Read Ebook: Trial of Pedro de Zulueta jun. on a Charge of Slave Trading under 5 Geo. IV cap. 113 on Friday the 27th Saturday the 28th and Monday the 30th of October 1843 at the Central Criminal Court Old Bailey London A Full Report from the Short-hand Notes of W. B. G by Gurney William Brodie Zulueta Pedro De

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BOOK VI

PURITAN ENGLAND. 1603-1660

ENGLAND AND PURITANISM. 1603-1660 75

THE KING OF SCOTS. 120

THE BREAK WITH THE PARLIAMENT. 1603-1611 146

THE FAVOURITES. 1611-1625 183

THE PERSONAL GOVERNMENT. 1629-1635 272

THE RISING OF THE SCOTS. 1635-1640 315

THE LONG PARLIAMENT. 1640-1644 344

THE ENGLAND OF SHAKSPERE

The defeat of the Armada, the deliverance from Catholicism and Spain, marked the critical moment in our political developement. From that hour England's destiny was fixed. She was to be a Protestant power. Her sphere of action was to be upon the seas. She was to claim her part in the New World of the West. But the moment was as critical in her intellectual developement. As yet English literature had lagged behind the literature of the rest of Western Christendom. It was now to take its place among the greatest literatures of the world. The general awakening of national life, the increase of wealth, of refinement, and leisure that characterized the reign of Elizabeth, was accompanied by a quickening of intelligence. The Renascence had done little for English letters. The overpowering influence of the new models both of thought and style which it gave to the world in the writers of Greece and Rome was at first felt only as a fresh check to the revival of English poetry or prose. Though England shared more than any European country in the political and ecclesiastical results of the New Learning, its literary results were far less than in the rest of Europe, in Italy, or Germany, or France. More alone ranks among the great classical scholars of the sixteenth century. Classical learning indeed all but perished at the Universities in the storm of the Reformation, nor did it revive there till the close of Elizabeth's reign. Insensibly however the influences of the Renascence fertilized the intellectual soil of England for the rich harvest that was to come. The court poetry which clustered round Wyatt and Surrey, exotic and imitative as it was, promised a new life for English verse. The growth of grammar-schools realized the dream of Sir Thomas More, and brought the middle-classes, from the squire to the petty tradesman, into contact with the masters of Greece and Rome. The love of travel, which became so remarkable a characteristic of Elizabeth's age, quickened the temper of the wealthier nobles. "Home-keeping youths," says Shakspere in words that mark the time, "have ever homely wits"; and a tour over the Continent became part of the education of a gentleman. Fairfax's version of Tasso, Harrington's version of Ariosto, were signs of the influence which the literature of Italy, the land to which travel led most frequently, exerted on English minds. The classical writers told upon England at large when they were popularized by a crowd of translations. Chapman's noble version of Homer stands high above its fellows, but all the greater poets and historians of the ancient world were turned into English before the close of the sixteenth century.

It is characteristic of England that the first kind of literature to rise from its long death was the literature of history. But the form in which it rose marked the difference between the world in which it had perished and that in which it reappeared. During the Middle Ages the world had been without a past, save the shadowy and unknown past of early Rome; and annalist and chronicler told the story of the years which went before as a preface to their tale of the present without a sense of any difference between them. But the religious, social, and political change which passed over England under the New Monarchy broke the continuity of its life; and the depth of the rift between the two ages is seen by the way in which History passes on its revival under Elizabeth from the mediaeval form of pure narrative to its modern form of an investigation and reconstruction of the past. The new interest which attached to the bygone world led to the collection of its annals, their reprinting and embodiment in an English shape. It was his desire to give the Elizabethan Church a basis in the past, as much as any pure zeal for letters, which induced Archbishop Parker to lead the way in the first of these labours. The collection of historical manuscripts which, following in the track of Leland, he rescued from the wreck of the monastic libraries created a school of antiquarian imitators, whose research and industry have preserved for us almost every work of permanent historical value which existed before the Dissolution of the Monasteries. To his publication of some of our earlier chronicles we owe the series of similar publications which bear the name of Camden, Twysden, and Gale. But as a branch of literature, English History in the new shape which we have noted began in the work of the poet Daniel. The chronicles of Stowe and Speed, who preceded him, are simple records of the past, often copied almost literally from the annals they used, and utterly without style or arrangement; while Daniel, inaccurate and superficial as he is, gave his story a literary form and embodied it in a pure and graceful prose. Two larger works at the close of Elizabeth's reign, the "History of the Turks" by Knolles, and Raleigh's vast but unfinished plan of the "History of the World," showed a widening of historic interest beyond the merely national bounds to which it had hitherto been confined.

A far higher developement of our literature sprang from the growing influence which Italy was exerting, partly through travel and partly through its poetry and romances, on the manners and taste of the time. Men made more account of a story of Boccaccio's, it was said, than of a story from the Bible. The dress, the speech, the manners of Italy became objects of almost passionate imitation, and of an imitation not always of the wisest or noblest kind. To Ascham it seemed like "the enchantment of Circe brought out of Italy to mar men's manners in England." "An Italianate Englishman," ran the harder proverb of Italy itself, "is an incarnate devil." The literary form which this imitation took seemed at any rate ridiculous. John Lyly, distinguished both as a dramatist and a poet, laid aside the tradition of English style for a style modelled on the decadence of Italian prose. Euphuism, as the new fashion has been named from the prose romance of Euphues which Lyly published in 1579, is best known to modern readers by the pitiless caricature in which Shakspere quizzed its pedantry, its affectation, the meaningless monotony of its far-fetched phrases, the absurdity of its extravagant conceits. Its representative, Armado in "Love's Labour's Lost," is "a man of fire-new words, fashion's own knight," "that hath a mint of phrases in his brain; one whom the music of his own vain tongue doth ravish like enchanting harmony." But its very extravagance sprang from the general burst of delight in the new resources of thought and language which literature felt to be at its disposal; and the new sense of literary beauty which it disclosed in its affectation, in its love of a "mint of phrases," and the "music of its own vain tongue," the new sense of pleasure which it revealed in delicacy or grandeur of expression, in the structure and arrangement of sentences, in what has been termed the atmosphere of words, was a sense out of which style was itself to spring.

