CONCLUSION.
At the beginning of this essay I gave a short account of the main facts
of our author's life, reserving my judgment upon his character and
genius until after the examination of his works. That examination which
I have now concluded is far too superficial in character to justify a
psychological synthesis such as that advocated by M. Hennequin[133]. But
though this essay cannot claim to have exhausted the subject of the ways
and means of Lyly's art, yet in the course of our survey we have had
occasion to notice several interesting points in reference to his mind
and character, which it will be well to bring together now in order to
give a portrait, however inadequate, of the man who played so important
a part in English literature.
[133] _La Critique Scientifique._
Nash supplies the only piece of contemporary information about his
person and habits, and all he tells us is that he was short of stature
and that he smoked. But Ben Jonson gives us an unmistakeable caricature
of him under the delightfully appropriate name of Fastidious Brisk in
_Every Man out of His Humour_. He describes him as a "neat, spruce,
affecting courtier, one that wears clothes well, and in fashion;
practiseth by his glass how to salute; speaks good remnants
notwithstanding his base viol and tobacco; swears tersely and with
variety; cares not what lady's favour he belies, or great man's
familiarity: a good property to perfume the boot of a coach. He will
borrow another man's horse to praise and back him as his own. Or, for a
need can post himself into credit with his merchant, only with the
gingle of his spur and the jerk of his wand[134]." Allowing for the
exaggeration of satire, we cannot doubt that this portrait is in the
main correct. It indicates a man who follows fashion, even in swearing,
to the excess of foppery, who delights in scandal, who contracts debts
with an easy conscience, and who is withal a merry fellow and a wit. All
this is in accordance with what we know of his life. We can picture him
at Oxford serenading the Magdalen dons with his "base viol," or perhaps
organizing a night party to disturb the slumbers of some insolent
tradesman who had dared to insist upon payment; his neat little figure
leading a gang of young rascals, and among them the "sea-dog" Hakluyt,
the sturdy and as yet unconverted Gosson, the refined Watson, and
perchance George Pettie concealing his thorough enjoyment of the
situation by a smile of elderly amusement. Or yet again we can see him
at the room of some boon companion seriously announcing to a convulsed
assembly his intention of applying for a fellowship, and when the last
quip had been hurled at him through clouds of smoke and the laughter had
died down, proposing that the house should go into committee for the
purpose of concocting the now famous letter to Burleigh. When we next
catch a glimpse of him he is no longer the madcap; he walks with such
dignity as his stature permits, for he is now author of the
much-talked-of _Anatomy of Wit_, and one of the most fashionable young
men of the Court. What elaboration of toilet, what adjustment and
readjustment of ruffles and lace, what bowing and scraping before the
glass, preceded that great event of his life--his presentation to the
Queen--can only be guessed at. But we can well picture him, following
his magnificently over-dressed patron up the long reception-room, his
heart beating with pleasurable excitement, yet his manners not forgotten
in the hour of his pride, as he nods to an acquaintance and bows with
sly demureness to some Iffida or Camilla. Those were the days of his
success, the happiest period of his life when, as secretary to the Lord
Chamberlain and associate of the highest in the land, he breathed his
native atmosphere, the praises and flattery of a fickle world of
fashion. But, time-server as he was, he was no sycophant. Leaving de
Vere's service after a sharp quarrel, he was not ashamed to take up the
profession of teaching in which he had already had some experience. We
see him next, therefore, a master of St Paul's, engrossed in the not
unpleasant duties of drilling his pupils for the performance of his
plays, accompanying their songs on his instrument, or himself taking his
place on the stage, now as Diogenes in his ubiquitous tub, and now as
the golden-bearded and long-eared Midas. And last of all he appears as
the disappointed, disillusioned man, "infelix academicus ignotus." A
wife and children on his hands, his occupation gone, his hopes of the
Revels Mastership blasted, he becomes desperate, and writes that last
bitter letter to Elizabeth.
[134] From the _Preface_.
