which the ancients were held than that such frantic balderdash Yet this was what a man of

as this did not extinguish it. undoubted talent, of considerable learning, and of no small acuteness (for Stanyhurst's Preface to this very translation shows something more than glimmerings on the subject of classical and English prosody), could produce. It must never be forgotten that the men of this time were at a hopelessly wrong point of view. It never occurred to them that English left to itself could equal Greek or Latin. They simply endeavoured with the utmost pains and skill to drag English up to the same level as these unapproachable languages by forcing it into the same moulds which Greek and Latin had endured. Properly speaking we ought not to laugh at them. They were carrying out in literature what the older books of arithmetic call "The Rule of False," that is to say, they were trying what the English tongue could not bear. No one was so successful as Stanyhurst in applying this test of the rack yet it is fair to say that Harvey and Webbe, nay, Spenser and Sidney, had practically, though, except in Spenser's case, it would appear unconsciously, arrived at the same conclusion before. How much we owe to such adventurers of the impossible few men know except those who have tried to study literature as a whole.

A few words have to be said in passing as to the miscellanies which played such an important part in the poetical literature of the day. Tottel and The Mirror for Magistrates (which was, considering its constant accretions, a sort of miscellany) have been already noticed. They were followed by not a few others. The first in date was The Paradise of Dainty Devices (1576), edited by R. Edwards, a dramatist of industry if not of genius, and containing a certain amount of interesting work. It was very popular, going through nine or ten editions in thirty years, but with a few scattered exceptions it does not yield much to the historian of English poetry. Its popularity shows what was expected; its contents show what at any rate at the date of its first appearance was given. To all appearance the doleful contents of The Mirror

for Magistrates (which was reprinted six times during our present period, and which busied itself wholly with what magistrates should avoid, and with the sorrowful departing out of this life of the subjects) must have had a strong effect on Edwards, though one at least of his contributors, W. Hunnis, was a man of mould. It was followed in 1578 by A Gorgeous Gallery of Gallant Inventions, supposed to have been edited by Roydon and Proctor, which is a still drier stick. The next miscellany, six years later, A Handful of Pleasant Delights, edited by Clement Robinson, is somewhat better though not much. It is followed by the Phenix Nest, an interesting collection, by no less than three miscellanies in 1600, edited by "A. B." and R. Allot, and named England's Helicon, England's Parnassus, and Belvedere (the two latter being rather anthologies of extracts than miscellanies proper), and by Francis Davison's famous Poetical Rhapsody, 1602, all which last belong to a much later date than our present subjects.

But we

To say that the general poetical merit of these miscellanies is high would be absurd. But what at once strikes the reader, not merely of them but of the collections of individual work which accompany them, as so astonishing, is the level which is occasionally reached. The work is often the work of persons quite unknown or unimportant in literature as persons. constantly see in it a flash, a symptom of the presence of the true poetical spirit which it is often impossible to find for years together in other periods of poetry. For instance, if ever there was a "dull dog" in verse it was Richard Edwards. Yet in The Paradise of Dainty Devices Edwards's poem with the refrain "The falling out of faithful friends renewing is of love," is one of the most charming things anywhere to be found. So is after many years the poem attributed to John Wooton in England's Helicon (the best of the whole set), beginning “Her eyes like shining lamps," so is the exquisite "Come, little babe " from The Arbour of Amorous Devices, so are dozens and scores more which may be found in their proper places, and many of them in Mr. Arber's admirable English Garner. The spirit of

poetry, rising slowly, was rising surely in the England of these years: no man knew exactly where it would appear, and the greatest poets were-for their praises of themselves and their fellows are quite unconscious and simple—as ignorant as others. The first thirty years of the reign were occupied with simple education-study of models, efforts in this or that kind, translation, and the rest. But the right models had been provided by Wyatt and Surrey's study of the Italian, and by the study of the classics which all men then pursued; and the original inspiration, without which the best models are useless, though itself can do little when the best models are not used, was abundantly present. Few things are more curious than to compare, let us say, Googe and Spenser. Yet few things are more certain than that without the study and experiments which Googe represents Spenser could not have existed. Those who decry the historical method in criticism ignore this; and ignorance like wisdom is justified of all her children.1