For a time Euphuism had it all its own way. Elizabeth was the most affected and detestable of Euphuists; and "that beauty in Court which could not parley Euphuism," a courtier of Charles the First's time tells us, "was as little regarded as she that now there speaks not French." The fashion however passed away, but the "Arcadia" of Sir Philip Sidney shows the wonderful advance which prose had made under its influence. Sidney, the nephew of Lord Leicester, was the idol of his time, and perhaps no figure reflects the age more fully and more beautifully. Fair as he was brave, quick of wit as of affection, noble and generous in temper, dear to Elizabeth as to Spenser, the darling of the Court and of the camp, his learning and his genius made him the centre of the literary world which was springing into birth on English soil. He had travelled in France and Italy, he was master alike of the older learning and of the new discoveries of astronomy. Bruno dedicated to him as to a friend his metaphysical speculations; he was familiar with the drama of Spain, the poems of Ronsard, the sonnets of Italy. Sidney combined the wisdom of a grave councillor with the romantic chivalry of a knight-errant. "I never heard the old story of Percy and Douglas," he says, "that I found not my heart moved more than with a trumpet." He flung away his life to save the English army in Flanders, and as he lay dying they brought a cup of water to his fevered lips. He bade them give it to a soldier who was stretched on the ground beside him. "Thy necessity," he said, "is greater than mine." The whole of Sidney's nature, his chivalry and his learning, his thirst for adventures, his freshness of tone, his tenderness and childlike simplicity of heart, his affectation and false sentiment, his keen sense of pleasure and delight, pours itself out in the pastoral medley, forced, tedious, and yet strangely beautiful, of his "Arcadia." In his "Defence of Poetry" the youthful exuberance of the romancer has passed into the earnest vigour and grandiose stateliness of the rhetorician. But whether in the one work or the other, the flexibility, the music, the luminous clearness of Sidney's style remains the same.

But the quickness and vivacity of English prose was first developed in a school of Italian imitators which appeared in Elizabeth's later years. The origin of English fiction is to be found in the tales and romances with which Greene and Nash crowded the market, models for which they found in the Italian novels. The brief form of these novelettes soon led to the appearance of the "pamphlet"; and a new world of readers was seen in the rapidity with which the stories or scurrilous libels that passed under this name were issued, and the greediness with which they were devoured. It was the boast of Greene that in the eight years before his death he had produced forty pamphlets. "In a night or a day would he have yarked up a pamphlet, as well as in seven years, and glad was that printer that might be blest to pay him dear for the very dregs of his wit." Modern eyes see less of the wit than of the dregs in the books of Greene and his compeers; but the attacks which Nash directed against the Puritans and his rivals were the first English works which shook utterly off the pedantry and extravagance of Euphuism. In his lightness, his facility, his vivacity, his directness of speech, we have the beginning of popular literature. It had descended from the closet to the street, and the very change implied that the street was ready to receive it. The abundance indeed of printers and of printed books at the close of the Queen's reign shows that the world of readers and writers had widened far beyond the small circle of scholars and courtiers with which it began.

But to the national and local influences which were telling on English literature was added that of the restlessness and curiosity which characterized the age. At the moment which we have reached the sphere of human interest was widened as it has never been widened before or since by the revelation of a new heaven and a new earth. It was only in the later years of the sixteenth century that the discoveries of Copernicus were brought home to the general intelligence of mankind by Kepler and Galileo, or that the daring of the Buccaneers broke through the veil which the greed of Spain had drawn across the New World of Columbus. Hardly inferior to these revelations as a source of intellectual impulse was the sudden and picturesque way in which the various races of the world were brought face to face with one another through the universal passion for foreign travel. While the red tribes of the West were described by Amerigo Vespucci, and the strange civilization of Mexico and Peru disclosed by Cortes and Pizarro, the voyages of the Portuguese threw open the older splendours of the East, and the story of India and China was told for the first time to Christendom by Maffei and Mendoza. England took her full part in this work of discovery. Jenkinson, an English traveller, made his way to Bokhara. Willoughby brought back Muscovy to the knowledge of Western Europe. English mariners penetrated among the Esquimaux, or settled in Virginia. Drake circumnavigated the globe. The "Collection of Voyages" which was published by Hakluyt in 1582 disclosed the vastness of the world itself, the infinite number of the races of mankind, the variety of their laws, their customs, their religions, their very instincts. We see the influence of this new and wider knowledge of the world, not only in the life and richness which it gave to the imagination of the time, but in the immense interest which from this moment attached itself to Man. Shakspere's conception of Caliban, like the questioning of Montaigne, marks the beginning of a new and a truer, because a more inductive, philosophy of human nature and human history. The fascination exercised by the study of human character showed itself in the essays of Bacon, and yet more in the wonderful popularity of the drama.

And to these larger and world-wide sources of poetic power was added in England, at the moment which we have reached in its story, the impulse which sprang from national triumph, from the victory over the Armada, the deliverance from Spain, the rolling away of the Catholic terror which had hung like a cloud over the hopes of the new people. With its new sense of security, its new sense of national energy and national power, the whole aspect of England suddenly changed. As yet the interest of Elizabeth's reign had been political and material; the stage had been crowded with statesmen and warriors, with Cecils and Walsinghams and Drakes. Literature had hardly found a place in the glories of the time. But from the moment when the Armada drifted back broken to Ferrol the figures of warriors and statesmen were dwarfed by the grander figures of poets and philosophers. Amidst the throng in Elizabeth's antechamber the noblest form is that of the singer who lays the "Faerie Queen" at her feet, or of the young lawyer who muses amid the splendours of the presence over the problems of the "Novum Organum." The triumph at Cadiz, the conquest of Ireland, pass unheeded as we watch Hooker building up his "Ecclesiastical Polity" among the sheepfolds, or the genius of Shakspere rising year by year into supremer grandeur in a rude theatre beside the Thames.

The glory of the new literature broke on England with Edmund Spenser. We know little of his life; he was born in 1552 in East London, the son of poor parents, but linked in blood with the Spencers of Althorpe, even then--as he proudly says--"a house of ancient fame." He studied as a sizar at Cambridge, and quitted the University while still a boy to live as a tutor in the north; but after some years of obscure poverty the scorn of a fair "Rosalind" drove him again southwards. A college friendship with Gabriel Harvey served to introduce him to Lord Leicester, who sent him as his envoy into France, and in whose service he first became acquainted with Leicester's nephew, Sir Philip Sidney. From Sidney's house at Penshurst came in 1579 his earliest work, the "Shepherd's Calendar"; in form, like Sidney's own "Arcadia," a pastoral where love and loyalty and Puritanism jostled oddly with the fancied shepherd life. The peculiar melody and profuse imagination which the pastoral disclosed at once placed its author in the forefront of living poets, but a far greater work was already in hand; and from some words of Gabriel Harvey's we see Spenser bent on rivalling Ariosto, and even hoping "to overgo" the "Orlando Furioso" in his "Elvish Queen." The ill-will or the indifference of Burleigh however blasted the expectations he had drawn from the patronage of Sidney or Leicester, and from the favour with which he had been welcomed by the Queen. Sidney, in disgrace with Elizabeth through his opposition to the marriage with Anjou, withdrew to Wilton to write the "Arcadia" by his sister's side; and "discontent of my long fruitless stay in princes' courts," the poet tells us, "and expectation vain of idle hopes" drove Spenser into exile. In 1580 he followed Lord Grey as his secretary into Ireland, and remained there on the Deputy's recall in the enjoyment of an office and a grant of land from the forfeited estates of the Earl of Desmond. Spenser had thus enrolled himself among the colonists to whom England was looking at the time for the regeneration of Munster, and the practical interest he took in the "barren soil where cold and want and poverty do grow" was shown by the later publication of a prose tractate on the condition and government of the island. It was at Dublin or in his castle of Kilcolman, two miles from Doneraile, "under the foot of Mole, that mountain hoar," that he spent the ten years in which Sidney died and Mary fell on the scaffold and the Armada came and went; and it was in the latter home that Walter Raleigh found him sitting "alwaies idle," as it seemed to his restless friend, "among the cooly shades of the green alders by the Mulla's shore" in a visit made memorable by the poem of "Colin Clout's come home again."

