Editing Samuel Daniel (section)

==Life and literary career==
===Early life, education, and relationship with John Florio===
Little is known about Samuel Daniel's early life.<ref>{{Harvnb|Rees|1964|p=2}}</ref> Biographer [[Thomas Fuller]] in ''Histories of the Worthies of England'' (1662) states that he "was born not far from [[Taunton]]" in [[Somerset]].<ref>{{Harvnb|Fuller|1662|pp=Somersetshire 28–29}}</ref> The earliest evidence providing definitive details of his life is an entry in the signature book of [[University of Oxford|Oxford University]] documenting his matriculation at Magdalen Hall (now [[Hertford College, Oxford|Hertford College]]) on "17 Nov., 1581, aged 19".<ref>{{Harvnb|Foster|1891}}</ref> Daniel did not complete his degree at Oxford; [[Anthony Wood (antiquary)|Anthony à Wood]] in ''Athenae Oxonienses'' (1691) states that he "was more prone to easier and smoother studies, than in pecking and hewing at logic".<ref>{{Harvnb|Wood|1815|p=268}}</ref>

[[File:John Florio's Portrait.png|thumb|John Florio, engraving by [[William Hole (engraver)|William Hole]], 1611. Daniel became friends with Florio at Oxford in the 1580s and decades later contributed a dedicatory verse to Florio's translation of Montaigne's ''Essays''.]]
While at Oxford, Daniel met the author and translator [[John Florio]], who was teaching Italian at the university at the time.<ref>{{Harvnb|Rees|1964|p=5}}</ref> In 1582, Daniel contributed a Latin verse to Florio's ''Giardino di Recreatione''.<ref>{{Harvnb|Eccles|1937|p=159}}</ref> Daniel maintained a relationship with Florio for years thereafter. He wrote a dedicatory poem that was included in Florio's translation of [[Michel de Montaigne]]'s [[Essays (Montaigne)|''Essays'']] in 1603. The second edition of Florio's Montaigne, published in 1613, included a revised version of Daniel's dedication in which the poet referred to Florio as "my dear friend and brother".<ref>{{Harvnb|Greenblatt|Platt|2014|p=353}}</ref> This has led to the inference that either Florio had married Daniel's sister or Daniel had married Florio's sister, an inference that has never been proven.<ref>{{Harvnb|Rees|1964|p=5}}</ref>

===1585–1591: First published work and patronage of Sir Edward Dymoke===
Daniel's first published work was ''The Worthy Tract of Paulus Jovius'', a translation of an Italian treatise on impresa or [[emblem]]s by historian [[Paolo Giovio]].<ref>{{Harvnb|Rees|1964|pp=15–16}}</ref><ref>{{Harvnb|Sellers|1928|p=31}}</ref> This [[emblem book]] was published in 1585 by Simon Waterson, who would remain Daniel's friend and principal publisher for the rest of his life. The ''Worthy Tract of Paulus Jovius'' was dedicated to Sir Edward [[Dymoke]], the [[Queen's Champion]]. Daniel's association with Dymoke was the first of a series of close relationships with noble [[Patronage|patrons]] that came to characterise the author's literary career.

Dymoke wrote a letter of introduction on Daniel's behalf which allowed the young student to live in the English embassy in France between 1585 and 1586 as he advanced his studies.<ref>{{Harvnb|Pitcher|2017|p=7}}</ref><ref>{{Harvnb|Eccles|1937|pp=157–159}}</ref> Between 1590 and 1591, he returned to the continent, travelling part of the time accompanied by Dymoke.<ref>{{Harvnb|Schlueter|2012|pp=289–290}}</ref> Daniel and Dymoke met the poet [[Giovanni Battista Guarini]] in Italy and defended English as a language worthy of poetry and great writers.<ref>{{Harvnb|Eccles|1937|pp=166–167}}</ref>