1 Since these pages were in type I received from Mr. A. H. Bullen (of whose exceedingly kind offer to read through my proofs I have availed myself with much pleasure) a plea for a somewhat longer treatment of Churchyard, and a caveat against the passage quoted from Prof. Arber on p. 2 as "too strong." Mr. Bullen, whose article on "Churchyard" in the Dictionary of National Biography is the best thing on the subject, undoubtedly knows him better than I do; but the case happens to illustrate and exemplify one of the rules which I have set myself to give but little space to men whose work is neither remarkably good in itself nor part of a particularly interesting set or series of work. Now Churchyard is certainly not very important in his work, though his life is not uninteresting; and his work itself comes before the chief blossoming time of Elizabethan literature, and is not even very interesting as a type. Mr. Bullen's opinion as to unprinted matter and the attitude of writers towards publication is important, because he has examined the MS. of the time very carefully. My own opinion inclines rather to Mr. Arber's, but as both authorities have a greater acquaintance with the unprinted literature of the time than I have, I do not undertake to decide.

CHAPTER II

EARLY ELIZABETHAN PROSE

THE history of the earlier Elizabethan prose, if we except the name of Hooker, in whom it culminates, is to a great extent the history of curiosities of literature-of tentative and imperfect efforts, scarcely resulting in any real vernacular style at all. It is, however, emphatically the Period of Origins of modern English prose, and as such cannot but be interesting. We shall therefore rapidly survey its chief developments, noting first what had been done before Elizabeth came to the throne, then taking Ascham (who stands, though part of his work was written earlier, very much as the first Elizabethan prosaist), noticing the schools of historians, translators, controversialists, and especially critics who illustrated the middle period of the reign, and singling out the noteworthy personality of Sidney. We shall also say something of Lyly (as far as Euphues is concerned) and his singular attempts in prose style, and shall finish with Hooker, the one really great name of the period. Its curious pamphlet literature, though much of it, especially the Martin Marprelate controversy, might come chronologically within the limit of this chapter, will be better reserved for a notice in Chapter VI. of the whole pamphlet literature of the reigns of Elizabeth and James-an interesting subject, the relation of which to the modern periodical has been somewhat overlooked, and which indeed has, until Dr. Grosart's recent labours, been not very easy to study. Gabriel Harvey alone, as

distinctly belonging to the earlier Elizabethans, may be here included with other critics.

It was an inevitable result of the discovery of printing that the cultivation of the vernacular for purposes of all work—that is to say, for prose-should be largely increased. Yet a different influence arising, or at least eked out from the same source, rather checked this increase. The study of the classical writers had at first a tendency to render inveterate the habit of employing Latin for the journey-work of literature, and in the two countries which were to lead Western Europe for the future (the literary date of Italy was already drawing to a close, and Italy had long possessed vernacular prose masterpieces), it was not till the middle of the sixteenth century that the writing of vernacular prose was warmly advocated and systematically undertaken. The most interesting monuments of this crusade, as it may almost be called, in England are connected with a school of Cambridge scholars who flourished a little before our period, though not a few of them, such as Ascham, Wilson, and others, lived into it. A letter of Sir John Cheke's in the very year of the accession of Elizabeth is the most noteworthy document on the subject. It was written to another father of English prose, Sir Thomas Hoby, the translator of Castiglione's Courtier. But Ascham had already and some years earlier published his Toxophilus, and various not unimportant attempts, detailed notice of which would be an antedating of our proper period, had been made. More's chief work, Utopia, had been written in Latin, and was translated into English by another hand, but his History of Edward V. was not a mean contribution to English prose. Tyndale's New Testament had given a new and powerful impulse to the reading of English; Elyot's Governor had set the example of treating serious subjects in a style not unworthy of them, and Leland's quaint Itinerary the example of describing more or less faithfully if somewhat uncouthly. Hall had followed Fabyan as an English historian, and, above all, Latimer's Sermons had shown how to transform spoken English of the raciest kind into literature. Lord Berners's translations of