The man of fashion out of date, the social success left high and dry by
the unheeding current, he died eventually in poverty, not because he had
wasted his substance, like Greene, in Bohemia, but because, thinking to
take Belgravia by storm, he had forgotten that the foundations of that
city are laid on the bodies of her sons. But leaving
"The thrice three muses mourning for the death
Of Learning late deceased in beggary,"
let us look more closely into the character of this man, whose brilliant
and successful youth was followed by so sad an old age.
In spite of Professor Raleigh and the moralizing of _Euphues_, we may
decide that there was nothing of the Puritan about him. His life at
Oxford, his attachment to the notorious de Vere, the keen pleasure he
took in the things of this world, are, I think, sufficient to prove
this. His general attitude towards life was one of vigorous hedonism,
not of intellectual asceticism. The ethical element of _Euphues_ links
him rather to the already vanishing Humanism than to the rising
Puritanism, against which all his sympathies were enlisted, as his
contributions to the _Marprelate_ controversy indicate. I have refrained
from touching upon these _Mar-Martin_ tracts because they possess
neither aesthetic nor dynamical importance, being, as Gabriel
Harvey--always ready with the spiteful epigram--describes them,
"alehouse and tinkerly stuffe, nothing worthy a scholar or a real
gentleman." They are worth mentioning, however, as throwing a light upon
the religious prejudices of our author. He was a courtier and he was a
churchman, and in lending his aid to crush sectarians he thought no more
deeply about the matter than he did in voting as Member of Parliament
against measures which conflicted with his social inclinations. There
was probably not an ounce of the theological spirit in his whole
composition; for his refutation of atheism was a youthful essay in
dialectics, a bone thrown to the traditions of the moral Court
treatise.
If, indeed, he was seriously minded in any respect, it was upon the
subject of Art. Himself a novelist and dramatist, he displayed also a
keen delight in music, and evinced a considerable, if somewhat
superficial, interest in painting. And yet, though he apparently made it
his business to know something of every art, he was no sciolist, and, if
he went far afield, it was only in order to improve himself in his own
particular branch. All the knowledge he acquired in such amateur
appreciation was brought to the service of his literary productions. And
the same may be said of his extensive excursions into the land of books.
No Elizabethan dramatist but Lyly, with the possible exception of
Jonson, could marshal such an array of learning, and few could have
turned even what they had with such skill and effect to their own
purposes. Lyly had made a thorough study of such classics as were
available in his day, and we have seen how he employed them in his novel
and in his plays. But the classics formed only a small section of the
books digested by this omnivorous reader. If he could not read Spanish,
French, or Italian, he devoured and assimilated the numerous
translations from those languages into English, Guevara indeed being his
chief inspiration. Nor did he neglect the literature of his own land.
Few books we may suppose, which had been published in English previous
to 1580, had been unnoticed by him. We have seen what a thorough
acquaintance he possessed of English drama before his day, and how he
exhibits the influence of the writings of Ascham and perhaps other
humanists, how he laid himself under obligation to the bestiaries and
the proverb-books for his euphuistic philosophy, and how his lyrics
indicate a possible study of the mediaeval scholar song-books. In
conclusion, it is interesting to notice that we have clear evidence that
he knew Chaucer[135].
[135] Bond, I. p. 401.
Idleness, therefore, cannot be urged against him; nor does this imposing
display of learning indicate a pedant. Lyly had nothing in common with
the spirit of his old friend Gabriel Harvey, whom indeed he laughed at.
There is a story that Watson and Nash invited a company together to sup
at the Nag's Head in Cheapside, and to discuss the pedantries of Harvey,
and our euphuist in all probability made one of the party. His erudition
sat lightly on him, for it was simply a means to the end of his art.
Moreover, a student's life could have possessed no attraction for one of
his temperament. Unlike Marlowe and Greene, he had harvested all his
wild oats before he left Oxford; but the process had refined rather than
sobered him, for his laugh lost none of its merriment, and his wit
improved with experience, so that we may well believe that in the Court
he was more Philautus than Euphues. In his writings also his aim was to
be graceful rather than erudite; and, ponderous as his _Euphues_ seems
to us now, it appealed to its Elizabethan public as a model of elegance.
