Never minstrel, or by whatever more suitable name David should be known, drew upon his talents in the presence of more insensible auditors; though considering the singleness and sincerity of his motive, it is probably that no bard
of profane song ever uttered notes that ascended so near to that throne where all homage and praise is due.
The river argues that "our ancient British Rimes," which "our noble Bards.
When Dee moves on from bards to the druids, Drayton finds himself depending ever more heavily on conjecture.
Caesar "never understood" any aspects of British life, including "our tongue," the heroic songs "which our great bards did sing," and "our former state, beginning, our descent, / The warres we had at home, the conquests where we went" (320-27).
We have also seen in examining the two defenses that bards and druids are an integral part of the problem; it is they who comprise Drayton's best evidence for continuity, though they also present an impenetrable mystery by keeping the secrets of the past to themselves for eternity.
That Drayton identified personally with bards, as Hiller argues, is beyond question.
But bards were vital not only to Drayton's self-image, but also to his monumental purposes: bards were linked to the idea of continuity because they represented victory over time.
The first statement on bards virtually opens the entire poem, as Drayton devotes his invocation to them: "Yee sacred Bards, that to your Harps melodious strings / Sung th'ancient Heroes deeds (the monuments of Kings) / And in your dreadfull verse ingrav'd the prophecies, / The aged worlds descents, and Genealogies" (1.