Before the American settlements opened England's eyes to the stern reality of things, it was the romance of the New World that appealed most powerfully to the imagination, and that influenced Elizabethan literature to an extent which we have not yet begun to measure.
FOREIGN INFLUENCE. We shall understand the imitative quality of early Elizabethan poetry if we read it in the light of these facts: that in the sixteenth century England was far behind other European nations in culture; that the Renaissance had influenced Italy and Holland for a century before it crossed the Channel; that, at a time when every Dutch peasant read his Bible, the masses of English people remained in dense ignorance, and the majority of the official classes were like Shakespeare's father and daughter in that they could neither read nor write. So, when the new national spirit began to express itself in literature, Englishmen turned to the more cultured nations and began to imitate them in poetry, as in dress and manners. Shakespeare gives us a hint of the matter when he makes Portia ridicule the apishness of the English. In The Merchant of Venice (Act I, scene 2) the maid Nerissa is speaking of various princely suitors for Portia's hand. She names them over, Frenchman, Italian, Scotsman, German; but Portia makes fun of them all. The maid tries again:
Nerissa. What say you, then, to Falconbridge, the young baron of England?
Portia. You know I say nothing to him, for he understands not me, nor I him: he hath neither Latin, French, nor Italian; and you will come into the court and swear that I have a poor pennyworth in the English. He is a proper man's picture, but, alas, who can converse with a dumb show? How oddly he is suited! I think he bought his doublet in Italy, his round hose in France, his bonnet in Germany and his behaviour every where.
When Wyatt and Surrey brought the sonnet to England, they brought also the habit of imitating the Italian poets; and this habit influenced Spenser and other Elizabethans even more than Chaucer had been influenced by Dante and Petrarch. It was the fashion at that time for Italian gentlemen to write poetry; they practiced the art as they practiced riding or fencing; and presently scores of Englishmen followed Sidney's example in taking up this phase of foreign education. It was also an Italian custom to publish the works of amateur poets in the form of anthologies, and soon there appeared in England The Paradise of Dainty Devices, A Gorgeous Gallery of Gallant Inventions and other such collections, the best of which was England's Helicon (1600). Still another foreign fashion was that of writing a series of sonnets to some real or imaginary mistress; and that the fashion was followed in England is evident from Spenser's Amoretti, Sidney's Astrophel and Stella, Shakespeare's Sonnets, and other less-famous effusions.
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SPENSER AND THE LYRIC POETS
[Illustration: MICHAEL DRAYTON]
LYRICS OF LOVE. Love was the subject of a very large part of the minor poems of the period, the monotony being relieved by an occasional ballad, such as Drayton's "Battle of Agincourt" and his "Ode to the Virginian Voyage," the latter being one of the first poems inspired by the New World. Since love was still subject to literary rules, as in the metrical romances, it is not strange that most Elizabethan lyrics seem to the modern reader artificial. They deal largely with goddesses and airy shepherd folk; they contain many references to classic characters and scenes, to Venus, Olympus and the rest; they are nearly all characterized by extravagance of language. A single selection, "Apelles' Song" by Lyly, may serve as typical of the more fantastic love lyrics:
Cupid and my Campaspe played
At cards for kisses; Cupid paid.
He stakes his quiver, bow and arrows,
His mother's doves and team of sparrows:
Loses them too; then down he throws
The coral of his lip, the rose
Growing on's cheek (but none knows how);
With these the crystal of his brow,
And then the dimple of his chin.
All these did my Campaspe win.
At last he set her both his eyes;
She won, and Cupid blind did rise.
O Love, has she done this to thee?
What shall, alas! become of me?