But in the "idlesse" and solitude of the poet's exile the great work begun in the two pleasant years of his stay at Penshurst had at last taken form, and it was to publish the first three books of the "Faerie Queen" that Spenser returned in Raleigh's company to London. The appearance of the "Faerie Queen" in 1590 is the one critical event in the annals of English poetry; it settled in fact the question whether there was to be such a thing as English poetry or no. The older national verse which had blossomed and died in Caedmon sprang suddenly into a grander life in Chaucer, but it closed again in a yet more complete death. Across the Border indeed the Scotch poets of the fifteenth century preserved something of their master's vivacity and colour, and in England itself the Italian poetry of the Renascence had of late found echoes in Surrey and Sidney. The new English drama too was beginning to display its wonderful powers, and the work of Marlowe had already prepared the way for the work of Shakspere. But bright as was the promise of coming song, no great imaginative poem had broken the silence of English literature for nearly two hundred years when Spenser landed at Bristol with the "Faerie Queen." From that moment the stream of English poetry has flowed on without a break. There have been times, as in the years which immediately followed, when England has "become a nest of singing birds"; there have been times when song was scant and poor; but there never has been a time when England was wholly without a singer.

The new English verse has been true to the source from which it sprang, and Spenser has always been "the poet's poet." But in his own day he was the poet of England at large. The "Faerie Queen" was received with a burst of general welcome. It became "the delight of every accomplished gentleman, the model of every poet, the solace of every soldier." The poem expressed indeed the very life of the time. It was with a true poetic instinct that Spenser fell back for the framework of his story on the faery world of Celtic romance, whose wonder and mystery had in fact become the truest picture of the wonder and mystery of the world around him. In the age of Cortes and of Raleigh dreamland had ceased to be dreamland, and no marvel or adventure that befell lady or knight was stranger than the tales which weather-beaten mariners from the Southern Seas were telling every day to grave merchants upon 'Change. The very incongruities of the story of Arthur and his knighthood, strangely as it had been built up out of the rival efforts of bard and jongleur and priest, made it the fittest vehicle for the expression of the world of incongruous feeling which we call the Renascence. To modern eyes perhaps there is something grotesque in the strange medley of figures that crowd the canvas of the "Faerie Queen," in its fauns dancing on the sward where knights have hurtled together, in its alternation of the salvage-men from the New World with the satyrs of classic mythology, in the giants, dwarfs, and monsters of popular fancy who jostle with the nymphs of Greek legend and the damosels of mediaeval romance. But, strange as the medley is, it reflects truly enough the stranger medley of warring ideals and irreconcileable impulses which made up the life of Spenser's contemporaries. It was not in the "Faerie Queen" only, but in the world which it pourtrayed, that the religious mysticism of the Middle Ages stood face to face with the intellectual freedom of the Revival of Letters, that asceticism and self-denial cast their spell on imaginations glowing with the sense of varied and inexhaustible existence, that the dreamy and poetic refinement of feeling which expressed itself in the fanciful unrealities of chivalry co-existed with the rough practical energy that sprang from an awakening sense of human power, or the lawless extravagance of an idealized friendship and love lived side by side with the moral sternness and elevation which England was drawing from the Reformation and the Bible.

But strangely contrasted as are the elements of the poem, they are harmonized by the calmness and serenity which is the note of the "Faerie Queen." The world of the Renascence is around us, but it is ordered, refined, and calmed by the poet's touch. The warmest scenes which he borrows from the Italian verse of his day are idealized into purity; the very struggle of the men around him is lifted out of its pettier accidents and raised into a spiritual oneness with the struggle in the soul itself. There are allusions in plenty to contemporary events, but the contest between Elizabeth and Mary takes ideal form in that of Una and the false Duessa, and the clash of arms between Spain and the Huguenots comes to us faint and hushed through the serener air. The verse, like the story, rolls on as by its own natural power, without haste or effort or delay. The gorgeous colouring, the profuse and often complex imagery which Spenser's imagination lavishes, leave no sense of confusion in the reader's mind. Every figure, strange as it may be, is seen clearly and distinctly as it passes by. It is in this calmness, this serenity, this spiritual elevation of the "Faerie Queen," that we feel the new life of the coming age moulding into ordered and harmonious form the life of the Renascence. Both in its conception, and in the way in which this conception is realized in the portion of his work which Spenser completed, his poem strikes the note of the coming Puritanism. In his earlier pastoral, the "Shepherd's Calendar," the poet had boldly taken his part with the more advanced reformers against the Church policy of the Court. He had chosen Archbishop Grindal, who was then in disgrace for his Puritan sympathies, as his model of a Christian pastor; and attacked with sharp invective the pomp of the higher clergy. His "Faerie Queen" in its religious theory is Puritan to the core. The worst foe of its "Red-cross Knight" is the false and scarlet-clad Duessa of Rome, who parts him for a while from Truth and leads him to the house of Ignorance. Spenser presses strongly and pitilessly for the execution of Mary Stuart. No bitter word ever breaks the calm of his verse save when it touches on the perils with which Catholicism was environing England, perils before which his knight must fall "were not that Heavenly Grace doth him uphold and steadfast Truth acquite him out of all." But it is yet more in the temper and aim of his work that we catch the nobler and deeper tones of English Puritanism. In his earlier musings at Penshurst the poet had purposed to surpass Ariosto, but the gaiety of Ariosto's song is utterly absent from his own. Not a ripple of laughter breaks the calm surface of Spenser's verse. He is habitually serious, and the seriousness of his poetic tone reflects the seriousness of his poetic purpose. His aim, he tells us, was to represent the moral virtues, to assign to each its knightly patron, so that its excellence might be expressed and its contrary vice trodden under foot by deeds of arms and chivalry. In knight after knight of the twelve he purposed to paint, he wished to embody some single virtue of the virtuous man in its struggle with the faults and errors which specially beset it; till in Arthur, the sum of the whole company, man might have been seen perfected, in his longing and progress towards the "Faerie Queen," the Divine Glory which is the true end of human effort.

