A History of Elizabethan Literature Part 1

A History of English Literature.

by George Saintsbury.

PREFACE

As was explained in the Note to the Preface of the previous editions and impressions of this book, after the first, hardly one of them appeared without careful revision, and the insertion of a more or less considerable number of additions and corrections. I found, indeed, few errors of a kind that need have seemed serious except to Momus or Zoilus. But in the enormous number of statements of fact which literary history of the more exact kind requires, minor blunders, be they more or fewer, are sure to creep in. No writer, again, who endeavours constantly to keep up and extend his knowledge of such a subject as Elizabethan literature, can fail to have something new to say from time to time. And though no one who is competent originally for his task ought to experience any violent changes of view, any one's views may undergo modification. In particular, he may find that readers have misunderstood him, and that alterations of expression are desirable. For all these reasons and others I have not spared trouble in the various revisions referred to; I think the book has been kept by them fairly abreast of its author's knowledge, and I hope it is not too far behind that of others.

It will, however, almost inevitably happen that a long series of piecemeal corrections and codicils somewhat disfigures the character of the composition as a whole. And after nearly the full score of years, and not much less than half a score of re-appearances, it has seemed to me desirable to make a somewhat more thorough, minute, and above all connected revision than I have ever made before. And so, my publishers falling in with this view, the present edition represents the result. I do not think it necessary to reprint the original preface. When I wrote it I had already had some, and since I wrote it I have had much more, experience in writing literary history. I have never seen reason to alter the opinion that, to make such history of any value at all, the critical judgments and descriptions must represent direct, original, and first-hand reading and thought; and that in these critical judgments and descriptions the value of it consists. Even summaries and a.n.a.lyses of the matter of books, except in so far as they are necessary to criticism, come far second; while biographical and bibliographical details are of much less importance, and may (as indeed in one way or another they generally must) be taken at second hand. The completion of the _Dictionary of National Biography_ has at once facilitated the task of the writer, and to a great extent disarmed the candid critic who delights, in cases of disputed date, to a.s.sume that the date which his author chooses is the wrong one. And I have in the main adjusted the dates in this book (where necessary) accordingly. The bibliographical additions which have been made to the Index will be found not inconsiderable.

I believe that, in my present plan, there is no author of importance omitted (there were not many even in the first edition), and that I have been able somewhat to improve the book from the results of twenty years'

additional study, twelve of which have been mainly devoted to English literature. How far it must still be from being worthy of its subject, n.o.body can know better than I do. But I know also, and I am very happy to know, that, as an Elizabethan himself might have said, my unworthiness has guided many worthy ones to something like knowledge, and to what is more important than knowledge, love, of a subject so fascinating and so magnificent. And that the book may still have the chance of doing this, I hope to spare no trouble upon it as often as the opportunity presents itself.[1]

EDINBURGH, _January_ 30, 1907.

[1] In the last (eleventh) re-impression no alterations seemed necessary.

In this, one or two bibliographical matters may call for notice. Every student of Donne should now consult Professor Grierson's edition of the _Poems_ (2 vols., Oxford, 1912), and as inquiries have been made as to the third volume of my own _Caroline Poets_ (see Index), containing Cleveland, King, Stanley, and some less known authors, I may be permitted to say that it has been in the press for years, and a large part of it is completed.

But various stoppages, in no case due to neglect, and latterly made absolute by the war, have prevented its appearance.--BATH, October 8, 1918.

CHAPTER I

FROM TOTTEL'S "MISCELLANY" TO SPENSER

In a work like the present, forming part of a larger whole and preceded by another part, the writer has the advantage of being almost wholly free from a difficulty which often presses on historians of a limited and definite period, whether of literary or of any other history. That difficulty lies in the discussion and decision of the question of origins--in the allotment of sufficient, and not more than sufficient, s.p.a.ce to a preliminary recapitulation of the causes and circ.u.mstances of the actual events to be related. Here there is no need for any but the very briefest references of the kind to connect the present volume with its forerunner, or rather to indicate the connection of the two.

