A history of English literature

by Edward Albert

1. The New Classicism. By the time of Elizabeth the Renaissance, as it was called, had made itself strongly felt in England. In particular, there was an ardent revival in the study of Greek, which brought a dazzling light into many dark places of the intellect. The new passion for classical learning, in itself a rich and worthy enthusiasm, became quite a danger to the language. In all branches of literature Greek and Latin usages began to force themselves upon English, with results not wholly beneficial. It said much for the native sturdiness of English that, after a brief and vexed period of transition, it threw off the worst effects of this deadening pressure. English did not emerge unscathed from the contest. But, applied to this slight extent, the new classical influences were a great benefit: they tempered and polished the earlier rudeness of English literature.

2. Abundance of Output. After the lean years of the preceding epoch the prodigal issue of the Elizabethan age is almost embarrassing. As we have pointed out, the historical situation encouraged a healthy production. The interest shown in literary subjects is quite amazing to a more chastened generation. Pamphlets and treatises were freely written; much abuse, often of a personal and scurrilous character, was indulged in; and literary questions became almost of national importance. To a great extent the controversies of the day were puerile enough, but at least they indicated a lively interest in the literature of the period.

3. The New Romanticism. The romantic quest is for the remote, the wonderful, and the beautiful. All these desires were abundantly fed during the Elizabethan age, which is our first and greatest romantic epoch. On the one hand, there was the revolt against the past, whose grasp was too feeble to hold in restraint the lusty youth of the Elizabethan age; on the other, there was a daring and resolute spirit of adventure in literary as well as in other regions; and, most important of all, there was an unmistakable buoyancy and freshness in the strong wind of the spirit. It was the ardent youth of English literature, and the achievement was worthy of it.

4. The Drama. The bold and critical attitude of the time was in keeping with the dramatic instinct, which is analytic and observant. Hence, after the long period of incubation detailed in the last chapter, the drama made a swift and wonderful leap into maturity. Yet it had still many early difficulties to overcome. The actors themselves were at variance, so much so that outrageous brawls were frequent. On more than one occasion between 1590 and 1593 the theaters were closed owing to disturbances caused by the actors. In 1594 the problem was solved by the licensing of two troupes of players, the Lord Chamberlain’s (among whom was Shakespeare) and the Lord Admiral’s. Another early difficulty the drama had to face was its fondness for taking part in the quarrels of the time—for example, in the burning “Marprelate” controversy. Owing to this meddling the theaters were closed in 1589. Already, also, a considerable amount of Puritanical opposition was declaring itself. The most important anti-dramatic book of the day was Gosson’s virulent School of Abuse (1579), to which Sidney replied with his Apologie for Poetrie (about 1580).

In spite of such early difficulties, the drama reached the splendid consummation of Shakespeare’s art; but before the period closed decline was apparent.

5. Poetry. Though the poetical production was not quite equal to the dramatic, it was nevertheless of great and original beauty. As can be observed from the disputes of the time, the passion for poetry was absorbing, and the outcome of it was equal to expectation.

6. Prose. For the first time prose rises to a position of first-rate importance. The dead weight of the Latin tradition was passing away; English prose was acquiring a tradition and a universal application; and so the rapid development was almost inevitable.

7. Scottish Literature. A curious minor feature of the age was the disappearance of Scottish literature, after its brief but remarkable appearance in the previous age. At this point it took to ground, and did not reappear till late in the eighteenth century.

EDMUND SPENSER (1552–99)

1. His Life. From a passage in one of his sonnets it seems clear that Spenser was born in 1552; and from another passage, in his Prothalamion, we can deduce that he was born in London. His parentage is unknown; but, though Spenser claimed kinship with the noble branch of the Spenser family, it is fairly certain that he was a member of some northern plebeian branch. He was educated at the Merchant Taylors’ School (just founded in 1560) and at Cambridge. He left Cambridge in 1576, and for a few years his movements are unknown, though he probably spent the time in the North of England. He comes into view in London during the year 1579 as a member of the famous literary circle surrounding Sir Philip Sidney and his uncle the Earl of Leicester. Sidney patronized Spenser, introducing him to the Queen and encouraging him in his imitation of the classical meters. In 1580 Sidney’s patronage bore fruit, for Spenser was appointed secretary to Lord Grey de Wilton, who had just been appointed Lord-Deputy of Ireland.