His art was perhaps only an instrument for the acquisition of social
success, but he was nevertheless an artist to the fingertips. Yet he was
without the artist's ideals, and this fact, together with his frivolity,
vitiated his writings to a considerable extent, or, rather, the
superficiality of his art was the result of the superficiality of his
soul. Of that "high seriousness," which Aristotle has declared to be the
poet's essential, he has nothing. Technique throughout was his chief
interest, and it is in technique alone that he can claim to have
succeeded. "More art than nature" is a just criticism of everything he
wrote, with the exception of his lyrics. He was supremely clever, one of
the cleverest writers in our literature when we consider what he
accomplished, and how small was the legacy of his predecessors; but he
was much too clever to be simple. He excelled in the niceties of art, he
revelled in the accomplishment of literary feats, his intellect was akin
to the intellect of those who in their humbler fashion find pleasure in
the solution of acrostics. And consequently his writings were frequently
as finical as his dress was fastidious; for it was the form and not the
idea which fascinated him; to his type of mind the letter was everything
and the spirit nothing. Indeed, the true spirit of art was quite beyond
his comprehension, though he was connoisseur enough to appreciate its
presence in others. Artist and man of taste he was, but he was no poet.
Artist he was, I have said, to the fingertips, but his art lay at his
fingers' ends, not at his soul. He was facile, ingenious, dexterous,
everything but inspired. He had wit, learning, skill, imagination, but
none of that passionate apprehension of life which makes the poet, and
which Marlowe and Shakespeare possessed so fully. And therefore it was
his fate to be nothing more than a forerunner, a straightener of the
way; and before his death he realised with bitterness that he was only a
stepping-stone for young Shakespeare to mount his throne. He was,
indeed, the draughtsman of the Elizabethan workshop, planning and
designing what others might build. He was the expert mathematician who
formulated the laws which enabled Shakespeare to read the stars. Of the
heights and depths of passion he was unconscious; he was no
psychologist, laying bare the human soul with the lancet; and though now
and again, as in _Endymion_, he caught a glimpse of the silver beauties
of the moon, he had no conception of the glories of the midday sun.
And yet though he lacked the poet's sense, his wit did something to
repair the defect, and even if it has a musty flavour for our pampered
palates, it saves his writings from becoming unbearably wearisome; and
moreover his fun was without that element of coarseness which mars the
comic scenes of later dramatists who appealed to more popular audiences.
But it is quite impossible for us to realise how brilliant his wit
seemed to the Elizabethans before it was eclipsed by the genius of
Shakespeare. Even as late as 1632 Blount exclaims, "This poet sat at the
sunne's table," words referring perhaps more especially to Lyly's
poetical faculty, but much truer if interpreted as an allusion to his
wit. The genius of our hero played like a dancing sunbeam over the early
Elizabethan stage. Never before had England seen anything like it, and
we cannot wonder that his public hailed him in their delight as one of
the greatest writers of all time. How could they know that he was only
the first voice in a choir of singers which, bursting forth before his
notes had died away, would shake the very arch of heaven with the
passion and the beauty of their song? But for us who have heard the
chorus first, the recitative seems poor and thin. The magic has long
passed from _Euphues_, once a name to conjure with, and even the plays
seem dull and lifeless. That it should be so was inevitable, for the wit
which illuminated these works was of the time, temporary, the earliest
beam of the rising sun. This sunbeam it is impossible to recover, and
with all our efforts we catch little but dust.
