Much have I travell'd in the realms of gold.

The second awakening factor was the widespread interest in nature and the physical sciences, which spurred many another Elizabethan besides Bacon to "take all knowledge for his province." This new interest was generally romantic rather than scientific, was more concerned with marvels, like the philosopher's stone that would trans.m.u.te all things to gold, than with the simple facts of nature. Bacon's chemical changes, which follow the "instincts" of metals, are almost on a par with those other changes described in Shakespeare's song of Ariel:

Full fathom five thy father lies; Of his bones are coral made; Those are pearls that were his eyes: Nothing of him that doth fade But doth suffer a sea-change Into something rich and strange.

The third factor which stimulated the Elizabethan imagination was the discovery of the world beyond the Atlantic, a world of wealth, of beauty, of unmeasured opportunity for brave spirits, in regions long supposed to be possessed of demons, monsters, Oth.e.l.lo's impossible

cannibals that each other eat, The anthropophagi, and men whose heads Do grow beneath their shoulders.

[Sidenote: THE NEW WORLD]

When Drake returned from his voyage around the world he brought to England two things: a tale of vast regions just over the world's rim that awaited English explorers, and a ship loaded to the hatches with gold and jewels.

That the latter treasure was little better than a pirate's booty; that it was stolen from the Spaniards, who had taken it from poor savages at the price of blood and torture,--all this was not mentioned. The queen and her favorites shared the treasure with Drake's buccaneers, and the New World seemed to them a place of barbaric splendor, where the savage's wattled hut was roofed with silver, his garments beaded with all precious jewels. As a popular play of the period declares:

"Why, man, all their dripping pans are pure gold! The prisoners they take are fettered in gold; and as for rubies and diamonds, they goe forth on holydayes and gather 'hem by the seash.o.r.e to hang on their children's coates."

Before the American settlements opened England's eyes to the stern reality of things, it was the romance of the New World that appealed most powerfully to the imagination, and that influenced Elizabethan literature to an extent which we have not yet begun to measure.

FOREIGN INFLUENCE. We shall understand the imitative quality of early Elizabethan poetry if we read it in the light of these facts: that in the sixteenth century England was far behind other European nations in culture; that the Renaissance had influenced Italy and Holland for a century before it crossed the Channel; that, at a time when every Dutch peasant read his Bible, the ma.s.ses of English people remained in dense ignorance, and the majority of the official cla.s.ses were like Shakespeare's father and daughter in that they could neither read nor write. So, when the new national spirit began to express itself in literature, Englishmen turned to the more cultured nations and began to imitate them in poetry, as in dress and manners. Shakespeare gives us a hint of the matter when he makes Portia ridicule the apishness of the English. In _The Merchant of Venice_ (Act I, scene 2) the maid Nerissa is speaking of various princely suitors for Portia's hand. She names them over, Frenchman, Italian, Scotsman, German; but Portia makes fun of them all. The maid tries again:

_Nerissa_. What say you, then, to Falconbridge, the young baron of England?

_Portia_. You know I say nothing to him, for he understands not me, nor I him: he hath neither Latin, French, nor Italian; and you will come into the court and swear that I have a poor pennyworth in the English. He is a proper man's picture, but, alas, who can converse with a dumb show? How oddly he is suited! I think he bought his doublet in Italy, his round hose in France, his bonnet in Germany and his behaviour every where.

When Wyatt and Surrey brought the sonnet to England, they brought also the habit of imitating the Italian poets; and this habit influenced Spenser and other Elizabethans even more than Chaucer had been influenced by Dante and Petrarch. It was the fashion at that time for Italian gentlemen to write poetry; they practiced the art as they practiced riding or fencing; and presently scores of Englishmen followed Sidney's example in taking up this phase of foreign education. It was also an Italian custom to publish the works of amateur poets in the form of anthologies, and soon there appeared in England _The Paradise of Dainty Devices, A Gorgeous Gallery of Gallant Inventions_ and other such collections, the best of which was _England's Helicon_ (1600). Still another foreign fashion was that of writing a series of sonnets to some real or imaginary mistress; and that the fashion was followed in England is evident from Spenser's _Amoretti_, Sidney's _Astrophel and Stella_, Shakespeare's _Sonnets_, and other less-famous effusions.

SPENSER AND THE LYRIC POETS

[Ill.u.s.tration: MICHAEL DRAYTON]

LYRICS OF LOVE. Love was the subject of a very large part of the minor poems of the period, the monotony being relieved by an occasional ballad, such as Drayton's "Battle of Agincourt" and his "Ode to the Virginian Voyage," the latter being one of the first poems inspired by the New World.

Since love was still subject to literary rules, as in the metrical romances, it is not strange that most Elizabethan lyrics seem to the modern reader artificial. They deal largely with G.o.ddesses and airy shepherd folk; they contain many references to cla.s.sic characters and scenes, to Venus, Olympus and the rest; they are nearly all characterized by extravagance of language. A single selection, "Apelles' Song" by Lyly, may serve as typical of the more fantastic love lyrics:

Cupid and my Campaspe played At cards for kisses; Cupid paid.

He stakes his quiver, bow and arrows, His mother's doves and team of sparrows: Loses them too; then down he throws The coral of his lip, the rose Growing on's cheek (but none knows how); With these the crystal of his brow, And then the dimple of his chin.

All these did my Campaspe win.

At last he set her both his eyes; She won, and Cupid blind did rise.

O Love, has she done this to thee?

What shall, alas! become of me?

MUSIC AND POETRY. Another reason for the outburst of lyric poetry in Elizabethan times was that choral music began to be studied, and there was great demand for new songs. Then appeared a theory of the close relation between poetry and music, which was followed by the American poet Lanier more than two centuries later. [Footnote: Much of Lanier's verse seems more like a musical improvisation than like an ordinary poem. His theory that music and poetry are subject to the same laws is developed in his _Science of English Verse._ It is interesting to note that Lanier's ancestors were musical directors at the courts of Elizabeth and of James I.] This interesting theory is foreshadowed in several minor works of the period; for example, in Barnfield's sonnet "To R. L.," beginning:

If music and sweet poetry agree, As they must needs, the sister and the brother, Then must the love be great 'twixt thee and me, Because thou lov'st the one, and I the other.

The stage caught up the new fashion, and hundreds of lyrics appeared in the Elizabethan drama, such as Dekker's "Content" (from the play of _Patient Grissell), which almost sets itself to music as we read it:

Art thou poor, yet hast thou golden slumbers?

O sweet content!

Art thou rich, yet is thy mind perplexed?

O punishment!

Dost laugh to see how fools are vexed To add to golden numbers golden numbers?

O sweet content, O sweet, O sweet content!

_Work apace, apace, apace, apace!

Honest labour bears a lovely face.

Then hey noney, noney; hey noney, noney!_

Canst drink the waters of the crisped spring?

O sweet content!

Swim'st thou in wealth, yet sink'st in thine own tears?

O punishment!

Then he that patiently want's burden bears No burden bears, but is a king, a king.

O sweet content, O sweet, O sweet content!

So many lyric poets appeared during this period that we cannot here cla.s.sify them; and it would be idle to list their names. The best place to make acquaintance with theo is not in a dry history of literature, but in such a pleasant little book as Palgrave's _Golden Treasury_, where their best work is accessible to every reader.

EDMUND SPENSER (1552-1599)

Spenser was the second of the great English poets, and it is but natural to compare him with Chaucer, who was the first. In respect of time nearly two centuries separate these elder poets; in all other respects, in aims, ideals, methods, they are as far apart as two men of the same race can well be.

LIFE. Very little is known of Spenser; he appears in the light, then vanishes into the shadow, like his Arthur of _The Faery Queen_. We see him for a moment in the midst of rebellion in Ireland, or engaged in the scramble for preferment among the queen's favorites; he disappears, and from his obscurity comes a poem that is like the distant ringing of a chapel bell, faintly heard in the clatter of the city streets. We shall try here to understand this poet by dissolving some of the mystery that envelops him.

He was born in London, and spent his youth amid the political and religious dissensions of the times of Mary and Elizabeth. For all this turmoil Spenser had no stomach; he was a man of peace, of books, of romantic dreams. He was of n.o.ble family, but poor; his only talent was to write poetry, and as poetry would not buy much bread in those days, his pride of birth was humbled in seeking the patronage of n.o.bles:

Full little knowest thou, that hast not tried, What h.e.l.l it is in suing long to bide: ...

To fawn, to crouch, to wait, to ride, to run, To spend, to give, to want, to be undone.

To the liberality of a patron he owed his education at Cambridge.

It was then the heyday of Renaissance studies, and Spenser steeped himself in Greek, Latin and Italian literatures. Everything that was antique was then in favor at the universities; there was a revival of interest in Old-English poetry, which accounts largely for Spenser's use of obsolete words and his imitation of Chaucer's spelling.

After graduation he spent some time in the north of England, probably as a tutor, and had an unhappy love affair, which he celebrated in his poems to Rosalind. Then he returned to London, lived by favor in the houses of Sidney and Leicester, and through these powerful patrons was appointed secretary to Lord Grey de Wilton, the queen's deputy in Ireland.

[Ill.u.s.tration: EDMUND SPENSER]

[Sidenote: SPENSER'S EXILE]

From this time on our poet is represented as a melancholy Spenser's "exile," but that is a poetic fiction. At that time Ireland, having refused to follow the Reformation, was engaged in a desperate struggle for civil and religious liberty. Every English army that sailed to crush this rebellion was accompanied by a swarm of parasites, each inspired by the hope of getting one of the rich estates that were confiscated from Irish owners. Spenser seems to have been one of these expectant adventurers who accompanied Lord Grey in his campaign of brutality. To the horrors of that campaign the poet was blind; [Footnote: The barbarism of Spenser's view, a common one at that time, is reflected in his _View of the Present State of Ireland._ Honorable warfare on land or sea was unknown in Elizabeth's day. Scores of pirate ships of all nations were then openly preying on commerce. Drake, Frobisher and many other Elizabethan "heroes" were at times mere buccaneers who shared their plunder with the queen. In putting down the Irish rebellion Lords Grey and Ess.e.x used some of the same horrible methods employed by the notorious Duke of Alva in the Netherlands.] his sympathies were all for his patron Grey, who appears in The Faery Queen as Sir Artegall, "the model of true justice."

For his services Spenser was awarded the castle of Kilcolman and 3000 acres of land, which had been taken from the Earl of Desmond.

In the same way Raleigh became an Irish landlord, with 40,000 acres to his credit; and so these two famous Elizabethans were thrown together in exile, as they termed it. Both longed to return to England, to enjoy London society and the revenues of Irish land at the same time, but unfortunately one condition of their immense grants was that they should occupy the land and keep the rightful owners from possessing it.

[Sidenote: WORK IN IRELAND]

In Ireland Spenser began to write his masterpiece _The Faery Queen_. Raleigh, to whom the first three books were read, was so impressed by the beauty of the work that he hurried the poet off to London, and gained for him the royal favor. In the poem "Colin Clout's Come Home Again" we may read Spenser's account of how the court impressed him after his sojourn in Ireland.