Langland and Chaucer both died about the beginning of the fifteenth century. But from that date until 1576—when Gascoigne's Steel Glass, the first verse satire of the Elizabethan age, was published—we must look mainly to Scotland and the poems of William Dunbar, Sir David Lyndsay, and others, to preserve the apostolic succession of satire. William Dunbar is one of the greatest of British satirists. His Dance of the Seven Deadly Sins, in which the popular poetic form of the age—allegory—is utilized with remarkable skill as the vehicle for a scathing satire on the headlong sensuality of his time, produces by its startling realism and terrible intensity an effect not unlike that exercised by the overpowering creations of Salvator Rosa. The poem is a bitter indictment of the utter corruption of all classes in the society of his period. Like Juvenal, to whose school he belongs, he softens nothing, tones down nothing. The evil is presented in all its native hideousness. Lyndsay, on the other hand, would have been more vigorous had he been less diffuse, and used the pruning-knife more unsparingly. His finest satiric pictures often lose their point by verbosity and tediousness. Brevity is the soul of satire as well as of wit.
The most vigorous English satire of this entire period was that which we owe to the scurrilous pen of Skelton and the provocative personality of Wolsey. With his work may be mentioned the rude and unpolished, yet vigorous, piece bearing the rhyming title,
"Rede me and be nott wrothe,
For I saye no thing but trothe",
written by two English Observantine Franciscan friars, William Roy and Jerome Barlowe;[6] a satire which stung the great cardinal so sharply that he commissioned Hermann Rynck to buy up every available copy. Alexander Barclay's imitation, in his Ship of Fools, of Sebastian Brandt's Narrenschiff, was only remarkable for the novel satirical device of the plan.
Bishop Latimer in his sermons is a vigorous satirist, particularly in that discourse upon "The Ploughers" (1547). His fearlessness is very conspicuous, and his attacks on the bishops who proved untrue to their trust and allowed their dioceses to go to wreck and ruin, are outspoken and trenchant:
"They that be lords will ill go to plough. It is no meet office for them. It is not seeming for their state. Thus came up lording loiterers; Thus crept in unprechinge prelates, and so have they long continued. For how many unlearned prelates have we now at this day? And no marvel; For if the ploughmen that now be, were made lordes, they would clean give over ploughing, they would leave of theyr labour and fall to lording outright and let the plough stand. For ever since the Prelates were made lords and nobles, the plough standeth, there is no work done, the people starve. They hawke, they hunte, they carde, they dyce, they pastime in their prelacies with galaunt gentlemen, with their dauncing minions, and with their freshe companions, so that ploughing is set aside."[7]
But after Gascoigne's Steel Glass was published, which professed to hold a mirror or "steel glass" up to the vices of the age, we reach that wonderful outburst of satiric, epigrammatic, and humorous composition which was one of the characteristics, and certainly not the least important, of the Elizabethan epoch. Lodge's Fig for Momus (1593) contains certain satires which rank with Gascoigne's work as the earliest compositions of that type belonging to the period. That they were of no mean reputation in their own day is evident from the testimony of Meres,[8] who says, "As Horace, Lucilius, Juvenal, Persius, and Lucullus are the best for satire among the Latins, so with us, in the same faculty, these are chiefe, Piers Plowman, Lodge, Hall of Emanuel College, Cambridge, the author of Pygmalion's Image and Certain Satires[9] and the author of Skialethea". This contemporary opinion regarding the fact that The Vision of Piers Plowman was esteemed a satire of outstanding merit in those days, is a curious commentary on Hall's boastful couplet describing himself as the earliest English satirist.
To name all the writers who, in this fruitful epoch of our literature, devoted themselves to this kind of composition would be impossible. From 1598 until the death of James I. upwards of one hundred separate satirists can be named, both in verse and prose. Of these Bishop Hall is one of the greatest, and I have chosen him as the leading representative of the period. To the study of Horace and Juvenal he had devoted many years of his early manhood, and his imitation of these two great Romans is close and consistent. Therefore, for vigour, grave dignity, and incisiveness of thought, united to graphic pictures of his age, Hall is undeniably the most important name in the history of the Elizabethan satire, strictly so called. His exposures of the follies of his age were largely couched in the form, so much affected by Horace, of a familiar commentary on certain occurrences, addressed apparently to an anonymous correspondent.
Contemporary with Hall was Thomas Nash, whose Pierce Penilesse's Supplication to the Devil was one of the most extraordinary onslaughts on the social vices of the metropolis that the period produced. Written in close imitation of Juvenal's earlier satires, he frequently approaches the standard of his master in graphic power of description, in scathing invective, and ironical mockery. In Have with you to Saffron Walden he lashed Gabriel Harvey for his unworthy conduct towards the memory of Robert Greene. Both satires are written in prose, as indeed are nearly all his works, inasmuch as Nash was more of a pamphleteer than anything else. Other contemporaries of Hall were Thomas Dekker, whose fame as a dramatist has eclipsed his reputation as a satirist, but whose Bachelor's Banquet—pleasantly discoursing the variable humours of Women, their quickness of wits and unsearchable deceits, is a sarcastic impeachment of the gentler sex, while his Gull's Hornbook must be ranked with Nash's work as one of the most unsparing castigations of social life in London. The latter is a volume of fictitious maxims for the use of youths desirous of being considered "pretty fellows". Other contemporaries were John Donne, John Marston, Jonson, George Chapman, and Nicholas Breton—all names of men who were conspicuous inheritors of the true Elizabethan spirit, and who united virility of thought to robustness and trenchancy of sarcasm.