The largeness of his culture indeed, his exquisite sense of beauty, and above all the very intensity of his moral enthusiasm, saved Spenser from the narrowness and exaggeration which often distorted goodness into unloveliness in the Puritan. Christian as he is to the core, his Christianity is enriched and fertilized by the larger temper of the Renascence, as well as by a poet's love of the natural world in which the older mythologies struck their roots. Diana and the gods of heathendom take a sacred tinge from the purer sanctities of the new faith; and in one of the greatest songs of the "Faerie Queen" the conception of love widens, as it widened in the mind of a Greek, into the mighty thought of the productive energy of Nature. Spenser borrows in fact the delicate and refined forms of the Platonist philosophy to express his own moral enthusiasm. Not only does he love, as others have loved, all that is noble and pure and of good report, but he is fired as none before or after him have been fired with a passionate sense of moral beauty. Justice, Temperance, Truth, are no mere names to him, but real existences to which his whole nature clings with a rapturous affection. Outer beauty he believed to spring, and loved because it sprang, from the beauty of the soul within. There was much in such a moral protest as this to rouse dislike in any age, but it is the glory of the age of Elizabeth that, "mad world" as in many ways it was, all that was noble welcomed the "Faerie Queen." Elizabeth herself, says Spenser, "to mine oaten pipe inclined her ear," and bestowed a pension on the poet. In 1595 he brought three more books of his poem to England. He returned to Ireland to commemorate his marriage in Sonnets and the most beautiful of bridal songs, and to complete the "Faerie Queen" amongst love and poverty and troubles from his Irish neighbours. But these troubles soon took a graver form. In 1599 Ireland broke into revolt, and the poet escaped from his burning house to fly to England, and to die broken-hearted in an inn at Westminster.

If the "Faerie Queen" expressed the higher elements of the Elizabethan age, the whole of that age, its lower elements and its higher alike, was expressed in the English drama. We have already pointed out the circumstances which throughout Europe were giving a poetic impulse to the newly-aroused intelligence of men, and this impulse everywhere took a dramatic shape. The artificial French tragedy which began about this time with Garnier was not indeed destined to exert any influence over English poetry till a later age; but the influence of the Italian comedy, which had begun half a century earlier with Machiavelli and Ariosto, was felt directly through the Novelle, or stories, which served as plots for our dramatists. It left its stamp indeed on some of the worst characteristics of the English stage. The features of our drama that startled the moral temper of the time and won the deadly hatred of the Puritans, its grossness and profanity, its tendency to scenes of horror and crime, its profuse employment of cruelty and lust as grounds of dramatic action, its daring use of the horrible and the unnatural whenever they enable it to display the more terrible and revolting sides of human passion, were derived from the Italian stage. It is doubtful how much the English playwrights may have owed to the Spanish drama, which under Lope and Cervantes sprang suddenly into a grandeur that almost rivalled their own. In the intermixture of tragedy and comedy, in the abandonment of the solemn uniformity of poetic diction for the colloquial language of real life, the use of unexpected incidents, the complication of their plots and intrigues, the dramas of England and Spain are remarkably alike; but the likeness seems rather to have sprung from a similarity in the circumstances to which both owed their rise, than from any direct connexion of the one with the other. The real origin of the English drama, in fact, lay not in any influence from without but in the influence of England itself. The temper of the nation was dramatic. Ever since the Reformation, the Palace, the Inns of Court, and the University had been vying with one another in the production of plays; and so early was their popularity that even under Henry the Eighth it was found necessary to create a "Master of the Revels" to supervise them. Every progress of Elizabeth from shire to shire was a succession of shows and interludes. Dian with her nymphs met the Queen as she returned from hunting; Love presented her with his golden arrow as she passed through the gates of Norwich. From the earlier years of her reign the new spirit of the Renascence had been pouring itself into the rough mould of the Mystery Plays, whose allegorical virtues and vices, or scriptural heroes and heroines, had handed on the spirit of the drama through the Middle Ages. Adaptations from classical pieces began to alternate with the purely religious "Moralities"; and an attempt at a livelier style of expression and invention appeared in the popular comedy of "Gammer Gurton's Needle"; while Sackville, Lord Dorset, in his tragedy of "Gorbudoc" made a bold effort at sublimity of diction, and introduced the use of blank verse as the vehicle of dramatic dialogue.

But it was not to these tentative efforts of scholars and nobles that the English stage was really indebted for the amazing outburst of genius which dates from the year 1576, when "the Earl of Leicester's servants" erected the first public theatre in Blackfriars. It was the people itself that created its Stage. The theatre indeed was commonly only the courtyard of an inn, or a mere booth such as is still seen at a country fair. The bulk of the audience sate beneath the open sky in the "pit" or yard; a few covered seats in the galleries which ran round it formed the boxes of the wealthier spectators, while patrons and nobles found seats upon the actual boards. All the appliances were of the roughest sort: a few flowers served to indicate a garden, crowds and armies were represented by a dozen scene-shifters with swords and bucklers, heroes rode in and out on hobby-horses, and a scroll on a post told whether the scene was at Athens or London. There were no female actors, and the grossness which startles us in words which fell from women's lips took a different colour when every woman's part was acted by a boy. But difficulties such as these were more than compensated by the popular character of the drama itself. Rude as the theatre might be, all the world was there. The stage was crowded with nobles and courtiers. Apprentices and citizens thronged the benches in the yard below. The rough mob of the pit inspired, as it felt, the vigorous life, the rapid transitions, the passionate energy, the reality, the lifelike medley and confusion, the racy dialogue, the chat, the wit, the pathos, the sublimity, the rant and buffoonery, the coarse horrors and vulgar bloodshedding, the immense range over all classes of society, the intimacy with the foulest as well as the fairest developements of human temper, which characterized the English stage. The new drama represented "the very age and body of the time, his form and pressure." The people itself brought its nobleness and its vileness to the boards. No stage was ever so human, no poetic life so intense. Wild, reckless, defiant of all past tradition, of all conventional laws, the English dramatists owned no teacher, no source of poetic inspiration, but the people itself.

Few events in our literary history are so startling as this sudden rise of the Elizabethan drama. The first public theatre was erected only in the middle of the Queen's reign. Before the close of it eighteen theatres existed in London alone. Fifty dramatic poets, many of the first order, appeared in the fifty years which precede the closing of the theatres by the Puritans; and great as is the number of their works which have perished, we still possess a hundred dramas, all written within this period, and of which at least a half are excellent. A glance at their authors shows us that the intellectual quickening of the age had now reached the mass of the people. Almost all of the new playwrights were fairly educated, and many were university men. But instead of courtly singers of the Sidney and Spenser sort we see the advent of the "poor scholar." The earlier dramatists, such as Nash, Peele, Kyd, Greene, or Marlowe, were for the most part poor, and reckless in their poverty; wild livers, defiant of law or common fame, in revolt against the usages and religion of their day, "atheists" in general repute, "holding Moses for a juggler," haunting the brothel and the alehouse, and dying starved or in tavern brawls. But with their appearance began the Elizabethan drama. The few plays which have reached us of an earlier date are either cold imitations of the classical and Italian comedy, or rude farces like "Ralph Roister Doister," or tragedies such as "Gorbudoc" where, poetic as occasional passages may be, there is little promise of dramatic developement. But in the year which preceded the coming of the Armada the whole aspect of the stage suddenly changes, and the new dramatists range themselves around two men of very different genius, Robert Greene and Christopher Marlowe.

