A History of the French Novel. Volume 1. From the Beginning to 1800. Saintsbury George
at the outside on the scale of the "Globe" series, or of Messrs. Chatto's useful reprints of Jonson, Chapman, and other dramatists, would probably contain every play of the slightest interest, even to a voracious student – who would then have all his material under his hand. What time, expense, and trouble are required to obtain, and that very imperfectly, any such advantage now, only those who have tried to do it know. Even Mr. Hazlitt's welcome, if somewhat uncritical, reprint of Dodsley, long out of print, did not boldly carry out its principle – though there are plans for improving and supplementing it.
Nevertheless, if the difficulties are great so are the rewards. It has been the deliberate opinion of many competent judges (neither unduly prejudiced in favour of English literature nor touched with that ignorance of other literature which is as fatal to judgment as actual prejudice) that in no time or country has the literary interest of a short and definite period of production in one well-defined kind approached in value the interest of the Elizabethan drama. Other periods and other countries may produce more remarkable work of different kinds, or more uniformly accomplished, and more technically excellent work in the same kind. But for originality, volume, generic resemblance of character, and individual independence of trait, exuberance of inventive thought, and splendour of execution in detached passages – the Elizabethan drama from Sackville to Shirley stands alone in the history of the world. The absurd overestimate which has sometimes been made of its individual practitioners, the hyperbole of the language which has been used to describe them, the puerile and almost inconceivable folly of some of their scholiasts and parasitic students, find a certain excuse in this truth – a truth which will only be contested by those who have not taken the very considerable trouble necessary to master the facts, or who are precluded by a natural inability from savouring the goût du terroir of this abundant and intoxicating wine. There are those who say that nobody but an enthusiast or a self-deceiver can read with real relish any Elizabethan dramatist but Shakespere, and there are those who would have it that the incommunicable and uncommunicated charm of Shakespere is to be found in Nabbes and Davenport, in Glapthorne and Chettle. They are equally wrong, but the second class are at any rate in a more saving way of wrongness. Where Shakespere stands alone is not so much in his actual faculty of poetry as in his command of that faculty. Of the others, some, like Jonson, Fletcher, Massinger, had the art without the power; others, like Chapman, Dekker, Webster, had flashes of the power without the art. But there is something in the whole crew, jovial or saturnine, which is found nowhere else, and which, whether in full splendour as in Shakespere, or in occasional glimmers as in Tourneur or Rowley, is found in all, save those mere imitators and hangers-on who are peculiar to no period.
This remarkable quality, however, does not show itself in the dramatic work of our present period until quite the close of it. It is true that the period opens (according to the traditional estimate which has not been much altered by recent studies) with three plays of very considerable character, and of no inconsiderable merit – the two comedies already named and the tragedy of Gorboduc, otherwise Ferrex and Porrex. Ralph Roister Doister was licensed and is thought to have been printed in 1566, but it may have been acted at Eton by 1541, and the whole cast of the metre, language, and scenario, is of a colour older than Elizabeth's reign. It may be at least attributed to the middle of the century, and is the work of Nicholas Udall, a schoolmaster who has left at two great schools a repute for indulgence in the older methods of instruction not inferior to Busby's or Keate's. Ralph Roister Doister, though a fanciful estimate may see a little cruelty of another kind in it, is of no austere or pedagogic character. The author has borrowed not a little from the classical comedy – Plautine or even Aristophanic rather than Terentian – to strengthen and refine the domestic interlude or farce; and the result is certainly amusing enough. The plot turns on the courtship of Dame Christian Custance [Constance], a widow of repute and wealth as well as beauty, by the gull and coxcomb, Ralph Roister Doister, whose suit is at once egged on and privately crossed by the mischievous Matthew Merrygreek, who plays not only parasite but rook to the hero. Although Custance has not the slightest intention of accepting Ralph, and at last resorts to actual violence, assisted by her maids, to get rid of him and his followers, the affair nearly breeds a serious quarrel between herself and her plighted lover, Gawin Goodluck; but all ends merrily. The metre is the somewhat unformed doggerel couplet of twelve syllables or thereabouts, with a strong cæsura in the middle, and is varied and terminated by songs from Custance's maids and others. Indeed the chief charm of the piece is the genuine and unforced merriment which pervades it. Although Merrygreek's practices on Ralph's silliness sometimes tend a little to tediousness, the action on the whole moves trippingly enough, and despite the strong flavour of the "stock part" in the characters they have considerable individuality. The play is, moreover, as a whole remarkably free from coarseness, and there is no difficulty in finding an illustrative extract.
"O Lord! how necessary it is now o' days,
That each body live uprightly all manner ways;
For let never so little a gap be open,
And be sure of this, the worst shall be spoken.
How innocent stand I in this frame o' thought,
And yet see what mistrust towards me it hath wrought.
But thou, Lord, knowest all folks' thoughts and eke intents;
And thou art the deliverer of all innocents.
Thou didst keep the advoutress,18 that she might be amended;
Much more then keep, Lord,19 that never sin intended.
Thou didst keep Susanna, wrongfully accused,
And no less dost thou see, Lord, how I am now abused.
Thou didst keep Hester, when she should have died,
Keep also, good Lord, that my truth may be tried.
Yet, if Gawin Goodluck with Tristram Trusty speak,
I trust of ill-report the force shall be but weak;
And lo! yond they come talking sadly together:
I will abide, and not shrink for their coming hither."
Freedom from coarseness is more than can be predicated of the still more famous Gammer Gurton's Needle, attributed to, and all but certainly known to be, by John Still, afterwards bishop. The authorship, indeed, is not quite certain; and the curious reference in Martin Marprelate's Epistle (ed. Arber, p. 11) to "this trifle" as "shewing the author to have had some wit and invention in him" only disputes the claim of Dr. Bridges to those qualities, and does not make any suggestion as to the identity of the more favoured author. Still was the son of a Lincolnshire gentleman, is supposed to have been born about 1543, was educated at Christ's College, Cambridge, and after a course of preferment through the positions of parish priest in London and at Hadleigh, Dean of Bocking, Canon of Westminster, Master successively of St. John's and Trinity, and Vice-Chancellor of his own University, was at the beginning of 1593 made Bishop of Bath and Wells, an office which he held for fifteen years. His play (taking it as his) was his only work of the kind, and was the first English play acted at either university, though later he himself had to protest officially against the use of the vernacular in a piece performed before the Queen. Gammer Gurton's Needle, as has been said, is, despite the subsequent history of its author and the academic character of its appearance, of a much lower order of comedy than Ralph Roister Doister, though it is also more spontaneous, less imitative, and, in short, more original. The best thing about it is the magnificent drinking song, "Back and Side go Bare, go Bare," one of the most spirited and genuine of all bacchanalian lyrics; but the credit of this has sometimes been denied to Still. The metre of the play itself is very similar to that of Ralph Roister Doister, though the long swinging couplet has a tendency to lengthen itself still further, to the value of fourteen or even sixteen syllables, the central cæsura being always well marked, as may be seen in the following: —
Diccon. "Here will the sport begin, if these two once may meet,
Their cheer, [I] durst lay money, will prove scarcely sweet.
My gammer sure intends
Adulteress.
Understand "me."