text, gave out at the end of the eighteenth book.
Yet Drayton could write well, and had an agreeable lightsomeness of fancy, as his Nymphidia proves.
His poem To the Cambro-Britons on their Harp is full of vigor; it runs, it leaps, clashing its verses like swords upon bucklers, and moves the pulse to a charge.
Daniel was in all respects a man of finer mould.
He did indeed refine our tongue, and deserved the praise his contemporaries concur in giving him of being well-languaged.
Edmund Bolton in his Hypercritica says, The works of Sam Daniel contained somewhat a flat, but yet withal a very pure and copious English, and words as warrantable as any man's, and fitter perhaps for prose than measure.
I have italicized his second thought, which chimes curiously with the feeling Daniel leaves in the mind.
(See Haslewood's Ancient Crit.
II.) Wordsworth, an excellent judge, much admired Daniel's poem to the Countess of Cumberland. Writing two hundred and fifty years a