INTRODUCTION

The miscellaneous pieces comprised in this volume are of interest and value, as illustrating the history of English literature and of an important side of English social life, namely, the character and status of the clergy in the seventeenth and early eighteenth centuries. They have been arranged chronologically under the subjects with which they are respectively concerned. The first three—the excerpt from Wilson's Art of Rhetoric, Sir Philip Sidney's Letter to his brother Robert, and the dissertation from Meres's Palladis Tamia—are, if minor, certainly characteristic examples of pre-Elizabethan and Elizabethan literary criticism. The next three—the Dedicatory Epistle to the Rival Ladies, Howard's Preface to Four New Plays, and the Essay of Dramatic Poesy—not only introduce us to one of the most interesting critical controversies of the seventeenth century, but present us, in the last work, with an epoch-marking masterpiece, both in English criticism and in English prose composition. Bishop Copleston's brochure brings us to the

early days of the Edinburgh Review, and to the dawn of the criticism with which we are, unhappily, only too familiar in our own time. From criticism we pass, in the extract from Ellwood's life of himself, to biography and social history, to the most vivid account we have of Milton as a personality and in private life. Next comes a series of pamphlets illustrating social and literary history in the reigns of Anne and George I., opening with the pamphlets bearing on Swift's inimitable Partridge hoax, now for the first time collected and reprinted, and preceding Gay's Present State of Wit, which gives a lively account of the periodic literature current in 1711. Next comes Tickell's valuable memoir of his friend Addison, prefixed, as preface, to his edition of Addison's works, published in 1721, with Steele's singularly interesting strictures on the memoir, being the dedication of the second edition of the Drummer to Congreve. The reprint of Eachard's Grounds and Occasions of the Contempt of the Clergy and Religion Enquired into, with the preceding extract from

Chamberlayne's Angliae Notitia and the succeeding papers of Steele's in the Tatler and Guardian, throws light on a question which is not only of great interest in itself, but which has been brought into prominence through the controversies excited by Macaulay's famous picture of the clergy of the seventeenth and eighteenth centuries. Last comes what is by general consent acknowledged to be one of the most valuable contributions ever made to the literature of proverbs, Franklin's summary of the maxims in Poor Richard's Almanack.

Our first excerpt is the preface to a work which is entitled to the distinction of being the first systematic contribution to literary criticism written in the English language. It appeared in 1553, and was entitled The Art of Rhetorique, for the use of all suche as are studious of eloquence, sette foorthe in Englishe by Thomas Wilson, and it was dedicated to John Dudley, Earl of Warwick. Thomas Wilson—erroneously designated Sir Thomas Wilson, presumably because he has been confounded with a knight of that name—was born about 1525, educated at Eton and subsequently at King's College, Cambridge, whence he graduated B.A. in 1549. In life he played many parts, as tutor to distinguished pupils, notably Henry and Charles Brandon, afterwards Dukes of Suffolk, as diplomatist and ambassador to various countries, as a Secretary of State and a Privy Councillor, as one of the Masters of Requests, and as Master of St. Catherine's Hospital at the Tower, at which place and in which capacity he terminated a very full and busy life on June 16th, 1581. The

pupil of Sir John Cheke and of Sir Thomas Smith, and the intimate friend of Roger Ascham, Wilson was one of the most accomplished scholars in England, being especially distinguished by his knowledge of Greek. He is the author of a translation, of a singularly vigorous translation, of the Olynthiacs and Philippics of Demosthenes, published in 1570. His most popular work, judging at least from the quickly succeeding editions, appears to have been his first, The Rule of Reason, conteinynge the Art of Logique set forth in Englishe, published by Grafton in 1551, and dedicated to Edward VI. The Art of Rhetorique is said to have been published at the same time, but the earliest known copy is dated January 1553. The interest of this Art of Rhetoric is threefold. It is the work of a writer intelligently familiar with the Greek and Roman classics, and it thus stands beside Elyot's Governour, which appeared two years before, as one of the earliest illustrations of the influence of the Renaissance on our vernacular literature. It is one of the earliest

