Age of Spenser
The Age of Spenser in English literature refers to the latter half of the sixteenth century, a period that coincided with the reign of the last Tudor monarch Queen Elizabeth I, who brilliantly bound the destiny of England to the cause of her own success. Thus, a primary object of sixteenth-century English Renaissance writers—whose livelihood depended heavily upon literary patronage and the Court's favor—was the creation of a national literature befitting England's emerging status as a formidable world power and the implicit, and often explicit, celebration of the Queen herself. Considered the golden age of English history, Elizabeth's reign was an era of increased religious tolerance and relative peace until the war with Spain and the defeat of the Spanish Armada in 1588. During Elizabeth's tenure treasury coffers were replenished, shipping, trade, and commerce proliferated, and new roads were built that helped unify and connect the English population. Parliament also passed many reform laws touching currency, aid to the poor, agriculture, and industry. It was only in the last decade of Elizabeth's reign that England's fortunes soured and the country was again vexed by debt and increased internal strife. Yet her rule was primarily a time of peace, national unity, and affluence. This prosperity, coupled with Elizabeth's fervent patronage of the arts, nurtured the English Renaissance which peaked during her era. Virtually all fields flourished, including music, architecture, and painting, but especially literature, where important works appeared in the genres of drama, poetry, and prose. The latter included ecclesiastical tracts such as Richard Hooker's Laws of Ecclesiastical Polity (1593-97), literary criticism including Sir Philip Sidney's seminal treatise The Defence of Poesie (1595), and travel narratives by Sir Walter Raleigh, Richard Hakluyt, and others. Hakluyt's Principal Navigations, Traffics, Voyages and Discoveries of the English Nation (1589) both reflected and encouraged the English fascination with geography, exploration, and empire building.
The courts of Europe, with the Tudors being no exception, depended heavily upon the writings of others to serve as apologists and propagandists to shore up popular support. Those who wrote encomia to a ruler were frequently rewarded with land grants, franchises, and positions of influence within the court as rewards for their tributes and service. Elizabeth prudently availed herself of this system. She had ascended the throne in 1558 upon the death of her half-sister, Mary, and ruled until her own death in 1603. Although she, too, was the daughter of Henry VIII, Mary had been raised in the staunch Catholic faith of her mother, Catherine of Aragon, and in her brief five-year reign had sought to undo her father's break from Rome and reestablish Catholicism as the official state religion. The daughter of Henry VIII and Anne Boleyn, Elizabeth had been raised a Protestant and, upon her ascension to the throne by an act of Parliament, she sought to reassert the primacy of the Church of England and establish her sovereignty over Rome. Her judicious course of pursuing a moderate form of Protestantism ameliorated religious strife and enabled her to surmount challenges from both dispossessed Catholics who never accepted the Anglican Church and from Puritans who felt her Protestant reforms too tepid. Without the security of a standing army to put down rebellions, Elizabeth relied upon her own formidable yet charming personality as a fortification against dissent. A gifted orator and poet in her own right, she was an active agent in creating a persona that garnered the loyal adulation of her subjects, inspiring cult-like worship even though she governed in a world where an illegitimate female monarch was normally an anathema.
No longer dominated by the vestiges of either Rome or feudal institutions, English writers in the Age of Spenser turned to classical humanism, modeling much of their work upon the poets and dramatists of Greek and Roman antiquity, especially Homer and Virgil. Sir Philip Sidney, a scholar, soldier and poet served as a premier literary patron, having championed Edmund Spenser's career from its beginning. While the English Renaissance yielded many notable poets, Spenser is considered the greatest and his reputation has endured. His contemporaries also regarded Spenser as the leading poet of his day. Spenser completed most of his writing in Ireland, where he held several political appointments in Cork. Spenser's genius was immediately heralded with the publication of A Shepheardes Calender (1579), a work comprised of twelve poems, one for each month of the year. But it is Spenser's The Faerie Queene (1590-96), a pastoral epic, that is his most famous work. Though Spenser originally intended The Faerie Queene to be composed of twelve eclogues, he published only six books before his death. Each of the six eclogues is an allegorical representation of the quest of an individual knight to achieve specific virtues such as charity, bravery, or chastity. Spenser composed The Faerie Queene in honor of Elizabeth I; Gloriana, Queen of Fairyland, represents Elizabeth Tudor in his poem. The nine-line stanza Spenser invented in the poem has become one of his enduring hallmarks and was soon employed by other poets. Although Elizabeth I did grant him a royal pension of fifty pounds a year after the publication of The Faerie Queene, she remained somewhat cool to Spenser. Some critics have suggested that his work may have been too subtle to have had the clear propaganda value the Queen desired. Other notable English Renaissance poetical achievements include Samuel Daniel's Delia (1592) and Michael Drayton's Idea (1593).
Perhaps even more than by poetry, the last decades of the sixteenth century are characterized by an abundance of superior literature produced by playwrights. Christopher Marlowe, whose works include Tamburlaine the Great (1587), The Tragical History of Doctor Faustus (c. 1588), and The Jew of Malta (c. 1589), ranks as a preeminent dramatic genius and is credited with originating the blank verse meter later brilliantly employed by William Shakespeare. Shakespeare's plays, the centerpiece of this period in England, reflect the Renaissance preoccupation with both the potential and frailties of humankind. Another exemplary dramatist of the age is Ben Jonson, who modeled his work primarily upon Greek drama. Jonson's most important plays, however, were not published until after Elizabeth's death. Other notable English Renaissance plays include Thomas Kyd's The Spanish Tragedy (produced between 1584 and 1589) and John Lyly's Euphues, the Anatomy of Wit (1579). During the Age of Spenser the popular interest in drama increased significantly and by 1600 there were at least eight playhouses operating in London alone—the first permanent playhouses in western history.