===1591–1593: Patronage of Mary Sidney, ''Delia'', ''Rosamond'', and ''Cleopatra''===
[[File:Mary Sydney Herbert.jpg|thumb|Portrait of Daniel's patron, Mary Sidney, the Countess of Pembroke, by [[Nicholas Hilliard]], c. 1590. Daniel dedicated ''Delia'' and ''The Tragedy of Cleopatra'' to the Countess.]]
Daniel's literary career was effectively launched in late 1591 with the unauthorized inclusion of some of his ''Delia'' sonnets in the posthumous first edition of Sir [[Philip Sidney]]'s ''[[Astrophel and Stella]]''.<ref>{{Harvnb|Woudhuysen|1996|p=356}}</ref> Sidney's sister, [[Mary Sidney]], the Countess of [[Earl of Pembroke|Pembroke]], objected to the surreptitious publication of her brother's work, and the edition was recalled by the [[Stationers Company]].<ref>{{Harvnb|Woudhuysen|1996|pp=367–369, 380–381}}</ref> In 1592, Daniel published the first authorized edition of his own poetic works, the sonnet cycle ''Delia'', and the historical poem ''The Complaint of Rosamond''. Daniel dedicated ''Delia'' to Mary Sidney and begged her forgiveness for the inclusion of his poems in the unauthorized edition of her brother's work, claiming that he had been "betrayed by the indiscretions of a greedy printer."<ref>{{Harvnb|Woudhuysen|1996|p=377}}</ref> Soon after the publication of ''Delia'' and ''Rosamond'', Daniel was invited to join the Pembroke household, serving the family in some capacity, perhaps as tutor to the twelve-year-old [[William Herbert, 3rd Earl of Pembroke|William Herbert]].<ref>{{Harvnb|Stater|2004}}</ref><ref>{{Harvnb|O'Farrell|2011|p=8}}</ref> He also joined a group of writers encouraged by Mary Sidney that has come to be referred to as the [[Wilton Circle]], a group that included [[Edmund Spenser]], [[Michael Drayton]], [[Sir John Davies]], and [[Abraham Fraunce]].<ref>{{harvnb|Hannay|1990|pp=106–142}}</ref>

Immediately upon the publication of ''Delia'' and ''Rosamond'', Daniel began receiving praise from English poets and scholars, including [[Thomas Nashe]], [[Thomas Churchyard]], and [[Gabriel Harvey]].<ref>{{Harvnb|Grosart|1896|p=viii}}</ref> Edmund Spenser, at the time England's most highly regarded living author, endorsed Daniel in ''[[Colin Clouts Come Home Againe|Colin Clouts Come Home Again]]'' (1595), stating that "there is a new shepherd late upsprung, / The which doth all afore him far surpass" and imploring his fellow poet to "rouse thy feathers quickly, Daniel, / And to what course thou please thyself advance".<ref>{{Harvnb|Grosart|1896|p=vii}}</ref>

From 1592 to 1593, under the patronage of Mary Sidney, Daniel completed ''The Tragedy of Cleopatra'', which was published in 1594. The play was written at the request of Sidney as a sequel to [[Robert Garnier]]'s French tragedy ''Marc-Antoine'', a play she had translated into English as ''The Tragedy of Antony'' and published in 1592.<ref>{{Harvnb|Hannay|1990|pp=118–129}}</ref> Both plays were written in the style of classical [[closet drama]], plays more intended to be read than performed. During the early to mid-twentieth century literary critics postulated that the plays were part of Mary Sidney's effort to reform English theater, returning it to classical standards espoused by her brother, Philip Sidney, in his [[Defence of Poetry|''Defence of Poesy'']]. This view of Mary Sidney's work was advanced by [[T. S. Eliot]] in his 1932 essay, "Apology for the Countess of Pembroke".<ref>{{Harvnb|Eliot|1933}}</ref> Subsequent literary criticism, however, has suggested that Sidney's literary efforts were not part of a campaign against English drama, but rather were efforts to adapt continental works on history for an English audience and use them for contemporary political commentary.<ref>{{Harvnb|Lamb|1981}}</ref><ref>{{harvnb|Hannay|1990|pp=121–122}}</ref><ref>{{Harvnb|Kewes|2012|pp=245–248}}</ref>