examples, not only of the employment of the English language in the treatment of scholastic subjects, but of the vindication of the use of English in the treatment of such subjects; and, lastly, it is remarkable for its sound and weighty good sense. His friend, Ascham, had already said: 'He that wyll wryte well in any tongue muste folowe thys councel of Aristotle, to speake as the common people do, to think as wise men do, and so shoulde every man understande hym. Many English writers have not done so, but usinge straunge words, as Latin, French, and Italian, do make all thinges darke and harde.' And it is indeed by no means improbable that this work, which is written to inculcate all that Ascham upheld, may have been suggested by Ascham. It is in three books, and draws largely on Quintilian, the first two books being substantially little more than a compilation, but a very judicious one, from the Institutes of Oratory. But Wilson is no pedant, and has many excellent remarks on the nature of the influence which the classics should exercise on English composition.

One passage is worth transcribing—

'Among all other lessons, this should first be learned, that we never affect any straunge ynkhorne termes, but to speake as is commonly received, neither seeking to be over fine, nor yet being over carelesse, using our speeche as most men doe, and ordering our wittes as the fewest have done. Some seke so far outlandishe English, that thei forget altogether their mothers language. And I dare sweare this, if some of their mothers were alive, thei were not able to tell what thei saie; and yet these fine English clerkes will saie thei speake in their mother tongue—if a man should charge them for counterfeityng the kinges Englishe…. The unlearned or foolish phantasicalle that smelles but of learnyng (suche fellowes as have seen learned men in their daies) will so Latin their tongues that the simple can not but wonder at their talke, and thinke surely thei speake by some revelation. I know them that thinke Rhetorique to stand wholie upon darke woordes; and he that can catche an ynke horne terme by the taile him thei coumpt to bee a fine Englisheman and a good Rhetorician.'

In turning to Wilson's own style, we are reminded of Butler's sarcasm—

'All a rhetorician's rules Teach nothing but to name his tools.'

He is not, indeed, deficient, as the excerpt given shows, in dignity and weightiness, but neither there nor elsewhere has he any of the finer qualities of style, his rhythm being harsh and unmusical, his diction cumbrous and diffuse.

The excerpt which comes next in this miscellany is by the author of that treatise which is, with the exceptions, perhaps, of George Puttenham's Art of English Poesie and Ben Jonson's Discoveries, the most precious contribution to criticism made in the Elizabethan age; but, indeed, the Defence of Poesie stands alone: alone in originality, alone in inspiring eloquence. The letter we print is taken from Arthur Collins's Sydney Papers, vol. i. pp. 283-5, and was written by Sir Philip Sidney to his brother Robert, afterwards (August 1618) second Earl of Leicester, then at Prague. From letters of Sir Henry Sidney in the same collection (see letters dated March 25th and October 1578) we learn that Robert, then in his eighteenth year, had been sent abroad to see the world and to acquire foreign languages, that he was flighty and extravagant, and had in consequence greatly annoyed his father, who had threatened to recall him home. 'Follow,' Sir Henry had written, 'the direction of your most loving brother. Imitate his virtues, exercyses, studyes and accyons, hee ys a

rare ornament of thys age.' This letter was written at a critical time in Sidney's life. With great courage and with the noblest intentions, though with extraordinary want of tact, for he was only in his twenty-sixth year, he had presumed to dissuade Queen Elizabeth from marrying the Duke of Anjou. The Queen had been greatly offended, and he had had to retire from Court. The greater part of the year 1580 he spent at Wilton with his sister Mary, busy with the Arcadia. In August he had, through the influence of his uncle Leicester, become reconciled with the Queen, and a little later took up his residence at Leicester House, from which this letter is dated. It is a mere trifle, yet it illustrates very strikingly and even touchingly Sidney's serious, sweet, and beautiful character. The admirable remarks on the true use of the study of history, such as 'I never require great study in Ciceronianism, the chief abuse of Oxford, qui dum verba sectantur, res ipsas negligunt,' remind us of the author of the Defence; while the 'great part of my comfort is in you,' 'be

careful of yourself, and I shall never have cares,' and the 'I write this to you as one that for myself have given over the delight in the world,' show that he had estimated royal reconciliations at their true value, and anticipate the beautiful and pathetic words with which he is said to have taken leave of the world. Short and hurried as this letter is, we feel it is one of those trifles which, as Plutarch observes, throw far more light on character than actions of importance often do.

