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St. John's, Cambridge; Peele, of Christ's Church, Oxford; Lyly, of Magdalen College, and Lodge of Trinity College, in the same university. Kyd was also probably a university man, though we know nothing of his private history. To the training received by these writers the drama that arose among us after the middle of the sixteenth century may be considered to owe not only its form, but in part also its spirit, which had a learned and classical tinge from the first, that never entirely wore out. The diction of the works of all these dramatists betrays their scholarship; and they have left upon the language of our higher drama, and indeed of our blank verse in general, of which they were the main creators, an impress of Latinity, which, it can scarcely be doubted, our vigorous but still homely and unsonorous Gothic speech needed to fit it for the requirements of that species of composition. Fortunately, however, the greatest and most influential of them were not mere men of books and readers of Greek and Latin. Greene and Peele and Marlow all spent the noon of their days (none of them saw any afternoon) in the busiest haunts of social life, sounding in their reckless course all the depths of human experience, and drinking the cup of passion, and also of suffering, to the dregs. And of their great successors, those who carried the drama to its height among us in the next age, while some were also accomplished scholars, all were men of the world-men who knew their brother-men by an actual and intimate intercourse with them in their most natural and open-hearted moods, and over a remarkably extended range of conditions. We know, from even the scanty fragments of their history that have come down to us, that Shakespeare and Jonson and Beaumont and Fletcher all lived much in the open air of society, and mingled with all ranks from the highest to the lowest; some of them, indeed, having known what it was actually to belong to classes very far removed from each other at different periods of their lives. But we should have gathered, though no other record or tradition had told us, that they must have been men of this genuine and manifold experience from the drama alone which they have bequeathed to us,-various, rich, and glowing as that is, even as life itself.

EARLIER ELIZABETHAN PROSE:-LYLY; SIDNEY; SPENSER;

NASH; ETC.

Before leaving the earlier part of the reign of Elizabeth, a few of the more remarkable writers in prose who had risen into notice before the year 1590 may be mentioned. The singular affectation known by the name of Euphuism was, like some other celebrated absurdities, the invention of a man of true geniusJohn Lyly, noticed above as a dramatist and poet-the first part of whose prose romance of Euphues appeared in 1578 or 1579. "Our nation," says Sir Henry Blount, in the preface to a collection of some of Lyly's dramatic pieces which he published in 1632, " are in his debt for a new English which he taught them. Euphues and his England* began first that language; all our ladies were then his scholars; and that beauty in court which could not parley Euphuism-that is to say, who was unable to converse in that pure and reformed English, which he had formed his work to be the standard of-was as little regarded as she which now there speaks not French." Some notion of this "pure and reformed English" has been made familiar to the reader of our day by the great modern pen that has called back to life so much of the long-vanished past, though the discourse of Sir Piercie Shafton, in the Monastery, is rather a caricature than a fair sample of Euphuism. Doubtless, it often became a purely silly and pitiable affair in the mouths of the courtiers, male and female; but in Lyly's own writings, and in those of his lettered imitators, of whom he had several, and some of no common talent, it was only fantastic and extravagant, and opposed to truth, nature, good sense, and manliness. Pedantic and far-fetched allusion, elaborate indirectness, a cloying smoothness and drowsy monotony of diction, alliteration, punning, and other such puerilities, these are the main ingredients of Euphuism; which do not, however, exclude a good deal of wit, fancy, and prettiness, occasionally, both in the expression and the thought. Although Lyly, in his verse as well as in his prose, is always artificial to excess, his ingenuity and finished elegance are frequently very captivating. Perhaps, indeed, our language is, after all, indebted to this writer and his Euphuism for not a little of its present euphony. From the strictures Shakespeare, in Love's Labour's Lost, makes Holofernes pass on the mode of speaking of his Euphuist, Don Adriano de Armado

*This is the title of the second part of the Euphues, published in 1581. The first part is entitled Euphues, the Anatomy of Wit.

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a man of fire-new words, fashion's own knight-that hath a mint of phrases in his brain-one whom the music of his own vain tongue doth ravish like enchanting harmony"-it should almost seem that the now universally adopted pronunciation of many of our words was first introduced by such persons at this S refining "child of fancy:"-"I abhor such fanatical fantasms, such insociable and point-device companions; such rackers of orthography as to speak dout, fine, when he should say doubt; det, when he should pronounce debt, d, e, b, t ; not d, e, t: he clepeth a calf, cauf; half, hauf; neighbour vocatur nebour; neigh, abbreviated ne; this is abhominable (which he would call abominable): it insinuateth me of insanie." Here, however, the all-seeing poet laughs rather at the pedantic schoolmaster than at the fantastic knight; and the euphuistic pronunciation which he makes Holofernes so indignantly criticise was most probably his own and that of the generality of his educated contemporaries.

