3. WILLIAM CAXTON (1422-1492) is the name of greatest importance and significance in the history of our literature in the fifteenth century. He was born in Kent in the year 1422. He was not merely a printer, he was also a literary man; and, when he devoted himself to printing, he took to it as an art, and not as a mere mechanical device. Caxton in early life was a mercer in the city of London; and in the course of his business, which was a thriving one, he had to make frequent journeys to the Low Countries. Here he saw the printing - press for the first time, with the new separate types, was enchanted with it, and fired by the wonderful future it opened. It had been introduced into Holland about the year 1450. Caxton's press was set up in the Almonry at Westminster, at the sign of the Red Pole. It produced in all sixty-four books, nearly all of them in English, some of them written by Caxton himself. One of the most important of them was Sir Thomas Malory's History of King Arthur, the storehouse from which Tennyson drew the stories which form the groundwork of his Idylls of the King.

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CHAPTER IV.

THE SIXTEENTH CENTURY.

1. The Wars of the Roses ended in 1485, with the victory of Bosworth Field. A new dynasty—the House of Tudor-sat upon the throne of England; and with it a new reign of peace and order existed in the country, for the power of the king was paramount, and the power of the nobles had been gradually destroyed in the numerous battles of the fifteenth century. Like the fifteenth, this century also is famous for its ballads, the authors of which are not known, but which seem to have been composed "by the people for the people." They were sung everywhere, at fairs and feasts, in town and country, at going to and coming home from work; and many of them were set to popular dance-tunes.

"When Tom came home from labour,

And Cis from milking rose,

Merrily went the tabor,

And merrily went their toes."

The ballads of King Lear and The Babes in the Wood are perhaps to be referred to this period.

2. The first half of the sixteenth century saw the beginning of a new era in poetry; and the last half saw the full meridian splendour of this new era. The beginning of this era was marked by the appearance of Sir Thomas Wyatt (1503-1542), and of the Earl of Surrey (1517-1547). These two eminent

T

writers have been called the "twin-stars of the dawn," the "founders of English lyrical poetry"; and it is worthy of especial note, that it is to Wyatt that we owe the introduction of the Sonnet into our literature, and to Surrey that is due the introduction of Blank Verse. The most important prosewriters of the first half of the century were Sir Thomas More, the great lawyer and statesman, and William Tyndale, who translated the New Testament into English. In the latter half of the century, the great poets are Spenser and Shakespeare; the great prose-writers, Richard Hooker and Francis Bacon.

3. SIR THOMAS MORE'S (1480-1535) chief work in English is the Life and Reign of Edward V. It is written in a plain, strong, nervous English style. Hallam calls it "the first example of good English-pure and perspicuous, well chosen, without vulgarisms, and without pedantry." His Utopia (a description of the country of Nowhere) was written in Latin.

4. WILLIAM TYNDALE (1484-1536)—a man of the greatest significance, both in the history of religion, and in the history of our language and literature was a native of Gloucestershire, and was educated at Magdalen Hall, Oxford. His opinions on religion and the rule of the Catholic Church, compelled him to leave England, and drove him to the Continent in the year 1523. He lived in Hamburg for some time. With the German and Swiss reformers he held that the Bible should be in the hands of every grown-up person, and not in the exclusive keeping of the Church. He accordingly set to work to translate the Scriptures into his native tongue. Two editions of his version of the New Testament were printed in 1525-34. He next translated the five books of Moses, and the book of Jonah. In 1535 he was, after many escapes and adventures, finally tracked and hunted down by an emissary of the Pope's faction, and thrown into prison at the castle of Vilvoorde, near Brussels. In 1536 he was brought to Antwerp, tried, condemned, led to the stake, strangled, and burned.

5. The Work of William Tyndale. — Tyndale's translation has, since the time of its appearance, formed the basis of all the after versions of the Bible. It is written in the purest and simplest English; and very few of the words used in his translation have grown obsolete in our modern speech. Tyndale's work is indeed,

one of the most striking landmarks in the history of our language. Mr Marsh says of it: "Tyndale's translation of the New Testament is the most important philological monument of the first half of the sixteenth century,-perhaps I should say, of the whole period between Chaucer and Shakespeare. The best features of the translation of 1611 are derived from the version of Tyndale." It may be said without exaggeration that, in the United Kingdom, America, and the colonies, about one hundred millions of people now speak the English of Tyndale's Bible; nor is there any book that has exerted so great an influence on English rhythm, English style, the selection of words, and the build of sentences in our English prose.