Between 1580 and the appearance of Meres's work in 1598 there was much activity in critical literature. Five years before the date of Sidney's letter George Gascogne had published his Certayne Notes of Instruction concerning the makyng of Verse in Rhyme. This was succeeded in 1584 by James I.'s Ane Short Treatise conteining some rewles and cautelis to be observit. Then came William Webbe's Discourse of English Poesie, 1586, which had been preceded by Sidney's charming Defence of Poetry, composed in or about 1579, but not published till 1593. This and Puttenham's elaborate treatise, The Art of English Poesie contrived into three books (1589), had indeed marked an epoch in the history of criticism. Memorable, too, in this branch of literature is Harington's Apologie for Poetry (1591), prefixed to his translation of the Orlando Furioso. But it was not criticism only which had been advancing. The publication of the first part of Lyly's Euphues and of Spenser's Shepherd's Calendar in 1579 may be said to have initiated the golden age of our literature.

The next twenty years saw Marlowe, Greene, Peele, Kyd, Shakespeare, Chapman, Decker, and Ben Jonson at the head of our drama; Spenser, Warner, Daniel, and Drayton leading narrative poetry; the contributors to England's Helicon, published a year later, at the head of our sonneteers and lyric poets; and Sidney, Lyly, Greene, and Hooker in the van of our prose literature. The history of Meres's work, a dissertation from which is here extracted, is curious. In or about 1596, Nicholas Ling and John Bodenham conceived the idea of publishing a series of volumes containing proverbs, maxims, and sententious reflections on religion, morals, and life generally. Accordingly in 1597 appeared a small volume containing various apothegms, extracted principally from the Classics and the Fathers, compiled by Nicholas Ling and dedicated to Bodenham. It was entitled Politeuphuia: Wits Commonwealth. In the following year appeared 'Palladis Tamia, Wits Treasury: Being the Second Part of Wits Commonwealth. By Francis Meres, Maister of Arts in both Universities.' On

the title-page is the motto 'Vivitur ingenio, cetera mortis erunt.' It was printed by P. Short for Cuthbert Burbie. From the address to the reader, which does not appear in the first edition, though it was apparently intended for that edition, we learn that it had been undertaken because of the extraordinary popularity of Wits Commonwealth, which 'thrice within one year had runne thorough the Presse.' Meres's work differs importantly from Wits Commonwealth. It is not merely a compilation, but contains original matter, generally by way of commentary. The extracts are much fuller, many being taken from modern writers, notably Robert Greene, Lyly, Warner, and Sir Philip Sidney. In 1634 the work was re-issued under another title, Wits Commonwealth, The Second Part: A Treasurie of Divine, Moral, and Phylosophical Similes and Sentences generally useful. But more particular published for the Use of Schools. In 1636 it was again reprinted. The only part of Meres's work which is of interest now is what is here reprinted. It belongs to that

portion of his compilation which treats of studies and reading, the preceding sections discussing respectively of 'books,' of 'reading of books,' of 'choice to be had in reading of books,' of 'the use of reading many books,' of 'philosophers,' of 'poetry,' of 'poets,' consisting for the most part of remarks compiled from Plutarch, and in one or two instances from Sir Philip Sidney's _Defence of Poetry. A portion of the passage which immediately precedes the Discourse may be transcribed because of its plain speaking about the indifference of Elizabeth and her ministers to the fortune of poets; though this, with curious inconsistency, is flatly contradicted, probably for prudential reasons, in the Discourse itself—

'As the Greeke and Latin Poets have wonne immortal credit to their native speech, being encouraged and graced by liberal patrones and bountiful benefactors; so our famous and learned Lawreate masters of England would entitle our English to far greater admired excellency, if either the Emperor Augustus or Octavia his sister or noble Maecenas were alive to reward and countenance them; or if witty Comedians and stately Tragedians (the glorious and goodlie representers of all fine witte, glorified phrase and great action) bee still supported and uphelde, by which meanes (O ingrateful and damned age) our Poets are soly or chiefly maintained, countenanced and patronized.'