Of Greene, as the creator of our lighter English prose, we have already spoken. But his work as a poet was of yet greater importance, for his perception of character and the relations of social life, the playfulness of his fancy, and the liveliness of his style, exerted an influence on his contemporaries which was equalled by that of none but Marlowe and Peele. In spite of the rudeness of his plots and the unequal character of his work, Greene must be regarded as the creator of our modern comedy. No figure better paints the group of young playwrights. He left Cambridge to travel through Italy and Spain, and to bring back the debauchery of the one and the scepticism of the other. In the words of remorse he wrote before his death he paints himself as a drunkard and a roysterer, winning money only by ceaseless pamphlets and plays to waste it on wine and women, and drinking the cup of life to the dregs. Hell and the after-world were the butts of his ceaseless mockery. If he had not feared the judges of the Queen's Courts more than he feared God, he said in bitter jest, he should often have turned cutpurse. He married, and loved his wife, but she was soon deserted; and the wretched profligate found himself again plunged into excesses which he loathed, though he could not live without them. But wild as was the life of Greene, his pen was pure. He is steadily on virtue's side in the love pamphlets and novelettes he poured out in endless succession, and whose plots were dramatized by the school which gathered round him.

The life of Marlowe was as riotous, his scepticism even more daring, than the life and scepticism of Greene. His early death alone saved him in all probability from a prosecution for atheism. He was charged with calling Moses a juggler, and with boasting that, if he undertook to write a new religion, it should be a better religion than the Christianity he saw around him. But he stood far ahead of his fellows as a creator of English tragedy. Born in 1564 at the opening of Elizabeth's reign, the son of a Canterbury shoemaker, but educated at Cambridge, Marlowe burst on the world in the year which preceded the triumph over the Armada with a play which at once wrought a revolution in the English stage. Bombastic and extravagant as it was, and extravagance reached its height in a scene where captive kings, the "pampered jades of Asia," drew their conqueror's car across the stage, "Tamburlaine" not only indicated the revolt of the new drama against the timid inanities of Euphuism, but gave an earnest of that imaginative daring, the secret of which Marlowe was to bequeath to the playwrights who followed him. He perished at thirty in a shameful brawl, but in his brief career he had struck the grander notes of the coming drama. His Jew of Malta was the herald of Shylock. He opened in "Edward the Second" the series of historical plays which gave us "Caesar" and "Richard the Third." His "Faustus" is riotous, grotesque, and full of a mad thirst for pleasure, but it was the first dramatic attempt to touch the problem of the relations of man to the unseen world. Extravagant, unequal, stooping even to the ridiculous in his cumbrous and vulgar buffoonery, there is a force in Marlowe, a conscious grandeur of tone, a range of passion, which sets him above all his contemporaries save one. In the higher qualities of imagination, as in the majesty and sweetness of his "mighty line," he is inferior to Shakspere alone.

A few daring jests, a brawl, and a fatal stab, make up the life of Marlowe; but even details such as these are wanting to the life of William Shakspere. Of hardly any great poet indeed do we know so little. For the story of his youth we have only one or two trifling legends, and these almost certainly false. Not a single letter or characteristic saying, not one of the jests "spoken at the Mermaid," hardly a single anecdote, remain to illustrate his busy life in London. His look and figure in later age have been preserved by the bust over his tomb at Stratford, and a hundred years after his death he was still remembered in his native town; but the minute diligence of the enquirers of the Georgian time was able to glean hardly a single detail, even of the most trivial order, which could throw light upon the years of retirement before his death. It is owing perhaps to the harmony and unity of his temper that no salient peculiarity seems to have left its trace on the memory of his contemporaries; it is the very grandeur of his genius which precludes us from discovering any personal trait in his works. His supposed self-revelation in the Sonnets is so obscure that only a few outlines can be traced even by the boldest conjecture. In his dramas he is all his characters, and his characters range over all mankind. There is not one, or the act or word of one, that we can identify personally with the poet himself.

He was born in 1564, the sixth year of Elizabeth's reign, twelve years after the birth of Spenser, three years later than the birth of Bacon. Marlowe was of the same age with Shakspere: Greene probably a few years older. His father, a glover and small farmer of Stratford-on-Avon, was forced by poverty to lay down his office of alderman as his son reached boyhood; and stress of poverty may have been the cause which drove William Shakspere, who was already married at eighteen to a wife older than himself, to London and the stage. His life in the capital can hardly have begun later than in his twenty-third year, the memorable year which followed Sidney's death, which preceded the coming of the Armada, and which witnessed the production of Marlowe's "Tamburlaine." If we take the language of the Sonnets as a record of his personal feeling, his new profession as an actor stirred in him only the bitterness of self-contempt. He chides with Fortune "that did not better for my life provide than public means that public manners breed"; he writhes at the thought that he has "made himself a motley to the view" of the gaping apprentices in the pit of Blackfriars. "Thence comes it," he adds, "that my name receives a brand, and almost thence my nature is subdued to that it works in." But the application of the words is a more than doubtful one. In spite of petty squabbles with some of his dramatic rivals at the outset of his career, the genial nature of the newcomer seems to have won him a general love among his fellows. In 1592, while still a mere actor and fitter of old plays for the stage, a fellow-playwright, Chettle, answered Greene's attack on him in words of honest affection: "Myself have seen his demeanour no less civil than he excellent in the quality he professes: besides, divers of worship have reported his uprightness of dealing, which argues his honesty, and his facetious grace in writing, that approves his art." His partner Burbage spoke of him after death as a "worthy friend and fellow"; and Jonson handed down the general tradition of his time when he described him as "indeed honest, and of an open and free nature."

His profession as an actor was at any rate of essential service to him in the poetic career which he soon undertook. Not only did it give him the sense of theatrical necessities which makes his plays so effective on the boards, but it enabled him to bring his pieces as he wrote them to the test of the stage. If there is any truth in Jonson's statement that Shakspere never blotted a line, there is no justice in the censure which it implies on his carelessness or incorrectness. The conditions of poetic publication were in fact wholly different from those of our own day. A drama remained for years in manuscript as an acting piece, subject to continual revision and amendment; and every rehearsal and representation afforded hints for change which we know the young poet was far from neglecting. The chance which has preserved an earlier edition of his "Hamlet" shows in what an unsparing way Shakspere could recast even the finest products of his genius. Five years after the supposed date of his arrival in London he was already famous as a dramatist. Greene speaks bitterly of him under the name of "Shakescene" as an "upstart crow beautified with our feathers," a sneer which points either to his celebrity as an actor or to his preparation for loftier flights by fitting pieces of his predecessors for the stage. He was soon partner in the theatre, actor, and playwright; and another nickname, that of "Johannes Factotum" or Jack-of-all-Trades, shows his readiness to take all honest work which came to hand.

