i s arm es,
T h at h a th o f lo v e b u t f e l t th e m i s e r i e ,
Touching t h e f i r e t h a t a l l h i s s e n c e s warmes,
Now c l i p s w i t h jo y h e r b lu s h i n g I v o r l e .
P e e lin g h i s s o u le i n su c h d e l i g h t s to m e l t ,
T h e r 's none b u t he can t e l l th e jo y s , we f e l t .
L ik e a s when Phoebus d a r t e t h f o r t h h i s r a y e s ,
G lid in g a lo n g th e s w e llin g Ocean stream eB ,
Now w h i l s t one b i ll o w e w ith a n o th e r p l a y e s ,
R e f l e c t e t h b a c k h i s b r i g h t t r a n s l u c e n t beam es:
Such was th e c o n f l i c t th e n b e tw ix t o u r ey es
Sending f o r t h lo o k e s a s t e a r e s do f a l l and r i s e .
(11. 607-624)
A lthough th e f i r s t two s t a n z a s a r e n o t s t r i c t l y s i m i l e ,
th e y a r e s i m i l i t u d e s and co u ld e a s i l y be c o n v e rte d to sim
i l e by "As When" o r "L ik es a s t h e m an."
The f i r B t s t a n z a i s b a s e d on th e P re d ic a m e n t q u a l i t y .
T hat i s , th e p o i n t o f th e image i s to s t a t e t h a t th e p a s -
6 l
s io n o f th e "romane dame" and t h e p a s s i o n o f t h e two l o v e r s
a r e a l i k e i n k in d and i n d e g re e o f i n t e n s i t y . The image i s
n o t b a s e d on m anner o f d o in g b e c a u s e th e p o i n t o f s i m i l a r i
t y b e tw ee n t h e l o v e r s and th e "dame" i s n o t t h a t th e two
l o v e r s m eet i n t h e same way a s t h e "romane dame" and h e r
s o n . Nor i s th e image,, o b v i o u s l y , b a s e d on r e l a t i o n o r
q u a n t i t y . The se c o n d image i s b a s e d on th e p l a c e a f f e c t .
W hile t h e d i f f e r e n c e b etw een w h at i s docum ented h e re and
w hat i s docum ented i n th e f i r s t s t a n z a may be su b tle ,, t h i s
s t a n z a makes t h e p o i n t t h a t t h e p a s s i o n a f f e c t s , o r f e e l s
t h e same to G a v esto n and Edward a s t o th e " l o v e r . " T h at
i s , t h e s t a n z a d o e s n o t sa y , a s d o e s th e f i r s t one, t h a t
th e k i n d o f p a s s i o n i s th e same. R a t h e r , i t s a y s t h a t th e
e x p e r i e n c e o f t h e p a s s i o n i s th e same. I t a f f e c t s G a v es
to n and Edward i n th e same way t h a t i t a f f e c t s th e " l o v e r . "
The p o i n t o f th e image i s n o t t h a t t h e y em braced a s t h e s e
l o v e r s em braced (m anner o f d o i n g ) , b u t t h a t t h e y f e l t a s
t h a t l o v e r f e l t . The t h i r d image i s c l e a r l y b a s e d on man
n e r o f d o in g , a s i s common i n t h e t y p i c a l " e p i c " s i m i l e .
The p o i n t t h i s Image makes i s t h a t t h e l o v e r s ' e y e s m eet
and exch an g e l i g h t i n th e same way t h a t th e ocean m e e ts and
r e f l e c t s b a c k t h e l i g h t o f th e s u n .
By u s i n g t h e te rm s m anner o f d o i n g , a f f e c t , and q u a n
t i t y , I have a t t e m p t e d to make t h e d i f f e r e n c e s I n t h e p u r
p o s e s and e f f e c t s o f t h e s e t h r e e im a g es more d i s t i n c t th a n
t h e y m ig h t have b e e n o t h e r w i s e . B u t w i t h o u t u s i n g t h e l a n
6 2
guage o f l o g i c , i t i s s t i l l p o s s i b l e , o f c o u r s e , to s u g g e s t
d i f f e r e n c e s between th e images i n term s o f t h e i r p o i n t i n g
to d i f f e r e n t p a r t s o f th e e x p e r i e n c e . The f i r s t s ta n z a ,
f o r exam ple, i s d r a m a ti c . I t p r e s e n t s an e x t e n s i v e a c
t i o n —Rome m ourning, th e son r e t u r n i n g , th e m o th e r a t th e
p o in t o f d e a th , and t h e f i n a l m e e ti n g - - I n condensed form .
F u r t h e r , r e f e r e n c e s h e r e to "romane dame," " s t a t e l y Rome,"
and " triu m p h in g came" add d i g n i t y and n o b i l i t y to th e e q u a
t io n . The second s t a n z a , u n l i k e th e e a r l i e r o ne, i s s e n s u
ous and e r o t i c . I t makes an a p p e a l to s i g h t i n " b lu sh in g
I v o r i e " and to to u ch i n such w ords as "th e f i r e t h a t a l l
h i s s e n c e s warmes" and "in such d e l i g h t s to m e l t . " T h is
a p p e a l to sensuous and e r o t i c r e s p o n s e s m ig h t be e s p e c i a l l y
a p p r o p r i a t e i f th e s t a n z a i s b a s e d on th e l o g i c a l p la c e a f
f e c t , o r how the e x p e r ie n c e f e l t . The t h i r d s t a n z a i s a l s o
sensu ous t o the e x t e n t t h a t i t a p p e a ls to s i g h t i n such
words a s " b r i g h t t r a n s l u c e n t b e a m e s," b u t I t i s n o t e r o t i c
as i s t h e second s t a n z a o r d i g n i f i e d as I s t h e f i r s t s t a n
za.
S i m i l a r l y , o t h e r image g ro u p s document v a r i o u s a s p e c t s
o f one e v e n t . For exam ple, when th e B arons f i n a l l y r i s e
in r a g e a g a i n s t G a v e sto n , th e p o e t s t a t e s e x p l i c i t l y th e
s u b j e c t t h a t i s to b e examined by th e s i m i l e s : "Which I n
t h e i r th o u g h ts re v e n g e so d e e p ly r a y s e d , / As w i t h my b lo o d
th ey v o w 'd should be appeased" ( l l . 8 7 5 -8 7 6 ). The s i m i l e s
fo llo w .
63
As when w i t h i n th e s o f t and sp u n g ie s o y le ,
The wind d o th p e i r c e t h e i n t r a l s o f th e e arth y
Where h u r l y "burly w ith a r e s t l e s s e c o i l e
Shakes a l l th e c e n t e r , w an tin g i s s u e f o r t h ,
T y l l w ith th e tum or Townes and M ountains
t r e m b l e ,
Even su ch a m eteo r d o th t h e i r r a g e re s e m b le .
Or when th e s h a p e le s s huge L e v i a t h a n ,
Hath t h r u s t h im s e lfe upon th e s a n d ie sh o re .
Where (MonBter l i k e ) a f f r i g h t i n g e v e ry man,
He b e ll o w e th out a f e a r e f u l l hydeous r o r e ;
Even such a clam or th ro u g h th e a y re d o th
t h u n d e r ,
The d o l e f u l l p r e s a g e o f some f e a r e f u l l w onder.
[two s t a n z a s i n t e r v e n e ]
Lyke a s a clowde, f o u l e , d a rk e , and u g l y b la c k ,
T h re a tn in g th e e a r t h w i t h tem p est e v e r y howre,
Now b ro k en w ith a f e a r e f u l l th u n d e r - c r a c k ,
S t r a i g h t p o u re th down h i s deep e a r t h - d r e n c h i n g
show re,
Thus f o r t h e i r w rongs now r i s e th e y up i n
arm es,
Or t o rev e n g e, o r to amend t h e y r harm es.
(11. 877-888, 901-906)
The s u b j e c t h e r e i s the deep r a g e r a i s e d i n th e B a r o n s '
m inds by GaveBton, b u t w h ile each s ta n z a r e f e r s to t h a t
s u b j e c t , th e s i m i l e s p o i n t to d i f f e r e n t e x p r e s s io n s o f t h a t
s u b j e c t . The f i r s t s t a n z a , b a se d on m anner o f doing ( t h e
rage moves i n t h e Bame manner th a t an earthquake moves)
and q u a lity ( f e a r f u ln e s s ) , documents th e movement in such
w ords a s " t r e m b l e ," " s h a k e s ," " r e s t l e s s , " and " p e i r c e . "
The second s t a n z a i s b a se d on a f f e c t , a s i n " a f f r i g h t i n g
e v e r y man," and q u a l i t y ( h a p p in e s s and f e a r f u l n e s s ) . T h is
s t a n z a d e p i c t s th e s i g h t and sound o f t h e e v e n t r a t h e r th a n
t h e movement. The P re d ic a m e n ts o f th e t h i r d s ta n z a a r e
64
p r o b a b ly q u a l i t y ( u g l i n e s s ) and m anner o f doing ( " T h r e a t -
n i n g , " " b r o k e n " ) .
P e rh a p s th e te n d e n c y o f th e s i m i l e group s t o document
s l i g h t l y d i f f e r e n t p a r t s o f th e s u b j e c t can even b e d e
t e c t e d i n t h e i n h o s p i t a b l e ground o f t h e sen su o u s s i m i l e .
Two s t a n z a s t h a t have p h y s i c a l b e a u t y a s th e s u b j e c t a re
u s e d to d e s c r i b e Clare,, G a v e s to n 1 s b r i d e .
L ik e H e av e n -d i* d Andromeda t h e f a y r e ,
In h e r em brodered m a n tle r i c h l y d i g h t ,
W ith S t a r r i e t r a i n e i n t h r o n i s ' d i n th e a y r e ,
A d o rn s th e Welken w i t h h e r g l i t t e r i n g l i g h t s
S u ch one she w a s , which i n my bosome r e s t e d ,
W ith whose d e a r e lo v e , my y o u t h f u l y e r e s
w e re f e a s t e d .
As when fa y re V e r d i g h t in h e r f l o w r i e r a y l e ,
In h e r n e w -c o lo u re d l i v e r i e s d e c k s the e a r t h ,
And g l o r i o u s T y ta n s p re a d s h i s s u n - s h in e v a i l e ,
To b r i n g to p a s s e h e r te n d e r I n f a n t s b i r t h :
S u ch was h e r b e w t ie w hich I th e n p o s s e s t .
W ith whose i m b r a c i n g s a l l my y o u th was b l e s t .
( 1 1 , 673-684)
A lthough b o t h o f th e s e s t a n z a s a re f i l l e d w ith c l a s s i c a l
a l l u s i o n and a lth o u g h b o t h have b e a u t y a s th e s u b j e c t , th e y
do n o t seem t o c a l l f o r t h e same p e r c e p t i o n o f b e a u t y . The
f i r s t s i m i l e i s based on t h e p l a c e s a f f e c t (how sh e a f
f e c t e d G a v e s to n ) and q u a l i t y ( th e two a r e a l i k e i n k in d )
and h a s a s i t s g o a l to d e p i c t n o b le b e a u t y . H ere t h e
r e a d e r i s a s k e d to r e s p o n d to a s i g h t — th e b r i g h t n e s s o f
h e r b e a u ty . B u t s ta n z a two docum ents a d i f f e r e n t k in d o f
b e a u ty . H e re t h e r e i s n o t th e b r i g h t n e s s o f t h e f i r s t
s t a n z a . Of c o u r s e , th e c o n n o t a t i o n s o f th e w ords p a r t l y
a c c o u n t f o r t h e d i f f e r e n c e — "e m b ro d e re d ," " r i c h l y , 1 1 " g l i t
6 5
t e r i n g " v e r s u s " f l o w r i e , " " s u n - s h i n e , 1 1 " e a r t h . " But to say
t h a t t h e term s i n s t a n z a two a r e drawn from th e n a t u r a l
w o rld d o es n o t q u i t e d e s c r i b e th e d i f f e r e n c e c o m p le te ly .
The em ph asis i n s ta n z a two i s on b e a u ty , b u t n o t o n ly th e
b e a u ty o f s i g h t a s i n th e f i r s t s ta n z a , b u t on th e b e a u ty
o f movement. T hat i s , th e f i g u r e i s in v e n t e d from q u a l i t y ,
a f f e c t , and manner o f do ing and i t i s th e m anner o f d o in g
t h a t makes th e d i f f e r e n c e . F o r th e b e a u ty evoked h e re i s
o f an a c t o f i n f i n i t e g e n t l e n e s s .
C e r t a i n l y I am n o t a rg u in g t h a t a l l t h e s im ile g ro u p s
f u l f i l l th e f u n c t i o n o f making p l a i n . Some a re f o r c o p i
o u s n e s s o n ly and i n d i c a t e t h e a p p r e n t i c e n a t u r e o f th e
work. I s h a l l c o n s i d e r t h i s p o i n t l a t e r .
One l a s t comment sh o u ld be made a b o u t how th e im ages
make th e m a t t e r p l a i n (and h e r e we see a n o th e r d i s t i n c t i o n
from t h e Donne i m a g e s ) . The s i m i l e s , f o r t h e most p a r t ,
a re n o t in g e n i o u s . They a r e u n l i k e th e c e l e b r a t e d compass
image i n A V a l e d i c t i o n : f o r b i d d i n g mourning i n which h e t
e ro g e n e o u s i d e a s a r e lin k e d t o g e t h e r . R a th e r , when D ray
to n w is h e s to s u g g e s t f e a r f u l n e s s , he m e re ly r e f e r s to
f e a r f u l o b j e c t s l i k e a L e v ia th a n o r an e a rth q u a k e o r d a rk
c lo u d s . When he w ish e s to document b e a u ty he u s e s term s
t h a t t r a d i t i o n a l l y s u g g e s t b e a u t y such a s " C y n th ia ," " flo w
r i e , " and so f o r t h . H is im ages do n o t f o r c e o u t u n e x p e c te d
m eanings from a r e f e r e n t n o t u s u a l l y a s s o c i a t e d w ith h i s
s u b j e c t . W hether o r n o t i n g e n io u s n e s s i n i t B e l f o r th e
66
l a c k o f i t i n im ages i s good o r b a d , i t i s a t l e a s t p o s
s i b l e to s u g g e s t t h a t th e la c k o f in g e n io u s n e s s can be a c
c o u n te d for* from l o g i c a l t r a i n i n g i n th e P r e d ic a m e n ts .
Rosemond Tuve* i n th e s e c t i o n on th e P re d ic a m e n ts , a rg u e s
t h a t g iv e n an e x e r c i s e i n i n v e n t i n g from th e P re d ic a m e n ts ,
c e r t a i n c o m p ariso n s come a lm o st a u t o m a t i c a l l y to m ind. I f
th e aim i s to re p ro d u c e q u a n t i t y , th e n a s p l e n t i f u l a s b e g
g a r s , a s b l a c k b e r r i e s , o r as g r a s s i s l i k e l y to come to
m in d .
When S i r John D av ies says t h a t th e c a s t l e o f P en elo p e
shone w ith a th o u san d lam ps, t h a t "Not l o v e 1s b lew t e n t
. . . I s seene to s p a r k l e w ith more tw in c k lin g f i r e s "
( Q rc h ., s t 8 ) , he i s n o t l i k e l y to i n c l u d e in h i s image
some e p i t h e t d e s ig n e d to re p ro d u c e f o r u s th e p r e c i s e
e f f e c t o f a s t a r upon a b e h o ld e r . And i f he d e c id e s
a g a i n s t h i s s t a r - i m a g e s f o r some r e a s o n , he i s l i k e l y to
f a l l upon th e g r a s s e s o f th e f i e l d o r th e sands o f th e
s e a o r som ething e q u a l l y commonly th o u g h t o f a s Innum er
a b l e . C e r t a i n re p r o a c h e s c a s t upon im ages b e c a u se th e y
do n o t p o s s e s s t h i s o r t h a t q u a l i t y — sensuous r i c h n e s s ,
o r s u r p r i s e , o r c o m p le x ity —would o b v io u s ly have to be
w i t h h e l d i f we a s c r i t i c s c o n fin e d o u r a n im a d v e rs io n s to
how such an Image s e r v e s i t s p u rp o s e a s an image o f quan-
t i t y . 35
T u rn in g now to th e problem o f a m p l i f i c a t i o n , l e t u s
s e e how th e s i m i l e s were in te n d e d to f u l f i l l t h i s f u n c t i o n .
The e v id e n c e t h a t D rayton u se d th e s i m il e s e r i e s f o r am
p l i f i c a t i o n i s q u i t e sim p le and p e rh a p s b e sp e a k s a sim ple
u n d e r s t a n d i n g o f a m p l i f i c a t i o n on D r a y to n 's p a r t . When
e v e r t h e r e i s a h ig h p o i n t i n th e a c t i o n , th e fre q u e n c y
and c o n c e n t r a t i o n o f th e e p ic s i m i l e s te n d to I n c r e a s e .
The f re q u e n c y ra n g e s from one e p ic s i m il e to t h r e e and th e
c o n c e n t r a t i o n can be t h r e e o r f o u r e p ic s i m i l e s t o one
s t a n z a t h a t i s n o t e p ic s i m i l e . The a s s e r t i o n t h a t th e f r e
q u ency te n d s t o v a ry a c c o rd in g to th e drama and g ra n d e u r
t h a t D rayton w ish e s to c r e a t e i s r e a d i l y docum ented by th e
extrem e i n s t a n c e s . For exam ple, th e f i n a l m ee tin g o f Ga
v e s to n and Edward when G aveston s e c r e t l y r e t u r n s from b a n
is h m e n t i s d e s c r i b e d by t h r e e e p ic s i m i l e s : "As when o l d -
y o u t h f u l Eson i n h i s g l a s s , " "Or a s M u se-m erv aile H ero,
when she c lip s ., " and "Or l i k e th e tw if o ld - tw y n n e d Geminy"
(1 1 . l 4 l l , l 4 l 7 j 1423). S im ila rly ,, when Edward h a s to send
G aveston i n t o b a n ish m e n t f o r th e t h i r d tim e he i s "Thus
l i k e a man growne l u n a t i c k w ith p a i n e , " "As L y o n -sk in d
A l c l d e s , when he l o s t / H is lo v e l y H y la s , 1 1 and "Thus ly k e a
B arge t h a t w an ts b o th s t e e r e and s a y l e s " ( l l . 1021, 1027,
1033)•
The c o n c e n t r a t i o n o f th e s i m i l e s a ls o becomes more i n
t e n s e i n p r o p o r t i o n to t h e g ra n d e u r o f th e o c c a s io n as
D ray ton u n d e r s to o d i t . Thus when G aveston r i d e s i n th e
p a ra d e h o n o rin g th e m a r r ia g e o f Edward to I s a b e l l a ,, t h e r e
a r e two s i m i l e s ta n z a s t o d e s c r i b e him: "Like t r i d e n t -
maced Neptune i n h i s p r i d e " and "Or l i k e u n to th e f i e r y -
f a c e d Sunne" ( l l . 829, 8 3 4 ). A lthough one s t a n z a i n t e r
v e n e s to sa y t h a t G aveston and Edward m et, i t i s fo llo w e d
by two more s t a n z a s o f e p ic s i m i l e — "Even l i k e a s C a s to r
when a calme b e g in s " and "Or l i k e th e Nimphe b e h o ld in g i n
a W ell" ( l l . 847, 8 5 3) . Of th e n in e s t a n z a s u s e d to d e p i c t
t h i s e v e n t, f o u r a re e p ic s i m i l e s . Or a g a in , o f th e tw e lv e
68
s t a n z a s d e v o te d to G a v e s to n 1s s e c r e t r e t u r n , e i g h t a re e p ic
s i m i l e s . The v e r s e th e n i s s a t u r a t e d w ith e p ic s i m i l e s a t
p o i n t s o f im p o rta n c e i n th e n a r r a t i v e . In th e s e moments o f
dram a, D rayton u s u a l l y a l t e r n a t e s one s ta n z a o f l i t e r a l
s ta te m e n t w ith two o r t h r e e s t a n z a s o f e p ic s i m i l e .
In t h i s argum ent I am n o t s u g g e s tin g t h a t t h e r e i s a
s t r i c t o r c a r e f u l l y c o n t r o l l e d c o r r e l a t i o n betw een th e im
p o r t a n c e o f th e o c c a s io n and th e f r e q u e n c e - c o n c e n t r a t i o n
o f th e e p ic s i m i l e s . I am o n ly s u g g e s tin g t h a t t h e r e i s
a te n d e n c y f o r th e s i m i l e s to i n c r e a s e . In d e e d , I t would
be d i f f i c u l t to a rg u e f o r such a s t r i c t c o r r e l a t i o n b e
tween th e Im p o rta n ce o f th e e v e n t and th e number o f e p ic
s i m i l e s b e ca u se D ra y to n , i n h i s o r n a m e n ta tio n th ro u g h o u t
th e poem, was e x e r t i n g h i m s e l f to th e u tm o s t. He saw h i s
e n t i r e n a r r a t i v e a s an o c c a s io n f o r a m p l i f i c a t i o n . B ut
D rayton seems to h av e th o u g h t t h a t by i n c l u d i n g a few more
s i m i l e s (and som etim es o t h e r k in d s o f o rn a m e n ta tio n ) he
m ig h t h e ig h t e n one i n c i d e n t somewhat o v e r th e r e s t o f th e
n a r r a t i v e .
A n o th er way o f s e e in g th e s i m i l e s a s making th e su b
j e c t im p r e s s iv e i s m e re ly to n o te t h a t th e y o f t e n r e f e r to
im p r e s s iv e b e i n g s - - a Jove o r a t e r r i b l y f e a r f u l o b j e c t .
An example o f D r a y t o n 's u s in g th e e p ic s im ile to make th e
s u b j e c t im p r e s s iv e i n t h i s way i s t h e d e s c r i p t i o n o f Ga
v e s to n ’ s and E d w a rd 's p r o g r e s s i o n from C h e s te r to London—
"As when P a u lu s A e m iliu s e n t r e d R oo m e,/ And l i k e g r e a t
J o v e , i n s t a r l i k e tryum ph came” ( 1 1 . 1171-1172) and "Or
when o ld P h i l l i p s tim e s t i l l - w o n d r e d s o n , / I n h i s w orlds
c o n q u e st s u r f e t t i n g w i t h s p o i l e s " ( l l . 1 177 -1 178 ). These
im ages go beyond e x p l a i n i n g e x a c t l y how the two e n te r e d ;
th e y a re i n t e n d e d to make th e p a i r h e r o i c by r e f e r r i n g to
h i s t o r i c a l h e r o e s . I t may be a rg u e d t h a t th e em phasis o f
t h e s i m il e s i s on th e " h e r o i c ” r a t h e r than on t h e se n su a l
b e c a u se a lt h o u g h t h e r e a r e r e f e r e n c e s to p h y s i c a l b eau ty a s
i n " s t a r l i k e try u m p h ," t h e s e n s u a l i s muted b y t h e h e ro ic :
P a u lu s i s n o t crowned w i t h go ld o r s t a r s b u t i s "crowned
w i t h h i s fame" ( l . 117*0 •
The o t h e r f i g u r e t h a t d o m in ates th e poem and t h a t
D rayton u s e s i n a l l p o e t i c s i t u a t i o n s i s m e ta p h o r . As i t
i s d e s c r ib e d b y th e r h e t o r i c i a n s , m etaph or can s e r v e the
p u rp o s e s o f a m p l i f i c a t i o n and o f p e r s p i c u i t y , a s can sim
i l e . Peacham, f o r e x am p le , c l a s s i f y i n g i t among th e tro p e s ,
s t r o n g l y recommends t h e f i g u r e f o r i t s a b i l i t y t o make
p l a i n . M etap h o rs, he s a y s , "giue p l e a s a n t l i g h t t o darke
t h i n g s , t h e r e b y rem ouing u n p r o f i t a b l e and o d io u s o b sc u r-
i t i e . . . [an d ] in r e s p e c t o f t h e i r p e r s p i c u i t i e , & l i g h t
w hich th e y g i u e , may w e l l be compared to th e s t a r r e s of
t h e s k i e . " ^ The f i g u r e i s p a r t i c u l a r l y recommended as an
a i d to memory. However, a s s u g g e s te d by h i s u s e o f the
word " p l e a s a n t , ” Peacham does n o t c o n s i d e r th e f i g u r e to
s e rv e th e p u rp o s e o f a m p l i f i c a t i o n a s do th e f i g u r e s t h a t
he c l a s s i f i e s a s " m a r t i a l . " P u tten h am , how ever, does c l a s
70
s i f y m e ta p h o r as a " F ig u r e s e n t e n t i o u s " t h a t d o e s se rv e the-
p u rp o s e o f a m p l i f i c a t i o n .
B u t t h e f i g u r e m e ta p h o r a s D ra y to n u s e s i t i n t h i s
e a r l y poem a l s o r e v e a l s a n o t h e r p u r p o s e t h a t I w i l l f i r s t
d i s c u s s a s somewhat d i s t i n c t from e i t h e r a m p l i f i c a t i o n o r
p e r s p i c u i t y . T h is p u r p o s e i s to a c h ie v e ''c o p ie " o r c o p i
o u s n e s s , and i s r e v e a l e d i n D r a y t o n 's p a t t e r n i n g o f h i s
m e ta p h o r s . B ut b e f o r e d i s c u s s i n g th e problem o f " c o p i e ,"
I w ish t o c i t e some o f D r a y t o n 's m e ta p h o rs i n o r d e r to i l
l u s t r a t e how th e y t y p i c a l l y a p p e a r i n th e poem.
F o r t h e most p a r t , D rayton p a t t e r n s h i s m e ta p h o r s i n
s t a n z a - l o n g s e r i e s l i k e t h e f o l lo w in g two w hich d e s c r i b e
King E d w a r d 's r e a c t i o n t o G a v e sto n :
T h is was a c o r s i v e to King Edwards d a y e s ,
T h ese j a r r i n g d i s c o r d s q u i t e u n t u n 'd h i s m ir t h .
T h is was th e p a i n e w hich n e v e r gave him e a s e ,
I f e v e r h e l l , t h i s was h i s h e l l on e a r t h :
T h is was th e b u r t h e n w h ich he g ro ned u n d e r ,
T h is p i n c h t h i s s o u le , and r e n t h i s h e a r t
i n su n d e r.
T h is venom s u c k t t h e marrow from h i s b o n e s ,
T h is was th e c a n k e r w hich consum 'd h i s y e a r e s .
T h is f e a r f u l l v i s i o n , f i l d h i s s le e p e w i t h
g r o n e s .
T h is w i n t e r sn o w 'd downe f r o s t upon h i s h a y r e s :
T h is was t h e m oth , t h i s was th e f r e t t i n g r u s t ,
W hich so c o n su m 'd h i s g l o r i e u n to d u s t .
( 11. 331- 342)
What i s s t r i k i n g h e r e I s t h a t D ra y to n does n o t u s e a s i n g l e
m e ta p h o r, b u t a s e r i e s o f m e ta p h o rs , a l l o f w h ic h e x p r e s s
a lm o s t e x a c t l y th e same I d e a : " t h i s e v i l a f f e c t e d Edw ard."
F u r t h e r , i t i s a s e r i e s o f d i s c r e t e m e ta p h o rs . H ere, a l
th o u g h " c o r s i v e ," " j a r r i n g d i s c o r d s , " and "venom" a l l r e f e r
to " e v i l , " they a r e In no se n se p r o g r e s s i v e l y r e l a t e d .
The w ord " c o rs iv e " i s not f o llo w e d by " t h i s was the f r e t
t i n g r u s t , / Which so consum'd h i s g l o r i e u n to d u s t . " Such
an o r d e r i n g would have been from a g e n e r a l s ta te m e n t t o a
s p e c i f i c i l l u s t r a t i o n and w ould have r e f l e c t e d a d e e p e n in g
e x a m in a tio n of t h e s u b j e c t . B u t i n D r a y t o n 's s t a n z a s , each
m e ta p h o r has th e same w eight an d b e a r s th e same r e l a t i o n to
m e a n in g .
A g ain and a g a i n Drayton p a t t e r n s h i s m etap h o rs i n a
s e r i e s o f d i s c r e t e s ta te m e n ts , a l l o f w hich b e a r e s s e n
t i a l l y th e same r e l a t i o n to m ean ing: th e y s t a t e i t t r o p
i c a l l y . For exam p le, the g ro u p o f m etap h o rs u se d to d e
s c r i b e G a v e s to n 's y o u t h f u l b e a u t y , a lth o u g h n o t as
i n s i s t e n t as th e abov e g ro u p in g ( p a r t l y b e c a u s e e v e ry l i n e
does n o t begin w i t h th e same w o rd ) , s t i l l f a l l s I n to t h e
same p a t t e r n —a s e r i e s o f d i s c r e t e m etap h o rs:
1 Such was th e worke w h ic h n a tu r e h a d begonne,
2 As p ro m is e d a gem o f wondrous p r i c e ,
3 This l i t t l e s t a r f o r e t o l d a g l o r i o u s sunne,
4 This c u r i o u s p l o t an e a r t h l y p a r a d i c e ,
5 T his g lo b e o f b e w t ie w herin a l l m ight see
6 An a f t e r world o f w onders h e re i n mee.
(11. 145-150)
Here e a c h m etaphor s t a t e s th e same s u b j e c t : t h e u n d e v e l
oped c h i l d w i l l become a g l o r i o u s man. None o f th e m e ta
p h o rs g o e s beyond t h i s m eaning. Ind eed, i f t h e problem o f
"making p la in " i s r a i s e d , one m ig h t argue t h a t u n l i k e t h e
s i m i l e g ro u p s, th e m etaphors do n o t make p l a i n by exp l o r -
72
in g a s u b j e c t from d i f f e r e n t p o i n t s o f view b u t by i n
s i s t i n g on th e same view r e p e a t e d l y . The o n ly c o m p lic a
t i o n s i n tr o d u c e d h e re a r e s y n t a c t i c a l . F i r s t , th e f i r s t
and f o u r t h m etap h o rs a r e s t a t e d i n two l i n e s and th e s e c
ond and t h i r d m etap h o rs have th e term s o f th e e q u a tio n
b a la n c e d w i t h i n one l i n e . The o t h e r s y n t a c t i c a l c o m p le x ity
i s th e u s e o f zeugma; th e verb " f o r e t o l d " g o v e rn s th e
c la u s e i n b o th th e second and t h i r d m e ta p h o rs.
P e rh ap s th e n a t u r e o f D r a y to n ’ s m etap hor g ro u p s b e
comes c l e a r e r when one com pares them w ith f i g u r e s t h a t
D rayton d o es n o t u se t h a t a r e som etim es c l a s s i f i e d a s s p e
c i e s o f m etap h o r: c a t a c h r e s i s and a l l e g o r i a . C a t a c h r e s i s ,
o r m etaphor o f th e v e rb , i s a f i g u r e u s e d to make an e q u iv
a le n c e betw een two a c t i o n s , and, o f c o u r s e , demands i d e n
t i t y betw een th e v e h i c l e and t e n o r . The e f f e c t o f t h i s
f i g u r e , a c c o rd in g to S i s t e r Miriam J o s e p h , i s to le n d i n
t e n s i t y and co m p ressio n t o a poem. Exam ining S h a k e s p e a r e 's
u s e o f th e f i g u r e , she f i n d s t h a t i t i s "a v i t a l c r e a t i v e
I n s tru m e n t w ith w hich he f o r g e s sudden c o n c e n t r a t i o n s o f
m eaning, and s e c u r e s t h e co m p ressio n e n e rg y , and i n t e n s i t y
which c h a r a c t e r i z e g r e a t p o e t r y . " ^ I t i s p e rh a p s exam ina
t i o n o f m etap h o r i n t h i s form t h a t h a s l e d modern c r i t i c s
to p r a i s e th e c o n c e n t r a t i o n o f m e ta p h o r. P re m in g e r, f o r
exam ple, d i s t i n g u i s h e s m etap h o r from s i m i l e on th e b a s i s
o f c o n c e n tr a ti o n v e r s u s d if f u s e n e B s :
73
Whereas m etapho r i s a mode o f c o n d e n s a tio n and com
p r e s s i o n , s . [ i m i l e ] th r o u g h i t s d e s c r i p t i v e f u n c t i o n
r e a d i l y l e a d s to d i f f u s e n e s s and e x te n s i o n , even to th e
d i g r e s s i v e developm ent o f th e f i g u r a t i v e sc e n e , a c t i o n ,
o r o b j e c t a s an o b j e c t o f b e a u ty i n i t s e l f . 38
But r e c a l l i n g th e m etap h o r g ro u p s c i t e d above, i t
would be e asy t o d e c id e t h a t D ray ton does n o t a c h ie v e c o n
c i s e n e s s o r b r e v i t y by h i s m etaphor g ro u p s . The d i f f u s e
n e s s i s in p a r t due to t h e r e l a t i v e ab sen c e o f m etap h o rs
o f th e v e rb . O c c a s i o n a l l y D rayton w i l l d e s c r i b e an a c t i o n
w i t h m etaphor a s in "My y o u th em bow el'd by t h e i r c u r io u s
e y e s , / Whose t r u e r e p o r t e s my l i f e a n a to m is 'd " ( l l . 373”
374) o r in "Men hew 'd t h e i r h ono r o u t o f s t e e l e d helm s"
( l . 8 l ) . B ut f o r th e m ost p a r t , D ray to n c a s t s d e s c r i p
t i o n s o f a c t i o n i n th e form o f s i m i l e , and d e s c r i p t i o n s o f
s t a t e o r b e in g i n th e form o f m etap h o r. In d e e d , th e r e
s t r i c t i o n o f s i m i l e to a c t i o n and m etaphor to b e in g can
even be o b se rv e d w i th in one s t a n z a :
My l i f e i s b u t a v e ry mappe o f woes.
My j o y e s th e f r u i t e o f an u n tim e ly b i r t h ,
My p l e a s u r e s a r e l i k e p la g u e s t h a t r a i g n e
on e a r t h ,
A l l my d e l i g h t s l i k e s tre a m e s t h a t s w i f t l y
r u n . (11. 5 0 5 - 5 0 6 , 5 0 8- 5 0 9 )
Again and a g a in t h i s te n d e n c y may be o b s e r v e d — "My p a p e r
i s h a rd s a b le Ebon w o o d ,/ My pen o f I r o n , and my In k e i s
b lo o d " (11. 5 6 3- 5 6 4) as opposed to "C am elion- l i k e , th e
w o rld th u s t u r n s h e r h u e , / And l i k e P r o te u s p u t s on su n d ry
sh a p es" ( l l . 5 3 5 -5 3 6 ).
Nor a r e t h e r e many i n s t a n c e s i n t h i s poem o f e x te n d e d
m etap h o r o r a l l e g o r i a . Once, s p e a k in g o f t h e c o u r t o f Ed
ward,, he u s e s th e f i g u r e
H ere sp ra n g t h e r o o t e o f t r u e g e n t i l i t i e ,
V e r tu e was c l a d i n g o l d and crownd w i t h h o n o r.
Honor i n t i t l e d to N o b i l i t i e ,
Adm ired so o f a l l t h a t lo o k e d on h e r .
(1 1 . 67-70)
o r a g a in o f th e B a r o n s ' r a g e - -" A n d m a lic e now so h a rd th e
b e llo w e s b l e w , / T hat th r o u g h myne c a r e s t h e s p a r k e o f f i e r
f l e w ." T hese a r e among th e few exam ples o f a l l e g o r i a i n
th e poem. At f i r s t , t h e r e l a t i v e ab sen c e o f a l l e g o r i a
m ight seem i n c o n s i s t e n t i n a poem t h a t u s e s so many e q u iv
a le n c e s i n s e r i e s l i k e "My p a p e r i s h a rd s a b l e Ebon w o o d ,"
and so f o r t h . But i n f a c t , a l l e g o r i a i s d i s t i n c t from
th e form o f most o f D r a y t o n 's m e ta p h o rs h e r e . As m en tio n ed
e a r l i e r , D r a y t o n 's m e ta p h o rs a r e u s u a l l y d i s c r e t e . A l l e
g o r i a , a l t h o u g h i t d o e s have a o n e - to - o n e c o rre s p o n d e n c e
betw een v e h i c l e and t e n o r , u s u a l l y m a i n t a i n s one k in d o f
e q u iv a le n c e th r o u g h o u t th e poem. F o r ex am p le, i n " n a iv e "
a l l e g o r y , one v e h i c l e alw ays e q u a l s th e t e n o r . In Saw les
W arde, S o u l alw ays e q u a l s man, W i l l e q u a ls t h e w i f e , and
so f o r t h . Any change i n th e a l l e g o r y i n due to th e i n t r o
d u c tio n o f o t h e r v e h i c l e s t h a t e q u a l o t h e r t e n o r s , n o t to
a change o f th e v e h i c l e . B ut D r a y t o n 's m e ta p h o rs p r e s e n t
a s e r i e s o f v e h i c l e s e q u a l to one g e n e r a l t e n o r .
D r a y t o n 's m e ta p h o rs th e n do n o t t y p i c a l l y a c c o m p lish
th e c o n c e n t r a t i o n o f a m etap h o r c a s t a s c a t a c h r e s i s n o r t h e
sim p le le n g th o f m etaphor when i t i s e x te n d e d i n t o a l l e
g o r i a . What th e m etaphor s e r i e s do a c c o m p lish i s c o p io u s
n e s s . The word " c o p ia " h a s b e en d e fin e d i n v a r io u s ways
and d oes n o t have a s i n g l e r e f e r e n t . In t h e I n t r o d u c t i o n
to one e d i t i o n o f De C opia, f o r exam ple, i t i s d e f i n e d a s
" v a r i a t i o n , abundance o r r i c h n e s s , e lo q u e n c e , and th e a b i l
i t y to v a ry o r e n r i c h langu age o r th o u g h t," th u s I n d i c a t i n g
t h a t th e word can r e f e r to a p r o c e s s , an a b i l i t y , a s w e l l
a s t h e end r e s u l t o f a p r o c e s s . ^ But t h e r e a re some i n
d i c a t i o n s o f w hat "co p ia " o f word o r c o p ia verborem m ig ht
mean to a R e n a is s a n c e p o e t, I f one r e f e r s to some o f th e
s c h o o l t e x t s t h a t d e s c r ib e d o r so u g h t to t e a c h " c o p i a ."
V e l t k i r c h i u s , f o r exam ple, 'In h i s handbook d e sig n e d a s a
g u id e to th e De C o p ia , d e f i n e d "co p ia " o f word a s " th e
IjQ
r e a d y f a c u l t y o f v a ry in g th e same s e n t e n t i a In many w a y s."
He makes t h i s same p o i n t a s he sums up th e p la n o f Book I
o f De C o p ia ; "Of t h e s e t h e r e f o r e a l l copy c o n s i s t s , by
w hich speech i s v a r i e d and e n r ic h e d , p r o v id e d th e argum ent
o r i t s m a t e r i a l i s n o t i n c r e a s e d , b e ca u se th e same s e n t i -
„ 4 l
ment rem ain s In t h e sp eech , however v a r i o u s l y changed.
A lthou gh V e l t k i r c h i u s i s sp e a k in g h e re o f copy o f th o u g h t
o r c o p ia re ru m , s t i l l he i s p o i n t i n g o u t t h a t th e " m a tte r "
m ust n o t be expanded. And D r a y to n 's g ro u p s o f m e ta p h o rs
have t h i s q u a l i t y : th e y r e p e a t th e same s e n tim e n t i n v a r i e d
d i c t i o n - - t h e y do n o t expand th e " m a t t e r ." The t h r e e e x
am ples c i t e d e a r l i e r may have seemed r e p e t i t i v e owing t o
76
th e r e p e t i t i o n o f words a t th e b e g in n in g o f th e l i n e . But
even when D rayton does n o t u se a n a p h o ra a s i n s i s t e n t l y , th e
l i n e s can e x p r e s s th e same s e n tim e n t:
My y o u t h f u l l p r a n k s , a r e s p u rs to h i s d e s i r e ,
I h e l d th e r a y n e s , t h a t r u l ' d t h e g o ld en sunne,
My b la n d is h m e n ts were few e11 to h i s f y e r ,
I h ad th e g a r la n d w hosoever wonne:
I waxt hiB w inges and ta u g h t him a r t to f l y e .
Who on h i s b ack m ight b e a r e me th ro u g h th e
sk ye. ( l l . 277-282)
H ere, a lth o u g h th e term s o f th e m etap h o rs change from
"pranks" t o " b la n d ish m e n ts " ( t h e r e m ig h t be some c o h e s i v e
n e s s i n th e im ages s in c e th e y a l l s u g g e s t a Phaethon r e f e r
e n t ) , th e "argum ent" i s n o t i n c r e a s e d ; e v e ry l i n e r e f e r s to
th e same m a t t e r . M oreover, D rayton f o r e s t a l l s any s e n s e o f
p r o g r e s s i o n h e re a s i n o t h e r image g ro u p s by n o t u s i n g t r a n
s i t i o n s . Such t r a n s i t i o n words as t h e n , n e x t , m o reo v e r,
and so f o r t h would s u g g e s t t h a t th e p o e t was moving from
one id e a to a n o th e r .
D r a y to n 's co ncern w ith c r e a t i n g " c o p ie " in th e poem
p e rh a p s a l s o a c c o u n ts f o r th e k in d o f schemes t h a t d om in ate
i t . For t h e most p a r t , th e y a r e f i g u r e s o f r e p e t i t i o n .
And in d e e d , th e most f r e q u e n t scheme i n th e poem i s a n a
p h o ra , w hich i s one o f th e l e a s t complex f i g u r e s o f r e p e t i
t i o n and one t h a t u s u a l l y l e a d s to e x te n s i v e o r c o p io u s
s ta te m e n t r a t h e r th an to i n t e n s i v e o r c o n c e n tr a te d s t a t e
ment o f an i d e a . Ab th e above m etaphor gro u p s 3uch a s
"T h is venom su c k t" would i n d i c a t e , a n ap h o ra en h an ces th e
e f f e c t o f c o p io u s n e s s b e c a u se th e f i g u r e s u g g e s ts t h a t th e
77
l i n e s a r e r e t u r n i n g a g a in and a g a in to th e same " s e n te n c e "
o r s u b j e c t - - t h e e s s e n c e o f " c o p io u s n e s s ." M oreover, a n a
p h o ra a s D rayton u s e s i t h e r e can even make s l i g h t l y p r o
g r e s s i v e s ta te m e n t s seem to be r e t u r n i n g to th e same su b
j e c t a s i n
You m o u rn fu ll maydens o f th e s a c r e d n in e ,
You d e s t i n i e s w hich h a u n t th e sh a d e s b e n e a th ,
To you f a y r e muses I my p l a y n t s r e s i g n e ,
To you b la c k s p i r i t s I my woes b e q u e a th .
(1 1 . 25-28)
Here two b e in g s a re a d d re s s e d . The f i r s t two l i n e s a re
th e summons and th e t h i r d and f o u r t h l i n e s a re th e m essage.
But th e r e p e t i t i o n o f "You" and "To you" ( a nap hora) as w e ll
a s th e p a r a l l e l sy n ta x o f th e c la u s e ( i s o c o lo n ) s u g g e s ts
t h a t th e same id e a i s b e in g r e p e a t e d o v e r and o v e r.
A n o th e r example o f is o c o lo n combined w ith an ap h o ra to
e f f e c t c o p io u s n e s s would be
Loe h e r e , th e tim e d ru e on o f Edwards d e a th ,
Loe h e r e , th e d o l e f u l l p e r i o d o f h i s y e a r e s ,
0 now he y e e l d e t h up t h a t s a c r e d b r e a t h ,
F o r whom th e Heavens do show er down f l u d s o f
t e a r e s .
F o r whom th e Sunne, even m ourning h id e s h i s
f a c e ,
F o r whom th e e a r t h was a l l to v i l e and b a s e .
( 11. 565- 570)
The l a s t t h r e e l i n e s o f t h i s p a ssa g e a re i n f a c t c i t i n g th e
r e a c t i o n o f d i f f e r e n t b e i n g s —h e a v e n s , sunne, and e a r t h —
b u t th e p a r a l l e l s t r u c t u r e o f th e s e l i n e s as w e l l a s th e
u s e o f a n a p h o ra em phasizes th e s i m i l a r i t y i n th e m eanings
o f th e l i n e s , and te n d s to re d u c e th e t h r e e d i f f e r e n t mean
in g s to one m eaning: " a l l n a t u r e mourns f o r E d w ard 's
78
d e a t h . " And p e rh a p s the a c t u a l r e p e t i t i o n o f th e e x a c t
same id e a i n t h e f i r s t two l i n e s ( p a t t e r n e d by a n a p h o ra
a n d iB ocolon) s e t s up th e e x p e c t a t i o n t h a t the l a s t t h r e e
l i n e s w i l l be r e p e a t i n g t h e same i d e a a l s o .
Thus D ra y to n , in h i s m etaphor g r o u p s and i n h i s
schem es, a c h i e v e s c o p ia . B u t i s c o p ia an end i n i t s e l f o r
i s i t a means t o a b ro a d e r e f f e c t ? A lth o u g h th e p ro b lem
o f d e te rm in in g t h e ex act e f f e c t o f c o p i a i n a p i e c e o f
w r i t i n g i s a complex one, I do n o t f i n d t h a t th e l 6 t h c en
t u r y r h e t o r i c i a n s d e s c r ib e c o p ia as an end in i t s e l f .
E rasm u s, f o r exam ple, does n o t recommend c o p io u s n e s s as an
e n d b u t as t h e means to a n o t h e r end— l e a r n i n g to w r i t e .
T h a t i s , he i s "n o t p r e s c r i b i n g how one should w r i t e and
s p e a k , b u t . . . [ i s ] p o i n t i n g o u t w h at t o do f o r t r a i n
i n g , where, a s everyone knows, a l l t h i n g s ought to be ex-
.,ii2
a g g e r a t e d . Thus the s t u d e n t who v a r i e s the same s e n
t e n c e 150 d i f f e r e n t ways i s p e rfo rm in g an e x e r c i s e i n
l e a r n i n g .
A nother p u rp o s e t h a t l 6 t h c e n tu ry w r i t e r s se e f o r
c o p i a i s d e s c r i b e d by M iss Tuve. She o b s e r v e s t h a t Carew
p r a i s e d th e E n g l i s h tongue f o r i t s c o p io u s n e s s ( " n e i t h e r
c a n n any to n g u e . . . d e l i v e r a m a t t e r w i t h more v a r i e t y e
t h e n o u rs, b o t h p l a i n e l y a n d by p r o v e r b e s and M e ta p h o rs" ).
T hen Miss Tuve g o e s on to e x p la in C arew 1 s p r a i s e o f c o p ia 1
I t must b e n o te d , h o w e v er, t h a t Carew i s a d d u cin g
t h e s e " p r o o f f e s o f o u r c o p lo u s n e s " i n o r d e r to show t h a t
t h e a u th o r who w r i t e s i n E n g lis h w i l l be a b le t o choose,
79
o u t o f such a v a r i e t y , th e word o r image w hich conveys
h i s m eaning w ith e x a c t l y th e r i g h t o v e r t o n e s . The p r a i s e
o f c o p i e th ro u g h o u t t h i s p e r i o d needs s tu d y , "but i t i s so
f r e q u e n t l y found i n t h i s c o n t e x t — o f p r a i s e o f p l e n t y
t h a t p r o v i d e s c h o i c e — t h a t I am n o t a t a l l s u r e we have
been j u s t i f i e d i n i n t e r p r e t i n g i t to mean sim p ly " E l i z a
b e th a n s adm ired p l e n t i f u l I m a g e r y ."^3
T h is end i s c o n so n a n t w ith E ra sm u s’ s d e s c r i p t i o n s o f c o p i a ,
f o r th e s t u d e n t l e a r n i n g c o p ia would be l e a r n i n g so t h a t
he c o u ld choose among a l t e r n a t i v e ways o f making a s t a t e
ment .
A n o th e r p u rp o se t h a t c o p ia c o u ld se rv e i s a m p l i f i c a
t i o n . I n r h e t o r i c a l th e o r y th e c o n c e p ts o f a m p l i f i c a t i o n
and c o p io u s n e s s h a d lo n g been l i n k e d . " L o n g in u s," f o r e x
ample, view ed p l e n t e o u s n e s s In lan g u ag e a s th e d e te rm in in g
c h a r a c t e r i s t i c i n a m p l i f i c a t i o n :
A m p l i f i c a t i o n , t h e y say, I s lang uage w hich i n v e s t s th e
s u b j e c t w ith g r a n d e u r . Now t h a t d e f i n i t i o n c o u ld o b v i
o u s l y s e r v e j u s t a s w e ll f o r t h e su b lim e, t h e e m o tio n a l
and t h e m e ta p h o r i c a l s t y l e , s i n c e th e s e a l s o i n v e s t th e
la n g u a g e w ith some q u a l i t y o f g r a n d e u r . B ut in my view
th e y a r e each d i s t i n c t . S u b lim ity l i e s i n e l e v a t i o n ,
a m p l i f i c a t i o n r a t h e r in am ount; and so you o f t e n f i n d
s u b l i m i t y in a s i n g l e I d e a , w h e re a s a m p l i f i c a t i o n alw ays
g o es w i t h q u a n t i t y and a c e r t a i n d eg ree o f re d u n d a n c e .
To g i v e a rough d e f i n i t i o n , a m p l i f i c a t i o n c o n s i s t s i n a c
c u m u la tin g a l l t h e a s p e c t s and t o p i c s I n h e r e n t i n th e
s u b j e c t and th u s s t r e n g t h e n i n g th e argum ent by d w e llin g
upon i t . 44
In th e 16th c e n t u r y , some r h e t o r i c i a n s came to d e
s c r i b e c o p ia a s one means ( a lth o u g h n o t th e o n ly means) to
a m p l i f i c a t i o n . ^ Peacham, f o r exam ple, e x p l a i n s one o f th e
k in d s o f a m p l i f i c a t i o n (he l a b e l s i t e x p o l i t i o ) th u s :
When we a b id e i n one p l a c e , and y e t seeme to speake
d i u e r s e t h i n g s , many tim es r e p e a t i n g one s e n te n c e , b u t
y e t w i t h o t h e r w o rd s, s e n t e n c e s , e x o r n a t i o n s , and f i g -
80
u r e s : i t d i f f e r e t h . . . from Smonunia [ s i c ] forasm uch a s
t h a t r e p e a t e t h a s e n te n c e o r t h in g o n e ly w i t h changed
w ords: b u t t h i s b o t h w ith w o rd e s, l i k e s e n te n c e s and l i k e
t h i n g s , hauing a l s o many e x o r n a t io n s to th e g a r n i s h in g
t h e r e o f . . . when we r e h e a r s e a g a in e th e v e r i e same
t h i n g , b u t n o t a f t e r th e same manner. . . . But t a r r y
in g s t i l l in one p l a c e we do v a r i e one t h i n g o r s e n te n c e
d i u e r s e maner o f w a le s , and e n t r e a t o f i t w ith sun dry
f a s h i o n s o f s p e e c h .^6
T his r e p e t i t i o n o f t h e same s e n te n c e in v a r i e d d i c t i o n and
f i g u r e s i s , o f c o u r s e , c o p ia , and f o r Peacham, i t i s one
way an o r a t o r can a m p lif y h i s s u b j e c t . S i m i l a r l y , H o sk ins
says t h a t one o f th e ways a w r i t e r can a m p lify h i s s u b j e c t
i s th r o u g h th e p r o c e s s o f a c c u m u la tio n . A c c u m u la tio n ,
H oskins s a y s , i s " h e a p in g up many term s o f p r a i s e o r a c
c u s in g , im p o rtin g b u t th e same m a t t e r w ith o u t d e sc e n d in g
h<7
to any p a r t . " ' A gain , t h i s p r o c e s s can be i d e n t i f i e d w ith
c o p ia and i s a means to a m p l i f i c a t i o n .
Thus a c c o rd in g to some r h e t o r i c i a n s , c o p ia was a means
o f a c h ie v in g a m p l i f i c a t i o n o f th e s u b j e c t . I f i n d t h a t
t h i s a m p l i f i c a t i o n was D r a y to n 's c h i e f end f o r h i s c o p io u s
f i g u r e s . I w i l l i l l u s t r a t e th e s p e c i f i c i n s t a n c e s i n w hich
D rayton u s e s c o p ia t o a m p lify h i s s u b j e c t i n th e n e x t s e c
t i o n o f t h i s p a p e r.
The M ajor Ornam ents i n R e l a t i o n to th e S ubjectB
T Jp to t h i s p o i n t i n th e p a p e r , I have b een exam ining
th e form and f u n c t i o n s o f th e orn am en ts w ith r e f e r e n c e to
two k in d s o f c r i t e r i a : ( l ) th e d e f i n i t i o n s and d e s c r i p t i o n s
o f th e f i g u r e s p r o v id e d by th e r h e t o r i c handbooks and t e x t -
;
81
books and (2) th e g e n e r a l c o n cep t o f h i s t o r i c a l p o e t r y t h a t
demanded a m p l i f i c a t i o n . I t iB now a p p r o p r i a t e to s h i f t th e
g ro u n d s o f e x a m in a tio n somewhat. E a r l i e r i n t h i s p a p e r I
was exam ining e x t e r n a l and g e n e r a l c r i t e r i a f o r th e o r n a
m en ts. Now I s h a l l examine i n t e r n a l and s p e c i f i c a p p l i c a
t i o n s o f th e o rn am e n ts. T hat i s , how do th e o rn am en ts r e
l a t e to th e i n t e r n a l dynam ics o f th e poem? I f t h e s u b j e c t
g e n e r a l l y i s h i s t o r y , w hat o f th e s p e c i f i c h i s t o r i c a c t i o n s
r e c o r d e d h e re ? We know t h a t D rayto n a s s i d u o u s l y checked
th e c h r o n i c l e s to d e te rm in e th e a c c u ra c y o f h i s f a c t s .
B ut when he came to th e poem, do th e o rnam ents r e f l e c t t h a t
e x c l u s i v e i n t e r e s t i n h i s t o r i c a l f a c t s ? Are h i s t o r i c a l
f a c t s and a c t i o n s alw ay s th e " s u b j e c t '1 o f th e poem o r do
t h e orn am ents r e v e a l an I n t e r e s t i n o t h e r s u b j e c t s ? To p u t
t h e g e n e r a l i z a t i o n b e f o r e th e e v id e n c e , t h e r e i s a ten d en cy
i n th e poem to le a v e h i s t o r i c f a c t s and a c t i o n s u n o r n a
m ented. (By f a c t s and a c t i o n s I mean what p e o p le d id as
opposed to w hat th e y f e l t . I t h i n k t h a t th e n e c e s s i t y o f
t h e d i s t i n c t i o n w i l l become c l e a r when a l l th e ornam ents
have been c o n s i d e r e d .) These h i s t o r i c f a c t s a r e r e p o r t e d ,
b u t a re o f t e n n o t made " l i g h t " by means o f o r n a m e n ta tio n —
t h e k in d s o f a m p lify in g and i l l u m i n a t i n g o rn am en ts d i s
c u s s e d so f a r .
One o f th e e a r l i e s t exam ples o f th e b a re r e c o r d i n g o f
h i s t o r i c f a c t s i s G a v e s to n 's a c c o u n t o f h i s f a t h e r ' s s t a
82
tus and actions that eventually lead him and his young son
to the court:
My valiant father was in Gascoygne borne.,
A man at armes, and matchles with his launce,
A Souldier vow'd and to King Edward sworne.
With whom he serv'd in all his wars in Fraunce,
His goods and lands he pawnd and layd to
gage
To follow him, the wonder of that age.
( 1 1 . 97- 102)
Except for the epithet description of Edward in the
last line, the stanza is essentially nonfigurative. With
out reflecting disrespect for the subject, the Btanza re
ports quickly the facts at hand. The poet does not linger
over the birthplace of Gaveston (although one of Gaves-
I ton's chief sins was to send money to Gascony), nor does
he linger over the honor of the father (even though the
topics nation, parents, and even "the sheire" were tradi
tionally among the places for praise in demonstrative ora
tory) . i |8
Various explanations could, of course, be offered for
Drayton's choice not to amplify theBe facts by means of
ornaments. One might argue, for example, that Drayton did
not wish to sully the honor of the father by bringing him
too emphatically into a poem about his dissolute son (on
the other hand, such a careful observation of moral dis
tinctions is not typical of the poem). Or one might argue
that these facts about Gaveston's ancestry are finally un
important to the narrative segment that Drayton has chosen
83
and hence t h e s e f a c t s n e ed n o t be o rn am en ted . T h is l a s t
a s s e r t i o n r a i s e s a n o th e r q u e s t i o n . Does D rayton o n ly o r n a
m ent m ajor h i s t o r i c i n c i d e n t s i n th e poem?
E x am in a tio n o f th e poem r e v e a l s t h a t D rayton o f t e n
l e a v e s unorn am en ted even m a jo r a c t i o n s o f th e poem— a c t i o n s
t h a t a re cau sa l,, p i v o t a l , o r t h a t b r i n g i n t h e i r wake s h a t
t e r i n g co n seq u e n ce s f o r t h e p r o t a g o n i s t s . A f t e r G a v e s to n 's
f i r s t b a n is h m e n t, f o r exam ple, th e r e i s v i r t u a l l y no hope
t h a t he c o u ld e v e r r e t u r n to th e kingdom a s long a s Edward
Longshanks i s a l i v e . At t h i s c r u c i a l p o i n t i n th e n a r r a
t i v e , Longshanks p la n s a p ilg r im a g e on w hich we a r e t o l d
h e w i l l d i e , t h u s c l e a r i n g th e way f o r G a v e s to n 's r e t u r n .
Y e t t h i s p i v o t a l event i s th u s sim ply and q u i e t l y r e p o r t e d :
The b r u t e i s blow ne, th e King d o th now p r e t e n d ,
A l o n g - l o o k 'd voyage to the H o ly - la n d ,
For w h ic h h i s s u b j e c t s m ig h tie sums doe le n d .
(11. 553-555)
The language h e r e does n o t h e ig h te n th e g e n e r a l s i g n i f i
c a n c e o f t h i s e v e n t, nor i t s s i g n i f i c a n c e f o r G aveston
p e r s o n a l l y . Nor does D ra y to n choose t o a n t i c i p a t e th e
coming doom o f th e voyage th ro u g h o rn a m e n ts.
In th e n a r r a t i v e , t h e King d i e s on t h e voyage, G aves
t o n i s a llo w e d to r e t u r n and b e g in s t h e l i f e o f pomp and
ex p en se w hich w i l l be a c o n s t a n t and f i n a l l y f a t a l i r r i t a
t i o n to a l l t h e members o f th e c o u r t . D rayton does p r e
s e n t most o f t h e s e e v e n ts b u t always q u i t e sim p ly . Ac
c o r d in g to t h e c h r o n i c l e s , a f t e r G a v e s to n 's r e t u r n , Edward
84
im m e d ia te ly gave him th e money t h a t Edward Longshanks had
s e t a s i d e f o r th e c r u s a d e s and t h i s a c t was p a r t i c u l a r l y
a b h o r r e n t . T h is h i s t o r i c f a c t i s sim p ly t r e a t e d i n th e
poem:
And a l l th o s e sums h i s f a t h e r had p re p a r d e
By way o f t a x e s f o r th e h o ly la n d .
He gave me f r a n c k l i e a s my due rew ard e:
In b o u n t i e t h u s , i t seemd he p l e a s d h i s hand.
(11. 643-646)
F u r t h e r , th e King g r a n t s G a v e s to n 's e v e ry whim and h e a p s
t i t l e s and o f f i c e s on him . D rayton r e c o r d s t h e s e h i s t o r i c
f a c t s sim p ly :
D e te r m in 'd now to h o y s t my s a y le am aine,
The E a r l e o f C orn ew all he c r e a t e d me,
Of E ngland th e n th e Lord h i g h C h a m b erlain e,
C h ie fe S e c r e t a r i e to h i s M a j e s ti e .
(11. 649-652)
Here o n ly th e f i r s t l i n e c o n ta in s a f i g u r e . The l a c k o f
o rn a m e n ta tio n to em phasize th e im p o rta n c e o f t h e s e a c t s i s
s i g n i f i c a n t b e c a u se i t was a p p a r e n t l y G a v e s to n 's t h i r s t i n g
f o r more and more power t h a t was an i r r i t a n t to th e B a ro n s,
who were w i l l i n g to a llo w him some d e g re e o f pow er. But
w i t h each new a c q u i s i t i o n G aveston so u g h t more. The DNB
r e p o r t s .
But h i s p r i d e c o u ld n o t be s a t i s f i e d and, a s an i n s t a n c e
o f h i s p e r s o n a l v a n i t y , one o f t h e C h r o n ic le s n o t i c e s
t h a t by r o y a l command p e rs o n s w ere f o rb id d e n t o a d d r e s s
him o th e r w is e th a n by h i s t i t l e , an u n u s u a l p r a c t i c e a t
t h a t p e r i o d . 49
A n o th er p a s s a g e i n w hich G a v e s to n 's m ounting f o r t u n e
i s l e f t unornam ented i s :
8 5
And now th e King to r a y s e me h i g h e r y e t .
Makes me t h e L o r d - p r o t e c t o r o f th e Land,
And i n th e Chayre o f h i s e s t a t e I s i t ,
Hee y e e ld s h i s S c e p te r up i n t o mine hand.
D ev ising s t i l l how he to p a s s e m ight b r i n g ,
That i f he d ie d , I m igh t su c ce ed a s K in g .
(11. 787-792)
D r a y to n 's f a i l u r e to ornam ent su ch l i n e s i s f u r t h e r s i g n i f
i c a n t b e c a u s e th e s e h i s t o r i c in c id e n ts ,, showing as th e y do
G a v e s to n 's mounting f o r t u n e , f i t p r e c i s e l y i n t o th e o v e r a l l
w e ll- to - w o e o r g a n i z a t i o n o f th e poem. B ut th e c r u c i a l
p o i n t i s t h a t w h ile D ra y to n w i l l a m p lify th e s t a t e o f h a p
p i n e s s o r u n h a p p in e ss ( a s w i l l be d is c u s s e d l a t e r ) , we see
h e re t h a t he does n o t ornam ent th e a c t u a l h i s t o r i c e v e n t s
le a d in g up to t h a t s t a t e .
F u r t h e r , the c h a r g e s a g a i n s t G aveston a r e n o t o r n a
m ented,
The Commons sw ore, I le d th e P r in c e to v i c e ,
The Nobles s a i d t h a t I a b u s 'd th e King,
Grave M atrons su c h a s l u s t c o u ld n o t i n t i c e ,
L ik e women w h is p e re d o f a n o th e r t h i n g .
( 11. 385- 388)
n o r i s th e r e p o r t o f G a v e s to n 's f i n a l b a n ish m e n t.
They say, t h a t I conveyd beyond th e Sea,
The Table and th e t r e s s e l s a l l o f g o ld ,
King A r t h u r s , r e l i q u e s , k e p t f u l l many a day,
The which t o W indsor d id b e lo n g o f o l d .
In whose f a i r e m argent ( a s th e y d id
s u r m iz e ,)
M erlin in g r a v e d many p r o p h e c i e s .
' ( 11 ' " . 1261- 1266 )
I n a d d i t i o n to t h o s e f a c t s d e a l i n g d i r e c t l y w ith Ga
v e s to n , o t h e r h i s t o r i c f a c t s t h a t m ight have been th e o c
c a s io n f o r a m p l i f i c a t i o n a r e b y p a s s e d . An example i s th e
86
a rra n g em e n t o f th e m a rria g e betw een Edward and I s a b e l l a :
F o r now th e King to F raunce d o th him p r e p a r e ,
F or m a rria g e w ith th e P r i n c e s s e I s a b e l
D au ghter to P h i l l i p th e n su rn a m 'd th e f a i r e ,
Who l i k e to him i n b e a u ty d id e x c e l l j
Of T i l t s and tryum phs e v ery man re p o rts ,,
And th e u n i t i n g o f th e s e famous C o u rts .
( 11. 781- 786)
T h is i n c i d e n t i s c r u c i a l i n th e h i s t o r i c a l n a r r a t i v e b e
cause I s a b e l l a was l a t e r to become a r a l l y i n g p o i n t f o r
E d w ard 's enem ies.
S i m i l a r l y , th e r i s i n g o f th e B arons to e f f e c t G aves
t o n ' s f i n a l and t h i s tim e i r r e v o c a b l e b a n is h m e n t i s r e
p o r t e d b u t n o t a m p l i f i e d .
The ang ry B a rro n s now assem b led w ere,
And no man l e f t t h a t on my p a r t d u r s t s ta n d ,
B e fo re th e Popes p e r n i t i o u s L e g a te t h e r e ,
They f o r c e d mee f o r to a b ju r e t h e Land.
F o rc in g th e King t o f u r t h e r t h e i r I n t e n t ,
By solemne o th upon th e S acram ent.
( 11. 1291- 1296)
In j u s t i f i c a t i o n o f th e t r e a tm e n t o f h i s t o r i c a l f a c t
h e r e , I t may be a rg u e d t h a t th e la c k o f o r n a m e n ta tio n does
a llo w D ray ton to r e p o r t q u i c k l y an e x te n s i v e s e r i e s o f a c
t i v i t i e s — th e f a c t t h a t th e pope had f i n a l l y a g re e d to th e
b a n is h m e n t, th e f a c t t h a t d e s p i t e many m u tu a l h o s t i l i t i e s ,
th e B aro ns had f i n a l l y jo in e d t o g e t h e r a g a i n s t a common
enemy, and th e f a c t t h a t th e King even a g r e e d u l t i m a t e l y
to th e b a n ish m e n t. F o r a poem i n w hich an embrace can r e
q u i r e f o u r s t a n z a s , t h i s i s In d e e d r a p i d n a r r a t i o n . But
f u r t h e r , I t sh o u ld be a sk e d , w i t h what p u rp o se does th e
p o e t summarize q u i c k l y such im p o r ta n t a c t i o n s ? S in c e he
8 7
does n o t choose t o l i n g e r on th e " h i s t o r i c " s u b j e c t ,
tow ard s what s u b j e c t i s he r u s h in g ? P u t i n c o n t e x t , th e s e
l i n e s p ro v id e a r e a d y answ er to th e q u e s t io n o f D r a y to n 's
p rim a ry i n t e r e s t s i n th e poem. F or i t i s a p p a r e n t h e r e ,
a s e ls e w h e r e , t h a t D rayton o f t e n r u s h e s p a s t a c t i o n so t h a t
he can come to r e a c t i o n . T hat i s , he le a v e s a c t i o n u n o r n a
m ented so t h a t he can c o n c e n tr a te h i s l i g h t s on r e a c t i o n .
