67-) English Literature
Samuel Daniel
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Works
Though
admired as a lyric poet and historian, Samuel Daniel has found few enthusiastic
readers for his dramatic works. Sober minded, restrained, reflective, and
frequently prosaic, Daniel stands outside the popular-stage tradition, yet as
an innovator he is of considerable importance in the history of Renaissance
drama. Cleopatra is one of the earliest and best attempts to transplant French
Senecan closet drama to the English stage; The Vision of the Twelve Goddesses
inaugurated the vogue for the elaborate Jacobean court masque; and The Queen's
Arcadia is the first English imitation of Italian pastoral drama.
By
1592 Daniel had come under the patronage of Mary, Countess of Pembroke, to whom
he dedicated Delia. Containing Certain Sonnets: With the Complaint of Rosamond
(1592)—a volume which firmly established his reputation as a poet—and
Cleopatra. It was under the influence of the literary circle at Wilton (his
"best Schoole," as he refers to it in Defense of Rhyme ) that Daniel
wrote his first two plays.
Reflecting
the political interests (in abuses of tyranny and limits of government) and
literary ideals (derived from Sidney's Defense of Poetry) of the Countess of
Pembroke's circle, Daniel sought in Cleopatra and Philotas "to reduce the
stage from idlenes to those grave prsentments of antiquitie vsed by the wisest
nations." More specifically, it was in the Wilton group's interest in the
French Senecan drama of Robert Garnier and Etienne Jodelle that Daniel found a
model for his early plays.
Encouraged
by the Countess to compose a companion piece to her translation of Garnier's Marc-Antoine
and heeding Spenser's advice to turn his pen to "tragic plaints and
passionate mischance," Daniel wrote The Tragedy of Cleopatra. The play was
first published in 1594, but Daniel, as he was to do for so many of his works,
revised it: once in 1599 and more extensively in 1607.
In
its emphasis on the destruction of the state through unrestrained ambition, on
the doctrine of cyclical recurrence, and on the providential course of history,
Cleopatra treats themes typical of much of Daniel's work. Tormented by her sins
and aware of the disorder in Egypt brought about by her ambition, Cleopatra is
determined to commit suicide, both to preserve her honor and to attest her love
of the dead Antony. However, in an attempt to preserve her son Caesario so that
he might restore Egypt's fallen glory, she pretends to submit to Octavius
Caesar, who hypocritically promises her mercy. Caesar, however, plans to parade
Cleopatra through Rome as his triumphant prize and, by bribing Caesario's
tutor, arranges the murder of the prince. Apprised by Dolabella of Caesar's
plans, Cleopatra has two asps smuggled to her and "Die[s] like a
Queene," requesting to be buried in Antony's tomb. The play concludes with
the Chorus emphasizing that Rome will be destroyed as was Egypt.
In
the 1594 and 1599 versions, Cleopatra is closet drama: the lengthy monologues,
dialogues on questions of political morality, and reported action render the
play unsuitable for the popular stage. Yet, it is effective closet drama. As in
Rosamond and Letter from Octavia , Daniel delineates the mind of an afflicted
woman who bears herself with dignity and nobility. In her struggle over her
divided role as Queen and mother, her awareness of the destruction she has
caused in Egypt, the intensity of her love for Antony, and her resolution to
die honorably, Cleopatra is an effective psychological portrait. Although all
of the action is reported, Daniel handles this technique well, even
dramatically (especially in Rodon's description of Caesario's betrayal and death,
and the Nuntius's account of Cleopatra's suicide). Daniel addresses a variety
of political issues, but the result is not the diffuseness we find in Philotas.
Here Daniel makes effective use of the Chorus as a unifying device, for at the
conclusion of each act the Chorus relates individual issues to the overriding
emphases on the causes of civil disorder and its cyclical recurrence.
In
1607 Daniel so completely revised Cleopatra that it became in effect a new
work. Apparently attempting to make the play more stage-worthy, he rearranged
scenes and parts of scenes to break long monologues into dialogue or to turn
reported into direct action, added passages to clarify action or theme, and
deleted passages to reduce narration. Although the result is a more symmetrical
action, Daniel's revisions—particularly of Cleopatra's opening monologue and
Diomedes's report of Cleopatra's death—reduce the meditative, philosophical
power of the verse, rendering the characterization of Cleopatra less powerful
and the development of theme less full.