The Age of Spenser remains an area of vital research and interest for modern literary critics. Recent scholarship of the era continues to examine how the literary patronage system created the abundance of writing that constitutes the English Renaissance. Much new feminist literary criticism focuses on iconography of Elizabeth I and the general treatment of women in Renaissance literary texts. Still other scholars study the contribution of literature during this period to the growth and development of English national identity as well as its role in supporting the notion of colonialism.
H. A. Taine (essay date 1889)
SOURCE: "Book II: The Renaissance—The Pagan Renaissance," in History of English Literature, Henry Holt and Company, 1889, pp. 227-49.
[Below, Taine attributes the flourishing of Renaissance thought and art in England to English peace and prosperity, the demise of feudalism, and the release from the domination of the Catholic Church. Taine argues that the spirit of cultural renewal pervaded all social strata and fostered artistic and literary interest in Greek and Roman culture.]
For seventeen centuries a deep and sad thought had weighed upon the spirit of man, first to overwhelm it, then to exalt and to weaken it, never loosing its hold throughout this long space of time. It was the idea of the weakness and decay of the human race. Greek corruption, Roman oppression, and the dissolution of the ancient world, had given rise to it; it, in its turn, had produced a stoical resignation, an epicurean indifference, Alexandrian mysticism, and the Christian hope in the kingdom of God. "The world is evil and lost, let us escape by insensibility, amazement, ecstasy." Thus spoke the philosophers; and religion, coming after, announced that the end was near; "Prepare, for the kingdom of God is at hand." For a thousand years universal ruin incessantly drove still deeper into their hearts this gloomy thought; and when man in the feudal state raised himself, by sheer force of courage and muscles, from the depths of final imbecility and general misery, he discovered his thought and his work fettered by the crushing idea, which, forbidding a life of nature and worldly hopes, erected into ideals the obedience of the monk and the dreams of fanatics.
It grew ever worse and worse. For the natural result of such a conception, as of the miseries which engender it, and the discouragement which it gives rise to, is to do away with personal action, and to replace originality by submission. From the fourth century, gradually the dead letter was substituted for the living faith. Christians resigned themselves into the hands of the clergy, they into the hands of the Pope. Christian opinions were subordinated to theologians, and theologians to the Fathers. Christian faith was reduced to the accomplishment of works, and works to the accomplishment of ceremonies. Religion, fluid during the first centuries, was now congealed into a hard crystal, and the coarse contact of the barbarians had deposited upon its surface a layer of idolatry: theocracy and the Inquisition, the monopoly of the clergy and the prohibition of the Scriptures, the worship of relics and the sale of indulgences began to appear. In place of Christianity, the church; in place of a free creed, enforced orthodoxy; in place of moral fervour, fixed religious practices; in place of the heart and stirring thought, outward and mechanical discipline: such are the characteristics of the middle ages. Under this constraint thinking society had ceased to think; philosophy was turned into a text-book, and poetry into dotage; and mankind, slothful and crouching, delivering up their conscience and their conduct into the hands of their priests, seemed but as puppets, fit only for reciting a catechism and mumbling over beads. (See, at Bruges, the pictures of Hemling [fifteenth century]. No paintings enable us to understand so well the ecclesiastical piety of the middle-age, which was altogether like that of the Buddhists.)
At last invention makes another start; and it makes it by the efforts of the lay society, which rejected theocracy, kept the State free, and which presently discovered, or re-discovered, one after another, the industries, sciences, and arts. All was renewed; America and the Indies were added to the map of the world; the shape of the earth was ascertained, the system of the universe propounded, modern philology was inaugurated, the experimental sciences set on foot, art and literature shot forth like a harvest, religion was transformed: there was no province of human intelligence and action which was not refreshed and fertilised by this universal effort. It was so great, that it passed from the innovators to the laggards, and reformed Catholicism in the face of Protestantism which it formed. It seems as though men had suddenly opened their eyes and seen. In fact, they attain a new and superior kind of intelligence. It is the proper feature of this age, that men no longer make themselves masters of objects by bits, or isolated, or through scholastic or mechanical classifications, but as a whole, in general and complete views, with the eager grasp of a sympathetic spirit, which being placed before a vast object, penetrates it in all its parts, tries it in all its relations, appropriates and assimilates it, impresses upon itself its living and potent image, so life-like and so powerful, that it is fain to translate it into externals through a work of art or an action. An extraordinary warmth of soul, a superabundant and splendid imagination, reveries, visions, artists, believers, founders, creators,—that is what such a form of intellect produces; for to create we must have, as had Luther and Loyola, Michel Angelo and Shakspeare, an idea, not abstract, partial, and dry, but well defined, finished, sensible,—a true creation, which acts inwardly, and struggles to appear to the light. This was Europe's grand age, and the most notable epoch of human growth. To this day we live from its sap, we only carry on its pressure and efforts.