And yet for the scientific critic Lyly's work is still alive with
significance. Worthless as much of it is from the aesthetic point of
view, from the dynamical, the historical aspect few English writers are
of greater interest. Waller was rescued from oblivion and labelled as
the first of the classical poets. But we can claim more for Lyly than
this. Extravagant as it may sound, he was one of the great founders of
our literature. His experiments in prose first taught men that style was
a matter worthy of careful study, he was among the earliest of those who
realised the utility of blank verse for dramatic purposes, he wrote the
first English novel in our language, and finally he is not only
deservedly recognised as the father of English comedy, but by his
mastery of dramatic technique he laid such a burden of obligation upon
future playwrights that he placed English drama upon a completely new
basis. Of the three main branches of our literature, therefore, two--the
novel and the drama--were practically of his creation, and though his
work suffered because it lacked the quality of poetry, for the historian
of literature it is none the less important on that account.
LIST OF CHIEF AUTHORITIES.
ARBER. The Martin Marprelate Controversy. Scholar's Library.
ASCHAM, ROGER. The Schoolmaster. Arber's English Reprints.
ASCHAM, ROGER. Toxophilus. Arber's English Reprints.
BAKER, G. P. Lyly's Endymion.
BARNEFIELD, RICHARD. Poems. Arber's Scholar's Library.
BERNERS, LORD. The Golden Boke of Marcus Aurelius.
BERNERS, LORD. Froissart's Chronicles. Globe Edition.
BOAS. Works of Kyd. Clarendon Press.
BOND, R. W. John Lyly. Clarendon Press. 3 Vols.
BRUNET. Manuel de Libraire.
BUTLER CLARKE. Spanish Literature.
CHILD, C. G. John Lyly and Euphuism. _Muenchener Beitraege_ VII.
CRAIK, SIR H. Specimens of English Prose.
DICTIONARY of National Biography.
EARLE. History of English Prose.
FIELD, NATHANIEL. A Woman is a Weathercock.
FITZMAURICE-KELLY. Spanish Literature. Heinemann.
GAYLEY. Representative English Comedies.
GOSSE. From Shakespeare to Pope.
GOSSON. School of Abuse. Arber's English Reprints.
GUEVARA, ANTONIO DE. Libro Aureo del emperado Marco Aurelio.
HALLAM. Introduction to the Literature of Europe.
HENNEQUIN. La Critique Scientifique.
HUME, MARTIN. Spanish Influence on English Literature.
JUSSERAND. The English Novel in the time of Shakespeare.
LANDMANN, DR. Shakespeare and Euphuism. _New Shak. Soc. Trans._ 1880-2.
LANDMANN, DR. Introduction to Euphues. Sprache und Literatur.
LATIMER. Sermons. Arber's English Reprints.
LEE, SIDNEY. Athenaeum, July 14, 1883.
LEE, SIDNEY. Huon of Bordeaux (Berners'). Early Eng. Text Soc. Extra
Series XL., XLI.
LEE, SIDNEY. Life of Shakespeare.
LIEBIG. Lord Bacon et les sciences d'observation en moyen age.
LYLY. Euphues. Arber's English Reprints.
MACAULAY, G. G. Introd. to Froissart's Chronicles. Globe Edition.
MEREDITH, GEORGE. Essay on Comedy.
MEZIERES. Predecesseurs et contemporains de Shakespeare.
MINTO. Manual of English Prose Literature.
NORTH, THOMAS. Diall of Princes.
PEARSON, KARL. Chances of Death. Vol. II. _German Passion Play._
PETTIE, GEORGE. Petite Palace of Pettie his Pleasure.
RALEIGH, PROF. W. The English Novel.
RETURN FROM PARNASSUS. Arber's Scholar's Library.
SAINTSBURY. Specimens of English Prose.
SPENCER, HERBERT. Essays--Philosophy of Style.
SYMONDS, J. A. Shakespeare's Predecessors.
UDALL, NICHOLAS. Ralph Roister Doister. Arber's English Reprints.
UNDERHILL. Spanish Literature in Tudor England.
WARD, DR A. W. English Dramatic Literature. 3 Vols.
WARD, MRS H. "John Lyly," Article in _Enc. Brit._
WATSON, THOMAS. Poems. Arber's English Reprints.
WEBBE. Discourses of English Poetry. Arber's English Reprints.