With his publication in 1593 of the poem of "Venus and Adonis," "the first heir of my invention," as Shakspere calls it, the period of independent creation fairly began. The date of its publication was a very memorable one. The "Faerie Queen" had appeared only three years before, and had placed Spenser without a rival at the head of English poetry. On the other hand the two leading dramatists of the time passed at this moment suddenly away. Greene died in poverty and self-reproach in the house of a poor shoemaker. "Doll," he wrote to the wife he had abandoned, "I charge thee, by the love of our youth and by my soul's rest, that thou wilt see this man paid; for if he and his wife had not succoured me I had died in the streets." "Oh that a year were granted me to live," cried the young poet from his bed of death, "but I must die, of every man abhorred! Time, loosely spent, will not again be won! My time is loosely spent--and I undone!" A year later the death of Marlowe in a street brawl removed the only rival whose powers might have equalled Shakspere's own. He was now about thirty; and the twenty-three years which elapsed between the appearance of the "Adonis" and his death were filled with a series of masterpieces. Nothing is more characteristic of his genius than its incessant activity. Through the five years which followed the publication of his early poem he seems to have produced on an average two dramas a year. When we attempt however to trace the growth and progress of the poet's mind in the order of his plays we are met in the case of many of them by an absence of certain information as to the dates of their appearance. The facts on which enquiry has to build are extremely few. "Venus and Adonis," with the "Lucrece," must have been written before their publication in 1593-4; the Sonnets, though not published till 1609, were known in some form among his private friends as early as 1598. His earlier plays are defined by a list given in the "Wit's Treasury" of Francis Meres in 1598, though the omission of a play from a casual catalogue of this kind would hardly warrant us in assuming its necessary non-existence at the time. The works ascribed to him at his death are fixed in the same approximate fashion through the edition published by his fellow-actors. Beyond these meagre facts and our knowledge of the publication of a few of his dramas in his lifetime all is uncertain; and the conclusions which have been drawn from these, and from the dramas themselves, as well as from assumed resemblances with, or references to, other plays of the period, can only be accepted as approximations to the truth.

The bulk of his lighter comedies and historical dramas can be assigned with fair probability to a period from about 1593, when Shakspere was known as nothing more than an adapter, to 1598, when they are mentioned in the list of Meres. They bear on them indeed the stamp of youth. In "Love's Labour's Lost" the young playwright, fresh from his own Stratford, its "daisies pied and violets blue," with the gay bright music of its country ditties still in his ears, flings himself into the midst of the brilliant England which gathered round Elizabeth, busying himself as yet for the most part with the surface of it, with the humours and quixotisms, the wit and the whim, the unreality, the fantastic extravagance, which veiled its inner nobleness. Country-lad as he is, Shakspere shows himself master of it all; he can patter euphuism and exchange quip and repartee with the best; he is at home in their pedantries and affectations, their brag and their rhetoric, their passion for the fantastic and the marvellous. He can laugh as heartily at the romantic vagaries of the courtly world in which he finds himself as at the narrow dulness, the pompous triflings, of the country world which he has left behind him. But he laughs frankly and without malice; he sees the real grandeur of soul which underlies all this quixotry and word-play; and owns with a smile that when brought face to face with the facts of human life, with the suffering of man or the danger of England, these fops have in them the stuff of heroes. He shares the delight in existence, the pleasure in sheer living, which was so marked a feature of the age; he enjoys the mistakes, the contrasts, the adventures, of the men about him; his fun breaks almost riotously out in the practical jokes of the "Taming of the Shrew" and the endless blunderings of the "Comedy of Errors." In these earlier efforts his work had been marked by little poetic elevation, or by passion. But the easy grace of the dialogue, the dexterous management of a complicated story, the genial gaiety of his tone, and the music of his verse promised a master of social comedy as soon as Shakspere turned from the superficial aspects of the world about him to find a new delight in the character and actions of men. The interest of human character was still fresh and vivid; the sense of individuality drew a charm from its novelty; and poet and essayist were busy alike in sketching the "humours" of mankind. Shakspere sketched with his fellows. In the "Two Gentlemen of Verona" his painting of manners was suffused by a tenderness and ideal beauty which formed an effective protest against the hard though vigorous character-painting which the first success of Ben Jonson in "Every Man in his Humour" brought at the time into fashion. But quick on these lighter comedies followed two in which his genius started fully into life. His poetic power, held in reserve till now, showed itself with a splendid profusion in the brilliant fancies of the "Midsummer Night's Dream"; and passion swept like a tide of resistless delight through "Romeo and Juliet."

Side by side however with these passionate dreams, these delicate imaginings and piquant sketches of manners, had been appearing during this short interval of intense activity a series of dramas which mark Shakspere's relation to the new sense of patriotism, the more vivid sense of national existence, national freedom, national greatness, which gives its grandeur to the age of Elizabeth. England itself was now becoming a source of literary interest to poet and prose-writer. Warner in his "Albion's England," Daniel in his "Civil Wars," embalmed in verse the record of her past; Drayton in his "Polyolbion" sang the fairness of the land itself, the "tracts, mountains, forests, and other parts of this renowned isle of Britain." The national pride took its highest poetic form in the historical drama. No plays seem to have been more popular from the earliest hours of the new stage than dramatic representations of our history. Marlowe had shown in his "Edward the Second" what tragic grandeur could be reached in this favourite field; and, as we have seen, Shakspere had been led naturally towards it by his earlier occupation as an adapter of stock pieces like "Henry the Sixth" for the new requirements of the stage. He still to some extent followed in plan the older plays on the subjects he selected, but in his treatment of their themes he shook boldly off the yoke of the past. A larger and deeper conception of human character than any of the old dramatists had reached displayed itself in Richard the Third, in Falstaff, or in Hotspur; while in Constance and Richard the Second the pathos of human suffering was painted as even Marlowe had never dared to paint it.

