In 1618 Drayton contributed two _Elegies_ to Henry FitzGeoffrey's _Satyrs and Epigrames_. These were on the Lady Penelope Clifton, and on 'the death of the three sonnes of the Lord Sheffield, drowned neere where Trent falleth into Humber'. Neither is remarkable save for far-fetched conceits; they were reprinted in 1610, and again, with many others, in the volume of 1627. In 1619 Drayton issued a folio collected edition of his works, and reprinted it in 1620. In 1627 followed a folio of wholly fresh matter, including the _Battaile of Agincourt_; _the Miseries of Queene Margarite_, _Nimphidia_, _Quest of Cinthia_, _Shepheards Sirena_, _Moone-Calfe_, and _Elegies upon sundry occasions_. The _Battaile of Agincourt_ is a somewhat otiose expansion, with purple patches, of the _Ballad_; it is, nevertheless, Drayton's best lengthy piece on a historical theme. Of the _Miseries of Queene Margarite_ and of the _Moone-Calfe_ we have already spoken. The most notable piece in the book is the _Nimphidia_. This poem of the Court of Fairy has 'invention, grace, and humour', as Canon Beeching has said. It would be interesting to know exactly when it was composed and committed to paper, for it is thought that the three fairy poems in Herrick's _Hesperides_ were written about 1626. In any case, Drayton's poem touches very little, and chiefly in the beginning, on the subject of any one of Herrick's three pieces. The style, execution, and impression left on the reader are quite different; even as they are totally unlike those of the _Midsummer Night's Dream_. Herrick's pieces are extraordinary combinations of the idea of 'King of Shadows', with a reality fantastically sober: the poems are steeped in moonlight. In Drayton all is clear day, or the most unromantic of nights; though everything is charming, there is no attempt at idealization, little of the higher faculty of imagination; but great realism, and much play of fancy. Herrick's verses were written by Cobweb and Moth together, Drayton's by Puck. Granting, however, the initial deficiency in subtlety of charm, the whole poem is inimitably graceful and piquant. The gay humour, the demure horror of the witchcraft, the terrible seriousness of the battle, wonderfully realize the mock-heroic gigantesque; and while there is not the minute accuracy of Gulliver in Lilliput, Drayton did not write for a sceptical or too-prying audience; quite half his readers believed more or less in fairies. In the metre of the poem Drayton again echoes that of the older romances, as he did in _Dowsabel_. In the _Quest of Cinthia_, while ostensibly we come to the real world of mortals, we are really in a non-existent land of pastoral convention, in the most pseudo-Arcadian atmosphere in which Drayton ever worked. The metre and the language are, however, charmingly managed. _The Shepheards Sirena_ is a poem, apparently, 'where more is meant than meets the ear,' as so often in pastoral poetry[23]; it is difficult to see exactly what is