Of
Daniel's plays, Cleopatra is the best known and most influential. Shakespeare
drew upon the 1599 version in Antony and Cleopatra, which in turn probably
influenced Daniel's 1607 version; Dryden was influenced in All for Love by Daniel's
imagery. Among minor writers, Samuel Brandon, Fulke Greville, William
Alexander, and Elizabeth Cary were indebted in various ways to Cleopatra.
As
Joan Rees observes, Cleopatra marks an important stage in Daniel's development:
"When he began Cleopatra he was 'Sweete hony-dropping Daniel'; by the time
he finished it, he was Coleridge's 'sober-minded Daniel.'"
Until
1600, by which time he probably had begun Philotas, Daniel's attention was to
his nondramatic poetry. Some time during 1594 he came under the patronage of
Lord Mountjoy, to whom The First Four Books of the Civil Wars (1595) and The
Poetical Essays (1599) are dedicated. By 1600 he had possibly come under
Elizabeth's favor, but the tradition that she appointed him poet laureate after
the death of Spenser has no factual basis.
Daniel
had written the first three acts of Philotas by 1600, intending the play to be
acted by some gentlemen's sons as a Christmas entertainment. Revision of The
Civil Wars interrupted work on the play, but, needing money, he completed the
final two acts in 1604. The play was probably first performed on 3 January 1605
by the Children of the Queen's Revels. In 1607 Daniel extensively revised the
work, principally to improve grammar, meter, or rhyme.
In
Philotas, as he had in Cleopatra, Daniel treats themes common to much of his
work: how unchecked ambition leads to civil disorder, how tyranny, through the
unscrupulous use of the law, results in oppression, and how "To admire
high hills, but liue within the plain" is the best course of life.
Philotas, a proud and ambitious soldier whom Alexander has raised above his
rank, has entered into a conspiracy with his father to overthrow Alexander,
whom they perceive as a vain and tyrannical ruler. Cloaking his ambition under
protestations of honor, concern for the state, and a refusal to conform to the
times by flattering the king, Philotas is esteemed by the people (represented
by a Chorus). Partly motivated by self-interest and jealousy, Craterus (one of
Alexander's "faithfull'st Counsellers") discerns Philotas's ambition
and sets about to entrap him. Using Philotas's revelation of his ambition to
his mistress Antigona and his failure to report a different plot by several
nobles to murder Alexander—as well as masterful character assassination—Craterus,
through rather Machiavellian maneuvering which subverts justice but
providentially preserves the state, convinces the king of Philotas's guilt. At
his trial Philotas is allowed to speak only after Alexander, presiding as
judge, has pronounced him guilty and left. In protesting his innocence Philotas
effectively underlines the trial's mockery of justice. Craterus, realizing the
need for a confession to quell rumor and discontent, convinces Alexander to
have Philotas tortured. At first Philotas, attempting to preserve his honor,
resists, but eventually he reveals the conspiracy, even implicating an innocent
bystander. As a result, Philotas loses all his supporters' respect, and the
play concludes with the affirmation that the state has been spared from civil
insurrection.
Philotas
is justifiably acclaimed for elegance of diction and regularity of meter,
qualities generally typical of Daniel's verse. However, his tendency to
perceive an issue from more than one perspective—a trait which lends depth to
many of his poems—works to disadvantage here. The examination of political
morality and abuses of government at times is contradictory and structurally
deficient. Although it is clear from the dedication to Prince Henry and the
concluding apology that Daniel meant Philotas generally to condemn unchecked
ambition which leads to civil disorder and to affirm the providential course of
history, the equivocal nature of many of the issues and characters results in
diffuseness and ambiguity rather than the complexity which Daniel sought.
Because
of its political emphasis, many of Daniel's contemporaries read Philotas as a
comment on the trial and execution of the Earl of Essex. Although Daniel was
sympathetic to Essex and although the play, particularly in the trial scene,
bears several parallels to the Earl's trial, Daniel steadfastly denied before
the Privy Council any connection between his play and the celebrated case.
Whatever the relation to the Essex affair, Daniel turned away from history for subject
matter in his later plays.
Although
A Panegyric Congratulatory to the King's Majesty (1603) failed to gain the
favor of the new king, James I, in 1604 Daniel came under the patronage of
Queen Anne, for whom he wrote his last four dramatic works. The first of these
was The Vision of the Twelve Goddesses, a masque performed by the Queen and her
ladies at Hampton Court on 8 January 1604 and published later the same year.
