New Haven: Yale UP; London: Milford, 1927. Pp. [v] + 144.
The Times Literary Supplement, 1336 (8 Sept 1927) 604
Whenever we feel inclined to quarrel with The Oxford Book of English Verse, it is wise to inspect the other works of one of those very minor poets from whom Sir Arthur Quiller-Couch has taken one or two poems. About the major poets, and what selections should be made, no two persons will ever agree. But when we read the whole work of one of those obscure people from whom Quiller-Couch has taken one poem, we find that he is almost always right. He was right about Southwell, who wrote nothing better, at any rate, than “The Burning Babe”; and he was right about Edwards (or Edwardes) from whom he took “Amantium Irae.” 2 Edwards wrote no other poem so good. But it is agreeable to have a book about Edwards which includes all of Edwards’s poetry. It is only to be regretted that Dr. Bradner (this book is his dissertation for the doctorate) did not include a text of the play, Damon and Pithias, for then we should have had Edwards complete in one volume. 3 He has written an interesting book, rather scrappy, but Edwards is a scrappy personality: and he has made several interesting observations by the way.
Richard Edwards was a successful man. He was born, according to Dr. Bradner, in 1524 (not 1523, the date given by Anthony à Wood and copied into the Oxford Book), probably in Somerset. 4 We learn nothing of him until he went up to Oxford and was entered at Corpus. If his tutor was one Etherage, reputed to be a skilled musician and composer, that was probably important for Edwards’s later career. 5 He distinguished himself very early, for he succeeded in obtaining appointment as one of the first Students of Christ Church. Much of his history is conjecture; but he had the later felicity of becoming a member of Lincoln’s Inn; 6 and, in the comprehensive manner of his age, very likely took holy orders as well. By 1557 he was a member of the Chapel Royal, so that he must already have distinguished himself as a musician: and in 1561 he received the high distinction of being made Master of the Children. 7 The Mastership was a position requiring varied accomplishments. It meant an honourable position at Court, and therefore implied social gifts. It required a man who could manage and teach children, who had considerable knowledge of music, and who had some knack of stagemanagement and invention. He had, in fact, to devise entertainments for the Queen and train the boys to perform them. Edwards seems to have been perfectly fitted for the post, and to have enjoyed favour under both Queens. In 1564 he produced his Damon and Pithias.
Historically, Edwards is more important (and certainly better known) as dramatist than as lyric poet. He was one of the first of Elizabethan vernacular dramatists. He belongs not so much to the University tradition as to the Inns of Court tradition, that maintained by Sackville and Norton. 8 Both Damon and Pithiasand Palamon and Arcite(the latter a curious instance of a play, never published, the manuscripts of which have vanished) were enormously successful. At the performance of the latter play, during her visit to Oxford, Queen Elizabeth was apparently ravished with joy. 9 And Edwards probably wrote other plays which also gave pleasure at Court. Dr. Bradner discusses Damon and Pithiaswith knowledge, acumen, and some sense of humour and proportion. One of his most interesting remarks is the attribution of a definite theory of “comic relief” to one Johannes Aerius, the tutor of Grimald, whom Edwards probably knew. 10 Aerius seems to have affirmed a theory of tragi...