===1594–1601: Mountjoy, ''Civil Wars'', ''Poetical Essays'', and ''Works''===
After the publication of ''Cleopatra'', Daniel parted ways with Mary Sidney and experienced financial difficulties. He was taken in by [[Charles Blount, 8th Baron Mountjoy|Charles Blount]], Baron Mountjoy, as described in the first edition of Daniel's epic poem about the [[Wars of the Roses]], ''The First Four Books of the Civil Wars Between the Two Houses of Lancaster and York'', published in 1595.<ref>{{Harvnb|Pitcher|2004}}</ref> The poem included complimentary references to Mountjoy and a section praising him and his close friend [[Robert Devereux, 2nd Earl of Essex|Robert Devereux]], the Earl of Essex. Daniel had worked at Essex's estate, [[Wanstead]], as he wrote the initial version of his poem.<ref>{{harvnb|Weiss|2018|pp=148–151}}</ref>

Between 1595 and 1599, Daniel added a fifth book to ''The Civil Wars'' and included the expanded poem in ''The Poetical Essays of Samuel Daniel'', a collection of his works dedicated to Mountjoy and published in 1599. The collection included revised versions of ''Delia'', ''Rosamond'', and ''Cleopatra'', as well as two new works, ''Musophilus'' and ''A Letter From Octavia to Marcus Antonius''. ''[[Musophilus]]'' was dedicated to Daniel's friend and fellow poet [[Fulke Greville]], whose discussions with Daniel had inspired the dialogue in verse, a debate between a poet and a courtier on the value of writing poetry relative to more worldly pursuits.<ref>{{harvnb|Hiller|Groves|1998|pp=5–6, 109–111}}</ref> ''A Letter from Octavia'' was dedicated to [[Margaret Clifford, Countess of Cumberland|Margaret Clifford, the Countess of Cumberland]], whose relationship with her philandering husband inspired Daniel's sympathetic portrayal of [[Mark Antony|Mark Antony's]] wife, [[Octavia the Younger|Octavia]]. The use of the word "Essays" in the title of the collection may have been inspired by Montaigne's French work that had used the same word in its title.<ref>{{Harvnb|Pitcher|2017|pp=4, 6}}</ref> Like Montaigne's writings, Daniel's collection included works that debated topics in a contemplative, self-reflective style.

[[File:TheGreatPicture AnneClifford 1646 ByJanVanBelcamp.PNG|thumb|250px|''The Great Picture'', a [[triptych]] commissioned in 1646 by Anne Clifford and attributed to [[Jan van Belcamp]] (1610–1653). It depicts Clifford as a girl at left and as a mature woman at right. The left panel includes a portrait of her childhood tutor, Samuel Daniel.]]
During the late 1590s to first years of the 1600s, Daniel took on the role of tutor to the young [[Lady Anne Clifford|Anne Clifford]], daughter of the Countess of Cumberland, the woman to whom he had dedicated ''A Letter to Octavia''. Anne Clifford maintained a sense of gratitude and affection toward Daniel through the rest of her life. She included his portrait and volumes of his works in the family triptych she commissioned that has come to be known as ''The Great Picture''.<ref>{{Harvnb|Slater|2018}}</ref>

In 1601, a new collection of Daniel's writings was published titled ''The Works of Samuel Daniel, Newly Augmented''. Once again, the collection contained revised editions of his earlier works, including an expanded version of ''The Civil Wars'' that now extended to a sixth book. ''The Civil Wars'' was newly dedicated to [[Elizabeth I|Queen Elizabeth]], likely reflecting Daniel's elevated stature as one of the leading poets of the day, regarded by some as the successor to Edmund Spenser, who had died in 1599.<ref>{{Harvnb|van Es|2006}}</ref>