No dramas have done so much for Shakspere's enduring popularity with his countrymen as these historical plays. They have done more than all the works of English historians to nourish in the minds of Englishmen a love of and reverence for their country's past. When Chatham was asked where he had read his English history he answered, "In the plays of Shakspere." Nowhere could he have read it so well, for nowhere is the spirit of our history so nobly rendered. If the poet's work echoes sometimes our national prejudice and unfairness of temper, it is instinct throughout with English humour, with our English love of hard fighting, our English faith in goodness and in the doom that waits upon triumphant evil, our English pity for the fallen. Shakspere is Elizabethan to the core. He stood at the meeting-point of two great epochs of our history. The age of the Renascence was passing into the age of Puritanism. Rifts which were still little were widening every hour, and threatening ruin to the fabric of Church and State which the Tudors had built up. A new political world was rising into being; a world healthier, more really national, but less picturesque, less wrapt in the mystery and splendour that poets love. Great as were the faults of Puritanism, it may fairly claim to be the first political system which recognized the grandeur of the people as a whole. As great a change was passing over the spiritual sympathies of men. A sterner Protestantism was invigorating and ennobling life by its morality, its seriousness, its intense conviction of God. But it was at the same time hardening and narrowing it. The Bible was superseding Plutarch. The "obstinate questionings" which haunted the finer souls of the Renascence were being stereotyped into the theological formulas of the Puritan. The sense of a divine omnipotence was annihilating man. The daring which turned England into a people of "adventurers," the sense of inexhaustible resources, the buoyant freshness of youth, the intoxicating sense of beauty and joy, which created Sidney and Marlowe and Drake, were passing away before the consciousness of evil and the craving to order man's life aright before God.

From this new world of thought and feeling Shakspere stood aloof. Turn as others might to the speculations of theology, man and man's nature remained with him an inexhaustible subject of interest. Caliban was among his latest creations. It is impossible to discover whether his religious belief was Catholic or Protestant. It is hard indeed to say whether he had any religious belief or no. The religious phrases which are thinly scattered over his works are little more than expressions of a distant and imaginative reverence. But on the deeper grounds of religious faith his silence is significant. He is silent, and the doubt of Hamlet deepens his silence, about the after-world. "To die," it may be, was to him as it was to Claudio, "to go we know not whither." Often as his questionings turn to the riddle of life and death he leaves it a riddle to the last without heeding the common theological solutions around him. "We are such stuff as dreams are made of, and our little life is rounded with a sleep."

Nor were the political sympathies of the poet those of the coming time. His roll of dramas is the epic of civil war. The Wars of the Roses fill his mind, as they filled the mind of his contemporaries. It is not till we follow him through the series of plays from "Richard the Second" to "Henry the Eighth" that we realize how profoundly the memory of the struggle between York and Lancaster had moulded the temper of the people, how deep a dread of civil war, of baronial turbulence, of disputes over the succession to the throne, it had left behind it. Men had learned the horrors of the time from their fathers; they had drunk in with their childhood the lesson that such a chaos of weakness and misrule must never be risked again. From such a risk the Crown seemed the one security. With Shakspere as with his fellow-countrymen the Crown is still the centre and safeguard of the national life. His ideal England is an England grouped around a noble king, a king such as his own Henry the Fifth, devout, modest, simple as he is brave, but a lord in battle, a born ruler of men, with a loyal people about him and his enemies at his feet. Socially the poet reflects the aristocratic view of social life which was shared by all the nobler spirits of the Elizabethan time. Coriolanus is the embodiment of a great noble; and the taunts which Shakspere hurls in play after play at the rabble only echo the general temper of the Renascence. But he shows no sympathy with the struggle of feudalism against the Crown. If he paints Hotspur with a fire which proves how thoroughly he could sympathize with the rough, bold temper of the baronage, he suffers him to fall unpitied before Henry the Fourth. Apart however from the strength and justice of its rule, royalty has no charm for him. He knows nothing of the "right divine of kings to govern wrong" which became the doctrine of prelates and courtiers in the age of the Stuarts. He shows in his "Richard the Second" the doom that waits on a lawless despotism, as he denounces in his "Richard the Third" the selfish and merciless ambition that severs a ruler from his people. But the dread of misrule was a dim and distant one. Shakspere had grown up under the reign of Elizabeth; he had known no ruler save one who had cast a spell over the hearts of Englishmen. His thoughts were absorbed, as those of the country were absorbed, in the struggle for national existence which centred round the Queen. "King John" is a trumpet-call to rally round Elizabeth in her fight for England. Again a Pope was asserting his right to depose an English sovereign and to loose Englishmen from their bond of allegiance. Again political ambitions and civil discord woke at the call of religious war. Again a foreign power was threatening England at the summons of Rome, and hoping to master her with the aid of revolted Englishmen. The heat of such a struggle as this left no time for the thought of civil liberties. Shakspere casts aside the thought of the Charter to fix himself on the strife of the stranger for England itself. What he sang was the duty of patriotism, the grandeur of loyalty, the freedom of England from Pope or Spaniard, its safety within its "water-walled bulwark," if only its national union was secure. And now that the nation was at one, now that he had seen in his first years of London life Catholics as well as Protestants trooping to the muster at Tilbury and hasting down Thames to the fight in the Channel, he could thrill his hearers with the proud words that sum up the work of Elizabeth:--

"This England never did, nor never shall, Lie at the proud foot of a conqueror, But when it first did help to wound itself. Now that her princes are come home again, Come the three corners of the world in arms, And we shall shock them! Nought shall make us rue If England to itself do rest but true."

With this great series of historical and social dramas Shakspere had passed far beyond his fellows whether as a tragedian or as a writer of comedy. "The Muses," said Meres in 1598, "would speak with Shakspere's fine-filed phrase, if they would speak English." His personal popularity was now at its height. His pleasant temper and the vivacity of his wit had drawn him early into contact with the young Earl of Southampton, to whom his "Adonis" and "Lucrece" are dedicated; and the different tone of the two dedications shows how rapidly acquaintance ripened into an ardent friendship. Shakspere's wealth and influence too were growing fast. He had property both in Stratford and London, and his fellow-townsmen made him their suitor to Lord Burleigh for favours to be bestowed on Stratford. He was rich enough to aid his father, and to buy the house at Stratford which afterwards became his home. The tradition that Elizabeth was so pleased with Falstaff in "Henry the Fourth" that she ordered the poet to show her Falstaff in love--an order which produced the "Merry Wives of Windsor"--whether true or false, proves his repute as a playwright. As the group of earlier poets passed away, they found successors in Marston, Dekker, Middleton, Heywood, and Chapman, and above all in Ben Jonson. But none of these could dispute the supremacy of Shakspere. The verdict of Meres that "Shakspere among the English is the most excellent in both kinds for the stage," represented the general feeling of his contemporaries. He was at last fully master of the resources of his art. The "Merchant of Venice" marks the perfection of his developement as a dramatist in the completeness of its stage effect, the ingenuity of its incidents, the ease of its movement, the beauty of its higher passages, the reserve and self-control with which its poetry is used, the conception and unfolding of character, and above all the mastery with which character and event are grouped round the figure of Shylock. Master as he is of his art, the poet's temper is still young; the "Merry Wives of Windsor" is a burst of gay laughter; and laughter more tempered, yet full of a sweeter fascination, rings round us in "As You Like It."