I s h a l l q u o te t h e p a ssa g e i n f u l l to show th e c h o ic e o f
th e p o e t betw een a c t i o n and r e a c t i o n .
Upon th e h o l i e Sacram ent h ee sw ears,
A lthough (God knowes) f u l much a g a i n s t h i s w i l l ,
So over-com e w ith s i l e n c e , s i g h e s , and t e a r e s ,
To make a sword th e w hich h i m s e l f e sh o u ld k i l l .
And b e in g done, ( i n do ing th e n n o t l o n g ,)
He seemes to c u r s e h i s h a n d , h i s h a r t , h i s
to n g u e .
L ike to a man t h a t w a lk in g i n th e g r a s s ,
Upon a S e r p e n t s u d d a i n l i e d o th t r e a d ,
P lu c k s b a c k h i s f o o t e , and t u r n s away h i s f a c e ,
H is c o u l l e r f a d in g , p a l e as he were dead:
Thus hee th e p l a c e , th u s he th e a c t d o th shun,
L o th in g t o se e , w hat he b e f o r e had done.
Or as a man m is ta k in g a r e c e i t e ,
Some d e a t h - s t r o n g poyson h a p p e ly d o th t a s t e ,
And e v e ry howre th e v i g o r d o th a w a ite ,
Apald w ith f e a r e , now s t a n d e t h a l l a g a s t .
Thus s t a n d s he tre m b lin g i n an e x t a s i e ,
Too s i c k t o l i v e , and y e t to s tr o n g to d i e .
He ta k e s h i s Crowne, and sp u rn n s i t a t h i s f e e t ,
H is p r i n c e l y ro b e s he d o th i n p e a c e s t e a r e ,
Hee s t r a i g h t commaunds th e Queene o u t o f h i s
s i g h t ,
Hee tu g g s and r e n t s h i s g o l d e n - t r e s s e d h a i r e .
He b e a t e s h i s b r e a s t , and s i g h e s o u t p i t t i o u s
g ro a n s ,
Spending th e day i n t e a r s , t h e n i g h t i n moans.
88
Lyke as th e f u r i o u s P a la d in e o f F rau n ce,
F o rs a k e n o f A n g e lic a th e f a y r e ,
So l i k e a Bedlam i n th e f i e l d s d oth daunce,
W ith sh o u ts and c la m o rs, f i l l i n g a l l th e a y r e ,
T e a rin g in p e e c e s what so e r e hee c a u g h t,
W ith such a f u r i e i s th e King d i s t r a u g h t .
Or when th e w o f u l l T h ra c e -h o rn e H ecuba,
Saw Troy on f i r e , and Pryams f a t a l l doome,
H er sonns a l l s la y n e , h e r d e e r P o l i x i n a ,
T h ere s a c r i f i z e d on A c h i l l e s Tombe,
Even l i k e a B o re , h e r a n g ry tu s k s d o th w het,
S c r a tc h in g and b y tin g a l l t h a t e re shee m et.
(1 1 . 1297-1332)
Thus, a lth o u g h th e "doing" i s " n o t lo n g ," th e r e a c t i o n
i
|t o th e a c t i o n s i s made long and im p r e s s iv e by th e o r n a -
i
1
jm ents. To d e p i c t E d w a rd 's p a s s i o n , D ray ton u s e s s e v e r a l o f
J
}t h e f i g u r e s and te c h n iq u e s t h a t he r e l i e s on th ro u g h o u t th e
poem. Among t h e f i g u r e s o f grammar, t h e r e i s a l l i t e r a t i o n
j
jcom bined w i t h an a c c u m u la tiv e s e r i e s i n "So over-com e w ith
; s i l e n c e , s i g h e s , and t e a r e s " ; t h e r e i s an ap h o ra combined i n
j
a d i s t r i b u t i o n i n "He seem es to c u r s e h i s hand , h i s h a r t ,
h i s to n g u e ." M etaphor i s u se d i n "To make a sword th e
w hich h i m s e l f e should k i l l . " F u r t h e r , th e l i n e s u s e e p ic
s i m i l e s e x t e n s i v e l y to im p re s s on th e r e a d e r th e im p o rta n c e
i
land vehemence o f each o f E d w ard 's a c t i o n s . In d e e d , th e s e
j
e p ic s i m i l e s show an i n c r e a s e d d e n s i t y : i n th e f i f t h s t a n
za Edward i s compared t o th e P a la d in e who In t u r n i s com
p a r e d to a "Bedlam"; and i n th e s i x t h B tanza E d w a rd 's a c
t i o n s a re compared to th o s e o f Hecuba whose a c t i o n s a r e i n
t u r n compared to th o s e o f a "B o re ." F i n a l l y , to f u r t h e r
e n l i g h t e n t h e a c t i o n , D ray to n u s e s th e p a t t e r n a c c u m u la tio
o r e n u m e r a t i o , w h ich d e t a i l s e v e r y a c t i o n o f th e k i n g —
"He t a k e s h i s Crowne, and s p u r n n s i t a t h i s f e e t . . . ."
A g ain and a g a i n i n th e n a r r a t i v e , D ra y to n seems to b y
p a s s o r t r e a t s im p ly th e h i s t o r i c f a c t , so t h a t he can come
t o , and a m p lify t h e r e a c t i o n t o t h a t f a c t . F o r exam ple,
i
!th e i n i t i a l b a n is h m e n t o f G a v esto n by Edward Longshanks i s
s t a t e d sim p ly i n "The King commaunds, I m ust d e p a r t th e
c o u r t , / I aske no q u e s t i o n , he w i l l have i t so" ( l l . 4 0 5 -
4 0 6 ) . A t t h i s p o i n t D rayto n d o e s n o t e x p l o r e any o f th e
]p o l i t i c a l e v e n ts t h a t l e d to t h e b a n is h m e n t n o r does he
I
j d e s c r i b e th e a t t i t u d e o r t h o u g h t s o f th e K ing. F u r t h e r ,
|he d o e s n o t u s e a n y f i g u r e s to show th e im p o rta n c e o f t h i s
I
e v e n t i n th e n a r r a t i v e . R a t h e r , he goes on to G a v e s to n ’ s
and E d w a r d 's r e a c t i o n to th e b a n is h m e n t and sp ends a l l th e
(
I tim e and o rn am e n ts on th e s e " s u b j e c t s . " I n th e l i n e s f o l -
|
E
jlo w in g , G avesto n s a y s , "So now I s in g t h e d i r g e s o f my
f a l l , / The Anthemes o f my f a t a l l f u n e r a l l " ( l l . 4 2 5 -4 2 6 ),
and t h e s e words c l e a r l y b r i n g t h e fo c u s o f th e poem to
[e m o tio n o r r e a c t i o n .
i
| F u r t h e r , a s t h e p a ssa g e j u s t q u o te d show s, th e t e n
dency o f th e p o e t t o fo c u s on r e a c t i o n r a t h e r th a n a c t i o n
i s a p p a r e n t even i n h i s p la c e m e n t and u s e o f e p ic s i m i l e s
i n t h e poem. As e p i c s i m i l e i s u s u a l l y d e s c r i b e d , i t i s
a f i g u r e t h a t l e n d s i t s e l f to d e p i c t i o n o f n a r r a t i v e a c
t i o n and hence i s f r e q u e n t i n h e r o i c poems. B ased a s I t
I s on m anner o f d o i n g , e p ic s i m i l e s " a re a lm o s t alw ays
90
sim ple enough t o a i d th e r e a d e r i n q u ic k c o m p re h en sio n "—
*50
a n e c e s s i t y i n n a r r a t i o n . B u t i n F e i r s G a v esto n , w h ile
e p ic s i m il e can be u se d to a m p lify a c t i o n a s i n th e d e s c r i p
ti o n o f th e B a r o n s — "Like to a man whose f o o t e d o th hap to
l i g h t " ( l . 1438) and "Or l i k e to s o u l d i e r s i n a Towne o f
War" ( l . l4 4 l) o r even in th e d e s c r i p t i o n o f th e war i t -
i
s e l f - - " A s when u n d e r a v a s t and v a u l t y r o o f e " ( l . 1453) and
"Lyke a s th e Ocean" ( l . 1 4 5 9 )- - e p i c s i m il e i s u se d as o f t e n
ifo r a m p l i f i c a t i o n o f th e em otion o f th e l o v e r s . W ith in a
1
| few l i n e s o f th e e p ic s i m i l e s j u s t q u o te d , t h e r e a r e o t h e r
1
j s i m i l e s to d e s c r i b e th e j o y f u l m eeting o f G aveston and E d-
i ;
I
|ward a t th e c o r o n a t i o n — "Even l i k e as C a s to r when a calme
i
ib e g in s " ( l . 847) and "Or l i k e th e Nimphe b e h o ld in g i n a
j
jWell" (1. 8 5 3) . Soon after these similes Drayton uses e p ic
S
s i m i l e s to a m p lify E d w ard 's p a s s i o n a t th e l o s s o f G aveston:
"As one whose ho u se i n d a n g er t o be b u r n 'd " ( l . 931) and
"Or a s a Nurse w i t h i n b e s ie g e d w a lls " ( l . 937)-
D r a y to n 's d e c i s i o n to a m p lify em otion r a t h e r th an a c
t i o n by e p ic s i m i l e and th e e x t e n t to w hich th e s i m i l e s
!a re o f l i m i t e d e f f e c t i v e n e s s i s w e ll i l l u s t r a t e d i n a d e
s c r i p t i o n o f E d w a rd 's m a r r ia g e . At t h i s p o i n t in th e n a r
r a t i v e , D rayton h a s b e f o r e him an e m o tio n a l e v en t t h a t had
p ro fo u n d h i s t o r i c a l s i g n i f i c a n c e . A ccording to th e c h ro n
i c l e s , i t was a p p a r e n t to a l l a t th e m a rria g e o f Edward
t h a t E d w ard 's lo v e and a t t e n t i o n were f o c u s e d o n ly on Ga
v e s to n , n o t on t h e new Queen. T h is o b v io u s In tim a c y so
9 1
d i s g u s t e d th e Q u een 's r e l a t i v e s t h a t th e y form ed a f a c t i o n
I a g a i n s t Edward t h a t e v e n t u a l l y came to s e r i o u s l y weaken
h i s a u t h o r i t y . How, th e n , d oes D ray ton t r e a t t h i s f a c t ?
F i r s t , he p r e s e n t s a c o n c e p tu a l, g e n e r a l s ta te m e n t o f th e
e v e n t: "Loe h e e r t h a t k in d n e s e a s e l y i s d i s c r i d e , / T hat
f a i t h f u l lo v e which h ee n o r I c o u ld h id e " (11. 8 4 5 -8 4 6 ).
Then he p r e s e n t s two e p i c s i m i l e s to a m p lify th e e v e n t:
Even l i k e as C a s to r when a calme b e g in s .
B e h o ld in g th e n h i s s t a r r y - t r e s s e d b r o t h e r ,
t W ith m ir th and g l e e th e s e S w an -b e g o tte n tw in s
I P re s a g in g jo y , t h e one em brace th e o t h e r :
j Thus one th e o t h e r i n o u r arm es wee f o l d ,
Our b r e a s t s f o r jo y , o u r h a r t s c o u ld s c a r c e l y
h o l d .
Or l i k e th e Nimphe b e h o ld in g i n a W ell,
: Her d e e r e s t lo v e , & w a n tin g w ords to wooe him.
About h i s n ecks w ith c li p p e d arm es she f e l l ,
Where by h e r f a y t h th e gods co njo y n ed h e r to him.
| Such was th e lo v e w hich now by s ig n e s we b r e a k e ,
i When jo y had t i e d our to n g u e s , we c o u ld n o t
! sp e ak . ( l l . 847-858)
s
| T hat D rayto n c o n s id e r e d th e o c c a s io n im p o r ta n t i n th e n a r
r a t i v e i s i n d i c a t e d by h i s u se o f two e p ic s i m i l e s . And
t h a t he u n d e rs to o d th e r e v e a l e d n a t u r e o f th e lo v e i s i n -
|d i c a t e d by " e a s e l y . . . d i s c r i d e " and "hee n o r I c o u ld
i
! h i d e . n B ut D r a y to n 's s i m i l e s h e r e a m p lify o n ly th e emo
t i o n o f Edward and G a v esto n . They do n o t e x p lo r e o r am
p l i f y th e h i s t o r i c a l s i g n i f i c a n c e o f t h a t e m o tio n . The
s i m i l e s , th e n , a re momentary and o n e -d im e n s io n a l. T hat i s ,
th e y p o i n t o n ly to th e jo y o f t h e m o m en t--they do n o t a n
t i c i p a t e th e coming doom o f th e l o v e r s . They a r e o n e
d im e n s io n a l b e ca u se o n ly one l e v e l o f th e e x p e r ie n c e i s
documented by them— the emotion hut not the history* The
simplicity of the similes is especially apparent here be
cause the historic subject matter would have allowed for a
much more complex treatment. That is, at this point, an
important historic consequence grew out of an emotional
;fact.
Thus the epic simile, while putting the poem in the
|heroic tradition and serving the purposes of amplification
|and embellishment appropriate to the general historic sub-
i
jject matter of the poem, is used specifically to amplify
!
!reaction as well as action. (The specific applications of
i
[
imetaphor will be described presently.) The other impor-
i
| tant figures in the poem, systrophe and apostrophe, also
I
|reveal the oddly dual purpose that ornaments can have in
this poem: to provide the heightened tone appropriate to
a historical poem while at the same time to reveal and to
develop the emotional focus of the poem.
Systrophe and apostrophe are both singled out by the
rhetoricians as figures of especial force and light. Apos-
i
!
trophe or ecphonesis, although not a figure of amplifica
tion (presumably because it is not thought to "make im
pressive"), was described by Peacham as a figure for
expressing the vehemence of the emotions:
Exclamatio, is a forme of speech by which the orator
through some vehement affection, as either of loue, ha
tred, gladnesse, sorrow, anger, maruelling, admiration,
feare, or such like, bursteth forth into an exclamation
93
o r o u t c r i e , s i g n i f y i n g t h e r e b y th e vehement a f f e c t i o n o r
p a s s io n o f h i s m in d . 52
When t h f s f i g u r e i s u s e d , th e n , i t would have th e e f f e c t
o f em p hasizin g t h e r e a c t i o n to an e v e n t. In d e e d , D r a y to n 's
u s e o f t h i s f i g u r e som etim es s e r v e s to b r in g th e a t t e n t i o n
o f th e r e a d e r from what happened to what G aveston th o u g h t
o f th e h i s t o r i c e v e n ts as i n th e d e s c r i p t i o n o f E d w ard's
g e n e r o s i t y to G aveston ( l l . 6 3 7 - 6 6 6 ) . What Edward gave to
G aveston and d i d f o r G aveston ( h i s t o r i c f a c t s ) a re n o t o r -
inam ented, b u t G a v e s to n 's r e a c t i o n i s ornam ented w ith an
apo s tro p h e - - 1 1 0 s a c r e d B o u n tie m o ther o f c o n t e n t , / Prop o f
renow ne, th e n o u r i s h e r o f a r t s " ( l l . 6 6 1- 6 6 2 ) .
t
I
i The f i g u r e s y s t r o p h e , a l s o f r e q u e n t in P e i r s G a v esto n ,
p a r a l l e l s q u i t e c l o s e l y th e form and f u n c t i o n s o f o t h e r
1
f i g u r e s in th e poem. S y s tro p h e i s c l a s s i f i e d by Peacham
a s a f i g u r e o f a m p l i f i c a t i o n and i s d e s c r ib e d i n t h i s way:
S y s tr o p h e , o f some c a l l e d C o n g lo b a tlo , o f o t h e r conu-
o l t i o , and i t i s when th e O r a to r b r i n g e t h i n many d e f i
n i t i o n s o f one t h i n g , y e t n o t such d e f i n i t i o n s as do d e
c l a r e th e s u b s ta n c e o f a t h i n g by th e g e n e r a l k in d , and
‘ t h e d i f f e r e n c e , w hich th e a r t o f r e a s o n in g d o th p r e
s c r i b e , b u t o t h e r s o f a n o th e r k in d a l l h eap ed t o g e t h e r . 53
As a f i g u r e o f a m p l i f i c a t i o n , s y s t r o p h e , l i k e s i m i l e ,
ad d s "m ag n a n im itie " to th e poem. F u r t h e r , l i k e m etaphor i n
g e n e r a l , i t can be t r o p i c a l ( t r o p i c a l d e f i n i t i o n s — "My p a
p e r i s h a rd s a b l e Ebon w oo d/ My pen o f I r o n " ) and l i k e th e
m e tap h o rs and t h e scheme a n ap h o ra I n D r a y to n 's poem, i t
l e a d s to c o p io u s n e s s r a t h e r th a n c o n c e n t r a t i o n — " a l l
h e ap ed t o g e t h e r . "
94
As d e s c r i b e d by Peacham, b o t h s y s tr o p h e and a p o s tr o p h e
a r e u s e f u l t o o l s f o r t h e o r a t o r r a t h e r th a n t h e d i a l e c t i
c i a n . Peacham s u g g e s ts th e o r a t o r i c a l r a t h e r th a n l o g i c a l
f u n c t i o n o f s y s tr o p h e when he n o t e s t h a t t h i s k in d o f d e f
i n i t i o n i s n o t th e g e n u s s p e c i e d e f i n i t i o n a s s o c i a t e d w i t h
d i a l e c t i c a l d e f i n i t i o n , b u t a " h e a p in g t o g e t h e r " t h a t d o es
n o t d e c l a r e th e s u b s ta n c e o f a t h i n g . P re su m a b ly th e
" h e a p in g t o g e t h e r " w ould se rv e t h e p u rp o se o f p e r s u a s i o n
r a t h e r t h a n p r o o f . And a p o s tr o p h e i s e s p e c i a l l y recom -
|mended f o r i t s a b i l i t y to p e r s u a d e th e a u d ie n c e and hence
l
! i s u s e f u l t o th e o r a t o r : "The p r i n c i p a l l end and vse o f
I
I
I t h i s f i g u r e i s by th e vehemency o f o u r v o ic e and u t t e r a n c e
I
to e x p r e s s e th e g r e a t n e s s e o f o u r a f f e c t i o n s and p a ssio n s.,
1 1 54
and t h e r e b y to moue l i k e a f f e c t i o n s i n o u r h e a r e r s .
|P e r h a p s D ra y to n u n d e r s t o o d t h a t t h e s e f i g u r e s w ere a p p ro -
i
p r i a t e to t h e p u b l i c s e t sp e ec h b e c a u s e he u s e s them m ost
o f t e n i n t h e m ost o r a t o r i c a l s e c t i o n o f th e poem— th e l a
m ents o f Edward.
I t now re m a in s t o exam ine su c h a lam ent t o show how
j
|D ra y to n u s e d s y s tr o p h e and a p o s t r o p h e , t o g e t h e r and i n com
b i n a t i o n w i t h o t h e r f i g u r e s , to c r e a t e and a m p l i f y em o tio n .
The la m e n t o f Edward a f t e r G a v e s t o n 's f i r s t b a n is h m e n t i l
l u s t r a t e s m ost o f D r a y t o n 's f i g u r a t i v e s t r a t e g i e s f o r c r e
a t i n g e m o tio n . Here (1 1 . 4 45 -5 29) as u s u a l l y i n th e poem,
t h e r e i s a t r a n s i t i o n t o th e la m e n t t h a t shows i t w i l l be
an o c c a s i o n o f s u p e r l a t i v e e m o tio n . G aveston s a y s ,
95
Now weepe mine e y e s , and lend me t e a r e s a t
w i l l ,
You sad-m usde s i s t e r s h e lp me t o i n d i t e ,
And i n y o u r f a i r e O a s t a l i a b a th e my q u i l l
In b l o o d ie l i n e s w h i l s t I h i s w oes r e c i t e .
I n s p i r e my muse 0 Heavens now from above,
! To p a i n t e th e p a s s i o n s o f a p r i n c e l y l o v e .
( 11. 1 * 45- 450)
The words " p a i n t e th e p a s s i o n s " show t h e p o e t ' s know ledge
o f th e Ars P i c t u r a t r a d i t i o n , o r w ith c r e a t i n g a v i v i d and
im p r e s s iv e p i c t u r e o f th e e v e n t. To a c c o m p lish t h i s end,
D ray to n b e g in s t h i s s e c t i o n w ith a s t a n z a d evelop ed b y th e
j
' f i g u r e e n u m e ratlo which " d e t a i l s " th e e x a c t c ir c u m s ta n c e s
i
| o r th e e x a c t a p p e a ra n c e o f Edward in h i s extrem e p a s s i o n :
H is eyes a b o u t t h e i r r o u l l n g G lobes doe c a s t ,
To fln d e t h a t Sunne, from whom th e y h ad t h e i r l i g h t ,
H is th o u g h te s doe l a b o r f o r t h a t s w e e te r e p a s t .
Which p a s t th e daye, and p le a s d him a l l the n i g h t t
| He c o u n te s th e h o w e rs, so s l o l y how th ey r u n n e ,
; R eproves th e d ay e, and blames t h e l o y t r i n g su n n e .
| ( 11. 451- 456)
T h is f i g u r e i s a l s o u sed I n a l e s s I n s i s t e n t form i n
Now show ring downe a f l u d o f b r a c k i s h t e a r e s ,
The E p ith em aes to h i s h a r t - s w o ln e g r i e f e ,
Then s i g h i n g o u t a v o l lu e o f d i s p a y r e s ,
Which o n e ly i s t h 1 a f f l i c t e d mans r e l i e f e :
(11. 463-466)
! T y p i c a l l y , D ray to n p r e p a r e s f o r th e la m e n t o f the l o v e r s
1
w ith t h i s f i g u r e a s In th e s i m i l a r p h r a s e "Hee t a k e s h i s
Crowne, and s p u rn n s i t a t h i s f e e t . " Then to make t h e o c
c a s i o n Im p r e s s iv e as w e l l a s v i v i d , D ra y to n I n c lu d e s an
e p ic s im ile t h a t i s b a se d on manner o f d o i n g :
As g o r g io u s Phoebus i n hiB f i r s t u p r i s e
D is c o v e rin g now h i s S c a r l e t - c o l o u r e d head.
9 6
By tro u b lo u B motionB o f th e lo w rin g S k ie s
H is g l o r i o u s beames w ith fo g g e s a r e o v e r s p r e d ,
So a r e h i s c h e e r e f u l browes e c l i p s ' d w i t h
sorrow e,
Which c lo u d th e s h in e o f h i s y o u t h s - s m i li n g
morrow. ( l l . 4 5 7 - ^ 6 2)
Having th u s docum ented th e im p o rta n c e o f th e o c c a sio n
th ro u g h th e s e f i g u r e s , D ray ton t u r n s t o th e lam en t i t s e l f ,
w hich i s te n s t a n z a s lo n g . Of th e s e t e n s t a n z a s , seven
a re a p o s tro p h e s to such b e in g s as "0 h a p p ie c l i m a t , " "0
e a r t h - p a l e S a t u r n e , ” M 0 H e a v e n s ,” and ”0 damned W o r l d .”
I
jAnd o f th e s e sev en s t a n z a s , one i s d e v e lo p e d by a f i g u r e
i
| o f c o n s u l t a t i o n — ”0 Heavens why a r e you d e a fe u n to my
i
jm o ne?/ S' dayne you my p r a y e r s ? o r s c o rn e to h e a r e my
m is s e ? - - a n d th e o t h e r s i x a r e d e v e lo p e d by s y s t r o p h e . This
f i g u r e , w ith i t s r e p e a t e d d e f i n i t i o n s , can become q u i t e i n
i ' s i s t e n t , as when D rayton u s e s i t to p a t t e r n t h r e e s ta n z a s
i
|
in s u c c e s s io n :
0 damned w o rld , I sc o rn e th e e and th y w o rth ,
The v e ry so u rc e o f a l l i n i q u i t i e :
An o u g ly damme t h a t b r i n g s such m o n ste rs f o r t h ,
The maze o f d e a th , n u rse o f i m p i e t i e ,
| A f i l t h i e s in k , where lo th so m n e s d o th d w e l l ,
A l a b y r i n t h , a j a y l e , a v e ry h e l l .
D e c e i t f u l l S ir e n t r a y t o r to my y o u th ,
Bane to my b liS B e, f a l s e t h e e f e t h a t s t e a l s t
my jo y e s :
Mother o f l y e s , sworne enemie t o t r u t h ,
The s h i p o f f o o l e s f r a u g h t a l l w ith gaudes
and t o y e s ,
A v e s s e l l s t u f t w ith f o u le h y p o c r i s i e ,
The v e ry tem ple o f I d o l a t r i e .
0 e a r t h - p a l e S a tu r n e most m a le v o le n t,
Com bustious P l a n e t , t y r a n t i n t h y r a i g n e ,
The sworde o f w r a th , th e r o o t e o f d i s c o n t e n t ,
In whose a s c e n d a n t a l l my jo y e s a r e s l a i n e :
97
Thou e x e c u t i o n e r o f f o u l e b lo o d ie r a g e .
To a c t t h e w i l l o f lam e d e c r e p i t a g e .
(1 1 . 4 8 7-504 )
r
F u r t h e r , t h e l a c k o f s y n t a c t i c a l v a r i a t i o n ( t h e d e f i n i t i o n s
a r e alw ays a noun c l u s t e r f o llo w e d by e i t h e r a p r e p o s i t i o n
a l p h r a s e o r a v e rb c l u s t e r ) i n c r e a s e s th e r e p e t i t i v e n e s s
o f t h e f i g u r e .
The f i r s t s t a n z a o f t h i s p a s s a g e f u r t h e r i l l u s t r a t e s
t h e I n c r e a s i n g i n s i s t e n c e t h a t D ra y to n can a c h ie v e w i t h
s y s t r o p h e even w i t h i n one s t a n z a . H ere, th e seco n d and
j t h i r d l i n e s a r e e a c h d e v o te d t o one t r o p i c a l d e f i n i t i o n ,
I
j b u t th e f o u r t h l i n e i n c l u d e s two such d e f i n i t i o n s , w h ile
! t h e s i x t h l i n e i n c l u d e s t h r e e . The se n se o f c lim a x i s
j f u r t h e r en h an c ed i n th e l a s t l i n e by th e c l i m a c t i c o r d e r -
[
i n g o f th e w ords "A l a b y r i n t h , a j a y l e , a v e ry h e l l "
( a u x e s i s ) .
So com m itted i s D ra y to n t o th e c o m b in a tio n o f s y s -
t r o p h e and a p o s t r o p h e i n t h i s p a t t e r n t h a t he u s e s i t i n
a lm o s t e x a c t l y t h e same form i n s e c t i o n s o f t h e poem t h a t
| a r e n o t la m e n ts a s su c h . I n d e e d , he u s e s t h e same form
| w h e th e r t h e s u b j e c t i s d i s p r a i s e , a s i n th e above q u o t a
t i o n , o r p r a i s e a s i n
0 s t r o n g com bining c h a i n e o f s e c r e c i e ,
Sweet jo y o f h e a v e n , t h e A ngels o r a t o r i e ,
The bond o f f a it h , the s e a le o f B a n c titie ,
The s o u l e s t r u e b l i s s e , y o u th s s o l a c e , a g e s
g l o r i e ,
An e n d l e s le a g u e , a bond t h a t ’ s n e v e r b r o k e n ,
A t h i n g d i v i n e , a word w ith w onder sp oken.
( 1 1 . 175- 180)
98
H ere a g a i n i s t h e a lm o s t e x c l u s i v e u s e o f noun p h r a s e s mod
i f i e d by p r e p o s i t i o n a l p h r a s e s t o form a s e r i e s o f d e f i n i
t i o n s o f an a b s t r a c t i o n .
F i n a l l y t h i s la m e n t i l l u s t r a t e s one o t h e r f i g u r a t i v e
t e c h n i q u e t h a t D ra y to n c an u s e t o a m p l i f y e m o tio n a s a s u b
j e c t :
My l i f e i s b u t a v e r y mappe o f w oes,
My J o y e s t h e f r u i t e o f an u n t i m e l y b i r t h . ,
My y o u t h i n l a b o u r w i t h u n k i n d l y th r o w e s ,
My p l e a s u r e s a r e l i k e p l a g u e s t h a t r a i g n e on
e a r t h *
A l l my d e l i g h t s l i k e s t r e a m e s t h a t s w i f t l y
r u n ;
Or l i k e t h e dewe e x h a l e d by t h e S u n .
(11. 505-510)
The o r n a m e n t a t i o n o f t h i s s t a n z a can be v iew ed i n s e v e r a l
w a y s. The s t a n z a i s , f o r e x am p le , a s e r i e s o f m e ta p h o r s .
F u r t h e r , we c a n s e e h e r e D r a y t o n 's a t t r a c t i o n t o t h e d e
f i n i n g p r o c e s s o f s y s t r o p h e , f o r t h e s t a n z a s do p r e s e n t , a
s e r i e s o f d e f i n i t i o n s ( I w ould n o t , h o w e v er, l a b e l th e f i g
u r e h e r e s y s t r o p h e , s i n c e we do n o t h a v e a s e r i e s o f d e f
i n i t i o n s o f t h e same o b j e c t a s i n s y s t r o p h e p r o p e r ) .
The o r n a m e n t a t i o n o f t h i s s t a n z a m ig h t a l s o be view ed
a s d i s t r i b u t i o n o r p a r t i t i o . D i s t r i b u t i o n , b a s e d on th e
l o g i c a l p l a c e d i v i s i o n , i s t h e p r o c e s s o f " D i v i d in g th e
w h o le i n t o i t s p a r t s . I t was c o n s i d e r e d a f i g u r e o f
a m p l i f i c a t i o n t h a t made t h e t o p i c l a r g e by d e t a i l i n g o r
e x p a n d in g t h e a rg u m e n t— d w e l l i n g on e a c h p a r t . The above
s t a n z a may b e u n d e r s t o o d a s d i s t r i b u t i o n i f Edward i s
99
t a k e n a s a w hole. Then e a c h l i n e makes a s t a t e m e n t a b o u t
e ac h o f h i s " p a r t s . ”
A lth o u g h t h e r e I s o n ly one exam ple o f t h i s f i g u r e I n
t h i s la m e n t, th e f i g u r e d i s t r i b u t i o n i s one o f t h e c h i e f
means by w h ic h D rayton c r e a t e s t h e f i n a l la m e n t o f Edward.
I n t h a t f i n a l lam en t (1 1 . 1 6 6 3- 1 6 9 8 ) d i s t r i b u t i o n can be
c o n f in e d t o one s t a n z a a s i n
E y e s , n e v e r s l e e p , u n t i l you se e r e v e n g e .
H ead, n e v e r r e s t , u n t i l l th o u p l o t r e v e n g e ,
H a r t , n e v e r t h i n k , b u t t e n d i n g to r e v e n g e ,
H an ds, n e v e r a c t , b u t a c t i n g deep r e v e n g e .
( 1 1 . 1 6 9 3- 1 6 9 6)
T h is s t a n z a i s a m i n i a t u r e o f D r a y t o n 's t e c h n i q u e f o r d e
p i c t i n g f e e l i n g i n t h e f i n a l la m e n t. He d i v i d e s a whole
i n t o p a r t s and th e n p r o c e e d s to d e t a i l th e p r o p e r a c t i o n
o f each o f th o s e p a r t s . A lm ost th e e n t i r e la m e n t c o n s i s t s
i n E d w a rd 's naming v a r i o u s p a r t s o f th e e a r t h and a sk in g
them to r e m i t t h e i r u s u a l a c t i o n s .
0 h e a v e n s (q u o th hee) lo c k up th e l i v i n g day,
C ease sunn to l e n d th e w o rld th y g l o r i o u s l i g h t ,
S t a r r s , f l y e y o u r c o u r s e , and w ander a l l a s t r a y ,
Moone, le n d no more t h y s i l v e r s h in e by n i g h t .
E a r t h , be thou h e l p l e s I n t h y c r e a t u r s b e r t h ,
S e a , b r e a k tho u f o r t h from t h y Immured bound,
A y re , w i t h th y v a p o rs poyson tho u th e e a r t h ,
W ind, b r e a k t h y Cave, and a l l th e w o rld c o n fo u n d .
( 1 1 . 1 6 6 3- 1 6 6 6, 1669-16T2)
S y s t r o p h e , a p o s t r o p h e , d i s t r i b u t i o n and e p i c s i m i l e ,
th e n , a r e t h e f i g u r e s t h a t D ra y to n u s e s when h i s s u b j e c t
i s r e a c t i o n a s In t h e la m e n ts . These d e v i c e s t o make
l i g h t o r t o o rn am en t em o tio n may, how ever, h a v e one s e r i -
100
ous l i m i t a t i o n . W hile t h e y can c r e a t e t h e vehemence o f th e
emotion., th e y a r e n o t ( a t l e a s t i n D r a y t o n 's h a n d s) i n s t r u
m ents f o r e x p l o r i n g t h a t e m o tio n o r f o r show ing i t s d e v e l
opment o r n u a n c e s . F o r e x am p le, i n th e la m e n t j u s t e x
am ined, i s a n y th i n g e x c e p t th e e x t r e m i t y o f E d w a rd 's
p a s s i o n shown? The e x p l i c i t s t a te m e n t s show t h a t Edward
h a s come a long e m o tio n a l d i s t a n c e — "0 b r e a k e my h a r t
q u o th h e , 0 b r e a k e and d y e , / Whose i n f a n t t h o u g h ts w ere
n u r s t w ith sw eete d e l i g h t j / B u t now th e I n n e o f c a r e and
m i s e r i e " (1 1 . 469-471)* b u t th e p a th i t s e l f i s n o t d e -
l
p i c t e d o r made l i g h t by t h e f i g u r e s . R a t h e r , t h e s e f i g u r e s
s e t one i n t e n s e p i t c h o r one a t t i t u d e and t h e r e i s l i t t l e
p l a c e f o r th e s p e a k e r t o go .
Any o f th e f i g u r e s may b e r e s p o n s i b l e f o r t h i s s t a t i c
d e p i c t i o n o f t h e e m o tio n a l s u b j e c t , b u t s y s t r o p h e m ost
c l e a r l y i l l u s t r a t e s th e l i m i t a t i o n s t h a t a r e i n h e r e n t i n
D r a y t o n 's u s e o f t h e f i g u r e s . S in ce s y s t r o p h e p r e s e n t s a
s e r i e s o f a s s e r t i o n s a b o u t a s u b j e c t , i t s form m ig h t a l l o w
f o r an e x p l o r a t i o n o f t h e s u b j e c t . T h a t i s , w h ile n e v e r
" d e c l a r i n g th e s u b s ta n c e " o f th e s u b j e c t , i t m ig h t p o i n t
o u t c a u s a l l y r e l a t e d " a c c i d e n t s . " Or i n t h e s e r i e s t h e
f i g u r e m ig h t d e p i c t a d e e p e n in g gloom by r e f e r r i n g t o i n
c r e a s i n g l y more I n i q u i t o u s o b j e c t s . B u t t y p i c a l l y i n
D r a y t o n 's s y s t r o p h e , a l l t h e term s p r e s e n t e d i n t h e s e r i e s
a r e t r e a t e d e q u a l l y ; a l l t h e im ages a r e a t one p i t c h and
a t one l e v e l o f s o p h i s t i c a t i o n and c o m p l e x i t y . None o f th e
101
I m p l i c a t i o n s o f any one d e f i n i t i o n I s e x p lo r e d any more
th an any o f th e o t h e r s . For exam ple, " f l e s h l y c o f f i n s " i s
n o t u s e d to a n t i c i p a t e th e d e a th o f G a v esto n , n o r I s "The
sworde o f w ra th , th e r o o t e o f d i s c o n t e n t " u s e d to s u g g e s t
o r a n t i c i p a t e th e w ra th o f th e B aro ns even th o u g h D rayton
l a t e r u s e s a lm o st th e same words to d e s c r i b e th e B aro ns.
S i m i l a r l y in th e s t a n z a s i l l u s t r a t i n g d i s t r i b u t i o n such a s
"My l i f e i s b u t a v e ry mappe o f w o e s," t h e r e i s n o t a move
ment from g e n e r a l to s p e c i f i c o r from i m p o r t a n t to t r i v i a l
( j o y e s , p l e a s u r e s , d e l i g h t s ) , e i t h e r o f w hich arra n g em e n t
m ight l e a d to an e x p l o r a t i o n o f th e em otion o r m ight a llo w
th e p o e t to show h i s s p e a k e r 's d eep en in g gloom o r grow ing
a w a re n e ss o f h i s own i n i q u i t y .
T hese s p e c u l a t i o n s a r e o n ly to s u g g e s t t h a t the form
o f th e f i g u r e s t h a t d e p i c t em otion m ight h av e a llo w ed f o r
a more complex t r e a t m e n t o f th e em o tio n . F u rth e rm o re , i t
i s n o t a b l e t h a t on th e one o c c a s io n when D ra y to n ch ooses t o
t r e a t an em otion w i t h some c o m p le x ity , he u s e s o t h e r f i g
u r e s . When G av eston i s b a n is h e d f o r th e f o u r t h tim e, a l l
th e c o u r t i s c o n c e rn e d o v e r what to do a b o u t th e d i s s o l u t e
f a v o r i t e — "On t h i s Dilemma s to o d my t i c k l e s t a t e , / Thus
pro e t c o n t r a a l l men doe d i s p u t e " ( l l . 1 0 3 9- 10^ 0 ) - - i n
c lu d in g th e King. As i s u s u a l a f t e r one o f G a v e s to n ’s
b a n is h m e n ts , Edward i s g iv e n a lam en t i n w hich he r e a c t s
to t h e e v e n t; b u t a s th e word Dilemma s u g g e s t s , h e re h i s
r e a c t i o n s w i l l be more com plex. The l i n e s w i l l n o t d e p i c t
102
o n ly E dw ard's i n t e n s e so rro w , b u t w i l l d e p i c t h i s s e v e r a l
r e a c t i o n s to th e e v e n t o f G a v e s to n 's b a n is h m e n t. T hat i s ,
u n l i k e th e o t h e r la m e n ts, D rayto n t r i e s t o show E d w ard 's
m ind i n c o n f l i c t o v e r a l o g i c a l problem and t r i e s to show
E d w a rd 's ch anging r e a c t i o n t o th e e v e n t . Thus a t th e b e
g i n n in g o f th e lam en t Edward i s i n a d eep so rro w — "What
P l a n e t r a ig n d i n t h a t u n l u c k i e h o w r e ,/ When f i r s t I was i n
v e s t e d i n th e Crowne?" (11. 9 8 5- 9 8 6) —b u t a t th e end o f th e
la m e n t he h as come to th e r e l a t i v e l y j o y f u l r e s o l u t i o n
"Then r a y s e t h y t h o u g h ts , and w ith th y th o u g h ts th y l o v e /
I
jKings want no means t ' a c c o m p lish w hat th e y would" (11.
1 0 0 9- 1 0 1 0).
T h is lam en t b e g in s , a s do th e o t h e r s , w ith th e p o e t
a m p lify in g th e s p e a k e r 's e m o tio n s by f i r s t d e t a i l i n g th e
c ir c u m s ta n c e s t h a t su rro u n d them. Here D rayton g i v e s an
e x a c t a cc o u n t o f th e p h y s i c a l e x p r e s s io n s o f th e extrem e
p a s s i o n : "But when my want gave b r e a t h u n to h i s m o a n e ,/
And t h a t hys t e a r e s had now u n t i d e h y s ton g u e" (11. 961-
9 6 2 ) . Then i n t h e lam ent i t s e l f , th e e x tr e m i t y o f th e
em o tio n i s f u r t h e r a m p l i f i e d by an a p o s tr o p h e , d e v e lo p e d
by s y s t r o p h e : "0 c u rs e d s t a r s (quo th he) t h a t guyde my
b r y t h , / I n f e r n a l l T o rch e s, Comets o f m i s - f o r tu n e " (11. 9 6 7-
9 6 8 ) . And f i n a l l y D rayton a m p l i f i e s th e emotion by i n t r o
d u c in g a s e r i e s o f compound e p i t h e t s t h a t a r e c lo s e to th e
t r o p i c a l r e p e t i t i o n o f th e m etaphor g r o u p s : "T id e-
c e a s l e s sorrow . . . / Y o u th - w ith e r in g c a r e s . . . / H a rt-
103
k y l l i n g g r i e f e . . . , 1 1 and so f o r t h .
Up to t h i s p o i n t th e f i g u r e s seem to b e p o i n t i n g th e
Jlam ent to w a rd s th e o n e - d im e n s io n a l vehemence o f th e o t h e r
l a m e n ts . B ut i n t h i s i n s t a n c e D ra y to n a l s o u s e s o t h e r f i g
u r e s t h a t can do more th a n c r e a t e vehem ence. The f i r s t
s t a n z a , f o r exam ple, u s e s t h a t form o f r h e t o r i c a l q u e s t i o n
c a l l e d pysm a, t h a t a c c o r d in g to Feacham "m aketh h i s [ t h e
o r a t o r ’ s] sp e e c h v e ry Sharpe and v e h e m e n t ." '^ Y et t h i s
f ig u r e ,, a t l e a s t i n t h e o r y , i s u s e d by t h e o r a t o r to su g
g e s t t h a t he i s r e a s o n i n g w i t h h i s a u d ie n c e . I t i s a f i g
u r e o f c o n s u l t a t i o n "w hich by r e a s o n o f t h e i r form e and
I n t e r r o g a t i o n seeme to c o n s u l t and d e l i b e r a t e w i t h th e
h e a r e r s . " - ^ Then i n th e n e x t s t a n z a , D ra y to n a g a in u s e s
r h e t o r i c a l q u e s t i o n , and th iB tim e i t f u n c t i o n s to show
Edward a c t u a l l y e x p l o r i n g t h e e x p e r i e n c e a s w e l l a s to d o c
um ent h i s vehem ent r e a c t i o n . T h is e x p l o r a t i o n I s c r e a t e d
by th e u s e o f a n t i t h e s i s , h e r e p a r t i c u l a r l y to s u b s t a n t i a t e
a d i s c r e p a n c y b e tw ee n e x p e c t a t i o n and r e a l i t y .
Am I a P r i n c e ? y e t t o my p e o p le s u b j e c t ,
T hat s h o u ld be l o v 'd ? y e t th u s am l e f t
f o r l o r n e ,
Ordaynd t o r u l e ? r e s p e c t e d a s an o b j e c t ,
L iv e I t o se e m ine h o n o r had i n s c o r n e ?
B ase d u n g h i l l m ind, t h a t d o e s t such
s l a v e r y b r i n g .
To l i v e a p e s a n t , and be b o rn e a K ing.
(1 1 . 991-996)
T h is d i s c r e p a n c y betw een e x p e c t a t i o n and r e a l i t y i s th e n
p a r t l y r e s o l v e d by means o f a s e r i e s o f e x e m p la . The p u r -
104
pose o f t h e exem pla h e r e i s to p o i n t to a l o g i c a p a r t from
human k i n d t h a t i n t u r n m ust be a p p l i e d to human k in d :
i
j The p u r e s t s t e e l e d o th n e v e r t u r n e a t l e a d ,
N or Oke d o th bow a t e v e ry w inde t h a t b lo w e s ,
N or Lyon from a Lambe d o th t u r n e h i s head,,
Nor E ag le f r i g h t e d w ith a f l o c k o f Crowes:
And y e t a K ing want c o u ra g e i n h i s b r e a s t ,
T rem bling f o r f e a r e to s e e h i s woes r e d r e s t .
( 11. 1007- 1012)
Then i n t h e t h i r d s t a n z a Edward i s made to a p p ly t h e l o g i c
he h a s d i s c o v e r e d i n t h e second s t a n z a (a l o g i c t o w hich
he was f o r c e d by t h e f i r s t s ta n z a ) t o h i s own s i t u a t i o n :
I t r a t h e r f i t s a v i l l a i n e t h e n a s t a t e ,
To have h i s lo v e on o t h e r s l y k i n g s p l a c e d ,
Or s e t h i s p l e a s u r e s a t so b a s e a r a t e ,
To see th e same by e v e r y s l a v e disgraced,*
A King s h o u ld e v e r p r i v i l e d g e h i s p l e a s u r e ,
And make h i s P e e rs e s te e m e i t a s t h e y r
t r e a s u r e . (11. 1013-1018)
And f i n a l l y Edward r e a c h e s t h e a p p r o p r i a t e e m o tio n a l
as w e l l a s l o g i c a l c o n c l u s i o n : "Then r a y s e t h y t h o u g h t s ,
and w i t h th y t h o u g h t s , th y l o v e , / K ing s w ant no means
t 'a c c o m p l i s h what t h e y would" and f i n a l l y he u n d e r s t a n d s
th e a p p r o p r i a t e a c t i o n to be made a s a r e s u l t o f t h i s l i n e
o f r e a s o n i n g : "L et n o t th y lo v e su c h c r o s s e s t h e n s u s
t a i n s , / B u t r a y s e him u p , and c a l l him home a g a i n e " (11.
1 0 1 3 -1 0 1 4 ).
Thus D rayton d o e s a tte m p t h e r e t o show th e em o tio n o f
a c h a r a c t e r d e v e lo p in g w ith in t h e poem. The e m o tio n i s
n o t r e a c h e d e ls e w h e re and th en b r o u g h t f u l l - g r o w n b e f o r e
th e r e a d e r . To a c c o m p lis h t h i s p u r p o s e , he u s e s f i g u r e s
t h a t a r e r e l a t i v e l y r a r e i n P e i r s G a v e s to n — e x e m p la , a n
105
t i t h e s i s , and pysm a. These a r e a l l f i g u r e s t h a t a t l e a s t
i n th e o ry make l o g i c a l demands on th e s p e a k e r and on th e
h e a r e r . The a b i l i t y to show a mind i n c o n f l i c t w i l l r e a c h
i t s f u l l e s t developm ent f o r D rayton In E ng lands H e r o i c a l l
E p i s t l e s . And some o f th e s e f i g u r e s w i l l be among th e
m ost u s e f u l t o o l s i n t h a t m a tu r e r work.
In a d d i t i o n to th e a p p l i c a t i o n o f f i g u r e s to an emo
t i o n a l su b ject., t h e r e i s , f i n a l l y , a n o th e r way to u n d e r
s ta n d th e s p e c i f i c a p p l i c a t i o n o f f i g u r e s i n th e poem, and
t h i s ta k e s u s b ack to th e h i s t o r i c a l c o n c e rn s o f th e poem,
more p a r t i c u l a r l y i t s n a r r a t i v e s t r u c t u r e . I t i s a p p a r e n t
t h a t a lth o u g h D rayton was w r i t i n g a h i s t o r y i n P e i r s G aves
to n t h a t c o v e rs a long p e r i o d o f tim e and t h a t n a r r a t e s
many h i s t o r i c a l e v e n t s , h i s s t r u c t u r e I s l i k e t h a t o f th e
s h o r t e r , com pendious M ir ro r poem r a t h e r th a n l i k e t h a t o f
th e lo n g e r e x t e n s i v e c h r o n i c l e o r e p ic poem such a s Dan
i e l ' s The C i v i l Wars o r W a rn e r 's A lb io n s E n g lan d , A Con
tin u e d H i s t o r i e . W hile th e c h r o n i c l e poem n a r r a t e s eventB
i n c h r o n o l o g i c a l o r d e r w i t h o u t n e c e s s a r i l y im p o sin g an e x
t e r n a l p a t t e r n on th e e v e n t s , th e M irr o r poem p r e s e n t s th e
movement o f tim e a s an a l t e r n a t i o n betw een w e l l and woe f o r
I t s p r o t a g o n i s t s . T h at movement m ig ht be d e te rm in e d by
F o rtu n e a s i n th e e a r l y M ir r o r poems o r by c h a r a c t e r a s In
th e l a t e r poems. But a l l t h e s e poems sh a re th e c e n t r a l
v i s i o n o f tim e a s a movement from good f o r t u n e to bad f o r
tu n e . Homer N earin g a rg u e s t h a t p a r t o f th e g r e a t p o p u l a r -
106
I t y o f th e M ir r o r poem was owing to t h i s n a r r a t i v e s t r u c
t u r e , f o r " i t s p a t t e r n was e a sy to f o llo w f o r l i t t l e muses
and p r o v o c a t iv e o f Im provem ent by g r e a t o n e s ." - ^
D rayton d e s i g n a t e s t h i s s t r u c t u r e f o r h i s poem v e ry
e a r l y i n a s e r i e s o f t r o p e s i n which th e a c c u m u la tiv e p a t
t e r n s e r v e s a p u rp o se i n a d d i t i o n to c o p l e .
D e c la re my e b s, my o f t e n s w e llin g t i d e ,
Now tell my calmes, and then report my showreB,
My w i n t e r s sto rm e s , and th e n my summers p r i d e .
F a ls e f o r t u n e s s m i le s , th e n h e r d is s e m b lin g lo w re s ,
The h e i g h t w h erto my g l o r i e d id ascend:
Then p o y n t th e p e r i o d where my jo y e s d id end.
(11. 37-42)
The r e p e t i t i o n h e re a n t i c i p a t e s th e movement from w e l l to
woe t h a t w i l l c h a r a c t e r i z e th e n a r r a t i v e s t r u c t u r e o f th e
poem and t h a t a ls o s u g g e s ts th e in c o n s ta n c y o f G aveston*s
f o r t u n e .
I n f a c t , i n c h o o sin g th e s t o r y o f G aveston, D rayton
c h o o ses an i n c i d e n t i n h i s t o r y t h a t would seem e s p e c i a l l y
s u i t e d to such a r e p e t i t i v e t r e a t m e n t , f o r G a v e s to n 's l i f e
was a s e r i e s o f r i s e s to th e h e i g h t o f power th ro u g h th e
fo n d n e s s o f Edward and d is m a l f a l l s i n t o p o v e r ty o r b a n i s h
ment b e ca u se o f th e a n im o s ity o f th e B a ro n s. And th e poem
I t s e l f i s s t r u c t u r e d aro u n d th e s e r i s e s and f a l l s . Thus
i t b e g in s w ith G aveston i n jo y a t th e c o u r t o f Edward
where "The t a b l e now o f a l l d e l i g h t i s lay d " (1. 2 6 5),* b u t
he i s b a n is h e d a t th e i n s t i g a t i o n o f th e C ourt and m ourns,
"The s t a f f e th u s b ro k e , whereon my y o u th d id s t a y , / And
w i t h th e shaddowe a l l my p l e a s u r e s gone" (11. 3 9 1- 3 9 2).
107
B u t a f t e r t h i s b a n ish m e n t, " r e s t i e s Time . . . / B rin g s F o r
tu n e i n to a c t a n o th e r scene" ( l l . 547-5^9)• T h at i s ,
Longshanks d i e s and G aveston i s a b l e to r e t u r n to th e c o u rt,
a t w hich p o i n t he e x c la im s , "Now am I mounted w ith fames
g o ld en w ing s" ( l . 6 0 1 ). He re m a in s i n t h i s b l i s s u n t i l
" am b itio n c r e e p s i n t o my b r e a s t " and " . . . F o rtu n e now
u n to my o v e r - t h r o w e , / I n t i c ' t me on w ith h e r a l l u r i n g c a l l "
(11. 77^-775)* Then G aveston i s a g a in b a n is h e d — and th e
s t o r y p ro c e e d s to h i s e x e c u tio n .
In many o f th e M irro r poems, D rayton w ould have found
th e c o m p lain in g g h o st i n t e r p r e t i n g h i s l i f e h i s t o r y i n such
te rm s o r more p a r t i c u l a r l y i n term s o f a f a l l from w e ll to
woe t h a t r e f l e c t s th e De C asib u s o r i g i n s o f th e M irro r
poems. A lth o u g h he would have fou nd a s t r u c t u r e o r means
o f n a r r a t i n g th e h i s t o r y , he would n o t have foun d an e l o
q u e n t s t y l e o r a means o f making t h e h i s t o r y i m p r e s s iv e .
More p a r t i c u l a r l y , he would n o t h av e found a s t y l e t h a t am
p l i f i e d th e s t a t e s o f w e l l and woe. C e r t a i n l y th e M irro r
p o e t s u se d f i g u r e s , p a r t i c u l a r l y t h e f i g u r e s o f grammar,
and th e l a t e r M irro r p o e t s such a s Thomas B l e n e r h a s s e t
w ere c o n ce rn e d w ith th e s t y l i s t i c problem o f " r e f i n e
m e n t . " ^ B u t th e M ir r o r p o e ts do n o t seem to be concern ed
w i t h a m p l i f i c a t i o n In g e n e r a l o r w i t h th e a m p l i f i c a t i o n o f
th e s t a t e s o f w e ll and woe in p a r t i c u l a r . And t h i s i s p r e
c i s e l y what D rayton s e t s o u t to do: to a m p lify each s t a t e
o f w e ll o r woe and to a m p lify th e t r a n s i t i o n s betw een them.
108
In d e e d , p e rh a p s th e d e s i r e f o r a m p l i f i c a t i o n o f w e l l and
woe i s th e m eeting p o i n t o f E n g li s h h i s t o r i c a l p o e t r y as
i t was w r i t t e n —M ir r o r poems— and h i s t o r i c a l p o e t r y a s the
t h e o r i s t s th o u g h t i t sh o u ld he w r i t t e n — the h e r o i c s t y l e .
F i r s t I w i l l i l l u s t r a t e th e a s s e r t i o n t h a t D ra y to n
was d e p a r t i n g from t h e M irro r poems tow ard a g r e a t e r " e lo
quence" i n th e t r e a tm e n t o f w e ll and woe. Then I w i l l i l
l u s t r a t e how he t y p i c a l l y does so .
A lth o u g h I am n o t h e re e s p e c i a l l y concerned w i t h ana
ly z in g t h e g e n e r a l s t y l i s t i c d i f f e r e n c e s betw een t h e M irror
poems and P e i r s G a v esto n , a few exam ples from a M ir r o r poem
t h a t t r e a t s th e same p e r i o d o f h i s t o r y as P e i r s G aveston
sh o u ld i l l u s t r a t e some o f the d i f f e r e n c e s in s t y l e and
D r a y to n 's d e s i r e f o r a m p l i f i c a t i o n . In a poem e n t i t l e d
"The Two R ogers surnam ed M ortim ers" (M ir r o r , 1559 e d i t i o n ) ,
th e f i r s t M ortim er l i v e s i n w e a lth and p l e n t y and t h i s
s t a t e o f w e l l i s r e p o r t e d i n th e l i n e s "For w h y le s t h a t
F o rtu n e l u l d e me i n h e r l a p , / And gav e me g y f t e s more than
I dyd r e q u y r e " (11. 9 9 -1 0 0 ). The p o e t then g o e s on imme
d i a t e l y t o d e s c r ib e t h e p l o t s o f t h e Queen and t h e I r i s h
to b r i n g a b o u t R o g e r 's d o w n fa ll. I n P e i r s G a v e sto n , a t
one p o i n t , G a v e s to n 's s t a t e o f w e l l i s r e p o r t e d i n words
t h a t r e c a l l th e above c i t a t i o n : "And th u s b l i n d F o rtu n e
l u l l s mee i n h e r l a p , / And ro c k s mee s t i l l , w i t h many a
S y re n s song" (11. 118 3-118 4). In b o t h poems t h e p e r s o n i
f i c a t i o n o f F o rtune i s n o t u n u s u a l. But w h ile t h e M irro r
109
p o e t g o e s on to d e s c r i b e th e o t h e r e v e n t s i n th e a c t i o n ,
D ra y to n s t o p s h e r e to a m p lify t h e s t a t e o f w e l l and th e
coining d i s a s t e r . I n d e e d , even w i t h i n th e l i n e s j u s t
q u o te d from b o t h poem s, we can se e t h a t th e M ir r o r p o e t
makes two p r o g r e s s i v e s t a t e m e n t s — f i r s t t h a t th e p e r s o n i s
" l u l d e , " th e n t h a t he i s g iv e n " g y f t e s . " D ra y to n , how ev er,
c h o o s e s to e m b e l l i s h th e term s o f co m p a riso n s u g g e s te d by
' ' l u l l s . " Thus t h e co m pariso n i s e x te n d e d i n t o h a v in g F o r
t u n e , l i k e a m o th e r, a l s o r o c k and s in g to t h e u n s u s p e c t i n g
G a v e s to n . F u r t h e r , th e n e x t two l i n e s i n t h i s s t a n z a r e
p e a t e s s e n t i a l l y t h e same i d e a b u t w i t h d i f f e r e n t te rm s o f
c o m p a ris o n : "Thus p l a c ' d mee on t h e A t l a s o f my h a p , / From
w hich sh e e means t o c a s t mee downe e r e lo n g " ( 1 1 . I I 8 5 -
1186).
Thus D r a y t o n 's m e ta p h o rs s e r v e to make e x p l i c i t th e
coming d o w n f a ll o n l y s u g g e s te d i n " l u l l s " and "S y re n s
S o n g ." B ut D r a y t o n 's s t a n z a d o e s n o t even l e a v e t h e change
from w e l l to woe t h e r e . I t en d s w i t h an a p o s tr o p h e to F o r
t u n e , th e form o f w hich r e c a l l s t h e r e p e t i t i v e d e f i n i t i o n s
o f s y s t r o p h e : " B la c k u g l y f i e n d , 0 f o u l e m ishapen e v i l l , /
In shew an A ngel, b u t i n deed a d i v e l " (1 1 . H 8 7 - H 8 8 ) .
D ra y to n f i n a l l y c o n c lu d e s t h e p a s s a g e on w e l l and coming
woe w i t h two e p ic s i m i l e s :
Even a s a Lyon g o t I n t o h i s pawes
The s i l l y Lambe, seems y e t a w h ile t o p l a y ,
110
T i l l s e e k in g to e s c a p e o u t o f h i s jaw es,
T h is b e a s t l y King now t e a r s i t f o r h i s p r a y .
Thus h a v in g g o t mee i n h e r a rm e s so f a s t ,
D e te rm in s now t o f e e d on mee a t l a s t .
Or a s t h e s l a u g h te r - m a n d o th f a t th e b e a s t ,
Which a f t e r w a r d he m eaneth s h a l l b e s la y n e ,
B e fo re p r o v id e d to some solem ne f e a s t ,
The m ore th e r b y he may i n c r e a s e h i s g a in e ,
Loe, t h u s p ro u d F o r tu n e f e e d s mee f o r th e
k n i f e ,
F or w h ic h ( i t seem s) shee h a d p r e p a r d my l i f e .
( 1 1 . 1 1 8 9 - 1 2 0 0 )
T hese s i m i l e s show t h a t t h e p o e t w ish e s t o make t h e o c c a
s i o n i m p r e s s i v e and, in a d d i t i o n , th e y i n t e n s i f y t h e h o r
r o r o f i t s i n c e t h e y move t h e r e l a t i o n o f G aveston and F o r
tu n e from t h a t o f a t r e a c h e r o u s m o ther an d c h i l d to
l i o n - l a m b , and s h e e p - b u t c h e r . ( I would n o t a rg u e , how ever,
t h a t t h e r e i s a c a r e f u l l y c o n t r o l l e d p r o g r e s s i o n i n h o r r o r
b e c a u s e th e e x c la m a tio n a t t h e end o f t h e f i r s t s t a n z a " in
d eed a d i v e l " i s a b o u t a s h o r r i b l e a s i t i s p o s s i b l e to
b e .)
I n a n o t h e r I n s t a n c e i n t h e M irro r poem c i t e d a b o v e, a
s t a t e o f w e l l i s d e s c r i b e d I n "And w h y le s she [ F o r tu n e ]
sm ooth, blew e on t h i s m erye g a l e , / He w as c r e a t e d e a r l e o f
M arche, a l a s w hence envy s p r a n g w hiche h i s d e s t r u c t i o n
w as" (11. 1 1 - 1 2 ) . The im age o f th e s p e a k e r b e in g blow n by
F o r t u n e b r i n g s t o mind a d e s c r i p t i o n o f w e l l i n P e i r s Ga-
v e s t o n ;
1 F r a u g h t w ith d e l i g h t , and s a f e l y u n d e r s a y l e ,
2 L ike f l i g h t - w i n g 1d Faucons now we ta k e o u r
sco p e.
3 Our y o u th and f o r t u n e blowe a mery g a l e ,
4 We lo o s e th e a n c h o r o f o u r v e r t u e s hopet
111
5 My y o u t h f u l l p ra n k s , a r e s p u rs to h i s d e s i r e ,
6 I h e l d th e r a y n e s , t h a t r u l ' d th e g o ld en sunne,
7 My b la n d is h m e n ts w ere f e w e l l to hys f y e r ,
8 I h ad th e g a r l a n d w hosoever wonne:
9 I w axt h i s w inges and ta u g h t him a r t to f l y e ,
10 Who on h i s b ack m ig h t b e a re me th ro u g h th e
sk y e. (11. 271-273, 277-282)
As in t h e p r e c e d in g exam ple, th e M irro r p o e t d ro p s th e
t o p i c o f w e l l and g oes on t o th e h i s t o r i c f a c t t h a t th e new
t i t l e was a s o u rc e o f envy i n o t h e r s and p r i d e i n M ortim er.
D ra y to n , how ever, s t a y s w ith th e t o p i c s o f w e l l and im pend
in g woe th ro u g h a n o th e r s t a n z a . M oreover, e a c h o f th e
t r o p i c a l s t a te m e n ts i n t h i s second s ta n z a e m b e llis h e s th e
s ta te m e n t "F ra u g h t w ith d e l i g h t " j th e s t a te m e n ts a re a c -
1
c u m u la tiv e and r e p e t i t i v e . D ray to n even r e t u r n s to th e
b i r d image o f th e "Faucons" ( l . 2) i n th e im p lie d Phaeton
image o f t h e c o n c lu d in g c o u p l e t (11. 9 - 1 0 ) . F u r t h e r , D ra y
to n a t t e m p t s to make th e lan g u a g e f i g u r a t i v e l y dense by
e x p la in i n g a m e ta p h o r ic a l s ta te m e n t ( l . l ) w i t h a s im ile
( 1. 2).
As m en tio n ed e a r l i e r , o t h e r t o p i c s b e s i d e s w e ll o r
woe can be t r e a t e d e l o q u e n t l y by D rayton a lth o u g h th e y may
n o t be so t r e a t e d in a M ir r o r poem. F or exam ple, s e v e r a l
o f th e M ir r o r poems d e p i c t a c h a r a c t e r who was th e f a v o r
i t e o f th e K ing. A common m o ti f i n th e s e poems i s to have
th e f a v o r i t e e x p la in h i s c o n t r o l o v e r th e K ing. I n th e
poem "Lord Mowbray," f o r exam ple, th e p r o t a g o n i s t e x p l a i n s
112
h i s o b s e q u io u s n e s s to th e King i n "W herfore to th e n d e I
m ig h t a lo n e e n i o y e / The K inges good w y ll I made h i s l u s t
my law e" (11. 4 3 - 4 4 ) . And he a l s o e x p l a i n s h i s m a n ip u la
t i o n s o f th e King i n "F or I th r o u g h f l a t t e r y a b u se d h i s
w anton y o u t h , / And h i s fonde t r u s t augm ented my v n t r u t h "
(1 1 . 7 5 - 7 6 ) . U s u a l l y su c h s t a t e m e n t s come b e f o r e th e p r o
t a g o n i s t d e s c r i b e s h i s f a l l and s e r v e to e l e v a t e th e h e i g h t
from w hich he f a l l s . B ut w h ile t h e M ir r o r p o e t may m e re ly
s t a t e th e c o n t r o l , D ra y to n , th r o u g h f i g u r e s , s e e k s to am
p l i f y t h a t c o n t r o l . I n th e o p e n in g o f P e i r s G a v e s to n , f o r
exam ple, D ra y to n d e v o te s seven s t a n z a s ( i l . 2 1 7 - 2 5 8) t o
d e s c r i b i n g G a v e s to n 1s c o n t r o l o v e r th e K ing. T hese s t a n
z a s , m o reo v e r, a r e h i g h l y o rn a m e n te d . S e v e r a l s t a n z a s a r e
d e v e lo p e d by e p ic s i m i l e - - " L i k e a s th e w anton Y v ie w ith
h i s twyne" and "Or a s L o v e - n u r s in g Venus when she
s p o r t e s " — and s e v e r a l s t a n z a s a r e d e v e lo p e d by d i s t r i b u
t i o n , a s i n ,
My w ords a s la w e s , A u te n tiq u e he a l l o u d e ,
Mine y e a , by him was n e v e r c r o s t w i t h no,
A l l my c o n c e i t e a s c u r r a n t he avowde,
And a s my shadowe s t i l l h e s e r v e d so ,
My hand th e r a c k e t , he th e t e n n i s b a l l ,
My v o y c es e c h o , a n sw e rin g e v e ry c a l l .
(1 1 . 2 1 7- 2 2 2 )
T h is f i g u r e i s e x te n d e d th ro u g h two more s t a n z a s i n s u c
c e s s i o n .
W hile t h e s e few exam ples by no means e x p l o r e a l l t h e
s i m i l a r i t i e s i n t h e t o p i c s and t h e d i f f e r e n c e s i n th e s t y l e
b e tw e e n P e i r s G av esto n and th e M i r r o r poems, t h e y s h o u ld
113
i l l u s t r a t e j i f n o t p r o v e , w h e re in D ra y to n m ig h t b e s t r i v i n g
j f o r e lo q u e n c e .
