There is a story that Ralegh owed his first introduction to the Queen's favour by his address in a conference before her, in which he proved his opinion, man to man, against Lord Grey de Wilton, his superior; but whether this story with all its dramatic possibilities is valid or not, it is certain that his conduct in Ireland brought him into great notice: and he was not the man easily to slip from any advantage he had gained. We hear of him joining the Earl of Leicester in a state mission to the Netherlands, and then he bursts into final brilliant prominence as courtier and his Queen's favourite.
CHAPTER V
QUEEN'S FAVOURITE
Court life—The Queen's position—Her character—She takes notice of Ralegh—Robert Dudley, Earl of Leicester—Sir Philip Sidney—Burghley, the Lord High Treasurer, and Walsingham—Robert Cecil—The dress of the courtier—The language of the courtier—The other side, and the other Queen—Mary, Queen of Scots—The great intrigue—Its discovery—Death of Queen Mary.
The Court was the brilliant feature of the time. The Court was not confined to ceremonial functions and presentations—it was not a bath in which a man or a woman must be dipped before he or she could lay any real claim to distinguished respectability. The Court had a vivid existence of its own. "It was the centre, not of government alone, but of the fine arts: the exemplar of culture and civilization." The Court held a lien on the gaiety and life of the time. Courtiers and merchants (the two chief classes) were as distinct as a little later were town and gown at the Universities. To be a proper courtier became a cult.
Three great books, extraordinarily typical of the Renaissance, were written in almost identical years, books which pointed to new scope for the State, for the Prince, and for the private man. In 1513 Machiavel completed The Prince, in 1516 Sir Thomas More's Utopia was published, and in the same year Count Baldassare Castiglione finished his Book of the Courtier.
The dream of the Utopia may never be realized; but in some seventy-five years a close example of the Prince and of the Courtier were found in Queen Elizabeth, and in many of the men who surrounded her. The Book of the Courtier was translated into all the languages of Europe, and became the text-book of the cult. Its English translator was Thomas Hoby, and his work, as has been seen, was commended by the judicious Ascham. Castiglione was chaffed for moulding his own conduct precisely on the model of the perfect courtier he portrays in his book; and he could not but confess that the man of his imagination was the man he would choose to be. And, indeed, it would be what every courtier would aspire to be, as Wordsworth's Happy Warrior,
"This is the happy Warrior, this is he
That every man in arms should wish to be."