WEYMOUTH, DR R. F. On Euphuism. _Phil. Soc. Trans._ 1870-2.
INDEX.
_Affectionate Shepherd_, 46
_Albion's England_, 57
Alencon, Duc d', 105
_Amis and Amile_, 66
_Anatomy of Wit_ (v. _Euphues_)
Andrews, Dr, 55
Arber (reprints), 12, 27, 38, 46
_Arcadia_, 9, 51, 56, 58, 68, 82, 84
Aretino, 48
Ariosto, 94, 96
Aristotle, 121, 129, 137
Armada, Spanish, 110
Arnold, Matthew, 47
_Ars Poetica_ (of Horace), 130
Ascham, 31, 37, 38, 39, 42, 50, 52, 67, 73, 74, 136
_Athenae Oxonienses_, 4, 5
_Athenaeum_, 30
Athens, 69, 79
_Aucassin and Nicolette_, 66
Aurelius, Marcus, 22, 34, 69
Austen, Jane, 80
Bacon, Lord, 19, 47
Baena, 48
Baker, G. P., 4, 5, 7, 85, 98
Baker, George, 28
Baker, Robert, 28
Barnefield, Richard, 46
Berners, Lord, 22, 29, 30, 31, 33, 34, 35, 36, 42, 66, 67
Bertaut, Rene, 34, 35
bestiaries, 20, 41, 136
_Biographia Britannica_, 12
Blackfriars, 100
blank verse, 3, 97, 113
Blount, 114, 139
Boas, 45
Boccaccio, 66, 67, 75
Bond, R. W., 4, 5, 8, 9, 26, 30, 34, 43, 55, 60, 69, 72, 74, 78, 81, 85,
86, 87, 89, 94, 95, 97, 98, 99, 100, 108, 113, 114, 115, 116, 117,
120, 125, 130, 137
Brunet, 34
Bryan, Sir Francis, 30, 31
Burleigh, 4, 6, 7, 86, 133
Butler Clarke, 49
Byron (anticipated by Lyly), 77
Cambridge, 7, 75, 87, 93
_Campaspe_, 7, 85, 87, 98-102, 104, 105, 109, 116, 121, 124, 126
_Canterbury Tales_, 65
Carew, 27
Carpenter, Edward, 19
Castiglione, 48, 49, 72
Caxton, 66, 67
Cecil, 8
_Celestina_, 24
Charles VIII., 48, 66
Chaucer, 65, 66, 137
Cheke, Sir John, 26, 31, 37, 42, 50
Child, C. G., 14, 15, 16, 56, 59
choristers, 7, 8, 87, 92, 94, 116
Christ Church, 26, 39
Cicero, 12, 50
_Civile Conversation_, 40
comedy
before Lyly, 89-98
and folly, 90
and masque, 112
and music, 87, 92, 94, 116
and society, 88
and woman, 97-98, 100-101, 125-126
Congreve, 88, 101, 126, 127
_Cooling Carde for all Fond Lovers, A_, 71
Corpus Christi College (Oxford), 26
Corro, Antonio de, 26, 28
Cortes, 27
Craik, Sir H., 28, 37, 38, 39
_Cupid and my Campaspe played_, 115, 117
_Cynthia_, 46
_Damon and Pithias_, 93, 116, 119
_De Educatione_ (of Plutarch), 72
Dekker, Thomas, 114, 121
Demosthenes, 12
Devereux, Penelope, 109
_Diall of Princes_, 22, 30, 39, 69
_Diana_, 24
Dickens, 79
_Dispraise of the Life of a Courtier_, 31
Doni, 48
Dryden, 84
dubartism, 51
Earle, 53, 54
education (Lyly's views on), 72-73
_Edward II._, 129
Edwardes, Richard, 86, 87, 93, 94, 95, 97, 101
Eliot, George, 80
Elizabeth, Queen, 3, 6, 8, 9, 17, 25, 26, 65, 75, 80, 81, 86, 98, 100,
101, 103, 104, 105, 107, 112, 129, 134
Ellis, Havelock, 128