D r a y t o n 's g e n e r a l n a r r a t i v e p r o c e d u r e i n P e i r s G av es
to n i s t o r e p o r t a s e r i e s o f e v e n t s ( h i s t o r i c a l o r e m o tio n
a l ) , t h e n p a u s e to a m p l i f y t h e j o y f u l n e s s o r w o e f u l n e s s o f
t h o s e e v e n t s . E a r l y i n t h e poem, f o r e x am p le , a f t e r p r a i s
i n g th e c o u r t o f E dw ard, D ra y to n r e p o r t s t h a t G a v e s to n a r
r i v e s a t t h e c o u r t and becom es t h e f a v o r i t e ( 1 1 . 9 7 - 2 6 3 )
[ e le v e n s t a n z a s o f t h i s s e c t i o n a r e a p r a i s e o f G a v e s t o n 's
b e a u t y b y m eans o f an a m a to ry c a t a l o g u e ] . Then t h e p o e t
p a u s e s t o d e v o te t e n s t a n z a s ( 1 1 . 26 4 -3 2 4 ) t o a m p l i f y t h e
w e l l o f t h i s "A n g e ls s t a t e " and t h e coming woe t h a t w i l l
c a s t G a v e s to n "downe t o h e l l " ( l . 2 8 8 ) . D ra y to n t h e n g o e s
on t o r e p o r t t h a t King Edward becam e a n g e r e d a t G a v e s to n
and b a n i s h e d him a t t h e i n s t i g a t i o n o f t h e c o u r t ( 1 1 . 3 3 1 -
3 7 8 ) . Then a g a in D r a y to n p a u s e s t o i n c l u d e f o u r s t a n z a s
( 1 1 . 3 7 9 -3 8 4 and 3 9 1 - 4 0 3 ) , a l l m ore o r l e s s c o n c e r n e d w i t h
m a g n if y in g t h e w o e f u l n e s s o f t h i s e v e n t . And t h e n a r r a t i v e
g e n e r a l l y p r o c e e d s i n t h i s m an n e r: a f t e r r e p o r t i n g a s e r i e s
o f e v e n t s , D ra y to n w i l l u s u a l l y , a l t h o u g h n o t a lw a y s , p a u se
to a m p l i f y t h e woe o r w e l l o f t h e e v e n t s . I t i s t h i s p a u s
i n g to m a g n ify t h e woe o r w e l l t h a t a ll o w s me t o t r e a t th e
q u i t e a b s t r a c t s t a t e s o f "woe" a n d " w e ll" a s th o u g h th e y
w ere c o n c r e t e and som ewhat d i s t i n c t t o p i c s to w h ic h o r n a
m en ts a r e a p p l i e d .
114
The o rn am en ts t h a t D ra y to n u s e s f o r th e t o p i c s o f woe
and w e l l a r e found e ls e w h e re i n th e poem a p p li e d to o t h e r
I
s u b j e c t s . T y p i c a l l y , he u s e s a t l e a s t one s ta n z a o f a p o s
t r o p h e d e v elo p ed by s y s t r o p h e , He u s e s m etaphor g ro u p s
( in d e e d , m etaphor i s m ost o f t e n u sed f o r th e s e t o p i c s ) and
he u s e s one o r more s t a n z a s d ev eloped by p e r s o n i f i c a t i o n .
D ra y to n d oes n o t uBe e p ic s i m i l e s f o r t h i s s u b j e c t v e ry
o f t e n . D rayton u s e s t h e s e f i g u r e s w h e th e r th e t o p i c i s
w e l l o r woe and he u s e s them whenever t h e to p ic i s w e l l o r
woe. Hence a lm o st any p a s s a g e on th e s e t o p i c s w i l l i l l u s
t r a t e D r a y to n 's f i g u r a t i v e te c h n iq u e s . I ta k e as an e x
ample a p a ssa g e t h a t shows D r a y to n 's h a n d lin g o f b o th w e ll
and woe:
1 The t a b l e now o f a l l d e l i g h t i s la y d .
S e r v 'd w i t h w hat b a n q u e ts b e w tie c o u ld d e v is e ,
The S ir e n s s in g e , and f a l s e C alypso p la y d ,
Our f e a s t i s g r a c 'd w ith y o u th e s sw eete com oedies,
Our lo o k s w ith s m i l e s , a re s o o t h 'd o f e v e ry ey e,
C a rro u s in g lo v e i n b o u le s o f I v o r i e .
2 F ra u g h t w ith d e l i g h t , and s a f e l y u n d e r s a y l e ,
L ike f l i g h t - w i n g 'd Faucons now we ta k e our sc o p e,
Our y o u th and f o r t u n e blowe a mery g a le ,
We lo o se th e a n c h o r o f o u r v e r t u e s hope:
B lin d e d w ith p l e a s u r e i n t h i s l u s t f u l l game,
By o v e r s i g h t d i s c a r d our King w ith shame.
3 My youth ru 11 p r a n k s , a r e s p u rs t o h i s d e s i r e ,
I h e ld th e r a y n e s , t h a t r u l ' d th e golden sunne,
My b la n d is h m e n ts w ere f e w e ll t o h i s f y e r ,
I had th e g a r l a n d w hosoever wonne:
I waxt h i s w in ges and ta u g h t him a r t to f l y e ,
Who on h i s b a ck m ig h t b e a re me th ro u g h th e Bkye.
4 Here f i r s t t h a t s u n - b r i g h t tem ple was d e f i l d .
Which to f a i r e v e r t u e f i r s t was c o n s e c r a te d ,
115
T h is was th e f r u i t e , w h e re w ith I was b e g u i l d ,
H eere f i r s t t h e deede o f a l l ray fame was d a te d :
0 me! even h e e r e from p a r a d i c e I f e l l .
From A n gels s t a t e , from h e a v e n , c a s t downe
to h e l l .
5 Loe h e r e th e v e r i e Image o f p e r f e c t i o n ,
W ith t h e b l a c k e p e n s i l l o f defame i s " b lo tte d ,
And w i t h th e u l c e r s o f my y o u th s I n f e c t i o n ,
My i n n o c e n c i e i s b e s m e r 'd , and s p o t t e d :
Wow comes my n i g h t , o now ray day I s done,
T hese s a b l e c lo u d e s e c l i p s e my r i s i n g sunne.
6 Our I n n o c e n c e , o u r c h i l d - b r e d p u r i t i e
I s now d e f i l d e and a s o u r dream es f o r g o t ,
Drawne i n t h e c o ac h o f o u r s e c u r i t i e :
What a c t so v i l e , t h a t we a tte m p te d n o t ?
Our s u n - b r i g h t v e r t u e s f o u n t a i n e - c l e e r b e
g i n n i n g ,
I s now p o l l u t e d by th e f i l t h o f s i n n i n g .
7 0 w i t too w i l f u l l , f i r s t by heaven o r d a y n ’d,
An A n t i d o te b y v e r t u e made t o c h e r i s h .
By f i l t h y v i c e , a s w ith a m ole a r t s t a y n 'd ,
A p o y so n now b y w hich t h e s e n c e s p e r i s h :
T h a t made o f f o r c e , a l l v i c e s to c o n t r o u l e ,
D efam es t h e l i f e , and d o th confound t h e s o u l e .
8 The H eavens to s e e my f a l l d o th k n i t h e r brow es,
The v a u l t y g ro u n d u n d e r my b u r th e n g r o n e t h .
Unto mine e y e s , th e a y re no l i g h t a l l o w e s ,
The v e r y w inde my w lc k e d n e s s e bem oneth:
The b a r r e n e a r t h r e p i n e t h a t my fo o d e ,
And N a tu re seem es to c u r s s e h e r b e a s t l y b ro o d e .
9 And t h u s l i k e s l a v e s we s e l l o u r s o u l e s to s i n n e ,
V e r tu e f o r g o t by w o rld e s d e c e i t f u l l t r u s t .
A lone by p l e a s u r e a r e we e n t r e d i n ,
Now w a n d rin g i n th e l a b y r i n t h o f l u s t .
F o r when th e s o u le I s drow ned once i n v i c e ,
The sw ee te o f s i n n e , m akes h e l l a p a r a d i c e .
10 0 P l e a s u r e th o u , t h e v e ry l u r e o f s i n n e ,
The r o o t e o f woe, o u r y o u t h e s d e c e i t f u l l g u id e ,
A shop w here a l l c o n f e c t e d p o y son s b e e n ,
The b a y t e o f l u s t , th e I n s t r u m e n t o f p r i d e ,
I n c h a n t i n g C i r c e s , sm o o th in g c o v e r - g u i l e ,
A lu r in g S i r e n , f l a t t e r i n g C r o c k o d ile .
( 11. 265- 324)
116
These s t a n z a s I l l u s t r a t e th e p o i n t made e a r l i e r t h a t I t I s
e s s e n t i a l l y t h e w e l l o r woe t h a t D ra y to n w is h e s to a m p lif y ;
he i s n o t c o n c e rn e d w i t h w hat h ap p en ed b u t w i t h show ing
t h a t h i s p r o t a g o n i s t s w ere i n a s t a t e o f w e l l and t h a t woe
was im p e n d in g . C o n s id e r , f o r exam ple, t h e f i r s t t h r e e
s t a n z a s q u o te d h e r e . These s t a n z a s do n o t p o i n t to a n y
t h in g t h a t a c t u a l l y h ap p en e d betw een t h e l o v e r s — th e y do
n o t - p o i n t to s p e c i f i c c o n c r e t e a c t i o n s . D ra y to n c o u ld ,
when he w is h e d t o , i n v e n t e r o t i c , c o n c r e t e a c t i o n s b etw een
th e s e l o v e r s a s i n ,
H is p r e s e n c e g r a c ' t w hat e r e I w e n t a b o u t,
H is c h i e f e c o n t e n t was t h a t w hich l i k e d mee,
What e r e I d i d , h i s power s t i l l b a r e mee o u t ,
And w here I w as, t h e r e e v e r-m o re was h e e :
By b y r t h my S o v e r a ig n e , b u t b y lo v e my
t h r a l l ,
King Edw ards I d o l l a l l men d i d mee c a l l .
O ft would he s e t t e h i s crowne upon my h e a d ,
And i n h i s c h a y r e s i t downe upon my k n e e .
And when h i s e y e s w i t h lo v e w ere f u l l y f e d ,
A th o u s a n d t im e s he s w e e tl y k i s s e d mee:
When d i d I la u g h ? and he n o t se en e to
s m ile ?
I f I b u t frow nd, h ee B i l e n t a l l th e w h i l e .
( 11. 763- 77*0
Here t h e i n t e r e s t o f th e p o e t i s c l e a r l y i n i n v e n t i n g an
e r o t i c s c e n e , and to do so , he d e t a i l s t h e common a m a to ry
t o p i c "By b y r t h my S o v e r a ig n e , b u t by lo v e my t h r a l l " w i t h
a s e r i e s o f c o n c r e t e a c t i o n s .
B u t i n th e f i r s t s t a n z a o f th e w e l l - t o - w o e p a s s a g e ,
th e d e s c r i p t i o n w a f t s above su c h p a r t i c u l a r i t y b e c a u s e i t
I s " d e l i g h t " o n ly t h a t th e p o e t w is h e s t o m ag n ify a t t h i s
117
p o i n t . He w an ts to im p re ss th e r e a d e r w i t h how j o y f u l th e
!l o v e r s a re b u t he i s n o t i n t e r e s t e d i n m aking the r e a d e r
u n d e r s ta n d what p a r t i c u l a r l y th e y d id .
The u se o f m etap h o r h e r e t o a m p lify t h a t " d e l i g h t 1 1
( s t a n z a s 1, 2, 3 ) and th e im pending woe ( s t a n z a s 4, 6 )
i s r e p r e s e n t a t i v e o f D r a y to n 's method th r o u g h o u t th e poem.
J u s t as a p o s t r o p h e - s y s tr o p h e i s o f t e n u s e d to dev elo p " r e
a c t i o n " i n th e l a m e n ts , so m etap h o r i s u s e d to a m p lify th e
s t a t e o f w e ll o r woe. And f u r t h e r when t h e s u b j e c t i s
w e l l o r woe, D ra y to n c a s t s h i s m etap h o rs i n t h e i r m ost c o
p io u s form, p re s u m a b ly to g iv e added a m p l i f i c a t i o n . H ere,
f o r exam ple, n o t o n ly a re th e m etap h o rs r e p e t i t i v e w i t h i n
th e s t a n z a , b u t th e t r o p i c a l r e p e t i t i o n o f th e one i d e a e x
te n d s f o r s e v e r a l s t a n z a s . A l l th e m e tap h o rs in s t a n z a s
one, two, and t h r e e a re t r o p i c a l means o f e x p r e s s in g t h e i r
| j o y f u l n e s s . S i m i l a r l y , a lm o s t a l l o f th e m etaphors i n
s t a n z a s f o u r , f i v e , and s i x r e f e r to th e same i d e a — "what
was good i s now made b a d ." In d e e d , th e r e p e t i t i v e n e s s o f
th e th o u g h t i s em phasized by th e u s e o f a n ap h o ra in "Here
f i r s t , " "Heere f i r s t , " and "euen h e e r e . "
I n a d d i t i o n to th e e x tre m e c o p io u s n e s s (fo rm ), a n o th e r
c h a r a c t e r i s t i c o f D r a y to n 's m etap h o rs u s e d f o r th e t o p i c s
w e ll and woe i s i l l u s t r a t e d h e r e . Q u ite o f t e n , D rayton
u s e s m etapho rs t h a t r e f e r t o a s tr o n o m i c a l phenomena (c o n
t e n t ) — "Now comes my n i g h t , o now my day i s d o n e , / These
s a b le clo u d e s e c l i p s e my r i s i n g s u n n e ." D rayton m ost o f -
118
te n u s e s t h i s c o n t e n t a s a c o n v e n ie n t way o f p o i n t i n g to a
t r a n s i t i o n "between w e l l and woe. Thus a f t e r h i s f i r s t "ban
ish m e n t G a v e sto n s a y s j "My s u n - s h in e day i s t u r n ' d to
b l a c k - f a c e d n i g h t " and a f t e r he h a s b e en a c c u s e d he s a y s ,
"My Sonne e c l i p s ’d, e c h s t a r r e becom es a S u n n e ." B u t when
he i s a g a i n a b le to r e t u r n , th e jo y i s e x p r e s s e d i n "Loe
now my J o v e i n h i s a s c e n d a n t i s / In th e a e s t i v a l l S o l s t i c e
o f h i s g l o r i e " and "Mow am I m ounted w i t h fam es g o ld e n
w i n g s , / And i n th e T r o p ic k o f my f o r t u n e s h e i g h t . " Thus a
tim e o f w e l l i s a n t i c i p a t e d o r d e s c r i b e d w i t h m e ta p h o rs r e
f e r r i n g to a r i s i n g sun o r a t t r i b u t e s such a s g o ld e n n e s s ,
and a tim e o f woe I s d e s c r i b e d b y r e f e r e n c e to n i g h t , c o l d
n e s s o r b l a c k n e s s . A lth o u g h t h e s e te rm s o f c o m p ariso n a r e
by no m eans s t r i k i n g o r i n g e n i o u s , t h e y a r e c o n s t a n t
th r o u g h o u t P e i r s G a v e s to n .
D ra y to n u s e s f i g u r e s i n a d d i t i o n to m e ta p h o r to am
p l i f y w e l l and woe. U s u a l l y he d e v e lo p s a t l e a s t one
s t a n z a i n e a c h w e l l o r woe s e c t i o n b y p e r s o n i f i c a t i o n (a s
D rayton u s e s th e f i g u r e i t i s q u i t e s i m i l a r I n c o n t e n t and
form to t h e above m e t a p h o r ) . Most s im p ly , a l l n a t u r e i s
shown a s e i t h e r m ournin g a t th e woe o f G aveston o r f r o l o c k -
in g a t h i s j o y . I n t h e above p a s s a g e , G av esto n r e p o r t s
"The H eavens to see my f a l l d o th k n i t h e r bro w es" ( s t . 8 )
and l a t e r a t th e b a n is h m e n t — "The fro w n in g H eavens a r e a l l
i n s a b l e s c la d " and "The s k i e s w i t h c lo u d e s a r e a l l i n -
v e l l o p e d . " B ut when G a v e sto n i s i n j o y th e s t a n z a s a r e
119
" I t se em 'd th e a y re d e v is d e to p l e a s e my s i g h t " ( l l .
6 2 5 f f . ) and "The Heavens now seeme t o f r o l i c k a t my f e a s te "
( l l . ? 0 3 f f . ) , o r a g a in "The b o y s t r o u s waves doe homage to
mine e y e s . " And a t th e f i n a l woe o f G a v esto n , t h a t i s ,
a f t e r h i s d e a th , D ra y to n u s e s p e r s o n i f i c a t i o n f o r fo u r con
s e c u t i v e s t a n z a s b e g in n in g " S t a r - h o l d i n g heaven h a th shut
up a l l h e r l i g h t " ( l l . 1 6 0 9- 1 6 3 2) . The p u rp o se o f t h i s
f i g u r e i n a l l I n s t a n c e s i s p r i m a r i l y a m p l i f i c a t i o n and such
a p u rp o se i s i n a c c o rd w ith th e g e n e r a l d e s c r i p t i o n s o f th e
f i g u r e i n th e r h e t o r i c te x t b o o k s . B ut th e s u b j e c t o f am
p l i f i c a t i o n in t h i s poem i s alw ays th e s t a t e o f w e l l or
woe, n o t a h i s t o r i c a l e v e n t.
T h is f i g u r e may have th e added s u b t l e f u n c t i o n o f sug
g e s t i n g a m o ral norm o r a c o n s i s t e n t a t t i t u d e tow ard Gaves
t o n . T h a t i s , a l l n a t u r e h a t e s h i s e v i l and n a t u r a l l y r e
b e l s a g a i n s t him. D rayton seems to be s t r i v i n g f o r t h i s
f u n c t i o n f o r th e f i g u r e In such p h r a s e s as "The b a r r e n
e a r t h r e p i n e t h a t my f o o d e , / And N a tu re seemes to c u rsse
h e r b e a s t l y b ro o d e " (11. 3 11-31 2)• I n a d d i t i o n , Drayton
u s u a l l y I s c a r e f u l to p o i n t o u t t h a t when N a tu re i s happy
w ith G aveston , i t I s t h a t N a tu re "seem 'd" to be j o y f u l .
B ut f o r t h e most p a r t , such p o s s i b l e co nd em n atio n s o f Ga
v e s to n a r e muted enough to s u g g e s t t h a t p e r s o n i f i c a t i o n i s
n o t D r a y t o n 's c h i e f means o f e x p r e s s in g m o ral judgm ent on
G a v e s to n .
120
F i n a l l y j th e above p a s s a g e i l l u s t r a t e s a n o th e r t y p i c a l
f i g u r a t i v e t e c h n iq u e . In a lm o s t e v e ry s e c t i o n on w e l l o r
woe, D rayton d e v e lo p s a t l e a s t one s t a n z a by an a p o s tro p h e
t o some q u a l i t y h e r e - - " 0 P l e a s u r e . " O th e r i n s t a n c e s of.
t h i s te c h n iq u e would be th e a p o s tr o p h e to "0 s a c r e d Boun-
t i e " ( l . 6 6l ) when G aveston h a s r e t u r n e d from b a n is h m e n t,
t h e a p o s tro p h e to "0 c r u e l d i s c o r d fo ode o f d e a d ly h a te "
( l . 733) when t h e a n g e r o f th e B aro ns I s e n ra g e d , and th e
a p o s tr o p h e s "0 C h a s t i t i e " and "0 V i r t u e " ( l . 6 9 7 ) w hich
mark G a v e s to n 's m a rria g e to C la r e . At t h e i r b e s t t h e s e
a p o s tr o p h e s can se rv e as th e c e n t e r o r fo c u s f o r th e e n
t i r e s e c t i o n on w e l l o r woe. T hat i s , th e p a r t i c u l a r
s t a te m e n t s made e ls e w h e re i n th e s e c t i o n can a l l p o i n t to
th e g e n e r a l i z a t i o n o f th e a p o s t r o p h e . F or exam ple, In th e
above p a s s a g e , many o f th e s t a n z a s su ch a s "F ra u g h t w ith
d e l i g h t " and "My y o u t h f u l l p ra n k s " a r e a l l p a r t i c u l a r
s t a te m e n t s a b o u t th e g e n e r a l q u a l i t y " P l e a s u r e . " I t I s as
th o u g h i n t h e s e a p o s t r o p h e s , D rayto n w is h e s to p o i n t o u t
th e moving f o r c e b e h in d th e w e l l o r woe. B ut D ray ton does
n o t u s u a l l y em phasize th e r e l a t e d n e s s betw een th e s u b j e c t
o f th e a p o s tro p h e and th e t o p i c s i n th e r e s t o f th e s e c
t i o n s on w e ll o r woe. Hence, such a p o s tr o p h e s a re u s u a l l y
m e re ly one a d d i t i o n a l f i g u r a t i v e means by w hich D rayton
a m p l i f i e s th e s t a t e o f w e l l o r woe.
121
C o n c lu sio n
T h is e x a m in a tio n o f D r a y to n 's e a r l i e s t h i s t o r i c a l poem
shows t h a t he a c c e p t e d th e d ic tu m t h a t 11' h i s t o r i e s 1 w ere
62
b e s t w r i t t e n i n th e h ig h s t y l e . " To a t t a i n t h i s h ig h
s t y l e , he u se d o rn am e n ts e x t e n s i v e l y , e s p e c i a l l y o rn am en ts
t h a t a m p lify , t h a t im p re ss th e r e a d e r w ith th e im p o rta n c e
o f th e e v e n ts i n th e poem. W ebbe's d e s c r i p t i o n o f th e p r o
j e c t e d h i s t o r i c a l poem f i t s D r a y to n 's P e i r s G aveston p r e -
c i s e l y . D ra y to n se e k s " th e v ery e m a le s ty o f r y g h t H e r o i-
c a l l V erse" by w r i t i n g a poem w ith " g l o r i o u s o rnam ents o f
g a l l e n t h a n d l i n g .
The e x a m in a tio n a ls o i l l u s t r a t e s b o th th e s t r e n g t h s
and w eaknesses o f t h a t s t y l e . We see t h a t th e ornam ents
a r e t e c h n i c a l l y s k i l l f u l . T hat i s , th e i n d i v i d u a l s i m i l e s
and m etapho rs a r e alw ays d e v e lo p e d i n a c o n s i s t e n t m anner.
Each s i m i l e , f o r exam ple, p r e s e n t s a c o h e r e n t , com p osite
a c t i o n . M oreover, D rayton u s e s th e i n d i v i d u a l o rnam ents
f o r p u rp o s e s t h a t a r e co n so n an t w ith th e t h e o r e t i c a l d e
s c r i p t i o n s o f them . Thus, he u s e s s i m i l e s to a m p lify and
"make p l a i n , " h e c a s t s h i s m etap h o rs i n such a way t h a t
th e y a m p lify , and so f o r t h . In d e e d , D rayto n t y p i c a l l y d oes
n o t go beyond t h e handbook d e s c r i p t i o n s o f th e o rn am e n ts.
T h at i s , he u s u a l l y does n o t u s e a p a r t i c u l a r ornam ent f o r
p u rp o s e s t h a t t h e t h e o r e t i c i a n s do n o t d e s c r i b e . S im ile ,
f o r exam ple, o n l y a m p l i f i e s ; i t does n o t se rv e a ls o to
122
c h a r a c t e r i z e t h e sp e a k e r. Nor do we f i n d Drayton u s i n g the
f i g u r e s to d e v e lo p more th a n one s u b j e c t a t a tim e .
A lth o u g h th e ornam ents h e lp e d D ra y to n r e a l i s e t h e gen
e r a l a m p l i f i c a t i o n a p p r o p r i a t e to the g e n r e and a lt h o u g h
th e y a r e t e c h n i c a l l y s k i l l f u l , the o rn a m e n ts a re v a r i o u s l y
e f f e c t i v e i n h e lp i n g D ray ton develop t h e s u b j e c t s o f h i s
t o r y and r e a c t i o n . The i n e f f e c t i v e n e s s o f the o rn am en ts
i n r e l a t i o n t o " h i s t o r y " h a s a lr e a d y b e e n d i s c u s s e d .
F i r s t , th e o rn am en ts do n o t u s u a l l y a m p l i f y h i s t o r i c
e v e n ts s p e c i f i c a l l y ; hence th e y do n o t u s u a l l y f u n c t i o n to
im p re s s on th e r e a d e r th e im p o rtan c e o f th o s e e v e n t s . In
a poem i n w hich th e p o e t s e t s o u t to " f a s h i o n a bo d y o f a
h y s t o r i e , w i t h o u t maime o r d e f o r m i t i e , " one would e x p e c t
th e o rn am en ts to fu n c tio n on th e l e v e l o f s p e c i f i c h i s
t o r i c e v e n ts a s w e l l a s on t h e l e v e l o f g e n e r a l a m p l i f i c a
t i o n . The o n ly h i s t o r i c a l t o p i c t h a t D ra y to n d oes a m p lify
i s th e " w e ll" o r "woe" o f t h e v a rio u s h i s t o r i c a l e v e n t s .
B ut a g a i n , th e ornam ents do n o t develo p t h e s p e c i f i c e v e n ts
le a d in g to th e s t a t e s o f w e l l o r woe. In d e e d , th e tend en cy
to a m p lify th e s t a t e s o f w e l l and woe m akes the n a r r a t i v e
a s e r i e s o f l e a p s and p a u s e s - - l e a p s to t h e new s t a t e and
p a u s e s to a m p lify t h a t s t a t e .
The a n a l y s i s h a s docum ented the way t h a t th e ornam ents
d e v e lo p " r e a c t i o n . " The o rn am e n ts do a m p lif y th e r e a c t i o n s
j o f th e s p e a k e r s and c r e a t e t h e i r vehem ence. T his h e i g h t -
j ened to n e I s a p p r o p r i a t e to t h e "high e s t a t e " o f t h e
123
s p e a k e r s . But th e o rn am en ts u s u a l l y do n o t go much beyond
c r e a t i n g th e vehemence o f a " r e a c t i o n . " They do n o t, f o r
exam ple, p a r t i c u l a r i z e r e a c t i o n s . T hat i s , t h e y do n o t
make G a v e s to n 's jo y o r woe d i s t i n c t from E d w a rd 's joy o r
woe. Nor do th e o rn am e n ts d i s t i n g u i s h betw een one
s p e a k e r 's r e a c t i o n (be i t jo y o r woe) a t d i f f e r e n t moments
i n t h e n a r r a t i v e . E x c e p t f o r th e f i n a l lam ent o f Edward,
th e i n d i v i d u a l la m e n ts a r e much a l i k e i n d e g re e o f vehe
mence .
F i n a l l y th e o rn am en ts do n o t f u n c t i o n to b r i n g th e s e
two s u b j e c t s , h i s t o r y and r e a c t i o n , t o g e t h e r . F o r th e m ost
p a r t , th e r e p o r t o f h i s t o r i c a l e v e n t s i s n o t i n t e g r a t e d ,
by means o f o rn am e n ts, i n t o th e s p e a k e r 's p e r v a s i v e r e a c
t i o n .
124
FOOTNOTES
1. F e i r s G aveston i s re p ro d u c e d i n Works, I, p p . 158-
208. A l l su b s e q u e n t r e f e r e n c e s to t h i s poem i n t h i s ch ap
t e r a r e in c l u d e d i n th e t e x t by l i n e number. D r a y t o n 's
comments on th e poem a re i n c l u d e d i n t h e t e x t by p a g e num
b e r .
2. W orks, V, 23-25.
3. B e r t h e l o t , M ichael D ra y to n , p . 72.
4. Tudor C o n c e p tio n s o f H i s t o r y . . . , p . 8 l and
W i l l a r d Farnham, The M ed iev al H e r it a g e o f E li z a b e th a n T rag
edy (B e rk e le y , 1 9 3 8 ), p . 2 7 1 .
5. The M ir r o r f o r M a g i s t r a t e s , e d . L ily B. Cam pbell
(Cambridge^ 1938)V P* 101. A l l s u b s e q u e n t r e f e r e n c e s to
th e M irro r f o r M a g i s t r a t e s a r e to t h i s e d i t i o n and a r e
c i t e d in th e t e x t by l i n e number.
6 . Farnham, p . 2 7 9 .
7- T h is m otto i s q u o te d by Farnham as e v id e n c e o f th e
em phasis on r e t r i b u t i o n i n th e l a t e M ir r o r poems, p . 281.
8 . E n g li s h H i s t o r i c a l P o e t r y , p . 2 3 .
9. "D rayton and S h a k e s p e a re ," Modern Language N o te s,
XL ( A p r il 1 92 6 ), 248-250.
1 0 • Works, V, 23.
11. Works, V, 2 3 .
12. The Arden E d i t i o n o f th e Works o f W illia m Shake
s p e a r e , The Poems, ed. F. T. P r in c e (London, I960 }, p . xxx.
P r in c e c o n ti n u e s , "The t e x t u r e and to n e o f the la n g u a g e ,
th e u s e o f im ag ery and s i m i l e , a l l c o n t r i b u t e to a h a l f -
s y m p a th e tic , h a lf- m o c k in g m anner" (p. x x x i ) . The to n e o f
P e i r s G aveston c o n t r a s t s m ark e d ly w ith t h i s to n e ,
13. T i H o t s o n . W orks, V, 24.
W orks, V, 24.
15. Works, V, 24.
16. M ich ael D ra y to n , p . 8 9 .
125
17.
W orks, V, 99-
18. " D r a y to n 's The B a ro n s W arres and th e R h e t o r i c o f
H i s t o r i c a l P o e t r y , " J o u r n a l o f E n g l i s h and Germ anic P h l l o l -
I X I I ( J a n u a r y 1 9 6 3 b 63-
1 9 . L aB ranche, p. 8 3 .
2 0 .
1 9 5 0 ), p
E l i z a b e t h a n N a r r a t i v e P o e tr y (New B ru n sw ick ,
. 79.
s io n
21. " E l i z a b e t h a n D e c o r a t i o n : P a t t e r n s i n A rt and PaB-
, " Times L i t e r a r y S u p p le m e n t, J u l y 3, 1937, P* 485.
1 8 0,
2 2 .
109
E l i z a b e t h a n and M e t a p h y s ic a l Im a g e ry , pp. 175-
-117 .
23.
E l i z a b e t h a n and M e ta p h y s ic a l Im a g e ry , p. 110.
to n ,
24. "The P a s t o r a l and H e r o ic P o e tr y o f M ic h ae l D ra y -
" D i s s . P r i n c e t o n U n iv ., 1956, pp. 9 5 -9 6 .
2 5 . P r i n c e t o n E n c y c lo p e d ia o f P o e tr y and P o e t i c s ,
ed. A lex P re m in g e r, P rank W arnke, and 0. B. H a rd iso n
( P r i n c e t o n , 1 9 6 5) , P- 7 6 7 .
2 6 . P r i n c e t o n E n c y c lo p e d ia , pp. 7 6 7 - 7 6 8 .
2 7 . The A rden E d i t i o n , 1 1 . 5 5 -6 0 .
28. The G a rd en , p. 159.
29.
A r t e , p . 240.
289.
30.
A r te o f R h e to riq u e ( 1 5 6 0 ) a s q u o te d by Tuve, p .
31.
Hayward
John Donne: A S e l e c t i o n o f H is P o e t r y , ed . Jo h n
( B a lt i m o r e , 1950J, p . 2 9 .
299.
32.
E l i z a b e t h a n and M e t a p h y s ic a l Im a g e ry , pp. 2 8 4 -
33.
E l i z a b e t h a n and M e t a p h y s ic a l Im a g e ry , p . 286.
285.
34.
The R u le o f Reason ( 1 5 8 0 ) a s q u o te d by Tuve, p .
35.
E l i z a b e t h a n and M e t a p h y s ic a l Im a g e ry , p. 287-
36. The G a rd en , p. 13*
126
37. S h a k e s p e a r e 's Use o f th e A r t s o f Language (New
Y ork, 1947)> p . M 6 .
3 8 . P r i n c e t o n E n c y c lo p e d ia , p . 7 6 7 *
39. D e s l d e r l u s Erasmus o f R o tte rd am : On Copla o f
Words and I d e a s , t r a n s . Donald B. King and H. David R ix
"(W isconsin, 1 9 6 3) j P* 9.
40. V e l t k i r c h i u s , Copla (1573)^ a s q u o te d in T. W.
B aldw in, W illia m S h a k e s p e r e ’s Sm all L a tln e & Lesse G reek
(U rbana, 1 94 4 ), I I , 1 7 b - 1 7 7 .
41. As q u o te d i n B aldw in, p . 1 7 8 .
42. On C opia, p . 14.
43. E l i z a b e th a n and M e ta p h y s ic a l Im a g e ry , pp. 118-
119.
44. ''L o n g in u s” On th e S u b lim e, t r a n s . W. Ham ilton
Fyfe (London, 1 9 2 7 )/'"pp. 162-163.
45* M iss Tuve c l a r i f i e s th e p o i n t t h a t in the l 6 t h
c e n t u r y abundance o r p l e n t y was o n ly one means to a m p l i f i
c a t i o n :
F ig u r e s u n d e r a m p l i f i c a t i o n a r e n o t u s e d to e x p a t i a t e ;
th e y a re u s e d to m ag nify, to make more im p r e s s iv e , more
w o rth y o f a t t e n t i o n . The m etap h o r i s n o t s p a t i a l ; am
p l i f i c a t i o n may f r e q u e n t l y be u s e d i n t h e i n t e r e s t o f
b r e v i t y . The b a s i c f u n c t i o n i s h e i g h t e n i n g o r i n t e n s i f i
c a t i o n ; i f e x te n s i o n w i l l a c h ie v e i t , w e l l and good.
(E li z a b e th a n and M e ta p h y s ic a l Im a g e ry , p . 90)
46. The G arden, p . 1 9 3 .
4 7 . D i r e c t i o n s f o r Speech and S t y l e , e d . Hoyt H.
Hudson ( P r i n c e t o n , 1 9 3 5 , ) / P- 24.
48. See, f o r exam ple, W il s o n ’s A rte o f R h e to riq u e
1 5 6 0, p . 1 1 .
49. " P i e r s G a v e s to n ," D i c t i o n a r y o f N a tio n a l B io g
r a p h y , XXI, 77.
50. Tuve, p . 297.
51. DNB, XXI, 77-
52. The G arden, p . 6 2 .
127
53* The G ard en , p. 153.
54. The G arden, p . 6 3 .
55. R ic h a r d A. Lanham, A H a n d l i s t o f R h e t o r i c a l Terms
( B e r k e le y , 1 9 6 9)* P- 38.
5 6 . The G arden, p p . 106-107-
57- The G arden, p p . 104-105*
5 8 . A n o th e r d i f f e r e n c e b e tw e e n t h e u s e o f f i g u r e s i n
t h i s p a s s a g e and e ls e w h e re i n t h e poem i s t h a t i n th e
o t h e r l a m e n ts , D ra y to n t e n d s to u s e o n ly one k in d o f f i g
u r e — s y s t r o p h e - a p o s t r o p h e . H ere he u s e s a v a r i e t y o f - f i g
u r e s .
59. E n g l i s h H i s t o r i c a l P o e t r y , p . 20.
60 . V ere R u b el a n a l y z e s t h e f i g u r e s i n s e v e r a l M ir
r o r poems. P o e t i c D i c t i o n i n t h e E n g l i s h R e n a is s a n c e From
S k e lto n th r o u g h S p e n se r (New Y ork, 1 9 4 1 ), p p . l b l - 1 7 0 .
P a r t s Added to th e M ir r o r f o r M a g i s t r a t e s by John H ig g in s
& Thomas B l e n e r h a s s e t , ed . L i l y B. C am pbell (C am bridge,
1 9 4 b ), pp. 379 -383.
6 1. Peacham, u s i n g th e L a t i n te rm p r o s o p o p o e ia , c l a s
s i f i e s i t a s a f i g u r e o f a m p l i f i c a t i o n . The G a rd e n , p .
136.
62. Tuve, p . 2 3 8 .
6 3 . A D is c o u r s e o f E n g li s h P o e s l e , p . 2 5 6 .
CHAPTER I I I
ENGLANDS HEROICALL EPISTLES
I n th e few y e a r s betw een th e p u b l i c a t i o n o f F e i r s
G aveston and th e p u b l i c a t i o n o f th e e a r l i e s t v e r s i o n o f
E n g lan d s H e r o i c a l l E p i s t l e s , D ra y to n c o n tin u e d to e x p e r i
ment w i t h h i s t o r i c a l p o e tr y . He w ro te t h r e e e n t i r e l y new
h i s t o r i c a l poems d u rin g t h i s p e r i o d : M a tild a (1 5 9 4 ), Rob
e r t , Duke o f Normandy (1596), and M o rtim e ria d o s (1 5 9 6 ).^
L ik e P e i r s G a v e sto n , M a tild a and R o b e rt, Duke o f Nor
mandy a r e e s s e n t i a l l y " h i s t o r i c a l c o m p la in ts ." I n M a tild a ,
th e g h o s t o f t h i s u n f o r t u n a t e l a d y r i s e s from th e g rav e to
t e l l th e " h i s t o r y " o f h e r r e l a t i o n w ith King Jo h n . This
h i s t o r y I s marked by an a l t e r n a t i o n between " b l i s f u l l Seas"
( l . 480) and "sudden sto rm es" (1 . 4 8 l) u n t i l M a tild a f i
n a l l y sw allow s p o is o n to p r o t e c t h e r c h a s t i t y . I n R o b e r t,
Duke o f Normandy, th e g h o st o f R o b e rt I s b r o u g h t forw ard by
Fame and F o rtu n e . By means o f a d e b a te , Fame and F o rtu n e
p r e s e n t m ost o f th e h i s t o r y o f R o b e r t ’ s l i f e . At th e con
c l u s i o n o f t h i s d e b a te R o b e rt h i m s e l f h as a ch an ce to speak
and he g i v e s a " p i t t e o u s la m e n ta b le " c o m p la in t ( l . 1 2 6 6) .
B o th M a tild a and R o b e rt, Duke o f Normandy re se m b le
P e i r s G aveston i n o r g a n i z a t i o n , n a r r a t i v e s t r u c t u r e , and
128
129
h i s t o r i c a l p e r s p e c t i v e . I t i s n o t s u r p r i s i n g , th e n , to
f i n d t h a t th e s e poems a l s o c l o s e l y re s e m b le P e i r s G aveston
i n s t y l e . In b o th poems D rayton c o n t i n u e s to u s e such f i g
u r e s a s s y s tro p h e p a t t e r n e d by a p o s t r o p h e , e p i c s im ile and
v a r i o u s p a t t e r n s o f word r e p e t i t i o n . In d e e d , I n M a tild a ,
D ray to n u s e s th e f i g u r e s f o r a lm o st e x a c t l y t h e same p u r
p o s e s a s he had i n P e i r s G a v e s to n . For exam ple, he u s e s
s y s tr o p h e - a p o s tr o p h e to d e p i c t M a t i l d a 's p a s s i o n ( e . g . , 11.
1 8 3 -1 8 9 o r 3 0 2- 3 0 8) and he u s e s m etap h o r g ro u p s to a m p lify
a change In M a t i l d a 's f o r t u n e ( e . g . , 11. 1 6 9- 1 7 5) . So
c lo s e a r e th e s t y l e s o f M a tild a and P e i r s G aveston t h a t a
s ta n z a such a s t h e fo llo w in g c o u ld a p p e a r i n e i t h e r poem:
T h is , whole p o s s e s t th e th o u g h ts o f p r i n c e l i e J o h n ,
T h is , on h i s h a r t - s t r i n g s A n g els m usick made,
T h is , was t h e s u b j e c t which h e w rought upon,
T hat deepe im p r e s s io n which c o u ld n e v e r f a d e ,
Reason w hich m ig h t s u f f i c i e n t l y persw ad e:
Hence sp ro ng t h a t g r e e f e , w hich n e v e r gave him
r e s t ,
T h is was t h e s p i r i t w h e r-w ith hee was p o s s e s t .
( 1 1 . 169-175)
By ch an g in g ;he name from John to Edward, we c o u ld have
G aveston r e c a l l i n g th e p a s s io n o f h i s lo v e r .
In th e poem M o rtim e ria d o s , D ra y to n t r i e d to move away
from th e n a r r a t i v e s t r u c t u r e , th e p e r s o n a l h i s t o r i c a l p e r
s p e c t i v e , and th e o r g a n i z a t i o n o f t h e " h i s t o r i c a l com
p l a i n t . " M o rtim e ria d o s i s n a r r a t e d i n th e t h i r d p e rso n and
f o c u s e s on a h i s t o r i c a l a c t i o n somewhat more e x te n s i v e th a n
t h a t w hich i s encom passed In one l i f e . Mrs. T i l l o t s o n a r
gu es t h a t in M o rtim e ria d o s D r a y to n 's " a m b itio n s were
130
2
t e n d i n g ” tow ard an e p i c poem. Not o n ly d id he g iv e h i s
poem a name t h a t would r e c a l l th e names o f o t h e r e p ic s
such a s t h e A eneis and th e I l i a s , he a ls o in c l u d e d such
t r a p p i n g s o f th e c l a s s i c a l e p ic a s th e i n v o c a ti o n to th e
muses, d e s c r i p t i o n s o f a l l e g o r i c a l w a l l p a i n t i n g s , and d e
s c r i p t i o n s o f h a t t l e s c e n e s . On t h e b a s i s o f such e v i
dence, one modern c r i t i c h as c o n c lu d e d t h a t D ray ton " d o u b t
l e s s b e l i e v e d h i m s e l f to be w r i t i n g t r u e e p ic v e r s e ,
se e k in g e n d u rin g renown i n th e n o b l e s t o f g e n r e s .
Y et d e s p i t e t h e s e g e s t u r e s to w ard a c l a s s i c a l e p i c ,
th e i n t e r e s t o f th e poem i s l a r g e l y am ato ry . A lthough in
th e d e d i c a t i o n D rayton sa y s t h a t he w i l l be i n t e r e s t e d i n
b o th war and lo v e — "And though I s in g o f t h i s tu m u ltu o u s
r a g e , / S t i l l p a y n tin g p a s s i o n s i n t h e s e T ra g e d ie s " ( l l .
8 - 9 ) — th e w ords " S t i l l p a y n tin g p a s s i o n s " and " T ra g e d ie s"
r e c a l l q u i t e c l e a r l y th e M ir r o r - c o m p la in t and a r e , f i n a l l y ,
th e most a c c u r a t e d e s c r i p t i o n o f t h e poem. Even i n th e
opening o f th e poem, D ray ton b e g in s w ith M i r r o r - l i k e gloom:
The lo w rin g h e a v e n had m a sk 'd h e r i n a clow de,
D ropping sad t e a r e s upon th e s u l l e n e a r t h ,
Bemoning in h e r m e la n c h o lly shrowde,
The ang s t a r r e s w hich r a i g n ' d a t Edwards b i r t h .
T h is o p e n in g c o n t r a s t s m arkedly w i t h th e h e r o i c to n e i n a
poem such a s D a n i e l 's The C i v i l W a rs:
I Sing th e c i u i l l W arres, tu m u ltu o u s B r o y le s ,
And B loody f a c t i o n s o f a m ig h tie Land:
Whose p e o p le h a u t i e , proud w i t h f o r r a i n e s p o y le s ,.
Vpon th e m se lu e s t u r n - b a c k e t h e i r c o n q u erin g hand.
( 11. 1-
The s t y l e o f M o rtim e rla d o s i s a g a in much l i k e t h a t o f
th e e a r l i e r le g e n d s . In M o rtim e ria d o s D ray ton s t i l l u s e s
such a m p lify in g f i g u r e s as e p ic s i m i l e , a n t i t h e s i s , and
s t a n z a - lo n g s e r i e s o f '’c o p io u s" m etap h o rs. He a ls o u s e s
th e vehem ent f i g u r e s a p o s tro p h e and s y s t r o p h e . C h a rle s
P e e t, a f t e r exam ining th e s t y l e o f M o r tim e r ia d o s t h a s
found i t e n t i r e l y com parable w i t h th e s t y l e o f th e e a r l i e s t
le g e n d s . P e e t w r i t e s t h a t " in D r a y to n 's mind th e h i s t o r
i c a l e p i c d id n o t demand any d i f f e r e n t a p p ro a c h from t h a t
he h ad a d o p ted i n h i s h i s t o r i c a l c o m p la in ts " and in th e
le g e n d s "he made u s e o f e x a c t l y th e same r h e t o r i c a l d e
v i c e s w hich we have i d e n t i f i e d a s c h a r a c t e r i z i n g th e s t y l e
o f Mortimeriados. But a p p a r e n t l y D rayton h i m s e l f was n o t
a t a l l c o n te n t w ith th e s t y l e o f th e poem o r w ith th e c a
p a c i t y o f th e s t y l e to r e a l i z e h i s e p ic s u b j e c t m a t t e r ,
f o r he r e v i s e d t h i s poem th o r o u g h ly , p ro d u c in g The B a rro n s
Wars ( 1 6 0 3) . In th e p r e f a c e to t h i s r e v i s e d poem D rayton
even a p o lo g iz e s f o r M o r tim e r ia d o s . He sp e a k s o f i t s " i n
s u f f i c i e n t and c a r e l e s s h a n d lin g " and e x p l a i n s t h a t he v e n
t u r e d on "so n o b le an argum ent w ith o u t l e i s u r e and s t u d i e
c o m p e te n t.
The n e x t h i s t o r i c a l poem t h a t D rayton w ro te was Eng-
7
la n d s H e r o i c a l l E p i s t l e s . 1 The poem was f i r s t p u b lis h e d
i n 1597 and th en p u b l is h e d a g a in t h i r t e e n more tim es d u rin g
D r a y t o n 's l i f e . Of c o u rs e , a s was h i s h a b i t , D rayton r e
v is e d t h e poem f o r each o f t h e s e e d i t i o n s . B ut i t i s s i g
n i f i c a n t and s t r i k i n g t h a t i n h i s r e v i s i o n s he does n o t
m odify th e s t y l e o f th e poem, h u t r a t h e r he adds more
e p i s t l e s to th e poem. He changed words and som etim es
added o r dropped s m a ll s e c t i o n s o f th e poem, b u t he d id
n o t change th e b a s i c r h e t o r i c o f i t . As Mrs. T i l l o t s o n h a s
w r i t t e n , "The e x c e ll e n c e o f th e E p i s t l e s was s u b s t a n t i a l l y
Q
a t t a i n e d on t h e i r f i r s t p u b l i c a t i o n . " B ecause th e changes
t h a t D ray to n made i n th e poem a re m in o r, we can co n clu d e
t h a t he was s a t i s f i e d w ith th e s t y l e a s a means o f r e a l
i s i n g h i s s u b j e c t .
The L i t e r a r y Background
E n g la n d s H e r o i c a l l E p i s t l e s can be seen a s th e con
f l u e n c e o f many p o e t i c t r a d i t i o n s and g e n r e s . I t i s a
h i s t o r i c a l poem w ith r o o t s i n b o th th e M irro r and e p ic
t r a d i t i o n s ; i t i s an am atory poem w ith r o o t s i n b o th th e
am atory c o m p la in t and th e so n n e t; i t i s a s e r i e s o f e p i s
t l e s . A lth o u g h th e e x a c t r e l a t i o n o f th e E p i s t l e s to most
o f t h e s e t r a d i t i o n s h a s been d i s c u s s e d by o t h e r c r i t i c s , I
a
w i l l b r i e f l y d e s c r i b e th e more o b v io u s t r a d i t i o n s h e r e .
I n h i s su rv e y o f 1 6 th and 17t h c e n tu r y h i s t o r i c a l p o
e t r y , Homer N earing s e t s E n g lan d s H e r o i c a l l E p i s t l e s o f f
i n a c l a s s b y i t s e l f t h a t he l a b e l s th e "am atory h i s t o r i c a l
p o e m ."10 A lthough th e poem may be u n iq u e i n i t s com bina
t i o n o f am atory and h i s t o r i c a l s u b j e c t m a t t e r , i t i s a ls o
c l e a r t h a t th e poem h a s r o o t s i n c e r t a i n k in d s o f more
133
g e n e r a l l y p r a c t i c e d h i s t o r i c a l p o e t r y - - p a r t i c u l a r l y th e
M irro r poem and , i n a s p e c i a l i z e d s e n s e , the e p ic poem.
The r o o t s o f th e E p i s t l e s in M ir r o r p o e tr y have b e e n d i s
c u sse d by W illia m W ia tt in h i s d i s s e r t a t i o n on t h e poem .'1 '1
W ia tt f i n d s t h a t D rayton fo llo w e d th e M irro r w r i t e r s i n
a r r a n g in g th e s t o r i e s i n c h r o n o l o g i c a l o rd e r and i n u s in g
argum ents b e f o r e each e p i s t l e t h a t summarize th e s t o r y up
to th e opening o f th e poem. To W i a t t 's f i n d in g s I would
add t h a t E n g lan d s H e r o i c a l l E p i s t l e s a s a whole i s a l s o
s t r u c t u r a l l y l i k e th e M irro r f o r M a g i s t r a t e s . I t i s a ls o
com prised o f a s e r i e s o f s h o r t poems, each n a r r a t e d i n th e
f i r s t p e rs o n by a d i v e r s i t y o f s p e a k e r s .
F u r t h e r , i n E nglands H e r o i c a l l E p i s t l e s t h e r e a r e
many i n s t a n c e s o f M i r r o r - l i k e la n g u a g e . D rayton h i m s e l f
r e c a l l s th e M irro r t r a d i t i o n i n th e "A n n o tatio n s" t o the
e p i s t l e o f Edward IV. He i d e n t i f i e s Edward as "a M ir r o u r ,
r e p r e s e n t i n g t h e i r O v e r - s ig h t, t h a t r a t h e r le a v e t h e i r
c h i l d r e n what- to p o s s e s s e , th e n [ s i c ] what to i m i t a t e " (p.
2 5 2) . And w i t h in th e e p i s t l e s t h e r e a r e i n s t a n c e s o f l a n
guage t h a t r e c a l l th e M irro r poems. M arg aret, f o r exam ple,
sp eak s o f h e r h i s t o r y in term s o f "sa d T ra g e d ie s" ( l . 12)
and H um phrey's p a r t i n g a d m o n itio n to E l i n o r r e c a l l s d e
s c r i p t i o n s o f h i s t o r y in th e M ir r o r poems 1
O a st n o t t h i n e Eye on su c h a s mounted be.
B u t looke on th o s e c a s t downe a s low as we;
F or some o f them which p r o u d ly p e a rc h so h i e ,
E re long s h a l l come a s low a s thou o r I .
(11. 141-144)
134
D u d l e y 's words o f r e p e n t a n c e , "And from t h e h e i g h t o f o u r
a m b itio u s s t a t e , / [ w e ] L ie to r e p e n t o u r a r r o g a n c e to o l a t e "
( 1 1 . 1 1 3 -1 1 4 ), r e c a l l th e i d e a t h a t t r a g e d y i s owing to
v i c e s o f c h a r a c t e r — a c o n c e p t o f tr a g e d y common i n th e
12
l a t e M ir r o r poems.
A lth o u g h E n g la n d s H e r o i c a l l E p i s t l e s i s l i k e a M ir ro r
poem i n th e s e p o i n t s o f s t r u c t u r e and la n g u a g e , t h e r e a r e
some fu n d a m e n ta l d i f f e r e n c e s . The f i r s t d i f f e r e n c e , and
one t h a t I f i n d th e f o u n d a t i o n o f a l l t h e o t h e r s , i s t h a t
D ra y to n does n o t p r e s e n t g h o s t s from th e g r a v e , b u t
s p e a k e r s who a r e a t d i f f e r e n t p o i n t s o f t h e i r p e r s o n a l h i s
t o r i e s . D udley ( i n whose e p i s t l e t h e r e i s much M i r r o r -
l i k e la n g u a g e ) i s in d e e d a t t h e end o f h i s p e r s o n a l h i s
t o r y —he i s a w a i t in g e x e c u t i o n . But M o rtim e r, a lt h o u g h an
e x i l e i n P ra n ce a t th e tim e o f th e l e t t e r w r i t i n g , h a s n o t
l i v e d th ro u g h a l l th e d r a m a tic e v e n ts o f h i s l i f e . A f t e r
t h i s e x i l e he w i l l r e t u r n t r i u m p h a n t l y to d e f e a t Edward I I
and r a i s e Edward I I I to pow er. He w i l l a l s o l i v e t o be
h u m i l i a t e d and b a n is h e d by Edward I I I . Thus he i s i n th e
m id d le o f h i s p e r s o n a l h i s t o r y . D ra y to n p r e s e n t s M i s t r e s s
S hore a t a p o i n t i n h e r l i f e b e f o r e she h a s a c t u a l l y e n
t e r e d i n t o h e r c e l e b r a t e d r e l a t i o n s h i p w i t h Edward. In h e r
e p i s t l e she c o n s e n t s to h i s s u i t , b u t she h a s n o t y e t l i v e d
th r o u g h th e g l o r y and m is e r y t h a t h e r s u r r e n d e r b r o u g h t
w i t h i t . Thus, some s p e a k e r s a r e a t th e b e g in n in g o f t h e i r
h i s t o r i e s , some a r e i n t h e m i d s t , and some a r e a t th e end.
135
D r a y to n 's d e c is io n t o p r e s e n t h i s sp e a k e rs a t th e s e
d i f f e r e n t p o i n t s in t h e i r l i v e s g i v e s r i s e to s e v e r a l
o t h e r d i s t i n c t i o n s from t h e M irro r poem. For exam ple, u n
l i k e th e M ir r o r s p e a k e rs , D r a y to n 's s p e a k e r s a r e n o t a l l
a t th e same p o i n t i n u n d e r s ta n d in g o f t h e i r e x p e r i e n c e - -
some have l i v e d thro u g h much, some h a v e l i v e d th ro u g h
l i t t l e . Hence th e y have q u i t e v a r i o u s r e a c t i o n s to t h e i r
own h i s t o r i e s . They can b e c o n f id e n t a b o u t th e f u t u r e
(Humphrey, M o rtim e r), d is m a l about t h e p a s t and f u t u r e
(Rosamond), h o p e f u l a b o u t th e f u t u r e (Brandon, K a t h e r i n e ) ,
j o y f u l , and so f o r t h . They can f e e l t h a t th e y have l i v e d
th ro u g h woes b u t t h a t a l l w i l l be w e l l , o r th e y can see
n o th in g b u t woes b e fo re them . M oreover, t h a t d i f f e r e n c e
i n u n d e rs ta n d in g h e lp s D ra y to n d i f f e r e n t i a t e betw een th e
s p e a k e r s . M ortim er i s b o l d and h e r o i c , w h ile Rosamond i s
q u a k in g - - a lt h o u g h b o th a r e " s i n n e r s . "
As a c o r o l l a r y to t h e s p e a k e r s ' d i f f e r e n c e i n u n d e r
s ta n d in g , t h e r e i s a ls o a v a r i e t y i n th e m oral d i d a c t i c i s m
o f th e poems— a v a r i e t y l a c k in g in t h e M i r r o r ' poem s.
W hereas a l l th e sp e a k e rs i n th e M ir r o r poems have d i g e s t e d
t h e i r e x p e r i e n c e s and come t o the a p p r o p r i a t e m oral co n
c l u s i o n (w hich th e y p a s s a lo n g to th e r e a d e r ) , n o t a l l o f
th e s p e a k e rs i n E nglands H e r o i c a l l E p i s t l e s can say a lo n g
w ith Dudley t h a t they " L ie t o r e p e n t o u r a rro g a n c e too
l a t e " ( l . 1 1 4 ). Some h a v e n o t come t o t h a t s t a t e —M o r ti
mer, Henry, and E li n o r , f o r example. I f th e E p i s t l e s f u n c
t i o n a s a " m i r r o r ’’ f o r the r e a d e r , i t i s he who muBt f i l l
i n th e d e t a i l s o f th e h i s t o r y and come t o t h e a p p r o p r i a t e
m oral c o n c lu s io n . Where, f o r exam ple, d o e s M o rtim e r's b o ld
n e s s u l t i m a t e l y l e a d him?
The e x t e n t to w hich E n g la n d s H e r o i c a l l E p i s t l e s h a s
r o o t s i n e p ic p o e t r y i s somewhat l e s s c l e a r th an i t s r o o t s
M ir r o r p o e t r y . C e r t a i n l y E n g la n d s H e r o i c a l l E p i s t l e s
i s n o t s t r u c t u r a l l y l i k e an e p i c poem—a t l e a s t n o t l i k e
th e c l a s s i c a l e p ic o r th o se R e n a is s a n c e poems t h a t a t
tem pted t o d u p l i c a t e th e c l a s s i c a l e p ic w i t h E n g lis h h i s
t o r y ( D r a y to n ’s The B arons W a rre s and D a n i e l 's The C i v i l
W ars) . B u t i t i s im p o r ta n t t o o b serv e t h a t Drayton c o n
s i d e r e d E n g lan d s H e r o i c a l l E p i s t l e s to be i n an e p ic t r a d i
t i o n . T h is e p ic t r a d i t i o n g o e s back n o t to th e I l i a d o r
A eneid b u t to O v id 's H e r o id e s . D rayton c a r e f u l l y e x p l a i n s
h i s u s e o f th e term " H e r o i c a l l " i n th e t i t l e by r e f e r e n c e
to Ovid:
The T i t l e ( I hope) c a r r i e t h Reason in i t s e l f e . . . .
And th o u g h ( H e r o i c a l l ) be p r o p e r l y u n d e r s to o d o f Demi
g o d s, a s o f H e r c u le s and A e n e a s , whose P a r e n ts were s a i d
to b e , th e one, C o e l e s t i a l l , th e o t h e r , M o r ta ll; y e t i s
I t a l s o t r a n s f e r r e d to them , who f o r th e g r e a t n e s s e o f
Mind come n e e r e to Gods. F o r to be b o rn e o f a c o e l e s -
t i a l l I n c u b u s , i s n o th in g e l s e , b u t to have a g r e a t and
m ig h tie S p i r i t , f a r r e above t h e E a r t h l y w eakenesse o f
Men; i n w hich s e n s e Ovid (whose I m i t a t o r I p a r t l y p r o -
f e s s e to be) d o th a ls o u se H e r o i c a l l . ( p . 130)
T hat i s , th e poem i s " h e ro ic " b e c a u se i t d e a l s w ith p e r s o n
ages who a r e " n o b l e ."
137
I t i s n o t a b l e , h o w e v er, t h a t a l t h o u g h D ra y to n e x p la in s
th e term " H e r o i c a l l , " t h e d e f i n i t i o n i t s e l f h a r d l y f i t s a l l
i
th e c h a r a c t e r s i n th e E p i s t l e s . R a t h e r th an a l l b e in g i n
d i v i d u a l s o f " g r e a t and m ig h t i e S p i r i t , f a r r e ab o v e th e
E a r t h l y w e a k e n e s se o f M en ," th e e p i s t l e w r i t e r s r e p r e s e n t
a p a n o p ly o f human w e a k n e sse s and s t r e n g t h s . They ran g e
from th e h ig h -m in d e d and f a t a l l y a m b i t io u s M o rtim e r to th e
r o y a l b u t g r o v e l i n g Jo h n ; from th e c h a s t e M a tild a t o th e
s p i t e f u l E l i n o r . I t w ould p e rh a p s b e more a c c u r a t e to say
t h a t I t i s th e " h ig h e s t a t e " o f e a c h c h a r a c t e r t h a t q u a l i
f i e s him f o r th e term " H e r o i c a l l . " Most a re p r i n c e s ,
n o b l e s , o r m i s t r e s s e s o f p r i n c e s . I t i s n o t t h e i r " g r e a t e -
n e s s e o f Mind" t h a t i s t h e d i s t i n g u i s h i n g f a c t o r . As I
s t a t e d i n C h a p te r I I , t h e r e was no c l e a r - c u t c r i t i c a l d e
c i s i o n a s to w h at th e e s s e n t i a l e le m e n t o f a h e r o i c poem
w as. We s e e t h a t f o r D r a y to n , th e c h i e f e lem en t was p eo p le
o f h ig h e s t a t e .
The two more o b v io u s k i n d s o f a m a to ry p o e t r y t h a t a re
r e f l e c t e d i n E n g la n d s H e r o i c a l l E p i s t l e s a re t h e a m ato ry
c o m p la in t and t h e s o n n e t. As m e n tio n e d e a r l i e r (C h a p te r
I I ) , th e a m a to ry c o m p la in t was an o f f s h o o t o f t h e M irro r
f o r M a g i s t r a t e s and fou nd I t s model and b e s t exam ple i n
D a n i e l 's C o m p la in t o f Rosamond (1 5 9 2 ). T his p o e t i c k in d
became q u i t e p o p u l a r i n t h e e a r l y 1 5 9 0 ' s a s w r i t e r s e x
p l o r e d t h e p o s s i b i l i t i e s I t o f f e r e d o f d e p i c t i n g a sympa
t h e t i c s p e a k e r ( a s o p p o sed to th e som etim es " e v i l " sp e a k e rs
138
i n th e M irro r poem ), o f showing th e s p e a k e r 's m o ti v a ti o n ,
and o f e x p l o i t i n g th e p a th o s o f th e s p e a k e r 's c irc u m
s t a n c e s . " ^ H a l l e t Sm ith n o t e s t h a t th e r e l a t i o n s h i p b e
tween E ngland s H e r o i c a l l E p i s t l e s and th e s e a m ato ry poems
i s "ea sy to t r a c e . I n d e e d , D r a y to n 's E p i s t l e s h a s wo
men c h a r a c t e r s who com plain o f t h e i r s e d u c tio n , who p o i n t
o u t th e p a th o s o f t h e i r s i t u a t i o n , and who b e w a il t h e i r
own f a l l s ( e .g ., Rosamond, M i s t r e s s S h o re ).
But in E ng lan d s H e r o i c a l l E p i s t l e s D rayton a c h ie v e s
much more v a r i e t y th a n i s n o rm a lly found In th e am atory
c o m p la in t. The c o m p la in t poems have o n ly women s p e a k e r s ,
and th e t r a g e d y o f a l l o f th e s e women t u r n s on e s s e n t i a l l y
th e same q u e s t i o n : i s i t b e t t e r to " lo v e and l i v e , " o r to
1 5
" l o a t h and d i e " ? In th e E p i s t l e s , how ever, D ray ton p r e
s e n t s b o th male and fem ale s p e a k e rs and th e s e s p e a k e r s are
f a c e d w ith a g r e a t v a r i e t y o f c r o s s e s . True Rosamond l a
m ents h e r f a l l i n t o s i n , b u t E l i n o r Cobham w ish e s p a s s i o n
a t e l y t h a t .she c o u ld r e t u r n to p la g u e h e r en em ies. Ma
t i l d a ' s c h a s t e d e n i a l l e a d s to d e a th , b u t f o r A l i c e , th e
c h a s t e d e n i a l l e a d s to a s u c c e s s f u l m a r ria g e . Nor a r e a l l
th e s p e a k e rs u n f o r t u n a t e l o v e r s . K a th e r in e , B randon, S u r
r e y , and G e ra ld in e a l l "lo v e In f a i t h " b u t do n o t r e g r e t
t h a t lo v e , n o r w i l l t h e y l i v e to r e g r e t I t . M oreover, even
tho ugh a l l th e p a i r s o f w r i t e r s a re l o v e r s , lo v e i s n o t the
o n ly t o p i c on a l l o f t h e i r m inds. E l i n o r Cobham I s more
c o n ce rn e d w ith h e r enem ies th an h e r lo v e f o r Humphrey;
139
M ortim er i s more th e b o ld , pow er-hungry n o b le th an th e d e
v o te d l o v e r . As Mrs. T i l l o t s o n h as w r i t t e n , " D r a y to n 's
e p i s t l e s a r e n o t v a r i a t i o n s on a s i n g l e them e, b u t a s e r i e s
o f d i s t i n c t dram as; most in d e e d a r e ’t r a g e d i e s , 1 b u t w ith
l6
no monotony o f s u f f e r i n g . "
Between th e p u b l i c a t i o n o f P e i r s G aveston and E n gland s
H e r o i c a l l E p i s t l e s , D ray ton had w r i t t e n th e f i r s t o f h i s
v e r s i o n s o f th e so n n e t sequence I d e a s M irr o u r : Amours
(159^)■ I t i s n o t s u r p r i s i n g , th e n , to f i n d i n th e E p i s
t l e s some e v id e n c e o f D r a y to n 's e x p e r ie n c e w ith th e so n n e t.
An e x a m in a tio n o f th e e x a c t i n f l u e n c e o f th e so n n e t on
E ng lan ds H e r o i c a l l E p i s t l e s would r e q u i r e a s e p a r a t e stu d y
and would in v o lv e such q u e s t i o n s as th e s i m i l a r i t y o f su b
j e c t m a t t e r (th em es, c o n v e n t io n s ) , th e s i m i l a r i t y o f l a n
guage, o f s t y l e , o f p ro so d y , and so f o r t h . Here I w ish to
p o i n t o u t o n ly one k in d o f s i m i l a r i t y — and t h i s in v o lv e s
s t r u c t u r e . In E nglands H e r o i c a l l E p i s t l e s t h e r e a r e many
s e l f - c o n t a i n e d l y r i c p i e c e s t h a t have th e t i g h t o r g a n i z a
t i o n o f a s o n n e t. H is e x p e r im e n ta tio n w i t h th e s o n n e t had
t a u g h t D ray to n how to p r e s e n t and r e s o l v e a problem i n a
r e l a t i v e l y s h o r t sp a c e . A s e c t i o n from Owen T u d o r 's
e p i s t l e i l l u s t r a t e s t h i s p o i n t . In a p a s s a g e f o u r t e e n
l i n e s lo n g , Tudor f i r s t c i t e s a l l th e g l o r i e s t h a t he does
n o t c la im f o r h i s a n c e s t r y (11. 6 3 - 7 4 ) . He r e s o l v e s t h i s
s e r i e s o f n e g a t iv e s ta te m e n t s i n th e l a s t two l i n e s by
c i t i n g th e g l o r i e s t h a t he does c la im f o r h i s a n c e s t r y .
l4o
T h is r e s o l u t i o n i s accom panied by a change from an e x tre m e
l y l o f t y to n e to a d i g n i f i e d y e t r e s t r a i n e d to n e :
H is B i r t h from H e a v 'n y o u r Tudor n o t d e r i v e s ,
Nor s ta n d s on t i p - t o e s i n S u p e r l a t i v e s ,
A lth o u g h th e e n v io u s E n g lis h doe d e v is e
A th o u sa n d J e s t s o f o u r H y p e rb o lie s ;
Nor doe I clayme t h a t P l o t by a n c i e n t Deeds,
Where Phoebus p a s t u r e s h i s f i r e - b r e a t h i n g S t e e d s ;
Nor doe I b o a s t my God-made G r a n d s ir e s S c a rr e s ,
Nor G yants T r o p h ie s i n th e T ita n s W a rre s ;
Nor f a i n e my B i r t h (y o u r P r i n c e l y E a r e s to p l e a s e )
By t h r e e N ig h ts g e t t i n g , a s was H e r c u l e s ;
Nor doe I f o r g e my lo n g D e scen t to r u n n e
From aged N ep tu n e, o r th e g l o r i o u s Sunne:
*And y e t i n W ales, w i t h them t h a t fam ous b ee,
Our le a r n e d B ard s doe s in g my P e d ig r e e .
(1 1 . 63-76)17
S i m i l a r l y , i n a s e l f - c o n t a i n e d l y r i c from H e n r y 's e p i s t l e ,
th e l a s t two l i n e s n o t o n ly r e s o l v e the arg u m en t o f th e
p r e v io u s l i n e s b u t a l s o p r o v id e a w i t t y r e b u t t a l to R o sa
m ond's c o m p la in ts :
I f ' t be my Name, t h a t d o th Thee so o f f e n d .
No more my s e l f e s h a l l b e mine owne Names F rie n d ;
I f i t be t h a t , w hich Thou d o 's t o n e ly h a t e .
T h at Name, i n my Name, l a s t l y h a th h i s d a te ;
Say ' t i s a c c u r s t , and f a t a l l , and d i s p r a y s e i t .
I f w r i t t e n , b l o t i t , i f en g ra v en , r a z e i t ;
Say, t h a t o f a l l Names ' t i s a Name o f Woe;
Once a Kings Name, b u t now i t i s n o t s o :
And when a l l t h i s i s do ne, I know ' t w i l l g r ie v e
th e e ;
And t h e r e f o r e (Sw eet) why should I now b e le e v e t h e e ?
(1 1 . 123-132)
Mrs. T i l l o t s o n m ight w e l l have had such p a s s a g e s i n mind
when she w ro te ,
The E p i s t l e s may s t i l l be " c o n c e ite d , " b u t what we
have now i s n o t d i l u t i o n o r d i g r e s s i o n ; i t i s r a t h e r th e
d e l i b e r a t e and c o n t r o l l e d t e a s i n g o f a t h o u g h t . . . .
The p a r a g r a p h a rra n g e m e n t I s s i g n i f i c a n t ; th e c o n c e i t s
d e v elo p and r e s o l v e , l i k e s o n n e t s . 18
141
Such s e l f - c o n t a i n e d l y r i c s i n which th e sp e a k e r c o n f r o n t s
and r e s o l v e s an argum ent i n a r e l a t i v e l y s h o r t space a r e
d i s t i n c t from th e more d i g r e s s i v e lam en ts in th e e a r l i e r
poems, p a r t i c u l a r l y P e i r s G a v e s to n .
Some o f th e p a s s a g e s i n E n g lands H e r o i c a l l E p i s t l e s
m ig h t r e f l e c t s o n n e t - l i k e s t r u c t u r e i n a s l i g h t l y d i f f e r e n t
way. These p a s s a g e s e v in c e som ething o f th e o c ta v e -
s e s t e t d i v i s i o n o f th e P e tr a r c h a n s o n n e t. A ccording to
J . ¥ . L ev e r, th e o c ta v e and th e s e s t e t a r e a means o f
view ing a c e n t r a l i s s u e i n two d i f f e r e n t h u t s e q u e n t i a l
ways. The o c ta v e m ight p r e s e n t n a r r a t i o n o r e x p o s i t i o n o f
t h e problem and th e s e s t e t i s "n o t to su p e rse d e th e i n t u i
t i v e knowledge o f th e o c ta v e b u t to g a t h e r up i t s t r u t h
and a p p re h en d i t i n th e r e g i o n o f c o n s c io u s th o u g h t.
I n a p a s s a g e from th e e p i s t l e o f Edward th e B lack P r i n c e ,
we see D r a y to n , i f n o t moving from " i n t u i t i v e " to " r a
t i o n a l " u n d e r s ta n d in g o f th e issu e., a t l e a s t ch an g in g h i s
method o f a rg u m e n ta tio n i n th e two d i v i s i o n s o f th e p a s
sage .
H a st thou a l i v i n g S o u le , a humane S ense,
To l i k e , d i s l ik e ,, p r o v e , o r d e r , and d is p e n c e ?
The d e p th o f R eason, so u n d ly to a d v is e ,
To lo v e t h in g s good, t h in g s h u r t f u l l to d e s p i s e ?
The touch of Judgement, which should all things
prove,
H a st thou a l l t h i s , y e t n o t a l l o w ’ s t my Love?
Sound moves a Sound, Voyce d o th b e g e t a Voyce,
One Eccho makes another to rejoycej
One w e l l - t u n 'd S t r i n g s e t t r u e l y to th e l i k e ,
S tr u c k e n e e re a t han d , d o th make a n o th e r s t r i k e .
How comes i t t h e n , t h a t our A f f e c t i o n s j a r r e ?
What O p p o s itio n d o th b e g a t t h i s W arre? ( l l . 13-24)
In th e e n t i r e p a s s a g e Edward 1 b a rg u in g t h a t A lic e sh o u ld
a c c e p t h i s love b e c a u s e to do so i s p e r f e c t l y n a t u r a l and
r e a s o n a b l e . He a rg u e s by means o f q u e s t i o n s i n th e f i r s t
s ix l i n e s , s u g g e s tin g e x p l i c i t l y t h a t h e r n a t u r a l f a c u l t i e s
( S o u le , Sense) sh o u ld le a d h e r to love him . He a r g u e s by
means o f axioms i n th e n e x t f o u r l i n e s , s u g g e s tin g t h a t
r e c i p r o c i t y i s th e way o f a l l n a t u r e . The p o i n t I would
em phasize i s t h a t t h e p a s s a g e f a l l s I n t o two segm ents w ith
d i f f e r e n t methods o f a rg u m e n ta tio n , b u t each s u p p o r tin g th e
lo g ic o f th e o t h e r . T h is s t r u c t u r e i s c lo s e to t h a t L ever
h as i d e n t i f i e d as th e s t r u c t u r e i n th e P e tr a r c h a n s o n n e t.
S in c e D rayton cho se to c a l l h i s poems " e p i s t l e s , ” I
must a l s o c o n s id e r b r i e f l y w h e th e r th e y a r e in d e e d I n an
e p i s t l e t r a d i t i o n . I n th e 16t h c e n tu r y t h e r e a r e a t l e a s t
t h r e e e p i s t l e t r a d i t i o n s , o r t h r e e e p i s t o l a r y m odels t h a t
a p o e t c o u ld f o llo w : th e p ro s e e p i s t l e (E rasm u s1 De Con-
s c r i b e n d i s E p o s t o l i s ) , th e H o ra tio n e p i s t l e (E p i s t o l a e ) ,
and t h e O vidian e p i s t l e (H e r o id e s ) . I do n o t f i n d t h a t
D r a y t o n 's poem r e f l e c t s e i t h e r o f th e f i r s t two t r a d i t i o n s .
I n h i s I n d i v i d u a l e p i s t l e s he does n o t , f o r exam ple, u se
th e r h e t o r i c a l o r g a n i z a t i o n o f th e p ro s e e p i s t l e , and u n
l i k e th e H o ra tio n e p i s t l e , D ray to n i s d r a m a tiz in g o t h e r
s p e a k e r s —he i s n o t w r i t i n g a s D ra y to n . E ng lan ds H e r o i c a l l
E p i s t l e s , I n s o f a r a s I t I s i n an e p i s t l e t r a d i t i o n a t a l l ,
f o llo w s th e O vidian e p i s t o l a r y m odel. D rayton had, o f
c o u rs e , acknow ledged h i s d e b t to Ovid when he spoke o f
143
Ovid a s one "whose I m i t a t o r I p a r t l y p r o f e s s e to be" (p.
1 3 0 ). The H e ro id e s i t s e l f i s a s e r i e s o f tw e n ty -o n e love
l e t t e r s - - t h e f i r s t f i f t e e n a re s i n g l e l e t t e r B from f o r l o r n
women and th e l a s t s i x l e t t e r s a r e p a i r e d e p i s t l e s betw een -
t h e famous l o v e r s P a r i s and H elen, Hero and L e a n d e r, and
A c o n tiu s and C ydippe. When D rayton grouped h i s e p i s t l e s
i n p a i r s , a l e t t e r and an answ er, he may have b e e n fo llo w -
20
in g th e p r e c e d e n t t h a t Ovid s e t i n th e s e l a s t s i x l e t t e r s .
S in c e th e many p o i n t s o f s i m i l a r i t y betw een E nglands
H e r o i c a l l E p i s t l e s and t h e H e ro id e s have a l r e a d y been d i s
c u s s e d by R ic h a rd H a rd in , W illiam W i a t t , and K a th le e n T i l -
l o t s o n (se e n o te 4 ) , I w i l l n o t r e p e a t them h e r e . I want
to em p h asize, however, t h a t a l l t h e s e c r i t i c s f i n d D ray
t o n ' s d i f f e r e n c e s from h i s model q u i t e s i g n i f i c a n t (in d e e d
D ray to n had a c c u r a t e l y e v a lu a te d h i s own i n d e b te d n e s s when
he s a i d " p a r t l y " ) . E n g la n d s H e r o i c a l l E p i s t l e s i s d i s
t i n c t from th e H e ro id e s i n o v e r a l l s t r u c t u r e (Ovid had o n ly
s i x p a i r e d e p i s t l e s ) , i n o v e r a l l u n i t y (th e H e ro id e s does
n o t d e v e lo p c h r o n o l o g i c a l l y ) , in t h e u se o f h i s t o r y (th e
H e ro id e s d e p i c t s o n ly "amorous h u m o u rs"), a s w e l l a s i n
many m inor p o i n t s . Mrs. T i l l o t s o n c a l l s th e H e ro id e s "no
21
more th a n a s t a r t i n g p o i n t " and H a rd in p r e c i s e l y summa
r i z e s th e r e l a t i o n o f D r a y to n 's poem to i t s e p i s t o l a r y
m odel: "When D rayton prom pted th e c l a s s i c a l form to r e
spond to h i s own i n t e l l e c t u a l te m p e r, th e r e s u l t was a
144
w h o lly new,, t h o r o u g h ly E n g l i s h h e r o i c e p i s t l e , O v id ia n I n
22
c o n c e p t b u t n o t i n d e s i g n , "
These., t h e n , a r e t h e v a r i o u s l i t e r a r y g e n r e s an d k i n d s
t h a t a re p a r t o f th e t o t a l makeup o f E n g la n d s H e r o i c a l l
E p i s t l e s . The c o m b in a tio n i l l u s t r a t e s "how i n t h e 1 5 9 0 's
v a r i o u s t r a d i t i o n s , forms., and s u b j e c t m a t t e r s c o u ld i n t e r -
go
m in g le to p r o d u c e s o m e th in g new ." “* T h e re i s , h o w e v e r,
o n e o t h e r e le m e n t i n t h e poem t h a t I h a v e n o t y e t t a k e n
i n t o a c c o u n t: t h e " A n n o t a t i o n s o f t h e C h r o n i c l e H i s t o r i e . "
I n a l l t h e e d i t i o n s o f E n g la n d s H e r o i c a l l E p i s t l e s , D ra y
t o n added " A n n o t a t i o n s " o r n o t e s to t h e end o f e a c h e p i s t l e
t h a t e x p l a i n v a r i o u s l i n e s i n t h e e p i s t l e s t h e m s e l v e s . The
p r a c t i c e o f a d d in g n o t e s was n o t common a t th e t im e . The
c l o s e s t p a r e l l e l would b e B a ld w in ’ s p r o s e l i n k s i n t h e
M i r r o r , a l t h o u g h th e p r o s e l i n k s a r e n o t n e a r l y a s e x t e n -
24
s i v e a s D r a y t o n 's " A n n o t a t i o n s . "
D ra y to n e x p l a i n s why h e c h o se t o add t h e s e "A n n o ta
t i o n s , " s a y i n g t h a t i f t h e " M a t te r s H i s t o r i c a l l " w e re n o t
e x p l a i n e d i t m ig h t " d e f r a u d th e Mind o f much C o n te n t" ( p .
1 3 0 ) . I n d e e d , th e " A n n o t a t i o n s " a r e a s i g n i f i c a n t p a r t o f
t h e t o t a l h i s t o r i c a l i n f o r m a t i o n o f t h e poem. They a r e n o t
m e r e ly b r i e f a s i d e s o r f o o t n o t e s , b u t l e n g t h y c o m m e n ta rie s
t h a t g iv e t h e r e a d e r much o f th e h i s t o r i c a l b a c k g ro u n d o f
e a c h poem. I n them D r a y to n may e x p l a i n e x a c t l y who someone
I s , o r e x a c t l y t h e a c t i o n s p r e c e d i n g a c e r t a i n h i s t o r i c a l
e v e n t . F o r e x am p le, i n t h e e p i s t l e o f H e n ry , D ra y to n men
145
t i o n s , in p a s s i n g , one ’'Vaughan" ("Which o n e ly Vaughan,
th o u , and I doe know" [1. 1 8 0 ]). Then, to i n s u r e t h a t t h e
r e a d e r u n d e r s t a n d s e x a c t l y who Vaughan i s , D rayton e x p l a i n s
i n the " A n n o ta tio n " —
This Vaughan was a K n ig h t, whom th e King e x c e e d in g ly
Loved, who k e p t th e P a la c e a t W oodstock, and much o f th e
Kings J e w e ls and T r e a s u r e , to whom th e King com m itted
many o f h i s S e c r e t s , and i n whom he r e p o s e d such t r u s t ,
t h a t he d u r s t commit h i s Love u n to h i s C harge, (p. 146)
S i m i l a r l y , D ray to n e x p l a i n s a l l th e h i s t o r i c a l e v e n ts r e l
e v a n t to King H e n ry 's l i n e "And am I b ran d e d w ith th e
Curse o f Rome?" ( l . 37) j dn th e " A n n o ta tio n " —
King H enry th e s e c o n d , th e f i r s t P l a n t a g i n e t , a c c u se d
f o r th e d e a t h o f Thoma3 B e c k e t, A rc h -b is h o p o f C a n te r -
b u r i e , s l a i n e i n t h a t C a t h e d r a l l C hurch, was a c c u rs e d by
Pope A le x a n d e r, a lth o u g h he u rg e d s u f f i c i e n t p r o o f s o f
h i s i n n o c e n c ie in th e same, and o f f e r e d to ta k e upon him
any P en an ce, so he m ig h t a v o id th e Curse and I n t e r d i c t i o n
o f h i s R ealm e. (pp. 145-146)
D rayton even u s e s th e " A n n o ta tio n s" a s an o c c a s io n to t e l l
th e r e a d e r w hat o t h e r h i s t o r i a n s have s a i d a b o u t an e v e n t
and to e v a l u a t e the com petence o f th o s e h i s t o r i a n s . He
e x p la in s , f o r exam ple, t h a t a n o th e r h i s t o r i a n h a s d e a l t
w i t h Edward th e B lack P r i n c e :
B a n d e llo , by whom t h i s H i s t o r i e was made famous, b e
in g an I t a l i a n , as i t i s th e P e o p le s custome i n t h a t
Clime, r a t h e r to f a i l e sometime i n th e t r u t h o f Circum
s ta n c e , th e n to fo rg o e th e g ra c e o f t h e i r C o n c e it . . . .
Y et may B a n d e llo be v e ry w e ll e x c u se d , a s b e in g a
s t r a n g e r , whose e r r o r s i n th e t r u t h o f o u r H i s t o r i e , a r e
n o t so m a t e r i a l l , t h a t th e y sh o u ld need an I n v e c t i v e ,
l e s t h i s W it should b e d e fra u d e d o f any p a r t o f h i s du e.
(p. 181)
Thus t h e " A n n o ta tio n s" a llo w D rayton to g iv e th e
r e a d e r a l l t h e i n s t r u c t i v e h i s t o r i c a l in f o r m a tio n t h a t he
146
had le a r n e d from h i s e x t e n s i v e r e s e a r c h I n th e h i s t o r i c a l
C h r o n ic le s , At th e same time,, th e "A n n o ta tio n s" f r e e D ray
to n from th e n e c e s s i t y o f a lw ay s i n c l u d i n g t h i s e s s e n t i a l
back g ro u n d in f o r m a ti o n i n th e poem i t s e l f . He need n o t
alw ays c o n t r i v e a way to e x p l a i n e x a c t l y who someone was,
o r e x a c t l y w hat h a s happened. In d ee d , t h e " A n n o ta tio n s"
a llo w D rayton to u s e f o r c e f u l t r o p i c a l la n g u a g e w ith r e f
e re n c e to p e o p le (a s when M a rg a re t c a l l s R ic h a rd " t h a t u n
r u l y B e are " [1. 73] o r when she speaks o f "Warwicks
b e a rd e d S ta v e s " [1 , 9 6 ]) w i t h o u t f e a r t h a t th e r e a d e r w i l l
m is u n d e rs ta n d th e h i s t o r i c a l a l l u s i o n . I n th e "A nnota
t i o n s " he h a s th e o p p o r t u n i t y to e x p la in e x a c t l y who th e s e
p e o p le a r e .
The Method of Analysis
In the analysis of Peirs Gaveston, I began with a
description of the specific ornaments in the poem and then
moved Into an examination of those ornaments in relation to
the broad subjects— reaction and history. For Englands
Heroicall Epistles I will use another method of analysis.
Since the Epistles includes such a diversity of speakers
and historical circumstances, I will analyze the figures
used to develop those topics that are common to all of the
epistles. The method of analysis is not primarily ornament
by ornament, as in Chapter II, but topic by topic.
147
I have chosen to d i v i d e th e poems i n t o t o p i c s b e ca u se
such a d i v i s i o n r e f l e c t s , i n fact,, th e a c t u a l s t r u c t u r e o f
th e i n d i v i d u a l e p i s t l e s . In most o f t h e e p i s t l e s , D rayton
c o n s i s t e n t l y h a s h i s s p e a k e r s t a l k a b o u t t h r e e c o n c e rn s .
F i r s t , m ost o f th e s p e a k e r s t e l l a b o u t t h e i r r e a c t i o n s to
th e l e t t e r - w r i t i n g s i t u a t i o n : how th e y r e a c t e d upon r e
c e i v in g t h e l e t t e r , upon w r i t i n g th e l e t t e r , o r upon se n d
in g th e l e t t e r . I have cho sen to c a l l t h i s to p ic th e
" e p i s t l e c o n t e x t . " Second., most o f t h e s p e a k e rs d e v o te a
s e c t i o n o f t h e i r e p i s t l e s to p r a i s i n g t h e a d d r e s s e e . T his
t o p i c I h av e l a b e l e d th e " p r a i s e o f t h e b e lo v e d ." And
t h i r d , m ost o f th e s p e a k e r s g iv e an a c c o u n t o f th e im p o r
t a n t h i s t o r i c e v e n ts o f t h e i r tim e s. T hese can be p a s t
e v e n ts t h a t le a d up t o t h e s p e a k e r 's p r e s e n t p re d ic a m e n t o r
f u t u r e e v e n t s t h a t th e s p e a k e r ( a c c u r a t e l y ) f o r e s e e s . T h is
t o p i c I have l a b e l e d th e " r e p o r t o f h i s t o r y . " A gain and
a g a in i n th e e p i s t l e s , t h e s p e a k e rs t a k e up th e s e s e v e r a l
t o p i c s , d e v o tin g , i n m ost i n s t a n c e s , a s e l f - c o n t a i n e d
v e r s e - p a r a g r a p h o r more t o e ach . M oreover, th e s e t o p i c s
a r e u s u a l l y , a lth o u g h n o t alw ay s, d i s t i n c t from e a c h o t h e r
i n th e e p i s t l e . T hat i s , when th e s p e a k e r i s d e s c r i b i n g
hiB r e a c t i o n to th e " e p i s t l e c o n te x t" he i s u s u a l l y n o t
s im u lta n e o u s ly r e p o r t i n g h i s t o r i c a l e v e n t s .
I n t h i s a n a l y s i s I am u s in g th e w ord " to p ic " i n s t e a d
o f " s u b j e c t " b e c a u se I w ant to d e s i g n a t e a more s p e c i f i c
r e f e r e n t th a n " s u b j e c t " d e s i g n a t e s . I u s e " t o p ic " to d e s -
148
I g n a t e a c e r t a i n way o f h a n d lin g a s u b j e c t . Thus a s u b j e c t
w ould b e " r e a c t i o n ” ; a t o p i c w ould be " th e r e a c t i o n o c c a
s io n e d by t h e e p i s t l e c o n t e x t . " A s u b j e c t w ould be " lo v e " ;
a t o p i c w ould be " p r a i s i n g th e b e l o v e d ."
Epistle Context
At t h e b e g in n in g o f e v e ry poem i n E n g la n d s H e r o i c a l l
E p i s t l e s , D ra y to n c a l l s th e r e a d e r ' s a t t e n t i o n to th e f a c t
t h a t t h e poem i s an e p i s t l e . I n some o f t h e poems he e s
t a b l i s h e s t h i s f a c t b y b e g in n in g i t a s an o r d i n a r y l e t t e r
w ould b e g i n — w ith a B a l u t a t i o n . Of th e t w e n t y - f o u r
e p i s t l e s . , f i v e b e g in w i t h s a l u t a t i o n s o f t h e k in d t h a t
m ig h t w e l l h ave b een recommended by th e l e t t e r w r i t i n g
h a n d b o o k s o f th e p e r i o d : t h e y i d e n t i f y t h e w r i t e r and
i d e n t i f y t h e r e c i p i e n t w i t h r e s p e c t f u l , y e t d e s c r i p t i v e
p h r a s e s . The e p i s t l e o f Edward IV b e g i n s , f o r exam ple,
w i t h su c h a s a l u t a t i o n : "To t h e e , th e f a i r ' s t t h a t e v e r
b r e a t h ' d t h i s a y r e , / Erom E n g l i s h Edw ard, t o t h e e f a i r e s t
f a i r e " (1 1 . 1 - 2 ) . The s a l u t a t i o n b e g in n in g S u r r e y 's l e t
t e r a c c o m p lis h e s e s s e n t i a l l y t h e same p u r p o s e s a s does
E d w a rd ' s s a l u t a t i o n :
*Erom l e a r n e d F l o r e n c e ( lo n g tim e r i c h i n fame)
Erom whence t h y R ace, th y N oble g r a n d s i r s came,
To famous E n g la n d , t h a t k i n d Nurse o f m ine,
Thy S u rre y s e n d s to h e a v 'n l y G e r a l d i n e . (11. 1-4)
T h is s a l u t a t i o n I s e x te n d e d by t h e a d d i t i o n o f more I n f o r
m a tio n a b o u t th e r e c i p i e n t ( h e r b i r t h p l a c e , h e r name, and
149
a n c e s t r y ) and th e se n d er ( h i s b i r t h p l a c e ) . A s a l u t a t i o n
may a ls o w ish th e r e c i p i e n t h e a l t h , a s does Queen M ary's
"su ch h e a l t h from Heav’n my s e l f e may w ish to m e e , / Such
h e a l t h from F ra n c e Qu. Mary sends to th e e " (11. 1 - 2 ) .
Most o f t e n , however, D rayton does n o t b e g in th e
e p i s t l e m e re ly w ith a g r e e t i n g . R a th e r , he u s u a l l y b e g in s
th e l e t t e r by fo c u s in g on th e r e a c t i o n s o f th e w r i t e r s o c
c a s io n e d s p e c i f i c a l l y by th e a c t o f w r i t i n g a l e t t e r (Ma
t i l d a , A lic e , I s a b e l , M a r g a r e t) , and th e a c t o f r e c e i v i n g
a l e t t e r (H enry, M a tild a , Owen T udor, M is tr e s s S h o re, G i l
f o r d D u d le y ) . The e p i s t l e may even b e g in w ith an a s s e r t i o n
a b o u t how t h e r e c i p i e n t i s to r e a c t t o th e l e t t e r (Edward,
K a th e r in e , J o h n , E l i n o r ) . By so e s t a b l i s h i n g th e r e a c t i o n
t o th e e p i s t l e , D rayton n o t o n ly re m in d s th e r e a d e r t h a t
t h e poems a r e f i c t i o n a l e p i s t l e s , b u t he a ls o e s t a b l i s h e s
2E
t h e im p o rta n c e o f the moment o f c o m p o s itio n . ^
The M ajor Ornam ents and
T h e i r F u n c tio n s
In th e e p i s t l e c o n t e x t , D rayton c o n s i s t e n t l y u s e s f i g
u r e s , b o th schem es and t r o p e s , to i l l u m i n a t e th e r e a c t i o n s
o f th e s p e a k e r s and to im p re s s on t h e r e a d e r th e Im p o rtan ce
o f th e s e r e a c t i o n s . In t h i s s e c t i o n , s im ile i s th e prom
i n e n t t r o p e . Among t h e s e s i m i l e s th o s e t h a t open th e
26
e p i s t l e s o f G i l f o r d D udley and Queen I s a b e l (R) su g g e st
t h e c lo s e and c o n tin u in g a s s o c i a t i o n i n D ra y to n ’ s p o e tr y
betw een th e lam en t s ta n c e (p a s s io n ) and t h i s f i g u r e . Dud
150
le y , f o r example, la u n c h e s i n t o a t y p i c a l la m e n t w ith a
s i m i l e : "As th e Swan s in g in g a t h i s dying H o w 'r / So I r e p l y
from my i m p r i s 'n i n g Tow'r" (11. 1 - 2 ) . I s a b e l ' s f i r s t w o rds
( s i m i l e ) a ls o r e c a l l v i v i d l y th e c o m p la in t t r a d i t i o n : "Ab
Do t h th e y e e r e l y Augure o f th e S p r i n g , / In d e p th o f Woe,
th u s I my Sorrow s in g " (11. 1 - 2 ) . We sh o u ld r e c a l l t h a t
D rayton a l s o f r e q u e n t l y u sed s i m i l e to a m p lif y r e a c t i o n i n
P e i r s G aveston ( s e e C h ap ter I I , pp . 49-71)- In E nglands
H e r o i c a l l E p i s t l e s , D rayton c o n t i n u e s to u s e s im ile f o r
t h i s p u rp o s e . S im ile I s th e m ain d e v ic e o f a m p l i f i c a t i o n ,
f o r exam ple, i n t h e e p i s t l e c o n t e x t s e c t i o n s o f M is tr e s s
S hore, Queen M a rg a re t, G e r a ld in e , Queen I s a b e l (R), Lady
Jane G ray, and G i l f o r d Dudley.
The form o f some o f th e s e s i m i l e s i s l i k e th e form o f
s i m i l e s i n P e i r s G a v e s to n . As t h e e p i s t l e o f M is tr e s s
Shore i l l u s t r a t e s , th e s i m il e s may f a l l i n t o t h e p a t t e r n
o f an " e p ic " s i m i l e :
As th e weake C h ild , t h a t from the M o th ers wing,
I s ta u g h t t h e L u tes d e l i c i o u s f i n g e r i n g ,
At e v 'r y s t r i n g s s o f t to u c h , i s mov'd w i t h f e a r e ,
N oting h i s M a s te rs c u r i o u s l l s t ' n i n g E a re j
Whose tr e m b lin g Hand, a t e v 'r y s t r a i n e bew rayes,
I n what d o u b t he h i s n e w - s e t Lesson p l a y e s :
As t h i s p o o re C h ild , so s i t I to i n d i t e ,
At e v 'r y word s t i l l q u a k in g a s I w r i t e .
( 11. 1- 8)
L ike th e s im ile s i n P e i r s G a v e s to n , th e f i r s t l i n e s p r e s e n t
a co m p o site a c t io n (11. 1-6) and th e c o n c lu d in g two l i n e s
a p p ly t h a t f i g u r a t i v e a c tio n to th e l i t e r a l a c t i o n .
151
But even though t h e s e t r o p e s may he l a b e l e d "e p ic sim
i l e , " th e t r o p e s i n E n glan ds H e r o i c a l l E p i s t l e s by and
l a r g e have many fo rm al d i f f e r e n c e s from th o s e i n P e i r s
G a v e s to n . F u rth e rm o re , m ost o f th e s e fo rm al d i f f e r e n c e s
show D rayton moving away from th e r i g i d i t y o f th e P e i r s
G aveston s i m i l e s tow ards more f l e x i b i l i t y and more fo rm al
v a r i e t y . I w i l l now d i s c u s s how th e s i m il e s a r e f o rm a lly
d i s t i n c t from th o s e in P e i r s G a v esto n ; a t th e end o f t h i s
s e c t i o n I w i l l d i s c u s s t h e d i f f e r e n c e s betw een th e s i m i l e s
i n r e l a t i o n to th e s u b j e c t " r e a c t i o n . "
The f i r s t most o b v io u s fo rm al d i f f e r e n c e betw een th e
two poems i s t h a t th e s i m i l e s i n th e E p i s t l e s a r e n o t a l l
th e same l e n g t h . In th e E p i s t l e s th e s i m i l e s may v a ry from
two l i n e s (D udley, I s a b e l ) to tw elve o r more l i n e s ( G e r a l
dine,, M arg aret) w hereas I n P e i r s G aveston e a c h s im ile was
d e v e lo p e d i n s i x l i n e s . The second d i f f e r e n c e r e s u l t s from
th e f i r s t . I n o te d e a r l i e r t h a t th e P e i r s G aveston s i m i l e s
a lm o st alw ays had th e same i n t e r n a l o r g a n i z a t i o n . The
f i r s t l i n e p r e s e n t e d th e f i g u r a t i v e r e f e r e n t , th e n e x t f o u r
l i n e s p r e s e n t e d s e v e r a l a c t i o n s o f t h a t r e f e r e n t , and th e
l a s t two l i n e s a p p li e d th e f i g u r a t i v e a c t i o n to th e l i t e r a l
a c t i o n (se e C h a p te r I I , p p . 5 1 -5 2 ). In th e E p i s t l e s , how
e v e r , D rayton does n o t a d h e re to one i n t e r n a l o r g a n i z a t i o n .
The e p i s t l e c o n te x t from M a r g a r e t 's e p i s t l e i l l u s t r a t e s
some o f th e fo rm a l v a r i a t i o n s t h a t D rayton h ad l e a r n e d :
152
What news (sw eet P o ole) l o o k ' s t thou my L in e s sh ould
t e l l ,
B ut l i k e th e t o l i n g o f th e d o l e f u l l B e ll,
B iddin g t h e D eaths-m an to p r e p a r e th e Grave?
E x p ec t from me no o t h e r newes to h ave.
My B r e s t , w hich once was M irth s i m p e r i a l l T hrone,
A v a s t and d e s a r t W ild e rn e ss e i s growne:
L ike t h a t c o ld R egion, from th e W orld rem o te,
On whose breem e Seas th e I c i e M ountalnes f l o t e ;
Where th o s e poore C r e a t u r e s , b a n i s h 'd from t h e L ig h t,
Doe l i v e i m p r i s 'n e d i n c o n t i n u a l l N ight.
And Care t a k e s up h e r s o l i t a r l e I n n e ,
Where Y outh and Jo y t h e i r C o urt d i d once b e g i n .
As i n S eptem ber, when o u r Y eere r e s i g n e s
The g l o r i o u s Sunne to th e c o ld W a t 'r l e S ig n e s ,
Which th ro u g h th e C louds lo o k e s on the E a r t h i n
s c o r n e ;
The l i t t l e B ir d , y e t to s a l u t e t h e Morne,
Upon th e naked B ran ch es s e t s h e r f o o t .
The Leaves th en l y i n g on th e m o ssie Root,
And th e r e a s i l l y c h i r i p p i n g d o th keepe,
As though she f a i n e would s in g , y e t f a in e would
weepe,
P ra y s in g f a i r e Summer, t h a t to o soone i s g o n e .
Or sad f o r W in te r, too f a s t comming on:
I n t h i s s t r a n g e p l i g h t I mourne f o r thy d e p a r t ,
B ecause t h a t Weeping can n o t e a s e my H e art.
( 1 1 . 1- 1 0, 1 3- 2 6 )
H ere, o b v io u s ly , D rayton do es n o t u s e one B im ile, b u t t h r e e
( l l . 2 - 3 , 7-10 , 1 5 -2 6 ). Of c o u rs e , D ray to n had u s e d s im ile
s e r i e s to a m p lify em otion i n P e i r s G a v e s to n . B ut In th e
e a r l i e r poem th e s e r i e s were o f t h r e e p a r a l l e l , d i s c r e t e
t r o p e s . By p a r a l l e l I mean t h a t each s i m il e was d e v elo p ed
to t h e same e x t e n t and by d i s c r e t e I mean t h a t t h e y were
n o t u s u a l l y c o n n o t a t i v e l y jo in e d to one a n o th e r ( c o n s i d e r ,
f o r exam ple, P e i r s G a v e sto n , 11. 607-6 24) . In t h e above
p a s s a g e , th e f i r s t s i m il e i s q u i t e b r i e f —i t i s n o t a com
p o s i t e a c t i o n . The second s im ile i s d e v elo p ed to a compo
s i t e a c t i o n , b u t D rayton d o e s n o t e x te n d I t to an e x p l i c i t
153
com parison w ith th e s i t u a t i o n a t hand ( M a r g a r e t's g r i e f ) .
F i n a l l y i n th e t h i r d s i m i l e D ray to n p r e s e n t s a com posite
a c t i o n , and c o n c lu d e s th e f i g u r e by a p p ly in g i t to Marga
r e t ' s g r i e f . Thus th e t h r e e s i m i l e s a r e n o t p a r a l l e l .
M oreover, th e c o n n o ta ti o n s o f th e words a re more th a n
o n ly g e n e r a l l y s i m i l a r . In P e i r s G aveston when D rayton
w ished t o a m p lify a q u a l i t y o f a s u b j e c t such a s i t s f e a r
f u l n e s s (s e e s i m i l e s d e p i c t i n g th e B a ro n s ' rage,, 1 1 . 877
f f . ) , he would u se s i m i l e s t h a t a l l v e ry g e n e r a l l y su g
g e s te d f e a r f u l n e s s — " sp u n g ie s o y l e , " "hugh L e v i a t h a n , " "a
c lo u d e , f o u l e , d a r k e . " In M a r g a r e t 's p a s s a g e , however,
th e te rm s o f com parison i n th e seco nd and t h i r d s i m i l e s a re
very much a l i k e . The second s i m i l e sp eak s o f " t h a t c o ld
Region" and th e "poo re C r e a t u r e s " t h a t a re s h u t up i n i t .
The t h i r d s i m i l e sp e a k s o f th e W in te r and d e v e lo p s a
le n g th y p i c t u r e o f one o f th e "p o o re C r e a t u r e s " who I s a
v i c tim o f i t . A lth o u g h th e te rm s o f t h i s t h i r d s i m il e do
n o t p r e c i s e l y grow o u t o f th e te rm s o f th e f i r s t s i m il e o r
advance t h e com parison o f th e f i r s t s i m i l e , s t i l l th e term s
a re q u i t e c o m p a tib le .
M a r g a r e t 's e p i s t l e c o n te x t shows a n o th e r k in d o f f o r
mal v a r i a t i o n . Here D ray to n i n t e r s p e r s e s t h e s i m il e s w ith
o t h e r f i g u r e s — a l l e g o r i a ( l l . 1 3 - 1^) and m etapho r ( 1 1 . 5 “
6). Indeed, even this metaphor Is quite formally distinct
from metaphors In Peirs Gaveston. Initially this metaphor
seems to fall Into the pattern of a series of definitions
t h a t was met w ith so f r e q u e n t l y i n P e i r s G a v e sto n — "My
b r e s t e h i s p i l l o w . . . / Mine e y e s h i s booke . . ." (11.
2 2 7 -2 2 8 ). B ut D ra y to n does n o t c o n tin u e th e t r o p i c a l r e
d e f i n i t i o n s . R a th e r he s h i f t s b a c k to s im ile i n l i n e
s e v e n .
Hence, i n M a r g a r e t 's s i m i l e s we see much fo rm al v a r i
a t i o n o r a t l e a s t a movement away from th e r i g i d , p a r a l l e l
developm ent o f th e i n d i v i d u a l s i m i l e t h a t was so f r e q u e n t l y
a f e a t u r e i n P e i r s G a v e s to n . M oreover, h e r e p i s t l e i l l u s
t r a t e s som ething o f th e t h i r d f o rm a l d i f f e r e n c e betw een
s i m i l e s i n th e two poems. In E n g la n d s H e r o i c a l l E p i s t l e s ,
D rayton no lo n g e r u s e s th e s i m il e s e r i e s t h a t were so prom
i n e n t i n P e i r s G a v e s to n . M a r g a r e t 's p a ssa g e i l l u s t r a t e s
t h a t th e s e v e r a l s i m i l e s need n o t be p a r a l l e l . The o t h e r
e p i s t l e c o n t e x t s ( e s p e c i a l l y G e r a l d i n e , Ja n e Gray) i l l u s
t r a t e t h a t D ray ton d o e s n o t n e c e s s a r i l y u se s e v e r a l sim
i l e s . Most o f t e n i n E nglands H e r o i c a l l E p i s t l e s , D rayton
i s c o n te n t to u se o n ly one e p ic s i m i l e a t a tim e .
We m ig h t w e l l a s k , th e n , w hat D rayton h a s g a in e d o r
l o s t by t h i s change i n th e s im ile p r o c e d u r e . We sh o u ld r e
c a l l t h a t th e s i m il e s e r i e s i n P e i r s G aveston d i d have c e r
t a i n a d v a n ta g e s o r a t l e a s t c e r t a i n f u n c t i o n s . They had
th e f u n c t i o n , f o r exam ple, o f g i v i n g th e s u b j e c t added am
p l i f i c a t i o n o v e r o t h e r i n s t a n c e s o f o rn a m e n ta tio n , e s p e
c i a l l y when D rayto n in c r e a s e d t h e i r number to t h r e e (se e
C h a p te r I I , p p . 6 6 - 6 9 ) , and some o f th e s i m il e s e r i e s e x
155
p l a i n e d th e s u b j e c t from s e v e r a l p o i n t s o f view (se e Chap
t e r I I , pp . 5 7 - 6 6 ) . At t h e end o f t h i s s e c t i o n , I w i l l
s u g g e s t why D rayton may n o t have w anted to a m p lify th e
e p i s t l e c o n t e x t r e a c t i o n o v e r a l l . o t h e r r e a c t i o n s in th e
I n d i v i d u a l e p i s t l e ( t h i s q u e s t io n in v o lv e s e v id e n c e t h a t
I w ish to c o n s i d e r f u r t h e r t h e r e ) . B ut a s to th e p rob lem
o f how th e s i m i l e s i n E n g la n d s H e r o i c a l l E p i s t l e s "make
p l a i n e , " t h e s e s i m il e s t e n d to e x p lo r e one a s p e c t o f th e
r e a c t i o n i n d e t a i l r a t h e r th an docum enting t h a t r e a c t i o n
from s e v e r a l p o i n t s o f view . Thus th e s i m i l e s t h a t a m p lify
r e a c t i o n i n E n g lan d s H e r o i c a l l E p i s t l e s a re u s u a l l y I n t e n
s i v e r a t h e r th a n e x p a n s iv e . We w i l l see th e t r o p e s making
th e r e a c t i o n p l a i n i n t h i s manner i n th e e p i s t l e c o n te x t
p a s s a g e s o f G e r a ld in e , Lady Jan e G ray, and Queen I s a b e l
( R ) . F u rth e rm o re , by o m i t t i n g th e s e r i e s o f t r o p e s , D ra y
to n a v o id s th e e f f e c t o f a m e c h a n ic a l p i l i n g o f tr o p e upon
tr o p e i n E n g la n d s H e r o i c a l l E p i s t l e s .
Now t h a t I have n o te d some o f t h e fo rm al v a r i a t i o n s
betw een th e ornam en ts i n P e i r s G aveston and E n g lan d s H e ro
i c a l l E p i s t l e s , i t I s a p p r o p r i a t e to examine how e x a c t l y
th e e p i s t l e c o n te x t o rn am e n ts f u n c t i o n . What a r e t h e i r
p u r p o s e s and how do th e y a cc o m p lish them? I n th e e p i s t l e
c o n t e x t , D r a y to n ’ s c h i e f p u rp o se i s to a m p lify r e a c t i o n by
e x p la in i n g e x a c t l y how th e p a s s io n e x p r e s s e s i t s e l f p h y s
i c a l l y . He f o c u s e s on th e p h y s i c a l m a n i f e s t a t i o n o f r e a c
t i o n as an in d e x o f th e d e p th o f t h e s p e a k e r ’ s p a s s io n .
156
M oreover, I n c h o o sin g to d e v e lo p r e a c t i o n i n t h i s way,
D ra y to n i n c r e a s e s th e drama o f th e poem. T h a t i s , t h e
s p e a k e r i s showing u s h i s woe r a t h e r th a n o n l y t a l k i n g
a b o u t i t .
In s e v e r a l o f t h e e p i s t l e c o n te x t p a s s a g e s d e v e lo p e d
by t r o p e s , D ray ton f o c u s e s on t h e b l u s h e s , t e a r s , and s i g h s
a s th e p h y s i c a l m a n i f e s t a t i o n o f th e s p e a k e r ’ s deep p a s
s i o n . B u t t h e s e b l u s h e s , t e a r s , and s i g h s , so c o n v e n t i o n a l
i n many k i n d s o f a m a to ry p o e t r y , a r e made v i v i d and e x p r e s
s i v e by t h e f i g u r e s t h a t D ra y to n u s e s to a m p l i f y them . I n
t h e e p i s t l e o f Lady G e r a l d i n e , D ra y to n f o c u s e s on th e
l a d y 's b l u s h a s th e in d e x o f h e r p a s s i o n ; h e a m p l i f i e s t h a t
r e a c t i o n by an e p ic s i m i l e :
L ik e to a T ap e r l a t e l y b u r n in g b r i g h t ,
B u t w a n tin g m a t t e r to m a in ta in e h i s L ig h t ;
The B la z e a s c e n d i n g , f o r c e d by t h e smoke,
L iv in g by t h a t w hich s e e k e s th e same to choke;
The Flame s t i l l h a n g in g I n th e A yre, d o th b u r n e ,
T J n t il l drawne downe, I t b a ck e a g a i n e r e t u r n e :
Then c l e a r e , th e n dim, t h e n s p r e a d e t h , and th e n
c l o s e t h .
Now g e t t e t h s t r e n g t h , and now h i s b r i g h t n e s s e
l o s e t h ;
As w e l l th e b e s t d i s c e r n i n g Eye may d o u b t,
W hether i t y e t be I n , o r w h e th e r o u t :
Thus i n my Cheeke my s u n d ry P a s s i o n s sh e w 'd ,
Now a s h l e p a l e , and now a g a in e I t g l o w 'd .
( 11. 37-^ 8 )
T h is s i m i l e i s c o g e n t b e c a u s e I t I s a t once a p r e c i s e and
m in u te d e s c r i p t i o n o f a flam e and a l s o a p r e c i s e d e s c r i p
t i o n o f a b l u s h . E ach a c t i o n o f th e flam e ( e s p e c i a l l y 11.
4-3-48) e x a c t l y p a r a l l e l s a c t i o n s o f a b l u s h — a b l u s h b e
comes c l e a r o r dim, a b l u s h may s p r e a d o r g a t h e r to one
157
p o i n t . F u r t h e r , i n th e i n i t i a l d e s c r i p t i o n o f th e flam e
(11. 3 7 - ^ 0 ), D rayton may b e s u g g e s tin g t h a t j u s t a s the
flame r e a c t s to th e m a t t e r t h a t i t f e e d s on., G e r a ld in e r e
a c t s to th e m a t t e r o f S u r r e y 's l e t t e r — a s she r e a d s o r
" fe e d s on" th e l e t t e r , h e r b l u s h shows i n th e s e ways.
In th e e p i s t l e c o n t e x t p a s s a g e o f Lady Ja n e G ray,
D rayton u s e s s e v e r a l t r o p e s to e x p re s s h e r p h y s i c a l r e a c
t i o n and to ground t h a t p h y s i c a l r e a c t i o n i n th e l e t t e r -
w r i t i n g s i t u a t i o n . D ra y to n f i r s t e x p l a i n s th e c o n te n ti o n
o f h e r t e a r s and s ig h s i n an e p ic s i m i l e t
When l i k e an a d v e rs e Winde i n I s i s c o u r s e ,
A g a in s t th e T ide b e n d in g h i s b o i s t r o u s f o r c e .
B ut when th e F loud h a t h w rought i t s e l f e a b o u t,
He f o llo w in g on, d o th h e a d -lo n g t h r u s t i t o u tj
Thus s t r i v e ray S ig h e s w ith T e a re s e ' r e th e y b e g in .
And b r e a k in g o u t , a g a in e S ig h e s d r i v e them i n .
( 1 1 . 1 5- 2 0)
T his s i m il e i s p r e c i s e b e c a u se th e m otio n o f th e f i g u r a t i v e
a c t io n a p p l i e s e x a c t l y to th e m otion o f th e l i t e r a l a c t i o n .
The t e a r s s t r i v e to come o u t j u s t a s th e t i d e s e e k s to come
i n , b u t b o th a re fo r c e d b a c k by c o n t r a r y winds ( in d e e d , the
fo cu s on c o n t r a r y m otion had been i n tr o d u c e d e a r l i e r In
t h i s p a s s a g e , 11. 1 0 -1 2 ). In a n o th e r s i m i l e , D ray to n con
t i n u e s th e f o c u s on t e a r s and s i g h s , b u t now t h e i r r e l a t i o n
i s co m p lem en tary — "As T e a re s doe f a l l and r i s e , S ig h s come
and goe" ( l . 2 5 ). He t h e n u s e s t h i s com plem entary r e l a t i o n
to make a t r a n s i t i o n I n t o an e x p l i c i t r e f e r e n c e to l e t t e r
w r i t i n g — "So doe th e s e num bers ebbe, so doe th e y flow " ( l .
2 6 ). Of c o u r s e , th e r e f e r e n c e to t i d e s had been I n tr o d u c e d
158
i n th e e a r l i e r s i m i l e ( l l . 1 5 -2 0 ). Nor a r e th e t e a r s and
s i g h s l e f t t h e r e . S in c e a t t e n t i o n h a s been fo c u s e d on th e
l e t t e r - w r i t i n g s i t u a t i o n i n "num bers” D rayton g oes on to
draw a com parison betw een J a n e ' s t e a r s and th e l e t t e r
w r i t i n g im p le m e n ts— "These b r i n y T e a re s doe make my Incke
lo o k e p a le " ( l . 2 7 ) . And h a v in g g iv en human q u a l i t y to th e
i n k , D rayton c o n ti n u e s th e com parison i n an a l l e g o r i a :
My In ck e c l o t h e s T e a re s i n t h i s sad m ourning v a l e ,
The l e t t e r s m ourners, weepe w ith my dim Eye,
The P aper p a l e , g r i e v ' d a t my m l s e r i e .
(11. 28-30)
In t h i s p a s s a g e , D rayto n h a s a c c o m p lish e d a g r e a t d e a l .
He h a s n o t o n ly a m p l i f i e d th e r e a c t i o n and e x p la in e d i t ,
b u t he h as a ls o made t h a t r e a c t i o n grow o u t o f th e l e t t e r -
w r i t i n g s i t u a t i o n . T hat i s , th e r e f e r e n c e to "num bers,"
" I n c k e ," and so f o r t h rem inds th e r e a d e r o f th e d ra m a tic
c irc u m s ta n c e o f t h e s p e a k e r.
I n a d d i t i o n to o rn a m e n ta tio n by t r o p e s , D ray ton a ls o
d e v e lo p s th e e p i s t l e c o n te x t r e a c t i o n w ith schem es. In th e
e p i s t l e c o n te x ts o f A lic e ( l l . 1 5 -2 6 ), M a tild a ( l l . 3 1 -^ 1)>
Owen Tudor (11. 1 - 1 0 ) , and Henry ( l l . 17-22) th e s e schemes
f u n c t i o n to r e i n f o r c e what th e s p e a k e r i s e x p l i c i t l y sa y in g
a b o u t h i s p a s s i o n . The e p i s t l e c o n te x ts o f M a tild a and
A lic e i l l u s t r a t e t h e p r e c i s i o n w ith w hich D ray ton can u se
schem es to h e ig h t e n and to comment on th e s p e a k e r 's p a s
s i o n a t e r e a c t i o n . As she an sw e rs John, M a tild a i s i n a
s t a t e o f p a s s i o n - - a p a s s i o n so s tr o n g t h a t h e r a c t i o n s have
159
become c o n fu s e d : "For s t i l l my p a s s i o n i s so p o w e r f u ll o ' e r
m e , / T hat I d is c e r n e n o t t h in g s t h a t sta n d b e f o r e me” (11.
2 9 -3 0 ).
D ray to n goes on t o a m p lify h e r co nfused a c t i o n s t h a t
a r e , i n turn., to be an in d e x and p r o o f o f h e r c o n fu sed
s t a t e o f m ind:
1 F in d in g th e Pen, th e P a p e r, and th e Waxe,
2 These a t command, and now I n v e n tio n l a c k s ;
3 T h is s e n te n c e s e r v e s , and T h at my hand o u t - s t r i k e s ;
4 T h is p l e a s e t h w e l l , and t h i s as much m i s l i k e s ,
5 I w r i t e , i n d i t e , I p o i n t , I r a z e , I q u o te ,
6 I e n t e r l i n e , I b l o t , c o r r e c t , I n o te ,
7 I h o p e , d e s p a i r e , ta k e c o u ra g e , f a i n t , d i s d a i n e ,
8 I make, a l l e d g e , I I m i t a t e , I f a i n e :
9 Now th u s i t m ust b e , and now th u s and t h u s ,
10 B o ld , s h a m e - f a c 'd , f e a r e l e s s e , d o u b t f u l l tim o ro u s;
11 My f a i n t Hand w r i t i n g , when my f u l l Eye re a d s . . . .
( 1 1 . 31-41)
A l l th e s e s ta te m e n t s I l l u s t r a t e h e r c o n c lu s io n : "From e v ’ry
word s t r a n g e P a ss io n s t i l l p r o c e e d s ” ( l . 4 2 ) .
D r a y t o n 's p u rp o se i n th e p a s s a g e i s to make M a t i l d a ’ s
a c t i v i t y seem I n t e n s e and random. To do so, he u s e s s e v
e r a l k in d s o f s y n t a c t i c a l f i g u r e s . He u s e s , f o r exam ple,
a double a n a p h o ra to s u g g e s t th e b u sy n e ss o f h e r a c t i o n s .
A word i s r e p e a t e d n o t o n ly i n s u c c e s s iv e v e r s e s (11. 5> 6 ,
7 , 8 ) b u t w i t h i n s u c c e s s iv e c l a u s e s in the v e r s e ( l l . 6 ,
8 ) . To f u r t h e r h e ig h t e n th e i n t e n s i t y o f h e r a c t i o n s and
t o s u g g e s t t h e i r random ness, D ra y to n om its c o n ju n c ti o n s and
t r a n s i t i o n words b etw een c la u s e s (asyndeton) i n l i n e s 5 ,
6 , 7, and 8 . By o m i t t i n g t r a n s i t i o n s and c o n ju n c ti o n s ,
D rayton s u g g e s t s t h a t th e i n d i v i d u a l a c t i v i t i e s o f w r i t i n g ,
160
c o r r e c t i n g and so f o r t h have no seq u en ce, a rran g em en t o r
d i r e c t i o n . The same f i g u r e ( asy n d eto n ) a ls o s e r v e s to make
th e sequence o f M a t i l d a 's em o tio n s seem random in th e l i n e
"B old , s h a m e - f a c 'd , f e a r e l e s s e , d o u b t f u l l , tim o r o u s ."
These a re in d e e d " s tr a n g e P a s s i o n s . "
In t h i s p a s s a g e , th e f i g u r e a n t i t h e s i s a ls o s e r v e s to
i n t e n s i f y M a t i l d a 's c o n fu s io n . The a n t i t h e s i s t a k e s th e
form o f sim ple c o n t r a s t o f one word in two c l a u s e s — "These
a t command, and now I n v e n tio n l a c k s . " The f i g u r e a ls o
t a k e s th e form o f a double a n t i t h e s i s — "T his s e n te n c e
s e r v e s , and T hat my hand o u t - s t r i k e s ; / T h is p l e a s e t h w e l l ,
and t h i s as much m i s l i k e s " (11. 3“^ ) - Here each c la u s e i s
c a r e f u l l y made to c o n t r a s t i n some word w ith a l l th e o t h e r s
and hence th e f i g u r e a n t i t h e s i s em ph asizes M a t i l d a 's con
t r a d i c t o r y a c t i v i t i e s . In th e p a s s a g e t h a t I have q u o te d ,
we s e e t h a t D ray to n u s e s th e f i g u r e s o f grammar a s one way
to d e p i c t each m otio n o f th e s p e a k e r and to a m p lify h e r
p a s s i o n i n th e " e p i s t l e c o n t e x t . " F u r t h e r , he h a s d e c id e d
t h a t by making t h e s e schemes a s dense a s p o s s i b l e (d o u b le
a n a p h o ra and d o u b le a n t i t h e s i s ) he w i l l f u r t h e r i n t e n s i f y
th e s p e a k e r 's p a s s i o n .
I n th e e p i s t l e c o n te x t o f A l i c e , D rayton a ls o u s e s
schem es and s e n te n c e p a t t e r n s to a m p lify th e s p e a k e r 's a c
t i o n s and hence h e r p a s s i o n s . B ut th e r e l a t i o n betw een th e
a c t i o n s and th e em otion (and hen ce th e f u n c t i o n o f th e o r
n am en ts) i s somewhat more complex th a n i n th e M a tild a p a s
l 6 l
s a g e . In t h a t e a r l i e r p a s s a g e , M a tild a i s p a s s i o n a t e , h e r
p a s s i o n I s e v in c e d in c o n fu s e d a c t i o n s , and h e r c o n fu se d
a c t i o n s a r e a m p lif ie d by t h e f i g u r e s o f grammar. The r e
l a t i o n betw een em otion and t h e e x p r e s s io n o f em otion I s
d i f f e r e n t In A l i c e . True A l i c e i s a l s o e x p e r ie n c in g g r e a t
p a s s i o n : "0 Lord! what s u n d ry P a s s io n s doe I t r y " ( l . 2 5) .
But th e key word h e re i s " s u n d r y " —I t s u g g e s ts t h a t A lic e
I s e x p e r ie n c in g v a r io u s , p e r h a p s c o n t r a d i c t o r y p a s s i o n s .
In d e e d , she h a s s a id as much i n the o p e n in g o f th e e p i s t l e :
"As one t h a t fa y n e would g r a u n t , y e t fa y n e d e n y , / 'T w ix t
Hope and F e a re I d o u b t f u l l y r e p l y " (1 1 . 1 - 2 ) . Then a s
A lic e d e s c r i b e s h e r a c t i o n s , she shows t h a t she i s n o t
g i v in g i n t o th e c o n t r a d i c t o r y p a s s io n s b y c o n t r a d i c t o r y a c
t i v i t y o r by i n t e n s e b u s y n e s s ( M a t i l d a ) . R a th e r, she I s
t r y i n g t o make h e r a c t i o n s a s d e l i b e r a t e , as c o n t r o l l e d as
p o s s i b l e . These d e l i b e r a t e , c o n t r o l l e d a c t i o n s a r e h e r way
o f d e a l in g w ith th e "su n d ry P a s s i o n s ." She I s t r y i n g to
" s e t t h a t r i g h t , which i s so much awry" ( l . 2 6) .
About to w r i t e , b u t newly e n t r i n g I n ,
Me t h i n k e s I end, e r e I can w e l l b e g in :
When I would end, t h e n som ething makes me s t a y ,
For th e n me t h in k e s I should h a v e more to s a y ,
And some one th in g rem ayneth i n my B r e s t ,
For w ant o f Words t h a t cannot be e x p r e s t :
What I would say, a s s a id to t h e e , I f a i n e ,
Then i n th y Person I r e p l y a g a i n e ;
And I n t h y Cause u r g e a l l t h a t may e f f e c t ,
Then, w hat a g ain e m ine Honour m u st r e s p e c t .
( 1 1 . 15-24)
The f i g u r e s i n t h e p a ssag e a r e p a r t o f th e way t h a t D ray
to n e s t a b l i s h e s h e r c o n t r o l . In c o n t r a s t to th e M a tild a
162
passage., f o r example,, h e re D ray to n u s e s many t r a n s i t i o n
w ords. Each o f h e r a c t i o n s I s p u t In seq uence o r I n o r d e r
by such w ords a s "when* 1 1 1 1 t h e n , " " f o r t h e n / ' and "And."
The o r d e r l i n e s s t h a t th e s e w ords h e lp im pose on th e a c t io n
i s n o t a b l e i n th e l a s t f o u r l i n e s . In t h e s e l i n e s A lic e
p u rs u e s a q u i t e l o g i c a l a c t i v i t y . She p r e s e n t s to h e r s e l f
th e s e v e r a l s id e s o f th e a rg u m e n t, b o th h e r p o s i t i o n and
E d w ard 's p o s i t i o n . The t r a n s i t i o n words a t th e b e g in n in g
o f th e s e l i n e s t e l l w hich s id e A lic e i s a r g u i n g . Now she
i s on one s i d e , th e n she s w itc h e s to th e o t h e r , and so
f o r t h .
I n t h i s p a s s a g e , D rayton a l s o u s e s f i g u r e s o f s y n t a c
t i c a l b a la n c e to h e l p d e p i c t A l i c e ' s a c t i v i t i e s . He u s e s ,
f o r exam ple, a n t i t h e s i s i n l i n e s 1, 2, and 3. In th e s e
l i n e s th e words " a b o u t" and " n e w ly ," "end" " b e g i n ," " e n d ,"
and " s ta y " a re b a la n c e d o f f a g a i n s t each o t h e r . B ut i n two
o f th e s e v e r s e s , l i n e s 1 and 3* th e a n t i t h e s i s does n o t
p r e s e n t r a d i c a l l y o p p o s i t e a c t i o n s . "Newly" and "ab o u t"
a r e n o t d e n o t a t i v e l y o p p o s i t e , n o r a re "end" and " s t a y . "
Hence th e a n t i t h e s i s does n o t em phasize r a d i c a l l y c o n t r a
d i c t o r y a c t i v i t y , a s was th e f u n c t i o n o f a n t i t h e s i s i n
M a t i l d a 's e p i s t l e ( " c o m m a n d " -"la c k s," " p l e a s e t h w e l l " -
" m i s l i k e s " ) . In d e e d , th e whole p o i n t i s t h a t th e a c t i v i
t i e s o f A l i c e do n o t e v in c e c o n fu s io n b u t c o n t r o l .
So f a r I have exam ined th e e p i s t l e c o n t e x t s o f f o u r
poems i n o r d e r to i l l u s t r a t e b r i e f l y th e f i g u r e s t h a t
163
D ray to n u s e s t o d e v e lo p t h i s t o p i c and to s u g g e s t how t y p
i c a l l y th e f i g u r e s r e l a t e to th e r e a c t i o n o f th e s p e a k e r .
We have seen t h a t th e f i g u r e s a m p lify th e r e a c t i o n by
making c l e a r t h e a c t i o n s o f th e s p e a k e r i n re s p o n s e to th e
l e t t e r w r i t i n g c ir c u m s ta n c e . I t i s s i g n i f i c a n t j however.,
t h a t th e o rn am e n ts i n some o f th e e p i s t l e c o n te x t p a s s a g e s
a r e th e way t h a t D rayto n r e a l i z e s p u rp o s e s and e f f e c t s i n
a d d i t i o n to a m p lify in g r e a c t i o n . In some o f th e poems th e
f i g u r e s h e lp D ray ton m a in ta in d i s t i n c t i o n s betw een h i s
s p e a k e r s and i n o t h e r s , t h e f i g u r e s h e lp D rayton s e a r c h o u t
th e l a r g e r m o ra l i s s u e s and d im e n sio n s o f th e poem.
In th e e p i s t l e c o n te x t D rayton u s u a l l y o b s e rv e s a
k in d o f decorum a c c o rd in g to p e r s o n , s t a t i o n , o r s t a t u s .
T h at i s , th e g e n e r a l to n e c r e a t e d by th e fig u re B i s u s u a l l y
a p p r o p r i a t e to th e s p e a k e r . T h is decorum i s e s p e c i a l l y
c l e a r i n th o s e p a i r s o f e p i s t l e s In w hich th e w r i t e r s a r e
o f d i f f e r e n t s t a t i o n s , p a r t i c u l a r l y r o y a l and n o n ro y a l
l o v e r s such a s Edward IV and M i s t r e s s S ho re, Queen K a th
e r i n e and Owen Tudor, and Mary th e F re n ch Queen and C h a rle s
B ra n d o n .
D r a y t o n 's a tte m p t to o b se rv e decorum a c c o rd in g to
c h a r a c t e r i s c l e a r i n t h e way th e s e e p i s t l e o p e n in g s co n
t r a s t , I h av e a lr e a d y q u o te d th e r e l e v a n t p a s s a g e s from
Edward IV and M i s t r e s s S h o re . In th o s e p a s s a g e s , Edward
b e g in s o n ly w i t h a s a l u t a t i o n w h ile M i s t r e s s Shore b e g in s
w i t h an e p ic s i m i l e t h a t a m p l i f i e s h e r extrem e woe and
164
tr e m b lin g . Thus th e r o y a l l o v e r I s c o n f i d e n t (he b e g in s
h i s l e t t e r i n a "norm al" m anner); th e o b j e c t o f th e r o y a l
a t t e n t i o n i s tr e m b lin g . The e p i s t l e s o f Owen Tudor and
Queen K a th e r in e a ls o p r e s e n t a r o y a l s u i t o r and an u n r o y a l
r e c i p i e n t . In th e op en ing o f T u d o r 's e p i s t l e , D rayton
a m p l i f i e s T u d o r 's extrem e p a s s io n by d i s t r i b u t i o n , e p i
t h e t and p e r s o n i f i c a t i o n :
When f i r s t mine Eyes b e h e ld y o u r P r i n c e l y Name
And found from whence t h i s f r i e n d l y L e t t e r came;
As i n e x c e s s e o f Jo y , I had fo rg o t,,
W hether I saw i t , o r I saw i t n o t :
My p a n tin g H e a rt d o th b i d mine E yes p ro c e e d ,
My d a z e le d Eyes i n v i t e my Tongue to r e a d ;
Which w a n tin g t h e i r d i r e c t i o n , d u l l y m is t I t :
My L ip s , w hich sh o u ld have spok e, were dumbe, and
k i s t i t ,
And l e f t th e P ap er i n my tr e m b lin g Hand,
When a l l my S en ses d id amazed s t a n d .
( 11. 1- 10)
T h is e p i s t l e c o n te x t s e c t i o n , how ever, c o n t r a s t s
m ark ed ly in to n e w ith th e e p i s t l e c o n t e x t s e c t i o n o f K ath
e r i n e ’ s l e t t e r . She s a y s ,
Judge n o t a P r i n c e s s e w o rth im p e a c h 'd h e re b y ,
T h at Love th u s triu m p h s over M a j e s t i e ;
Nor th in k e l e s s e V e rtu e i n t h i s R o y a ll Hand,
T h at I t i n t r e a t s , and wonted to command:
F o r I n t h i s B o rt, tho ugh humbly now I t woo,
The day h a th b e e n e , th ou w o u l d 's t have k n e e l 'd
u n t o .
Nor t h i n k e , t h a t t h i s su b m issio n o f my S t a t e
P ro c ee d s from P r a i l t i e ( r a t h e r ju d g e i t P a t e . )
(11. 1-8)
H ere, a s decorum would demand, th e Queen I s im p e rio u s ; she
does n o t sto o p a lth o u g h she i s th e s u p p l i c a n t . The Queen’ b
proud p o s t u r e i s c r e a t e d , p a r t l y , by a c o m b in atio n o f th e
f i g u r e s synecdoche and p e r s o n i f i c a t i o n . The term "R o y all
Hand" i s sy n e c d o c h e . T hat i s , a l l th e r o y a l p r e r o g a t i v e s
and d u t i e s o f th e Queen h e r s e l f a r e " r e p r e s e n te d " hy th e
one p a r t - - t h e hand. M oreover, t h i s p h ra s e a l s o v e rg e s on
p e r s o n i f i c a t i o n ; th e hand a c t s , i t commands, i t woos.