This was the first of several lavish and expensive masques which were so
popular at the Jacobean court and included many of the finest specimens of this
form of dramatic art.
As
in his earlier plays, Daniel emphasizes order in the state: his intent is
"to present the figure of those blessings, with the wish of their encrease
and continuance, which this mightie Kingdome now enioyes by the benefite of his
most gracious Maiestie; by whom we haue this glory of peace, with the accession
of so great state and power." To realize his theme, Daniel relies
principally on an emblematic procession of the twelve goddesses, who represent
"those blessings and beauties that preserue and adorne" the peaceful
state. (For example, Pallas stands for "Wisedome and Defence";
Proserpina, riches; and Tethys, "power by Sea.") The goddesses,
richly and symbolically dressed, descend from a hill at one end of the hall and
march to the Temple of Peace, where they offer their respective gifts. For
example, Pallas, played by the Queen, "was attyred in a blew mantle, with
a siluer imbrodery of all weapons and engines of war, with a helmet-dressing on
her head, and present[ed] a Launce and Target."
Although
Daniel regarded The Vision of the Twelve Goddesses as entertainment and not one
of his "grauer actions," he does unify text and spectacle, including
dancing, singing, elaborate scenery, and emblematic costumes, to underscore his
emphasis on the ordered state. From the opening speech of Night, who wields his
white wand to "effect ... significant dreames," to the closing speech
of Iris, who justifies the representation of the goddesses in the forms of the
Queen and her ladies, Daniel effectively manipulates levels of reality.
Ultimately, however, The Vision of the Twelve Goddesses is not an accomplished
example of the masque, a form with which Daniel was clearly uncomfortable.
In
1604 Daniel became Licenser to the Children of the Queen's Revels, a post he
held until 28 April 1605. The appointment was not a fortunate one, for it
involved Daniel in a lawsuit and monetary difficulties (which may have led him
to complete Philotas for presentation by the company). And Daniel was not
circumspect in his licensing of plays, for the Queen withdrew her patronage
from the Children after Philotas, John Marston's The Dutch Courtesan, and
George Chapman, Ben Jonson, and Marston's Eastward Ho! offended James I. Daniel
did not, however, lose the favor of the Queen, and in 1607 he was appointed one
of the Grooms of her Privy Chamber.
Daniel's
next dramatic work, The Queen's Arcadia, is of considerable importance in the
history of the drama, for it is the first attempt in English to imitate the
Italian pastoral drama. Performed before the Queen at Christ Church, Oxford, on
30 August 1605, the play reflects Daniel's interest in Italian literature and
attempt to appeal to the court's taste for extravagant dramatic entertainment.
Although heavily indebted to Guarini and Tasso, The Queen's Arcadia is
distinctly English in its concerns. Like Daniel's earlier plays, it emphasizes
order in the state, and like much of his poetry, it glorifies the simple life.
Colax,
"a corrupted traueller," and his accomplice Techne, "a subtle
wench [that is, whore] of Corinth," are corrupting the natural harmony of
Arcadia by introducing its virtuous lovers to lust, vanity, suspicion, in
inconstancy. Three other foreigners also attempt to corrupt the Arcadians:
Lincus, a pronotary's boy, passes himself off as a great lawyer and encourages
needless litigation; Alcon, formerly a physician's servant, gains a reputation
by distributing placebos and encouraging hypochondria; and Pistophoenax, a
religious disputer who hides his ugly face behind a mask, works to subvert the
natural religion of the country. The attempts of these outsiders to undermine
"Rites, ... Custome, Nature, Honesty"—"the maine pillors of ...
[the] state"—are frustrated by the revelations of Ergastus and Melibaeus,
two elderly Arcadians who conveniently overhear all that takes place during the
play.
Although
commended by a member of the original audience as "being indeed very
excellent, and some parts exactly acted," the play has not been well
received by modern readers. Daniel's treatment of the outsiders offers some
effective comic satire on the hypocrisy and greediness of lawyers, on the
quackery of physicians, and, generally, on a preference for foreign ideas and
things. Most effective is a lengthy diatribe against tobacco, inserted perhaps
because of King James's aversion to it. Yet, the satire is frequently blunted
by Daniel's moralizing tendency and does not mesh with the conventional
romantic treatment of pastoral love. The denouement is mechanical, and overall
the play is rather dull.