When human power is manifested so clearly and in such great works, it is no wonder if the ideal changes, and the old pagan idea reappears. It recurs, bringing with it the worship of beauty and vigour, first in Italy; for this, of all countries in Europe, is the most pagan, and the nearest to the ancient civilisation; thence in France and Spain, and Flanders,1 and even in Germany; and finally in England. How is it propagated? What revolution of manners reunited mankind at this time, everywhere, under a sentiment which they had forgotten for fifteen hundred years? Merely that their condition had improved, and they felt it. The idea ever expresses the actual situation, and the creatures of the imagination, like the conceptions of the mind, only manifest the state of society and the degree of its welfare; there is a fixed connection between what man admires and what he is. While misery overwhelms him, while the decadence is visible, and hope shut out, he is inclined to curse his life on earth, and seek consolation in another sphere. As soon as his sufferings are alleviated, his power made manifest, his prospects brightened, he begins once more to love the present life, to be self-confident, to love and praise energy, genius, all the effective faculties which labour to procure him happiness. About the twentieth year of Elizabeth's reign, the nobles gave up shield and twohanded sword for the rapier;2 a little, almost imperceptible fact, yet vast, for it is like the change which sixty years ago, made us give up the sword at court, to leave us with our arms swinging about in our black coats. In fact, it was the close of feudal life, and the beginning of court-life, just as to-day court-life is at an end, and the democratic reign has begun. With the two-handed swords, heavy coats of mail, feudal keeps, private warfare, permanent disorder, all the scourges of the middle-age retired, and faded into the past. The English had done with the Wars of the Roses. They no longer ran the risk of being pillaged to-morrow for being rich, and hung the next day for being traitors; they have no further need to furbish up their armour, make alliances with powerful nations, lay in stores for the winter, gather together men-at-arms, scour the country to plunder and hang others.3 The monarchy, in England as throughout Europe, establishes peace in the community,4 and with peace appear the useful arts. Domestic comfort follows civil security; and man, better furnished in his home, better protected in his hamlet, takes pleasure in his life on earth, which he has changed and means to change.
Toward the close of the fifteenth century5 the impetus was given; commerce and the woollen trade made a sudden advance, and such an enormous one that cornfields were changed into pasture-lands, "whereby the inhabitants of the said town (Manchester) have gotten and come into riches and wealthy livings,"6 so that in 1553, 40,000 pieces of cloth were exported in English ships. It was already the England which we see today, a land of green meadows, intersected by hedgerows, crowded with cattle, and abounding in ships—a manufacturing opulent land, with a people of beefeating toilers, who enrich it while they enrich themselves. They improved agriculture to such an extent, that in half-a-century the produce of an acre was doubled.7 They grew so rich, that at the beginning of the reign of Charles I the Commons represented three times the wealth of the Upper House. The ruin of Antwerp by the Duke of Parma8 sent to England "the third part of the merchants and manufacturers, who made silk, damask, stockings, taffetas, and serges." The defeat of the Armada and the decadence of Spain opened the seas to English merchants.9 The toiling hive, who would dare, attempt, explore, act in unison, and always with profit, was about to reap its advantages and set out on its voyages, buzzing over the universe.
At the base and on the summit of society, in all ranks of life, in all grades of human condition, this new welfare became visible. In 1534, considering that the streets of London were "very noyous and foul, and in many places thereof very jeopardous to all people passing and repassing, as well on horseback as on foot," Henry VIII. began the paving of the city. New streets covered the open spaces where the young men used to run races and to wrestle. Every year the number of taverns, theatres, gambling rooms, bear-gardens, increased. Before the time of Elizabeth the countryhouses of gentlemen were little more than straw-thatched cottages, plastered with the coarsest clay, lighted only by trellises. "Howbeit," says Harrison (1580), "such as be latelie builded are commonlie either of bricke or hard stone, or both; their roomes large and comelie, and houses of office further distant from their lodgings." The old wooden houses were covered with plaster, "which, beside the delectable whitenesse of the stuffe itselfe, is laied on so even and smoothlie, as nothing in my judgment can be done with more exactnesse."10 This open admiration shows from what hovels they had escaped. Glass was at last employed for windows, and the bare walls were covered with hangings, on which visitors might see, with delight and astonishment, plants, animals, figures. They began to use stoves, and experienced the unwonted pleasure of being warm. Harrison notes three important changes which had taken place in the farmhouses of his time:
"One is, the multitude of chimnies lately erected, whereas in their yoong daies there were not above two or three, if so manie, in most uplandishe townes of the realme…. The second is the great (although not generall), amendment of lodging, for our fathers (yea and we ourselves also) have lien full oft upon straw pallets, on rough mats covered onelie with a sheet, under coverlets made of dagswain, or hop-harlots, and a good round log under their heads, insteed of a bolster or pillow. If it were so that the good man of the house, had within seven yeares after his marriage purchased a matteres or flockebed, and thereto a sacke of chaffe to rest his head upon, he thought himselfe to be as well lodged as the lord of the towne…. Pillowes (said they) were thought meet onelie for women in childbed…. The third thing is the exchange of vessell, as of treene platters into pewter, and wodden spoones into silver or tin; for so common was all sorts of treene stuff in old time, that a man should hardlie find four peeces of pewter (of which one was peradventure a salt) in a good farmers house.11
