glorious name.

Drayton and Daniel developed the conceit with unblushing iteration.
Drayton, who spoke of his efforts as 'my immortal song' (_Idea_, vi. 14)
and 'my world-out-wearing rhymes' (xliv. 7), embodied the vaunt in such
lines as:

While thus my pen strives to eternize thee (_Idea_ xliv. 1).
Ensuing ages yet my rhymes shall cherish (_ib._ xliv. 11).
My name shall mount unto eternity (_ib._ xliv. 14).
All that I seek is to eternize thee (_ib._ xlvii. 54).

Daniel was no less explicit

This [_sc._ verse] may remain thy lasting monument (_Delia_, xxxvii.
9).
Thou mayst in after ages live esteemed,
Unburied in these lines (_ib._ xxxix. 9-10).
These [_sc._ my verses] are the arks, the trophies I erect
That fortify thy name against old age;
And these [_sc._ verses] thy sacred virtues must protect
Against the dark and time's consuming rage (_ib._ l. 9-12).

Conceits in sonnets addressed to a woman.

Shakespeare, in his references to his 'eternal lines' (xviii. 12) and in
the assurances that he gives the subject of his addresses that the
sonnets are, in Daniel's exact phrase, his 'monument' (lxxxi. 9, cvii.
13), was merely accommodating himself to the prevailing taste.
Characteristically in Sonnet lv. he invested the topic with a splendour
that was not approached by any other poet: {115}

Not marble, nor the gilded monuments
Of princes, shall outlive this powerful rhyme; {116}
But you shall shine more bright in these contents
Than unswept stone besmear'd with sluttish time.
When wasteful war shall statues overturn,
And broils root out the work of masonry,
Nor Mars his sword nor war's quick fire shall burn
The living record of your memory.
'Gainst death and all-oblivious enmity
Shall you pace forth; your praise shall still find room
Even in the eyes of all posterity
That wear this world out to the ending doom.
So, till the judgement that yourself arise,
You live in this, and dwell in lovers' eyes.

The imitative element is no less conspicuous in the sonnets that
Shakespeare distinctively addresses to a woman. In two of the latter
(cxxxv.-vi.), where he quibbles over the fact of the identity of his own
name of Will with a lady's 'will' (the synonym in Elizabethan English of
both 'lust' and 'obstinacy'), he derisively challenges comparison with
wire-drawn conceits of rival sonnetteers, especi