During
1605-1610 Daniel published revisions of many of his earlier works (including
Cleopatra and Philotas), completed the final version of The Civil Wars, and
began his prose history, The Collection of the History of England (1618), which
was to occupy him the remainder of his life.
Tethys'
Festival, Daniel's second masque, was presented 5 June 1610 at Whitehall as
part of the celebration of the creation of Prince Henry as Prince of Wales.
This production, as befitted the occasion and Daniel's conception of masques as
"Complements of State," was an elaborate, costly one (the charge for
the costumes alone was nearly £1,000). In creating the entertainment, Daniel
collaborated with Inigo Jones, the foremost stage architect of the period. As
in The Vision of the Twelve Goddesses , the Queen (as Tethys) and her ladies
(as the nymphs representing the rivers) assumed major roles.
Tethys'
Festival consists of three scenes. The first represents "a Port or Hauen,
with Bulworkes at the entrance, and the figure of a Castle commanding a
fortified towne: within this Port were many Ships, small and great, seeming to
be at Anchor, some neerer, and some further off, according to prospectiue: beyond
all appeared the Horison, or termination of the Sea; which seemed to mooue with
a gentle gale, and many Sayles, lying some to come into the Port, and others
passing out." Zephyrus, accompanied by nyads and tritons, presents Tethys'
gifts: a trident to the King and "a rich sword and skarfe,"
symbolizing respectively justice and "Loue and Amitie," to the
Prince. The second scene is an elaborate architectural set compartmented into
five niches, the middle one being Tethys' throne, the others representing the
caverns of the river nymphs; from these the women issue forth to present
"seuerall flowers in golden vrnes" at the Tree of Victory. In the
final scene, the Queen and her ladies are revealed "in their owne
forme" in an artificial grove.
It
is clear from Daniel's description of the sets and costumes and from Jones's
extant drawings that the verse occupies a distinctly subordinate role in the
entertainment. This is consistent with Daniel's conception of the masque as
outlined in the preface to Tethys' Festival: "in these things ... the
onely life consists in shew; the arte and inuention of the Architect giues the
greatest grace, and is of most importance: ours [the verse], the least part and
of least note in the time of the performance thereof." Nevertheless,
Tethys' Festival does display Daniel's fine lyric gift, particularly in the
song beginning "Are they shadowes that we see?" Overall, as Rees
points out, the work is a "feeble effort at a date when the masque form
was in its full flower."
There
is evidence of rivalry, even hostility, between Jonson and Daniel during the
latter years of his life. This rivalry may have begun as early as 1604, when
Daniel was chosen to write the first Queen's masque. William Drummond of
Hawthornden records Jonson's assertion that "Daniel was at jealousies with
him," and many references in the prefatory matter to Daniel's last four
dramatic works seem directed at Jonson. Given their widely differing
conceptions of the masque and pastoral drama, some kind of feud is not unlikely.
During
the last years of his life, Daniel gave his attention to his prose history of
England. His last major poetic work was also his final dramatic work, for which
he again turned to pastoral drama. Hymen's Triumph was presented in February
1614 as part of the Queen's entertainment for the marriage of the Earl of
Roxborough to Jean Drummond. A manuscript copy, with a dedicatory poem to Jean
Drummond, is in Edinburgh University Library. The play was first published in
1615.
Appropriate
to the occasion for which it was written, the play celebrates constancy in
love. The theme is set in the prologue, an allegorical encounter of Hymen, who
dons a pastoral disguise to effect a marriage between two of the most constant
lovers, with Avarice, Envy, and Jealousy, "the disturbers of quiet
marriage."
Thirsis,
a young shepherd, remains constant in his love for Silvia, who, two years
before, had been abducted by pirates and is apparently dead. Silvia, however,
has escaped and returned to Arcadia, disguising herself as a boy and hiring out
as a servant to Cloris. She maintains her disguise until after the marriage of
Alexis, to whom her father, out of avarice, had betrothed her. Before she can
reveal herself to Thirsis, Silvia is stabbed by the jealous Montanus, who believes
his beloved is in love with Silvia. Thirsis, having identified Silvia by a
mole, vows to die with her, but they are miraculously saved and reunited.