It is not possession, but acquisition, which gives men pleasure and sense of power; they observe sooner a small happiness, new to them, than a great happiness which is old. It is not when all is good, but when all is better, that they see the bright side of life, and are tempted to make a holiday of it. This is why at this period they did make a holiday of it, a splendid show, so like a picture that it fostered painting in Italy, so like a piece of acting, that it produced the drama in England. Now that the axe and sword of the civil wars had beaten down the independent nobility, and the abolition of the law of maintenance had destroyed the petty royalty of each great feudal baron, the lords quitted their sombre castles, battlemented fortresses, surrounded by stagnant water, pierced with narrow windows, a sort of stone breastplates of no use but to preserve the life of their master. They flock into new palaces, with vaulted roofs and turrets, covered with fantastic and manifold ornaments, adorned with terraces and vast staircases, with gardens, fountains, statues, such as were the palaces of Henry VIII. and Elizabeth, half Gothic and half Italian,12 whose convenience, splendour, and symmetry announced already habits of society and the taste for pleasure. They came to court and abandoned their old manners; the four meals which scarcely sufficed their former voracity were reduced to two; gentlemen soon became refined, placing their glory in the elegance and singularity of their amusements and their clothes. They dressed magnificently in splendid materials, with the luxury of men who rustle silk and make gold sparkle for the first time: doublets of scarlet satin; cloaks of sable, costing a thousand ducats; velvet shoes, embroidered with gold and silver, covered with rosettes and ribbons; boots with falling tops, from whence hung a cloud of lace, embroidered with figures of birds, animals, constellations, flowers in silver, gold, or precious stones; ornamented shirts costing ten pounds a piece. "It is a common thing to put a thousand goats and a hundred oxen on a coat, and to carry a whole manor on one's back."13 The costumes of the time were like shrines. When Elizabeth died, they found three thousand dresses in her wardrobe. Need we speak of the monstrous ruffs of the ladies, their puffed out dresses, their stomachers stiff with diamonds? As a singular sign of the times, the men were more changeable and more bedecked than they. Harrison says:
Such is our mutabilitie, that to daie there is none to the Spanish guise, to morrow the French toies are most fine and delectable, yer long no such appareil as that which is after the high Alman fashion, by and by the Turkish maner is generallie best liked of, otherwise the Morisco gowns, the Barbarian sleeves … and the short French breeches…. And as these fashions are diverse, so likewise it is a world to see the costlinesse and the curiositie; the excesse and the vanitie; the pompe and the braverie; the change and the varietie; and finallie, the ficklenesse and the follie that is in all degrees.14
Folly, it may have been, but poetry likewise. There was something more than puppyism in this masquerade of splendid costume. The overflow of inner sentiment found this issue, as also in drama and poetry. It was an artistic spirit which induced it. There was an incredible outgrowth of living forms from their brains. They acted like their engravers, who give us in their frontispieces a prodigality of fruits, flowers, active figures, animals, gods, and pour out and confuse the whole treasure of nature in every corner of their paper. They must enjoy the beautiful; they would be happy through their eyes; they perceive in consequence naturally the relief and energy of forms. From the accession of Henry VIII. to the death of James I. we find nothing but tournaments, processions, public entries, masquerades. First come the royal banquets, coronation displays, large and noisy pleasures of Henry VIII. Wolsey entertains him
In so gorgeous a sort and costlie maner, that it was an heaven to behold. There wanted no dames or damosels meet or apt to danse with the maskers, or to garnish the place for the time: then was there all kind of musike and harmonie, with fine voices both of men and children. On a time the king came suddenlie thither in a maske with a dozen maskers all in garments like sheepheards, made of fine cloth of gold, and crimosin sattin paned, … having sixteene torch-bearers…. In came a new banket before the king wherein were served two hundred diverse dishes, of costlie devises and subtilities. Thus passed they foorth the night with banketting, dansing, and other triumphs, to the great comfort of the king, and pleasant regard of the nobilitie there assembled.15
Count, if you can, the mythological entertainments, the theatrical receptions, the open-air operas played before Elizabeth, James, and their great lords.16 At Kenilworth the pageants lasted ten days. There was everything; learned recreations, novelties, popular plays, sanguinary spectacles, coarse farces, juggling and feats of skill, allegories, mythologies, chivalric exhibitions, rustic and national commemorations. At the same time, in this universal outburst and sudden expanse, men become interested in themselves, find their life desirable, worthy of being represented and put on the stage complete; they play with it, delight in looking upon it, love its ups and downs, and make of it a work of art. The queen is received by a sibyl, then by giants of the time of Arthur, then by the Lady of the Lake, Sylvanus, Pomona, Ceres, and Bacchus, every divinity in turn presents her with the first fruits of his empire. Next day, a savage, dressed in moss and ivy, discourses before her with Echo in her praise. Thirteen bears are set fighting against dogs. An Italian acrobat performs wonderful feats before the whole assembly. A rustic marriage takes place before the queen, then a sort of comic fight amongst the peasants of Coventry, who represent the defeat of the Danes. As she is returning from the chase, Triton, rising from the lake, prays her, in the name of Neptune, to deliver the enchanted lady, pursued by a cruel knight, Syr Bruse sauns Pitee. Presently the lady appears, surrounded by nymphs, followed close by Proteus, who is borne by an enormous dolphin. Concealed in the dolphin, a band of musicians with a chorus of ocean-deities, sing the praise of the powerful, beautiful, chaste queen of England.17 You perceive that comedy is not confined to the theatre; the great of the realm and the queen herself become actors. The cravings of the imagination are so keen, that the court becomes a stage. Under James I., every year, on Twelfth-day, the queen, the chief ladies and nobles, played a piece called a Masque, a sort of allegory combined with dances, heightened in effect by decorations and costumes of great splendour, of which the mythological paintings of Rubens can alone give an idea:—
The attire of the lords was from the antique Greek statues. On their heads they wore Persic crowns, that were with scrolls of gold plate turned outward, and wreathed about with a carnation and silver net-lawn. Their bodies were of carnation cloth of silver; to express the naked, in manner of the Greek thorax, girt under the breasts with a broad belt of cloth of gold, fastened with jewels; the mantles were of coloured silke; the first, sky-colour; the second, pearl-colour; the third, flame colour; the fourth, tawny. The ladies attire was of white cloth of silver, wrought with Juno's birds and fruits; a loose under garment, full gathered, of carnation, striped with silver, and parted with a golden zone; beneath that, another flowing garment, of watchet cloth of silver, laced with gold; their hair carelessly bound under the circle of a rare and rich coronet, adorned with all variety, and choice of jewels; from the top of which flowed a transparent veil, down to the ground. Their shoes were azure and gold, set with rubies and diamonds.18