L in e s 4, 5, and 6 a l l d e s c r i b e th e wooing b u t c o n s t a n t l y
a t t r i b u t e t h a t wooing to th e han d. Thus by means o f sy n e c
doche combined w ith p e r s o n i f i c a t i o n , K a th e rin e t r a n s f e r s
t h e wooing from h e r s e l f to h e r h a n d . T h is f i g u r a t i v e
s t r a t e g y , t o g e t h e r w ith th e i m p e r a tiv e mood o f th e v e rb s
"Judge" and "Nor t h i n k e , " c r e a t e s th e r o y a l , d i g n i f i e d
s ta n c e o f th e Queen t h a t c o n t r a s t s w ith th e e x c i t e d , p a s
s i o n a t e s ta n c e o f Owen Tudor. Hence th e r o y a l l o v e r i s
in d e e d d i s t i n c t from th e u n ro y a l b e lo v e d .
In th e e p i s t l e s o f Mary th e F ren ch Queen and C h a rle s
B randon, we a l s o have a r o y a l s u i t o r and an u n r o y a l b e
lo v e d . The h i s t o r i c a l c ir c u m s ta n c e s o f t h e s e w r i t e r s , how
e v e r , a re somewhat d i f f e r e n t from th o s e o f K a th e r in e and
Owen Tudor. Brandon and Mary have been l o v e r s b e f o r e th e
moment a t w hich th e e p i s t l e i s w r i t t e n . Hence, h e r
e p i s t l e b e g in s w ith a r a t h e r c o r d i a l s a l u t a t i o n — she w ish e s
him h e a l t h . B ut any s o l i c i t o u s n e s s on M a ry 's p a r t , how
e v e r , i s c l e a r l y c u t s h o r t i n th e t h i r d l i n e when she a d
d r e s s e s Brandon q u i t e a b r u p t l y :
Such h e a l t h from H eav'n my s e l f e may w ish to mee,
Such h e a l t h from F ran ce Qu. Mary sends to t h e e .
B randon, how long m a k 's t th o u excuse to s t a y ,
And k n o w 's t how i l l we Women broo ke d e la y ?
(11. 1-4)
166
In c o n t r a s t to t h i s o p e n in g , B ra n d o n 's e p i s t l e b e g in s w ith
an e l a b o r a t e p r o t e s t a t i o n o f h i s own im p a tie n c e to jo in
h e r — "Were my d i s p a t c h such as sh o u ld be my s p e e d , / I
sh o u ld want tim e y o u r lo v in g L in e s to r e e d e " (1 1 . 3 - ^ ) .
Then he r e p o r t s h i s own d is c o m f o r t , a m p l i f i e d by s im ile
( l . 5 )i an ap h o ra (1. 7 ) , a n t i t h e s i s ( l . 7) and c a t a c h r e s i s
( 1- 8).
H ere, i n th e C o u rt, C a m e lio n -lik e I f a r e ,
And a s t h a t C r e a t u r e , o n e ly f e e d on Ayre;
A ll Day I w a it, and a l l th e N ig h t I w a tc h ,
And s t a r v e mine E a r e s , to h e a r e o f my d i s p a t c h .
(11. 5 -8 )
Thus, i f he i s n o t re d u c e d t o tr e m b lin g in r e s p o n s e to th e
r o y a l e p i s t l e , a t l e a s t Brandon i s a p p re h e n s iv e .
I have q u o te d th e s e p a s s a g e s to s u g g e s t t h a t a lth o u g h
D ray to n does c o n s i s t e n t l y a m p lify r e a c t i o n i n t h e e p i s t l e
c o n t e x t , he o f t e n v a r i e s h i s f i g u r e s so t h a t th e r e a c t i o n s
do n o t a l l seem th e same— p a r t i c u l a r l y i n p a i r s o f
e p i s t l e s . In d e e d , he I s a b l e to v a ry th e d e g re e o f vehe
mence i n each; some o f th e e p i s t l e r e a c t i o n s a r e more p a s
s i o n a t e th an o t h e r s . The m ost s i g n i f i c a n t r e s u l t o f t h i s
v a r i e t y In t h e p a s s i o n s i s t h a t D ray to n i s a b le t o m a in ta in
d i s t i n c t i o n s betw een h i s s p e a k e rs and th e s e d i s t i n c t i o n s
a r e u s u a l l y a p p r o p r i a t e t o th e g e n e r a l s t a t u s , i f n o t th e
i n d i v i d u a l p e r s o n a l i t y , o f th e s p e a k e r .
The o rn am en ts in th e e p i s t l e c o n t e x t a r e a l s o o c c a
s i o n a l l y th e means by w hich D rayton i n t r o d u c e s and exam ines
some o f th e c r u c i a l m oral and h i s t o r i c a l i s s u e s I n th e
167
poems. The e p i s t l e o f Rosamond I l l u s t r a t e s th e f i g u r e s
f u n c t i o n in g i n t h i s way. In th e b e g in n in g o f t h i s e p is tl e .,
D rayton d e v e lo p s a com parison betw een Rosamond and h e r a c
t u a l l e t t e r i n o r d e r t o draw o u t and a m p lify h e r m o ral t u r
p i t u d e and h e r a w are n ess o f i t . T h is co m p a riso n , r e a l i z e d
th ro u g h s e v e r a l k in d s o f o r n a m e n ta tio n , b e g in s i n th e l i n e
"These t a i n t e d L in e s , drawne w ith a Hand im pure" (1. 2 ) .
28
The f i g u r e h e r e i s h y p a ll a g e o r " t r a n s f e r r e d e p i t h e t . "
T h is f i g u r e a llo w s f o r a com pressed com parison by t r a n s
f e r r i n g Rosam ond's m o ral im p u r ity to th e l i n e s th e m s e lv e s —
" t a i n t e d L in e s ," The n e x t c o u p le t i n th e p a s s a g e i s a
p h r a s e — "which f a i n e would b lu s h , b u t F e a re k e e p s B lu sh e s
b a c k e , / And t h e r e f o r e s u t e d in d e s p a i r i n g B la c k e " ( l l .
3-A)—t h a t can m odify e i t h e r "L ines" o r "Hand." I f th e
c o u p le t m o d if ie s th e "H and," then i t e x p l a i n s how Rosamond
i s d r e s s e d . But s in c e t h e r e i s no o t h e r r e f e r e n c e to d r e s s
o r r e a s o n to make a p o i n t o f i t , th e c o u p le t p r o b a b ly m odi
f i e s "L in es" and hence w i t t i l y e x p l a i n s why th e l i n e s a re
" B la c k e ." Y et th e g ra m m a tic a l a m b iv ale n ce I t s e l f i s a n
o t h e r means o f e m p h a sizin g th e l i k e n e s s betw een Rosamond
and th e l i n e s . T hat i s , words w hich can d e s c r i b e h e r can
a ls o d e s c r i b e th e l i n e s .
D rayton g o es on to d e v elo p o t h e r p o i n t s o f re se m b la n c e
betw een Rosamond and h e r l e t t e r , The condensed com parison
betw een Rosamond and th e "L ines" t h a t was c r e a t e d by th e
f i g u r e h y p a lla g e I s expanded a s Rosamond h e r s e l f becomes
168
more c o n s c io u s o f th e s i m i l a r i t y im p lie d i n " t a i n t e d
L i n e s ." .She b e g in s , " T h is s c r i b b l e d P a p e r, w hich I send to
t h e e , / I f n o ted r i g h t l y , d o th re s e m b le mee" (11. 1 1 -1 2 ).
She c o n ti n u e s , e x p lo r i n g th e p o i n t s o f s i m i l a r i t y betw een
h e r s e l f and th e e p i s t l e :
As t h i s pure Ground., whereon th e s e L e t t e r s s ta n d .
So p u re was I , e r e s ta y n e d b y th y Hand;
E re I was b l o t t e d w ith t h i s f o u le O ffe n ce ,
So c l e e r e and s p o t l e s s e was mine In n o c e n c e :
Now, l i k e th e s e Markes w hich t a i n t t h i s h a t e f u l l
S c ro u le ,
Such th e b la c k e s i n n e s w hich s p o t my le p r o u s S o u le .
( 11. 13- 18)
T h at Rosamond i n t e n d s a l o g i c a l l y t i g h t com parison betw een
h e r s e l f and th e l i n e s I s s u g g e s te d by th e words "As . . .
So . . . So . . . Now l i k e . . . S u ch ." Each l i n e i s to
ta k e th e r e a d e r th ro u g h a s te p i n th e co m pariso n.
And y e t the co m p ariso n i s n o t , a f t e r a l l , a l o g i c a l l y
complex one. Rosamond d oes n o t e x p la in s e v e r a l l e v e l s o f
com p arison betw een h e r s e l f and t h e e p i s t l e . The com parison
does n o t move, f o r ex am ple, from t h e s i m i l a r i t y o f e x t e r n a l
f e a t u r e s t o s i m i l a r i t y o f i n t e r n a l f e a t u r e s — in d e e d l i n e s
5 and 6 r e p e a t th e same s ta te m e n t o f l i n e s 3 and 4. The
f o r c e o f th e com parison d e r i v e s from th e f i g u r e s c a t a c h r e -
s l s ( " s t a y n e d ," " b l o t t e d , " " t a i n t " ) and e p i t h e t ( " s p o t
l e s s e , " " b la c k e ," " p u r e " ) . These f i g u r e s , l i k e h y p a l l a g e ,
keep to th e fo re th e s i m i l a r i t y b etw een Rosamond and th e
e p i s t l e - - a s i m i l a r i t y t h a t h a s n o t been l o g i c a l l y p ro v e n .
169
I n t h i s passage,, th e l e t t e r w r i t i n g s i t u a t i o n h as been th e
f i r s t o c c a s io n i n w hich D rayton e x p lo r e s Rosam ond's g u i l t .
He w i l l come b a ck to t h i s i s s u e a g a in and a g a in i n th e
e p i s t l e i t s e l f .
The e p i s t l e s o f E l i n o r Cobham and Edward the B la c k
P r in c e a l s o u s e co m pariso ns betw een th e l e t t e r and th e
w r i t e r a s a means o f I n tr o d u c i n g th e main c o n ce rn s o f th e
poem. Edward,, f o r example,, i n t r o d u c e s h i s s u i t ( t h e e n
t i r e poem i s a wooing speech) by c o n t r a s t i n g h i s own r e
a c t i o n s to A lic e w ith th o s e o f th e l e t t e r . He c r e a t e s
h e r e a k in d o f a n t i - p e r s o n i f i c a t i o n . Of th e l e t t e r he says,
T h is c an n o t blush,, a lth o u g h you doe r e f u s e i t ,
Nor w i l l r e p l y , how -ever you s h a l l u s e i t ;
A l l ' s one to t h i s , though you s h o u ld b i d D e s p a ire ,
T h is s t i l l e n t r e a t s you, t h i s s t i l l sp eak es you f a i r e .
( 11. 9- 12)
And E l i n o r Cobham i n t r o d u c e s many p o i n t s o f h e r p e r s o n a l
h i s t o r y by c o n t r a s t i n g h e r s i g n a t u r e w ith h e r s e l f .
Be n o t d is m a y 'd , n o r l e t my Name a f f r i g h t ,
The w o rs t I t can, i s b u t t ' o f f e n d th y s i g h t ;
I t c a n n o t wound, n o r doe t h e e d e a d ly harm e.
I t i s no d r e a d f u l l S p e l l , no Magick Charme;
I f she t h a t s e n t i t , lo v e Duke Humphrey so,
I s ' t p o s s i b l e h e r Name s h o u ld be h i s Foe?
(11. 15- 2 0 )
F i n a l l y , th e e p i s t l e o f R ic h a rd I I shows D rayto n u s
in g th e o rnam ents i n th e e p i s t l e c o n t e x t to in tr o d u c e im
p o r t a n t m oral and h i s t o r i c a l I n f o r m a t io n . R ic h a rd b e g in s
exam ining h i s f a u l t s a s a r u l e r by c o n t r a s t i n g t h a t r o l e
w ith h i s p r e s e n t r o l e aB a l e t t e r w r i t e r . The f i g u r e t h a t
a m p l i f i e s t h i s c o n t r a s t I s a n t i t h e s i s .
170
What can my Queene b u t hope f o r from t h i s Hand,
T hat i t sh o u ld w r i t e , w hich n e v e r c o u ld command?
A Kingdomes G re a tn e s s e th in k e how he sh o u ld sway,
T hat wholesome C o u n se ll n e v e r c o u ld obay:
111 t h i s ru d e Hand d id g u id e a S c e p te r th e n ,
Worse now ( I f e a r e me) i t w i l l r u l e a Pen.
( 11. 1- 6)
R ic h a rd th en p o i n t s o u t a n o th e r , q u i t e s p e c i f i c f a c t
t h a t grows o u t o f h i s r o l e a s a l e t t e r w r i t e r — he must s ig n
h i s name. The p rob lem o f how to name h i m s e l f , o f c o u rs e ,
b r i n g s him d i r e c t l y to th e pro b lem o f h i s fo rm er name as a
K ing, and th e l o s s o f t h a t name:
How s h a l l I c a l l my s e l f e , o r by w hat Name,
To make th e e know from whence t h e s e L e t t e r s came?
Wot from th y Husband, f o r my h a t e f u l l L if e
Makes th e e a Widow, b e in g y e t a W ife:
Nor from a King; t h a t T i t l e I have l o s t ,
Now o f t h a t Name, prou d B u lle n b ro o k e may b o a s t :
What I have b e e n e , d o th b u t t h i s co m fo rt b r i n g .
No words so w o f u l l , a s , I was a K in g .
( 11 . 7- 14)
The o rn a m e n ta tio n h e r e i s s l i g h t . A n t i t h e s i s o c c u rs once
i n l i n e 10 and th e c l a u s e s b e g in n in g l i n e s 12 and 14 a re
p a r a l l e l s y n t a c t i c a l l y .
R ic h a rd now moves from th e l o s s o f h i s r o l e a s King
t o th e c a u s e s o f t h a t l o s s :
T h is law lesB e L i f e , w hich f i r s t p r o c u r 'd my H ate,
* T h is Tongue, which th e n r e n o u n c 'd my R e g a ll S t a t e ,
T h is a b j e c t Soule o f mine c o n s e n tin g to i t ,
T h is Hand, t h a t was th e In s tr u m e n t to doe i t ;
A l l th e s e be w l t n e s s e , t h a t I now d e n ie
A l l P r i n c e l y Types, a l l K ing ly S o v ' r a i g n t i e .
( 11. 15- 2 0)
T hese l i n e s a r e a m p l i f i e d by th e f i g u r e s d i s t r i b u t i o n and
a n a p h o r a . The f i g u r e d i s t r i b u t i o n i s an e s p e c i a l l y a p p ro
p r i a t e means o f a m p lify in g th e e v e n t b e c a u se th e poem to o k
171
a s i t s p o i n t o f d e p a r t u r e th e name,, t h e r o l e , th e t o t a l
i d e n t i t y o f R ic h a rd . Hence th e f i g u r e i s a k in d o f s t y
l i s t i c c u lm in a tio n o f t h e p r o c e s s f i r s t s e t i n m otion when
R ic h a r d s t a r t e d to w r i t e a l e t t e r . And th e w r i t i n g o f th e
l e t t e r has a llo w e d him t o b e g in to e x p lo r e some o f h i s own
p e r s o n a l h i s t o r y .
The R e la tio n o f Ornament to
" R e a c tio n " i n P e i r s Ga-
y e s t o n and E n g la n d s
H e r o i c a l l E p i s t l e s
I have exam ined th e e p i s t l e c o n t e x t o f th e v a r i o u s
poems in d e t a i l b ecau se such a s e c t i o n o c c u rs i n e a c h poem
and a ls o b e c a u s e the e p i s t l e c o n te x t i s one o f th e s e c t i o n s
i n which D ra y to n d e v e lo p s th e s u b j e c t " r e a c t i o n . " I n my
a n a l y s i s o f P e i r s G a v e sto n , I arg u ed t h a t r e a c t i o n was one
o f th e main s u b j e c t s o f th e poem and one t h a t D ray to n d e
v e lo p e d by means o f o rn a m e n ts . I w i l l now d i s c u s s how th e
t r e a tm e n t o f r e a c t i o n i n E n g lan d s H e r o i c a l l E p i s t l e s ( a t
l e a s t as f a r a s I have d i s c u s s e d th e poem) com pares w ith
t h e t r e a tm e n t o f the s u b j e c t i n P e i r s G a v e s to n .
To r e c a l l D r a y to n 's s p e c i f i c te c h n iq u e s f o r d e v e lo p in g
r e a c t i o n i n P e i r s G a v esto n , I w i l l q u o te one o f th e p a s
s a g e s (a n a ly z e d e a r l i e r i n C hap ter I I , pp . 95-97) t h a t i l
l u s t r a t e s h i s t y p i c a l a p p ro a c h and f i g u r e s . I n t h i s p a s
s a g e , G aveston i s s e t th e t a s k o f d e s c r i b i n g E d w ard 's
r e a c t i o n . Thus he s a y s , " I n s p i r e my Muse 0 Heavens now
172
from a b o v e , / To p a i n t e th e p a s s i o n s o f a p r i n c e l y lo v e"
( l l . 4 4 9 -4 5 0 ). G aveston g oes on to d e p i c t E dw ard’ s r e a c
t i o n f i r s t by d e s c r i b i n g E d w a rd 's a c tio n s ,, th en by q u o tin g
h i s p a s s i o n a t e la m e n t.
H is ey es a b o u t t h e i r r o u l i n g G lobes doe c a s t ,
To f l n d e t h a t Sunne, from whom th e y had t h e i r l i g h t ,
H is th o u g h te s doe la b o r f o r t h a t sw eete r e p a s t ,
Which p a s t th e d aye, and p l e a s d him a l l th e n i g h t :
He c o u n te s t h e bow ers, so s l o l y how th e y ru n n e ,
R eproves t h e d aye, and blam es th e l o y t r i n g sunne.
As gorglous Phoebus in his first upriBe
Discovering now his Scarlet-coloured head.
By tr o u b lo u s m o tio n s o f t h e lo w rin g S k ie s
H is g l o r i o u s beames w ith fo g g e s a re o v e r s p r e d ,
So a r e h i s c h e e r e f u l brow es e c l i p s ' d w ith sorrow e,
Which c lo u d th e sh in e o f h i s y o u t h s - s m i li n g morrow.
Now show ring downe a f l u d o f b r a c k i s h t e a r e s ,
The E pithem aes to h i s h a r t - s w o ln e g r i e f e ,
Then s ig h in g o u t a v o llu e o f d i s p a y r e s ,
Which o n e ly i s t h 1 a f f l i c t e d mans r e l i e f e :
Now w a n tin g s i g h e s , and a l l h i s t e a r e s were s p e n t,
H is tongue b ra k e o u t i n t o t h i s sad la m e n t.
0 b re a k e my h a r t q u o th h e , 0 b re a k e and dye,
Whose i n f a n t th o u g h ts w ere n u rB t w ith sw eete d e l i g h t ;
B ut now th e In n e o f c a r e and m l s e r i e ,
Whose p l e a s i n g hope i s m u rth e re d w ith d e s p l g h t:
0 end my d a y e s , f o r now my jo y e s a r e done,
W anting my P e i r s , my s w e e t e s t G a v e s to n .
0 damned world, I Bcorne thee and thy worth.
The v e ry s o u rc e o f a l l i n i q u i t i e :
An o u g ly damme t h a t b r i n g s such m o n ste rs f o r t h ,
The maze o f d e a t h , n u rse o f i m p i e t i e ,
A f i l t h i e s i n k e , where lo th so m n e s d o th d w e ll,
A l a b y r i n t h , a j a y l e , a v e ry h e l l .
[two more s t a n z a s fo llo w , b o t h p a t t e r n e d by sy stro phe.-
a p o s tro p h e J
173
My l i f e i s b u t a v e ry mappe o f woes.
My jo y e s th e f r u i t e o f an u n tim e ly b i r t h ,
My y o u th i n la b o u r w ith u n k in d ly th ro w e s,
My p l e a s u r e s a re l i k e p la g u e s t h a t r a ig n e on e a r t h ,
A ll my d e l i g h t s l i k e s tre a m e s t h a t s w i f t l y r u n ,
Or l i k e th e dewe e x h a le d by th e Sun.
0 Heavens why a re you d e a fe u n to my mone?
S 'd ay n e you my p r a y e r s ? o r s c o rn e to h e a re my m isse ?
Cease you to move, o r i s y o u r p i t t i e gone?
Or i s i t you t h a t ro b me o f my b l i s s e ?
What a r e you b l i n d e , o r winke and w i l l n o t se e?
Or doe you s p o r te a t my c a l a m i t i e ?
[th e lam en t c o n c lu d e s w i t h two more s t a n z a s p a t t e r n e d
by s y s t r o p h e - a p o s t r o p h e ] ( l l . 451-528)
The f i r s t t h r e e s ta n z a s h e r e a r e q u i t e s i m i l a r i n p u rp o se
t o many o f th e e p i s t l e c o n t e x t p a s s a g e s b e ca u se i n b o th i n
s ta n c e s , D ra y to n p a i n t s t h e p a sB io n s o f th e i n d i v i d u a l by
d e s c r i b i n g th e p h y s i c a l m a n i f e s t a t i o n s o f t h a t p a s s i o n .
Y e t th e r e a r e many s t y l i s t i c d i f f e r e n c e s betw een th e d e
p i c t i o n o f r e a c t i o n in t h e two poems. F i r s t , by and l a r g e ,
i n th e e p i s t l e c o n te x t p a s s a g e s , D ray ton c r e a t e s by means
o f th e f i g u r e s a more e x a c t , a more m in u te ly o b s e rv e d , and
i n some i n s t a n c e s a more c a r e f u l l y r e a l i s t i c p i c t u r e o f th e
p h y s i c a l r e a c t i o n th an he d o es i n F e i r s G a v e s to n . T hat i s ,
th e f i g u r e s i n th e e p i s t l e c o n te x t p a s s a g e s te n d to fo c u s
more s h a r p ly on th e p h y s i c a l r e a c t i o n s . On th e o t h e r hand,
many o f th e f i g u r e s i n th e F e i r s G aveston p a s s a g e , a lth o u g h
c e r t a i n l y a m p lify in g th e s u b j e c t , te n d to ta k e th e fo c u s
somewhat away from th e p h y s i c a l a c t i o n s .
We can s e e som ething o f t h i s d i s t i n c t i o n i f we com
p a r e th e e p ic s i m il e i n t h e above p a s s a g e w ith th e e p ic
174
s im ile i n t h e e p i s t l e o f Ja n e Gray (11. 1 5 -2 0 ). B oth sim
i l e s r e f e r to im p r e s s iv e o b j e c t s and b o th a re s i x l i n e s
lo n g . In th e F e i r s G aveston s i m i l e , D rayton p r e s e n t s a
com plete p i c t u r e o f th e f i g u r a t i v e a c t i o n , b u t some o f th e
d e t a i l s o f th e s im ile s e rv e much more r e a d i l y to com plete
th e f i g u r a t i v e a c t i o n th a n to e x p la in th e l i t e r a l a c t i o n .
The a d j e c t i v e s " g o r g i o u s , " ''g l o r i o u s , " and " S c a r l e t -
c o lo u re d " h e lp c r e a t e a v i v i d p i c t u r e o f th e r i s i n g sun and
a r e g e n e r a l l y a p p r o p r i a t e to th e s t a t u s o f a K ing. But
th e s e d e t a i l s do n o t advance th e e x p la n a t i o n o f E d w ard 's
p h y s i c a l r e a c t i o n . The d e t a i l s f i l l i n th e h u e s o f th e
f i g u r a t i v e p i c t u r e b u t th e y do n o t s u p p ly b a s i c l i n e s — b a
s i c e x p l a n a t i o n . M oreover, i n th e l a s t two l i n e s o f t h i s
s i m i l e , D ray to n a p p l i e s th e f i g u r a t i v e a c t i o n t o th e l i t
e r a l w ith w ords t h a t a r e s t i l l l a r g e l y t r o p i c a l - - " e c l i p s ' d , "
" c lo u d ," " y o u th s - s m ilin g m orrow ." L ike th e a d j e c t i v e s ,
t h e s e term s se rv e to fo c u s more e x a c t l y on th e p i c t u r e o f
th e sun th a n on th e p a s s i o n o f Edward. In c o n t r a s t , most
o f th e d e t a i l s In th e s i m i l e from Ja n e G r a y 's e p i s t l e do
n o t so much com plete a v i v i d p i c t u r e on th e f i g u r a t i v e
l e v e l a s g i v e i n f o r m a tio n t h a t e x a c t l y e x p la in s th e l i t
e r a l l e v e l . F or exam ple, th e a d j e c t i v e " a d v e rs e " e x p l a i n s
a m otion t h a t we m ust u n d e r s t a n d In o r d e r to u n d e r s ta n d th e
e x a c t r e l a t i o n o f t e a r s and sighB .
The F e i r s G aveston p a s s a g e aB a whole r e f l e c t s some o f
th e h a b i t s t h a t we see In th e one s i m i l e . For exam ple,
175
D ra y to n te n d s t o p i l e tr o p e upon tr o p e . G aveston i s " t h a t
Sunne.," the lo v e i s " t h a t sw eete r e p a s t / 1 th e sun i s " l o y -
t r i n g , " the t e a r s a r e a " f l u d , " and so f o r t h . W hile such
t r o p e s c o n s t a n t l y p o i n t to th e vehemence o f th e p a s s i o n i n
fo rm in g E dw ard's a c tio n s ,, t h e y do n o t p a r t i c u l a r l y e x p la in
h i s a c t i o n s . I n d e e d , D ray ton a t some p o i n t s seems to l o s e
s i g h t o f the end o f d e p i c t i n g a c t io n In t h e d e s i r e to am
p l i f y . Had h i s p r im a r y aim I n th e s e t r o p e s heen to e x p la in
th e p h y s i c a l r e a c t i o n , would he have ch osen to r e f e r to
G av eston as th e sun ( l . 4 5 2 ), th e n r e f e r to th e a c t u a l sun
( l . 4 5 6 ), then r e f e r to Edward a s th e sun ( l . 4 5 7 )? I
t h i n k t h a t t h i s r e a d i n e s s to s w itc h th e r e f e r e n t o f th e
t r o p e s i n d i c a t e s t h a t f o r D ra y to n th e t r o p e s a r e o n ly to
p o i n t to vehemence— th e y a r e momentary and we a r e n o t a sk ed
to examine p r e c i s e l y what t h e y say a b o u t th e p h y s i c a l r e
a c t i o n .
I n c o n t r a s t t o th e s e t e n d e n c i e s i n F e i r s G a v esto n ,
many o f the e p i s t l e c o n te x t p a s s a g e s f o c u s s h a r p l y on r e
a c t i o n . I f i n d t h i s p a r t i c u l a r l y t r u e I n th e s e c t i o n s t h a t
I h av e quoted from t h e e p i s t l e s o f G e r a ld in e , M a tild a , and
A l i c e . In the p a s s a g e s from th e e p i s t l e s o f M a tild a and
A l i c e , f o r exam ple, th e f i g u r e s o f grammar te n d to r e i n
f o r c e th e p h y s i c a l r e a c t i o n — th e schemes h e lp d e m o n s tr a te
M a t i l d a 's c o n fu s io n and t h e y h e lp d e m o n s tra te th e e f f o r t o f
A l i c e to overcome h e r "su n d ry P a s s i o n s ." In th e p a s s a g e
from th e e p i s t l e o f G e r a ld in e , each o f th e d e t a i l s a b o u t
176
th e "T aper" can he t r a n s l a t e d i n t o some d e t a i l a b o u t th e
l a d y 1s b lu s h .
A side from th e s e e f f e c t s o f i n d i v i d u a l fig u re s ., t h e r e
a r e s e v e r a l o v e r a l l d i s t i n c t i o n s i n t h e t r e a tm e n t o f r e a c
t i o n in th e P e i r s G aveston p a ssa g e and i n the e p i s t l e con
t e x t p a s s a g e s t h a t a r e r e p r e s e n t a t i v e o f the d i s t i n c t i o n s
i n th e poems as a w h o le. In t h i s e x c e r p t from P e i r s Gaves
to n a s w e l l a s i n many o t h e r i n s t a n c e s where D ra y to n d e
p i c t e d r e a c t i o n ( e . g . , 1 1 . 1297f f . ; H - 9 31f f . ) ; h e sought
to make e v e r y r e a c t i o n o f G aveston and Edward s u p e r l a t i v e .
Each r e a c t i o n was to b e u t t e r l y vehem ent, u t t e r l y f o r c e f u l .
To make e a c h r e a c t i o n s u p e r b l y vehem ent, D rayton p i l e d
many s t a n z a s p a t t e r n e d by th e same f i g u r e on e a c h o t h e r
( i n th e above p a ssa g e D ray to n u se d e i g h t s ta n z a s o f
s y s t r o p h e - a p o s tro p h e j se e a ls o th e s e r i e s o f e p ic s i m il e s
[ 1 1 . 1 3 2 0f f .] o r th e s e r i e s o f s t a n z a s p a t t e r n e d b y d i s
t r i b u t i o n [1 1 . l 6 6 9f f . ] ) and he compounds th e k i n d s o f f i g
u r e s (h e r e e p ic s i m i l e , s y s t r o p h e - a p o s t r o p h e , d i s t r i b u
t i o n ) . D rayton a ls o made each p a s s i o n e a r th s h a k in g by
c o n s t a n t l y r e f e r r i n g to g ra n d o b j e c t s . In th e e p i c s im ile
i n th e above p a s s a g e , Edward i s l i k e "g o rg io u s P h o e b u s . "
E ls e w h e re , Edward i s compared to th e " f u r io u s P a l a d i n e o f
F ra u n c e " and " T h ra c e -b o rn e Hecuba" (1 1 . 1321 and 1327)*
M oreover, i n th e lam en t abov e, Edward r e f e r s to "0 damned
W o rld ," "0 e a r t h - p a l e S a t u r n e ," and "0 Heavens" (1 1 . 487;
449, and 5 1 1 ). Terms su c h a s th e s e a r e c o n s ta n t I n th e
poem and th e y te n d to e l e v a t e th e g r i e f o f th e s p e a k e r to
a h ig h p i t c h .
In th e e p i s t l e c o n te x t p a s s a g e s o f E nglands H e r o i c a l l
E p i s t l e s , however, D ray to n does n o t , f o r th e m ost p a r t ,
s e e k to make each p a s s i o n a s u p e r l a t i v e i n s t a n c e o f i t s
k in d . The r e a c t i o n s o f th e s p e a k e rs a r e p a s s i o n a t e , s u r e
l y , b u t D rayto n does n o t i n s i s t t h a t a l l r e a c t i o n s a re
e a r t h s h a k i n g . In b o th th e c o n te n t and form o f th e f i g u r e s
one can see t h i s m o d e ra tio n . The te rm s o f com parison i n
th e s i m i l e s , f o r exam ple, a r e c o m p a r a tiv e ly r e s t r a i n e d .
The " l i t t l e B ird " and th e "weake C h ild " a re p i t i f u l , b u t
n o t suprem ely so. The "T aper l a t e l y b u rn in g b r i g h t " su g
g e s t s a much l e s s vehem ent p a s s io n th a n "T h ra c e -b o rn e
H ecu ba." F u rth e rm o re , D rayton does n o t i n th e e p i s t l e con
t e x t s p i l e many e x te n d e d f i g u r e s upon each o t h e r . There i s
l i t t l e h e re to compare w ith th e s t r i n g s o f e p ic s i m i l e s
(e a c h f u l l y d ev elo p ed ) o r th e s e r i e s o f s ta n z a s p a t t e r n e d
by s y s t r o p h e - a p o s tr o p h e t h a t a p p ea r so o f t e n i n P e i r s Ga
v e s to n . In d e e d , In ' th e e p i s t l e c o n t e x t , D rayton h a s com
p l e t e l y drop ped th e c o m b in atio n o f s y s t r o p h e - a p o s tro p h e to
a m p lify r e a c t i o n . P e rh a p s D rayton saw t h a t th e a p o s tr o p h e ,
w ith i t s e f f e c t o f " c r y in g o u t , " w ould a lm o st I n e v i t a b l y
c r e a t e an e x tre m e ly vehem ent p a s s i o n .
D r a y to n ’s d e c i s i o n to u s e f i g u r e s t h a t , w h ile a m p li
f y in g r e a c t i o n , do n o t n e c e s s a r i l y make each r e a c t i o n e x
tr e m e ly and u t t e r l y i n t e n s e , a llo w s him to overcome s e v e r a l
178
o f th e w eaknesses o f F e i r s G a v e s to n . D r a y t o n 's method o f
o rn am e n tin g r e a c t i o n i n F e i r s G aveston h a d a t l e a s t two
d i s a d v a n ta g e s . F i r s t , each r e a c t i o n o f a sp e a k e r seemed
a l i k e i n d eg ree o f vehemence. E dw ard's p a s s i o n , ornam ented
by e p ic s i m i l e , s y s t r o p h e - a p o s tro p h e e a r l y i n th e poem
( l . 4 3 9 ff * ) h a r d l y seems d i s t i n c t from h i s p a s s io n o r n a
mented b y th e same f i g u r e s l a t e r in th e poem ( l l . 9 6l f f . ) .
In o t h e r words, t h e r e was now here f o r Edward to go em o tio n
a l l y i n t h e poem. One i n t e n s e p i t c h had been e s t a b l i s h e d
i n th e e a r l y la m e n t, and D ra y to n could n o t show Edward
going beyond t h i s vehemence. The second w eakness i s c l o s e
l y r e l a t e d to th e f i r s t . In P e i r s G aveston th e r e a c t i o n s
o f th e two s p e a k e rs a r e s c a r c e l y d i s t i n g u i s h a b l e . Edward
la m e n tin g th e b a n ish m e n t o f G aveston soun ds much l i k e Ga
v e sto n lam en tin g h i s own f a t e ( e . g . , 1 1 . 7 0 9 f f - ) -
In E ng lands H e r o l c a l l E p i s t l e s , how ever, D r a y to n 's
method o f o rn a m e n ta tio n has d e v elo p ed to th e e x t e n t t h a t
he i s a b l e to overcome b o th o f th e s e w e ak n e sses. F i r s t ,
in th e i n d i v i d u a l e p i s t l e s , t h e orn am ents o f th e e p i s t l e
c o n te x t do n o t u s u a l l y e s t a b l i s h one e x tre m e ly i n t e n s e
e m o tio n a l p i t c h . Hence, In t h e e p i s t l e i t s e l f D rayton can
show th e sp e ak e r becom ing more I n t e n s e i n h i s r e a c t i o n .
The e p i s t l e o f E l i n o r Cobham I l l u s t r a t e s th iB p o i n t . In
th e o p e n in g o f h e r e p i s t l e , E l i n o r e x p r e s s e s h e r woe, and
grounds t h a t woe i n th e e p i s t l e w r i t i n g s i t u a t i o n :
179
Lo, f o r t h y d e a re sa k e , I my Name ’ w i l l le a v e .
And y e t , me t h i n k e s , am az'd thou s h o u l d s t n o t s ta n d .
Nor seeme so much a p p a l le d a t my Hand;
For my M is f o r tu n e s have i n u r 'd t h i n e Eye,
(Long b e f o r e t h i s ) to S ig h ts o f M is e r ie .
( 11. 8- 12)
But D rayto n does n o t a m p lify t h i s e p i s t l e c o n te x t r e a c t i o n
by a s e r i e s o f e p ic s i m i l e s (p e rh a p s com paring E l i n o r to a
"B edlam "), n o r d oes he have E l i n o r c ry o u t i n a s e r i e s o f
a p o s tr o p h e s a b o u t th e woe t h a t she I s e x p e r ie n c in g a t th e
moment. In o t h e r w ords, he does n o t s to p th e r e a d e r h e r e ,
a t th e I n i t i a l r e a c t i o n o f th e s p e a k e r. Hence, a s E l i n o r
goes on to t a l k a b o u t h e r en em ies, h e r p a s s i o n can become
more vehem ent a s she t h i n k s o f a l l th e wrongs t h a t have
been done h e r . A f t e r g i v in g some o f th e h i s t o r y o f h e r
f a m ily , f o r exam ple, she r e c a l l s th e a r r i v a l o f Queen Mar
g a r e t . An e x c la m a to ry s e n te n c e and a w ish i n d i c a t e h e r
p a s s io n a t t h a t e v e n t:
0, t h a t by Sea when he to F rance was s e n t ,
The Ship had sunke, w h e rein th e T r a y t o r w ent;
Or t h a t t h e Sands had sw a llo w 'd h e r b e f o r e
She e ' r s e t f o o t upon th e E n g lis h Shore!
( 1 1 . 8 5 - 8 8 )
Then, a s E l i n o r t h i n k s f u r t h e r o f h e r h a t e f o r M a rg are t,
h e r p a s s i o n r e a c h e s an even h i g h e r p eak:
0, t h a t I w ere a W itch b u t f o r h e r sake!
Y f a i t h h e r Q ueeneship l i t t l e R e st sh o u ld ta k e ;
I would s c r a t c h t h a t F ace, t h a t may n o t f e e l e th e
A yre,
And k n i t whole Ropes o f W itc h -k n o ts i n h e r Hayre:
0, I would Hag h e r n i g h t l y i n h e r Bed,
And on h e r B r e s t s i t l i k e a lumpe o f Lead,
And l i k e a F a i r i e p in c h t h a t d a i n t l e Skin
180
Were I a G arm ent, none should need t h e more
To s p r i n k l e me w ith N essu s p o y s 'n e d Gore;
I t were y nough, i f she once p u t me on,
To t e a r e b o t h F le sh and Sinewes from th e Bone.
( 1 1 . 1 07-11 3, 117-120)
F i n a l l y , tow ards t h e end o f h e r e p i s t l e , E l i n o r ’ s v i o l e n t
w ish e s t u r n to c u r s e s and n a m e - c a llin g :
T hat P r e l a t e B e a u fo rd , a fo u le i l l b e f a l l him,
P r e l a t e s a i d I ! Nay D e v i11 I s h o u ld c a l l him:
Ah t h a t v i l e J u d a s , o u r p r o f e s s e d Foe,
My Curse p u r s u e him, w h e r e s o e 'r he goe;
Ah t h a t v i l e B a s ta r d , t h a t h im s e lf e d a re v a u n t,
To be the Sonne of thy brave Grandsire Gaunt.
(11. 1 81-18 2, 185-186, 195-196)
The p o i n t I w ish t o em phasize i s t h a t b e c a u s e D rayton h as
n o t t r i e d to make E l i n o r ' s i n i t i a l r e a c t i o n s u p e r l a t i v e ,
he can show h e r p a s s i o n grow ing i n the e p i s t l e . For t h i s
s p e a k e r th e v e ry a c t o f r e c o r d i n g h e r own h i s t o r y h as g iv e n
h e r more f u e l f o r h e r p a s s i o n .
As I have a l r e a d y i l l u s t r a t e d , th e i n d i v i d u a l e p i s t l e
c o n te x t r e a c t i o n s o f th e v a r i o u s s p e a k e rs show c o n s id e r a b le
v a r i e t y . I have d i s c u s s e d t h e f a c t t h a t D ray ton makes some
r e a c t i o n s seem more i n t e n s e , more p a s s i o n a t e th a n o t h e r s
(Tudor v s . K a t h e r i n e , Brandon v s . Mary). F u rth e rm o re ,
even when D rayton u s e s th e same f i g u r e to d e p i c t a s i m i l a r
r e a c t i o n , he i s a b l e to d i s t i n g u i s h betw een h i s s p e a k e rs .
M a r g a r e t 's deep woe, f o r exam ple, i s a m p l i f i e d by t r o p e s
( p r i m a r i l y s i m i l e s ) t h a t keep fo c u s in g b a c k on h e r s i t u a
t i o n (1 1 . 1 -2 6 ). The deep woe o f G i l f o r d D udley, how ever,
i s o n ly a m p l i f i e d b r i e f l y by e p ic s i m i l e b e fo r e o t h e r f i g
u r e s move th e fo c u s o f th e e p i s t l e c o n te x t to h i s lo v e f o r
Lady Jane Gray (1. 1 3) .
T his a b i l i t y to d i s t i n g u i s h betw een c h a r a c t e r s i n Eng-
la n d s H e r o i c a l l E p i s t l e s a t th e same tim e t h a t he i s am
p l i f y i n g r e a c t i o n s u g g e s ts a f i n a l d i s t i n c t i o n betw een th e
t r e a tm e n t o f r e a c t i o n i n F e i r s G aveston and E n g la n d s H ero
i c a l l E p i s t l e s . As I have p o i n te d o u t e a r l i e r (C h a p te r I I ,
p p . 9 0 - 9 2 ) j th e f i g u r e s i n F e i r s G aveston w ere o n e
d im e n s io n a l. T hat I s , th e y u s u a l l y s e rv e d o n ly one p u rp o se
a t a tim e . They m ig ht a m p lify r e a c t i o n b u t th e y d i d n o t
a l s o r e l a t e th e r e a c t i o n to th e s p e c i f i c e v e n ts t h a t i n
s p i r e d i t , n o r d i d th e y i n tr o d u c e h i s t o r i c a l d im e n sio n s o f
th e r e a c t i o n , and so f o r t h . In E n g la n d s H e r o i c a l l E p i s
t l e s , on th e one han d , we see t h a t a t l e a s t i n some i n
s t a n c e s D rayto n i s a b le to make th e f i g u r e s s e r v e p u rp o se s
i n a d d i t i o n to a m p lify in g r e a c t i o n . He i s a b l e , f o r e x
am ple, t o u s e th e f i g u r e s and th e e p i s t l e c o n te x t as th e
means o f i n t r o d u c i n g im p o r ta n t h i s t o r i c a l and m o ral p r o b
lem s.
F i n a l l y , as we go on to examine th e r e s t o f E n glands
H e r o i c a l l E p i s t l e s , we w i l l f i n d t h a t D rayton seldom u s e s
th e f i g u r e s d e s c r i b e d i n t h i s s e c t i o n f o r th e p u rp o s e s and
e f f e c t s d e s c r i b e d h e r e — to a m p lify r e a c t i o n . In o n ly a
few i n s t a n c e s d o es he UBe e p ic B im ile , f o r exam ple, to am
p l i f y r e a c t i o n o u t s i d e o f th e e p i s t l e c o n t e x t . In P e i r s
182
G a v esto n , on th e o t h e r hand , th e f i g u r e s e p ic s i m il e and
s y s tr o p h e - a p o s tro p h e a p p e a re d th ro u g h o u t th e poem and f u n c
tio n e d th ro u g h o u t th e poem to a m p lify r e a c t i o n . Hence,
th e s e f i g u r e s o f t e n had th e e f f e c t o f b r i n g i n g th e fo c u s o f
th e poem from a c t i o n to r e a c t i o n (s e e my d i s c u s s i o n i n
C h a p te r I I , p p . 8 7 -9 0 ). T hat i s , t h e y o f t e n se rv e d to em
p h a s iz e r e a c t i o n a t th e expense o f th e s p e c i f i c h i s t o r i c
e v e n ts t h a t i n s p i r e d t h e r e a c t i o n . In E n glan ds H e r o i c a l l
E p i s t l e s we w i l l see t h a t D rayton i s a b le to u n i t e , by
means o f o rn a m e n ts, th e r e a c t i o n s w ith th e e v e n ts t h a t i n
s p i r e d them.
P r a i s e o f th e B elo v ed
A nother c o n s t a n t t o p i c In E n g lan d s H e r o i c a l l E p i s t l e s
I s th e p r a i s e o f th e b e lo v e d . As m ig h t be e x p e c te d i n ama
t o r y poems, m ost o f t h e w r i t e r s ta k e tim e a t some p o i n t to
e x t o l th e v i r t u e s o r b e a u t i e s o f t h e i r l o v e r s . U n lik e th e
e p i s t l e c o n te x t r e a c t i o n , th e p r a i s e o f th e b e lo v e d does
n o t a p p ea r i n any one p l a c e In th e poem. The p r a i s e may
a p p ea r a t th e b e g in n in g , th e m id d le , o r th e end . F u r t h e r ,
an e p i s t l e may have more th a n one s e c t i o n o f p r a i s e — I t may
even a l t e r n a t e a s e c t i o n o f p r a i s e w i t h a s e c t i o n o f h i s
t o r i c a l r e p o r t i n g , fo llo w e d by a n o th e r s e c t i o n o f p r a i s e
(W illiam d e - l a - P o o l e ) . The w r i t e r may r e t u r n a g a in and
a g a in to t h i s t o p i c a s do th e v e ry amorous m ale l o v e r s
(John, Edward, H enry, W illia m d e - l a - P o o l e ) .
183
A R h e to r ic o f P r a i s e
I n th e e p i s t l e o f W illia m d e - l a - P o o l e , D ray ton e x
p l i c i t l y d e s c r i b e s a r h e t o r i c o f p r a i s e t h a t I f i n d can be
a p p lie d to p r a i s e i n a l l o f E n g lan d s H e r o i c a l l E p i s t l e s .
A ccording to D ra y to n , Poole was s e n t to King Henry VI as a
p a n e g y ric o r a t o r , p le a d in g th e c a se o f M a rg a re t o f A n jo u .
So s u c c e s s f u l was h i s o r a t i o n t h a t Henry m a rr ie d M a rg a re t
in p r e f e r e n c e to s e v e r a l s t r o n g e r c o n te n d e r s . D ray to n a t
t r i b u t e s t h i s h i s t o r i c a l outcome to th e power o f P o o l e 's
elo q u en ce and h a s Poole r e c o r d th e s p e c i f i c te c h n iq u e s o f
h i s s p e c t a c u l a r l y s u c c e s s f u l o r a t i o n :
And to th e King r e l a t i n g o f th y s t o r i e ,
My Tongue f lo w 'd w ith such p l e n t e o u s O r a t o r i e ,
As th e r e p o r t by sp e a k in g d id I n d i t e ,
B e g e t t i n g s t i l l more r a v i s h i n g d e l i g h t .
And when My Speech d i d c e a se (a s t e l l i n g a l l )
My Looke shew 'd more, t h a t was A n g e l i c a l l ;
And when I b r e a t h 'd a g a in e , and pawsed n e x t,
I l e f t mine Eyes d i l a t i n g on th e T e x t:
Then comming o f th y M odestie to t e l l ,
In M usickes Numbers my Voyce r o s e and f e l l ;
And when I came to p a i n t th y g l o r i o u s s t i l e ,
My sp e ec h In g r e a t e r Cadences to f i l e ,
*By t r u e d e s c e n t to w eare th e Diadem
* 0 f N a p le s , C i c i l l , and J e r u s a le m ,
As from th e Gods thou d i d s t d e r i v e th y B i r t h ,
I f th o s e o f Heaven c o u ld mix w ith t h e s e o f E a r t h ;
G ra c in g each T i t l e t h a t I d id r e c i t e .
W ith some m e l l i f l u o u s p l e a s i n g E p i t h i t e :
Nor l e f t him n o t , t i l l he f o r lo v e was s i c k e ,
B e h o ld in g th e e i n my sw eet R h e to r ic k e .
(1 1 . 85-104)
F i r s t , t h i s p a s s a g e shows t h a t D ray to n was q u i t e aware
o f th e c l a s s i c a l t r a d i t i o n o f p r a lB e , a t r a d i t i o n t h a t was
b e in g r e i t e r a t e d by l 6 t h c e n tu r y r h e t o r i c i a n s i n c l u d i n g
Puttenham and W i l s o n . ^ T his r h e t o r i c a l t r a d i t i o n recom
184
mended c e r t a i n ''commonplaces'1 f o r p r a i s e such a s p r a i s e o f
th e s u b j e c t ' s goods o f c h a r a c t e r , goods o f f o r t u n e and
goods o f n a t u r e . In d e e d , Thomas W ilson sums up t h e s e com
m onplaces when he s a y s , " P r a i s e must bee p a r t e d t h r e e f o l d e .
T hat i s to say, i n t o th e g i f t e s o f good t h in g s o f th e
mynde, th e body, and o f f o r t u n e . "3° A c c o rd in g ly , i n th e
above p a ssa g e Poole p r a i s e s M a rg are t f o r h e r "goods o f Na
t u r e " ( s t i l e ) , h e r "goods o f F o rtu n e " (n o b le b i r t h and
kingdoms) and h e r "goods o f c h a r a c t e r " ( m o d e s t i e ) .
Second, t h i s p a s s a g e i l l u s t r a t e s D r a y to n 's own, e s
s e n t i a l c o n c e p tio n o f how th e o r a t i o n o f p r a i s e sh o u ld
work. As D rayton u n d e r s t a n d s i t , th e o r a t i o n sh o u ld be
" p l e n t e o u s " ; t h a t i s , th e o r a t o r sh o u ld se e k a m p l i f i c a t i o n
th ro u g h e x p a n siv e d e v ic e s o f lan g u a g e . Not o n ly d oes Dray
ton s t a t e t h i s c o n c e p tio n o f th e r h e t o r i c i n th e word "plen
t e o u s , " b u t he g oes on to r e s t a t e t h i s i d e a th ro u g h o u t th e
p a s s a g e . Thus, a s Poole r e c a l l s h i s d e l i v e r y (11. 8 4 - 9 5 )j
h i s la n g u a g e i s f i l l e d w ith r e f e r e n c e s to e x p a n s iv e n e s s :
" s t i l l m o re ," "sh e w 'd m o re," " a g a in e ," " d i l a t i n g , " and
" g r e a t e r C a d e n c e s." Even when th e o r a t o r s to p s (1 1 . 89-
9 l ) , he m ust seem to be g o in g e v e r on. Then as P o o le t e l l s
o f th e i n v e n t i o n o f h i s o r a t i o n , he c i t e s a s p e c i f i c t e c h
n iq u e o f a m p l i f i c a t i o n — th e e x t e n s i v e u s e o f e p i t h e t ( 1 1 .
1 0 1 -1 0 2 ). Here th e w ords "G racing" and "each" s u g g e s t t h a t
t h i s t e c h n iq u e o f a m p l i f i c a t i o n le n d s e x p a n s iv e n e s s a s w e ll
185
a s sw ee tn e ss to th e o r a t i o n . Thus I t was a s t y l e " r i c h l y
D r e s t " t h a t D ra y to n saw as a p p r o p r i a t e to p r a i s e .
B u t, o f c o u r s e , th e r e a r e many ways t h a t a w r i t e r
c o u ld a c h ie v e exp an siv en esB o r p l e n t e o u s n e s s i n h i s s t y l e ;
many f i g u r e s ( i n a d d it i o n to e p i t h e t ) would a c h ie v e t h i s
e n d . What f i g u r a t i v e te c h n iq u e s d id D rayto n fa v o r? The
p a s s a g e from P o o le c o n ta in s some in f o r m a tio n on t h i s p o i n t .
As I m entioned e a r l i e r , P o o le d e v elo p ed h i s p r a i s e hy
c i t i n g c e r t a i n a t t r i b u t e s o f th e la d y , th e n expounding on
th o s e a t t r i b u t e s h y p e r b o l i c a l l y . For exam ple, Poole c i t e s
h e r b i r t h and a m p l i f i e s i t s n o b i l i t y w ith th e h y p e r b o l i c
s t a te m e n t : "As from th e Gods thou d i d s t d e r i v e th y B i r t h , /
I f th o s e o f Heaven could mix w ith t h e s e o f E a rth " ( l l . 99“
1 0 0 ). He a ls o r e p o r t s t h a t he m entioned h e r o t h e r q u a l i
t i e s i n th e o r a t i o n . But e x c e p t f o r th e l i n e s a b o u t h e r
b i r t h , th e " p le n te o u s " o r a t o r y i s r e p o r t e d r a t h e r th a n
d e m o n s tra te d . E n gland s H e r o i c a l l E p i s t l e s as a w hole, how
e v e r , i s f i l l e d w ith exam ples o f p r a i s e d e v elo p ed by " p l e n
t e o u s " te c h n iq u e s .
The M ajor Ornam ents and
T h e i r F u n c tio n s
The commonest te c h n iq u e i s i l l u s t r a t e d i n th e e p i s t l e
o f Edward th e B la c k P r i n c e . Edward, a f t e r r e p o r t i n g how
he r e s c u e d A l i c e from th e b e s i e g i n g S c o ts , o f f e r s th e p r o p
o s i t i o n t h a t she i s n o t a v i c t i m , b u t a t h i e f : "But y e t I
f e a r e , i f t h a t t h e t r u t h w ere t o l d , / T hat thou h a s t r o b ’d,
186
and f l y ' s t I n to t h i s H o ld ” (11. 1 2 5 -1 2 6 ). On th e b a s i s o f
t h i s p r o p o s i t i o n , he d e v e lo p s a p r a i s e o f A l i c e by g iv in g
I
i n s t a n c e s o f h e r t h i e v e r y :
Y es, th o u h a s t r o b 'd th e Heaven and E a r t h o f a l l ,
And t h e y a g a i n s t t h y la w le s s e T h e ft doe c a l l .
T hine E yes, w ith mine t h a t wage c o n t i n u a l l W arres,
B orrow t h e i r b r i g h t n e s s e o f th e tw ln c k lin g S t a r r e s :
Thy L i p s , from mine t h a t i n th y Maske be p e n t ,
Have f i l c h ' d th e B lu sh in g from th e O r ie n t:
Thy Cheeke, f o r w hich mine a l l t h i s Penance p ro v e s ,
S t e a l e s th e p u re w h ite n e s s e b o th from Swans and Doves:
Thy B r e a t h , f o r w h ich , mine s t i l l i n S ig h e s consumes,
H ath r o b 'd a l l F lo w e rs, a l l O dours, and P erfum es.
( 1 1 . 1 2 9 - 138)
The f i g u r a t i v e d e v ic e s h e re a r e e s s e n t i a l l y th o se t h a t
D rayton u s e s i n v a ry in g forms i n m ost o f h i s p r a i s e s e c
t i o n s . T hese b a s i c f i g u r e s a re e f f l c t i o and h y p e r b o l e .
E f f i c t i o , a s p e c i a l form o f d i s t r l b u t i o n , i s a d e t a i l e d
i t e m i z a t i o n o f th e charm s o f th e b e lo v e d ( i t may be a
l i s t i n g o f e i t h e r t h e goods o f body o r o f m i n d ) . ^ Typ
i c a l l y , t h e w r i t e r comments on th e f a c e , th e l i p s , the
eyes o f h i s s u b j e c t . Edward, f o r exam ple, comments on
A l i c e 's e y e s , l i p s , c h e e k s , and b r e a t h . I f t h e p a r t i c u l a r
ite m s i n t h e l i s t a r e compared w ith some commonly a c c e p te d
" b e a u t i e , " th en e f f l c t i o h as been combined w ith h y p e r b o l e .
In th e above p a s s a g e , Edward com pares th e b r i g h t n e s s o f h e r
eyes to t h e b r i g h t n e s s o f th e s t a r s , th e w h ite n e s s o f h e r
sk in to t h e w h ite n e s s o f swans and d ov es, and so f o r t h .
Such h y p e r b o l i c c o m p ariso n s were p a r t i c u l a r l y a llo w e d i n
p r a i s e s o f a m i s t r e s s : " N e v e r th e le s s e , as I s a i d b e f o r e ,
187
I f we f a l l a p r a y s i n g , s p e c i a l l y o f o u r m i s t r e s s e v e r t u e ,
b e w tie , o r o t h e r good p a r t s , we be a llo w e d now and th e n to
o v e r - r e a c h a l i t t l e by way o f com parison."-^2 And th e f i g
u r e h y p e rb o le i s e s p e c i a l l y s u i t a b l e to a m p l i f i c a t i o n :
"The u se h e r e o f s e r v e t h most f i t l y f o r a m p l i f i c a t i o n , and
t h a t e s p e c i a l l y when m a t t e r s r e q u i r e to be a m p l i f i e d in
th e g r e a t e s t d e g re e .
D rayton u s e s t h i s f i g u r a t i v e p a t t e r n to d e v e lo p th e
p r a i s e s o f S u rre y (11. 1 2 3 -1 3 4 ), D udley ( l l . 5 7 - 6 7 ) j Ed~
ward IV ( l l . 43-5 0 , 5 1 -1 0 0 ), Henry (11. 8 2 -1 0 6 ), K a th e rin e
(11. 1 2 1 -1 3 0 ), Mary ( l l . 1 6 7- 1 7 8) , G e r a ld in e ( l l . 8 7 - 9 6)
and John ( l l . 29-48, 7 1 - 7 8 ) . He even u s e s t h i s p a t t e r n i n
s e c t i o n s o f d i s p r a i s e o f b e a u ty . In extrem e woe, E l i n o r
Cobham r e p o r t s t h a t she h a s l o s t a l l o f h e r b e a u ty . The
f i g u r a t i v e p a t t e r n h e r e i s e f f l c t i o combined w ith h y p e r -
b o l e :
S a w 's t thou th o s e E yes, i n whose sw eet c h e e r e -
f u l l Looke
Duke Humphrey once such jo y and p l e a s u r e to o k e ,
Sorrow h a s so d e s p o y l 'd them o f a l l g r a c e ,
Thou c o u l d s t n o t sa y , t h i s was my E l ' n o r s f a c e :
L ike a f o u le G orgon, whose d i s h e v e l 'd Hayre
W ith e v e ry b l a s t f l y e s g l a r i n g i n th e Ayrej
Some s ta n d in g up l i k e Hornes upon my Head,
Even l i k e th o s e Women t h a t i n Ooos a r e b r e d :
My la n k e B r e s t s hang l i k e B la d d e r s l e f t unblow ne,
My Skin w ith loth som e J a u n d iz e o v e r-g ro w n e.
( 1 1 . 163- 172)
Y et p r e c i s e l y b e c a u s e D rayton d oes u s e th e same f i g
u r a t i v e s t r a t e g y i n so many d i f f e r e n t e p i s t l e s , I can d i s
c e r n h e re a s i g n i f i c a n t s t y l i s t i c advance o v e r F e i r s Ga-
188
v e s t o n . In th e e a r l i e r poem., th e same fo rm a l f i g u r a t i v e
s t r a t e g y a lm o st alw ays l e d to th e same e f f e c t . As I men
t i o n e d a t th e c o n c lu s io n o f th e l a s t s e c t i o n , f o r exam ple,
th e p a t t e r n o f s y s tr o p h e - a p o s tro p h e alw ay s le d to th e e f
f e c t o f vehemence (in d e e d , extrem e vehemence i n m ost i n
s t a n c e s ) . B ut I n E nglands H e r o i c a l l E p i s t l e s D r a y to n 's
p o e t i c h as d e v e lo p e d to t h e e x te n t t h a t he can u s e t h e same
f i g u r e s , h u t by v a ry in g t h e i r term s, can g r e a t l y v a ry th e
e f f e c t o f th e f i g u r a t i v e p a t t e r n . In th e p a t t e r n e f f i c t i o -
h y p e rb o le D ray ton makes t h e term s o f com p ariso n ( th e o b
j e c t to which th e b e a u t i e s a r e compared) now more e x u b e ra n t,
now more r e s t r a i n e d , w ith th e r e s u l t t h a t th e p r a i s e i t s e l f
I s more e x u b e ra n t o r more r e s t r a i n e d . The a r d e n t m ale
l o v e r s Edward IV and H enry, f o r exam ple, d e v e lo p t h e i r
p r a i s e s w ith th e most e x tr a v a g a n t te r m s . Edward, who came
to buy a je w e l from M aster Shore, d e c id e d t h a t M i s t r e s s
Shore was th e g r e a t e r t r e a s u r e . H is p r a i s e grows o u t o f
t h e s e h i s t o r i c a l c ir c u m s ta n c e s .
0, m ig h t I come a Diamond to buy,
T hat had b u t such a L u s t r e a s t h i n e Eye,
Would n o t my T re a su re s e r v e , my Crowne sh o u ld g o e,
I f any J e w e l l c o u ld be p r i z e d so l
An A gat, b ran c h ed w i t h th y b l u s h i n g s t r a i n e s ,
A S a p h lr e , b u t so a z u r 'd as th y v e in e s ;
My K in g ly S c e p te r o n e ly sh o u ld redeem e i t ,
At such a p r i c e i f Judgem ent c o u ld esteem e i t .
(11. 4 3 -5 0)
T h is p r a i s e I s even more h e ig h te n e d th a n t h a t o f Edward
th e B lack P r in c e q u o ted e a r l i e r . W hereas In th e e a r l i e r
p a s s a g e th e l a d y 's b e a u t i e s were compared w ith th e b e a u ty
189
o f o t h e r o b j e c t s , h e r e th e l a d y ' s b e a u t i e s a r e s a i d to s u r
p a s s th o s e o f o t h e r o b j e c t s . Her eyes a r e b r i g h t e r th an
diam onds, h e r b l u s h more d e l i c a t e th an a g a t e s , and so f o r t h .
S i m i l a r l y , i n th e p r a i s e s o f Henry t h e v a r i o u s b e a u
t i e s o f Rosamond a r e more p o w e rfu l th a n any o t h e r f o r c e s .
Her sm ile can combat age and make Henry young a g a in (11.
8 1 - 8 2 ) j h e r " P re se n c e " i s th e m e d ic in e t h a t can h e a l h i s
many b a t t l e wounds (11. 9 5 -9 8 ); and h e r sp eech i s more pow
e r f u l th a n a l l th e d e v ic e s o f Medea (11. 8 4 - 9 ^ ) . To f u r t h e r
s u g g e s t th e s u p e r l a t i v e power o f Rosam ond's b e a u t i e s , Dray
ton c a s t s two o f th e s e c o m p ariso n s a s co m p o site a c t i o n s .
One i s an e p ic s i m i l e which sa y s t h a t h e r p r e s e n c e can make
H e n ry 's l i f e s p r i n g up a g a in ,
E v 'n a s th e hungry W i n t e r - s t a r v e d E a r t h ,
When she by n a t u r e l a b o u r s tow ard h e r B i r t h ,
S t i l l as th e Day upon t h e d ark e W orld c r e e p e s ,
One Blossome f o r t h a f t e r a n o th e r p e e p e s ,
T i l l th e s m a ll Flow er, whose Root ( a t l a s t )
unbound,
G ets from t h e f r o s t i e P r i s o n o f th e Ground,
S p re ad in g t h e Leaves u n to th e p o w ' r f u l l Noone,
D eck 'd i n f r e s h C o lo u rs, s m ile s upon th e Sunne.
( 11. 99- 106)
And R osam ond's sp e e c h i s more p o w e rfu l th a n a l l M edea's
m agic— t h a t magic i s d e s c r i b e d a t l e n g t h :
Were th e r e i n A rt a Power b u t so d i v i n e ,
As i s in t h a t sw eet A ng ell-T on gue o f T h in e ,
T h a t g r e a t E n c h a n tr e s s e , w hich once to o k e such p a in e s .
To p u t young B loud i n t o o l d Aesons V e in e s ,
And i n G roves, M o un taines, and th e M oorish Pen,
Sought o u t more H earbes th e n had b een knowne to Men,
And i n th e p o w 'r f u l l P o tio n t h a t she makes,
P u t Bloud o f Men, o f B i r d s , o f B e a s t s , and Snakes;
190
N ever had needed to have gone b o f a m e .
To seeke th e S o y les w here a l l th o s e S im ples a r e ;
One A ccent from th y L ip s th e Bloud more warmes.
Then a l l h e r P h i l t e r s , E x o rcism es, and Charmes.
( 1 1 . 83-94)
The te c h n iq u e s o f such e x tr a v a g a n t p r a i s e s o f th e la d y a re
summed up w e ll by Edward IV when he e x c la im s ,
U n l e a r n 1d i s L e a rn in g , A r t l e s s e be a l l A r ts ,
I f n o t im p lo y 'd to p r a y s e th y s e v ’r a l l P a r t s :
Poore p lo d d in g Schoole-m en th e y a r e f a r r e to low.
Which by P r o b a t io n s , K u le s , and Axiomes goe;
He must be s t i l l f a m i l i a r w ith th e S k ie s ,
Which n o te s th e R e v o lu tio n s o f t h i n e E yes:
And by t h a t s k i l l which m easu res Sea and Land,
See B e a u tie s A l l , th y W aste, th y B o o t, th y Hand.
(11. 123-130)
In c o n t r a s t to th e s e p r a i s e s o f th e b e lo v e d , th e
p r a is e B by some o f th e fem ale w r i t e r s a r e d e c id e d ly more
r e s t r a i n e d b e c a u se th e term s o f com parison a r e more mod
e r a t e . Queen K a th e r in e , f o r exam ple, d oes p r a i s e Tudor by
means o f e f f l c t i o and h y p e r b o l i c c o m p a riso n s. She b e g in s ,
B e a u tie d o th f e t c h a l l Favour from th y Face,
A l l p e r f e c t C o u r t- s h ip r e s t e t h i n th y G race:
I f thou d i s c o u r s e , t h y L ip s such A c ce n ts b r e a k e .
As Love a S p i r i t f o r t h o f th e e se em ’d to sp e ak e .
(11. 121-124)
B ut a s she d e s c r i b e s h i s s p e e c h , she com pares i t n o t w ith
th e sound o f Gods, b u t w ith s l i g h t l y h u m b ler o b j e c t s :
The B r i t i s h Language, w hich o u r Vowels w a n ts,
And j a r r e s so much upon h a rs h C o n so n a n ts,
Comes w ith such g ra c e from th y m e l l i f l u o u s Tongue,
As doe th e sw eet N otes o f a w e l l - s e t Song,
And ru n s a s sm oothly from th o se L ip s o f t h i n e ,
As th e p u re Tuskan from th e F l o r e n t i n e .
( 11 . 125- 1307” ^
The "sw eet N otes o f a w e l l - s e t Song" i s more m oderate than
th e " b r i g h t n e s s e o f th e t w in c k lin g S t a r r e s . " T hat h i s
1 9 1
ton gue makes th e lang uage ru n as 1 1 sm oothly" a s th e "pure
T uskan" spoken by a F l o r e n t i n e i s much more r e s t r a i n e d th a n
"One A ccent from th y L ip s th e Bloud more w a r m e s ,/ Then a l l
h e r [M edea's] P h i l t e r s , E x o rcism es, and C harm es." More
o v e r, i n K a t h e r i n e 's p a s s a g e , even t h e s p e c i f i c i t y o f th e
names (B r i t i s h , Tuskan, F l o r e n t i n e ) and th e o t h e r c o n c r e te
r e f e r e n t s (" v o w e ls ," " c o n s o n a n ts " ) k eep th e com parison a t
a low er p i t c h th a n th o s e c i t e d e a r l i e r i n th e p a p e r .