Although
Hymen's Triumph is less derivative than The Queen's Arcadia,, Daniel's use of
the conventional plot elements of pastoral drama—the female disguised as a
male, the mistakes in love which ensue from the disguise, thwarted love,
abduction by pirates, and an oracle—results in "sentimentality and
bathos," as Cecil C. Seronsy points out. Although marred by some lengthy,
incompletely assimilated passages on avarice and inconstancy, the masque has a
"variety of mood and a rich lyricism," and many passages bear a
striking resemblance to Shakespeare's romantic comedies, particularly Twelfth
Night and As You Like It.
Five
years after completing his final dramatic work, Daniel died. He was buried on
14 October 1619 at Beckington, Somersetshire, where in the church the Countess
Dowager of Pembroke—who as Lady Anne Clifford had been his pupil—erected a
monument to "that excellent poet and historian."
Although
important for their innovations, Daniel's plays are little read and largely
unappreciated today, especially by readers nurtured on the popular drama of
this period. Daniel's seriousness, quietness, restraint, dignity,
reflectiveness, sober-mindedness, preference for the abstract and
general—qualities admirable in much of his nondramatic poetry—are not traits
which serve him effectively in a dramatic medium. His fine lyric gift, which
rightly earned him the epithet "well-languaged Daniel," surfaces too
rarely in his plays. His pastoral dramas and masques—among the few works he did
not revise—are serviceable occasional pieces, but it is the two tragedies on
which Daniel would have wanted his reputation as a dramatist to rest.
Edmund
Spenser praised Daniel for his first book of poems, Delia, with The Complaint
of Rosamond (1592). Daniel published 50 sonnets in this book, and more were
added in later editions. The passing of youth and beauty is the theme of the Complaint,
a tragic monologue. In The Tragedie of Cleopatra (1594) Daniel wrote a Senecan
drama. The Civile Warres (1595–1609), a verse history of the Wars of the Roses,
had some influence on Shakespeare in Richard II and Henry IV; it is Daniel’s
most ambitious work.
Daniel’s
finest poem is probably “Musophilus: Containing a Generall Defence of
Learning,” dedicated to Fulke Greville. His Poeticall Essayes (1599) also
include “A Letter from Octavia to Marcus Antonius.” His Defence of Ryme,
answering Thomas Campion’s Observations in the Art of English Poesie, a
critical essay, was published in 1603. Fame and honour are the subjects of
“Ulisses and the Syren” (1605) and of A Funerall Poeme uppon the Earle of
Devonshire (1606). He had to defend himself against a charge of sympathizing
with the Earl of Essex in The Tragedie of Philotas, acted in 1604 (published
1605). His other masques include Tethys’ Festival (1610), staged with scenery
by Inigo Jones, and The Queenes Arcadia (published 1606), a pastoral tragicomedy
in the Italian fashion. Daniel’s last pastoral was Hymens Triumph (1615). He
also wrote The Collection of the Historie of England (1612–18) as far as the
reign of Edward III.
Many
of Samuel Daniel's poems and plays were reprinted multiple times in collections
of his writings during his lifetime, often in substantially revised editions
that represented distinct versions of the works. The following list of Daniel's
major works demonstrates the breadth of his writing, both in terms of subject
and genre. Included in the list is a brief description of the work, the volume
and year in which it originally appeared, and the years of significant
revisions:
Delia
– Sonnet cycle. Portions published in Philip Sidney's Astrophel & Stella
(1591). First published in a complete, authorized version in Delia and The
Complaint of Rosamond (1592), and in a second revised edition in the same year.
Revised, expanded versions published in Delia and Rosamond Augmented. Cleopatra
(1594) and The Works of Samuel Daniel Newly Augmented (1601).
The
Complaint of Rosamond – Long historical poem (epyllion) about Rosamund
Clifford, the mistress of King Henry II. First published in Delia and The
Complaint of Rosamond (1592) and in a second revised edition in that same year.
Revised, expanded version published in Delia and Rosamond Augmented. Cleopatra
(1594).
The
Tragedy of Cleopatra – Senecan, closet drama about Cleopatra's suicide
following the death of Mark Antony. First published in Delia and Rosamond
Augmented. Cleopatra (1594). Substantially revised in Certain Small Works
Heretofore Divulged by Samuel Daniel, Now Again Corrected and Augmented (1607).