There has been little difference of opinion as to the long dead-season of English poetry, broken chiefly, if not wholly, by poets Scottish rather than English, which lasted through almost the whole of the fifteenth and the first half of the sixteenth centuries. There has also been little difference in regarding the remarkable work (known as Tottel's _Miscellany_, but more properly called _Songs and Sonnets, written by the Right Honourable Lord Henry Howard, late Earl of Surrey, and other_) which was published by Richard Tottel in 1557, and which went through two editions in the summer of that year, as marking the dawn of the new period. The book is, indeed, remarkable in many ways. The first thing, probably, which strikes the modern reader about it is the fact that great part of its contents is anonymous and only conjecturally to be attributed, while as to the part which is more certainly known to be the work of several authors, most of those authors were either dead or had written long before. Mr. Arber's remarks in his introduction (which, though I have rather an objection to putting mere citations before the public, I am glad here to quote as a testimony in the forefront of this book to the excellent deserts of one who by himself has done as much as any living man to facilitate the study of Elizabethan literature) are entirely to the point--how entirely to the point only students of foreign as well as of English literature know. "The poets of that age," says Mr. Arber, "wrote for their own delectation and for that of their friends, and not for the general public. They generally had the greatest aversion to their works appearing in print." This aversion, which continued in France till the end of the seventeenth century, if not later, had been somewhat broken down in England by the middle of the sixteenth, though vestiges of it long survived, and in the form of a reluctance to be known to write for money, may be found even within the confines of the nineteenth. The humbler means and lesser public of the English booksellers have saved English literature from the bewildering mult.i.tude of pirated editions, printed from private and not always faithful ma.n.u.script copies, which were for so long the despair of the editors of many French cla.s.sics. But the ma.n.u.script copies themselves survive to a certain extent, and in the more sumptuous and elaborate editions of our poets (such as, for instance, Dr. Grosart's _Donne_) what they have yielded may be studied with some interest.

Moreover, they have occasionally preserved for us work nowhere else to be obtained, as, for instance, in the remarkable folio which has supplied Mr.

Bullen with so much of his invaluable collection of Old Plays. At the early period of Tottel's _Miscellany_ it would appear that the very idea of publication in print had hardly occurred to many writers' minds. When the book appeared, both its main contributors, Surrey and Wyatt, had been long dead, as well as others (Sir Francis Bryan and Anne Boleyn's unlucky brother, George Lord Rochford) who are supposed to be represented. The short Printer's Address to the Reader gives absolutely no intelligence as to the circ.u.mstances of the publication, the person responsible for the editing, or the authority which the editor and printer may have had for their inclusion of different authors' work. It is only a theory, though a sufficiently plausible one, that the editor was Nicholas Grimald, chaplain to Bishop Thirlby of Ely, a Cambridge man who some ten years before had been incorporated at Oxford and had been elected to a Fellows.h.i.+p at Merton College. In Grimald's or Grimoald's connection with the book there was certainly something peculiar, for the first edition contains forty poems contributed by him and signed with his name, while in the second the full name is replaced by "N. G.," and a considerable number of his poems give way to others. More than one construction might, no doubt, be placed on this curious fact; but hardly any construction can be placed on it which does not in some way connect Grimald with the publication. It may be added that, while his, Surrey's, and Wyatt's contributions are substantive and known--the numbers of separate poems contributed being respectively forty for Surrey, the same for Grimald, and ninety-six for Wyatt--no less than one hundred and thirty-four poems, reckoning the contents of the first and second editions together, are attributed to "other" or "uncertain" authors.

And of these, though it is pretty positively known that certain writers did contribute to the book, only four poems have been even conjecturally traced to particular authors. The most interesting of these by far is the poem attributed, with that which immediately precedes it, to Lord Vaux, and containing the verses "For age with stealing steps," known to every one from the gravedigger in _Hamlet_. Nor is this the only connection of Tottel's _Miscellany_ with Shakespere, for there is no reasonable doubt that the "Book of Songs and Sonnets," to the absence of which Slender so pathetically refers in _The Merry Wives of Windsor_, is Tottel's, which, as the first to use the t.i.tle, long retained it by right of precedence.