But in the melancholy and meditative Jaques of the last drama we feel the touch of a new and graver mood. Youth, so full and buoyant in the poet till now, seems to have passed almost suddenly away. Though Shakspere had hardly reached forty, in one of his Sonnets which cannot have been written at a much later time than this there are indications that he already felt the advance of premature age. And at this moment the outer world suddenly darkened around him. The brilliant circle of young nobles whose friendship he had shared was broken up in 1601 by the political storm which burst in a mad struggle of the Earl of Essex for power. Essex himself fell on the scaffold; his friend and Shakspere's idol, Southampton, passed a prisoner into the Tower; Herbert Lord Pembroke, a younger patron of the poet, was banished from the Court. While friends were thus falling and hopes fading without, Shakspere's own mind seems to have been going through a phase of bitter suffering and unrest. In spite of the ingenuity of commentators, it is difficult and even impossible to derive any knowledge of Shakspere's inner history from the Sonnets; "the strange imagery of passion which passes over the magic mirror," it has been finely said, "has no tangible evidence before or behind it." But its mere passing is itself an evidence of the restlessness and agony within. The change in the character of his dramas gives a surer indication of his change of mood. The fresh joyousness, the keen delight in life and in man, which breathes through Shakspere's early work disappears in comedies such as "Troilus" and "Measure for Measure." Disappointment, disillusion, a new sense of the evil and foulness that underlie so much of human life, a loss of the old frank trust in its beauty and goodness, threw their gloom over these comedies. Failure seems everywhere. In "Julius Caesar" the virtue of Brutus is foiled by its ignorance of and isolation from mankind; in Hamlet even penetrating intellect proves helpless for want of the capacity of action; the poison of Iago taints the love of Desdemona and the grandeur of Othello; Lear's mighty passion battles helplessly against the wind and the rain; a woman's weakness of frame dashes the cup of her triumph from the hand of Lady Macbeth; lust and self-indulgence blast the heroism of Antony; pride ruins the nobleness of Coriolanus.

But the very struggle and self-introspection that these dramas betray were to give a depth and grandeur to Shakspere's work such as it had never known before. The age was one in which man's temper and powers took a new range and energy. Sidney or Raleigh lived not one but a dozen lives at once; the daring of the adventurer, the philosophy of the scholar, the passion of the lover, the fanaticism of the saint, towered into almost superhuman grandeur. Man became conscious of the immense resources that lay within him, conscious of boundless powers that seemed to mock the narrow world in which they moved. All through the age of the Renascence one feels this impress of the gigantic, this giant-like activity, this immense ambition and desire. The very bombast and extravagance of the times reveal cravings and impulses before which common speech broke down. It is this grandeur of humanity that finds its poetic expression in the later work of Shakspere. As the poet penetrated deeper and deeper into the recesses of the soul, he saw how great and wondrous a thing was man. "What a piece of work is a man," cries Hamlet; "how noble in reason; how infinite in faculty; in form and moving how express and admirable; in action how like an angel; in apprehension how like a god; the beauty of the world; the paragon of animals!" It is the wonder of man that spreads before us as the poet pictures the wide speculation of Hamlet, the awful convulsion of a great nature in Othello, the terrible storm in the soul of Lear which blends with the very storm of the heavens themselves, the awful ambition that nerved a woman's hand to dabble itself with the blood of a murdered king, the reckless lust that "flung away a world for love." Amid the terror and awe of these great dramas we learn something of the vast forces of the age from which they sprang. The passion of Mary Stuart, the ruthlessness of Alva, the daring of Drake, the chivalry of Sidney, the range of thought and action in Raleigh or Elizabeth, come better home to us as we follow the mighty series of tragedies which began in "Hamlet" and ended in "Coriolanus."

Shakspere's last dramas, the three exquisite works in which he shows a soul at rest with itself and with the world, "Cymbeline," "The Tempest," "Winter's Tale," were written in the midst of ease and competence, in a house at Stratford to which he withdrew a few years after the death of Elizabeth. In them we lose all relation with the world or the time and pass into a region of pure poetry. It is in this peaceful and gracious close that the life of Shakspere contrasts most vividly with that of his greatest contemporary. If the imaginative resources of the new England were seen in the creators of Hamlet and the Faerie Queen, its purely intellectual capacity, its vast command over the stores of human knowledge, the amazing sense of its own powers with which it dealt with them, were seen in the work of Francis Bacon. Bacon was born in 1561, three years before the birth of Shakspere. He was the younger son of a Lord Keeper, as well as the nephew of Lord Burleigh, and even in childhood his quickness and sagacity won the favour of the Queen. Elizabeth "delighted much to confer with him, and to prove him with questions: unto which he delivered himself with that gravity and maturity above his years that her Majesty would often term him 'the young Lord Keeper.'" Even as a boy at college he expressed his dislike of the Aristotelian philosophy, as "a philosophy only strong for disputations and contentions but barren of the production of works for the benefit of the life of man." As a law student of twenty-one he sketched in a tract on the "Greatest Birth of Time" the system of inductive enquiry which he was already prepared to substitute for it. The speculations of the young thinker however were interrupted by his hopes of Court success. But these were soon dashed to the ground. He was left poor by his father's death; the ill-will of the Cecils barred his advancement with the Queen: and a few years before Shakspere's arrival in London Bacon entered as a barrister at Gray's Inn. He soon became one of the most successful lawyers of the time. At twenty-three Bacon was a member of the House of Commons, and his judgement and eloquence at once brought him to the front. "The fear of every man that heard him was lest he should make an end," Ben Jonson tells us. The steady growth of his reputation was quickened in 1597 by the appearance of his "Essays," a work remarkable, not merely for the condensation of its thought and its felicity and exactness of expression, but for the power with which it applied to human life that experimental analysis which Bacon was at a later time to make the key of Science.

His fame at once became great at home and abroad, but with this nobler fame Bacon could not content himself. He was conscious of great powers as well as great aims for the public good: and it was a time when such aims could hardly be realized save through the means of the Crown. But political employment seemed farther off than ever. At the outset of his career in Parliament he irritated Elizabeth by a firm opposition to her demand of a subsidy; and though the offence was atoned for by profuse apologies and by the cessation of all further resistance to the policy of the Court, the law offices of the Crown were more than once refused to him, and it was only after the publication of his "Essays" that he could obtain some slight promotion as a Queen's Counsel. The moral weakness which more and more disclosed itself is the best justification of the Queen in her reluctance--a reluctance so greatly in contrast with her ordinary course--to bring the wisest head in her realm to her Council-board. The men whom Elizabeth employed were for the most part men whose intellect was directed by a strong sense of public duty. Their reverence for the Queen, strangely exaggerated as it may seem to us, was guided and controlled by an ardent patriotism and an earnest sense of religion; and with a

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