The
Civil Wars Between the Houses of Lancaster and York – Epic poem on the series
of conflicts that have come to be called "The Wars of the Roses",
modeled on Lucan's Pharsalia. Four books published as The First Four Books of
the Civil Wars (1595). Earlier manuscripts of Books 1 to 2 and Book 3 survive
that include substantively different versions of those portions of the poem. A
fifth book was added between 1595 and 1599 and is included in The Civil Wars in
The Poetical Essays of Samuel Daniel (1599). A sixth book was added to the poem
in The Works of Samuel Daniel, Newly Augmented (1601). The final version of the
poem, expanded to eight books, was published, on its own, in 1609.
Musophilus,
or A Defense of All Learning – Long dialogue in verse between a poet
(Musophilus – lover of the muses) and a courtier (Philocosmus – lover of the
world). First published in The Poetical Essays of Samuel Daniel (1599).
Substantially revised and shortened in Certain Small Works Heretofore Divulged
by Samuel Daniel, Now Again Corrected and Augmented (1607).
A
Letter from Octavia to Marcus Antonius – Epistolary historical poem. First
published in 1599 in The Poetical Essays of Samuel Daniel.
A
Panegyrick Congratulatory to the King's Most Excellent Majesty – Poem delivered
to King James on his accession to the crown of England, published in A
Panegyrick Congratulatory Delivered to the King's Excellent Majesty, Also
Certain Epistles, With a Defense of Rhyme (1603).
Epistles
– Advisory letters, in verse, addressed to Sir Thomas Egerton (Lord Keeper of
the Great Seal of England), Lord Henry Howard (One of His Majesty's Privy
Council), Lady Margaret Clifford (Countess of Cumberland), Lady Lucy Russell
(Countess of Bedford), Lady Anne Clifford, and Henry Wriothesley (Earl of
Southampton). First published in A Panegyrick Congratulatory Delivered to the
King's Excellent Majesty, Also Certain Epistles, With a Defense of Rhyme
(1603).
A
Defense of Rhyme – Prose treatise defending the English verse's lack of
adherence to classical standards, a response to Thomas Campion's Observations
in the Art of English Poesie (1602). First published in A Panegyrick
Congratulatory Delivered to the King's Excellent Majesty, Also Certain
Epistles, With a Defense of Rhyme (1603).
The
Vision of the Twelve Goddesses – One of the first masques to be presented to
the Stuart court. A surreptitious edition was published in 1604 as The True
Description of a Royal Masque, the year of its presentation at Hampton, and
Daniel's authorized version was published that same year.[58]
Ulysses
and the Siren – Short poem debating the attributes of an active compared to a
contemplative life. First published in Certain Small Poems (1605).
The
Tragedy of Philotas – Play in verse combining closet drama with elements of the
popular stage. First published in Certain Small Poems (1605).
The
Queen's Arcadia – Play in verse, tragicomic romance in the style of Italian
pastoral drama. First published, on its own, in 1606.
A
Funeral Poem Upon the Death of the Noble Earl of Devonshire – Valedictory poem
upon the death of Charles Blount, Baron Mountjoy, who was created the Earl of
Devonshire in 1603 and died in 1606. The poem was published, on its own, in the
year of Blount's death. A revised version was included in Certain Small Works
(1607).
Tethys'
Festival – Masque to celebrate the investiture of James's son, Prince Henry, as
Prince of Wales, in June 1610. Published in the year of its performance, in The
Order and Solemnity of the Creation of the High and Mighty Prince Henry, Eldest
Son to Our Sacred Sovereign, Prince of Wales. In the preface accompanying the
printed edition, Daniel stated that the "art and invention" of the designer
of the performance, Inigo Jones, was of "the greatest grace, and is of
most importance: ours, the least part and of least note."
Hymen's
Triumph – Pastoral play presented at the marriage of Jean Drummond to Robert
Ker of Cressford, Lord Roxborough in 1614. Published in 1615.
Collection
of the History of England – Prose history of England from its earliest
documented days, pre-Norman conquest, through the reign of Edward III. The
first portion was published in 1612 as The First Part of the History of
England. The final version was published in 1618 and represented the last of
Daniel's works published during his lifetime.
In
1623, the same year as the publication of Shakespeare's First Folio, Samuel
Daniel's younger brother, John Danyel, a lute player and composer in King
James's court, oversaw the publication of a collection of his brother's poetry
in an edition titled The Whole Works of Samuel Daniel Esquire in Poetry. The
collection was dedicated to King James's son, Prince Charles. It included copies
of the 1609 edition of The Civil Wars, and newly printed editions of Daniel's
other verse works, each generally with their own title page dated 1623 but
based upon the final versions published during the poet's life.[61]
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