prominence between 1589 and 1598, and instituted parallels, biographical
and critical, between them and the ancient Classics. It is the notices of
these poets, and more particularly the references to Shakespeare's
writings, which make this treatise so invaluable to literary students.
Thus we are indebted to Meres for a list of the plays which Shakespeare
had produced by 1598, and for a striking testimony to his eminence at
that date as a dramatic poet, as a narrative poet, and as a writer of
sonnets. The perplexing reference to _Love's Labour's Won_ has never
been, and perhaps never will be, satisfactorily explained. To assume that
it is another title for _All's Well that Ends Well_ in an earlier form is
to cut rather than to solve the knot. It is quite possible that it refers
to a play that has perished. The references to the imprisonment of Nash
for writing the _Isle of Dogs_, to the unhappy deaths of Peele, Greene,
and Marlowe, and to the high personal character of Drayton are of great
interest. Meres was plainly a man of muddled and inaccurate learning, of
no judgment, and of no critical power, a sort of Elizabethan Boswell
without Boswell's virtues, and it is no paradox to say that it is this
which gives his _Discourse_ its chief interest. It probably represents
not his own but the judgments current on contemporary writers in
Elizabethan literary circles. And we cannot but be struck with their
general fairness. Full justice is done to Shakespeare, who is placed at
the head of the dramatists; full justice is done to Spenser, who is
styled divine, and placed at the head of narrative poets; to Sidney, both
as a prose writer and as a poet; to Drayton, to Daniel, and to Hall,
Lodge, and Marston, as satirists. We are surprised to find such a high
place assigned to Warner, 'styled by the best wits of both our
universities the English Homer,' and a modern critic would probably
substitute different names, notably those of Lodge and Campion, for those
of Daniel and Drayton in a list of the chief lyric poets then in activity.
In Meres's remarks on painters and musicians, there is nothing to detain