The Battaile of Agincourt by Michael Drayton INTRODUCTION. All civilized nations possessing a history which they contemplate with pride endeavour to present that history in an epic form. In their initial stages of culture the vehicles of expression are ballads like the constituents of the Spanish Romanceros and chronicles like Joinville's and Froissart's. With literary refinement comes the distinct literary purpose, and the poet appears who is also more or less of an artist. The number of Spanish and Portuguese national epics, from the Lusiad downwards, during the sixteenth and the first half of the seventeenth centuries, is astonishing; and it was impossible that English authorship, rapidly acquiring a perception of literary form under classical and foreign influences, should not be powerfully affected by the example of its neighbours. A remarkable circumstance, nevertheless, while encouraging this epical impulse, deprived its most important creations of the external epical form. The age of awakened national self-consciousness was also the age of drama. The greatest poetical genius of that or any age, and his associates, were playwrights first and poets afterwards. The torrent of inspiration rushed mainly to the stage. Hence the old experience was reversed, and whereas Æschylus described himself and his fellow-dramatists as subsisting on scraps filched from the great banquet of Homer, our English epic poets could but follow humbly in the wake of the dramatists, the alchemy of whose genius had already turned the dross of ancient chronicles to gold. In the mighty series of Shakespeare's historical plays, including in the enumeration Marlowe's "Edward the Second" and the anonymous "Edward the Third," England possesses a national epic inferior to that of no country in the world, although the form be dramatic. In one respect, indeed, this epic is superior to any but the Homeric poems, standing one remove less apart from the poetry of the people. The impression of primitive force which the Homeric poems convey by their venerable language is equally well imparted by Shakespeare's spontaneity and his apparent and probably real innocence of all purely literary intention. We are delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience.