England under the Tudors

by Arthur D. Innes

[Sidenote: Euphues]

Euphues, and its companion volume Euphues and His England enjoyed a very remarkable if temporary vogue; running through numerous editions in the course of the ensuing fifty years. After that, it dropped. It is not surprising that it dropped. The work is tedious, prolix, affected, abounding in pedantry and in intellectual foppery. But its whole meaning and significance at the time when it was written are lost to us if we pay attention only to the ridicule which very soon fell upon it, to the mockery in Shakespeare's burlesques of Euphuism, or to Scott's later parody of it in the character of Sir Piercie Shafton. The everlasting antitheses, the perpetual playing with words, the alliterative trickery, the accumulation of far-fetched similes, the endless and often most inappropriate classical, mythological, and quasi-zoological allusions and parallels, are indeed sufficiently absurd and wearisome; and when "Euphuism" became a fashionable craze, its sillier disciples were a very fit target for jesting and mirth, very much as in our own day the humorists found abundant and legitimate food for laughter in the vagaries of what was known as "aestheticism". In both cases, the extravagances were the separable accidents, the superficial excrescences, of a real intellectual movement with a quite healthy motive. Euphues itself was a real and serious if somewhat misdirected effort at making a moralised culture fashionable, and at elevating; the English tongue into a medium of refined and polished expression. If the Euphuists included Armados among them, they numbered also their Birons and Rosalines. Though Lyly practised exuberances of verbal jugglery, he was not their inventor; they were a vice of the times, largely borrowed from foreign models; and Shakespeare himself, in moments of aberrant ingenuity, produced—not for laughter—samples which Lyly might have admired but could never have emulated.

[Sidenote: Sidney's prose works]

Lyly's work was a novel experiment in prose, without previous parallel; critical judgments were no very long time in detecting and condemning his extravagances. But the same intellectual motive was soon to find a more chastened and artistic expression in the work of one who was still but a literary experimentalist when he meet his death at Zutphen. When Sir Philip Sidney, that "verray parfit gentil knight," scholar, soldier, and statesman, if the unanimous appraisement of the best of his contemporaries is worth anything, wrote his Defence of Poesie, he had not indeed broken free from the trammels of academic theory; but it is a very often acute and always charming piece of critical work in scholarly and graceful language. More affected and generally inferior in style, but also still on the whole scholarly and graceful in its language, is his Arcadia, an example of the indefinitely constructed amorphous Romances out of which in course of long time the novel was to be evolved. The dwellers in that Arcady are as far removed from the nymphs and swains of Watteau's day as from a primitive Greek population; they behave as no human beings ever did or could behave; they belong in short to a particularly unconvincing kind of fairy-land, of which the vogue happily died out at an early stage. The Arcadia is not intrinsically a great book, nor can it be read to-day without a considerable effort; yet it must always be notable as not merely an experiment but a positive achievement in English prose style. Neither of these works was published till after 1590; but both must have been written before 1583.

[Sidenote: Hooker 1594]

It was not till the last decade of the reign had begun that the first great monument of English Prose appeared; nor is it surprising that, when it did come, it was an example of the Ecclesiastical or politico-ecclesiastical order. With the publication in 1594 of the first four books of Richard Hooker's Ecclesiastical Polity, the full claims of English as a great literary language were decisively established by his rhythmical, stately, and luminous periods. In their own field, Poets and Dramatists had already secured those claims; with the works of Marlowe, the earliest plays of Shakespeare, and the opening books of the Faerie Queene.

[Sidenote: Verse; before 1579]

While the Eighth Henry was still ruling England, Surrey and Wyatt, heedful of things Italian, had already discovered that verse-making was at any rate a delectable pastime for a gentleman of wit, especially if he had a love-affair on hand; a pastime certainly pleasing to himself and probably agreeable to his mistress. They made metrical experiments, introducing both the sonnet and blank verse. The example they set was followed by others, and Tottel's Miscellany, published towards the end of Mary's reign, shows that a considerable skill in this minor art had already been acquired, and not only by the two principal contributors, though the writers were still working within very narrow metrical limitations. In 1559 appeared the Mirrour for Magistrates, for the most part dull and uninteresting but containing in the Induction and the Complaint of Buckingham two contributions by Thomas Sackville (afterwards Lord Buckhurst) which are a good deal more than clever verse-making. But after one other experiment—the part-authorship of the first English Tragedy in blank verse, Gorboduc—Sackville deserted the Muses, for public affairs; in his later years becoming a leading member of Elizabeth's Council. The little verse that he left is of a quality to make us wish that he had written more: for there is in him at least a hint of some possibilities which were actualised in Spenser. But twenty years passed before the appearance of the Shepherd's Calendar, during which it is probable enough that courtiers and lovers continued to practise, after the school of Surrey and Wyatt; nothing however was published that has survived, save the work of the universal experimentalist and pioneer George Gascoigne, who tried his hand at most forms of literary production, achieving distinction in none but a laudable respectability in all.

[Sidenote: 1579-90 Spenser and others ]

The Shepherd's Calendar/ by itself would give Spenser nothing more than a high position among minor poets; but with him verse reappeared as something more than an elegant exercise for courtiers, scholars or lovers. Above all, the Shepherd's Calendar gave unexpected proof of the metrical capacities and verbal felicities of the English language, though setting it forth to the accompaniment of an excessive use of archaic forms and expressions. Even that excess had its value as a protest against the pedantic precision of the Latinists, who were already indulging in a grotesque attempt to displace natural English metres by Ovidian and Horatian prosody. Spenser himself made some futile efforts in this direction; so did Sidney—sundry more or less ingenious examples are scattered about the Arcadia; but Sidney realised his error in time to write the Astrophel and Stella sonnets (about 1581-2), which though still somewhat stiff and academic might well have been the precursors of some noble poetry had the writer lived longer. As it is, his life and death form the noblest poem he has bequeathed to us.