LITMIR.BIZ

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me,' says Raleigh, in a response to this obscure partner of his works and arts, – a response not less mysterious, till we have found the solution of it, for it is an enigma.

      'Of me no lines are loved, no letters are of price,

       Of all that speak the English tongue, but those of thy device.'

      [It was a 'device' that symbolised all. It was a circle containing the alphabet, or the A B C, and the esoteric meaning of it was 'all in each,' or all in all, the new doctrine of the unity of science (the 'Ideas' of the New 'Academe'). That was the token-name under which a great Book of this Academy was issued.]

      It is to Sidney, Raleigh, and the Poet of the 'Faery-Queene,' and the rest of that courtly company of Poets, that the contemporary author in the Art of Poetry alludes, with a special commendation of Raleigh's vein, as the 'most lofty, insolent, and passionate,' when he says,' they have writ excellently well, if their doings could be found out and made public with the rest.'

      CHAPTER IV

RALEIGH'S SCHOOL, CONTINUED. – THE NEW ACADEMYEXTRACT FROM A LATER CHAPTER OF RALEIGH'S LIFE

       Oliver. Where will the old Duke live?

       Charles. They say he is already in the forest of Arden, and a many merry men with him; and there they live like the old Robin Hood of England: they say many young gentlemen flock to him every day, and fleet the time carelessly as they did in the golden world.

      As You Like It.

       Stephano [sings]. Flout 'em and skout'em; and skout'em and flout 'em, Thought is free.

       Cal. That's not the tune.

      [Ariel plays the tune on a tabor and pipe.]

       Ste. What is this same?

       Trin. This is the tune of our catch, played by – the picture of —Nobody.

      But all was not over with him in the old England yet – the present had still its chief tasks for him.

      The man who had 'achieved' his greatness, the chief who had made his way through such angry hosts of rivals, and through such formidable social barriers, from his little seat in the Devonshire corner to a place in the state, so commanding, that even the jester, who was the 'Mr. Punch' of that day, conceived it to be within the limits of his prerogative to call attention to it, and that too in 'the presence' itself [See 'the knave' commands 'the queen.' —Tarleton] – a place of command so acknowledged, that even the poet could call him in the ear of England 'her most dear delight' – such a one was not going to give up so easily the game he had been playing here so long. He was not to be foiled with this great flaw in his fortunes even here; and though all his work appeared for the time to be undone, and though the eye that he had fastened on him was 'the eye' that had in it 'twenty thousand deaths.'

      It is this patient piecing and renewing of his broken webs, it is this second building up of his position rather than the first, that shows us what he is. One must see what he contrived to make of those 'apartments' in the Tower while he occupied them; what before unimagined conveniencies, and elegancies, and facilities of communication, and means of operation, they began to develop under the searching of his genius: what means of reaching and moving the public mind; what wires that reached to the most secret councils of state appeared to be inlaid in those old walls while he was within them; what springs that commanded even there movements not less striking and anomalous than those which had arrested the critical and admiring attention of Tarleton under the Tudor administration, – movements on that same royal board which Ferdinand and Miranda were seen to be playing on in Prospero's cell when all was done, – one must see what this logician, who was the magician also, contrived to make of the lodging which was at first only 'the cell' of a condemned criminal; what power there was there to foil his antagonists, and crush them too, – if nothing but throwing themselves under the wheels of his advancement would serve their purpose; one must look at all this to see 'what manner of man' this was, what stuff this genius was made of, in whose hearts ideas that had been parted from all antiquities were getting welded here then – welded so firmly that all futurities would not disjoin them, so firmly that thrones, and dominions, and principalities, and powers, and the rulers of the darkness of this world might combine in vain to disjoin them – the ideas whose union was the new 'birth of time.' It is this life in 'the cell' – this game, these masques, this tempest, that the magician will command there – which show us, when all is done, what new stuff of Nature's own this was, in which the new idea of combining 'the part operative' and the part speculative of human life – this new thought of making 'the art and practic part of life the mistress to its theoric' was understood in this scholar's own time (as we learn from the secret traditions of the school) to have had its first germination: this idea which is the idea of the modern learning – the idea of connecting knowledge generally and in a systematic manner with the human conduct – knowledge as distinguished from pre-supposition – the idea which came out afterwards so systematically and comprehensively developed in the works of his great contemporary and partner in arts and learning.

      We must look at this, as well as at some other demonstrations of which this time was the witness, to see what new mastership this is that was coming out here so signally in this age in various forms, and in more minds than one; what soul of a new era it was that had laughed, even in the boyhood of its heroes, at old Aristotle on his throne; that had made its youthful games with dramatic impersonations, and caricatures, and travesties of that old book-learning; that in the glory of those youthful spirits – 'the spirits of youths, that meant to be of note and began betimes' – it thought itself already competent to laugh down and dethrone with its 'jests'; that had laughed all its days in secret; that had never once lost a chance for a jibe at the philosophy it found in possession of the philosophic chairs – a philosophy which had left so many things in heaven and earth uncompassed in its old futile dreamy abstractions.

      Unless philosophy can make a Juliet, Displant a town, reverse a prince's doom, Hang up philosophy, was the word of the poet of this new school in one of his 'lofty and passionate' moods, at a much earlier stage of this philosophic development. 'See what learning is!' exclaims the Nurse, speaking at that same date from the same dictation, for there is a Friar 'abroad' there already in the action of that play, who is undertaking to bring his learning to bear upon practice, and opening his cell for scientific consultation and ghostly advice on the questions of the play as they happen to arise; and it is his apparent capacity for smoothing, and reconciling, and versifying, not words only, but facts, which commands the Nurse's admiration.

      This doctrine of a practical learning, this part operative of the new learning for which the founders of it beg leave to reintegrate the abused term of Natural Magic, referring to the Persians in particular, to indicate the extent of the field which their magical operations are intended ultimately to occupy; this idea, which the master of this school was illustrating now in the Tower so happily, did not originate in the Tower, as we shall see.

      The first heirs of this new invention, were full of it. The babbling infancy of this great union of art and learning, whose speech flows in its later works so clear, babbled of nothing else: its Elizabethan savageness, with its first taste of learning on its lips, with its new classic lore yet stumbling in its speech, already, knew nothing else. The very rudest play in all this collection of the school, – left to show us the march of that 'time-bettering age,' the play which offends us most – belongs properly to this collection; contains this secret, which is the Elizabethan secret, and the secret of that art of delivery and tradition which this from the first inevitably created, – yet rude and undeveloped, but there.

      We need not go so far, however, as that, in this not pleasant retrospect; for these early plays are not the ones to which the interpreter of this school would choose to refer the reader, for the proof of its claims at present; – these which the faults of youth and the faults of the time conspire to mar: in which the overdoing of the first attempt to hide under a cover suited to the tastes of the Court, or to the yet more faulty tastes of the rabble

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