===1603–1607: Royal patronage, ''Philotas'', and the death of Mountjoy===
{{multiple image
  | footer      = King James I of England, and the Queen Consort, Anne of Denmark. Daniel presented his Panegyrick Congratulatory to James upon his accession in 1603. By 1607, Daniiel was appointed "One of the Grooms of Her Majesty's Privy Chamber".
  | total_width = 400
  | image1      = Portrait of King James I & VI (Adrian Vanson).jpg
  | width1      = 540
  | height1     = 669
  | caption1    = [[James VI and I|King James I]]
  | image2      = Anne of Denmark, ca 1600.jpg
  | width2      = 4322
  | height2     = 5613
  | caption2    = [[Anne of Denmark]]
}}
After Queen Elizabeth's death and [[James VI and I|King James]]'s accession in 1603, Daniel quickly became associated with the new court. Through the support of [[Lucy Russell, Countess of Bedford]], he presented his ''Panegyrick Congratulatory to the King's Most Excellent Majesty'' to the new king in April of that year.<ref>{{Harvnb|Hiller|Groves|1998|p=3}}</ref> A revised version of the poem was published later in 1603, along with Daniel's ''Epistles'' addressed to various members of the nobility and his essay ''A Defence of Rhyme''.

Daniel became closely associated with King James's queen, [[Anne of Denmark|Anne (or Anna) of Denmark]], who commissioned him to write a masque, ''[[The Vision of the Twelve Goddesses]]'', which was performed at [[Hampton Court]] in January 1604.<ref>{{harvnb|Rees|1964|p=90}}</ref> In February of that year, Daniel was appointed the licenser of plays for the [[Children of the Chapel|Children of the Queen's Revels]], giving him the responsibility of reviewing the plays presented to the court. This appointment ultimately led to the only known significant difficulty and embarrassment that Daniel encountered in his literary career. Two controversial plays ''[[The Dutch Courtesan]]'' and ''[[Eastward Ho!]]'' were both performed by the Children of the Queen's Revels after having been approved by Daniel.<ref>{{harvnb|Cadman|2011|p=366}}</ref> More disturbingly for Daniel, his own play, ''The Tragedy of Philotas'', performed before King James in January 1605, was believed to include political commentary on the seditious end of the Earl of Essex, who had been executed in 1601.<ref>{{Harvnb|Michel|1970|pp=36–37}}</ref> Daniel was called before the [[Privy Council of England|Privy Council]] to defend himself. Although he was acquitted of any charges, the incident caused him great embarrassment, resulting in written apologies to his longtime friend Charles Blount (formerly Baron Mountjoy, then the ''[[Earl of Devonshire]]''), whom he had inadvertently pulled into the affair, and to [[Robert Cecil, 1st Earl of Salisbury|Robert Cecil]], King James's advisor and Secretary of State. In an epistle to [[Henry Frederick, Prince of Wales|Prince Henry]], that accompanied the 1605 printed version of ''Philotas'', Daniel reflected his new world-weary perspective, stating that "years hath done this wrong, / To make me write too much, and live too long."<ref>{{Harvnb|Michel|1970|p=99}}</ref>

If the controversy surrounding ''Philotas'' damaged Daniel's reputation with King James, the damage was short-lived. In 1605, the play was included in the published collection of his works, ''Certain Small Poems'', and in August his pastoral tragicomedy ''The Queen's Arcadia'' was performed before Queen Anne and Prince Henry at Christ Church in Oxford.<ref>{{harvnb|Pitcher|2004}}</ref>

In April 1606, Daniel's friend and patron, Charles Blount, died. Daniel wrote a funeral poem to his longtime supporter that was printed as ''A Funeral Poem Upon the Death of the Noble Earl of Devonshire'' and included in the 1607 edition of Daniel's ''Certain Small Works''.<ref>{{harvnb|Seronsy|1967|pp=123–129}}</ref> The title page of that collection of Daniel's works was the first to refer to him as "one of the [[Groom of the Chamber|Grooms of the Queen's Majesty's Privy Chamber]]", an elevated status that he shared with his friend John Florio. ''Certain Small Works'' included a substantially revised edition of ''The Tragedy of Cleopatra'', one that has been thought to be more performable on stage than the original closet drama version.<ref>{{Harvnb|Gillespie|2004|p=125}}</ref> Recent scholarship has identified a painting of a noblewoman dressed as Cleopatra as being a portrait of Anne Clifford dressed as the Egyptian queen, perhaps associated with a staged performance of the 1607 version of Daniel's play.<ref>{{Harvnb|Arshad|2019|pp=105–144}}</ref>