Indeed, one of its authors, Churchyard, who, though not in his first youth at its appearance, survived into the reign of James, quotes it as such, and so does Drayton even later. No sonnets had been seen in England before, nor was the whole style of the verse which it contained less novel than this particular form.

As is the case with many if not most of the authors of our period, a rather unnecessary amount of ink has been spilt on questions very distantly connected with the question of the absolute and relative merit of Surrey and Wyatt in English poetry. In particular, the influence of the one poet on the other, and the consequent degree of originality to be a.s.signed to each, have been much discussed. A very few dates and facts will supply most of the information necessary to enable the reader to decide this and other questions for himself. Sir Thomas Wyatt, son of Sir Henry Wyatt of Allington, Kent, was born in 1503, entered St. John's College, Cambridge, in 1515, became a favourite of Henry VIII., received important diplomatic appointments, and died in 1542. Lord Henry Howard was born (as is supposed) in 1517, and became Earl of Surrey by courtesy (he was not, the account of his judicial murder says, a lord of Parliament) at eight years old. Very little is really known of his life, and his love for "Geraldine" was made the basis of a series of fictions by Nash half a century after his death.

He cannot have been more than thirty when, in the Reign of Terror towards the close of Henry VIII.'s life, he was arrested on frivolous charges, the gravest being the a.s.sumption of the royal arms, found guilty of treason, and beheaded on Tower Hill on 19th January 1547. Thus it will be seen that Wyatt was at Cambridge before Surrey was born, and died five years before him; to which it need only be added that Surrey has an epitaph on Wyatt which clearly expresses the relation of disciple to master. Yet despite this relation and the community of influences which acted on both, their characteristics are markedly different, and each is of the greatest importance in English poetical history.

In order to appreciate exactly what this importance is we must remember in what state Wyatt and Surrey found the art which they practised and in which they made a new start. Speaking roughly but with sufficient accuracy for the purpose, that state is typically exhibited in two writers, Hawes and Skelton. The former represents the last phase of the Chaucerian school, weakened not merely by the absence of men of great talent during more than a century, but by the continual imitation during that period of weaker and ever weaker French models--the last faint echoes of the _Roman de la Rose_ and the first extravagances of the _Rhetoriqueurs_. Skelton, on the other hand, with all his vigour, represents the English tendency to prosaic doggerel. Whether Wyatt and his younger companion deliberately had recourse to Italian example in order to avoid these two dangers it would be impossible to say. But the example was evidently before them, and the result is certainly such an avoidance. Nevertheless both, and especially Wyatt, had a great deal to learn. It is perfectly evident that neither had any theory of English prosody before him. Wyatt's first sonnet displays the completest indifference to quant.i.ty, not merely scanning "harber,"

"banner," and "suffer" as iambs (which might admit of some defence), but making a rhyme of "feareth" and "appeareth," not on the penultimates, but on the mere "eth." In the following poems even worse liberties are found, and the strange turns and twists which the poet gives to his decasyllables suggest either a total want of ear or such a study in foreign languages that the student had actually forgotten the intonation and cadences of his own tongue. So stumbling and knock-kneed is his verse that any one who remembers the admirable versification of Chaucer may now and then be inclined to think that Wyatt had much better have left his innovations alone. But this petulance is soon rebuked by the appearance of such a sonnet as this:--

(_The lover having dreamed enjoying of his love complaineth that the_ _dream is not either longer or truer._)

"Unstable dream, according to the place Be steadfast once, or else at least be true.

By tasted sweetness, make me not to rue The sudden loss of thy false feigned grace.

By good respect in such a dangerous case Thou brought'st not her into these tossing seas But mad'st my sprite to live, my care to increase,[2]

My body in tempest her delight to embrace.

The body dead, the sprite had his desire: Painless was th' one, the other in delight.

Why then, alas! did it not keep it right, But thus return to leap into the fire?

And where it was at wish, could not remain?

Such mocks of dreams do turn to deadly pain."

[2] In original "tencrease," and below "timbrace." This subst.i.tution of elision for slur or hiatus (found in Chaucerian MSS.) pa.s.sed later into the t' and th' of the seventeenth and eighteenth centuries.

