LITMIR.BIZ

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is not too much to say, that the works of Raleigh and Bacon, and others whose connection with it is not necessary to specify just here, are written throughout in the language of this school. 'Our glorious Willy' – (it is the gentleman who wrote the 'Faery Queene' who claims him, and his glories, as 'ours'), – 'our glorious Willy' was born in it, and knew no other speech. It was that 'Round Table' at which Sir Philip Sydney presided then, that his lurking meanings, his unspeakable audacities first 'set in a roar.' It was there, in the keen encounters of those flashing 'wit combats,' that the weapons of great genius grew so fine. It was there, where the young wits and scholars, fresh from their continental tours, full of the gallant young England of their day, – the Mercutios, the Benedicts, the Birons, the Longuevilles, came together fresh from the Court of Navarre, and smelling of the lore of their foreign 'Academe,' or hot from the battles of continental freedom, – it was there, in those réunions, that our Poet caught those gracious airs of his – those delicate, thick-flowering refinements – those fine impalpable points of courtly breeding – those aristocratic notions that haunt him everywhere. It was there that he picked up his various knowledge of men and manners, his acquaintance with foreign life, his bits of travelled wit, that flash through all. It was there that he heard the clash of arms, and the ocean-storm. And it was there that he learned 'his old ward.' It was there, in the social collisions of that gay young time, with its bold over-flowing humours, that would not be shut in, that he first armed himself with those quips and puns, and lurking conceits, that crowd his earlier style so thickly, – those double, and triple, and quadruple meanings, that stud so closely the lines of his dialogue in the plays which are clearly dated from that era, – the natural artifices of a time like that, when all those new volumes of utterance which the lips were ready to issue, were forbidden on pain of death to be 'extended,' must needs 'be crushed together, infolded within themselves.'

      Of course it would be absurd, or it would involve the most profound ignorance of the history of literature in general, to claim that the principle of this invention had its origin here. It had already been in use, in recent and systematic use, in the intercourse of the scholars of the Middle Ages; and its origin is coeval with the origin of letters. The free-masonry of learning is old indeed. It runs its mountain chain of signals through all the ages, and men whom times and kindreds have separated ascend from their week-day toil, and hold their Sabbaths and synods on those heights. They whisper, and listen, and smile, and shake the head at one another; they laugh, and weep, and complain together; they sing their songs of victory in one key. That machinery is so fine, that the scholar can catch across the ages, the smile, or the whisper, which the contemporary tyranny had no instrument firm enough to suppress, or fine enough to detect.

      'But for her father sitting still on hie,

      Did warily still watch the way she went,

      And eke from far observed with jealous eye,

      Which way his course the wanton Bregog bent.

      Him to deceive, for all his watchful ward,

      The wily lover did devise this slight.

      First, into many parts, his stream he shared,

      That whilst the one was watch'd, the other might

      Pass unespide, to meet her by the way.

      And then besides, those little streams, so broken,

      He under ground so closely did convey,

      That of their passage doth appear no token.'

      It was the author of the 'Faery Queene,' indeed, his fine, elaborate, fertile genius burthened with its rich treasure, and stimulated to new activity by his poetical alliance with Raleigh, whose splendid invention first made apparent the latent facilities which certain departments of popular literature then offered, for a new and hitherto unparalleled application of this principle. In that prose description of his great Poem which he addresses to Raleigh, the distinct avowal of a double intention in it, the distinction between a particular and general one, the emphasis with which the elements of the ideal name, are discriminated and blended, furnish to the careful reader already some superficial hints, as to the capabilities of such a plan to one at all predisposed to avail himself of them. And, indeed, this Poet's manifest philosophical and historical tendencies, and his avowed view of the comprehension of the Poet's business would have seemed beforehand to require some elbow-room, – some chance for poetic curves and sweeps, – some space for the line of beauty to take its course in, which the sharp angularities, the crooked lines, the blunt bringing up everywhere, of the new philosophic tendency to history would scarcely admit of. There was no breathing space for him, unless he could contrive to fix his poetic platform so high, as to be able to override these restrictions without hindrance.

      'For the Poet thrusteth into the midst, even where it most concerneth him, and then recoursing to the things fore-past, and divining of things to come, he maketh a pleasing analysis of ALL.'

      And it so happened that his Prince Arthur had dreamed the poet's dream, the hero's dream, the philosopher's dream, the dream that was dreamed of old under the Olive shades, the dream that all our Poets and inspired anticipators of man's perfection and felicity have always been dreaming; but this one 'awakening,' determined that it should be a dream no longer. It was the hour in which the genius of antiquity was reviving; it was the hour in which the poetic inspiration of all the ages was reviving, and arming itself with the knowledge of 'things not dreamt of' by old reformers – that knowledge of nature which is power, which is the true magic. For this new Poet had seen in a vision that same 'excellent beauty' which 'the divine' ones saw of old, and 'the New Atlantis,' the celestial vision of her kingdom; and being also 'ravished with that excellence, and awakening, he determined to seek her out. And so being by Merlin armed, and by Timon thoroughly instructed, he went forth to seek her in Fairy Land.' There was a little band of heroes in that age, a little band of philosophers and poets, secretly bent on that same adventure, sworn to the service of that same Gloriana, though they were fain to wear then the scarf and the device of another Queen on their armour. It is to the prince of this little band – 'the prince and mirror of all chivalry' – that this Poet dedicates his poem. But it is Raleigh's device which he adopts in the names he uses, and it is Raleigh who thus shares with Sydney the honour of his dedication.

      'In that Faery Queene, I mean,' he says, in his prose description of the Poem addressed to Raleigh, 'in that Faery Queene, I mean Glory in my general intention; but, in my particular, I conceive the most glorious person of our sovereign the Queen, and her kingdom – in Fairy Land.

      'And yet, in some places, I do otherwise shadow her. For considering she beareth two persons, one of a most Royal Queen or Empress, the other of a most VIRTUOUS and BEAUTIFUL lady – the latter part I do express in BEL-PHEBE, fashioning her name according to your own most excellent conceit of "Cynthia," Phebe and Cynthia being both names of Diana.' And thus he sings his poetic dedication: —

      'To thee, that art the Summer's Nightingale,

      Thy sovereign goddess's most dear delight,

      Why do I send this rustic madrigal,

      That may thy tuneful ear unseason quite?

      Thou, only fit this argument to write,

        In whose high thoughts pleasure hath built her bower,

        And dainty love learn'd sweetly to indite.

        My rhymes, I know, unsavoury are and soure

        To taste the streams, which like a golden showre,

        Flow from thy fruitful head of thy love's praise.

        Fitter, perhaps, to thunder martial stowre,[Footnote]

        When thee so list thy tuneful thoughts to raise,

        Yet till that thou thy poem wilt make known,

        Let thy fair Cynthia's praises be thus rudely shown.'

      [Footnote: 'Shine forth, thou Star of Poets, and with rage Or influence chide, or cheer

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