6. EDMUND SPENSER (1552-1599), "The Poet's Poet," and one of the greatest poetical writers of his own or of any age, was born at East Smithfield, near the Tower of London, in the year 1552, about nine years before the birth of Bacon, and in the reign of Edward VI. He was educated at Merchant Taylors' School in London, and at Pembroke Hall, Cambridge. In 1579, we find him settled in his native city, where his best friend was the gallant Sir Philip Sidney, who introduced him to his uncle, the Earl of Leicester, then at the height of his power and influence with Queen Elizabeth. In the same year was published his first poetical work, The Shepheard's Calendar a set of twelve pastoral poems. In 1580, he went to Ireland as Secretary to Lord Grey de Wilton, the Viceroy of that country. For some years he resided at Kilcolman Castle, in county Cork, on an estate which had been granted him out of the forfeited lands of the Earl of Desmond. Sir Walter Raleigh had obtained a similar but larger grant, and was Spenser's near neighbour. In 1590 Spenser brought out the first three books of The Faerie Queene. The second three books of his great poem appeared in 1596. Towards the end of 1598, a rebellion broke out in Ireland; it spread into Munster; Spenser's house was attacked and set on fire; in the fighting and confusion his only son perished; and Spenser escaped with the greatest difficulty. In deep distress of body and mind, he made his way to London, where he died—at an inn in King Street, Westminster, at the age of forty-six, in the beginning of the year 1599. He was buried in the Abbey, not far from the grave of Chaucer.

7. Spenser's Style. His greatest work is The Faerie Queene; but that in which he shows the most striking command of language is his Hymn of Heavenly Love. The Faerie Queene is written in a nine-lined stanza, which has since been called the Spenserian

Stanza. The first eight lines are of the usual length of five iambic feet; the last line contains six feet, and is therefore an Alexandrine. Each stanza contains only three rhymes, which are disposed in this order: a b a bbc b c c.—The music of the stanza is long-drawn out, beautiful, involved, and even luxuriant.—The story of the poem is an allegory, like the 'Pilgrim's Progress'; and in it Spenser undertook, he says, "to represent all the moral virtues, assigning to every virtue a knight to be the patron and defender of the same."1 Only six books were completed; and these relate the adventures of the knights who stand for Holiness, Temperance, Chastity, Friendship, Justice, and Courtesy. The Faerie Queene herself is called Gloriana, who represents Glory in his "general intention," and Queen Elizabeth in his "particular intention."

8. Character of the Faerie Queene.-This poem is the greatest of the sixteenth century. Spenser has not only been the delight of nearly ten generations; he was the study of Shakespeare, the poetical master of Cowley and of Milton, and, in some sense, of Dryden and Pope. Keats, when a boy, was never tired of reading him. "There is something," says Pope, "in Spenser that pleases one as strongly in old age as it did in one's youth." Professor Craik says: "Without calling Spenser the greatest of all poets, we may still say that his poetry is the most poetical of all poetry." The outburst of national feeling after the defeat of the Armada in 1588; the new lands opened up by our adventurous Devonshire sailors; the strong and lively loyalty of the nation to the queen; the great statesmen and writers of the period; the high daring shown by England against Spain-all these animated and inspired the glowing genius of Spenser. His rhythm is singularly sweet and beautiful. Hazlitt says: "His versification is at once the most smooth and the most sounding in the language. It is a labyrinth of sweet sounds." Nothing can exceed the wealth of Spenser's phrasing and expression; there seems to be no limit to its flow. He is very fond of the OldEnglish practice of alliteration or head-rhyme-" hunting the letter," as it was called. Thus he has

"In woods, in waves, in wars, she wont to dwell.

Gay without good is good heart's greatest loathing."

9. WILLIAM SHAKESPEARE (1564-1616), the greatest dramatist that England ever produced, was born at Stratford-on-Avon, in Warwickshire, on the 23d of April-St George's Day-of the year 1564. His father, John Shakespeare, was a wool dealer and grower.

1 This use of the phrase "the same" is antiquated English.