sympathies. They were both impatient of the diffuse and flamboyant style of the Spenserian and Italianate poets, and willing for the sake of pregnancy and vigour to overlook harshness and obscurity. Both were certainly admirers and imitators of Latin poetry, especially satirical and elegiac, and both cultivated a vein of frank, even cynical and brutal, satire. They were courtly poets, and wrote abundance of high-flown eulogies and occasional verses, very often addressed to the same patrons. Donne's wit was not less courtly than Jonson's, if we remember that the court for which both wrote was James's.
Despite these resemblances, however, Donne and Jonson represent with startling distinctness the two discordant streams of tendency in the first half of the seventeenth century—the mediæval or scholastic reaction on the one hand, the movement towards the rationalism and classicism of the closing century on the other. Jonson is, as the study of his drama has shown, the first of our classical poets. In his poetry we see the elegancies and extravagances of Petrarchian—what Mr Courthope calls Euphuist—wit meeting with and yielding to the simpler and more appropriate sentiments of classical poetry, the dignified and vigorous common-sense which was to be Dryden's ideal of wit. In Donne's poetry revives all that was most subtle and metaphysical in the thought and fancy of the Middle Ages.
The son of rigidly Catholic parents, who on his mother's side connected him with John Heywood of the Merry Interludes and Sir Thomas More,