Wyatt's awkwardness is not limited to the decasyllable, but some of his short poems in short lines recover rhythmical grace very remarkably, and set a great example.

Surrey is a far superior metrist. Neither in his sonnets, nor in his various stanzas composed of heroics, nor in what may be called his doggerel metres--the fatally fluent Alexandrines, fourteeners, and admixtures of both, which dominated English poetry from his time to Spenser's, and were never quite rejected during the Elizabethan period--do we find evidence of the want of ear, or the want of command of language, which makes Wyatt's versification frequently disgusting. Surrey has even no small mastery of what may be called the architecture of verse, the valuing of cadence in successive lines so as to produce a concerted piece and not a mere reduplication of the same notes. And in his translations of the _aeneid_ (not published in Tottel's _Miscellany_) he has the great honour of being the originator of blank verse, and blank verse of by no means a bad pattern. The following sonnet, combined Alexandrine and fourteener, and blank verse extract, may be useful:--

(_Complaint that his lady after she knew of his love kept her face_ _alway hidden from him._)

"I never saw my lady lay apart Her cornet black, in cold nor yet in heat, Sith first she knew my grief was grown so great; Which other fancies driveth from my heart, That to myself I do the thought reserve, The which unwares did wound my woeful breast.

But on her face mine eyes mought never rest Yet, since she knew I did her love, and serve Her golden tresses clad alway with black, Her smiling looks that hid[es] thus evermore And that restrains which I desire so sore.

So doth this cornet govern me, alack!

In summer sun, in winter's breath, a frost Whereby the lights of her fair looks I lost."[3]

[3] As printed exactly in both first and second editions this sonnet is evidently corrupt, and the variations between the two are additional evidence of this. I have ventured to change "hid" to "hides" in line 10, and to alter the punctuation in line 13. If the reader takes "that" in line 5 as = "so that," "that" in line 10 as = "which" (_i.e._ "black"), and "that" in line 11 with "which," he will now, I think, find it intelligible.

Line 13 is usually printed:

"In summer, sun: in winter's breath, a frost."

Now no one would compare a black silk hood to the sun, and a reference to line 2 will show the real meaning. The hood is a frost which lasts through summer and winter alike.

(_Complaint of the absence of her lover being upon the sea._)

"Good ladies, ye that have your pleasures in exile, Step in your foot, come take a place, and mourn with me a while.

And such as by their lords do set but little price, Let them sit still: it skills them not what chance come on the dice.

But ye whom love hath bound by order of desire, To love your lords whose good deserts none other would require, Come ye yet once again and set your foot by mine, Whose woeful plight and sorrows great, no tongue can well define."[4]

[4] In reading these combinations it must be remembered that there is always a strong caesura in the midst of the first and Alexandrine line. It is the Alexandrine which Mr. Browning has imitated in _Fifine_, not that of Drayton, or of the various pract.i.tioners of the Spenserian stanza from Spenser himself downwards.

"It was the(n)[5] night; the sound and quiet sleep Had through the earth the weary bodies caught, The woods, the raging seas, were fallen to rest, When that the stars had half their course declined.

The fields whist: beasts and fowls of divers hue, And what so that in the broad lakes remained, Or yet among the bushy thicks[6] of briar, Laid down to sleep by silence of the night, 'Gan swage their cares, mindless of travails past.

Not so the spirit of this Phenician.

Unhappy she that on no sleep could chance, Nor yet night's rest enter in eye or breast.

Her cares redouble: love doth rise and rage again,[7]

And overflows with swelling storms of wrath."

[5] In these extracts () signifies that something found in text seems better away; [] that something wanting in text has been conjecturally supplied.

[6] Thickets.

[7] This Alexandrine is not common, and is probably a mere oversight.

The "other" or "uncertain" authors, though interesting enough for purposes of literary comparison, are very inferior to Wyatt and Surrey. Grimald, the supposed editor, though his verse must not, of course, be judged with reference to a more advanced state of things than his own, is but a journeyman verse-smith.

"Sith, Blackwood, you have mind to take a wife, I pray you tell wherefore you like that life,"