KENAISSANCE 393 Jit :es i;,-is-
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fo; .a- o. 1 cost the nation comparatively little disturbance. Humanism, before it affected the bulk of the English people, had already permeated Italian and French litera- ture. Classical erudition had been adapted to the needs of modern thought. The hard work of collecting, print- ing, annotating, and translating Greek and Latin authors had been accomplished. The masterpieces of antiquity had been interpreted and made intelligible. Much of the learning popularized by our poets and dramatists was derived at second hand from modern literature. This does not mean that England was deficient in ripe and sound scholars. More, Colet, Ascham, Cheke, Camden were men whose familiarity with the classics was both intimate and easy. Public schools and universities con- formed to the modern methods of study ; nor were there wanting opportunities for youths of humble origin to obtain an education which placed them on a level with Italian scholars. The single case of Ben Jon son suffi- ciently proves this. Yet learning did not at this epoch become a marked speciality in England. There was no class corresponding to the humanists. It should also be remembered that the best works of Italian literature were introduced into Great Britain together with the classics. Phaer's Virgil, Chapman's Homer, Harrington's Orlando, Marlowe's Hero and Leander, Fairfax's Jerusalem Delivered, North's Plutarch, Hoby's Courtier to mention only a few examples placed English readers simultaneously in pos- session of the most eminent and representative works of Greece, Rome, and Italy. At the same time Spanish influences reached them through the imitators of Guevara and the dramatists ; French influences in tha versions of romances; German influences in popular translations of the Faust legend, Eulenspiegel, and similar productions. The authorized version of the Bible had also been recently given to the people, so that almost at the same period of time England obtained in the vernacular an extensive library of ancient and modern authors. This was a privi- lege enjoyed in like measure by no other nation. It suffi- ciently accounts for the richness and variety of Elizabethan literature, and for the enthusiasm with which the English language was cultivated. Speaking strictly, England borrowed little in the region of the arts from other nations, and developed still less that was original. What is called Jacobean architecture marks indeed an interesting stage in the transition from the Gothic style. But, compared with Italian, French, Spanish, German, and Flemish work of a like period, it is both timid and dry. Sculpture was represented in London for a brief space by Torrigiani ; painting by Holbein and Antonio More ; music by Italians and Frenchmen of the Chapel Royal. But no Englishmen rose to European eminence in these departments. With literature the case was very different. Wyat and Surrey began by engrafting the forms and graces of Italian poetry upon the native stock. They introduced the sonnet and blank verse. Sidney followed with the sestine and terza rima and with various experiments in classic metres, none of which took root on English soil. The translators handled the octave stanza. Marlowe gave new vigour to the couplet. The first period of the English Renaissance was one of imita- tion and assimilation. Academies after the Italian type were founded. Tragedies in the style of Seneca, rivalling Italian and French dramas of the epoch, were produced. Attempts to Latinize ancestral rhythms, similar to those which had failed in Italy and France, were made. Tenta- tive essays in criticism and dissertations on the art of poetry abounded. It seemed as though the Renaissance ran a risk of being throttled in its cradle by superfluity of foreign and pedantic nutriment. But the natural vigour of the English genius resisted influences alien to itself, and showed a robust capacity for digesting the varied diet offered to it. As there was nothing despotic in the temper of the ruling classes, nothing oppressive in English culture, the literature of that age evolved itself freely from the people. It was under these conditions that Spenser gave his romantic epic to the world, a poem which derived its allegory from the Middle Ages, its decorative richness from the Italian Renaissance, its sweetness, purity, har- mony, and imaginative splendour from the most poetic nation of the modern world. Under the same conditions the Elizabethan drama, which in its totality is the real exponent of the English Renaissance, came into existence. This drama very early freed itself from the pseudo-classic mannerism which imposed on taste in Italy and France. Depicting feudalism in the vivid colours of an age at war with feudal institutions, breathing into antique histories the breath of actual life, embracing the romance of Italy and Spain, the mysteries of German legend, the fictions of poetic fancy and the facts of daily life, humours of the moment and abstractions of philosophical speculation, in one homogeneous amalgam instinct with intense vitality, this extraordinary birth of time, with Shakespeare for the master of all ages, left a monument of the Renaissance unrivalled for pure creative power by any other product of that epoch. To complete the sketch, we must set Bacon, the expositor of modern scientific method, beside Spenser and Shakespeare, as the third representative of the Renaissance in England. Nor should Raleigh, Drake, Hawkins, the semi-buccaneer explorers of the ocean, be omitted. They, following the lead of Portuguese and English Spaniards, combating the Counter-Reformation on the seas, reaction opened for England her career of colonization and planta- cttholi- tion. All this while the political policy of Tudors and c i sm> Stewarts tended towards monarchical absolutism, while monarch- the Reformation in England, modified by contact with ic ^ ab - the Low Countries during their struggles, was narrowing a ^ tlsm ' into strict reactionary intolerance. Puritanism indicated Renais- a revolt of the religious conscience of the nation against sance the arts and manners of the Renaissance, against the culture, encroachments of belligerent Catholicism, against the corrupt and Italianated court of James I., against the absolutist pretensions of his son Charles. In its final manifestation during the Commonwealth, Puritanism won a transient victory over the mundane forces of both Reformation and Renaissance, as these had taken shape in England. It also secured the eventual triumph of con- stitutional independence. Milton, the greatest humanistic poet of the English race, lent his pen and moral energies during the best years of his life to securing that principle on which modern political systems at present rest. Thus the geographical isolation of England, and the comparatively late adoptrfjn by the English of matured Italian and Ger- man influences, give peculiar complexity to the phenomena of Reformation and Renaissance simultaneously developed on our island. The period of our history between 1 536 and 1642 shows how difficult it is to separate these two factors in the re-birth of Europe, both of which contributed so powerfully to the formation of modern English nationality. It has been impossible to avoid an air of superficiality, New and the repetition of facts known to every schoolboy, in political this sketch of so complicated a subject as the Renaissance, relatio embracing many nations, a great variety of topics, and an datino . indefinite period of time. Yet no other treatment wasf rom the possible upon the lines laid down at the outset, where it Renais- was explained why the term Renaissance cannot now be sance. confined to the Revival of Learning and the effect of antique studies upon literary and artistic ideals. The purpose of this article has been to show that, while the Renaissance implied a new way of regarding the material world and human nature, a new conception of man's destiny and XX. 50