_Endymion_, 85, 98, 99, 104, 107-110, 121, 122, 138
_English Novel, The_ (v. Raleigh)
_English Novel in the time of Shakespeare, The_ (v. Jusserand)
Erasmus, 26
_Estella_, 27
Eton, 93
_Euphues_
antecedents of, 65-69
criticism and description of
(i) _Anatomy of Wit_, 69-73
(ii) _Euphues and his England_, 76-80
dedication of, 74-76
distinction between the two parts, 73-74
Elizabethan reputation of, 10-13, 43-47, 57, 61, 84, 137
first English novel, 3, 10-11, 74, 140
moral tone of, 5, 71-72
publication and editions of, 6, 7, 8, 10, 43, 57, 61, 73, 83, 84
quoted, 4, 10, 15, 16, 18, 20, 21, 45, 58, 70, 76, 78
_Euphues and his England_ (v. _Euphues_)
_Euphues and his Ephoebus_, 72-73
Euphuism
analysis of, 13-21
an aristocratic fashion, 3, 49, 54, 56, 61, 62
diction and, 56
humanism and, 36-39, 50-53
imitators of, 43-46
origins of, 21-43
Oxford and, 26-28, 39-42, 45-46, 54, 60, 61
poetry and, 55-56
Renaissance and, 47-52, 62
Scott's misapprehension of, 11
secret of Lyly's influence, 11-13
Spain and, 22-36
_Every Man out of His Humour_, 132
fabliau, the, 66
_Faery Queen, The_, 103
Field, Nathaniel, 44, 102
Fitzmaurice-Kelly, 24
Flaubert, 56
Florence, 79
Fortescue, 69
France (and French), 22, 23, 29, 31, 34, 35, 36, 40, 42, 47, 48, 52, 53,
56, 61, 66, 80, 136
_Froissart_, 31, 33, 35
Gager, William, 39, 86
_Gallathea_, 98, 107, 112
_Gammer Gurton's Needle_, 93, 96, 116
Gascoigne, George, 69, 94, 95, 97, 114, 119, 126
Gayley, 91, 92, 94, 95
Geoffrey of Dunstable, 92
_Gesta Romanorum_, 66
Gibbon, 58
_Glasse for Europe, A_, 52, 81
Goethe, 130
_Golden Boke, The_, 22, 30, 31, 36, 37
Gollancz, 109
gongorism, 51
Goodlet, Dr, 56
_Gorbuduc_, 129
Gosse, 36
Gosson, Stephen, 4, 27, 28, 46, 53, 71, 86, 109, 133
Granada, 24
Greek, 48, 62
Greene, 43, 135, 137
Grey, Lady Jane, 74
Guazzo, 40
Guerrero, 26
Guevara, Antonio de, 22-24, 28-31, 33-38, 40, 42, 49, 69, 72, 76, 136
Habsburgs, 103
Hakluyt, 24, 26, 27, 133
Hallam, 33, 34
Halpin, 109, 111
Harrison, 69
Harvey, Dr, 19
Harvey, Gabriel, 6, 20, 42, 109, 135, 137
_Hekatompathia_, 7, 45, 46
Hennequin, 4, 132
Henry VIII., 23, 31
_Hernani_, 100
Herrick, 117
Heywood, 69, 92, 95, 96
Homer, 67
Horace, 130
Hugo, Victor, 130
humanism, 25, 26, 37, 50, 52, 53, 54, 67, 92, 135
Hume, Martin, 24, 25
_Huon of Bordeaux_, 30, 66
Huss, John, 66
_Importance of being Earnest, The_, 131
Italy (and Italian), 24, 25, 47, 48, 49, 52, 53, 66, 67, 69, 74, 75, 78,
86, 94, 95, 136
_Jacke Jugelar_, 96
James I., 23
James, Henry, 53
Johnson, Dr, 58
Jonson, Ben, 114, 120, 127, 130, 132, 136
