While still at Polesworth, Drayton fell in love with his patron's younger daughter, Anne;[4] and, though she married, in 1596, Sir Henry Rainsford of Clifford, Drayton continued his devotion to her for many years, and also became an intimate friend of her husband's, writing a sincere elegy on his death.[5] About February, 1591, Drayton paid a visit to London, and published his first work, the _Harmony of the Church_, a series of paraphrases from the Old Testament, in fourteen-syllabled verse of no particular vigour or grace. This book was immediately suppressed by order of Archbishop Whitgift, possibly because it was supposed to savour of Puritanism.[6] The author, however, published another edition in 1610; indeed, he seems to have had a fondness for this style of work; for in 1604 he published a dull poem, _Moyses in a Map of his Miracles_, re-issued in 1630 as _Moses his Birth and Miracles_. Accompanying this piece, in 1630, were two other 'Divine poems': _Noah's Floud_, and _David and Goliath_. _Noah's Floud_ is, in part, one of Drayton's happiest attempts at the catalogue style of bestiary; and Mr. Elton finds in it some foreshadowing of the manner of _Paradise Lost_. But, as a whole, Drayton's attempts in this direction deserve the oblivion into which they, in common with the similar productions of other authors, have fallen. In the dedication and preface to the _Harmony of the Church_ are some of the few traces of Euphuism shown in Drayton's work; passages in the _Heroical Epistles_ also occur to the mind.[7] He was always averse to affectation, literary or otherwise, and in Elegy viij deliberately condemns Lyly's fantastic style. Probably before Drayton went up to London, Sir Henry Goodere saw that he would stand in need of a patron more powerful than the master of Polesworth, and introduced him to the Earl and Countess of Bedford. Those who believe[8] Drayton to have been a Pope in petty spite, identify the 'Idea' of his earlier poems with Lucy, Countess of Bedford; though they are forced to acknowledge as self-evident that the 'Idea' of his later work is Anne, Lady Rainsford. They then proceed to say that Drayton, after consistently honouring the Countess in his verse for twelve years, abruptly transferred his allegiance, not forgetting to heap foul abuse on his former patroness, out of pique at some temporary withdrawal of favour. Not only is this directly contrary to all we know and can infer of Drayton's character, but Mr. Elton has decisively disproved it by a summary of bibliographical and other evidence. Into the question it is here unnecessary to enter, and it has been mentioned only because it alone, of the many Drayton-controversies, has cast any slur on the poet's reputation.