I abridge the description, which is like a fairy tale. Fancy that all these costumes, this glitter of materials, this sparkling of diamonds, this splendour of nudities, was displayed daily at the marriage of the great, to the bold sounds of a pagan epithalamium. Think of the feasts which the Earl of Carlisle introduced, where was served first of all a table loaded with sumptuous viands, as high as a man could reach, in order to remove it presently, and replace it by another similar table. This prodigality of magnificence, these costly follies, this unbridling of the imagination, this intoxication of eye and ear, this comedy played by the lords of the realm, showed, like the pictures of Rubens, Jordaens, and their Flemish contemporaries, so open an appeal to the senses, so complete a return to nature, that our chilled and gloomy age is scarcely able to imagine it.19
To vent the feelings, to satisfy the heart and eyes, to set free boldly on all the roads of existence the pack of appetites and instincts, this was the craving which the manners of the time betrayed. It was "merry England," as they called it then. It was not yet stern and constrained. It expanded widely, freely, and rejoiced to find itself so expanded. No longer at court only was the drama found, but in the village. Strolling companies betook themselves thither, and the country folk supplied any deficiencies, when necessary. Shakspeare saw, before he depicted them, stupid fellows, carpenters, joiners, bellows-menders, play Pyramus and Thisbe, represent the lion roaring as gently as any sucking dove, and the wall, by stretching out their hands. Every holiday was a pageant, in which townspeople, workmen, and children bore their parts. They were actors by nature. When the soul is full and fresh, it does not express its ideas by reasonings; it plays and figures them; it mimics them; that is the true and original language, the children's tongue, the speech of artists, of invention, and of joy. It is in this manner they please themselves with songs and feasting, on all the symbolic holidays with which tradition has filled the year.20 On the Sunday after Twelfth-night the labourers parade the streets, with their shirts over their coats, decked with ribbons, dragging a plough to the sound of music, and dancing a sword-dance; on another day they draw in a cart a figure made of ears of corn, with songs, flutes, and drums; on another, Father Christmas and his company; or else they enact the history of Robin Hood, the bold archer, around the May-pole, or the legend of Saint George and the Dragon. We might occupy half a volume in describing all these holidays, such as Harvest Home. All Saints, Martinmas, Sheepshearing, above all Christmas, which lasted twelve days, and sometimes six weeks. They eat and drink, junket, tumble about, kiss the girls, ring the bells, satiate themselves with noise: coarse drunken revels, in which man is an unbridled animal, and which are the incarnation of natural life. The Puritans made no mistake about that. Stubbes says:
First, all the wilde heades of the parishe, conventying together, chuse them a ground capitaine of mischeef, whan they innoble with the title of my Lorde of Misserule, and hym they crown with great solemnitie, and adopt for their kyng. This kyng anoynted, chuseth for the twentie, fourtie, three score, or a hundred lustie guttes like to hymself to waite uppon his lordely maiestie…. Then have they their hobbie horses, dragons, and other antiques, together with their baudie pipers and thunderyng drommers, to strike up the devilles daunce withall: then marche these heathen companie towardes the churche and churcheyarde, their pipers pipyng, their drommers thonderyng, their stumppes dauncyng, their belles rynglyng, their handkerchefes swyngyng about their heades like madmen, their hobbie horses and other monsters skirmishyng amongest the throng; and in this sorte they goe to the churche (though the minister bee at praier or preachyng), dauncyng, and swingyng their handkercheefes over their heades, in the churche, like devilles incarnate, with such a confused noise, that no man can heare his owne voice. Then the foolishe people they looke, they stare, they laugh, they fleere, and mount upon formes and pewes, to see these goodly pageauntes, solemnized in this sort. Then after this, aboute the churche they goe againe and againe, and so forthe into the churcheyarde, where they have commonly their sommer haules, their bowers, arbours, and banquettyng houses set up, wherein they feaste, banquet, and daunce all that daie, and peradventure all that night too. And thus these terrestriall furies spend the Sabbaoth daie! … An other sorte of fantasticall fooles bringe to these helhoundes (the Lorde of Misrule and his complices) some bread, some good ale, some newe cheese, some olde cheese, some custardes, some cakes, some flaunes, some tartes, some creame, some meate, some one thing, some an other.
He continues thus:
Against Maie, every parishe, towne and village assemble themselves together, bothe men, women, and children, olde and yong, even all indifferently; they goe to the woodes where they spende all the night in pleasant pastymes, and in the mornyng they returne, bringing with them birch, bowes, and branches of trees, to deck their assemblies withall. But their cheefest iewell they bringe from thence is their Maie poole, whiche they bring home with great veneration, as thus: They have twenty or fourtie yoke of oxen, every ox havyng a sweete nosegaie of flowers tyed on the tippe of his hornes, and these oxen, drawe home this Maie poole (this stinckyng idoll rather) … and thus beyng reared up, they strawe the grounde aboute, binde greene boughes about it, sett up sommer haules, bowers, and arbours hard by it; and then fall they to banquet and feast, to leape and daunce aboute it, as the heathen people did at the dedication of their idolles…. Of a hundred maides goyng to the woode over night, there have scarcely the third parte returned home againe undefiled.21
"On Shrove Tuesday," says another,22 "at the sound of a bell, the folk become insane, thousands at a time, and forget all decency and common sense…. It is to Satan and the devil that they pay homage and do sacrifice to in these abominable pleasures." It is in fact to nature, to the ancient Pan, to Freya, to Hertha, her sisters, to the old Teutonic deities who survived the middle-age. At this period, in the temporary decay of Christianity, and the sudden advance of corporal wellbeing, man adored himself, and there endured no life within him but that of paganism.
