ed to fix the custom of celebrating love or
friendship by a series of sonnets, to which some pastoral pseudonym was
affixed. In his sonnets, many of which rank with Shakespeare's, and in his
later poetry, especially the beautiful "Complaint of Rosamond" and his
"Civil Wars," he aimed solely at grace of expression, and became
influential in giving to English poetry a greater individuality and
independence than it had ever known. In matter he set himself squarely
against the mediaeval tendency:

Let others sing of kings and paladines
In aged accents and untimely words,
Paint shadows in imaginary lines.

This fling at Spenser and his followers marks the beginning of the modern
and realistic school, which sees in life as it is enough poetic material,
without the invention of allegories and impossible heroines. Daniel's
poetry, which was forgotten soon after his death, has received probably
more homage than it deserves in the praises of Wordsworth, Southey, Lamb,
and Coleridge. The latter says: "Read Daniel, the admirable Daniel. The
style and language are just such as any pure and manly writer of the
present day would use. It seems quite modern in comparison with the style
of Shakespeare."

THE SONG WRITERS. In strong contrast with the above are two distinct
groups, the Song Writers and the Spenserian poets. The close of the reign
of Elizabeth was marked by an outburst of English songs, as remarkable in
its sudden development as the rise of the drama. Two causes contributed to
this result,--the increasing influence of French instead of Italian verse,
and the rapid development of music as an art at the close of the sixteenth
century. The two song writers best worth studying are Thomas Campion
(1567?-1619) and Nicholas Breton (1545?-1626?). Like all the lyric poets of
the age, they are a curious mixture of the Elizabethan and the Puritan
standards. They sing of sacred and profane love with the same zest, and a
careless love song is often found on the same page with a plea for divine
grace.

THE SPENSERIAN POETS. Of the Spenserian poets Giles Fletcher and Wither are
best worth studying. Giles Fletcher (1588?-1623) has at times a strong
suggestion of Milton (who was also a follower of Spenser in his early
years) in the noble simplicity and majesty of his lines. His best known
work, "Christ's Victory and Triumph" (1610), was the greatest religious
poem that had appeared in England since "Piers Plowman," and is no