The p r a i s e s by Queen Mary and Lady G e ra ld in e show a
s i m i l a r m o d e ra tio n . B o th p r a i s e s a r e a ls o p a t t e r n e d by a
l i s t o f th e b e a u t i e s o f th e b e lo v e d , w ith each b e a u ty am
p l i f i e d by a com p ariso n . In Queen M a ry 's e p i s t l e , th e
te rm s o f com parison a re a s e r i e s o f h i s t o r i c a l p e rs o n a g e s ,
e a c h o f whom i s a c o n tem p o rary o f Mary and B randon. Mary
s a y s t h a t t h e s e men a r e a l l o u t s t a n d i n g in some one
" b e a u t i e , " b u t Brandon s u r p a s s e s them a l l and combines i n
h i m s e l f th e s tr o n g p o i n t s o f a l l :
A lan so n , a f i n e t i m b 'r e d Man, and t a l l ,
Y et w an ts th e shape thou a r t a d o r n 'd w l t h a l l j
Vandome good C a r r i a g e , and a p l e a s i n g Eye,
Y et h a th n o t S u f f o l k 's P r i n c e l y M a j e s ti e ;
C o u rag lo u s Burbon, a sw eet Manly Face,
Y et i n h i s Lookes l a c k s B randons C o u rtly G race.
Proud L o n g a v ile s u p p o s 'd to have no P e e re ,
A Man s c a r s e made was th o u g h t, w h i l s t thou w ast
h e r e .
County S a i n t - P a u l , o u r b e s t a t Armes i n F ra n c e ,
Would y e e l d h i m s e l f e a S q u ir e , to b e a r e th y Lance.
* G a l le a s and Bounarme, m a tc h le s s e f o r t h e i r m ig h t,
Under th y to w rin g B lad e have c o u c h 'd i n f i g h t .
( 1 1 . 1 6 7- 1 7 8)
192
I t i s i n t e r e s t i n g t h a t n o t o n ly does th e p a ssa g e se rv e to
p r a i s e Brandon,, b u t i t a ls o a llo w s D rayton to I n tr o d u c e a
w eight o f h i s t o r i c a l a l l u s i o n and th e r e b y I n c r e a s e th e t o -
t a l h i s t o r i c a l in f o r m a tio n o f h i s poem.
G e r a l d i n e 's p r a i s e o f S u rre y h as h i s t o r i c a l o b j e c t s
as th e te rm s o f com parison . She p r a i s e s S u rre y by s a y in g
t h a t a s e r i e s o f c a s t l e s a l l r e f l e c t some one o f h i s p e r
f e c t i o n s :
N one-such, th e Name im p o rts (me th in k e s ) so
much.
None such a s i t , n o r a s my Lord, none such;
I n Hamptons g r e a t M a g n ific en c e I f i n d
The lively Image of thy Princely Mind;
Faire Richmonds Tow'rs like goodly Trophies
stand,
R e a r 'd by t h e p o w 'r o f th y v i c t o r i o u s Hand;
W h ite -H a lls triu m p h in g G a l l e r i e s a r e y e t
A d o rn 'd w ith r i c h D e v ic e s o f th y W it;
I n Greenwich s t i l l , a s In a G la s s e , I view,
Where last thou bad'st thy Geraldine adiew.
( 11. 87- 96)
In d ee d , much l i k e a l o v e r , G e ra ld in e f i n d s r e f l e c t i o n s o f
h e r b e lo v e d i n e v e r y th in g a b o u t h e r — "To what p la c e e v e r
d id th e C o u rt r e m o v e ,/ But t h a t th e House g iv e s m a t t e r to
my Love?" ( l l . 8 1 - 8 2 ) .
T hese exam ples d e m o n s tra te t h a t a lth o u g h D rayton u s e s
th e same f i g u r a t i v e s t r a t e g y to d e v elo p th e " p r a i s e o f th e
b e lo v e d " i n many e p i s t l e s , he does v a ry t h a t s t r a t e g y c o n
s i d e r a b l y . Thus D ray to n i s a b l e to make th e tone o f th e
p r a i s e s g e n e r a l l y a p p r o p r i a t e to th e s p e a k e r , and, a s a
c o r o l l a r y , he i s a b l e to make h i s s p e a k e rs d i s t i n c t from
each o t h e r . Even th oug h Queen K a th e rin e and King Henry
a re w ooers and p r a i s e th e b e lo v e d , th ey sound l i t t l e l i k e
each o t h e r . F u r t h e r , i n some o f th e e p i s t l e s D rayton by
means o f ornam en ts i s a b le to d e p i c t q u i t e p r e c i s e l y and
q u i t e p a r t i c u l a r l y th e c h a r a c t e r o f th e s p e a k e r . I f i n d
th e f i g u r e s c r e a t i n g a s k i l l f u l c h a r a c t e r i s a t i o n o f th e
sp e a k e r i n th e e p i s t l e s o f King John and Edward IV. The
p r a i s e s o f th e b e lo v e d , e s p e c i a l l y th o se s e c t i o n s d e v e lo p e d
by e f f l c t i o - h y p e r b o l e , a re an im p o r ta n t p a r t o f D r a y to n 's
t o t a l d r a m a t i z a t i o n o f th e c h a r a c t e r o f King John. In th e
"A n n o tatio n "to t h i s e p i s t l e , D ray to n makes c l e a r t h a t one o f
h i s c h i e f aims i s to d e p i c t t h e c h a r a c t e r o f John and, more
o v e r, t h a t he i n t e n d s to d e p i c t t h a t c h a r a c t e r by showing
John a s a l o v e r :
T h is E p i s t l e o f King John to M a tild a , i s much more
P o e t i c a l l th en H i s t o r i c a l l , making no m en tio n a t a l l o f
th e O c c u re n ts o f th e Time, o r S t a t e , to u c h in g o n e ly h i s
love to h e r , and th e e x t r e m i t i e o f h i s PasBionB f o r c e d
by h i s d e s i r e s , r i g h t l y f a s h i o n in g th e Humour o f t h i s
King . . . whose n a t u r e and d i s p o s i t i o n i s t r u l y e s t d i s
c e rn e d i n th e c o u rs e o f h i s Love. (p . 152)
The e p i s t l e i t s e l f i s d i v id e d betw een what Mrs. T I l -
l o ts o n c a l l s " l a v i s h f l a t t e r y " and a " b a t t e r y o f c y n i c a l
and a s t r i n g e n t a r g u m e n t s . T o d e f in e e x a c t l y what D ray
ton shows a b o u t th e c h a r a c t e r o f John, I would f i r s t a n a
ly ze th e form o f t h e arg u m e n ts. These argu m en ts a r e in d e e d
a " b a t t e r y , " f o r John p r e s e n t s t o M a tild a a t l e a s t seven
arg u m e n ts. He a r g u e s , f o r exam ple, t h a t b e a u ty sh o u ld
show I t s e l f b e ca u se N atu re shows h e r own b e a u t i e s (11. 5 1 “
6o), he a rg u e s t h a t M a tild a sh o u ld c o n s e n t b ecau se N a tu re
1 9 4
made a l l c r e a t u r e s m ale and fem ale ( 1 1 . 1 4 1 -1 5 6 ), he a rg u e s
t h a t M a tild a o n ly r e s i s t s b e c a u se she does n o t know what
she i s m is sin g ( 1 1 . 1 6 1 -1 7 4 ), he a rg u e s t h a t b e a u ty sh o u ld
show i t s e l f b e c a u se th e sun shows i t s e l f i n l i g h t ( l l . 1 1 9-
1 40), and so f o r t h . I n o t h e r w ords, J o h n 's m ethod o f
wooing i s to a s s a i l M a tild a w ith a b a r r a g e o f arg u m en ts so
t h a t any way she t u r n s , she w i l l come up a g a i n s t one o f h i s
s u i t s . She c an n o t t h i n k o f any o b j e c t i o n t h a t he h a s n o t
a n t i c i p a t e d . Hence D rayto n shows John as e x c e e d in g ly p e r
s i s t e n t b e ca u se " i f n o ug ht e l s e persw ade" he w i l l o f f e r
h e r y e t a n o th e r arg u m en t.
D ray to n shows J o h n 's p e r s i s t e n c e n o t o n ly by th e num
b e r o f h i s a rg u m e n ts, b u t more s i g n i f i c a n t l y by th e form
and l o g i c o f th e s e a rg u m e n ts. John i s n o t o n l y a b le to
s h i f t from argum ent to argum ent, he i s a b le to make
any c irc u m s ta n c e an o p p o r t u n i t y to advance h i s own d e s i r e s .
One o f th e more c y n i c a l and r e v e a l i n g i n s t a n c e s o f such
p e r s i s t e n c e a p p e a rs i n l i n e s 93 to 9 8 . H ere John f l i e s i n
th e f a c e o f t r u t h i n o r d e r to p ro v e t h a t M a t i l d a 's v e ry
r e p u l s i o n i s a c t u a l l y e v id e n c e o f h e r a t t r a c t i o n t o him:
B ut s e e , how much I doe my s e l f e b e g u i l e ,
And doe m is ta k e th y meaning a l l t h i s w h ile :
Thou t o o k ' s t t h i s Vow, to e q u a l l my D e s i r e ,
Because th ou w o u ld st have me to be a F r i e r ,
And t h a t we two sh o u ld co m fo rt one a n o t h e r ,
A h o ly S i s t e r , and a h o ly B r o th e r .
(11. 93-98)
In t h i s p a ssa g e Jo hn shows h i m s e l f w i l l i n g and a b le to
t w i s t a n y th in g M a tild a does to h i s own end 3 . To s u g g e s t
1 9 5
t h a t M a tild a had a c t e d o u t o f lo v e i n s t e a d o f h a t e i s the
h e i g h t o f c y n ic is m , f o r J o h n 's c r u e l t i e s to h e r and h e r
f a m ily were w e l l known— to Jo h n , to M a tild a and to D ray-
t o n ' s a u d ie n c e . John b r a z e n l y c o n t r a d i c t s a l l th e known
t r u t h s a b o u t M a t i l d a 's m o tiv e s , t r u t h s t h a t would be o b
v io u s to him .
J o h n 's p e r s i s t e n c e and i n g e n u i t y i n making c irc u m
s t a n c e s answ er to h i s own l a s c i v i o u s w i l l a r e a l s o dram a
t i z e d i n h i s p r a i s e s o f M a tild a , p a r t i c u l a r l y th e p r a i s e
b e g in n in g on l i n e 71* J u s t p r e v io u s t o t h i s p r a i s e John
had been a rg u in g t h a t M a tild a sh o u ld come to c o u r t b e ca u se
b e a u ty sh o u ld be seen ( l l . 5 1 - 6 0 ) . Then su d d e n ly he p r e
te n d s to a c c e p t h e r r e l i g i o u s s t a t u s b u t b e g in s th e p r o c e s s
o f making h e r r e l i g i o u s s t a t u s answ er to h i s own w i l l .
"But i f t h i s Vow thou n eed s w i l t u n d e r t a k e , / 0 w ere mine
Armes a C l o y s t e r f o r th y sake" (11. 6 1 - 6 2 ) . In th e n e x t
l i n e s , John u s e s M a t i l d a 's r e l i g i o u s p o s i t i o n as a b a s i s
f o r p r a i s i n g h e r :
lie be a Monke, so I may live with thee.
Who would not rise to ring the Mornings Knell,
When t h y sw eet L ip s m ig h t be th e s a c r i n g B e l l ?
Or w hat i s h e , n o t w i l l i n g l y would f a s t ,
That on those Lips might feast his Lips at last?
Who to h i s M a tte n s e a r l y would n o t r i s e .
That might reade by the Light of thy faire Eyes?
On W o rld ly P l e a s u r e s who would e v e r lo o k e.
That had thy Curies his Beads, thy Browes his Booke?
Wert Thou the Crosse, to Thee who would not creepe,
And wish, the Crosse still in his Armes to keepe?
( 11. 7 0- 8 0 )
196
In this passage John lists several everyday activities of
a monastic but converts this list into a catalogue of Ma
tilda’s beauties, Thus he is essentially invading Matilda's
jground— he uses the sacred to realize his own profane de-
j sires.
In thus showing John as a personality who could ver-
i
b a l l y p u rs u e M a tild a i n t o e v e ry corner,, D rayton h a s im ag
i n a t i v e l y d ra m a tiz e d and e x te n d e d th e "Argument" t h a t p r e f
a c e s th e poem:
! King John enamor'd; by all meanes assay'd
I To winne Matilda, a chaste Noble Mayd,
i The Lord Pitz-Waters Daughter: and to gayne her,
j When by his Courtship he could not obtayne her,
! Nor by his Gifts; strives (so farre being in)
i To get by force, what faire meanes could not
| winne,
! And banisheth the neerest of her Blood,
| Which he could thinke had his Desires withstood:
When she to Dunmow to a Nun'rie flyes;
Whither he writeth, and whence she replyes.
(p. 147)
Just as he has shown Matilda no quarter earlier in the
"history," John shows her no quarter in the epistle.
| In addition to showing John's persistence, ingenuity
l
and c y n ic is m , D ra y to n , o f c o u rs e , a l s o d r a m a tiz e s h i s l a s
c i v i o u s n e s s . In th e above p a s s a g e , th e words "sw eet L ip s"
and " f e a s t " a r e h i g h l y s e n s u a l . In a n o th e r c a ta lo g u e o f
b e a u t i e s i n th e e p i s t l e ( l l . 2 9 -4 8 ), D rayto n a l s o g ra p h
i c a l l y d e p i c t s J o h n 's l a s c i v i o u s n e s s . John b e g in s t h i s
p r a i s e by sa y in g t h a t he o f t e n p a r a d e s M a t i l d a 's i n d i v i d u
a l b e a u t i e s b e f o r e him — " O ft i n th y P a c e , one Favour from
1 9 7
th e r e s t / I s i n g l e d f o r t h , t h a t p l e a s ’d my F a n c ie b e s t "
(11. 2 3 -2 4 ). Then he c o n ti n u e s ,
W h ils t I b e h o ld th y G l o b e - lik e ro w lin g Eye,
Thy l o v e l y Cheeke (me t h i n k e s ) standB sm ilin g by,
And t e l l s me, th o s e a r e Shadowes and Supposes,
But b i d s me t h i t h e r come, and g a t h e r R oses;
Looking on t h a t , th y Brow d o th c a l l to mee,
To come to i t , i f Wonders I w i l l s e e :
How have I done, and th e n t h y dim pled Chlnne
Againe d o th t e l l me new ly X b e g in ,
And b i d s me y e t to loo ke upon th y L ip ,
L e s t wond’r i n g l e a s t , th e g r e a t ’ s t I o v e r - s l i p :
My g a z in g Eye on t h i s and t h i s d o th s e a s e ,
• Which s u r f e t s , y e t c a n n o t D e s ir e a p p e a se ,
j Now l i k e I Browne (0 l o v e l y Browne th y H aire)
! Onely i n B row nnesse, B e a u tie d w e l le th t h e r e ,
j Then lo v e I B la c k e , t h i n e E y e - b a l l b la c k e a s J e t ,
! Which i n a G lobe, p u re C r y s t a l l i n e , i s s e t :
i Then w h ite ; b u t Snow, n o r Swan, n o r I v o r l e
! p l e a s e ,
| Then a r e th y T e e th more w h i t e r th e n a l l th e s e ;
' In Browne, i n B la c k e , i n P u r e n e s s e , and i n W h ite,
t A ll Love, a l l S w eets, a l l R a re n e s s e , a l l D e l i g h t .
(11. 29-48)
A lthough a t f i r s t t h i s p a s s a g e m igh t seem to be j u s t
a n o th e r l i s t o f b e a u t i e s , i t d i f f e r s from th e c a t a l o g u e s
j i n th e e p i s t l e s o f H enry, D udley (1 1 . 57-67) and S u rre y
| (11. 123-134) i n s e v e r a l ways. F i r s t , i n t h i s c a ta lo g u e
t
-more o f th e l a d y ’s " p a r t s " a r e l i s t e d . W hereas i n th e
I
o t h e r p r a i s e s th e s p e a k e r l i s t s th e e y e s, h a i r , and l i p s ,
John l i s t s th e "E y e," "C heeke," "C h in n e ," "Brow," " L ip ,"
" H a ir ," and " T e e th ," and hence a p p ro a c h e s th e " h e a d - t o -
to e " d e s c r i p t i o n o f e f f i c t l o a s i t a p p e a rs i n e a r l y p o
e t r y . ^ Second, t h e r e i s a g r e a t e r sen se o f f r a g m e n ta tio n
h e r e . T h is f r a g m e n ta tio n i s a c c o m p lish e d i n two ways.
F i r s t , John u s e s p e r s o n i f i c a t i o n . Each p a r t o f M a tild a
198
a c t s ; —t h e Brow c a l l s , th e Cheek b i d s , and so f o r t h . B e
cause o f th e p e r s o n i f i c a t i o n , each p a r t o f th e l a d y 's fa c e
i s made to seem in d e p e n d e n t o f th e o t h e r s and f u r t h e r ,
each p a r t i s c o n te n d in g w ith th e o t h e r s f o r hiB a t t e n t i o n .
The p e r s o n i f i c a t i o n makes th e f a c e a lm o s t a b a t t l e f i e l d .
!The s e n s e o f f r a g m e n ta tio n i s a ls o i n c r e a s e d b e c a u se John
goes from one o f h e r b e a u t i e s to th e o t h e r , s to p p in g h e re
and t h e r e to c o n te m p la te e a c h — "Now have I done" and th en
|
j "Newly I b e g i n ." I n o t h e r w ords, th e f i g u r a t i v e s t r a t e g y
j
o f l i s t i n g b e a u t i e s ( e f f i c t i o ) h a s been c a r r i e d to an e x
trem e — D rayton h a s e x te n d e d th e ite m s i n th e e f f i c t i o and
has i n c r e a s e d th e se n se o f f r a g m e n ta tio n so t h a t t h i s s e c -
j
j t i o n o f J o h n 's p r a i s e w i l l s t r i k e th e r e a d e r a s e x c e s s iv e
; and s u g g e s t J o h n 's extrem e a t t e n t i o n t o e v e ry d e t a i l o f
M a t i l d a 's p e rs o n . D rayton h a s th e Im m ediate r e a d e r , Ma
t i l d a , p o i n t o u t t h e s e v e ry e x c e s s e s when she re b u k e s John
f o r h i s method o f p r a i s e :
'T i s s tr a n g e w hat Humours I t d o th f o r c e u s to !
I * • * < » * * * * * * • • • • • • * • * 1 * * * *
Th' o v e r-w a tc h e d w eakenesse o f th e s i c k e C o n c e it,
I s t h a t w hich makes s m a ll B e a u tie seeme so g r e a t ;
L ik e t h i n g s w hich h i d i n t r o u b l e d W aters l y e .
W hich c r o o k 'd , seeme s t r a i g h t , i f s t r a i g h t , th e
c o n t r a r i e :
And th u s o u r v a in e I m a g in a tio n shewes i t .
As i t c o n c e iv e s i t , n o t a s Judgem ent knowes i t .
( 1 1 . 44, 46-51)
M a tild a a rg u e s t h a t th e i t e m i z a t i o n I t s e l f makes ab u n d an t
b e a u t i e s from " s m a ll B e a u tie " and t h a t th e i t e m i z a t i o n i s
e x c e s s iv e o r " o v e r - w a tc h e d ." F u r t h e r , she s a y s , th e s e
199
e x c e s s e s o f p r a i s e i n d i c a t e a m isg u id e d m ind— a "Vaine
I m a g i n a t i o n ." A few l i n e s l a t e r M a tild a a g a in condemns
t o t h th e method o f p r a i s e and th e mind t h a t c o n c e iv e d i t
a s " B e r e f t o f Sense., such s e n s e l e s s e Wonders s e e in g "
(1. 7 3 ) .
Thus D rayton h a s c r e a t e d b y means o f th e f i g u r e s (and
th e argum ents) t h e c h a r a c t e r o f Jo h n . F u r t h e r , t h i s p e r
s o n a l i t y w ith i t s c o m b in atio n o f cynicism,, l a s c iv io u s n e s s .,
and p e r s i s t e n c e j i s d i s t i n c t i v e . T hat i s , D ray to n h as n o t
j u s t c r e a t e d "a p a s s i o n a t e l o v e r , " b u t h a s c r e a t e d a
r a t h e r p a r t i c u l a r p e r s o n a l i t y .
The p r a i s e i n th e e p i s t l e o f Edward IV a l s o I l l u s -
j t r a t e B D r a y t o n ^ a b i l i t y to u s e th e f i g u r e s ( p a r t i c u l a r l y
!
e f f i c t i o - h y p e r b o l e ) to I n d i v i d u a l i z e , to c h a r a c t e r i z e h i s
s p e a k e r , and even to s u g g e s t d im e n sio n s o f t h e lo v e r e l a
t i o n s h i p . The " A n n o ta tio n " to t h i s e p i s t l e shows t h a t
D ra y to n had a q u i t e c l e a r c o n c e p tio n o f th e c h a r a c t e r t h a t
he w anted to p r e s e n t . D e s c r ib in g th e " h i s t o r i c a l " Edward,
I D ray to n sa y s , "Edward th e f o u r t h was by n a t u r e v e ry C hiv
a l r o u s , and v e ry Amorous, a p p ly in g h i s sw eet and am iable
A sp e c t to a t t a l n e h i s wanton A p p e tite " (p. 2 5 2 ). F u r t h e r
more, Edward was alBo a man o f some w i t . Speakin g o f t h e
p o r t r a i t s o f Edward, D rayton n o t e s t h a t "th o u g h th e sm al-
n e s s e o f h i s E y es, f u l l o f a s h in in g m o is tu r e , a s i t to o k e
away some C o m elin essej so i t arg u e d much s h a r p e n e s s e o f
U n d e rsta n d in g and C r u e l t i e m in g led t o g e t h e r " (p . 252).
200
Hence i t i s a s a l o v e r , b u t a clever and even c r u e l one,
t h a t D rayto n w ish ed to d e p i c t Edward.
Edward IVj l i k e m ost o f th e o t h e r l o v e r s i n E nglands
H e r o l c a l l E p i s t l e s , p r a i s e s h i s b e lo v e d by means o f a c a t
alo g u e o f h e r b e a u t i e s (among o t h e r d e v i c e s ) . B ut t h i s
c a ta lo g u e i s n o t o n ly one o f th e l o n g e s t i n t h e poem (some
s i x t y l i n e s ) , i t i s a ls o a t once one o f th e m ost e x t r a v a
g a n t and one o f th e m ost c u n n in g . I n t h i s p r a i s e Edward
u s u a l l y s t a r t s w ith c o n v e n tio n a l o r u n s u r p r i s i n g co m p ari-
i
J
|s o n s b u t e x a g g e r a te s th e s e c o n v e n tio n a l c o m p ariso n s i n t o
!e x tr a v a g a n t co m p ariso n s and new m eanings. I n th e b e g in n in g
!
o f th e main c a ta lo g u e o f b e a u t i e s ( l l . 40-100) Edward r e
c a l l s th e s p e c i f i c h i s t o r i c a l c irc u m s ta n c e s o f h i s f i r s t
m eetin g w ith M i s t r e s s S h o re . When he v i s i t e d th e shop o f
M aster S h o re, th e l a t t e r t r i e d to s e l l him some o f h i s
w a res. On th e b a s i s o f t h i s c irc u m s ta n c e Edward n a t u r a l l y
I m p lie s t h a t M i s t r e s s Shore IB a l s o a " r a r e J e w e ll " ( l .
4 o ). B ut Edward does n o t le a v e a com parison betw een Jane
Shore and Je w e ls t h e r e . He goes on to e x a g g e r a te th e com
p a r i s o n by s a y in g t h a t M i s t r e s s S h o r e 's b e a u t i e s a r e s u
p e r i o r to th e b e a u t i e s o f " r a r e J e w e ls " :
0 , m ight I come a Diamond t o buy,
T hat had b u t such a L u s tr e a s t h i n e Eye,
Would n o t my T re a s u re s e r v e , my Crowne should,
goe,
I f any J e w e ll c o u ld be p r i z e d sol
An A g at, b ra n c h e d w ith th y b l u s h i n g s t r a i n e s ,
A S a p h ir e , b u t so a z u r 'd a s t h y v e in e s j
201
My K in g ly S c e p te r o n e ly sh o u ld redeeme It.,
At su c h a p r i c e i f Judgem ent c o u ld esteem e i t .
( 11. 43- 50)
In t h e n e x t v e r s e p a r a g r a p h , Edward c o n tin u e s to draw
co m p ariso n s betw een M i s t r e s s Shore and J e w e ls — "Whose L ip s
be R u b ies, and h e r T e e th be P e a r l e " — a s w e l l as o t h e r b e a u
t i f u l o b j e c t s — " th y Cheekes can shew them h e e r e / Roses and
L i l l i e s g ro w in g a l l th e y e e r e " ( l l . 6 0 , 5 5 - 5 6 ) . Y et Ed
ward i s a b l e to make t h e s e r a t h e r c o n v e n tio n a l com p ariso ns
I q u i t e new. He does so by c o n s t a n t l y r e f e r r i n g to t r e a s
u r e s ( " a r t i f i c i a l l G a rd e n s ," " S t o n e s ," " C r y s t a l l " ) and
m ost im p ortant:, by p r e s e n t i n g t h e s e t r e a s u r e s In a r a t h e r
s p e c i f i c an d p r e c i s e way. Thus he n o t o n ly m en tio n s
" C r y s t a l l " (hence evok ing an image o f extrem e b e a u ty ) b u t
a ls o i n c o r p o r a t e s p r e c i s e h i s t o r i c a l in f o r m a ti o n I n to th e
c o m p a riso n . The " C r y s t a l l " i s from "th e f r o z e n Maine" and
i t i s im p o r te d i n t o E ng lan d by " th e P o la n d e r and D ane . 1 1
S i m i l a r l y , t h e "S to n e s" a r e "from f a r t h e s t I n d i a " and a r e
Im p o rte d b y th e P o rtu g u e s e . Such p a s s a g e s a r e in d e e d
" r i c h In d e t a i l e d s o c i a l b a c k g ro u n d " ^ and r e f l e c t D ray
t o n ' s c a r e f u l r e s e a r c h I n t o th e h i s t o r i c a l f a c t s . ^
B ecau se o f t h i s h i s t o r i c a l s p e c i f i c i t y and p r e c i s i o n ,
c o m p a riso n s such a s th o s e betw een th e l a d y 's t e e t h and
p e a r l s , h e r l i p s and r u b i e s , move away from th e con ven
t i o n a l when t h e y a r e p u t In c o n te x t;
The P o r t u g a l l , t h a t o n e ly h o p es to w in,
By b r i n g i n g S to n e s from f a r t h e s t I n d i a i n :
202
When h a p p ie Shore can b r i n g them f o r t h a G i r l e ,
Whose L ip s be R u b ies, and h e r T e e th be P e a r l e .
*How s i l l y i s th e P o la n d e r and Dane,
*To b r i n g u s C r y s t a l l from th e f r o z e n Maine?
When th y c l e a r e S kins t r a n s p a r e n c e d o th s u r p a s s e
T h e ir C r y s t a l l , as th e Diamond d o th G la s s e .
(11. 57-64)
Prom p r a i s e t h a t t a k e s th e com parison to f o r e i g n
l a n d s , Edward r e t u r n s th e fo c u s to th e shop o f M aster
S h o re : "Me t h i n k e s th y Husband t a k e s h i s marke a w r y , / To
s e t h i s P l a t e t o s a l e , when thou., a r t by" (11. 7 1 -7 2 ). In
j t h i s s e c t i o n o f th e p r a i s e (1 1 . 71-100) Edward p r a i s e s th e
b e a u ty o f Ja n e S h o r e ’ s h a i r and hand. B ecause he h a s men
t i o n e d th e shop o f M aster S h o re , Edward, o f c o u rs e , t h i n k s
i n te rm s o f g o ld a s he s e t s a b o u t p r a i s i n g M is tr e s s S h o re.
| B u t d e s p i t e th e u s e o f " g o l d ," Edward I s a b le to d e v is e
j e x t r a v a g a n t c o m p a riso n s t h a t go much beyond a c li c h £ such
as " h e r h a i r i s l i k e g o l d . " He f i r s t s u g g e s ts t h a t h e r
j h a i r i s n o t m e re ly l i k e g o ld , o r even s u p e r i o r to g o ld
( c f . 11. 4 3 - 5 0 ) , b u t t h a t h e r h a i r i s a k in d o f a n t i -
a lc h e m i s t t h a t t u r n s g o ld to d r o s s : "When th e y which doe
t h y A n g e l l- l o c k s b e h o l d , / As th e b a se D ro s s e , doe b u t r e
s p e c t h i s Gold" (11. 7 3 ~ 7 ^ )> th e s u p e r i o r i t y o f h e r h a i r
I s em phasized a g a in i n th e w ords "m assie Heape" and "W ealth
o f C heape." Nor does Edward le a v e th e com parison h e r e .
He g o e s on to expand th e c o n v e n tio n a l com parison betw een
g o ld and h a i r i n y e t a n o th e r way— i n th e n e x t l i n e s , he
r e v e r s e s th e c l i c h 6 . I n s t e a d o f sa y in g t h a t h e r h a i r i s
b e a u t i f u l b e c a u s e I t I s l i k e g o ld , he a rg u e s t h a t g o ld I s
203
v a lu e d b e c a u se I t I s l i k e her* h a i r : "And f o r no c au se e l s e
h o ld we Gold so d e a r e , / B ut t h a t i t i s so l i k e u n to th y
H a ire " ( l l . 7 7 -7 8 ).
F u rth e r., Edward e x p l o i t s th e p o s s i b i l i t i e s o f com
p a r i n g M i s t r e s s Shore w ith g o ld i n y e t a n o th e r way. H ere,
i n one o f th e l o n g e s t p a s s a g e s o f th e p r a i s e , Edward su g
g e s t s t h a t M i s t r e s s Shore h e r s e l f i s an a l c h e m i s t , a c r e
a t o r o f g o ld . In t h i s p a s s a g e , Edward p r e s e n t s a q u i t e
j p r e c i s e , even c o m ic a l, p i c t u r e o f th e o t h e r a lc h e m i s t s to
1
| whom M i s t r e s s Shore i s s u p e r i o r :
i
i And s u re I t h i n k e , Shore c a n n o t chuse b u t f l o u t
Such a s would f i n d t h e g r e a t E l i x a r o u t,
And la u g h to see th e A lc h y m lsts, t h a t choke
T hem selves w ith Fumes, and w a ste t h e i r W ealth
i n Smoke;
When i f th y Hand b u t to u c h th e g r o s s e s t Mold,
i I t i s c o n v e rte d to r e f i n e d G old.
I (11. 79-84)
F i n a l l y , aB Edward p r a i s e s th e w h ite n e s s o f Jane
S h o r e ’ s hand, he a ls o c r e a t e s a p r e c i s e sc e n e . In d e e d ,
j h e re he p r e s e n t s a m i n i a t u r e drama i n which a c t o r s I n th e
: scene a f f i r m th e w h ite n e s s o f h e r hand:
j
I I f thou b u t p l e a s e to w alke i n t o th e Pawne,
To buy th e e Cam bricke, C a l l i c o , o r Lawne,
I f thou th e w h lte n e s s e o f th e same w o u ld st
p ro v e ,
From t h y more w h i t e r Hand p lu c k e o f f t h y G love;
And th o s e w hich buy , a s th e B e h o ld e rs s t a n d ,
W ill ta k e th y Hand f o r Lawne, Lawne f o r th y
Hand. ( l l . 95-100)
The B p e c i f i c i t y o f th e p l a c e names and o f th e m a t e r i a l s ,
o f c o u r s e , adds to th e v i v i d n e s s o f t h i s sc e n e .
204
As I have d i s c u s s e d i t so f a r , th e p r a i s e i s q u i t e
e x tr a v a g a n t and h e n ce r e f l e c t s a s p e a k e r "by n a tu r e v e ry
C h iv a lr o u s , and v e ry Amorous." T h is e x tr a v a g a n c e i s owing
t o - t h e l e n g t h o f t h e p ra is e ,, th e term s o f co m p a riso n , and
th e way th e co m p ariso n s th e m se lv e s a r e d e v e lo p e d . The
p r a i s e , how ever, d o es n o t r e f l e c t o n ly amorous e x u b e ra n c e ,
f o r i n a d d i t i o n to b e in g e x t r a v a g a n t, i t i s a ls o q u i t e
s k i l l f u l — c o h e r e n t and even c a r e f u l l y c o n t r o l l e d . I have
a l r e a d y n o te d t h a t many o f th e d e t a i l s o f th e p r a i s e a r e
t
I grounded i n a c t u a l h i s t o r i c a l o r s o c i a l c ir c u m s ta n c e s .
j
F u r t h e r , th e s e d e t a i l s a r e c o h e r e n t i n t h a t many o f them
echo e ac h o t h e r . I n l i n e s 49 th ro u g h 70, f o r exam ple, Ed-
i
|w ard com pares M i s t r e s s Shore w ith th e many t r e a s u r e s
b ro u g h t i n from o t h e r l a n d s . L a t e r i n l i n e s 93 and 94, he
compares h e r w ith a s h ip t h a t b r i n g s i n r i c h t r e a s u r e .
She i s "Like a r i c h S h ip, whose v e ry r e f u s e W a r e ,/ A ro-
m a tik e s , and p r e c i o u s Odors a r e . " A lth o u g h t h i s s h ip
image i s n o t a d e l i b e r a t e e l a b o r a t i o n o f th e e a r l i e r lm -
i
ages (1 1 . 4 9 -7 0 ), i t s s u g g e s t i o n s o f r i c h n e s s and o f
t r a v e l a r e c e r t a i n l y c o n so n a n t w ith th e e a r l i e r im ag es.
Through th e manner o f h i s p r a i s e s , D ray to n d r a m a tis e s
a n o th e r l e v e l o f E dw ardfs p e r s o n a l i t y i n a d d i t i o n to h i s
am o ro usn ess. One m ig h t c a l l t h i s d im en sio n h i s cu nnin g o r
even h i s c r u e l t y . T h is l e v e l i s b e s t i d e n t i f i e d when we
look c l o s e l y a g a in a t th e term s o f com parison t h a t Edward
u s e s t o p ra iB e M i s t r e s s S h o re. In th e e p i s t l e Edward
205
p r a i s e s M i s tr e s s S h o re by com paring h e r b e a u t i e s w i t h th o se
o f c o s t l y o b j e c t s . H is com parison o f h e r b e a u ty w ith " r a r e
i
Je w e ls " o r w ith g o ld m ight be e x p e c te d g iv en M a ste r S h o r e 's
p r o f e s s i o n . But w hat i s s t r i k i n g i s t h a t Edward h a r d l y
e v e r com pares Ja n e S h o r e 's b e a u t i e s to a n y th in g o t h e r th an
m e rc h a n d ise and b a u b le s (th e e x c e p ti o n s a re "R oses" and
" L i l l i e s " ) . For e x am p le, he sa y s t h a t she i s more p e r f e c t
th a n t h e "Toyes" b r o u g h t i n from abroad., she i s l i k e a
" r i c h S h i p , " and h e r hand i s more w h ite th an "law ne" (a
b u y e r m ig h t m is ta k e h e r hand f o r " la w n e " ). In d e e d , a t one
p o i n t Edward even p r a i s e s h e r by s u g g e s tin g t h a t she would
jp u t h e r h u s b a n d 's goods to shame: "Me th in k e s th y Husband
t a k e s h i s marke a w r y , / To s e t h i s P l a t e to s a l e , when thou
a r t by" ( l l . 7 1 - 7 2 ) . A lthough a f t e r t h i s s ta te m e n t Edward
l
i
jg o e s on to p r a i s e h e r b e a u ty , s t i l l he h a s made th e c l e a r
!
s u g g e s tio n t h a t M i s t r e s s Shore i s a com m ercial o b j e c t . Ed
ward d o e s n o t, l i k e o t h e r l o v e r s , compare h e r to n a t u r a l
b e a u t i e s . He does n o t , l i k e Edward th e B lack P r i n c e , com-
1 p a re h e r eyes to th e " tw in c k lin g S t a r r e s " o r h e r l i p s to
th e "B lu sh in g " o f t h e O r ie n t. He d o e s n o t , l i k e Henry
(who i s a ls o q u i t e e x tr a v a g a n t) sa y t h a t h e r p r e s e n c e i s
more p o w e rfu l th a n t h e charms o f Medea.
T h at such c o m p a riso n s f a l l i n t o a s i g n i f i c a n t p a t t e r n
j
i s f u r t h e r e v in c e d when t h i s v e r s i o n o f th e poem i s com
p a re d w i t h an e a r l i e r v e r s i o n . In th e 1599 e d i t i o n o f
E n g la n d s H e r o i c a l l E p i s t l e s , D ray ton had in c l u d e d i n Ed-
206
ward's epiBtle yet another catalogue of beauties. But in
t h i s c a t a l o g u e j Edward d i d compare Ja n e S h o r e 's b e a u t i e s
w ith no n-co m m ercial b e a u t i e s :
B ut o f eac h Goddesse thou a b e t t e r p a r t ,
Prom I r i s w h ite , t h y r e d , v e r m i l l i o n , b lew ,
Thy s k i n , th y l i p , t h y c h e e k e , th y v a in e s p u re
h iew ;
But th o s e i n h e r , t o g e t h e r m ixed b e e ,
But a l l d i s t i n c t , and s e v e r a l l i n th e e .
Prom b e a u t i o u s C e r e s , thy s o f t - s w e l l i n g b r e s t .
Those o r i e n t g r a p e s g iv e N e c ta r , b e e in g p r e s t ;
Thy sm yles from V en u s, b u t such sm yles o f jo y ,
As when she la u g h e s upon h e r l i t t l e boy;
Thy c a r i d g e , from m a j e s t i c k e J u n o ' s g a te ,
i Which g i v e s d e l i g h t f o r a l l t o wonder a t . 39
I t h i n k t h a t D rayton d ro p p ed t h i s c a ta l o g u e n o t so much to
mute th e e x tr a v a g a n c e o f t h e p r a i s e ( a f t e r a l l , th e e p i s
t l e as a w hole i s s t i l l f i l l e d w i t h h y p e r b o lic co m p a riso n s)
b u t r a t h e r , he dropped i t i n o r d e r to keep th e te rm s o f
i
i
| com parison c o n s t a n t l y o f m e rc h a n d is e . In th e above p a s
sa g e , th e " o r i e n t g r a p e s , " th e " N e c t a r ," and " m a je s tic k e
J u n o 1s g a te " a r e too f a r removed from th e w orld o f " P l a t e
to s a l e , " "m assie H eape," and "W ealth o f C heape." Thus
! D ray to n m a i n t a i n s E d w ard 's s u g g e s tio n t h a t he w i l l buy
| M i s t r e s s S h o re .
A l l t h e s e term s o f com p arison w ith t h e i r em p hasis on
m e rc h a n d ise , s e rv e to r e i n f o r c e E d w a rd 's main t a c t i c i n
wooing. He c o n s t a n t l y a r g u e s t h a t M i s t r e s s Shore sh o u ld
c o n s e n t to h i s s u i t b e c a u se she w ould th e re b y i n c r e a s e h e r
" v a l u e ." E a r l y i n th e e p i s t l e , he a rg u e s f o r co m pliance
by s a y in g ,
207
If now thy Beautie be of such esteeme,
Which all of so rare excellencie deemej
What would it be, and prized at what rate,
Were it adorned with a Kingly State?
Which being now but In so meane a Bed,
Is like an un-cut Diamond In Lead,
Ere it be set In some high-prized Ring,
Or garnished with rich enamelling]
We see the beautie of the Stone Is split.
Wanting the gracious Ornament of Gilt.
(11. 23-32)
Certainly Edward uses here such terms as "rare excellen-
;cie," but the dominant diction has to do with exchange--
"prized at what rate," "some high-prized Ring"— and with
Jincreasing value--"rich enamelling," "gracious Ornament of
I
!Gilt."
Later in the epistle after the praises, Edward renews
j this line of argument:
i
! Nor is it fit, a Citie-shop should hide
The Worlds Delight, and Natures onely Pridej
But in a Princes sumptuous Gallerie,
Hung all with Tissue, floor’d with Tapestrie.
(11. 153-156)
Like any customer who has purchased a beautiful jewel, Ed
ward would take her from the "shop" to be the chief orna
ment in his own "sumptuous Gallerie." Thus in the manner
of his praise, Drayton has dramatized not only Edward's
amorousness, but also his cunning and cleverness.
I have analyzed the epistles of Edward and John in
some detail in order to illustrate Drayton's ability to
use a figurative strategy not only to distinguish between
characters but even to reflect on a character or depict a
character rather precisely. In both epistles the praise
208
i s p r e c i s e l y honed to th e p a r t i c u l a r s p e a k e r . I ch ose to
a n a ly z e o n ly th e e p i s t l e s o f Edward and John f i r s t b e c a u se
i n t h e s e D rayton i s m ost c l e a r l y i n t e r e s t e d i n d e p i c t i n g a
" lo v e r " (in th e e p i s t l e s o f H enry, P o o le , and Edward th e
B lack P r i n c e , D rayto n i s a l s o q u i t e i n t e r e s t e d in d e p i c t
in g h i s t o r i c a l e v e n ts ) and seco nd b e c a u se i n th e s e e p i s t l e s
th e c a t a l o g u e o f b e a u t i e s i s th e main f i g u r a t i v e d e v ic e .
The c a ta lo g u e o f b e a u t i e s a s a d e v ic e o f p r a i s e had
become commonplace i n p o e t r y by th e l a t e l 6 t h c e n t u r y . I t
i s to be found, f o r exam ple, i n many k in d s o f am atory p o -
40
e t r y r a n g in g from th e e r o t i c e p y l l i o n to th e so n n e t.
D rayton h i m s e l f had u se d th e d e v ic e i n h i s e r o t i c e p y l l i o n
i
Endim ion and Phoebe ( l l . 474-484) a s w e l l a s i n h i s h i s
t o r i c a l c o m p la in ts P e i r s G aveston ( l l . 133-144) and Ma
t i l d a (1 1 . 8 5-13 3)- F u r t h e r , D rayton seems to have been
q u i t e aware o f th e commonplace u sag e o f th e d e v ic e f o r a t
one p o i n t i n E ngland s H e r o i c a l l E p i s t l e s he a llo w s M is
t r e s s Shore t h a t " p ro p e r w y tte . . . re d y and q u ic k e o f
4 l
answ ere" to mock th e d e v ic e . She r e p l i e s to E dw ardr s
p ra iB e by sa y in g ,
I f any n a t u r a l l B lem ish b l o t o u r F ace,
You doe p r o t e s t , I t g i v e s o u r B e a u t ie g ra c e j
And what A tty r e we m ost a re u s ' d t o w eare,
T h a t, o f a l l o t h e r , e x c e l l e n t ' s t , you sw earer
And i f we w a lk e, o r s i t , o r s t a n d , o r l i e ,
I t must resem b le some one D e i t i e .
(11. 93-98)
What I b mocking h e r e i s t h a t M i s t r e s s Shore r e a d i l y r e c o g
n i z e s t h e te c h n iq u e s o f th e p r a i s e ( t h a t t h e l o v e r sp e a k s
o f each o f th e M i s t r e s s ' " p a r t s " ) and hence s u g g e s ts t h a t
many l o v e r s have u se d th e d e v i c e — in d e e d . M i s t r e s s Shore
would have th e e x p e rie n c e to Judge j u s t how l o v e r s woo.
P e rh ap s D rayton a llo w s h i m s e l f to mock th e c a ta lo g u e o f
b e a u t i e s b e c a u se he i s to go beyond i t s c o n v e n tio n a l u s e s .
By means o f th e c a ta lo g u e he i s a b le i n a l l th e e p i s t l e s
to d i f f e r e n t i a t e betw een h i s s p e a k e r s , i n some, to i n c lu d e
much s p e c i f i c h i s t o r i c a l i n f o r m a t i o n , and, i n a few, to
c h a r a c t e r i z e th e s p e a k e r.
| T hat D rayton can a cc o m p lish t h e s e e f f e c t s w i t h e f f i c -
j
j t i o - h y p e rb o le r e p r e s e n t s a s i g n i f i c a n t p o e t i c developm ent
lo v e r s i m i l a r f i g u r e s i n P e i r s G a v esto n . In t h a t e a r l i e r
j
jpoem Drayton alBO at one point used a catalogue of beau-
i
i
t i e s to p r a i s e . Near th e b e g in n i n g , he had G avesto n d e
s c r i b e h i m s e l f t h u s :
My lo o k e s p ersw ad in g o r a t o r s o f Love,
My sp eech d i v in e i n f u s i n g harm o n ie,
My e v e ry worde so w e l l c o u ld p a s s io n move.
So were my g e s t u r e s g r a c 'd w ith m o d e s tie ,
As where my t h o u g h ts i n te n d e d to s u r p r i z e ,
i I e a s l y made a c o n q u e s t w ith mine e y e s ,
i
j A g r a c i o u s mind, a p a s s i n g l o v e l y ey e,
I A hand t h a t gave, a mouth t h a t n e v e r v a u n te d ,
A c h a s te d e s i r e , a ton g u e t h a t would n o t ly e ,
A ly o n s h e a r t , a c o u ra g e n e v e r d a u n te d ,
A sw eet c o n c e it i n such a c a r i a g e p l a c e d
As w ith my g e s t u r e a l l my words w ere
g r a c e d . (11. 133-144)
To p o i n t o u t th e d i s t i n c t i o n s betw een t h i s p a s s a g e and
m ost o f th o s e t h a t I have a n a ly z e d from E ng lan d s H e r o i c a l l
E p i s t l e s , I would a sk , i s t h i s p r a iB e i n any way p a r t i c u
210
l a r i z e d — i s i t s u i t a b l e to th e s p e a k e r 's h i s t o r i c a l c i r
cu m stan ces? Does I t , by i t s form o r c o n te n t r e v e a l any
t h in g a b o u t G a v e s to n 's c h a r a c t e r ? I n t h i s p a s s a g e , Dray
to n c e r t a i n l y doeB n o t m ention any p a r t i c u l a r h i s t o r i c a l
e v e n t s , o b j e c t s , o r p l a c e s t h a t would ground th e f i g u r e i n
j
th e s p e c i f i c h i s t o r i c a l c ir c u m s ta n c e s o f th e s p e a k e r . Un
l i k e th e p a s s a g e s o f K a th e r in e , G e r a ld in e , o r Mary t h a t I
jhave c i t e d , G a v e s to n 's p a ssa g e i s h i s t o r i c a l l y n e u t r a l —
[ i t c o u ld be spoken by a man from a lm o st any p o i n t in h i s
t o r y . W ith r e f e r e n c e to th e problem o f c h a r a c t e r i z a t i o n ,
i t can be a rg u e d t h a t D ray to n does make th e p r a i s e to some
e x t e n t a p p r o p r i a t e to a f i r s t p e rs o n s p e a k e r. T hat i s , he
d oes n o t have G aveston compare h i s own b e a u t i e s to th e
s t a r s In th e sky, o r to o t h e r sup rem ely b e a u t i f u l o b j e c t s .
The second s t a n z a , In f a c t , does n o t u s e h y p e r b o l i c com
p a r i s o n s a t a l l ( e x c e p t p e rh a p s f o r a " ly o n s h e a r t " ) . But
even t h i s m o d e ra tio n does n o t r e v e a l a n y th in g a b o u t th e
c h a r a c t e r o f G a v esto n . In d e e d , th e m o d e ra tio n i s somewhat
!
m is le a d in g b e c a u s e G aveston 1 b n o t a t a l l m odest o r r e
t i r i n g . Hence he c o u ld have a p p r o p r i a t e l y t a l k e d o f h i s
y o u t h f u l m odesty In e x tr a v a g a n t te rm s . T hat i s , i f Dray
to n had made G aveston p r a i s e h i s own y o u t h f u l b e a u ty i n
h y p e r b o l i c te rm s , he would have r e v e a l e d som ething o f th e
" c h a r a c t e r " who l a t e r sa y s ,
The H eavens now seeme t o f r o l i c k a t my f e a s t e ,
The S t a r s a s handmayds, s e r v in g my d e s i e r s .
211
Now lo v e f u l l fe d w ith b e w tie ta k e s h i s re s t,,
To whom c o n t e n t , f o r s a f t i e th u s r e t i e r s :
The grounde was good, my f o o t in g p a s s in g
s u r e .
My d ay es d e lig h ts o m e , and my l i f e s e c u r e .
( 11. 703- 708)
The f i g u r e i n th e above p a ssa g e t h u s r e f l e c t s a w eakness
t h a t I have o b se rv e d i n o t h e r P e i r s G aveston f i g u r e s . A l-
I
tho ugh th e f ig u re B do a cc o m p lish an a p p r o p r i a t e f u n c t i o n ,
th e y a re o n e - d im e n s io n a l— th e y a cc o m p lish o n ly one p u rp o se
a t a tim e . The f i g u r e i n th e above p a ssa g e o n ly f u n c t i o n s
l
to p r a i s e ; i t does n o t a ls o f u n c t i o n to i n tr o d u c e h i s t o r y ,
d e l i n e a t e c h a r a c t e r , a n t i c i p a t e f a t e , o r th e l i k e . I t i s
a s thoug h D ray to n s a i d , now I w i l l have a c h a r a c t e r p r a i s e
b e a u t y —b u t he d id n o t c o n s id e r th e o t h e r p u rp o s e s he c o u ld
j
! a c c o m p lish by th e d e v ic e . In E n g la n d s H e r o i c a l l E p i s t l e s ,
I
I
how ever, D ra y to n h a s l e a r n e d to f o r c e o u t o t h e r f u n c t i o n s
from th e ornam en t.
In s e v e r a l o f th e p r a i s e s a n a ly z e d so f a r , th e s p e a k e r
a r g u e s t h a t th e b e a u ty o f th e b e lo v e d would a f f e c t some b e
h o l d e r o t h e r th an h i m s e l f . T h is l o g i c was e v id e n t i n th e
| p r a i s e s o f Joh n ( l l . 7 0 - 8 0 ) Edward ( l l . 73-7^> 95-
1 0 0 ). Such a s t r a t e g y h a s a c e r t a i n fo r c e o f p r o o f — i t
te n d s to v a l i d a t e th e s p e a k e r 's a s s e r t i o n a b o u t b e a u ty .
The o t h e r s t r a t e g i e s t h a t D rayton u s e s to d e v e lo p th e
p r a i s e o f t h e b e lo v e d a ls o f u n c t i o n by sa y in g t h a t th e
b e a u ty o f th e b e lo v e d a f f e c t s an o b s e r v e r . MoBt o f t e n
t h e s e p r a i s e s e v in c e t h e f i g u r e p e r s o n i f i c a t i o n . In moBt
212
instances, those praises developed "by personification are
considerably heightened in tone and imply an impassioned
reaction in the speaker. Indeed, they are comparable to
the more extravagant instances of hyperbolic comparison
that I have already examined. A brief instance of praise
that uses personification (Edward IV) Illustrates the tone
that is typical of such praises, Edward argues that the
extreme beauty of Mistress Shore causes "Dawne" to react
:to her.
i
| When from the East the Dawne hath gotten out,
And gone to seeke thee all the World about,
Within thy Chamber hath she fix'd her Light,
Where, b u t t h a t p l a c e , th e W orld h a th a l l
| been e N ig h t. (11. l4 l~ l4 4 )
|
Here, of course, "Dawne" reacts by seeking the lady out all
over the world. Further, the action of "Dawne" is used
precisely to prove the lady's beauty. By saying that dawn
pursues her to her chamber, Edward reduces the expansive
province of dawn to the limited space of the lady's cham
ber and the lady becomes, by Implication, the quintessence
I
t of beauty.
Although the tone of such praises Is consistently
heightened, Drayton uses the figure with considerable for
mal variation. The epistles of Poole and Brandon, where
the figure is used extensively, Illustrate the forms per
sonification can take. The epistle of William de-la-Poole
begins with a conditional personification. Poole does not
actually attribute human motlveB to Inanimate objects, but
213
he s u g g e s ts t h a t th e s e o b j e c t s c o u ld r e a c t to M a r g a r e t's
b e a u t y :
The W orlds g r e a t L ig h t , m i g h t 's t thou be
seene a b ro a d ,
Would a t o u r N o o n e -ste a d e v e r make aboad.
And f o r c e th e p o o re A n tip o d es to mourne,
F e a rin g l e s t he would n e v e r more r e t u r n e .
( 11. 9- 12)
By sa y in g t h a t M a r g a r e t's b e a u ty c o u ld s to p th e sun in i t s
t r a c k s , Poole, o f course, a t t r i b u t e s s u p e r l a t i v e powers to
h e r b e a u ty . When Poole t a k e s up th e p r a i s e o f h e r b e a u ty
I
I
i a g a in i n l i n e 1 1 3, th e p e r s o n i f i c a t i o n t a k e s a n o th e r form —
i t becomes a k in d o f myth c r e a t i n g . T hat i s , th e n a t u r a l
a c t i o n s o f in a n im a te o b j e c t s a r e e x p la in e d a s r e a c t i o n s
| s p e c i f i c a l l y to th e l a d y 's b e a u ty . Thus r e c a l l i n g Mar-
i
| g a r e t ' s d e p a r t u r e from F r a n c e , P o ole e x p l a i n s th e n a t u r a l
i
(m o tio n s o f w a v e s - - f a l l i n g , r i s i n g , b r e a k in g o v e r one a n
o t h e r — a s a r e a c t i o n to h e r b e a u ty :
The b r i n i e S eas, w hich saw th e S hip i n f o l d th e e ,
Would v a u l t up to t h e H a tc h e s, to b e h o ld th e e .
And f a l l i n g b a ck e , th e m s e lv e s i n th ro n g in g
I sm o ther,
I B re a k in g f o r g r i e f e , envying one a n o th e r .
! ( 11. 119- 122)
S i m i l a r l y , th e manner i n w hich h e r b o a t skimmed th e s e a s
i s a l s o made a r e a c t i o n to Queen M a rg a re t:
When th e p ro u d B a rk e, f o r jo y t h y s t e p s t o f e e l e ,
S c o r n 'd t h a t th e B ra ck sh o u ld k i s s e h e r fu rro w in g
K e ele ,
And t r i c k ' d i n a l l h e r F la g s , h e r s e l f e she b r a v e s ,
Cap’r i n g f o r jo y upon th e s i l v e r Waves. . . .
(11. 1 2 3- 1 2 6)
214
Each o f th e s e p a s s a g e s from P o o l e 's e p i s t l e a ls o I l l u s t r a t e s
t h a t th e f i g u r e p e r s o n i f i c a t i o n a s D ray to n u s e s I t can have
a c e r t a i n cogency. T h is cogency l i e s i n th e p r e c i s i o n and
c o h e re n c e o f th e d e s c r i p t i v e d e t a i l s . In th e l a s t p a s s a g e ,
f o r exam ple, eac h d e t a i l h e l p s c r e a t e th e se n se o f bounding
movement and j o y — " t r i c k ' d , " " b r a v e s ," " C a p 'r i n g ," and even
" f u r r o w in g ." I n th e e a r l i e r p a s s a g e s , d e s c r i p t i v e d e t a i l s
such a s " th r o n g in g sm other" and "B reak in g f o r g r l e f e " a l s o
|s u p p o r t th e c e n t r a l mood.
i
In th e e p i s t l e o f B randon, D rayton a l s o d e v e lo p s a
p r a i s e by p e r s o n i f i c a t i o n . B randon, r e c a l l i n g th e p a s t
i
|s c e n e s and p l a c e s t h a t he had s h a re d w ith Mary, b u i l d s up
i
a p r a i s e by a r g u in g t h a t t h e s e p l a c e s a l s o r e a c t e d to h e r .
He a t t r i b u t e s h i s own em otion to Richmond when he s a y s ,
"Me th o u g h t i t l o o k 'd n o t a s i t d id o f l a t e , / But w a n tin g
t h e e , f o r l o r n e and d e s o l a t e " ( l l . 3 6- 3 7) and a rg u e s t h a t
th e w i n t e r r e m i t t e d I t s n a t u r a l c o u rse ( lo n g e r days) b e
c au se o f h e r b e a u t y . She was " A s to n is h in g sad W in te r w ith
j
! th y s i g h t , / So t h a t f o r th e e t h e day h a th p u t backe n i g h t "
(11. 4 1 -4 2 ).
From th e s e f a i r l y b r i e f s c e n e s , Brandon goes on to
p r e s e n t an e x te n d e d scene i n w hich many b e in g s r e a c t e d to
M a ry 's b e a u ty . R e c a ll i n g how Mary u se d t o w alk a lo n g th e
Thames, he a rg u e s t h a t a l l t h e a n im a ls on th e la n d a s w e l l
a s th e r i v e r i t s e l f r e a c t e d to h e r b e a u ty :
215
So o f t as I by Thames goe and r e t u r n e .
Me t h l n k e s f o r th e e th e R iv e r y e t d o th mourne,
Whom I have se en e to l e t h i s stream e a t large.,
Which l i k e a hand-m aide w a ite d on th y B a r g e ;
And i f thou h a p ' s t a g a i n s t th e f l o u d to row.
Which way i t e b 'd , i t p r e s e n t l y would flow ,
Weeping i n d ro p s upon th e la b o u r in g O ares,
For jo y t h a t i t had g o t th e e from th e s h o a r e s .
The Swans w ith m usieke t h a t th e R o o th e rs make,
R u f f in g t h e i r plum es, came g l i d i n g on th e la k e ,
As t h e s w i f t D o lp h in s by A rio n s s t r i n g s .
Were brought to Land with Syren raviBhings;
The f l o c k e s and h e a r d s t h a t p a s t u r e n e e re th e
F lo o d ,
To g a z e upon t h e e , have f o r b o r n e t h e i r food.
And s a t downe s a d ly mourning by th e b rim ,
T h at th e y by N a tu re were n o t made t o swim,
(11. 45-60)
As i n th e p r a i s e s c i t e d from P o o l e d e p i s t l e , D rayton e r e -
| a t e s a c o h e r e n t scene i n o r d e r to v a l i d a t e an a s s e r t i o n
a b o u t th e l a d y ' s b e a u ty (a lth o u g h h e re th e v i v id n e s s o f
th e sc e n e s l i e s more i n th e s i m i l e s — " l i k e a hand-m aide"
and "As th e s w i f t D o lp h in s " — th an i n th e d e s c r i p t i v e d e
t a i l s ) .
At th e end o f B r a n d o n 's p r a i s e , p e r s o n i f i c a t i o n
v e rg e s i n t o a m yth-m aking o f a n o th e r k in d th a n t h a t o b -
|s e r v e d i n P o o l e 's e p i s t l e . Brandon e x p l a i n s a c e r t a i n h i s -
j t o r i c a l e v e n t as a r e a c t i o n by an o u t s i d e f o r c e to M a ry 's
|
b e a u ty . I n t h e " A n n o ta tio n ," D rayto n had e x p la in e d th e
h i s t o r y o f M a ry 's p a s s a g e to F ra n c e :
As t h e Queene s a y l e d f o r F ra n c e , a m ig h tie storm e
a ro s e a t Sea, so t h a t th e Navie waB i n g r e a t d a n g e r, and
was s e v e r e d , some d r i v e n upon th e C o ast o f F l a n d e r s ,
some on B r i t a l n e t th e s h ip w h e rein th e Queene was, was
d r iv e n i n t o th e Haven a t B u lle n , w ith v e ry g r e a t d a n
g e r . (p . 275)
216
T h is n a t u r a l a c t i o n i s e x p la in e d a s a r e a c t i o n by Venus,
who w ish ed to see Mary.
And w h i r l in g ro u n d h e r Dove-drawne Coach a b o u t,
To view th e Navie th e n i n la u n c h in g out.,
Her a y r i e M antle l o o s e l y d o th u n b in d e .
Which fa n n in g f o r t h a ro u g h e r g a le o f w inde,
W afted th y S a y le s w ith sp e ed u n to th e la n d ,
' " " S h ip s on B u l l i n s h a rb o r in g s t r a n d .
H ere th e h o r r o r o f th e a c t u a l e v e n t i s muted and th e whole
i n c i d e n t i s tr a n s p o s e d i n t o a g r a c e f u l com plim ent to th e
l a d y 's b e a u ty .
In t h e s e p r a i s e s d e v e lo p e d by th e f i g u r e p e r s o n i f i c a
t i o n , D ray to n a c c o m p lish e s few er p u r p o s e s th a n he had i n
i t h e p r a i s e s d e v elo p ed by e f f i c t i o - h y p e r b o l e . I t i s t r u e
|a m p l i f i c a t i o n and t r u e a l s o t h a t i t i s a " p l e n t e o u s ” d e -
i
v ic e o f p r a i s e (se e f o r example B r a n d o n 's p r a i s e o f Mary,
l i n e s 4 5 - 6 0 ) j b u t th e f i g u r e does n o t se rv e to make p r e
c i s e d i s t i n c t i o n s betw een c h a r a c t e r s o r to i l l u s t r a t e d i
m ensions o f a s p e a k e r'B p e r s o n a l i t y . The f i g u r e , i n f a c t ,
te n d s to e n f o r c e a r a t h e r u n ifo rm to n e on a l l th e p r a i s e s
t h a t a r e d e v e lo p e d by i t . T hat i s , i f a s p e a k e r sa y s t h a t
th e sun r e a c t e d to a l a d y ' s b e a u ty , o r t h a t t h e r i v e r f o l
lowed h e r , o r t h a t any n a t u r a l b e in g r e m i t t e d i t s n a t u r a l
c o u r s e , t h e r e i s sim p ly a h e i g h t e n i n g o f to n e and l i t t l e
room f o r m o d e ra tio n . I n d e fe n s e o f D r a y to n 's se n se o f d e
corum In u s i n g p e r s o n i f i c a t i o n , how ever, we s h o u ld n o te
t h a t he does n o t o f t e n u s e I t i n t h e p r a i s e s o f h i s fem ale
j t h a t p e r s o n i f i c a t i o n s e r v e s th e v e ry g e n e r a l p u rp o se o f
lovers., b u t r a t h e r he r e s e r v e s t h e f i g u r e f o r th e p r a i s e s
o f th e more amorous male l o v e r s , p a r t i c u l a r l y Brandon and
P o o le .
The figure personification as it is found in Englands
Heroicall Epistles also showB certain stylistic advances
over the figure in Pelrs Gaveston (although in Peirs Ga
veston Drayton used personification to develop the topics
well and woe, not to develop praise). In Peirs Gaveston
the content of the personifications was almost always the
|sam e— " a s tr o n o m ic a l" r e f e r e n c e s o f some k in d . T y p ic a l o f
i
the personification in Pelrs Gaveston were "The frowning
j Heavens are all in sables clad,/ The Planet of my lives
i
;m is f o r tu n e r a i n e t h " ( l l . 3 9 7 -3 9 8 ), "The Heavens now seeme
to f r o l i c k a t my f e a s t e , / The S t a r s a s handmayds, s e r v i n g
my d e s i e r s " ( l l . 7 0 3 -7 0 4 ), "The Heavens to Bee my f a l l
i ,
jd o th k n i t h e r brow es" ( l . 3 0 7 ), and " I t seem 'd th e a y re d e -
v is d e to p l e a s e my s i g h t , / The w h i s t l i n g winde makes mu- ■
s i c k to my t a l e " ( l l . 6 2 5 - 6 2 6 ) . I n E ngland s H e r o i c a l l
E p i s t l e s , D rayto n a n im a te s n o t o n ly "The W orlds g r e a t
j
|Light" and the "Dawne" but also the ship, the river, the
i
j seas, and so forth.
j
But t h e r e i s a more s i g n i f i c a n t d i f f e r e n c e b etw een
p e r s o n i f i c a t i o n i n th e two poems and one t h a t I t h i n k p a r
t i c u l a r l y showB D r a y to n 's p o e t i c develo p m en t. In P e i r s
G aveston, D ray ton d i d n o t d e v e lo p th e p e r s o n i f i c a t i o n b e
yond one l i n e o r even d e p i c t th e p e r s o n i f i e d o b j e c t (Heav
218
ens) with any precision. That is, he said, "The Heavens
to see my Fall doth knit her Browes" or "The Heavens now
seeme to frollck at my feaste," but he did not usually try
to detail the actions of the heavens beyond one line. All
subsequent lines either went on to other problems or added
another parallel, discrete line of personification (e.g.,
"The Stars as handmayds, serving my deBiers"). But in Eng-
lands Heroicall Epistles, as we have Been in the epistle of
Poole and even of Brandon, Drayton is able to go beyond a
mere listing of parallel personifications to create a co
herent and precise scene.
j These last examples from Peirs Gaveston also make
plain a general distinction between the rhetoric of that
poem and the rhetoric of Englands Heroicall Epistles, es
pecially in the praise sections. Some of the examples of
personification from Peirs Gaveston that I have just
quoted illustrate Drayton's desire for copie in that ear
lier poem. That is, several verse lines may repeat the
|
I same essential idea. Thus "The Heavens now seeme to frol
ick at my feaste" is repeated, though more specifically,
in "The stars as handmayds serving my desiers." Here both
lines point to the same idea— that Gaveston is in a state
of good fortune (see also my discussion of copie in Chap
ter II for the other forms cople takes). At the beginning
of thiB section I argued that In the praise of the beloved
Drayton sought to develop the praise by "plenteous" de
219
v i c e s o f la n g u a g e . And In d e e d , a s I have i d e n t i f i e d th e
v a r i o u s f i g u r e s , I f i n d t h a t th e p a s s a g e s q u o te d u s u a l l y
e v in c e e x p a n siv e r a t h e r th an c o n c is e s ta te m e n t o f an i d e a .