Jusserand, 18, 43, 65, 72, 76
Katherine of Aragon, 23
Kenilworth, 109
Knox, John, 75
Kyd, 43-46, 102, 115
_Kynge Johan_, 99
_Lady Windermere's Fan_, 88
Landmann, Dr, 14, 16, 22, 24, 29, 30, 31, 40, 42, 47, 69, 75
Latimer, 36
_Lazarillo de Tormes_, 24
Lee, Sidney, 12, 29-33, 123
Leicester, Earl of, 107, 109, 129
_Libro Aureo_ (v. Guevara)
Liebig, 19
_Literature of Europe_, 33, 34
Lodge, Thomas, 27, 43
Lok, Henry, Thomas, and Michael, 26, 27
London, 7, 71, 78, 91, 114, 119
London, Bishop of, 8
_Love's Labour's Lost_, 110, 113, 127, 128
_Love's Metamorphosis_, 98, 112, 113, 122
Luther, 89
Lyly, John:
character and genius, 3, 51, 62, 63, 123, 137-139
compared with Marlowe, 128-129
courtier and man of fashion, 63, 87, 88, 98, 103, 110, 134, 135
dramatist, 7, 8, 9, 85-131
forerunner of Shakespeare, 43, 47, 95, 100, 101, 102, 105, 109-111,
116, 123, 124, 127-128, 130, 138-139
friends of, 26-28, 39, 42, 46, 53, 54, 61, 133, 135, 137
Jonson's caricature of, 132-133
learning, 17, 20, 38, 69, 86, 95, 119-120, 130, 136-137
life, 4-9, 86-88, 119-120, 132-135
novelist, 10, 64-84
poet, 3, 110, 113, 115-118, 138, 139
position in English literature, 2-3, 10-13, 51, 52-63, 65-69, 73-84,
98-131, 138-140
prose, 3, 11-21, 52-63, 97, 126-127
reputation, 9, 11-13, 43, 57, 58, 60, 61
lyrics, 115-118
Macaulay, G. C., 33
Macaulay, Lord, 80
_Macbeth_, 125
Magdalen College (Oxford), 4, 6, 86, 133
Malory, 66, 67
Marini, 48
_Marius the Epicurean_, 50
Marlowe, 3, 47, 113, 128-129, 137, 138
_Martin Marprelate_, 3, 8, 114, 135-136
Mary (Tudor), 25, 26
Mary (of Scots), 109
masque, 112, 129
Maupassant, Guy de, 75
_Mayde's Metamorphosis_, 119
Mendoza, 23, 24
Meredith, George, 53, 79, 88, 97, 126
_Midas_, 98, 104, 110-112, 117, 122, 125
_Midsummer Night's Dream_ (anticipated by Lyly), 105, 109-111, 123, 127
Milton, 55
miracle-play, the, 89-91, 123
_Monastery, The_, 11
Montemayor, 23, 24
moral court treatise, the, 49, 65, 67, 68, 69, 73, 74, 75
morality-play, the, 70, 89-92, 94, 99, 102, 119, 124
_Morte d'Arthur_, 66, 67
_Mother Bombie_, 98, 105, 114-117
Munday, Anthony, 28, 43
_Murder of John Brewer, The_, 115
Naples, 69
Nash, 23, 55, 56, 84, 114, 137
Newton, 19
Nicholas, Thomas, 27
North, Sir Thomas, 22, 29, 30, 39
novella, the, 65, 66, 67, 68, 74, 75
Ovid, 17, 69, 111
Oxford, 4-7, 25-28, 39, 42, 46, 49, 53, 61, 69, 72, 86, 87, 93, 95, 119,
133, 137
Oxford, Earl of (v. Vere, Edward de)
Painter, William, 40
Palgrave, 117
_Palamon and Arcite_, 86
_Pallace of Pleasure_, 40
_Pamela_, 83
pastoral romance, 23, 68
Petrarchisti, 48
