The Complete Works in Verse and Prose of Samuel Daniel. Edited, with memorial-introduction and a glossarial index embracing notes and illustrations. By the Rev. Alexander B. Grosart

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THE COMPLETE WORKS IN VERSE AND PROSE OF SAMUEL DANIEL. VOL. III. — THE DRAMATIC WORKS. AR I AL 1604 THE COMPLETE WORKS IN VERSE AND PROSE OK SAMUEL DANIEL Edited, with Memorial-Introduction and a Gloss, Index embracing Notes and Illustrations. ey THE REV. ALEXANDER B. GROSART. D.D., LL.D. (Edin.), F.S.A. (Scot.), St. George' s, Blackburn, Lancashire I IN FOUR VOLUMES. VOL. III.— THE DRAMATIC WORKS. I. CLEOPATRA. 1594— 1623. II. PHILOTAS. 1607. III. THE VISION OF THE TWELVE GODDESSES. IV. THE QVEENES ARCADIA. 1606. V. TETHYS FESTIVALL. 1610. VI. HYMENS TRIUMPH. 1615. IRINTED FOR PRIVATE CIRCULATION ONLY 1SS5. 100 copies only.] Printed by fsazeil, Watson, & l'ineyt Ld., London and Ayusbury. CONTENTS. PACE Preliminary Note by George Saintsbury, Esq. : vii I. Cleopatra . . . i II. Philotas . . . . . -95 III.

The Vision of the Twelve Goddesses . .182 IV. The Qveenes Arcadia . . . 207 V. Tethys Festivall . . . . .301 VI. Hymens Triumph . . . . .325 PRELIMINARY NOTE ■ON THE POSITION OF DANIEL'S TRAGEDIES IN ENGLISH LITERATURE. [It gives me no little pleasure to avail myself of the following spontaneous 'Note' by my friend George Saintsbury, Esq. More on the subject may be looked for in the ' Memorial- Introduction II. — Critical ' on other lines of influence of the Senecan or Daniel form of plays. But meanwhile the present 'Note' is complete within its self-appointed limits. — A. B. G.] THESE few words are not intended as a criticism of Cleopatra and Philotas: I have no intention of interfering with Dr. Grosart's province to that extent, or of abusing his good nature. It has, however, often struck me that the precise position of these tragedies in our literature, and the very interesting reflections which they present to any one who knows the sixteenth-century literature of France and Italy, especially of France, has been singularly overlooked.

I have, I think, a tolerably fair acquaintance with Elizabethan drama; but except these two, and the translation of Garnier's Cornelia which Kyd executed, I cannot think of any English tragedies (written by dramatists at all well known, and belonging to the formative period of the drama) which are dis tinctly couched in the form of the Senecan model. No doubt some earlier plays show traces (more or less) of ' PRELIMINARY NOTE. the influence of that model, and some later show traces of the influence of the French dramatists who adopted it ; but these only follow it exactly. The fact is, of course, in no sense a discovery ; but I need only quote two well-known books of different kinds to show that the inferences from it have, as a rule, concerned English dramatic critics very slightly. In Professor Morley's big book on " English Plays," I can find (and the index at least does not convict me of carelessness) no mention whatever of Daniel's dramas, nor is Cornelia mentioned in the notice of Kyd.