To sum up, observe the process of ideas at this time. A few sectarians, chiefly in the towns and of the people, clung gloomily to the Bible. But the court and the men of the world sought their teachers and their heroes from pagan Greece and Rome. About 149023 they began to read the classics; one after the other they translated them; it was soon the fashion to read them in the original. Queen Elizabeth, Jane Grey, the Duchess of Norfolk, the Countess of Arundel, and many other ladies, were conversant with Plato, Xenophon, and Cicero in the original, and appreciated them. Gradually, by an insensible change, men were raised to the level of the great and healthy minds who had freely handled ideas of all kinds fifteen centuries before. They comprehended not only their language, but their thought; they did not repeat lessons from, but held conversations with them; they were their equals, and found in them intellects as manly as their own. For they were not scholastic cavillers, miserable compilers, repulsive pedants, like the professors of jargon whom the middle-age had set over them, like gloomy Duns Scotus, whose leaves Henry VIII.'s Visitors scattered to the winds. They were gentlemen, statesmen, the most polished and best educated men in the world, who knew how to speak, and drew their ideas not from books, but from things, living ideas, and which entered of themselves into living souls. Across the train of hooded schoolmen and sordid cavillers the two adult and thinking ages were united, and the moderns, silencing the infantine or snuffling voices of the middle-age, condescended only to converse with the noble ancients. They accepted their gods, at least they understand them, and keep them by their side. In poems, festivals, on hangings, almost in all ceremonies, they appear, not restored by pedantry merely, but kept alive by sympathy, and endowed by the arts with a life as flourishing and almost as profound as that of their earliest birth. After the terrible night of the middle-age, and the dolorous legends of spirits and the damned, it was a delight to see again Olympus shining upon us from Greece; its heroic and beautiful deities once more ravishing the heart of men; they raised and instructed this young world by speaking to it the language of passion and genius; and this age of strong deeds, free sensuality, bold invention, had only to follow its own bent, in order to discover in them its masters and the eternal promoters of liberty and beauty
Nearer still was another paganism, that of Italy; the more seductive because more modern, and because it circulates fresh sap in an ancient stock; the more attractive, because more sensuous and present, with its worship of force and genius, of pleasure and voluptuousness. The rigorists knew this well, and were shocked at it. Ascham writes:
These bee the inchantementes of Circes, brought out of Italie to marre mens maners in England; much, by example of ill life, but more by préceptes of fonde bookes, of late translated out of Italian into English, sold in every shop in London…. There bee moe of these ungratious bookes set out in Printe wythin these fewe monethes, than have bene sene in England many score yeares before…. Than they have in more reverence the triumphes of Petrarche: than the Genesis of Moses: They make more account of Tullies offices, than S. Paules epistles: of a tale in Bocace than a storie of the Bible.24
In fact, at that time Italy clearly led in everything, and civilisation was to be drawn thence, as from its spring. What is this civilisation which is thus imposed on the whole of Europe, whence every science and every elegance comes, whose laws are obeyed in every court, in which Surrey, Sidney, Spenser, Shakespeare sought their models and their materials? It was pagan in its elements and its birth; in its language, which is but Latin, hardly changed; in its Latin traditions and recollections, which no gap has interrupted; in its constitution, whose old municipal life first led and absorbed the feudal life; in the genius of its race, in which energy and joy always abounded. More than a century before other nations,—from the time of Petrarch, Rienzi, Boccaccio,—the Italians began to recover the lost antiquity, to set free the manuscripts buried in the dungeons of France and Germany, to restore, interpret, comment upon, study the ancients, to make themselves Latin in heart and mind, to compose in prose and verse with the polish of Cicero and Virgil, to hold sprightly converse and intellectual pleasures as the ornament and the fairest flower of life.25 They adopt not merely the externals of the life of the ancients, but its very essence, that is, preoccupation with the present life, forgetfulness of the future, the appeal to the senses, the renunciation of Christianity. "We must enjoy," sang their first poet, Lorenzo de Medici, in his pastorals and triumphal songs: "there is no certainty of tomorrow." In Pulci the mocking incredulity breaks out, the bold and sensual gaiety, all the audacity of the free-thinkers, who kicked aside in disgust the wornout monkish frock of the middle age. It was he who, in a jesting poem, puts at the beginning of each canto a Hosanna, an In principio, or a sacred text from the mass-book.26 When he had been inquiring what the soul was, and how it entered the body, he compared it to jam covered up in white bread quite hot. What would become of it in the other world? "Some people think they will there discover becafico's, plucked ortolans, excellent wine, good beds, and therefore they follow the monks, walking behind them. As for us, dear friend, we shall go into the black valley, where we shall hear no more Alleluias." If you wish for a more serious thinker, listen to the great patriot, the Thucydides of the age, Machiavelli, who, contrasting Christianity and paganism, says that the first places "supreme happiness in humility, abjection, contempt for human things, while the other makes the sovereign good consist in greatness of soul, force of body, and all the qualities which make men to be feared." Whereon he boldly concludes that Christianity teaches man "to support evils, and not to do great deeds;" he discovers in that inner weakness the cause of all oppressions; declares that "the wicked saw that they could tyrannise without fear over men, who, in order to get to paradise, were more disposed to suffer than to avenge injuries." Through such sayings, in spite of his constrained genuflexions, we can see which religion he prefers. The ideal to which all efforts were turning, on which all thoughts depended, and which completely raised this civilisation, was the strong and happy man, possessing all the powers to accomplish his wishes, and disposed to use them in pursuit of his happiness.