Pettie, George, 32, 39, 40, 41, 46, 53, 56, 69, 86, 133
_Petite Pallace of Pettie his Pleasure_, 40, 69
Philip II. of Spain (caricatured by Lyly), 110
picaresque romance, 23
Plato, 67, 75, 79, 121
Plautus, 92
_Play of the Wether, The_, 93
_Pleasant History of the Conquest of West India_, 27
Pliny, 17, 20, 41, 69, 100
Plutarch, 17, 69, 72, 73
_Poetics of Aristotle, The_, 130
puritanism, 3, 26, 57, 71, 135
Puttenham, 87
Quick, 73
Quintilian, 12
Raleigh, Prof. W., 20, 55, 57, 65, 71, 84, 135
_Ralph Roister Doister_, 93, 110, 114, 116
Renaissance, the, 25, 47-52, 62, 64, 66, 68, 95, 115, 118
Revels' Office, the, 8, 9, 103, 134
Richardson, 72, 83
Rogers, Thomas, 27
romance of chivalry, 65-68, 75
Ronsard, 61
Rowland, 24
_Sacharissa_, 13
Sainte Beuve, 53
St Paul's Choir School, 7, 8, 87, 99, 109, 116, 119, 123, 131, 134
Saintsbury, Prof., 27
Sallust, 37
_Sapho and Phao_, 7, 87, 98, 99, 104-107, 116, 122
Savoy Hospital, the, 7
_School of Abuse, The_, 27
_Schoolmaster, The_, 38, 50, 52, 67, 73, 75
Schwan, Dr, 56
Scott, Sir Walter, 11
Seneca, 129
Shakespeare, 2, 9, 43, 47, 55, 95, 100, 101, 102, 105, 109, 110, 111,
113, 115, 116, 118, 120-124, 127, 128, 130, 138, 139
Sheridan, 88
Sidney, Sir Philip, 23, 27, 55, 58, 68, 82, 84
_Sixe Court Comedies_, 114
_Soliman and Perseda_, 45
Soto, Pedro de, 26
Spain (and Spanish), 22-28, 30, 31, 33-36, 40, 42, 47, 48, 52, 66, 69,
136
_Spanish Tragedy, The_, 43, 44, 45
Spencer, Herbert, 61
Spenser, 103, 120
_Stella_, 109
Stevenson, 93, 95, 114, 119
Stratford, 109
_Suppositi_ (_Supposes_), 94, 119, 126
Surrey, 31
Symonds, J. A., 47, 62, 91, 93, 104, 117
Taine, 1
_Tamburlaine_, 113
_Taming of the Shrew, The_, 93
Tasso, 48
Tents and Toils (office of), 8
Terence, 50, 92, 96
Thackeray, 77
_Timon of Athens_ (anticipated by Lyly), 101
_Toxophilus_, 38
Tully (v. Cicero)
Udall, Nicholas, 87, 93, 95, 96, 97, 114, 116, 119
Underhill, 23, 24, 27, 28, 34, 36, 40
Vere, Edward de, 7, 28, 46, 86, 87, 116, 119, 134
Villa Garcia, 26
Virgil, 17, 50
Vives, 25, 26
Waller, 12, 140
Ward, Dr, 8, 92, 93
Ward, Mrs H., 30, 80
Warner, 43, 57
Watson, Thomas, 7, 45, 46, 49, 53, 133, 137
Webbe, William, 11
Welbanke, 43
West, Dr, 33, 34
Weymouth, Dr, 14
Wilkinson, 43
_Wine, Women and Song_, 117
_Woman in the Moon, The_, 98, 112, 113, 124, 130
_Woman is a Weathercock, A_, 44
women, importance of, in the Elizabethan age, 74-76, 80-82, 97-98,
100-101, 125-126, 128
Wood, Anthony a, 4, 5, 86
Wyatt, 31
Wycliff, 66
Wynkyn de Worde, 66
Zola, 75
CAMBRIDGE: PRINTED BY JOHN CLAY, M.A. AT THE UNIVERSITY PRESS