DRAKE'S VOYAGE ROUND THE WORLD
I suppose some persons present have heard the name of Lope de Vega, the Spanish poet of Philip II.'s time. Very few of you probably know more of him than his name, and yet he ought to have some interest for us, as he was one of the many enthusiastic young Spaniards who sailed in the Great Armada. He had been disappointed in some love affair. He was an earnest Catholic. He wanted distraction, and it is needless to say that he found distraction enough in the English Channel to put his love troubles out of his mind. His adventures brought before him with some vividness the character of the nation with which his own country was then in the death-grapple, especially the character of the great English seaman to whom the Spaniards universally attributed their defeat. Lope studied the exploits of Francis Drake from his first appearance to his end, and he celebrated those exploits, as England herself has never yet thought it worth her while to do, by making him the hero of an epic poem. There are heroes and heroes. Lope de Vega's epic is called 'The Dragontea.' Drake himself is the dragon, the ancient serpent of the Apocalypse. We English have been contented to allow Drake a certain qualified praise. We admit that he was a bold, dexterous sailor, that he did his country good service at the Invasion. We allow that he was a famous navigator, and sailed round the world, which no one else had done before him. But—there is always a but—of course he was a robber and a corsair, and the only excuse for him is that he was no worse than most of his contemporaries. To Lope de Vega he was a great deal worse. He was Satan himself, the incarnation of the Genius of Evil, the arch-enemy of the Church of God.
It is worth while to look more particularly at the figure of a man who appeared to the Spaniards in such terrible proportions. I, for my part, believe a time will come when we shall see better than we see now what the Reformation was, and what we owe to it, and these sea-captains of Elizabeth will then form the subject of a great English national epic as grand as the 'Odyssey.'
In my own poor way meanwhile I shall try in these lectures to draw you a sketch of Drake and his doings as they appear to myself. To-day I can but give you a part of the rich and varied story, but if all goes well I hope I may be able to continue it at a future time.
I have not yet done with Sir John Hawkins. We shall hear of him again. He became the manager of Elizabeth's dockyards. He it was who turned out the ships that fought Philip's fleet in the Channel in such condition that not a hull leaked, not a spar was sprung, not a rope parted at an unseasonable moment, and this at a minimum of cost. He served himself in the squadron which he had equipped. He was one of the small group of admirals who met that Sunday afternoon in the cabin of the ark Raleigh and sent the fire-ships down to stir Medina Sidonia out of his anchorage at Calais. He was a child of the sea, and at sea he died, sinking at last into his mother's arms. But of this hereafter. I must speak now of his still more illustrious kinsman, Francis Drake.
I told you the other day generally who Drake was and where he came from; how he went to sea as a boy, found favour with his master, became early an owner of his own ship, sticking steadily to trade. You hear nothing of him in connection with the Channel pirates. It was not till he was five-and-twenty that he was tempted by Hawkins into the negro-catching business, and of this one experiment was enough. He never tried it again.
The portraits of him vary very much, as indeed it is natural that they should, for most of those which pass for Drake were not meant for Drake at all. It is the fashion in this country, and a very bad fashion, when we find a remarkable portrait with no name authoritatively attached to it, to christen it at random after some eminent man, and there it remains to perplex or mislead.
The best likeness of Drake that I know is an engraving in Sir William Stirling-Maxwell's collection of sixteenth-century notabilities, representing him, as a scroll says at the foot of the plate, at the age of forty-three. The face is round, the forehead broad and full, with the short brown hair curling crisply on either side. The eyebrows are highly arched, the eyes firm, clear, and open. I cannot undertake for the colour, but I should judge they would be dark grey, like an eagle's. The nose is short and thick, the mouth and chin hid by a heavy moustache on the upper lip, and a close-clipped beard well spread over chin and cheek. The expression is good-humoured, but absolutely inflexible, not a weak line to be seen. He was of middle height, powerfully built, perhaps too powerfully for grace, unless the quilted doublet in which the artist has dressed him exaggerates his breadth.
I have seen another portrait of him, with pretensions to authenticity, in which he appears with a slighter figure, eyes dark, full, thoughtful, and stern, a sailor's cord about his neck with a whistle attached to it, and a ring into which a thumb is carelessly thrust, the weight of the arms resting on it, as if in a characteristic attitude. Evidently this is a carefully drawn likeness of some remarkable seaman of the time. I should like to believe it to be Drake, but I can feel no certainty about it.
We left him returned home in the Judith from San Juan de Ulloa, a ruined man. He had never injured the Spaniards. He had gone out with his cousin merely to trade, and he had met with a hearty reception from the settlers wherever he had been. A Spanish admiral had treacherously set upon him and his kinsman, destroyed half their vessels, and robbed them of all that they had. They had left a hundred of their comrades behind them, for whose fate they might fear the worst. Drake thenceforth considered Spanish property as fair game till he had made up his own losses. He waited quietly for four years till he had re-established himself, and then prepared to try fortune again in a more daring form.