If you would see this idea in its grandest operation, you must seek it in the arts, such as Italy made them and carried throughout Europe, raising or transforming the national schools with such originality and vigour, that all art likely to survive is derived from hence, and the population of living figures with which they have covered our walls, denotes, like Gothic architecture or French tragedy, a unique epoch of human intelligence. The attenuated mediæval Christ—a miserable, distorted, and bleeding earth-worm; the pale and ugly Virgin—a poor old peasant woman, fainting beside the cross of her Son; ghastly martyrs, dried up with fasts, with entranced eyes; knotty-fingered saints with sunken chests,—all the touching or lamentable visions of the middle-age have vanished: the train of godheads which are now developed show nothing but flourishing frames, noble, regular features, and fine easy gestures; the names, the names only, are Christian. The new Jesus is a "crucified Jupiter," as Pulci called him; the Virgins which Raphael sketched naked, before covering them with garments,27 are beautiful girls, quite earthly, related to the Fornarina. The saints which Michel Angelo arranges and contorts in heaven in his picture of the Last Judgment are an assembly of athletes, capable of fighting well and daring much. A martyrdom, like that of Saint Laurence, is a fine ceremony in which a beautiful young man, without clothing, lies amidst fifty men dressed and grouped as in an ancient gymnasium. Is there one of them who had macerated himself? Is there one who had thought with anguish and tears of the judgment of God, who had worn down and subdued his flesh, who had filled his heart with the sadness and sweetness of the gospel? They are too vigorous for that, they are in too robust health; their clothes fit them too well; they are too ready for prompt and energetic action. We might make of them strong soldiers or superb courtesans, admirable in a pageant or at a ball. So, all that the spectator accords to their halo of glory, is a bow or a sign of the cross; after which his eyes find pleasure in them; they are there simply for the enjoyment of the eyes. What the spectator feels at the sight of a Florentine Madonna, is the splendid creature, whose powerful body and fine growth bespeak her race and her vigour; the artist did not paint moral expression as nowadays, the depth of a soul tortured and refined by three centuries of culture. They confine themselves to the body, to the extent even of speaking enthusiastically of the spinal column itself, "which is magnificent;" of the shoulder-blades, which in the movements of the arm "produce an admirable effect." "You will next draw the bone which is situated between the hips. It is very fine, and is called the sacrum."28 The important point with them is to represent the nude well. Beauty with them is that of the complete skeleton, sinews which are linked together and tightened, the thighs which support the trunk, the strong chest breathing freely, the pliant neck. What a pleasure to be naked! How good it is in the full light to rejoice in a strong body, well-formed muscles, a spirited and bold soul! The splendid goddesses reappear in their primitive nudity, not dreaming that they are nude; you see from the tranquillity of their look, the simplicity of their expression, that they have always been thus, and that shame has not yet reached them. The soul's life is not here contrasted, as amongst us, with the body's life; the one is not so lowered and degraded, that we dare not show its actions and functions; they do not hide them; man does not dream of being all spirit. They rise, as of old, from the luminous sea, with their rearing steeds tossing up their manes, champing the bit, inhaling the briny savour, whilst their companions wind the sounding-shell; and the spectators,29 accustomed to handle the sword, to combat naked with the dagger or double-handled blade, to ride on perilous roads, sympathise with the proud shape of the bended back, the effort of the arm about to strike, the long quiver of the muscles which, from neck to heel, swell out, to brace a man, or to throw him.
1 Van Orley, Michel Coxcie, Franz Floris, the de Vos', the Sadelers Crispin de Pass, and the artists of Nuremberg.
2 The first carriage was in 1564. It caused much astonishment. Some said that it was "a great sea-shell brought from China;" others, "that it was a temple in which cannibals worshipped the devil."
3 For a picture of this state of things, see Fenn's Paston Letters.
4 Louis XI. in France, Ferdinand and Isabella in Spain, Henry VII. in England. In Italy the feudal regime ended earlier, by the establishment of republics and principalities.
5 1488, Act of Parliament on Enclosures.
6A Compendious Examination, 1581, by William Strafford. Act of Parliament, 1541.
7 Between 1377 and 1588 the increase was from two and a half to five millions.
8 In 1585; Ludovic Guicciardini.
9 Henry VIII. at the beginning of his reign had but one ship of war. Elizabeth sent out one hundred and fifty against the Armada. In 1553 was founded a company to trade with Russia. In 1578 Drake circumnavigated the globe. In 1600 the East India Company was founded.
10 Nathan Drake, Shakspeare and his Times, 1817, i. v. 72 et passim.
11 Nathan Drake, Shakspeare and his Times, i. v. 102.
12 This was called the Tudor style. Under James I., in the hands of Inigo Jones, it became entirely Italian, approaching the antique.
13 Burton, Anatomy of Melancholy, 12th ed. 1821. Stubbes, Anatomie of Abuses, ed. Turnbull, 1836.
14 Nathan Drake, Shakspeare and his Times, ii. 6, 87.
15 Holinshed (1586), 1808, 6 vols. iii. 763 et passim.
16 Holinshed, iii., Reign of Henry VIII. Elizabeth and James Frogresses, by Nichols.
17 Laneham's Entertainment at Killingworth Castle, 1575. Nichol's Progresses, vol. i. London 1788.
18 Ben Jonson's works, ed. Gifford, 1816, 9 vols. Masque of Hymen, vol. vii. 76.
19 Certain private letters also describe the court of Elizabeth as a place where there was little piety or practice of religion, and where all enormities reigned in the highest degree.
