Produced by David Starner, Taavi Kalju and the Online Distributed Proofreading Team at http://www.pgdp.net ELIZABETHAN SONNET-CYCLES EDITED BY MARTHA FOOTE CROW DELIA BY SAMUEL DANIEL DIANA BY HENRY CONSTABLE KEGAN PAUL, TRENCH, TRUeBNER AND CO. PATERNOSTER HOUSE LONDON W.C. 1896 DELIA BY SAMUEL DANIEL SAMUEL DANIEL Daniel's sonnet series has been by many regarded as the prototype of Shakespeare's. It is true that several of Daniel's themes are repeated in the cycle composed by the greater poet. The ideas of immortality in verse, the transitoriness of beauty, the assurances of truth, the humility and the woes of the lover, the pain of separation and the comfort of night thoughts, shape the mood of both poets. But these motives are also found in the pages of many other sonneteers of the time. All these devotees seem to have had a storehouse of poetic conceits which they held in common, and from which each poet had the right to draw materials to use in his own way. In fact Shakespeare's sonnets are full of echoes from the voices of Sidney, Constable, Davies, Lodge, Watson, Drayton and Barnes, as well as from that mellifluous one of Daniel; and these poetic conceits were tossed forth in the first place by the Italian sonnet makers, led by Petrarch. It is evident that Daniel's _Petrarch_ has been well-thumbed. Wood says that Daniel left Oxford without a degree because "his geny" was "more prone to easier and smoother studies than in pecking and hewing at logic," and we may believe that Italian was one of these smoother studies. His translation of Paolo Giovi's work on Emblems, which was published in 1585, was doubtless one fruit of this study, a work that since it took him into the very realm of the _concetti_, was to be a potent influence upon his mental growth. The main theme, the cruelty of the Fair, is the same as that of Petrarch. Daniel follows this master in making the vale echo with his sighs, in appealing to her hand and cruel bosom for mercy, in recounting the number of years he has worshipped her and honored her with sonnets on which he is depending for immortal fame, in upbraiding her for her devotion to the mirror rather than to him, and for ensnaring him with the golden net of her hair and transpiercing him with the darts from her crystalline eyes. In some of Petrarch's nobler flights Daniel does not follow; the higher teachings of love are not revealed to him, the step from human to divine he does not take; yet in the main, the features of the earlier poet re-appear in Daniel's verse, as they do in most of his fellow-sonneteers, including Shakespeare.