Of the author of this work, Francis Meres or Meers, comparatively little is known. He sprang from an old and highly respectable family in Lincolnshire, and was born in 1565, the son of Thomas Meres, of Kirton in Holland in that county. After graduating from Pembroke College, Cambridge, in 1587, proceeding M.A. in 1591 at his own University, and subsequently by ad eundem at Oxford, he settled in London, where in 1597, having taken orders, he was living in Botolf Lane. He was presented in July 1602 to the rectory of Wing in Rutland, keeping a school there. He remained at Wing till his death, in his eighty-first year, January 29, 1646-7. As Charles FitzGeoffrey, in a Latin poem in his Affaniae addressed to Meres, speaks of him as 'Theologus et poeta', it is possible that the 'F.M.' who was a contributor to the Paradise of Dainty Devices is to be identified with Meres. In addition to the Palladis Tamia, Meres was the author of a sermon published in 1597, a copy of which is in the Bodleian, and of two translations from the Spanish, neither of which is of any interest.

Meres's Discourse is, like the rest of his work, mainly a compilation, with additions and remarks of his own. Much of it is derived from the thirty-first chapter of the first book of Puttenham; with these distinctions, that Meres's includes the poets who had come into prominence between 1589 and 1598, and instituted parallels, biographical and critical, between them and the ancient Classics. It is the notices of these poets, and more particularly the references to Shakespeare's writings, which make this treatise so invaluable to literary students. Thus we are indebted to Meres for a list of the plays which Shakespeare had produced by 1598, and for a striking testimony to his eminence at that date as a dramatic poet, as a narrative poet, and as a writer of sonnets. The perplexing reference to Love's Labour's Won has never been, and perhaps never will be, satisfactorily explained. To assume that it is another title for All's Well that Ends Well in an earlier form is to cut rather than to solve the knot. It is quite possible that it refers

to a play that has perished. The references to the imprisonment of Nash for writing the Isle of Dogs, to the unhappy deaths of Peele, Greene, and Marlowe, and to the high personal character of Drayton are of great interest. Meres was plainly a man of muddled and inaccurate learning, of no judgment, and of no critical power, a sort of Elizabethan Boswell without Boswell's virtues, and it is no paradox to say that it is this which gives his Discourse its chief interest. It probably represents not his own but the judgments current on contemporary writers in Elizabethan literary circles. And we cannot but be struck with their general fairness. Full justice is done to Shakespeare, who is placed at the head of the dramatists; full justice is done to Spenser, who is styled divine, and placed at the head of narrative poets; to Sidney, both as a prose writer and as a poet; to Drayton, to Daniel, and to Hall, Lodge, and Marston, as satirists. We are surprised to find such a high place assigned to Warner, 'styled by the best wits of both our

universities the English Homer,' and a modern critic would probably substitute different names, notably those of Lodge and Campion, for those of Daniel and Drayton in a list of the chief lyric poets then in activity. In Meres's remarks on painters and musicians, there is nothing to detain us.

Of a very different order is the important critical treatise which comes next, Dryden's Essay of Dramatic Poesy, to which are prefixed as prolegomena Dryden's Dedicatory Epistle to The Rival Ladies, Sir Robert Howard's Preface to Four New Plays, and, as supplementary, Howard's Preface to The Duke of Lerma, and Dryden's Defence of the Essay of Dramatic Poesy. As Dryden's Essay, like almost all his writings, both in verse and prose, was of a more or less occasional character, it will be necessary to explain at some length the origin of the controversy out of which it sprang, as well as the immediate object with which it was written.

The Restoration found Dryden a literary adventurer, with a very slender patrimony and with no prospects. Poetry was a drug in the market; hack-work for the booksellers was not to his taste; and the only chance of remunerative employment open to him was to write for the stage. To this he accordingly betook himself. He began with comedy, and his comedy was a failure. He then betook himself to a species of drama, for which his parts and accomplishments were better fitted. Dryden had few or none of the qualifications essential in a great dramatist; but as a rhetorician, in the more comprehensive sense of the term, he was soon to be unrivalled. In the rhymed heroic plays, as they were called, he found just the sphere in which he was most qualified to excel. The taste for these dramas, which owed most to France and something to Italy and Spain, had come in with the Restoration. Their chief peculiarities were the complete subordination of the dramatic to the rhetorical element, the predominance of pageant, and the substitution of rhymed for blank verse.