A renowned English prose classic of this age, who made Lyly's affectations the subject of his ridicule some years before Shakespeare, but who also perhaps was not blind to his better qualities, and did not disdain to adopt some of his reforms in the language, if not to imitate even some of the peculiarities of his style, was Sir Philip Sidney, the illustrious author of the Arcadia. Sidney, who was born in 1554, does not appear to have sent anything to the press during his short and brilliant life, which was terminated by the wound he received at the battle of Zutphen, in 1586; but he was probably well known, nevertheless, at least as a writer of poetry, some years before his lamented death. Puttenham, whose Art of English Poesy, at whatever time it may have been written, was published before any work of Sidney's had been printed, so far as can now be discovered, mentions him as one of the best and most famous writers of the age "for eclogue and pastoral poesy." The Countess of Pembroke's Arcadia, as Sidney's principal work had been affectionately designated by himself, in compliment to his sister, to whom it was inscribed-the "fair, and good, and learned" lady, afterwards celebrated by Ben Jonson as "the subject of all verse -was not given to the world even in part till 1590, nor completely till 1593. His collection of sonnets and songs entitled Astrophel and Stella, first appeared in 1591, and his other most celebrated piece in prose, The Defence of Poesy, in 1595. The production in which he satirises the affectation and pedantry of the modern corrupters of the vernacular tongue is a sort of masque, supposed to pass before Queen Elizabeth in Wanstead garden, in which, among other characters, a village schoolmaster called Rombus appears, and

declaims in a jargon not unlike that of Shakespeare's Holofernes. Sidney's own prose is the most flowing and poetical that had yet been written in English; but its graces are rather those of artful elaboration than of a vivid natural expressiveness. The thought, in fact, is generally more poetical than the language; it is a spirit of poetry encased in a rhetorical form. Yet, notwithstanding the conceits into which it frequently runs-and which, after all, are mostly rather the frolics of a nimble wit, somewhat too solicitous of display, than the sickly perversities of a coxcombical or effeminate taste-and, notwithstanding also some want of animation and variety, Sidney's is a wonderful style, always flexible, harmonious, and luminous, and on fit occasions rising to great stateliness and splendour; while a breath of beauty and noble feeling lives in and exhales from the whole of his great work, like the fragrance from a garden of flowers.

Among the most active occasional writers in prose, also, about this time were others of the poets and dramatists of the day, besides Lodge, who has been already mentioned as one of Lyly's imitators. Another of his productions, besides his tale of Rosalynd, which has lately attracted much attention, is a Defence of Stage Plays, which he published, probably in 1579, in answer to Stephen Gosson's School of Abuse, and of which only two copies are known to exist, both wanting the title-page. Greene was an incessant pamphleteer upon all sorts of subjects; the list of his prose publications, so far as they are known, given by Mr. Dyce extends to between thirty and forty articles, the earliest being dated 1584, or eight years before his death. Morality, fiction, satire, blackguardism, are all mingled together in the stream that thus appears to have flowed without pause from his ready pen. "In a night and a day," says his friend Nash, "would he have yarked up a pamphlet as well as in seven years; and glad was that printer that might be so blest to pay him dear for the very dregs of his wit."* His wit, indeed, often enough appears to have run to the dregs, nor is it very sparkling at the best; but Greene's prose, though not in general very animated, is more concise and perspicuous than his habits of composition might lead us to expect. He has generally written from a wellinformed or full mind, and the matter is interesting even when there is no particular attraction in the manner. Among his most curious pamphlets are his several tracts on the rogueries of London, which he describes under the name of Coney-catching —a favourite subject also with other popular writers of that day.

* Strange News, in answer to Gabriel Harvey's Four Letters.

But the most remarkable of all Greene's contributions to our literature are his various publications which either directly relate or are understood to shadow forth the history of his own wild and unhappy life-his tale entitled Never too Late; or, A Powder of Experience, 1590; the second part entitled Francesco's Fortunes, the same year; his Groatsworth of Wit, bought with a Million of Repentance, and The Repentance of Robert Greene, Master of Arts, which both appeared, after his death, in 1592. Greene, as well as Lodge, we may remark, is to be reckoned among the Euphuists; a tale which he published in 1587, and which was no less than five times reprinted in the course of the next half-century, is entitled Menaphon; Camilla's Alarum to slumbering Euphues, in his melancholy cell at Silexedra, &c. ; and the same year he produced Euphues his Censure to Philantus; wherein is presented a philosophical combat between Hector and Achilles, &c. But he does not appear to have persisted in this fashion of style. It may be noticed as curiously illustrating the spirit and manner of our fictitious literature at this time, that in his Pandosto, or, History of Dorastus and Fawnia, Greene, a scholar, and a Master of Arts of Cambridge, does not hesitate to make Bohemia an island, just as is done by Shakespeare in treating the same story in his Winter's Tale. The critics have been accustomed to instance this as one of the evidences of Shakespeare's ignorance, and Ben Jonson is recorded to have, in his conversation with Drummond of Hawthornden, quoted it as a proof that his great brotherdramatist "wanted art,* and sometimes sense." The truth is, as has been observed,† such deviations from fact, and other incongruities of the same character, were not minded, or attempted to be avoided, either in the romantic drama, or in the legends out of which it was formed. They are not blunders, but part and parcel of the fiction. The making Bohemia an island is not nearly so great a violation of geographical truth as other things in the same play are of all the proprieties and possibilities of chronology and history-for instance, the co-existence of a kingdom of Bohemia at all, or of that modern barbaric name, with anything so entirely belonging to the old classic world as the Oracle of Delphi. The story (though no earlier record of it has yet been discovered) is not improbably much older than either Shakespeare or Greene: the latter no doubt expanded and

* Yet Jonson has elsewhere expressly commended Shakespeare for his art. See his well-known verses prefixed to the first folio edition of the Plays. † See Notice on the Costume of the Winter's Tale in Knight's Shakspere, vol. iv.

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