By means o f th e f i g u r e e f f i c t i o , f o r exam ple, t h e sp e a k e r
does n o t p r a i s e one h e a u ty o f th e b e lo v e d , "but many b e a u
t i e s . B ut i n E ngland s H e r o i c a l l E p i s t l e s , a lt h o u g h D ray
to n u s e d ’’p l e n t e o u s 1 ’ d e v ic e s to d e v e lo p th e p r a i s e , he d o e s
n o t any lo n g e r r e l y on th e m e c h a n ic a l s e r i e s o f tr o p e s
t h a t r e p e a t e s s e n t i a l l y th e same i d e a . R a t h e r , he u se s
f i g u r e s i n such a way t h a t th e y can e x p lo re t h e to p ic more
f u l l y and can even a cc o m p lish p u r p o s e s i n a d d i t i o n to am
p l i f i c a t i o n .
R e p o rt o f H i s t o r y
A ltho ugh E n g lan d s H e r o i c a l l E p i s t l e s i s g e n e r a l l y a
h i s t o r i c a l poem, th e t o p i c s t h a t I have exam ined so f a r
a r e am atory r a t h e r th a n s p e c i f i c a l l y h i s t o r i c a l . We m ig h t
c a l l th e r e a c t i o n to th e ’’e p i s t l e c o n t e x t ” a n d th e " p r a i s e
o f th e b e lo v e d ” th e f i c t i o n a l i z e d e v e n ts i n t h e l i v e s o f
h i s t o r i c a l p e rs o n a g e s . As D ray to n d e v elo p s e a c h o f th e s e
t o p i c s he may draw on h i s t o r i c a l d e t a i l s ( e . g . , when Ed
ward th e B la c k P r in c e p r a i s e s A lic e by r e f e r r i n g to h e r
h i s t o r i c a l c i r c u m s ta n c e s — 11. 7 0 f f . ) , b u t b a s i c a l l y , t h e s e
t o p i c s a r e i n v e n t e d . The t o p i c r e p o r t o f h i s t o r y , how
e v e r , i s s p e c i f i c a l l y and f a c t u a l l y h i s t o r i c a l . In th e s e
r e p o r t s D rayton i n t r o d u c e s much o f th e i n f o r m a ti o n t h a t he
220
had g le a n e d from t h e c h r o n i c l e s . By " r e p o r t o f h i s t o r y / '
th e n , I mean th o s e s e c t i o n s o f th e e p i s t l e i n w hich th e
s p e a k e r t e l l s o f th e w a rs , t h e a l l i a n c e s , th e m a r r i a g e s ,
th e d e a t h s , th e i n t r i g u e s t h a t w ere s w i r l i n g a ro u n d h i s
h e a d . D ra y to n , i n t h e " A n n o t a t i o n s , 1 1 c a l l s su c h in f o r m a
t i o n t h e " O c c u re n ts o f th e Time, o r S t a t e " (p. 1 5 2 ). I t
i s th e f i g u r a t i v e d e v ic e s t h a t D ray ton u s e d to p r e s e n t
t h e s e " O c c u re n ts o f th e Time, o r S t a t e " t h a t I w i l l d e
s c r i b e i n t h i s s e c t i o n . S in c e t h e r e a r e so many f i g u r a
t i v e d i s t i n c t i o n s b etw een P e i r s G a v esto n and E n g la n d s He
r o i c a l l E p i s t l e s and s in c e t h e r e s u l t a n t p r e s e n t a t i o n o f
h i s t o r y i s d i s t i n c t , I w i l l r e s e r v e t h e co m p ariso n o f th e
two poems u n t i l t h e end o f t h i s s e c t i o n .
The M ajor O rnam ents and
t h e i r F u n c tio n s
When th e t o p i c i s t h e r e p o r t o f h i s t o r y , D ra y to n te n d s
to u s e t h e same f i g u r e s a g a in and a g a i n , in d e e d , r e a l i z i n g
much l e s s v a r i e t y from s p e a k e r to s p e a k e r th a n he d oes In
t h e t o p i c s " p r a i s e " o r r e a c t i o n to th e " e p i s t l e c o n t e x t . "
The f i g u r e s t h a t m ost o f t e n d e v e lo p t h i s t o p i c a r e i n t e r
r o g a t e ( e ro te m a and p y sm a), word and p h r a s e r e p e t i t i o n ,
e p i t h e t o n , and m e ta p h o r . I n t e r r o g a t i o o r r h e t o r i c a l q u e s
t i o n I s one o f t h e m ain f i g u r e s u s e d to d e v e lo p t h e r e p o r t
o f h i s t o r y . T h is f i g u r e a p p e a r s , f o r exam ple, i n th e
e p i s t l e s o f H enry ( l l . 2g-4o), I s a b e l ( l l . 57-70 and 81-
1 3 0 ), A l i c e (1 1 . 6 7 - 7 8 , 1 3 3 -1 ^ 0 ), I s a b e l ( l l . 6 3 - 7 0 ) ,
221
Richard, (11. 21 -3 2 , 9 9 -1 0 3 ), E l i n o r Cobham ( l l . 4 9-6 0 , 6 5 -
1
7 2 ), W illia m d e - l a - P o o l e ( l l . 5 7 - 7 2 ) , Queen M a rg are t ( l l .
6 9 - 8 8 ) , Mary th e Wrench Queen (11. 5 7 - 6 7 ) j G e r a ld in e ( l l .
151-162) and G i l f o r d Dudley ( l l . 7 7 -8 6 ).
As t h e s e l i n e numbers may s u g g e s t, D ray to n u s u a l l y
p r e s e n t s r h e t o r i c a l q u e s t i o n s i n g ro u p s o r s e r i e s r a t h e r
th a n s i n g l y . Most o f th e p a s s a g e s c i t e d above have t h r e e
o r more r h e t o r i c a l q u e s t i o n s . Hence f o r D ra y to n , r h e t o r i
c a l q u e s t i o n becomes a way o f o r g a n i z in g lo n g p a s s a g e s o f
h i s t o r i c a l f a c t s . The p a t t e r n o f o r g a n i z a t i o n t h a t r h e
t o r i c a l q u e s t i o n u s u a l l y im poses on th e f a c t s i s i l l u s
t r a t e d i n th e e p i s t l e o f I s a b e l (M). In t h i s p a ssa g e (11.
8 1- 1 3 0) e a c h q u e s t i o n p r e s e n t s a new f a c t o f th e u n f o l d in g
h i s t o r y . The f i r s t q u e s t i o n t e l l s o f th e c o n q u e s ts o f E d
ward Longshanks ( l l . 8 1 -8 2 ), t h e n e x t q u e s t io n t e l l s t h a t
Longshanks fo rb a d e G a v e s to n 1s r e t u r n ( l l . 8 7 - 9 0 ) , th e t h i r d
makes p l a i n t h a t Edward C arn arv an c o n tin u e d to s u p p o rt Ga
v e s to n ( l l , 8 3- 8 6 ) , th e f o u r t h t h a t th e B aron s fo u g h t to
p r e v e n t G a v e s to n 's r e t u r n ( l l . 9 1 -9 2 ), th e f i f t h t h a t o t h e r
f a v o r i t e s a r o s e a f t e r G a v e s to n 's f a l l ( l l . 9 3 -9 6 ), and th e
s i x t h t h a t S p e n se r was one o f th e f a v o r i t e s who g a in e d s p e
c i a l prom inence ( l l . 9 7- 9 8 )*
S i m i l a r l y , i n th e e p i s t l e o f M a rg a re t, each new q u e s
t i o n ad v an c es th e c h r o n o l o g i c a l r e p o r t o f th e h i s t o r y by
one s t e p :
___________________________________________________________________________________________
222
Wow to o u r a i d , who. s t i r r e s th e n e i g h b 'r i n g
Kings?
Or who from P rance a p u i s a n t Armie b r i n g s ?
Who moves th e Norman to a b e t o u r W arre?
* 0 r b r i n g s i n Burgoyne to a id L a n c a s t e r ?
*Who i n th e N o rth o u r l a w f u l l Clayme
commends,
To winne us C r e d it w ith o u r v a l i a n t F r ie n d s ?
( 11. 27- 32)
In t h i s p a s s a g e , M a rg are t r e c a l l s i n c h r o n o l o g i c a l o r d e r
each o f th e e v e n ts t h a t l e d to h e r s u c c e s s io n to th e
t h r o n e . Her m a rria g e to Henry VI was d i s p u t e d , b u t f i n a l l y
w ith t h e h e lp o f th e v a r i o u s f a c t i o n s l i s t e d , she was a b le
to e n t e r f u l l y i n t o th e pow ers o f t h i s m a r r ia g e .
The s e r i e s o f q u e s t i o n s can a ls o p r e s e n t a s e r i e s o f
f a c t s a b o u t a p e r s o n , a s i n E l i n o r ' s e p i s t l e . In e a c h
q u e s t i o n , she p o i n t s o u t som ething a b o u t t h e lin e a g e and
o f f i c e s o f Humphrey:
Where th e n was Humphrey, where was h i s Command?
W ast thou n o t Lord P r o t e c t o r o f th e Land?
Or f o r t h y J u s t i c e , who c o u ld th e e d e n ie
The T i t l e o f th e good Duke Humphrey?
What B loud, e x t r a c t from famous Edwards L in e ,
Could b o a s t i t s e l f e to be so p u re a s t h in e ? j
Who e l s e , n e x t H enry, s h o u ld th e Realme p r e f e r r e , !
I f i t a llo w th e l i n e o f L a n c a s t e r ? (11. 6 5 - 7 2 )
Thus th e s e r i e s o f q u e s t i o n s i s a way o f o r g a n i z in g
a s e r i e s o f h i s t o r i c f a c t s c h r o n o l o g i c a l l y . But t h e r h e
t o r i c a l q u e s t i o n s a s D ray ton u s e s them s e r v e a p u rp o se b e
yond m e re ly p a t t e r n i n g h i s t o r i c a l f a c t s i n c h r o n o l o g i c a l
o r d e r . In d e e d , I f t h i s had b e en D r a y to n 's o n ly aim , he
c o u ld a s w e l l have p r e s e n t e d h i s s e r i e s o f f a c t s I n declam
a t o r y s e n t e n c e s . B ut by h i s u s e o f i n t e r r o g a t i o , D rayto n
223
a c c o m p lish e s t h r e e p u rp o s e s t h a t I f i n d a r e e s p e c i a l l y a p
p r o p r i a t e to h i s s u b j e c t m a t t e r .
F i r s t , th e f i g u r e i n t e r r o g a t i o s e r v e s th e p u rp o se o f
g e n e r a l a m p l i f i c a t i o n . As i t i s d e s c r i b e d by th e r h e t o r i
c i a n s , i n t e r r o g a t i o would s e r v e to Im p re s s on th e r e a d e r
th e im p o rta n c e o f th e s u b j e c t m a t t e r , o f th e h i s t o r i c f a c t s
b e in g p r e s e n t e d . Peacham p o i n t s o u t th e s p e c i a l f o r c e o f
i n t e r r o g a t i o to a m p lify :
T h is f i g u r e g i u e t h to sp e ec h n o t o n e ly l i f e and mo
t i o n , b u t a l s o g r e a t s t r e n g t h and a c o r a g io u s c o u n te
n a n ce , w hich i s much commended i n t h e s u p p o r tin g o f good
c a u s e s , and a l s o v e ry n e c e s s a r y to c o u n te n an c e t r u t h and
v e r i t y : and i t may a p t l y be compared to th e p o i n t o r edge
o f a weapon . . . .4-2
Second, a s D rayton u s e s th e f i g u r e , i n t e r r o g a t i o i l
lu m in a te s n o t o n ly th e g e n e r a l im p o rta n c e o f th e h i s t o r i c
f a c t s , b u t i t c r e a t e s and i l l u m i n a t e s a c e r t a i n view o f
th o s e f a c t s . More p a r t i c u l a r l y , th e f i g u r e i n t e r r o g a t i o
c o n s t a n t l y em p h a size s th e d i s c r e p a n c y betw een e x p e c t a t i o n
and r e s u l t i n h i s t o r y —betw een what th e i n d i v i d u a l a c t o r s
i n th e h i s t o r y e x p e c te d o r in te n d e d t o happen, and w hat
d i d , i n f a c t , h appen. T h is d i s c r e p a n c y betw een s e n s i b l e e x
p e c t a t i o n and p e r n i c i o u s r e a l i t y i s c l e a r l y c r e a t e d by th e
r h e t o r i c a l q u e s t i o n i n I s a b e l ' s e p i s t l e . W ritin g i n d e
s p a i r to M o rtim er, she a s k s ,
Did lo n g sh a n k s p u rc h a s e w ith h i s c o n q u 'r in g
Hand,
^A lb a n ia , G ascoyne, C am bria, I r e l a n d ?
T h at young C arn arvan ( h i s u n h a p p ie Sonne)
*Should g iv e away a l l , t h a t h i s F a th e r wonne,
224
To b a c k e a S t r a n g e r , p r o u d l y b e a r i n g downe
The b r a v e A l l i e s and B r a n c h e s o f t h e Crowne?
*And d i d g r e a t Edward on h i s D e a th - b e d g i v e
> T h is C h arge t o them w h ic h a f t e r w a r d s s h o u l d
l i v e ,
T h a t, t h a t p r o u d G ascoyne b a n i s h e d t h e L and,
No more s h o u ld t r e a d u p o n t h e E ng11sh Sand?
And h a v e t h e s e g r e a t L o rd s i n t h e Q u a r r e l l
s t o o d ,
And s e a l ’d h i s l a s t W i l l w i t h t h e i r d e a r e s t
B lo o d ?
* T h a t a f t e r a l l t h i s f e a r e f u l l M a s s a c r e ,
The P a l l o f Beaucham p, L a c y , L a n c a s t e r ,
A n o th e r f a i t h l e s s e P a v o u r i t e s h o u ld a r i s e ,
To c lo u d t h e Sunne o f o u r N o b i l i t i e s ?
*And g l o r i e d I i n G a v e s to n s g r e a t P a l l ,
T h a t now a S p e n s e r s h o u l d s u c c e e d i n a l l ?
And t h a t h i s Xsties s h o u ld a n o t h e r b r e e d ,
Which i n h i s P l a c e an d E m pire s h o u ld s u c c e e d j
To w a s te a l l t h a t o u r F a t h e r wonne b e f o r e ,
Nor l e a v e o u r Sonne a Sword, t o c o n q u e r more?
(1 1 . 8 1 - 1 0 0 , 1 0 3 -1 0 4 )
The a n s w e r s t o th eB e q u e s t i o n s a l t e r n a t e so r a d i c a l l y b e
tw een " y e s" and " n o ” a s t o s u g g e s t t h a t a l l human l o g i c
h a s b e e n c o n t r a d i c t e d b y h i s t o r i c a l ou tco m e: " Y e s , ” L ong
sh a n k s d i d c o n q u e r t h e s e l a n d s , b u t " n o , ” h e d i d n o t c o n
q u e r them so t h a t C a r n a r v a n c o u ld g i v e them aw ay—b u t
" y e s , " t h a t i s i n f a c t w h at h a p p e n e d . Or " y e s , " Edward
d i d b a n i s h G a v e s to n an d " y e s , " t h e L o rd s d i d u n d e r t a k e
t h e s e w a r s , b u t " n o , " n o t so t h a t a n o t h e r f a i t h l e s s f a v o
r i t e s h o u ld a r i s e — e v en th o u g h t h a t i s i n f a c t w h at h a p
p e n e d .
S i m i l a r l y , t h e a b r u p t s h i f t from q u e s t i o n s t h a t e l i c
i t e m p h a tic a f f i r m a t i o n t o q u e s t i o n s t h a t e l i c i t e m p h a tic
d e n i a l g i v e s f o r c e a n d c o g en c y t o R i c h a r d I I 1s p r e s e n t a
225
tion of historical facts. Speaking of Isabel's fate, he
asks,
Didst thou for my sake leave thy Fathers Court,
Thy famous Countrey, and thy Princely Port,
And undertook'st to travell dang'rous Wayes,
Driven by aukward Winds and boyst'rous Seas?
*And left'st great Burbon, for thy love to mee,
Who su'd in Marriage to be link'd to thee,
Offring for Dower the Countries neighb'ring nie,
Of fruitfull Almaine, and rich Burgundie?
Didst thou all this, that England should re
ceive thee,
To miserable Banishment to leave thee?
And In my Downe-fall, and my Fortunes wracke,
Thus to thy Countrey to convey thee backe?
( 11. 2 1 - 3 2 )
Since the first two questions present facts, the answers
to them are "yes." The next two questions also present
facts--she was banished and she was taken back to France.
1
l
But Isabel did not expect this in coming to England
("Didst thou all this [so] that . . . ?"). Hence, the
answer to these questions is emphatically "no."
And it is this discrepancy between human expectation
and historical fulfillment that Drayton constantly illumi
nates with Interrogatio. Speakers including Dudley, Isa
bel, Richard, Elinor, and Poole are all caught at a moment
in history when their logical expectations have been frus
trated. Each presents an accumulation of events that
should have led to one outcome (indeed, the accumulation
itself suggests that logic is on their side), but have in
fact led to another. Dudley recalls all the support that
226
h i s f a c t i o n had g a in e d and a s k s who c o u ld have d o u b te d th e
( s u c c e s s f u l outcom e o f h i s f a t h e r f s e n t e r p r i s e :
i
*When D udley l e d h i s A rm ies t o t h e East*
Of o u r w hole F o rc e s g e n 1r a l l y p o s s e s t ,
What th e n was th o u g h t h i s E n t e r p r i s e c o u ld le t*
*Whom a g r a v e C o u n c e ll f r e e l y d i d abet*
T h a t had t h e Judgem ent o f t h e p o w ' r f u l l Law es,
I n e v ' r y P o i n t to j u s t i f i e t h e Cause?
The h o ly C hurch a h e l p i n g h a n d t h a t l a i d e ,
Who w ould h av e th o u g h t t h a t t h e s e c o u ld n o t
have sw aid e? (11. 77-84)
The a n sw e rs to t h e s e two q u e s t i o n s a r e e m p h a t i c a l l y " n o th
in g " and "no o n e ." B ut h i s t o r y h a s gone beyond human e x
p e c t a t i o n and s u p p l i e d a n o t h e r answ er t o b o th q u e s t i o n s :
Queen Mary.
Thus th e f i g u r e i n t e r r o g a t i o , by p o i n t i n g o u t a d i s
c re p a n c y b e tw ee n e x p e c t a t i o n and f u l f i l l m e n t , im p o s e s a
view o f h i s t o r y on th e f a c t s t h e m s e lv e s . I t a lm o s t d e v e l
o p s a p h i lo s o p h y o f h i s t o r y . I n some i n s t a n c e s t h i s view
o f h i s t o r y seems a k in to th e w e l l- t o - w o e view so p ro m in e n t
i n th e M ir r o r poem s. In th e e p i s t l e o f E l i n o r , f o r e x
am ple, th e q u e s t i o n s p o i n t o u t th e e x t e n t o f h e r f a l l from
g r e a t n e s s :
*W hereTs G reenw ich now, t h y E l ' n o r s C ourt o f l a t e ,
Where she w i t h Humphrey h e l d a P r i n c e l y S t a t e ?
T h a t p l e a s a n t K e n t, when I a b ro a d sh o u ld r i d e ,
T h a t t o my p l e a s u r e l a i d f o r t h a l l h e r p r i d e ?
The Thames, by W ater when I to o k e t h e a y re ,
T h a t d a n c 'd my B a rg e , I n la n c h in g from th e s t a y r e ?
The a n c h ’r i n g S h ip s , w h ic h when I p a s s ' d t h e Road,
Were wont t o hang t h e i r c h e q u 'r e d Tops a b ro a d ?
How c o u ld I t b e , th o s e t h a t w ere w ont to s t a n d ,
To s e e my Pompe, so G o d d e s s e - l lk e t o Land,
Should a f t e r s e e me m a y l 'd up i n a S h e e t,
Doe s h a m e f u ll Penance t h r e e tim e s i n th e S t r e e t ?
(1 1 . 4 9 -6 0)
227
B u t f o r t h e m ost p a r t , i t i s n o t t h e f a l l from g r e a t n e s s
t h a t D ra y to n d e v e lo p s by r h e t o r i c a l q u e s t i o n , b u t t h e i r o
ny o f h i s t o r i c a l o u tco m e. The q u e s t i o n s a sk a g a i n and
i
a g a i n , "G iven t h i s c o u r s e o f e v e n t s , who would h a v e e x
p e c t e d t h i s r e s u l t ? " Mary sums u p t h i s i r o n y when she
sa y S j " T urw in and T u rn ey when King H e n ry t o o k e , / F o r t h i s
g r e a t c h an g e who th e n d i d e v e r l o o k e ? " ( l l . 8 7 - 8 8 ) . T h is
p a r t i c u l a r k i n d o f i r o n y h a s b een l a b e l e d by c r i t i c s " s i t -
1(48
u a t i o n a l i r o n y .
F u r th e r m o r e , t h i s v ie w o f h i s t o r y a s e s s e n t i a l l y i r o n
i c i s i n a c c o r d w ith one o f th e o v e r r i d i n g d r a m a t i c p r i n
c i p l e s o f E n g la n d a H e r o i c a l l E p i s t l e s . I t h a s b e e n o b
s e r v e d t h a t D ra y to n c o n s t a n t l y u s e s " d r a m a ti c i r o n y " i n
t h e e p i s t l e s . ^ T h at i s , he e x p l o i t s t h e d i s c r e p a n c y b e
tw een w h at th e s p e a k e r knows a b o u t t h e e v e n t s an d w h at th e
a u d ie n c e knows a b o u t t h e e v e n t s . Many o f th e e p i s t l e s
g a i n t h e i r co g en c y t h r o u g h t h i s k i n d o f I r o n y . Humphrey,
f o r e x am p le , b i d s E l i n o r goodbye w i t h t h e w ords "And w orse
t h e n h a t h b e e n e , we c an n e v e r t a s t e , / Worse c a n n o t come,
t h e n I s a l r e a d i e p a s t " ( l l . 1 4 9 - 1 5 0 ) . B u t t h e a u d ie n c e
knows t h a t w o rse d o e s c o m e - - th e two a r e e x e c u te d . Or sim
i l a r l y , H enry a s s u r e s Rosamond t h a t E l i n o r c a n n o t harm h e r
b e c a u s e " I h a v e an h u n d r e d s u b t i l l M e r c u r i e s , / To W atch
t h a t A rgus w h ic h my Love d o th k e e p e , / U n t l l l E y e , aftex*
E ye, f a l l a l l t o s l e e p e " ( l l . 1 8 2 - 1 8 4 ) , b u t D r a y to n and
h i s a u d ie n c e b e l i e v e d t h a t Rosamond w as I n f a c t m u rd ere d
228
by E l i n o r . M ortim er b ra g s o f h i s c o n q u e s ts and v i c t o r i e s
(many o f which he w i l l a c c o m p lis h ) , b u t th e a u d ie n c e knows
t h a t he w i l l end i n h u m i l i a t i o n and d e f e a t a t th e han d s o f
th e v e r y Edward whom he w i l l r a i s e to th e t h r o n e .
Thus t h i s " d ra m a tic ir o n y " i s one o f th e more i n t e r
e s t i n g te c h n iq u e s o f th e e p i s t l e s and one o f th e m ost p e r
v a s i v e . B u t, a s we have se e n , i n a d d i t i o n to " d ra m a tic
i r o n y , " D rayton a l s o d e v e lo p s " s i t u a t i o n a l i r o n y " - - c r e a t e s
i t by th e f i g u r e i n t e r r o g a t i o . P e rh ap s " s i t u a t i o n a l ir o n y "
i s n o t a s f o r c e f u l a s " d ra m a tic ir o n y " b e c a u se th e s p e a k e r s
th e m s e lv e s a re f u l l y aware o f th e d i s c r e p a n c i e s , b u t s t i l l ,
s i t u a t i o n a l i r o n y i s a c o n s t a n t p a r t o f D r a y t o n 's p r e s e n
t a t i o n o f h i s t o r y w i t h in each e p i s t l e .
The t h i r d f u n c t i o n o f th e f i g u r e i n t e r r o g a t i o i s t h a t
i t d r a m a t i c a l l y e x p o ses th e s p e a k e r 's i n t e n s e r e a c t i o n to
h i s t o r y . The e v id e n c e t h a t r h e t o r i c a l q u e s t i o n c o u ld le n d
vehemence and i n t e n s i t y to a speech comes l a r g e l y from th e
r h e t o r i c a l t e x tb o o k s . H oskins d i s c u s s e s t h i s f u n c t i o n f o r
r h e t o r i c a l q u e s t i o n ^ and Peacham say s t h a t by u s i n g r h e
t o r i c a l q u e s tio n we "make o u r speech more sh a rp e and v e h e
m e n t." Peacham f u r t h e r a s s o c i a t e s r h e t o r i c a l q u e s t i o n
p a r t i c u l a r l y w ith th e e x p r e s s io n o f em otion when he sa y s
" t h i s forme o f sp e a k in g may se ru e v e ry w el and a p t l y to
e x p r e s s any a f f e c t i o n " and " t h i s f i g u r e s e r u e t h f i t l y f o r
p i t t i f u l l c o m p la in ts ." Thus, a t l e a s t a c c o rd in g to
Peacham, th e a b i l i t y to make th e r e a c t i o n o f th e s p e a k e r
229
seem p a s s i o n a t e and em phatic iB an i n h e r e n t q u a l i t y o f i n
t e r r o g a t i o . As D ray to n u s e s th e f i g u r e , th e e f f e c t o f p a s
s i o n a t e r e a c t i o n i s a c h ie v e d . Each o f th e s p e a k e rs r e c i t e s
a whole s e r i e s o f e v e n t s and by p h r a s in g them a s q u e s t i o n s ,
seems to be r e e l i n g a t th e e n o rm ity o f w hat h a s happ en ed.
The c o n s t a n t t e n o r o f theBe h i s t o r i c a l r e p o r t s i s , "Can
a l l t h i s have happened to me?" Each s p e a k e r g r a s p s th e
i r o n y o f th e h i s t o r i c a l outcome ( u n l ik e th e i n s t a n c e s o f
d ra m a tic i r o n y ) and i s a sto u n d e d a t t h a t i r o n y . The i n
t e n s i t y o f th e p a s s i o n i s w e ll I l l u s t r a t e d i n H e n ry 's
e p i s t l e :
M a je s tik e Courage s t r i v e s to have B up prest
T h is f e a r e f u l l P a s s io n , s t i r ' d up i n my B r e s t ;
B ut s t i l l i n v a in e th e same I goe a b o u t.
My H e a rt m ust b re a k e w i t h i n , o r Woes b re a k e
out.
*Am I a t home p u r s u 'd w ith p r i v a t e H a te,
And Warre comes r a g in g to my P a la c e G ate?
I s meager E nvie s ta b b in g a t my T hrone,
T reason a t t e n d i n g when I w alke a lo n e ?
*And am X b ran d e d w ith th e Curse o f Rome,
And s ta n d condemned by a C ouncels Doome?
*And by th e p r i d e o f my r e b e l l i o u s Sonne,
R ich Normandie w ith Armies o v e r- r u n n e ?
G r i e f e , C a r e s , o l d Age, S u s p i t i o n to to rm e n t
me.
N othing on E a r t h to q u i e t o r c o n t e n t me:
(11. 29 -3 9 , 42-43)
I have a ls o s a i d t h a t r h e t o r i c a l q u e s t i o n exp o ses th e
" r e a c t i o n to h i s t o r y . " To c l a r i f y t h i s p o i n t , I want to
compare th e p a ssa g e from H e n r y 's e p i s t l e q u o te d above w ith
a p a s s a g e from F e i r s G a v e s to n . T h is p a s s a g e , l i k e H e n r y 's ,
a l s o p r e s e n t s a r e a c t i o n to a h i s t o r i c a l e v e n t, and i t b e
230
g i n s w ith a s ta te m e n t t h a t woes w i l l be th e t o p i c . G aves-
to n s e t s th e sc en e w ith "Now w a n tin g s i g h e s , and a l l h i s
t e a r e s were s p e n t , / H is tong ue b ra k e o u t i n t o t h i s sad l a
ment" ( l l . 4 6 7 -4 6 8 ). Then Edward s p e a k s :
0 b r e a k e my h a r t q u o th h e , 0 b re a k e and dye,
Whose i n f a n t th o u g h ts w ere n u r s t w ith sw eete
d e l i g h t ;
B ut now th e In ne o f c a re and m i s e r i e .
Whose p l e a s i n g hope i s m u rth e re d w ith d e s p i g h t :
0 end my d a y e s, f o r now my jo y e s a r e done,
W anting my P e i r s , my s w e e te s t G a v e s to n .
0 damned w o rld , I s c o rn e th e e and th y w o rth ,
The v e ry so u rc e o f a l l i n i q u i t i e :
An o u g ly damme t h a t b r i n g s such m o n ste rs f o r t h .
The maze o f d e a t h , n u r s e o f i m p i e t i e ,
A f i l t h i e s in k e , w here lo th so m n e s d o th
d w e ll,
A l a b y r i n t h , a j a y l e , a v e ry h e l l .
(11. 4 69-47 4, 487-492)
In th e p a ssa g e from P e i r s G a v e s to n , th e f i g u r e s m etapho r
and s y s tro p h e a m p lify th e ex trem e woe o f th e s p e a k e r b u t ,
o t h e r th a n m e n tio n in g G a v e s to n 's a b s e n c e , th e y do n o t i l
lu m in a te th e s p e c i f i c h i s t o r i c e v e n ts t h a t c au se d t h a t woe.
I n th e p a s s a g e from E n g lan d s H e r o i c a l l E p i s t l e s (Henry)
t h e method i s d i s t i n c t . The vehem ent em otion o f th e
s p e a k e r i s a p p l i e d s p e c i f i c a l l y to th e h i s t o r i c e v e n t s .
Henry does n o t t a l k a b o u t woe, b u t t a l k s a b o u t h i s t o r i c a l
e v e n ts i n a vehem ent m anner, th e r e b y showing hiB woe. Thus
by means o f r h e t o r i c a l q u e s t i o n , D ray ton i s a b le to i n t e
g r a t e h i s t o r i c a l e v e n t and r e a c t i o n to h i s t o r i c a l e v e n t.
The f i g u r e i n t e r r o g a t i o i s one o f D r a y to n 's main ways
o f o r g a n i z in g t h e r e p o r t o f h i s t o r y . And, b e c a u se i n t e r -
231
r o g a t i o i s a r h e t o r i c a l f i g u r e , i t a l s o a m p l i f i e s and i l
lu m in a te s th e t o p i c r e p o r t o f h i s t o r y i n th e ways t h a t I
have d e s c r i b e d . The o t h e r p a t t e r n s by w hich D rayton f r e
q u e n t l y o r g a n iz e s h i s r e p o r t s o f h i s t o r i c a l e v e n ts sh o u ld
be n o te d h e re a lth o u g h , u n l i k e r h e t o r i c a l q u e s t i o n , th e
p a t t e r n s a r e n o t n e c e s s a r i l y o rn a m e n ts. These p a t t e r n s
can c r y s t a l l i z e i n t o o rnam ents b u t t h e y do n o t n e c e s s a r i l y
do so. One p a t t e r n in v o lv e s th e r e p e t i t i o n o f words a t th e
b e g in n in g v e r s e s and th e o t h e r p a t t e r n in v o lv e s th e r e p e
t i t i o n o f th e same o r s i m i l a r g ra m m a tic a l c o n s t r u c t i o n s a t
th e b e g in n in g o f s u c c e s s iv e v e r s e s .
D rayton f r e q u e n t l y p a t t e r n s a s e c t i o n t h a t r e p o r t s
h i s t o r y by r e p e a t i n g th e same word a t th e b e g in n in g o f s e v
e r a l v e r s e l i n e s . I f th e same word i s r e p e a t e d in s u c c e s
s i v e l i n e s , th e n , o f c o u rs e , th e l i n e s e v in c e th e f i g u r e
a n a p h o r a . The f i g u r e a n a p h o ra i s u s e d to p r e s e n t an a c
c u m u la tio n o f h i s t o r i c e v e n ts when M a rg a re t r e p o r t s a l l
th e h e in o u s a c t s o f h e r e n em ies:
And now I h e a r e h i s h a t e f u l l D uchesse c h a t s ,
And r i p s up t h e i r D e sc en t u n to h e r B r a t s ,
And b l e s s e t h them a s E ngland s l a w f u l l H e ir e s ,
And t e l l s them, t h a t o u r Diademe i s t h e i r s :
And i f such hap h e r Goddesse F o rtu n e b r i n g ,
* I f t h r e e Sonnes f a i l e , s h e e ' l e make th e
f o u r t h a K ing. ( l l . 57-62)
And th e f i g u r e a l s o i s th e means by w hich P oole r e p o r t s a
b a t t l e sc en e i n F ra n c e :
To view t h e P l a i n e s , w here I have s e e n e so o f t
E n g la n d s v i c t o r i o u s E n g in e s rayB'd a l o f t ;
When t h i s s h a l l be a c o m fo rt i n my way,
To see th e p l a c e , w here I may b o l d l y sa y ,
H ere m ig h t i e B e d fo rd f o r t h th e Yaward l e d ,
H ere T a l b o t c h a r g 'd , and h e r e t h e Frenchmen
f l e d ,
H ere w i t h o u r A rc h e r s v a l i a n t S c a l e s d i d l y e ,
H ere s to o d th e T e n ts o f famous W illo u g h b y ,
H ere M oun tacu te r a n g 'd h e r u n c o n q u e r 'd Band,
Here m a r c h 'd we o u t , and h e r e we made a s t a n d .
(1 1 . 139-148)
I n t h i s s e r i e s o f p a r a l l e l s t a t e m e n t s , e a c h one p r e s e n t s
one d e t a i l o f t h e t o t a l h i s t o r i c e v e n t.
B ut th e m ost f r e q u e n t p a t t e r n o f word r e p e t i t i o n I s
I l l u s t r a t e d i n th e h i s t o r i c a l r e p o r t s o f E l i n o r Cobham
(1 1 . 3 0 - 4 8 ) , M ortim er ( l l . 5 9 - 7 4 ) , I s a b e l ( r ) ( l l . 8 8 - 9 6 ) ,
G e r a l d i n e ( l l . 6 9 - 8 0 ) and D udley ( l l . 4 3 - 5 4 ) . T h is p a t t e r n
d i f f e r s from a n a p h o ra i n two w ays. F i r s t , i t I s more d i
l u t e t h a n a n a p h o r a . T hat i s , t h e same word i s n o t r e
p e a t e d i n s u c c e s s i v e l i n e s . Second, and more s i g n i f i c a n t ,
t h i s p a t t e r n i n v o l v e s th e r e p e t i t i o n o f t h e word " n o r" o r
o t h e r n e g a t i v e s .
I n some p a s s a g e s , th e r e p e t i t i o n o f "n o r" a t th e b e
g i n n in g o f s e v e r a l l i n e s may seem a k in t o th e f i g u r e o c c u -
p a t i o w h ich a l s o b e g i n s v e r s e l i n e s f r e q u e n t l y w i t h "n o r"
o r o t h e r n e g a t i v e s . But w h e re a s o c c u p a tl o e m p h a siz e s a
47
m a t t e r by seem ing to p a s s o v e r i t , 1 D r a y t o n 's p a t t e r n em
p h a s i z e s t h e t o p i c by means o f c o n t r a s t — w h e th e r c o n t r a s t
b e tw e e n v a r i o u s p e o p le o r v a r i o u s e v e n t s . E l i n o r Cobham
c o n t r a s t s h e r s e l f w i t h Duke H um phrey's fo r m e r w if e I n a
233
s e r i e s o f s ta te m e n t s t h a t a r e , i n f a c t , a c h r o n o l o g i c a l
summary o f th e m ajor e v e n ts o f Hum phrey's d i s p u t e d mar
r i a g e :
I c a n n o t b o a s t , to be r i c h H o lla n d s H e ir e ,
Nor o f th e Bloud and G r e a tn e s s e o f B a v e l r e ;
*Yet S I 'n o r b r o u g h t no f o r r a i n e Armies i n ,
To f e t c h h e r b a c k e , as d i d th y Ja c o m in ;
Nor c la m 'r o u s Husband f o l l o w 'd me t h a t f l e d ,
E xclaym ing, Humphrey to d e f i l e h i s Bed;
Nor w a s tth o u f o r c ' d , th e S la n d e r to s u p p r e s s e ,
To send me backe a s an A d u lt e r e s s e :
*B r a b a n t , n o r B urgoyne, claym ed me by f o r c e ,
Nor s u 'd to Rome, t o h a s t e n my D iv o rc e ;
N°r B e l g i a ' s Pompe, d e f a c 'd w ith B e l g i a 1s .
f i r e ,
The j u s t rew ard o f h e r u n j u s t d e s i r e :
*Nor B e d f o r d 's Spouse, y o u r Noble S i s t e r Anne,
T h at P r i n c e l y - i s s u e d g r e a t B u rg o n ia n ,
Need s ta n d w ith me, to move a Womans s t r i f e ,
To y e e l d th e p l a c e to th e P r o t e c t o r s W ife;
I f Cobhams Name my B i r t h can d i g n i f i e ,
Or S te rb o ro u g h renowne my Fam ily.
(11. 31-4&J
M ortim er c o n t r a s t s th e v i c t o r i e s o f h i s a n c e s t o r s w ith th e
d e f e a t s and w eakn esses o f Edward I I . Here " n o r" and
" w h i l s t " a l t e r n a t e a s t h e r e p e a t e d words:
N ever d u r s t S c o t s e t f o o t on E n g lis h Ground,
Nor on h i s Backe d id E n g li s h b e a re a Wound,
W h ils t Wigmore f l o u r i s h ' d i n o u r P r i n c e l y Hopes,
And w h i l s t o u r E n sig n e s m a rc h 'd w ith Edwards
T ro o p es:
* W h ils t famous Longshanks Bones ( in F o r tu n e s
s c o rn e )
A3 s a c r e d R e liq u e s to th e F i e l d were b o r n e :
Nor e v e r d id th e v a l i a n t E n g li s h d o u b t,
W h ils t o u r b ra v e B a t t e l s g u a rd e d them a b o u t;
Nor d i d o u r Wives and w o f u l l M others mourne
*The E n g lis h B loud t h a t s ta y n e d B an o ck sb o u rn e ,
W h ils t w ith h i s M inions s p o r t i n g in h i s T en t,
Whole Dayes and N ig h ts i n B a n q u e ttin g w ere s p e n t,
U n t i l l th e S c o ts (which u n d e r S a fe g u a rd sto o d )
Made l a v i s h Havocke o f th e E n g lis h B lo od:
23^
Whose b a t t ' r e d H elm es l a y s c a t t ' r e d on t h e S h o r e *
Where t h e y I n C o n q u e s t h a d b e e n e b o rn e b e f o r e .
(1 1 . 5 9 -7 4 )
I n b o t h p a s s a g e s th e s e r i e s o f s t a t e m e n t s a ll o w D r a y to n t o
i n t r o d u c e a s e r i e s o f h i s t o r i c f a c t s a s do r h e t o r i c a l q u e s
t i o n and a n a p h o r a . B u t i n a d d i t i o n * t h e " n o r s " a l l o w D ra y
to n t o i n t e g r a t e and make r e l e v a n t t o t h e n a r r a t i v e * h i s
t o r i c f a c t s t h a t may n o t b e i n t h e im m e d ia te e x p e r i e n c e o f
th e s p e a k e r . A l l th e i n f o r m a t i o n a b o u t Duke H u m p h re y 's
f o r m e r w ife* f o r exam ple* i s d i g e s t e d * by means o f " n o r* "
i n t o t h e s e l f - d e f e n s e o f h i s p r e s e n t w i f e .
A n o th e r f i g u r e to w a rd w h ich t h e a rr a n g e m e n t o f " n o r s "
48
can te n d i s h irm u s o r c l i m a c t i c s e n t e n c e . When D ra y to n
o r g a n i z e s h i s p a s s a g e I n t h i s manner* h e r e s e r v e s t h e r e s o
l u t i o n o f a s e r i e s o f n e g a t i v e s t a t e m e n t s ( a g a in * e a c h i n
t r o d u c i n g a d e t a i l o f h i s t o r y ) u n t i l t h e end o f t h e p a s
s a g e . Hence* h e a c c o m p l i s h e s t h e c l i m a c t i c e f f e c t o f a
f i g u r e l i k e h i r m u s . The f i g u r e s o c c u p a t i o and h irm u s a r e
u s e d I n c o m b in a tio n when D u d le y e x p r e s s e s h i s e x tre m e p a s
s i o n f o r Lady J a n e G ray:
I b o a s t n o t o f N o r th u m b e r la n d s g r e a t Name*
* (N o r o f K et c o n q u e r 'd , a d d in g t o o u r Fame)
When h e t o N o r f o I k e w i t h h i s A rm ies sped*
And t h e n c e i n C hayn es t h e R e b e l s c a p t i v e led *
And b r o u g h t s a f e P e a c e r e t u r n i n g t o o u r D ores*
Y e t s p r e d h i s G lo r y on t h e E a s t e r n e S h o r e s ;
*Nor o f my B r o t h e r s * fro m whose n a t u r a l l G race
Y e r tu e may s p r in g * t o b e a u t i f i e o u r R ace;
*Nor o f G rayes Match* my C h i l d r e n b o rn e b y th e e *
Of t h e g r e a t B lo u d u n d o u b t e d l y t o b e e :
B u t o f t h y Y e r tu e o n e l y doe I b o a s t*
T h a t w h e re in I* may j u s t l y g l o r y m o st.
(1 1 . 4 3 -5 4 )
235
Owen Tudor b o a s t s o f h i s own a n c e s t r y by f i r s t t e l l i n g
what he w i l l n o t c la im f o r i t . The p a s s a g e c lim a x e s when
i
|h e t e l l s what he does c la im .
i
H is B i r t h from H e a v 'n , y o u r Tudor n o t d e r i v e s .
Nor s ta n d s on t i p - t o e s i n S u p e r l a t i v e s ,
A lthough th e e n v io u s E n g li s h doe d e v is e
A th o u sa n d J e s t s o f o u r H y p e r b o lie s ;
Nor doe I clayme t h a t P l o t by a n c i e n t Deeds,
Where Phoebus p a s t u r e s h i s f i r e - b r e a t h i n g S te e d s ;
Nor doe I b o a s t my God-made G r a n d s ir e s S c a r r e s ,
Nor G yants T ro p h ie s i n th e T i t a n s W arres;
Nor f a i n e my B i r t h (y o u r P r i n c e l y E a re s to p l e a s e )
By t h r e e N ig h ts g e t t i n g , a s was H e r c u l e s :
Nor doe I fo r g e my long D e sc en t to runne
Erom aged N e p tu n e , o r th e g l o r i o u s Sunne:
*And y e t i n W ales, w ith them t h a t famous b e e ,
Our l e a r n e d B ard s doe s in g my P e d ig r e e :
( 1 1 . 6 3 - 7 6 )
Such a c l i m a c t i c a rra n g e m e n t l e a d s to a s k i l l f u l i n
d ic tm e n t o f th e c h i e f enem ies o f R ic h a rd I I i n I s a b e l ' s
e p i s t l e to him. S peaking o f th e a c t s o f B o lin g b ro k e , she
sa y s,
Never d u r s t he a tte m p t o u r h a p l e s s e S h o re ,
Nor s e t h i s f o o t on f a t a l l R a v e n s p o re ;
Nor d u r s t h i s s lu g g in g H ulks a p p ro a c h th e
S tr a n d ,
Nor sto o p e a Top a s s i g n a l l to th e la n d ,
Had n o t th e P e re y e s p r o m is 'd ayde to b r i n g ,
A g a in s t t h e i r o a th u n to t h e i r l a w f u l l King,
*A g a in s t t h e i r F a i t h u n to o u r Crownes t r u e
H e ire ,
T h e ir v a l i a n t Kinsman Edmund M o rtim e r.
(11. 89-96) ■
Here th e f i r s t f o u r l i n e s p r e s e n t a s e r i e s o f d e t a i l s a b o u t
B o lin g b r o k e ' s la n d i n g . T h is crim e i s th en l a i d a t th e
door o f th e "P e r c y e s " i n th e c l i m a c t i c l i n e s "Had n o t th e
P e rc y e s p r o m is 'd ayde to b r i n g , / A g a in s t t h e i r o a th u n to
t h e i r l a w f u l l K in g ." The f i n a l l i n e s o f t h e p a s s a g e f u r
t h e r e x p l a i n why B o l i n g b r o k e 1s r e t u r n i s a c r im e .
The o t h e r p a t t e r n by w h ic h D ra y to n o r g a n i z e s lo n g r e
p o r t s o f h i s t o r i c e v e n t s i s t h e r e p e t i t i o n o f s i m i l a r gram -
iiq
m a t i c a l c o n s t r u c t i o n s i n s u c c e s s i v e v e r s e s . * M ost o f t e n ,
t h e g r a m m a tic a l c o n s t r u c t i o n i s a s e r i e s o f s u b o r d i n a t e
c l a u s e s , e s p e c i a l l y a d v e r b i a l p h r a s e s a s i n t h e e p i s t l e o f
J a n e G ray :
*A t Durham P a l a c e , w here sw e e t Hymen s a n g ,
Whose B u i l d i n g s w i t h o u r N u p t i a l l M usike r a n g :
When P r o t h a l a m i o n s p r a y s ' d t h a t h a p p ie d a y .
W h erein g r e a t D u d ley m a t c h 'd w i t h N o b le G ra y ,
When t h e y d e v i s ' d t o l i n k e by W edlocks B and,
The House o f S u f f o l k e t o N o r th u m b e r la n d ;
Our f a t a l l Dukedome t o y o u r Dukedome b o u n d ,
To fram e t h i s B u i l d i n g on so weake a G round.
(1 1 . 5 7 -6 4 )
I n su c h a p a s s a g e , t h e h i s t o r i c a l moment i s c a r e f u l l y p a r
t i c u l a r i z e d ; we know who a c t e d ( " g r e a t D u d le y ," "N oble
G r a y " ) , w h e re (Durham P a l a c e ) , w h at b r o u g h t them t o a c t
("When t h e y d e v i s ' d . . ." ) and e v e n t h e c o n s e q u e n c e s o f
t h a t a c t i o n ( " F a t a l l " ) . A n o th e r "d ay " i s a l s o t h u s c a r e
f u l l y p a r t i c u l a r i z e d i n a s e r i e s o f s u b o r d i n a t e c l a u s e s
when Queen I s a b e l r e c a l l s t h e l i s t s a t C o v e n try :
Oh, l e t t h a t Day b e g u i l t i e o f a l l s i n n e ,
T h a t i s t o come, o r h e r e t o f o r e h a t h b e e n e ,
* W h erein g r e a t N o r f o l k 's f o r w a r d C o u rse was
s t a y ' d
To p r o v e t h e T r e a s o n s he t o H a r f o r d l a y d ,
When ( w i t h s t e r n e F u r i e ) b o t h t h e s e Dukes
e n r a g 'd ,
T h e i r W a r lik e G lo v e s a t C o v e n t r i e e n g a g 'd
237
When f i r s t thou d i d s t r e p e a l e , th y fo rm er
G ra n t,
S e a l 'd to b ra v e Mowbray a s th y C o m battan t:
(11. 37-44)
T h is method o f p a t t e r n i n g th e r e p o r t o f h i s t o r i c a l
e v e n ts can com press th e many d e t a i l s . By t h i s o r g a n i z a
t i o n , D ray ton can r e p o r t i n a s h o r t space many e v e n ts t h a t
c o v e r a r e l a t i v e l y lon g p e r i o d o f tim e . B ecause a l l the
e v e n ts a r e r e p o r t e d w i t h in a s e n te n c e (however long t h a t
s e n te n c e may b e ) , th e many p a r t i c u l a r s o f th e h i s t o r y seem
to be packed t o g e t h e r . A p a s s a g e from M a ry 's e p i s t l e i l
l u s t r a t e s th e com p ressio n D rayton can a c h ie v e by t h i s
s t r a t e g y :
When thou to P ra n ce co n d u cted w a st by Fame,
W ith many K n ig h ts w hich from a l l C o u n tr ie s came,
To see me a t S a i n t D ennis on my T hrone,
Where Lewes h e ld my C o ro n a tio n ;
*Where th e p ro u d D o lp h in , f o r th y v a lo u r sa k e ,
*Chose th e e a t T i l t h i s P r i n c e l y p a r t to ta k e ;
When a s th e S ta v e s upon th y Caske d id l i g h t ,
G riev e d t h e r e w i t h , I t u r n 'd away my s i g h t ,
And spake a lo u d , when I my s e l f e f o r g o t ,
'T i s my sw eet C h a r le s , my B randon, h u r t him n o t:
(11. 123-133)
T h is s e n te n c e t a k e s th e a c t i o n from th e a r r i v a l o f Brandon
( in d e e d , th e words "co n d u c ted w a st by Fame" summarize a l l
th e p r e v i o u s a c t i o n s o f Brandon t h a t a llo w e d him to come),
th ro u g h th e a rra n g e m e n ts f o r th e to u rn a m e n t, to M a ry 's r e
a c t i o n . T h at i s , D rayton d oes n o t o n ly r e p o r t th e d ra m a t
i c scene i n w hich Mary re s p o n d e d to Brandon i n th e p r e s
ence o f h e r h u sb an d , b u t f i l l s i n some o f th e h i s t o r i c a l
238
d e t a i l s t h a t le d up to t h a t d ra m a tic a c t i o n . And D rayton
p r e s e n t s a l l th o s e d e t a i l s i n one s e n te n c e .
I t i s a l s o a p p r o p r i a t e to ask w h e th er th e s e r i e s o f
s u b o r d i n a te c l a u s e s t h a t D ray ton u s e s in th e r e p o r t s o f
h i s t o r y r e p r e s e n t any o rn am en t. Most o f ten., a lth o u g h n o t
50
a lw a y s, such s e r i e s come c lo s e to b e in g hirm us o r c l i
m a c tic s e n te n c e . In one o f th e more s k i l l f u l i n s t a n c e s o f
c l i m a c t i c s e n te n c e o r d e r (Duke Humphrey), a whole accumu
l a t i o n o f h i s t o r i c e v e n t s e x p la in th e background and b e
come th e m otive f o r a moment o f i n t e n s e g r i e f .
Oh, when R e p o rt I n e v 'r y p l a c e had sp re d ,
My E l 'n o r was to S a n c tu a r ie f l e d ,
W ith c u rs e d O n ley, and th e W itch o f Eye,
As g u i l t i e o f t h e i r v i l e C o n s p ira c ie s
The d r e a d f u l l S p i r i t s when th e y d id i n v o c a t e ,
Eor th e S u c c e s s io n , and th e Realmes E s t a t e ;
When H e n r ie s Image th e y i n Waxe had w rou ght,
By w hich he sh o u ld have to h i s d e a th beene
b ro u g h t;
T hat a s h i s P i c t u r e d id consume away,
H is P erso n so by S ic k n e s s e sh o u ld decay:
G r i e f e , t h a t b e f o r e c o u ld n e ' r my T houghts
c o n t r o u l e ,
T hat I n s t a n t to o k e p o s s e s s i o n o f my S o u le.
( 1 1. 9 - 20)
The s e n te n c e o r d e r h e r e s u g g e s ts t h a t Humphrey i s
w e ig h te d w ith a s u c c e s s io n o f b u rd en s u n t i l , a l l a t o n c e,
he c o l l a p s e s w ith g r i e f .
In a n o th e r i n s t a n c e o f c l i m a c t i c s e n te n c e o r d e r , th e
p o e t S u rre y makeB p o e t r y h i s supreme acco m p lish m en t— I t
even s u r p a s s e s th e accom p lish m en ts o f h i s n o b le a n c e s t o r s .
I f Howards b lo u d th o u h o l d ' s t as b u t too v i l e ,
Or n o t e s te e m 1s t o f N o r f o l k 1s P r i n c e l y S t i l e ,
239
I f S c o tla n d s C oate no marke o f Fame can le n d ,
* T h at Lyon p l a c ' d In o u r b r i g h t S i l v e r ben d,
Which a s a Trophy b e a u t i f i e s o u r S h ie ld ,
* S in c e S c o t t i s h B loud d i s c o l o u r 'd Folden f i e l d ;
When th e Proud C h ev io t o u r b ra v e E nsigne b a r e ,
As a R ich J e w e ll i n a Ladyes H a ire ,
And d i d f a i r e B ram stons n e ig h b o u rin g V a l l i e s
choke
W ith C louds o f Canons, f i r e - d i s g o r g e d Smoke,
Or S u rre y s Earledom e i n s u f f i c i e n t be,
And n o t a Dower so w e ll c o n te n ti n g th e e ;
Y et am I one o f g r e a t A p o l l o ' s H e i r e s ,
The s a c r e d Muses c h a lle n g e me f o r t h e i r s .
( 11. 9 3 - 106)
H e re , th e w hole w e ig h t o f g l o r i o u s a n c e s t r y , o f gunsmoke
and cannon f i r e ( in d e e d , i n 11. 96-102 D rayton d e s c r i b e s
an e n t i r e b a t t l e scen e) i s p u t on one s i d e o f th e s c a l e s .
On th e o t h e r s id e i s "one o f g r e a t A p o l l o 's H e i r e s . " And
t h i s l a s t f u n c t i o n o v e r - b a l a n c e s a l l t h e o t h e r g l o r i e s .
The f i g u r e s d i s c u s s e d so f a r a r e th o s e t h a t c o n t r o l
e n t i r e p a s s a g e s o f th e poem. They s e r v e b o th a s o rnam ents
and a s ways o f o r g a n i z in g long d e s c r i p t i o n s o f h i s t o r i c a l
e v e n t s . D ray to n a l s o o rn am en ts th e r e p o r t o f h i s t o r y w ith
f i g u r e s t h a t o p e r a t e on a s m a ll e r s c a l e — t h a t 1 b, th e y do
n o t c o n t r o l th e o r g a n i z a t i o n o f e x te n d e d p a s s a g e s a lth o u g h
t h e y do I n some way i l l u m i n a t e th e h i s t o r i c a l r e p o r t . We
can f i n d i n t e r m i t t e n t l y such f i g u r e s a s a n t i t h e s i s , s e n -
t e n t i a , - ^ synecdoche ( e s p e c i a l l y "hand" r e p r e s e n t i n g b a t t l e
o r r u l e , " la n d " r e p r e s e n t i n g th e p e o p le o f a la n d , and
"frow n" f o r a n g e r ) , and a l l e g o r l a . B ut th e f i g u r e s t h a t
D ray to n u s e s m ost c o n s i s t e n t l y i n th e r e p o r t s o f h i s t o r y
a r e e p i t h e t o n and m etap hor.
240
I n a lm o s t e v e r y p a s s a g e c i t e d so f a r t h e r e a r e i n
s t a n c e s o f e p i t h e t o n o r " g l u i n g e u e r y p e r s o n o r t h i n g b e
s i d e s h i s p r o p e r name a q u a l i t i e by way o f a d d i t i o n w h e th e r
i t be o f good o r o f b a d . . . . "5 2 D r a y to n c o u p le s an " a p
p r o p r i a t e " d e s c r i p t i v e a d j e c t i v e w i t h nam es o f p e o p l e , as
i
i n " g r e a t C h a r l e s , " " b a s t a r d O r l e a n c e , 1 1 "fam ou s B e d f o r d ,"
" p ro u d Y o r k e , " o r "Young C a r n a r v a n ." D r a y to n a l s o u s e s t h e
f i g u r e e p i t h e t o n t o d e s c r i b e p l a c e s , a s i n "'V 'ernoyla 1 s
b a t f u l l F i e l d s , " " f a i r e N o r w ic h ," "fam ous C o u n t r e y , "
" P r i n c e l y P o r t , " " f r u l t f u l l A lm a in e , 1 1 " r i c h B u r g u n d i e . "
And t h e f i g u r e I s e v en e v i d e n t i n d e s c r i p t i o n s o f a b s t r a c
t i o n s , a s " M a j e s t i k C ou rag e" and "m eager E n v i e . " So f r e
q u e n t i s th e f i g u r e e p i t h e t o n n o t o n l y i n t h e p a s s a g e s
c i t e d i n t h i s p a p e r b u t I n a l l t h e r e p o r t s o f th e " O c c u r-
e n t s o f t h e Time, o r S t a t e , " t h a t I t b eco m es one o f D ra y
t o n ' s c h i e f d e v i c e s o f o r n a m e n t a t i o n .
The f i g u r e e p i t h e t o n h a s one o f t h e same f u n c t i o n s
t h a t m o st o f th e o t h e r f i g u r e s i n t h i s poem h a v e : a m p l i f i
c a t i o n . Peacham c l a s s i f i e s i t a s a f i g u r e o f a m p l i f i c a t i o n
and d e s c r i b e s i t t h u s :
Among a l l t h e fo rm s o f e l o q u o t i o n , t h e r e i s no one
e x o r n a t i o n e i t h e r more g e n e r a l l o r m ore e x c e l l e n t t h e n
t h i s f o r I t c a r r i e t h a l w a i e s w i t h i t , w h e r e s o e v e r i t be
a p p l i e d a s i n g u l a r g r a c e a n d m a i e s t i e o f m a t t e r , b e s i d e
t h e b e a u t i e w h e r e w ith i t g a r n i s h e t h t h e s e n t e n c e . 53
I n a d d i t i o n t o h e l p i n g h im a m p lif y t h e s u b j e c t , D ra y
to n a l s o saw th e p o t e n t i a l i t i e s o f t h e f i g u r e to h e l p him
r e a l i z e p u r p o s e s p a r t i c u l a r t o h i s poem. I f i n d t h a t D ray
241
t o n , in some i n s t a n c e s , u s e s e p i t h e t o n to p a r t i c u l a r i z e
c h a r a c t e r and t o e n la r g e th e h i s t o r i c a l i n f o r m a t i o n — theBe
a r e b o th ends to w a rd s w hich he aims th ro u g h o u t th e poem.
The q u e s tio n o f how e p i t h e t o n h e lp s D ray ton p a r t i c u l a r i z e
a c h a r a c t e r i s n o t easy to answ er b e c a u s e i t i s easy to
c o n fu s e cause and e f f e c t . I want to p o i n t o u t t h a t i n one
i n s t a n c e in w hich he w ish ed to c r e a t e a h e r o i c c h a r a c t e r
( t h e e p i s t l e o f M o rtim e r), h e u se d e p i t h e t o n e x t e n s i v e l y .
Prom h i s comments i n the " A n n o ta tio n " to th e e p i s t l e , from
comments w i th in t h e e p i s t l e i t s e l f , and even from comments
i n o t h e r poems, we know t h a t D rayton w a n ts t o show th e c h a r
a c t e r o f M ortim er a s h ig h , p ro u d , a s p i r i n g . In th e "Anno
t a t i o n , " D rayto n r e f e r s to M ortim er a s one "whose h ig h and
t u r b u l e n t S p i r i t c o u ld n e v e r brooke any C o r r i v a l l i n G r e a t-
n e s s e " (p. 1 7 3 ). In The B a r ro n s Wars (1 6 0 3 e d i t i o n ) , he
had d e s c r ib e d M ortim er (an d h i s c o n c e p tio n had n o t changed)
a s one t h a t "had no m ix tu re o f th e D r o s s ie E a r th " ( s t a n z a
2 1) and a ls o a s
B rave M o rtim e r, t h a t e v e r - m a tc h le s s e man
Of th e o l d H eroes g r e a t and G o d -lik e s t r a i n e ,
Bor whom, i n v e n t i o n dooing b e s t i t can ,
H is w e ig h t o f h o n o u r h a r d l y can s u s t a i n e .
B e a r in g h i s name i m m o r t a l i z 'd , and h ie
When he i n e a r t h unnumbred tim e s s h a l l
l y e . 54
And i n th e e p i s t l e , D rayton p a r t l y d r a m a tiz e s t h i s h ig h
and a s p i r i n g s p i r i t by M o r tim e r 's d e s c r i p t i o n s o f h i m s e l f .
M ortim er b o a s t s t h a t he h a s n e v e r " s t o o p 'd u n to a King"
242
(1 . 86) and t h a t Edward " s h a l l ly e f o r u s to t r e a d upon"
(1. 138).
But th e main way t h a t D rayton d r a m a tiz e s th e h ig h and
a s p i r i n g c h a r a c t e r o f Mortimer* i s th e manner i n w hich
M ortim er r e p o r t s h i s t o r y . M o r tim e r's r e p o r t ( l l . 75-1^6)
i s a p r e d i c t i o n ( a c c u r a t e ) o f f u t u r e e v e n ts r a t h e r th an a
r e c o l l e c t i o n o f p a s t e v e n t s . Hence* b e c a u se he i s p r e
d i c t i n g trium phs* h i s words are* by d e f i n i t i o n * a b o a s t .
B ut how can t h e p o e t c r e a t e th e tone* th e im p lie d a t t i t u d e
o f a b o a s t ? D r a y t o n 's main f i g u r a t i v e d e v ic e i n t h i s p a s
sage i s e p i t h e t o n . As M ortim er im a g in e s th e scene o f h i s
f u t u r e trium ph* he makes t h a t scene v i v i d and he makes h i s
own c o n fid e n c e i n th e outcome c l e a r by th e e x te n s i v e u se
o f e p i t h e t s . He p r e d i c t s t h a t he w i l l t r a v e l i n v i c t o r y
a l l o v e r th e world* even t o where th e " d i s h e v e l 1d g a s t l y
Sea-Nymph s in g s " i n " w e l l - r i g 'd S h ip s" w ith " s w e llin g
W ings." Among th e enem ies t h a t he w i l l overcome a r e
" b la c k e - m o u th 'd In fa m ie " and " s t e r n e - v i s a g 1d E u r i e . " Hav
in g overcome a l l t h e s e enem ies a b ro a d ( a l l th o s e "boy-
s t ' r o u s s to r m ie Shockes")* he w i l l b r i n g h i s navy w ith
th e "pow’r f u l T id e" to Kent and E sse x . In h i s tr iu m p h a l
la n d in g he w i l l b r i n g th e " s t e r n e Trum pet" and th e " b e l
low ing Drum."
M ortim er th e n t e l l s o f th e a l l i e s who w i l l j o i n him
a g a i n s t Edward. Rome w i l l send " h e r C u rses o u t from
f a r r e * / Through th e s t e r n e T h ro a t o f T e r r o r - b r e a t h i n g
243
W arre" and C h a rle s w ith " i n v a s iv e Armes" w i l l r e t a k e Guyne
and A q u ita in e . Even th e S c o t t i s h B ru c e , b e c a u se o f h i s
t r e a t i e s w ith th e " n e i g h b 'r i n g F re n c h , " w i l l march from
Tweed to " s w e llin g Humber S a n d s." F in a lly ,, M ortim er p r e
d i c t s th e u l t i m a t e triu m p h o f a l l t h e s e b o ld f o r c e s : "Our
W a rlik e Sword s h a l l d r i v e him from h i s T h ro n e , / Where he
s h a l l ly e f o r u s to t r e a d u p o n ." A lthough e p i t h e t o n i s
n o t th e o n ly o rn a m e n ta tio n i n t h i s p a s s a g e ( p e r s o n i f i c a t i o n
o f a b s t r a c t i o n s i s a ls o i m p o r t a n t ) , i t i s th e main f i g u r a
t i v e d e v ic e and hence g oes f a r i n c r e a t i n g th e b o a s t f u l
to n e o f M o rtim e r's w o rd s --a n d t h i s to n e i s a p p r o p r i a t e ,
u ltim a te ly ,, to h i s c h a r a c t e r .
A n o th e r more o b v io u s f u n c t i o n o f e p i t h e t o n a s D rayton
u s e s th e f i g u r e i s to i n t r o d u c e h i s t o r i c a l i n f o r m a tio n i n
to th e poem. T hat i s , D rayto n o f t e n u s e s th e m o d ify in g
word a s an o c c a s io n to keep b e f o r e th e r e a d e r th e r e l e v a n t
f a c t s o f h i s t o r y . Some o f th e e p i t h e t s t h a t I have q u o te d
so f a r such a s "proud Gascoygne" o r "young C arn arv an " c i t e
o n ly v e ry g e n e r a l f a c t s a b o u t th e h i s t o r y , b u t i n o t h e r
i n s t a n c e s , D ray ton g iv e s s p e c i f i c h i s t o r i c a l i n f o r m a ti o n .
F or exam ple, when M a rg a re t sp e a k s o f " b a n is h e d E l ' n o r , " o r
R ic h a rd o f " p e r j u r e d B o lin g b r o k e ," when Tudor sp e ak s o f
th e " c r u e l l , p ro u d , u s u r p in g D ane," o r E l i n o r o f Jaco m ins
" c la m 'r o u s H usband ," th e a u d ie n c e i s rem inded o f th e key
a c t i o n s o f th e s e p e o p le - - p e o p l e who a r e n o t th e s u b j e c t o f
im m ediate a t t e n t i o n i n th e e p i s t l e i t s e l f . E l i n o r had
244
been b a n is h e d , B o lin g b ro k e had b ro k en h i s o a th to R ic h a rd ,
th e Danes had conquered p a r t s o f W ales, and J a c o m in 's h u s
band had p u rsu e d h e r i n t o E ngland w ith a rm ie s . By means o f
e p i t h e t o n , th e r e a d e r i s a l s o rem inded o f e v e n ts t h a t o c
c u r r e d i n a p a r t i c u l a r p l a c e . The p h r a s e "V e r n o y la 1s b a t -
f u l l F i e l d s " r e c a l l s a l l th e many b a t t l e s t h a t had o c c u r r e d
t h e r e and th e words " f a t a l l R a v e n s p o re " rem ind th e r e a d e r
t h a t R ic h a rd s u f f e r e d a d i s a s t r o u s d o w n fa ll a s a r e s u l t o f
B o l in g b r o k e ' s la n d in g on R a v e n s p o re . The f i g u r e e p i t h e t o n
even c i t e s th e c o n d it i o n o f g r e a t m asses o f p e o p le , a s i n
th e " u n c e r t a i n e Commons" and th e " n e e d le C o m m in a litie ."
