Drayton, Michael. Endimion and Phoebe. Renascence Editions. Available online. URL: http://darkwing.uoregon. edu/~rbear/drayton1.html. Downloaded on July 20, 2005. Hardin, Richard F. Michael Drayton and the Passing of Elizabethan England. Lawrence: University of Kansas Press, 1973.
END-STOPPED LINE An end-stopped poetry line concludes with a natural pause, due to the insertion of punctuation. The pause caused by a comma, semicolon, exclamation point, question mark, or period represents the most common conclusion to a poetic line. A pause may also be signaled by the inclusion of a parenthetical statement. A verse in which all lines are end-stopped may be seen in Anne Killigrew's "Upon the Saying That My Verses Were Made by Another," where she writes:
orinda (Albion's and her sex's grace) owed not her glory to a beauteous face; It was her radiant soul that shone within, Which struck a luster through her outward skin;
That did her lips and cheeks with roses dye, Advanced her height, and sparkled in her eye. Nor did her sex at all obstruct her fame, But higher 'mong the stars it fixed her name; What she did write, not only all allowed, But every laurel to her laurel bowed!
An opposite treatment of a line's end in which no signal for a natural pause occurs is known as enjambment.
ENGLAND'S HELICON The collection, possibly assembled by John Bodenham, of mostly pastoral poems printed in 1600 titled England's Helicon contained work by England's best known poets of the day. They included George Peele and Robert Greene, dramatists whose lyrics were also printed as verse; Sir Philip Sidney; Michael Drayton; Christopher Marlowe; Thomas Lodge; Nicolas Breton; Henry Howard, earl of Surrey; Shepherd Tony; perhaps William Shakespeare; Sir Edward Dyer, Sir Walter Raleigh; Fulke Greville; and Edmund Spenser, author of The Fairie Queene. Only entries by Bartholomew Young, also spelled Yong, were later judged too weak to merit inclusion. Several questions still exist regarding the authorship of some entries, labeled simply Ignoto. Poems by Sidney include excerpts from Astrophel and Stella and Arcadia; Spenser's contributions draw from his Shep-heardes Calendar and Astrophel, Drayton's from Eclogues and Idea. Its collection made it the finest of the English miscellanies, containing abundant imagery of love, music, and dance. Some individual poems were later set to music, their titles indicating the type of composition, such as the roundelay, jig, and madrigal. It proved popular enough to warrant a second printing with nine additional entries in 1614.
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