===1609–1619: Final version of ''Civil Wars'', country life, prose ''History'', and death===
In 1609, Daniel published his final version of ''The Civil Wars'', a work that now extended to eight books. Daniel dedicated the work to Mary Sidney, the patron who had helped first bring him to prominence. In the dedication to the epic poem, he stated that he had intended to continue the work "unto the glorious union of Henry VII", meaning the marriage of [[Henry VII of England|Henry Tudor]] (Queen Elizabeth's grandfather) to [[Elizabeth of York]] in 1486.<ref>{{Harvnb|Michel |1958 |pp=67, 339}}</ref> The final version of the poem, however, only extended through [[Edward IV]]'s marriage to [[Elizabeth Woodville]] in 1464. In the dedication, Daniel also stated that he intended to write a prose "History of England, from the Conquest", introducing the principal project that was to occupy the rest of his literary career and life.<ref>{{Harvnb|Michel|1958 |pp=69, 340}}</ref>
[[File:Memorial to Samuel Daniel (1562-1619) - geograph.org.uk - 681217.jpg|thumb|upright=1.1|Memorial to Samuel Daniel at [[St George's Church, Beckington]] in [[Somerset]]]]

Daniel spent most of the final decade of his life in semi-retirement, living at a country house in the small hamlet of Ridge (now [[Rudge, Somerset|Rudge]]) in the village of [[Beckington]] in Somerset.<ref>{{harvnb|Pitcher|2004}}</ref> In 1610, he wrote the masque ''[[Tethys' Festival]]'', which was performed at [[Palace of Whitehall|Whitehall]] to celebrate the investiture of King James's son, Henry, as [[Prince of Wales]].<ref>{{harvnb|Rees|1964|p=147}}</ref> During the next few years, Daniel conducted research on English history, relying in part on the expertise and collections of his friends, the antiquarians [[William Camden]] and [[Sir Robert Cotton, 1st Baronet, of Connington|Robert Cotton]].<ref>{{harvnb|Woolf|1986|p=6}}</ref> In 1612, he published the first instalment of his prose history, ''The First Part of the History of England'', an edition covering the early years of England's history, from the [[Norman Conquest]] (1066) through the end of the reign of [[Stephen, King of England|King Stephen]] (1154). In 1614, he wrote the pastoral play, ''[[Hymen's Triumph]]'', which was performed to celebrate the wedding of [[Jean Ker, Countess of Roxburghe|Jean Drummond]] to [[Robert Ker, 1st Earl of Roxburghe]] at Queen Anne's new palace, Somerset House.<ref>{{harvnb|Pitcher|1994|p=v}}</ref>

Daniel was said to have lost his place as a groom of the privy chamber to Anne of Denmark in 1618 for visiting a disgraced courtier, [[Robert Lloyd (courtier)|Robert Lloyd ''alias'' Flood]].<ref>Thomas Birch & Robert Folkestone Williams, ''Court and Times of James the First'', vol. 2 (London, 1849), p. 77.</ref>

The final version of Daniel's prose history, ''The Collection of the History of England'' was published in 1618. It included material from ''The First Part of the History'' and continued from the point where that work had left off through the end of the reign of Edward III (1377).<ref>{{harvnb|Woolf|1986|pp=10–15}}</ref>

The final work that Daniel wrote was a poem addressed to James Montague, Bishop of Winchester, in 1618. It was intended to console the Bishop who was suffering from [[jaundice]]. The work suggests that Daniel may have been suffering from the same illness; he says of "this close vanquishing / And secret wasting sickness" that he had "struggled with it too".<ref>{{harvnb|Seronsy|1967|pp=161–162}}</ref>

It is unclear if Daniel was ever married. The burial of a "Mrs. Daniell" is recorded in the Beckington register in March 1619, seven months before Daniel's death; however, it is unknown if this was the author's wife.<ref>{{Harvnb|Rees|1964|p=167}}</ref> Daniel executed his will on 4 September 1619 and died the following month; he was buried on 14 October 1619 at [[St George's Church, Beckington|St George's Church]] in Beckington.<ref>{{Harvnb|Rees|1964|p=167}}</ref> In the 1650s, Daniel's old student, Anne Clifford, had a memorial monument erected to honour him at the church.<ref>{{Harvnb|Rees|1964|p=82}}</ref>