In th e f i r s t exam ple, th e e p i t h e t sum m arizes a l l th e t e n
t a t i v e a c t s o f th e House o f Commons on B o l in g b r o k e rs b e
h a l f . In th e second exam ple, th e e p i t h e t i n t r o d u c e s th e
e x a c t s t a t e o f th e p e o p le d u rin g th e r e i g n o f Henry V I.
These a r e o n ly a few o f th e exam ples o f e p i t h e t o n , b u t th e y
i l l u s t r a t e t h a t D rayton c o u ld i n c l u d e q u i t e s p e c i f i c h i s -
EC
t o r i c a l in f o r m a tio n by means o f t h i s f i g u r e .
F i n a l l y , we must c o n s i d e r th e f i g u r e m etap h o r. T h is
f i g u r e I s th e main t r o p e i n th e r e p o r t s o f h i s t o r y and, o f
c o u rs e , i s a l s o a f i g u r e o f a m p l i f i c a t i o n . D rayton u s e s
m etaphor p r i m a r i l y w ith r e f e r e n c e to p e o p le i n th e h i s t o r y .
More p a r t i c u l a r l y , he u s e s m etaph or when th e sp e a k e r i s
t a l k i n g a b o u t h i s own a n c e s t r y o r t h e a n c e s t r y o f o t h e r
a c t o r s i n th e h i s t o r y , ( in d e e d , th e d e s c r i p t i o n o f a n c e s
t r y i s so f r e q u e n t In th e r e p o r t s o f h i s t o r y t h a t i t m igh t
245
a lm o s t be c o n s i d e r e d a s u b t o p i c . ) Moreover, t h e s e m e ta
p h o r s a lm o s t a lw ay s have a s t h e i r te rm s o f co m p a riso n e i
t h e r b i r d s o r p l a n t s .
The m e ta p h o rs t h a t r e f e r to b i r d s are,, l o g i c a l l y ,,
q u i t e s im p le . When a s p e a k e r r e f e r s to a r o y a l p e r s o n a g e ,
he i d e n t i f i e s t h a t r o y a l p e rs o n a g e w i t h E a g l e s . H e re,
q u i t e sim p ly , th e m ost n o b le p e rs o n i s com pared w i t h th e
m ost n o b le b i r d . Thus I s a b e l , a s sh e c h a l l e n g e s th e r i g h t
o f B o lin g b ro k e to t h e t h r o n e , sp e a k s o f h i s f a t h e r a.s one
"whom Edwards E a g l e t s m o r t a l l y d id s h u n , / D a rin g w i t h them
to g a ze a g a i n s t t h e Sunne" (1 1 . 8 3 - 8 4 ) . T hat i s , G aunt
was n o t a f t e r a l l a f u l l b r o t h e r o f E d w a rd 's o t h e r c h i l
d r e n . Y e t, o f c o u r s e , h i s t o r y made G a u n t 's l i n e a r o y a l
lo n e . H ence, a l a t e r s p e a k e r p r a i s e s t h a t house by r e f e r
ence to e a g l e s — P o o le s p e a k s o f th e "E ag le A y rie o f g r e a t
John o f G a u n t" ( l . 4 2 ) . And by r e f e r e n c e to E a g l e s , a n
o t h e r I s a b e l e x p l a i n s how G av esto n and h i s f o l l o w e r s have
ta k e n o v e r t h e r o y a l p r e r o g a t i v e s — t h e y have " T h e ir B uz-
z a r d - w in g s , im p 'd w i t h o u r E a g le s Plum es" ( l . 7 8 ) .
Those s p e a k e r s who a r e n o b le b u t n o t r o y a l p r a i s e
t h e i r a n c e s t r y by r e f e r r i n g to n o b le , b u t l e s s e r b i r d s .
C h a r le s B randon I s p a r t i c u l a r l y aware o f th e r e s t r a i n t he
m ust o b s e rv e i n p r a i s i n g h i s own f a m i ly , and he i s aware
t h a t h i s f a m i ly w i l l seem l e s s n o b le com pared w i t h t h a t o f
Queen Mary. He a ck n o w le d g es t h a t " E a u lc o n s seeme p o o r e ,
t h e E a g le s i t t i n g b y , / Whose Brood s u r v e y e s th e Sunne w ith
246
open Eye" ( l l . 1 6 7- 1 6 8) . S i m i l a r l y , W illia m d e - l a - P o o l e i s
o f th e r a c e o f F a u lc o n s , n o t e a g l e s . He p r a i s e s h i s a n
c e s t o r s :
*Our F a u lc o n s k in d c a n n o t th e Cage in d u r e ,
Nor B u z z a r d - l i k e d o th sto o p e to e v 'r y L ure;
T h e ir m ounting Brood i n open Ayre d o th r o v e ,
Nor w i l l w ith Crowes be c o u p 'd w i t h in a Grove.
( 1 1 . 1 7- 2 0)
Q u ite sim p ly , Poole i s "com paring th e g r e a t n e s s e and
h a u g h ti n e s s o f h i s s p i r i t to th e N a tu re o f t h i s B ir d " (p.
23 5).
The v a r io u s p l a n t m etap h o rs a r e a l o g i c a l and conven
t i o n a l means o f p r e s e n t i n g th e s u b j e c t o f a n c e s t r y . A
grow ing p l a n t becomes th e way o f e x p la in i n g th e i n t e r r e l a
t i o n s betw een members o f a f a m ily , a s i n R i c h a r d 's e p i s t l e :
*Seven g o o d ly S ie n s i n t h e i r S p rin g d id
f l o u r i s h ,
Which one s e l f e - R o o t b ro u g h t f o r t h , one S to ck
d id n o u r i s h ;
*Edward th e to p -B ra n c h o f t h a t g o ld en T ree,
N a tu re in him h e r u tm o s t power d id s e e ;
Who from th e Bud s t i l l b lossom ed so f a i r e ,
As a l l m ig h t jud ge what F r u i t i t m eant to b e a r e
B ut I h i s G r a f t , o f e v 'r y weed o 'r - g r o w n e ,
And from o u r k in d , a s R e fu se f o r t h am throw ne.
( 1 1 . 75- 8 2 )
Here th e term s o f com parison n o t o n ly e x p la in th e r e l a t i o n
betw een th e fa m ily members, th e y a ls o p r a i s e some members
and d i s p r a i s e o t h e r s .
As m ight be e x p e c te d , th o s e m etap h o rs w hich t r a c e a n
c e s t r y w ith p l a n t im ag ery f r e q u e n t l y draw on th e t r a d i t i o n
a l sym bols o f th e v a r i o u s r o y a l h o u s e s — th e L a n c a s te r ia n
r e d r o s e , th e Y o r k i s t w h ite r o s e , and th e F rench l i l y .
247
S e v e r a l s p e a k e r s u s e t h e t r a d i t i o n a l sym bols o f monarchy
b o t h to e x p l a i n and p r a i s e th e a n c e s t r y . Owen T u d o r, f o r
exam ple, e x p l a i n s a l l t h e r o y a l l i n e s t h a t w i l l j o i n t o
g e t h e r when he and K a th e r in e wed. He say s t h a t i t had b e en
p r e d i c t e d by M e rlin t h a t
. . . th e Leeke ( o u r C o u n t r ie s c h ie f e Renowne)
Sh ould grow w ith R o ses i n t h e E n g li s h Crowne.
As C h a r le s h i s D a u g h te r, you t h e L i l l y w e a re ,
As H e n r ie s Queene, th e b l u s h i n g Rose you
b e a r e . . . . ( 1 1 . 39-42)
And i n te rm s o f p l a n t m e ta p h o rs , J a n e Gray e x p l a i n s r a t h e r
p r e c i s e l y t h e r o y a l a l l i a n c e s o f t h r e e g e n e r a t i o n s t h a t
c u lm in a te d i n a crown f o r h e r .
*My G r a n d s i r e Brandon d i d o u r House
a d v a n c e ,
By P r i n c e l y Mary, Dowager o f F r a n c e ;
The F r u i t o f t h a t f a i r e S to c k e , w hich d i d
com bine,
And Y o r k 1s sw e e t B ranch w i t h L a n c a s t e r 1s
e n tw in e ,
And i n one S t a l k e d id h a p p i l y u n i t e
The p u re V e r m i l l i o n R ose, an d p u r e r W h ite ;
I , th e u n t im e ly S l i p o f t h a t r i c h Stem,
Whose g o ld e n Bud b r i n g s f o r t h a Diadem.
(1 1 . 83 -9 0 )
F i n a l l y , Queen M a rg a re t u s e s p l a n t m e ta p h o rs to p ra iB e
h e r own a n c e s t r y , d i s p r a i s e h e r e n e m ie s , and e x p l a i n th e
v a r i o u s f o r c e s g a t h e r i n g aroun d h e r . She c a l l s t h e Duke
o f York ( R ic h a rd I I I ) " t h a t B a s t a r d Weed, w hich d a y ly
g r o w e s , / *To o v e r-sh a d o w o u r V e r m ilio n Rose" (1 1 . 7 1 -7 2 ).
T h is m etap h o r n o t o n ly t e l l s o f R i c h a r d 's a n c e s t r y , i t a l
so t e l l s o f h i s grow ing pow er. She u s e s p l a n t metaphorB
248
a ls o to e x p la in how th e enem ies p l a n to s u b v e r t h e r c laim
to t h e t h r o n e :
And from t h a t S tocke d o th s p r o u t a n o th e r
Bloome,
*A K e n tis h R e b e l l , a b a se u p s t a r t Groome;
*And by t h i s i s he th e W hite-R ose muBt p r e -
f e r r e ,
*By C la re n c e D a u g h te r, m a tc h 'd w ith M ortim er.
( 1 1 . 1 1 3- l i b )
T hat I s , th e commoner Cade, by c la im in g to be a d e sc e n d a n t
o f M ortim er, w i l l m arry Lady P h i l i p , th e d a u g h te r o f th e
Duke o f C lare n ce (p . 245)•
I n sum, th e m ajo r f i g u r e s t h a t D rayton u s e s to dev elo p
h i s t o r y a re i n t e r r o g a t i o , a n a p h o ra , s e n te n c e p a t t e r n s t h a t
may form o c c u p a tio and h lr m u s , e p i t h e t o n and o c c a s i o n a l l y ,
m e ta p h o r. These f i g u r e s t h a t D ray ton u s e s to d e v e lo p h i s
t o r y a r e r a t h e r d i s t i n c t from th e f i g u r e s t h a t he u s e s to
d e v e lo p th e r e a c t i o n to th e e p i s t l e c o n te x t and th e p r a i s e
o f th e b e lo v e d . To d e v e lo p th e f i r s t t o p i c , D rayton u sed
t r o p e s q u i t e e x t e n s i v e l y , w hereas he u s e s t r o p e s l e s s o f
te n i n th e r e p o r t o f h i s t o r y . To d e v elo p th e p r a i s e o f th e
b e lo v e d , D rayton u s e s " p le n te o u s " d e v ic e s o f la n g u a g e ,
w h ereas th e f i g u r e s t h a t d e v elo p h i s t o r y o f t e n le a d to a
c o n c is e s ta te m e n t o f many f a c t s ( I w i l l d i s c u s s t h i s i s s u e
more f u l l y p r e s e n t l y ) . But d e s p i t e th e o b s e r v a t i o n s t h a t
can be made when we compare th e f i g u r e s u s e d f o r th e t h r e e
t o p i c s , th e e f f e c t s and s i g n i f i c a n c e o f th e f i g u r e s t h a t
D ray to n u s e s to d e v e lo p h i s t o r y a r e b e s t i l l u s t r a t e d when
we compare th e f i g u r a t i v e t r e a tm e n t o f h i s t o r y in E nglands
249
H e r o l c a l l E p i s t l e s w ith th e t r e a tm e n t o f h i s t o r y i n P e i r s
G a v e s to n .
The R e l a t i o n o f Ornament to
" H is to ry " i n P e i r s G aveston
and E n g lan d s H e r o io a ll'
E p is tl e 's
The p r e s e n t a t i o n o f h i s t o r y i n E n gland s H e r o i o a l l
E p i s t l e s shows c o n s i d e r a b l e s t y l i s t i c developm ent o v e r th e
p r e s e n t a t i o n o f h i s t o r y i n P e i r s G a v e s to n . In E n g la n d s
H e r o i o a l l E p i s t l e s ,, th e f i g u r e s a r e u s u a l l y much more e f
f e c t i v e and p r e c i s e I n s t r u m e n ts to d e v elo p th e s u b j e c t h i s
t o r y . To make th e d i f f e r e n c e betw een th e s t y l e s I n th e two
poems c l e a r j I would r e c a l l D r a y to n 's g e n e r a l s t y l e f o r d e
v e lo p in g " h y s t o r i e " in P e i r s G a v e s to n . I t i s im p o r ta n t to
remember t h a t D rayton c o n s id e r e d P e i r s G aveston a h i s t o r y
poem and a l s o made th e d e c i s i o n t h a t ' ' ' h i s t o r i e s ' w ere
b e s t w r i t t e n i n th e h ig h s t y l e . H e n c e he a p p r o p r i a t e l y
u se d many f i g u r e s o f a m p l i f i c a t i o n i n th e poem. Now d e
s p i t e t h i s g e n e r a l s u i t a b i l i t y o f th e orn am en ts to th e su b
j e c t j I found t h a t th e dom inant o rn am en ts i n P e i r s G aves
to n ( s y s tr o p h e - a p o s t r o p h e , e p ic s i m il e ) w ere most o f t e n
u s e d to d e v e lo p th e r e a c t i o n o f th e s p e a k e r . In P e i r s
G aveston D rayton q u i t e o f t e n l e f t im p o r ta n t h i s t o r i c a l
e v e n ts unornam ented (s e e C h a p te r I I , pp. 8 1- 8 7) .
D rayto n d id , how ever, i n some r e s p e c t s ornam ent h i s
t o r i c a l e v e n t s . He o c c a s i o n a l l y u se d e p ic s i m il e to am
250
p l i f y th e a c t i o n s o f th e B aro ns ( e . g . , 11. l 4 3 5 f f . o r
l 4 7 1 f f . ) , an<^ tLe c o n s i s t e n t l y u se d c o p io u s m etap h o rs as
w e l l a s o c c a s i o n a l s y s t r o p h e - a p o s tr o p h e and p e r s o n i f i c a t i o n
to a m p lify th e h i s t o r i c t o p i c s o f w e ll and woe. But d e
s p i t e t h e s e i n s t a n c e s o f o rn a m e n ta tio n , a l l o f th e f i g u r e s
had c e r t a i n w eaknesses i n r e l a t i o n to th e s u b j e c t h i s t o r y .
More p a r t i c u l a r l y , th e f i g u r e s i n P e i r s G aveston were n o t
e f f e c t i v e d e v ic e s f o r n a r r a t i o n . L et u s c o n s i d e r f i r s t
th e f i g u r e e p ic s i m i l e . When D rayton u s e d i t to d e v elo p
h i s t o r y , th e f i g u r e would a m p lify th e e v e n t and m igh t even
e x p l a i n th e e v e n t , b u t e p ic s i m il e was n o t a d e v ic e f o r
q u i c k l y a d v an cin g th e r e p o r t o f th e a c t i o n . Two e p ic sim
i l e s t h a t a m p lify th e B a ro n s ' a c t i o n s i l l u s t r a t e t h i s
p o i n t . A f t e r G aveston r e t u r n s in d i s g u i s e from h i s f i n a l
b a n is h m e n t, th e B arons r i s e up a g a i n s t him. T h is f a c t i s
docum ented i n two e p ic s i m i l e s :
Like to a man whose foote doth hap to light
Into the nest where stinging Hornets ly,
V ext w ith th e s p le e n , and r i s i n g w ith d e s p i g h t,
About h i s head t h e s e w inged s p i r i t s f l y .
Thus r i s e th e y up w ith m o r t a l l d i s c o n t e n t ,
By d e a th to end my l i f e and b a n ish m e n t.
Or l i k e to s o u I d l e r s i n a Towne o f War,
When Sentinell the enemy discries,
A f f r i g h t e d w ith t h i s u n e x p e c te d j a r ,
All with the fearefull Larum-bell arise,
Thus muster they; (as Bees doe in a hyve,
The i d l e Drone o u t o f t h e i r combes to d r y v e .)
( 1 1 . 1435-1446)
In b o th i n s t a n c e s th e s i m i l e s c e r t a i n l y a m p lify , b u t th e y
do n o t advance th e n a r r a t i o n o f what happened v e ry f a r .
251
In t h e s e tw e lv e l i n e s , th e c h r o n o l o g i c a l r e p o r t o f h i s t o r y
h a s been advanced by o n ly two e v e n t s — th e B arons r i s e up
and th e y " m u s te r ." The l i n e s do n o t fo c u s on any o t h e r
e v e n t s . Or a g a i n , D rayton makes f e a r f u l th e B a ro n s ' p u r
s u i t o f G aveston in th e s i m il e b e g in n in g "Like to a c ry o f
ro rin g -m o u th e d hounds" ( l l . 1471-14T 6), b u t th e l i n e s do cu
ment o n ly t h a t " h u n t." ■
Nor does D r a y to n 's c h o ic e to a m p lify w e ll and woe, o r
h i s f i g u r a t i v e means o f doin g so, a i d in th e n a r r a t i o n o f
h i s t o r i c e v e n t s . In my e a r l i e r d i s c u s s i o n o f t h i s problem
(se e above, C h a p te r I I , p p . 113-120) I p o in te d o u t t h a t n o t
o n ly d oes th e c h o ic e to a m p lify w e l l and woe te n d to make
th e n a r r a t i v e h a l t i n g , b u t th e f i g u r e s th e m se lv e s te n d to
w a ft above th e p a r t i c u l a r h i s t o r i c e v e n t s . T h is l a t t e r e f
f e c t o f th e f i g u r e s i s i l l u s t r a t e d i n a s ta n z a i n w hich
D rayton u s e s c o p io u s m etap h o rs:
F ra u g h t w ith d e l i g h t , and s a f e l y u n d e r s a y l e ,
Like f l i g h t - w i n g 'd Faucons now we ta k e o u r sco pe,
Our y o u th and f o r t u n e blowe a mery g a l e ,
We lo o s e th e a n c h o r o f o u r v e r t u e s hope:
B lin d e d w ith p l e a s u r e i n t h i s l u s t f u l l game,
By o v e r s i g h t d i s c a r d o u r King w ith shame.
( 1 1 . 271-275)
E x ce p t f o r th e l a s t l i n e , th e m e tap h o rs do n o t e x p la in p a r
t i c u l a r h i s t o r i c e v e n ts , and i n d e e d , t h i s o m issio n i s even
more s t r i k i n g b e c a u se th e l a s t l i n e h i n t s a t some q u i t e
s p e c i f i c a c t i o n s .
M oreover, as t h i s p a s s a g e d e m o n s tra te s , th e form o f
th e f i g u r e s i n th e a m p l i f i c a t i o n o f w e l l and woe does n o t
252
a llo w p r o g r e s s i v e o r s w i f t n a r r a t i o n . The c o p io u s m e ta
p h o r s , r e p e a t i n g as th e y do e s s e n t i a l l y th e same i d e a i n
s u c c e s s iv e v e r s e s , a r e n o t i n s t r u m e n t s f o r n a r r a t i n g s u c
c e s s i v e e v e n t s . S i m i l a r l y , th e f i g u r a t i v e c o m b in atio n
s y s t r o p h e - a p o s tro p h e does n o t move th e n a r r a t i o n fo rw a rd
b e c a u se s y s tr o p h e i s a s e r i e s o f d e f i n i t i o n s o f one ite m
(se e s t a n z a s 7 j 10 j > q u o te d i n Chap. I I , 1 1 4 -1 1 5 ).
I n E ng lan d s H e r o i c a l l E p i s t l e s a s i n P e i r s G av eston,
D rayton was w r i t i n g a h i s t o r y poem and was q u i t e i n t e r e s t e d
i n th e h i s t o r i c a l f a c t s and e v e n ts s u rro u n d in g each s p e a k
e r . He e v in c e s t h i s i n t e r e s t n o t o n ly by i n f o l d i n g a g r e a t
d e a l o f h i s t o r i c a l i n f o r m a tio n i n t o each e p i s t l e , b u t by
i n c l u d i n g " A n n o ta tio n s " t h a t e n la r g e th e t o t a l h i s t o r i c a l
in f o r m a tio n o f th e poems. Y e t i n E ng lan d s H e r o i c a l l
E p i s t l e s D rayto n h a s d is c o v e r e d a s t y l e t h a t i s a more e f
f e c t i v e i n s t r u m e n t f o r d e v e lo p in g th e s u b j e c t h i s t o r y .
Not o n ly does he now ornam ent h i s t o r i c e v e n t s , b u t th e o r
nam ents a r e such as overcome many o f th e d e f e c t s o r weak
n e s s e s t h a t I have o b se rv e d i n th e P e i r s G aveston ornam en ts
and can even a c c o m p lish p u rp o s e s i n a d d i t i o n to a m p l i f i c a
t i o n . More e s p e c i a l l y , th e f i g u r e s i n E n g lan d s H e r o i c a l l
E p i s t l e s a re u s u a l l y e f f e c t i v e d e v ic e s f o r n a r r a t i o n . By
" e f f e c t i v e " I mean t h a t th e y ( l ) e n a b le D rayton to n a r r a t e
many e v e n ts s w i f t l y ; ( 2 ) th e y e n a b le him to n a r r a t e e v e n ts
p a r t i c u l a r l y and c o n c r e t e l y ; and ( 3 ) th e y make th o s e e v e n ts
c o h e r e n t .
253
I n t h e p a s s a g e s o r g a n i z e d by th e f i g u r e s i n t e r r o g a t l o ,
an ap h o ra,, and h irm u s we se e t h a t D ra y to n was a b l e to r e
p o r t many o f t h e e v e n t s i n th e h i s t o r y a t h a n d . Poole* f o r
example* t e l l s o f th e s e v e r a l men who l e d E n g li s h f o r c e s
i n t h e w ar a g a i n s t th e F re n c h and he t e l l s som ething o f
w hat e a c h man d i d ; M a rg a re t t e l l s o f th e many f r i e n d s who
a t one tim e a i d e d h e r and how th e y a id e d h e r ; E l i n o r t e l l s
who H um phrey's fo rm e r w ife was and w hat f a c t i o n s s o u g h t h e r
r e t u r n to h e r f i r s t h u sb a n d . The o t h e r p a s s a g e s t h a t I
h a v e a n a ly z e d a r e s i m i l a r I n u s u a l l y r e p o r t i n g many o f th e
d e t a i l s o f t h e h i s t o r y . D ra y to n d o e s n o t r e p o r t o n ly one
e v e n t p e r " p a s s a g e " o f h i s t o r y .
Moreover* D ra y to n i s a b le to n a r r a t e t h e s e many f a c t s
o r e v e n t s r a t h e r s w i f t l y . I n t h i s r e s p e c t * th e f i g u r e s I n
E n g la n d s H e r o i c a l l E p i s t l e s a r e q u i t e d i s t i n c t from th e
f i g u r e s i n P e i r s Gaveston* e s p e c i a l l y e p ic s im ile * c o p io u s
m etap hors* and s y s t r o p h e . U n lik e th e e p i c s im ile * f o r e x
ample* t h e f i g u r e s i n t e r r o g a t i o , h i r m u s * o r a n a p h o ra do n o t
commit D ra y to n to d e v o tin g a s e t number o f l i n e s to e a c h
new e v e n t . D ra y to n can move a lo n g to th e n e x t e v e n t b e
c a u se he d o e s n o t have to spend tim e c o m p le tin g t h e compo
s i t e a c t i o n a s I n e p ic s i m i l e . And u n l i k e t h e c o p io u s
m e ta p h o rs and s y s t r o p h e , t h e fo rm s o f th e E p i s t l e s f i g u r e s
h a r d l y commit D ra y to n to r e t u r n i n g a g a in and a g a i n to t h e
same e v e n t . Thus when he p a t t e r n s a p a s s a g e b y i n t e r r o g a
t i o , e a c h new q u e s t i o n u s u a l l y moves t h e c h r o n o l o g i c a l n a r
254
r a t i v e fo rw a rd . Even when he p a t t e r n s th e p a ssa g e hy word
r e p e t i t i o n s o f v a r i o u s s o r t s ( r e s u l t i n g i n a n a p h o ra , h i r
mus) th e p a t t e r n does n o t cause him to r e t u r n a g a in and
a g a in to th e same e v e n t a s d id t h e P e i r s G aveston f i g u r e s .
In d ee d , w h ereas th e g e n e r a l e f f e c t o f th e c o p io u s f i g u r e s
i n P e i r s G aveston was to a m p lify "by e x p a n s iv e n e s s , th e e f
f e c t o f t h e f i g u r e s i n E nglands H e r o i c a l l E p i s t l e s (s e e
e s p e c i a l l y th e d i s c u s s i o n on p p . 237- 238) i s t o a t t a i n a c e r
t a i n com p ressio n o f t h e many h i s t o r i c a l e v e n t s .
The f i g u r e s t h a t D rayton h a s chosen to d e v e lo p th e r e
p o r t o f h i s t o r y a ls o a llo w him t o p r e s e n t th o s e h i s t o r i c
e v e n ts p a r t i c u l a r l y and c o n c r e t e l y . The d i s t i n c t i o n in
th e e f f e c t o f th e s e f i g u r e s and th o s e i n P e i r s G aveston i s
i l l u s t r a t e d in two t y p i c a l p a s s a g e s from e ac h poem. In
h o th , D rayton p r e s e n t s e v e n ts from th e r e i g n o f Edward I I .
I n P e i r s G a v e sto n , G aveston s p e a k s o f th e B arons' a c t i o n s —
L ik e S o u l d i e r s i n a Towne s u r p r i z ' d by n i g h t ,
Over t h e i r h e a d s th e h o u s e s s e t on f i r e ,
S ure to be sla y n e in i s s u i n g o u t to f i g h t ,
Or e l s be b u rn e d i f th e y doe r e t y r e :
Some c u rs e th e tim e , some o t h e r blame t h e i r
f o r t u n e ,
W h ils t b l a c k D is p a ir e t h e i r d e a t h s d o th th u s
im p o rtu n e . (11. 1099-1104)
I n E ng lan d s H e r o i c a l l E p i s t l e s , M ortim er sp e ak s o f Edward
I I as w e l l a s o f h i s own a n c e s t r y —
N ever d u r s t S c o t s e t f o o t on E n g lis h Ground,
Nor on h i s Backe d id E n g li s h b e a re a Wound,
W h il s t Wigmore f l o u r i s h ' d i n o u r P r i n c e l y Hopes,
And w h i l s t o u r E n sig n es m a rc h 'd w ith Edwards
T roopes:
255
* W h ils t famous Longshanks Bones ( i n F o r tu n e s
sc o rn e )
As s a c r e d R e liq u e s to th e F i e l d were h o rn e t
Nor e v e r d id th e v a l i a n t E n g li s h d o u b t,
W h ils t o u r b r a v e B a t t e l s g a u rd e d them a b o u t;
Nor d id o u r Wives and w o f u ll M others mourne
*The E n g lis h B loud t h a t s ta y n e d B an o ck sb o u rn e ,
W h ils t w ith h i s M inions s p o r t i n g i n h i s T e n t,
Whole Dayes and N ig h ts i n B a n q u e ttin g were
s p e n t,
U n t i l l th e S c o ts (which u n d e r S a fe g a rd s to o d )
Made l a v i s h Havocke o f th e E n g li s h B lood:
WhoBe b a t t ' r e d Helmes la y s c a t t ' r e d on th e Shore,
Where th e y i n C onquest had b e en e borne b e f o r e .
( 11. 59- 74)
The p a ssa g e from P e i r s G aveston evok es th e q u a l i t y o f th e
e x p e r i e n c e , . e s p e c i a l l y i t s h o r r o r , and t e l l s g e n e r a l l y what
th e B arons d id (11. 1103-1104); i t d o e s n o t g iv e th e con
c r e t e h i s t o r i c a l d e t a i l s t h a t th e p a s s a g e from EnglandB
H e r o i c a l l E p i s t l e s d o e s . In th e E p i s t l e s p a s s a g e , D rayton
i s s t i l l a b l e to evoke th e h o r r o r o f th e e v e n t s — "Wound,"
" w o fu ll M others m ou rn e," "E n g lis h B loud t h a t s ta y n e d Ban
o c k s b o u rn e 1 1 —b u t a t th e same tim e he i s a b le to r e p o r t th e
a c t u a l and s p e c i f i c h i s t o r i c a l e v e n ts t h a t make up th e g e n
e r a l l y h o r r i f y i n g e x p e r i e n c e .
The f i n a l d i f f e r e n c e t h a t I w ant to p o i n t o u t betw een
th e o rn a m e n ta tio n o f t h e two poems i s t h a t some o f th e f i g
u r e s i n E n g lan d s H e r o i c a l l E p i s t l e s a llo w D rayton to make
th e h i s t o r i c e v e n ts c o h e r e n t . By " c o h e r e n t ” I mean t h a t
th e f i g u r e s n o t o n ly o r g a n iz e th e v a r i o u s e v e n t s , b u t i n
a d d i t i o n t h e f i g u r e s im pose an i n t e l l e c t u a l o r d e r on th e
e v e n t s —we m ight even say t h a t th e y g i v e th e e v e n t s " p l o t . "
When I d i s c u s s e d th e f i g u r e i n t e r r o g a t i o , I o b s e rv e d t h a t
256
Drayton uses the figure to show a discrepancy between ex
pectation and result. In other words, interrogatio imposes
an order or a plot on these historic events. It helps
Drayton say that the events are related to each other In
a pattern— even though that pattern is frustrating from
the human point of view.
I n some o f t h e p a s s a g e s d e v e lo p e d by h irm u s t h i s f i g
u r e im poses an o r d e r o r a p l o t . I n th e e p i s t l e o f I s a b e l
(R ), f o r example ( l l . 8 9 - 9 6 ) , hirm us shows t h a t th e e v e n ts
a r e r e l a t e d by c a u s e — I s a b e l sa y s t h a t a l l t h i s would n o t
have happened "Had n o t th e P e r c i e s p r o m is 'd a i d to
b r i n g . . . I n H um phrey's e p i s t l e (11. 9 - 2 0 ) , th e f i g
u r e shows th e e v e n t s to be r e l a t e d by e f f e c t . Humphrey
s a y s t h a t a l l t h e s e i n c i d e n t s have r e s u l t e d i n h i s extrem e
g r i e f . And f i n a l l y , In th e p a s s a g e s from D udley and S u r
r e y , th e f a c t s a r e r e l a t e d by t h e i r r e l a t i v e im p o rta n c e
(m inor to m a jo r ) . I n D u d le y 's p a s s a g e ( l l . 4 3-54) a l l th e
e v e n ts r e c o r d e d i n th e f i r s t l i n e s a r e made s u b o r d i n a te to
J a n e ' s virtue* and i n S u r r e y ' s p a s s a g e ( l l . 9 3 -1 0 6 ), a l l
th e acc o m p lish m en ts o f h i s a n c e s t o r s a r e made s u b o r d in a te
to h i s acco m plish m en t a s a p o e t .
257
FOOTNOTES
1. M a tild a and R o b e r t , Duke o f Normandy a r e in volume
I and M o rtim e ria d o s i n volume II o f th e Works . A ll s u b s e
quent r e f e r e n c e s to t h e s e poems i n t h i s c h a p t e r a r e tak e n
from t h i s e d i t i o n and a r e I n c lu d e d In th e t e x t by l i n e num
b e r.
2. W orks, V, 4 l .
3. C h a rle s Donald F e e t, "The P a s t o r a l and H e ro ic Po
e t r y o f M ichael D ra y to n ," D is s . P r i n c e t o n , 1956, P- 66.
4. Ed. L aurence M ichel (New Haven, 1958), p . 71.
5. "The P a s t o r a l and H ero ic P o e tr y o f M ichael D ray
t o n ," pp . 95 and 9 6 .
6. "To th e R eader o f th e B a ro n s W a rre s ," The B a rro n s
Wars i n th e r a i g n e o f Edward th e Second (London^ 1603),
A2v-A3v.
7 . E n g la n d s H e r o i c a l l E p i s t l e s ( 1 6 1 9) I s re p ro d u c e d
i n W orks, I I , pp . 1 2 9- 3 0 7 . A ll su b s e q u e n t r e f e r e n c e s to
t h i s poem in t h i s c h a p t e r a re ta k e n from t h i s e d i t i o n and
a r e c i t e d I n th e t e x t by l i n e number. R e f e r e n c e s to th e
" A n n o ta tio n s o f th e C h ro n ic le H I s t o r i e " a r e c i t e d i n th e
t e x t by page number.
I have chosen th e 1619 e d i t i o n b e c a u se I t I s th e m ost
a c c e s s i b l e e d i t i o n o f th e E p i s t l e s . The p o i n t s o f s t y l e
t h a t I w ish to examine a r e n o t a p p r e c i a b l y d i s t i n c t in th e
e a r l y and l a t e v e r s i o n s o f t h i s poem.
8 . W orks, V, 100.
9. F o r a d i s c u s s i o n o f th e b ackg ro und o f E nglands
H e r o i c a l l E p i s t l e s In th e H e r o id e s , see R ic h a rd F. H a rd in ,
"M ichael D ray ton and th e O vidian T r a d i t i o n , " D i s s . U n iv e r
s i t y o f T exas, 19 6 6, pp. 7-53-
For a d i s c u s s i o n o f th e b a ck g ro u n d o f E n g la n d s H ero
i c a l l E p i s t l e s In th e M ir ro r t r a d i t i o n and t h e H e ro id e s ,
see W illia m H aute W iatt^ "E n gland s H e r o i c a l l E p i s t l e s : A
C r i t i c a l S tu d y ," D is s . U n i v e r s i t y o f N orth C a r o li n a , 1955*
Mrs. T i l l o t s o n a ls o b r i e f l y d i s c u s s e s th e r e l a t i o n o f
th e E p i s t l e s to th e H e r o i d e s . W orks, V, 98-99*
258
10. E n g l i s h H i s t o r i c a l P o e t r y , p . 206.
11. "E n g lan d s H e r o i c a l l E p i s t l e s : A C r i t i c a l S t u d y , "
pp . 1 1 2-119 .
12. W i l l a r d Farnham , The M ed iev al H e r i t a g e o f E l i z a
b e th a n T ragedy ( B e r k e le y , 1936) j P- 271.
13- W i a t t , p p . 6 6 -7 7 .
14. E l i z a b e t h a n P o e t r y i A Study i n C o n v e n tio n , Mean
i n g , and E x p r e s s io n tC am bridg e, M ass., 1 9 5 2 ), p. 128.
15- E l s t r e d p r o p o s e s an a n sw e r to t h i s q u e s t i o n when
she d e fe n d s h e r s e l f b e f o r e Queen G u e n d o lin e : "What s h o u ld
p o o re C a p tiu e s doo? o r What s h o u ld I ? / Twere b e t t e r lo u e
and H u e , th e n l o a t h and d i e . " Thomas Lodge, P h i l l i s
. . . W h ere-vn to i s a n n ex e d , t h e t r a g i c a l c o m p lay n t o f E l -
s 'tr e d , 1593 e d i t i o n ( p r i n t e d f o r t h e H u n te ria n C lu b, 187 5),
p . 79-
. W orks, V, 9 8 .
17. I h av e i n c l u d e d i n my c i t a t i o n s t h e a s t e r i s k
mark t h a t D ra y to n u s e d to r e f e r t o h i s " A n n o t a t i o n s ,"
18. W orks, V, 99*
19. The E l i z a b e t h a n Love S o nnet (London, 195&), P*
7.
20. W i a t t , p . 50*
21. W orks, V, 98.
22. R ic h a r d F. H a rd in , "C o n v en tio n and D esign i n
D r a y t o n 's H e r o i c a l l E p i s t l e s , " PMLA, LXXXIII (March 1 9 6 8) ,
41.
2 3 . S m ith, E l i z a b e t h a n P o e t r y , p . 130.
24. Mrs. T i l l o t s o n s a y s t h a t th e p r a c t i c e o f a d d in g
c o m m en ta rie s was n o t common a lt h o u g h she f i n d s t h a t th e
n o t e s to t h e S h e p h e a rd s C a le n d a r (1579) and Chapm an's
n o t e s to h i s hymns i n Shadow o f W ight (1594) a r e co m parab le
to D r a y t o n 's " A n n o t a t i o n s " (V7 1007 n. 2 ) . X h av e c i t e d
B a l d w i n 's p r o s e - l i n k s a s a c l o s e p a r a l l e l to D r a y t o n 's
" A n n o ta tio n s " b e c a u s e t h e s e p r o s e - l i n k s o f t e n e x p l a i n d e
t a i l s o f t h e h i s t o r y so t h a t t h e r e a d e r w i l l n o t b e c o n
f u s e d — e . g . , P ro s e I , C am pbell e d i t i o n , p . 8 1 .
259
2 5 . S p e a k in g o f th e p ro b le m o f e s t a b l i s h i n g th e s e t
t i n g o f t h e e p i s t l e s , H a l l e t S m ith s a y s , " . . . th e e x p o s i
t o r y pro b lem i s d e f t l y h a n d le d j i n e v e r y i n s t a n c e t h e r e i s
some d r a m a tic r e v e l a t i o n o f t h e im p o rta n c e o f t h e moment
a t w hich t h e e p i s t l e i s b e in g w r i t t e n . ” E l i z a b e t h a n Po
e t r y , p . 1 2 9 .
26. I n t h e t e x t I d i s t i n g u i s h b etw een th e two Queen
I s a b e l s by p l a c i n g an (R) b e h in d th e name o f R i c h a r d 's
queen and an (M) b e h in d th e name o f th e queen who w r i t e s
to M o rtim e r.
2 7 . T h is f i g u r e I s d e s c r i b e d by Lanham i n A H a n d l i s t ,
p . 8 1 .
28. J o s e p h , S h a k e s p e a r e 's Use o f t h e A r t s o f L an
g u a g e , p . 5 6 .
2 9 . W ilso n d i s c u s s e s th e r h e t o r i c o f p r a i s e i n h i s
A r te o f R h e to r i q u e , e d . G. H. M air (O x fo rd , 1909)* PP* 12-
17.
P u tte n h a m 's c l a s s i f i c a t i o n o f th e g e n r e s i s b a s e d on
t h e c o n c e p ts o f p r a i s e and blam e a s I s h i s d i s c u s s i o n o f
h i g h , low, and mean s u b j e c t s , pp . 152-153* F or a d e t a i l e d
d i s c u s s i o n o f P u tte n h a m 's u s e o f th e c l a s s i c a l encomium,
se e 0. B. H a r d is o n , The E n d u rin g Monument: A S tu d y o f th e
I d e a o f p r a i s e i n R e n a is s a n c e l i t e r a r y t h e o r y and p r a c t i c e
(C h a p el H i l l , 1 9 6 2 ), p. 4 l .
30. A r te o f R h e t o r i q u e , p . 12.
31. T h is f i g u r e i s d e s c r i b e d by Lanham I n A Hand
l i s t , p . 3 9 .
3 2 . P u tte n h a m , p . 192.
33. Peacham, p p . 3 1 - 3 2 .
34. I n t h i s p r a i s e , h ow ev er, D ra y to n I n c l u d e s o n ly
t h e r e l e v a n t h i s t o r i c a l i n f o r m a t i o n a b o u t e a c h p e r s o n . He
d oes n o t t r y t o t e l l e v e r y t h i n g i n th e poem, b u t r a t h e r ,
c o n s ig n s t h e d e t a i l e d e x p l a n a t i o n s to th e " A n n o t a t i o n s . ”
35* W orks, V, 104.
3 6 . Lanham sa y s t h a t a h e a d - t o - t o e d e s c r i p t i o n i s
"common i n e a r l i e r E n g liB h p o e t r y . " A H a n d l i s t , p . 3 9 .
37. T i l l o t s o n , W orks, V, 126.
260
3 8 . F o r an i n s t a n c e o f D r a y t o n ’s c a r e f u l r e s e a r c h i n
to th e f a c t u a l b a c k g ro u n d o f h i s poem,, se e th e " A n n o ta tio n ”
on " c r y s t a l l , " W orks, I I , 2 5 3 .
39* T h is p a s s a g e i s r e p r i n t e d among th e " V a r ia n t
R e a d in g s" i n W orks, V, 127.
4 0 . P a u l M i l l e r d e s c r i b e s th e c a t a l o g u e a s one o f t h e
r h e t o r i c a l d e v ic e s I n th e e r o t i c e p y l l i o n i n Seven M inor
E p ic s o f t h e E n g li s h R e n a is s a n c e 1396-1624 ( F l o r i d a , 1 9 6 7) ,
p . x v i .
Lu E m ily P e a rs o n d i s c u s s e s th e c a t a l o g u e o f b e a u t i e s
i n l y r i c p o e t r y i n E l i z a b e t h a n Love C o n v e n tio n s ( B e rk e le y ,
1933J, P . 129.
41 . S i r Thomas More, H i s t o r i e o f R ic h a r d III (1 5 4 8 ).
M o re 's d e s c r i p t i o n o f J a n e S h o r e 's c h a r a c t e r i s c i t e d In
W orks, V, 126.
42 . The C a rd e n , p . 106.
4 3 . P re m in g e r, p p . 4 0 7 -4 0 8 . L au re n ce P e r r i n e , Sound
and Sense t An I n t r o d u c t i o n to P o e t r y , 2nd edn. (New Y ork,
1 9 5 6 ), p . 97.
44 . W i a t t , pp. 7 9 -9 7 . H a r d in , "D ray to n and th e O vid-
i a n T r a d i t i o n , " pp . 10 0-103.
4 5 . The L i f e , L e t t e r s , and W r i t i n g s o f John H o s k i n s :
1 5 6 6- 1 6 3 8, e d . L o u ise B. O sbourne (New Haven, 1 9 3 7 ) / P P •
145-147-
4 6 . The G a rd en , p p . 105 and 107.
47. Lanham, A H a n d l i s t , p . 6 8 .
4 8 . P u tten h am s a y s t h a t h irm u s i s a f i g u r e I n w hich
" th e w hole se n ce . . . i s su sp en d e d t i l l y e come to th e
l a s t . . . w h ich f i n i s h e t h . . . w ith a f u l l and p e r f i t
s e n c e ." A r t e , p . 1 7 6 .
4 9 . The s e r i e s o f n o r s i s a l s o a s e r i e s o f s u b o r d i
n a t e c l a u s e s b u t I h av e ch o sen to c o n s i d e r them s e p a r a t e l y
from t h e exam p les t h a t I w i l l now c i t e b e c a u s e ( l ) t h e f o l
low ing ex am ples a r e u s u a l l y a s e r i e s o f a d v e r b i a l p h r a s e s
and ( 2 ) t h e fr e q u e n c y o f word r e p e t i t i o n i n t h e s e ex am p les
i s l e s s th a n t h e f r e q u e n c y o f r e p e a t e d n o r s .
50. O c c a s i o n a l l y such p a s s a g e s a r e p e r i o d i c f r a g
m e n ts, e . g . , K a t h e r i n e , 11. 9 1 -9 8 and Mary, 11. 6 9 - 8 0 .
261
51. A lth o u g h s e n t e n t l a appear* t h r o u g h o u t th e E p l s -
| t i e s , t h i s f i g u r e i s u se d m ost e x t e n s i v e l y i n t h e e p i s t l e s
jo f Rosamond ( l l . 1 9- 6 0 ) a n d Ja n e Gray (1 1 . 2 1 -5 6 and 8 l -
1 1 6 ) .
5 2 . P u tten h a m , p . 1 7 6 .
53. The G ard en , p . 147.
54. The B a r ro n s K a rs i n th e r a i g n e o f Edward th e s e c
ond (London^ 1603),, p. 7 .
5 5 . T h ro u g h o u t th e poem, D ra y to n i s c a r e f u l to i d e n
t i f y th e a c t o r s i n th e h i s t o r y p r e c i s e l y . Sometimes he
u s e s d e s c r i p t i v e p h r a s e s t h a t a re c l o s e to th e f i g u r e a n -
to n o m a s ia — s e e , f o r exam p le, R ic h a rd 11. 8 7 -9 0 , Brandon
lT i 1 6 9- 1 7 4, and E l i n o r Cobham 11. 1 9 6 -2 0 8 . D ray to n a l s o
u s e s a p p o s i t i v e p h r a s e s f r e q u e n t l y f o r t h e same k in d o f
i d e n t i f i c a t i o n — s e e , f o r exam ple, E l i n o r 11. 43-44 and
M a rg a re t 11. 127-128.
5 6 . Rosemond Tuve, E l i z a b e t h a n and M e ta p h y s ic a l Im
a g e r y , p. 2 3 8 .
C H A PT E R X V
CONCLUSION
To d e s c r i b e D r a y to n 1s s t y l i s t i c d ev elo p m en t, I p r o
po sed th e t h e s i s t h a t th e changes i n h i s s t y l e from th e
e a r l y poem to th e l a t e r , more s u c c e s s f u l poem, show n o t a
"sim p le ou tg ro w in g o f ' r h e t o r i c 1’’ b u t r a t h e r r e f l e c t a
" m a tu re r a t t e n t i o n to th e Decorum w hich g o v e rn e d th e r e l a
t i o n o f ornam ent to s u b j e c t . " I f i n d t h a t t h i s g e n e r a l i z a
t i o n does f o r th e m ost p a r t d e s c r i b e th e d i r e c t i o n In which
D r a y to n 's s t y l e d e v e lo p e d .
B oth P e i r s G aveston and E n gland s H e r o i c a l l E p i s t l e s
a r e am atory and h i s t o r i c a l poems. Thus b o th have a s t h e i r
s u b j e c t m a t t e r s , th e h i s t o r i c a l e v e n ts t h a t o c c u r i n th e
l i v e s o f th e s p e a k e r s a s w e ll a s t h e r e a c t i o n s o f th e s e
s p e a k e rs to lo v e and to h i s t o r i c a l e v e n t s . B oth poems a re
" D ig e s tin g W arres w ith h e a r t - u n i t i n g L o v es." M oreover, i n
b o th poems, D rayton h a s th e same b a s i c c o n c e p tio n o f th e
decorum t h a t g o v e rn s such an a m a t o r y - h i s t o r i c a l poem.
S in ce th e poem, l i k e th e h e r o i c poem, p r e s e n t s p e o p le o f
h ig h e s t a t e and a c t i o n s t h a t I n v o lv e th e a f f a i r s o f s t a t e ,
decorum demands t h a t th e poem be w r i t t e n i n th e h ig h s t y l e ,
o r , more s p e c i f i c a l l y , i n a s t y l e t h a t would e v e r im p re ss
262
263
on t h e r e a d e r t h e im p o rta n c e and t h e g r a n d e u r o f e v e r y t h in g
t h a t i s t a k i n g p l a c e . D r a y t o n ' b c h i e f means o f a c h i e v i n g
t h i s s t y l e i n b o t h poems i s th ro u g h o rn a m e n ts , p a r t i c u l a r l y
o rn a m e n ts t h a t a m p lif y .
Thus from P e i r s G av eston to E n g la n d s H e r o i c a l l
E p i s t l e s th e b a s i c s u b j e c t m a t t e r h a s n o t s i g n i f i c a n t l y
changed ( " r e a c t i o n " and " H i s t o r y " ) n o r h a s t h e b a s i c s t y l e
( h ig h s t y l e , a m p l i f y i n g o rn a m e n ts ) n o r h a s D r a y t o n 's u n d e r
s t a n d i n g o f t h e decorum t h a t g o v e rn e d s t y l e and s u b j e c t .
The p o i n t w h e re in E n g la n d s H e r o i c a l l E p i s t l e s e v in c e s s t y
l i s t i c s u p e r i o r i t y to P e i r s G a v esto n i s i n th e c a p a c i t y o f
th e o rn a m e n ts to r e a l i z e t h e p o e t ' s s u b j e c t s and to i n t e
g r a t e t h e s e s u b j e c t s i n t o a c o h e r e n t w h o le . And t h i s s u
p e r i o r e f f e c t i v e n e s s o f th e o rn a m e n ts to r e a l i z e th e s u b
j e c t s and p u r p o s e s o f th e poems r e f l e c t s , f i n a l l y , a
m a t u r e r a t t e n t i o n to t h e decorum , d e ce n cy o r s e e m lin e s s o f
th e o rn a m e n ts i n r e l a t i o n to th e s u b j e c t s . T h is " m a tu re r
a t t e n t i o n " d i d n o t l e a d D ra y to n to change th e r h e t o r i c o f
h i s poem b u t t o r e f i n e i t .
I f we c o n s i d e r th e o rn a m e n ts i n r e l a t i o n to th e h i s
t o r i c a l s u b j e c t m a t t e r o f each poem, we can se e t h a t th e
o rn a m e n ts can r e l a t e to th e s u b j e c t i n a t l e a s t two ways:
a m p l i f i c a t i o n and n a r r a t i o n . I n P e i r s G a v esto n I found
t h a t e x c e p t f o r an o c c a s i o n a l e p ic s i m i l e , t h e many a m p li
f y i n g o rn a m e n ts d i d n o t u s u a l l y i l l u m i n a t e s p e c i f i c h i s
t o r i c e v e n t s and f a c t s . Most o f t e n , th e b a t t l e s , m e e tin g s
264
o f c o u n c i l s , and a c t i o n s o f G a v e s to n 's enem ies were l e f t
jun o rn am en ted . A lth o u g h t h i s la c k o f o rn a m e n ta tio n d id a l
low D ray to n a t tim e s to r e p o r t h i s t o r y s w i f t l y , th e ad v an
ta g e g a in e d i s s u r e l y by d e f a u l t . D rayto n d id n o t by t h i s
p ro c e d u r e im p re ss on th e r e a d e r th e im p o rta n c e o f th e h i s
t o r i c f a c t s ( p a r t of. h i s aim in w r i t i n g a " h y s t o r i e " ) . The
c l o s e s t D rayton came to a m p lify in g th e h i s t o r i c s u b j e c t
m a t t e r o f th e poem was to a m p lify "w e ll" and "woe"— th e
p a t t e r n i n t o w hich th e i n d i v i d u a l e v e n ts f e l l . But even
t h i s p ro c e d u re had d i s a d v a n ta g e s s in c e th e f i g u r e s te n d e d
to make th e n a r r a t i v e h a l t i n g . T h at iB, th e a c t u a l n a r r a
t i v e o f th e e v e n ts te n d e d to be i n t e r r u p t e d by th e s ta n z a s
t h a t a m p l i f i e d o n ly th e w e l l o r woe o f th o s e e v e n t s . Hence
D r a y t o n 's method o f o r n a m e n ta tio n i n P e i r s G aveston f e l l
s h o r t o f d e v e lo p in g th e s u b j e c t m a t t e r o f h i s poem even
th ou gh we may f i n d j u s t i f i c a t i o n s f o r h i s i n d i v i d u a l s t y
l i s t i c c h o ic e s .
In E n g lan d s H e r o i c a l l E p i s t l e s , D ray to n c o n s i s t e n t l y
a tte m p te d to a m p lify and i l l u m i n a t e th e h i s t o r i c e v e n ts by
such f i g u r e s a s i n t e r r o g a t i o n h irm u b, and a n a p h o ra , a s w e l l
a s by th e v a r i o u s s e n te n c e p a t t e r n s . A lth o u g h i n u s in g
t h e s e f i g u r e s D ray to n may have l o s t som ething o f th e power
to make an e v e n t suprem ely I m p r e s s iv e ( u n l ik e th e t r o p e s
i n P e i r s G a v e s to n ), he d id g a in i n n a r r a t i v e e f f i c i e n c y ,
f o r t h e s e f i g u r e s u s u a l l y a llo w him to r e p o r t h i s t o r i c
I 265
je v e n ts s p e c i f i c a l l y , s w i f t l y , and c o h e r e n t l y . F u r t h e r ,
j
!th e y a m p lify th e s p e c i f i c h i s t o r i c f a c t s and e v e n t s .
The ornam ents In r e l a t i o n to th e s u b j e c t " r e a c t i o n "
i n th e two poems i s a s l i g h t l y more complex problem , b u t
s t i l l I f i n d t h a t th e o rn am en ts i n E n glands H e r o i c a l l
E p i s t l e s a r e g e n e r a l l y more e f f e c t i v e I n s t r u m e n ts to r e a l
i z e t h i s s u b j e c t . A lthough I have c i t e d s p e c i f i c d i f f e r
e n c e s o f f i g u r e s , t h e r e a r e two main a r e a s o f d i s t i n c t i o n
betw een th e two poems. F i r s t , th e ornam en ts i n P e i r s Ga
v e s to n ( e s p e c i a l l y e p ic s i m i l e and s y s t r o p h e - a p o s t r o p h e )
c r e a t e d a vehemence o r an a m p l i f i c a t i o n a p p r o p r i a t e to th e
h ig h e s t a t e o f th e B peaker. B ut i n a l l i n s t a n c e s w h e th e r
i t was th e lam en t, o f th e p r e p a r a t i o n f o r th e la m e n t, th e s e
f i g u r e s te n d e d to make th e " r e a c t i o n " a s u p e r l a t i v e I n
s ta n c e o f i t s k in d . T h is extrem e h e ig h t e n i n g was p a r t l y
due to th e form o f th e f i g u r e s ( s i m i l e s e r i e s , s e r i e s o f
a p o s t r o p h e - s y s t r o p h e ) and p a r t l y due to th e c o n te n t o f th e
f i g u r e s ( e . g . , " T h ra c e -b o rn e H ecu b a"). The d is a d v a n ta g e o f
such o rn am e n ts was t h a t th e y l e f t nowhere f o r th e sp e a k e r
to go e m o t i o n a l ly . They e s t a b l i s h e d one supreme p i t c h , and
th e o n ly movement c o u ld be to o t h e r s u b j e c t s . In E ngland s
H e r o i c a l l E p i s t l e s , how ever, th e o rn a m e n ts, e s p e c i a l l y e p ic
s i m il e and th e f i g u r e s o f grammar t h a t I examined i n th e
r e a c t i o n to th e " e p i s t l e c o n t e x t , " do n o t make each r e a c
t i o n seem to be a s u p e r l a t i v e i n s t a n c e o f I t s k in d . Hence
i n th e e p i s t l e i t s e l f , th e s p e a k e r can d e v e lo p to a more
266
i n t e n s e e m o tio n a l p i t c h and f u r t h e r , th e v a r i o u s s p e a k e r s
a r e made to seem r a t h e r d i s t i n c t from one a n o th e r .
A n o th e r m a jo r d i s t i n c t i o n i n th e o rn a m e n ts i n r e l a t i o n
to th e s u b j e c t " r e a c t i o n " i s t h a t i n P e i r s G a v esto n , many -
o f th e o rn a m e n ts te n d e d to c r e a t e o n ly t h e vehemence o f th e
r e a c t i o n . T h is was p a r t i c u l a r l y t r u e o f th e f i g u r a t i v e
p a t t e r n s y s t r o p h e - a p o s t r o p h e , and o c c a s i o n a l l y t r u e o f th e
e p ic s i m i l e s ( a lt h o u g h i n some i n s t a n c e s i t "made p l a i n e "
th e r e a c t i o n ) . The P e i r s G av esto n o rn a m e n ts f o r t h e m ost
p a r t d id n o t r e f l e c t on th e h i s t o r i c a l c o n t e x t o f t h e
s p e a k e r s o r c h a r a c t e r i z e t h e s p e a k e r s . In d e e d , D ra y to n d i d
n o t i n an y s e n s e hone h i s o rn a m e n ts so t h a t th e y w ere p a r
t i c u l a r l y s u i t a b l e to G a v e s t o n 's p e r s o n a l i t y .
In E n g la n d s H e r o i c a l l E p i s t l e s , th e e p i s t l e c o n t e x t
and th e p r a i s e - o f - t h e - b e l o v e d i l l u s t r a t e d D r a y t o n 's p o e t i c
a d v a n c e s . I n b o th s e c t i o n s th e o rn a m e n ts c o u ld be th e
means o f i n t r o d u c i n g h i s t o r y and w ere a lm o s t alw ay s s u i t
a b l e to t h e s p e a k e r s o f t h e v a r i o u s poem s. The c a p a c i t y o f
th e o rn a m e n ts to b e s u i t a b l e to a c h a r a c t e r and even to d e
v e lo p q u i t e s p e c i f i c a s p e c t s o f a c h a r a c t e r were p o e t i c d e
v e lo p m e n ts t h a t I i l l u s t r a t e d m ost p a r t i c u l a r l y I n th e
p r a i s e - o f - t h e - b e l o v e d s e c t i o n . H ere we saw D ra y to n u s i n g
t h e same f i g u r a t i v e s t r a t e g y a g a i n and a g a i n b u t r e a l i z i n g
a g r e a t d e a l o f v a r i e t y i n t h e c o n t e n t ( u n l i k e a P e i r s Ga
v e s to n f i g u r e Buch a s sy s t r o p h e - a p o s t r o p h e ) and t h e r e b y
making t h e f i g u r e h i g h l y a p p r o p r i a t e to th e s p e a k e r . More-
267
o v e r, we saw t h a t th e f i g u r a t i v e s t r a t e g y e f f i c t i o - h y p e r
b o le form ed p a r t o f th e t o t a l c h a r a c t e r i z a t i o n o f th e
s p e a k e r a s i n th e e p i s t l e s o f John and Edward IV.
F i n a l l y , i n E n g lan d s H e r o i c a l l E p i s t l e s " r e a c t i o n " i s
s k i l l f u l l y com bined, by means o f th e o rn am e n ts, w ith h i s
t o r i c e v e n t . I n P e i r s G a v esto n , th e a m p lif ie d jo y o r s o r
row was o f t e n t r e a t e d a p a r t from th e e v e n ts , p a r t i c u l a r l y
th e h i s t o r i c e v e n ts t h a t i n s p i r e d i t . I f an e v e n t b e f e l l
Edward o r G aveston t h a t cau sed him p a in o r jo y , D rayton
jwould u s u a l l y d e p i c t t h a t p a in o r jo y q u i t e a p a r t from th e
h i s t o r i c e v e n t. F o r exam ple, i n most o f th e la m e n ts D ray
to n does n o t on any l e v e l r e f e r to th e p a r t i c u l a r h i s t o r i c
f a c t s t h a t g iv e r i s e to th e s p e a k e r 's r e a c t i o n . In Eng
la n d s H e r o i c a l l E p i s t l e s , on th e o t h e r hand, D rayton was
o f t e n a b l e to combine p a s s i o n a t e r e a c t i o n w ith th e h i s
t o r i c e v e n t t h a t I n s p i r e d i t . In d e e d , most o f t e n he was
a b le to d ra m a tiz e t h e p a s s i o n a t e r e a c t i o n o f th e s p e a k e r
to th e h i s t o r y by means o f i n t e r r o g a t i o . Hence i n E ng lan ds
H e r o i c a l l E p i s t l e s t h e s p e a k e r does n o t o f t e n t a l k a b o u t
h i s " r e a c t i o n " b u t t a l k s a b o u t h i s t o r y i n a p a s s i o n a t e man
n e r , t h e r e b y d r a m a tiz in g h i s r e a c t i o n o f jo y o r woe.
Out o f th e t o t a l canon o f D r a y to n 's w r i t i n g s I have
u n d e r ta k e n to exam ine i n t h i s p a p e r a q u i t e l i m i t e d body
o f e v id e n c e and I have examined t h a t e v id e n c e from one
p o i n t o f view . B u t by a n a ly z in g th e problem s o f o rn am en t,
s u b j e c t , and decorum I n r e l a t i o n to each o t h e r , I have
j 268
I
jb ro ugh t t o g e t h e r some o f th e i s s u e s t h a t a r e c e n t r a l to u n -
]
jd e r s ta n d in g D rayton 1s p o e t i c . T hroughout much o f h i s c a
r e e r j D r a y to n 's s t y l e had many f i g u r e s o f sp eech o r o r n a
m ents. A lthough he e x p e rim e n te d w ith th e s t y l e s o f h i s
poems and a lth o u g h he r e v i s e d a l l o f them, h i s s t y l e
th ro u g h o u t h i s c a r e e r i s to a g r e a t e r o r l e s s e r e x t e n t o r
nam ented. Thus i n t h e d e f i n i t i v e e d i t i o n s o f h i s poems,
th e 1619 Poems and t h e 1627 The B a t t a l l e o f A g in c o u rt and
The M is e r ie s o f Queene M a r g a r i t e , D rayton u s e d many o r n a
m ents, p a r t i c u l a r l y i n the h i s t o r i c a l poems. In th e 1619
e d i t i o n o f th e B a ro n s W arres, f o r exam ple, he u sed e p ic
s im ile a s w e ll as a n t i t h e s i s e x t e n s i v e l y and in A g in c o u rt
1
and M a r g a rite he u s e d d i s t r i b u t i o n e x t e n s i v e l y . D r a y to n 's
g e n e r a l o r n a m e n ta tio n o f h i s poems c o n tin u e d w e ll i n t o th e
17th c e n t u r y .
I n r e l y i n g on o rnam ents a s a key to s t y l i s t i c accom
p lis h m e n t D rayton w as, o f c o u r s e , i n a c c o rd w ith some c e n
t r a l t h e o r e t i c a l a t t i t u d e s to w a rd s r h e t o r i c b e in g e x p re s s e d
i n th e l 6 t h c e n tu r y by r h e t o r i c i a n s i n c l u d i n g Puttenham and
Peacham. They, l i k e many r h e t o r i c i a n s o f th e l 6 t h c e n t u r y ,
d e s c r i b e d th e whole p ro v in c e o f r h e t o r i c i n term s o f s t y l e
o r e l o c u t i o , and d e s c r i b e d e l o c u t l o i n term s o f o rn am e n ts.
But f u r t h e r , l i k e t h e s e r h e t o r i c i a n s , D ray to n c o n ce iv e d o f
th e o rn am e n ts a s t o o l s t h a t h e lp e d him a cc o m p lish h i s p u r
p o ses I n th e poem. He did n o t c o n s i d e r t h e ornam ents d e
t a c h a b l e " b e a u t i e s 1 1 b u t d e v ic e s t h a t c o u ld h e l p him g iv e
269
""b etter l i g h t and n o te " to a s u b j e c t . In d e e d D r a y to n 's p o -
j e t i c developm ent was to w a rd s more f u l l y r e a l i z i n g th e c a
p a c i t y o f th e ornam en ts to g iv e " b e t t e r l i g h t and n o te " to
h i s s u b j e c t s .
T h is l a s t comment b r i n g s u s to th e pro b lem s o f s u b j e c t
and decorum . As to th e s p e c i f i c s u b j e c t m a t t e r , th e poems
P e i r s G aveston and E n g lan d s H e r o i c a l l E p i s t l e s a r e r e p r e
s e n t a t i v e o f much In D r a y t o n 's w r i t i n g s . In th e poems
M o rtim e rla d o s , th e B arons W a rre s, M a t i l d a , R o b e r t, Duke o f
Normandy, and The M is e r i e s o f Queene M a r g a r i t e , D rayton was
I n t e r e s t e d I n p r e s e n t i n g b o th am atory and h i s t o r i c s u b j e c t
m a t t e r s . T hroughout h i s c a r e e r he e x p e rim e n te d w ith th e s e
s u b j e c t s In c o m b in a tio n w ith each o th e r , and w ith a s t y l e
a p p r o p r i a t e to th e s u b j e c t m a t t e r s .
r
F i n a l l y , as I o b s e rv e d In th e f i r s t c h a p t e r , D rayton
was from h i s e a r l i e s t w r i t i n g s a t t e n t i v e to th e c o n c e p t o f
decorum and showed h i s c o n ce rn b o th i n h i s p r a c t i c e ( p a r
t i c u l a r l y i n th e h i s t o r i c poems) and i n h i s t h e o r e t i c a l
pro nou ncem ents. H is e a r l i e s t works show t h a t he was e s p e
c i a l l y aware o f th e d ictu m t h a t a s t y l e sh o u ld be a p p r o p r i
a t e to th e g e n e r a l l e v e l o f th e s u b j e c t — a h ig h s t y l e f o r
a "h ig h " s u b j e c t and so f o r t h . B ut D r a y to n 's a t t e n t i o n to
and u n d e r s ta n d in g o f t h i s decorum m atu red so t h a t he came
t o see t h a t a g e n e r a l c o rre sp o n d e n c e betw een s t y l e and sub
j e c t was n o t enough, t h a t In d e e d , th e orn am en ts c o u ld se rv e
270
more p u r p o s e s th a n o n ly to g iv e a g e n e r a l a m p l i f i c a t i o n to
th e s u b j e c t . Hence D rayton d i d n o t abandon a ' 'r h e t o r i c a l "
s t y l e b u t made i t even more f u n c t i o n a l .
271
FOOTNOTES
1. C h a r le s P e e t d e s c r i b e s th e m ajo r orn am en ts i n The
B a t t a i l e o f A g in c o u rt and The M is e r ie s o f Queene M a r g a r ite
i n "The P a s t o r a l a n d H e r o i c P o e tr y o f M ich ael D r a y t o n ,"
D i s s . P r in c e to n Univ.., 1956* pp. 212-243.
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Carter, Katherine Davis
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Drayton And Decorum: A Stylistic Study Of The Relation Of Ornament To Subject In 'Peirs Gaveston' (1593) And 'Englands Heroicall Epistles' (1619)
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