20 Nathan Drake, Shakspeare and his Times, chap. v. and vi.
21 Stubbes, Anatomie of Abuses, p. 168 et passim.
22 Hentzner's Travels in England (Bentley's translation). He thought that the figure carried about in the Harvest Home represented Ceres.
23 Warton, vol. ii. sect. 35. Before 1600 all the great poets were translated into English, and between 1550 and 1616 all the great historians of Greece and Rome. Lyly in 1500 first taught Greek in public.
24 Ascham, The Scholemaster (1570), ed. Arber, 1870, first book, 78 et passim.
25 Ma il vero e principal ornemento dell' animo in ciascuno penso io che siano le lettere, benchè i Franchesi solamente conoscano la nobilità dell'arme … et tutti i litterati tengon per vilissimi huomini. Castiglione, il Cortegiano, ed. 1585, p. 112.
26 See Burchard (the Pope's Steward), account of the festival at which Lucretia Borgia was present. Letters of Aretinus, Life of Cellini, etc.
27 See his sketches at Oxford, and those of Fra Bartolomeo at Florence. See also the Martyrdom of St. Laurence, by Baccio Bandinelli.
28 Benvenuto Cellini, Principles of the Art of Design.
29Life of Cellini. Compare also these exercises which Castiglione prescribes for a well-educated man, in his Cortegiano, ed. 1585, p. 55:CAPeró voglio che il nostro cortegiano sia perfetto cavaliere d'ogni sella…. Et perchè degli Italiani è peculiar laude il cavalcare benè alla brida, il maneggiar con raggione massimamente cavalli aspri, il corre lance, il giostare, sia in questo de meglior Italiani…. Nel torneare, tener un passo, combattere una sbarra, sia buono tra il miglior francesi…. Nel giocare a canne, correr torri, lanciar haste e dardi, sia tra Spagnuoli eccellente…. Con veniente è ancor sapere saltare, e correre;…. ancor nobile exercitio il gioco di palla…. Non di minor laude estimo il voltegiar a cavallo."
Jeffrey L. Singman (essay date 1995)
SOURCE: "The Elizabethan World," in Daily Life: Elizabethan England, Greenwood Press, 1995, pp. 9-36.
[In the excerpt below, Singman examines the roles of class, politics, and religion in shaping daily life in Elizabethan society.]
The population of England was probably over 3 million when Elizabeth came to the throne in 1558, and it grew to over 4 million by the time of her death in 1603. These figures represent roughly a tenth of the population of England today. This rapid growth meant that a large part of the population at any time were young people: it has been estimated that roughly a third were under the age of 15, a half under age 25. Population density was highest in the south and east, with the mountainous areas of the north and west more sparsely settled. The overwhelming majority lived in rural areas, although London was growing rapidly.
Not all of this population were ethnically or culturally English. Wales and western Cornwall were subject to the English crown, and were often counted as a part of England, yet they still spoke Welsh and Cornish—languages similar to each other but quite unintelligible to an Englishman. Ireland was also officially under English rule, although effective English control was limited to the eastern part of the country. The population of Ireland included Englishmen and Englishspeaking Irishmen in the east, with the remainder of the country inhabited by Gaelic-speaking Irishmen. Scotland was still an independent kingdom, although England and...
(The entire section is 18146 words.)
William Rossky (essay date 1989)
SOURCE: "Imagination in the English Renaissance: Psychology and Poetic," in Studies in the Renaissance, Vol. V, 1989, pp. 49-73.
[Below, Rossky discusses the Renaissance notion of the poet's proper use of imagination—that imaginative writing must be based upon accurate perceptions, but that controlled and disciplined artifice can actually aid the poet in reconstructing objective, real events.]
Shakespeare couples lunatic, lover, and poet as 'of imagination all compact' (Dream v.i.7-8); Spenser finds that Phantasies' chamber is filled with 'leasings, tales, and lies' (F.Q. II.ix.51.9) and that his...
(The entire section is 10851 words.)
O. B. Hardison, Jr. (essay date 1962)
SOURCE: "Rhetoric, Poetics, and Theory of Praise," in The Enduring Monument: A Study of the Idea of Praise in Renaissance Literary Theory and Practice, The University of North Carolina Press, 1962, pp. 24-42.
[Below, Hardison examines the influence of classical authors on sixteenth-century poets in terms of their praise of public figures and the shaping of their subjects' reputions through poetry.]
… To trace all the ramifications of the theory of praise during the sixteenth century would be to write a small-scale history of Renaissance criticism. Therefore, the present survey makes no pretense of being...
(The entire section is 29183 words.)
Bassnett, Susan. "The Faerie Queen." In Elizabeth I: A Feminist Perspective, pp. 52-66. Oxford: Berg Publishers, 1988.
Discusses Elizabeth I's roles as both a spectator and a performer in music and poetry. Focuses on how she crafted a public persona suitable for wielding power in an era of emerging modern nation-states.
Bell, Ilona. "Elizabeth I, Always Her Own Free Woman." In Political Rhetoric, Power, and Renaissance Women, edited by Carole Levin and Patricia A. Sullivan, pp. 57-82. Albany: State University Press of New York, 1995.
Argues that Elizabeth I was an early feminist who used the...
(The entire section is 531 words.)