extraordinary success—His tales of real life—His fame at home and abroad

167 IV. N. Breton, an imitator of Greene—Thomas Lodge, a legatee of Lyly—His life—His "Rosalynd" and other works—His relation to Shakespeare 192 CHAPTER V. SIR PHILIP SIDNEY AND PASTORAL ROMANCE 217 Of shepherds. I. Sidney's life—His travels and friendship with Languet—His court life and love—His death—The end of "Stella" 219 II. Sidney's works—Miscellaneous writings—The "Apologie"—Sidney's appreciation of the poetic and romantic novel.
The "Arcadia," why written—Sidney's various heroes: shepherds, knights, princesses, &c.—Eclogues and battles, fêtes, masques and tournaments—Anglo-arcadian architecture, gardens, dresses and furniture.
Sidney's object according to Fulke Greville, and according to himself—His lovers—Youthful love, unlawful love, foolish love, innocent love—Pamela's prayer—The final imbroglio.
Sidney's style as a novel writer—His wit and brightness—His eloquence—His bad taste—His fanciful ornaments 228 III. Sidney's reputation in England—Continuators, imitators, and admirers among dramatists, poets and novelists—Shakespeare, Jonson, Day, Shirley, Quarles—Lady Mary Wroth and her novel—Sidney's reputation in the eighteenth century, Addison, Young, Walpole, Cowper—Chap-books.
In France—He is twice translated, and gives rise to a literary quarrel—Charles Sorel's judgment in the "Berger extravagant," and Du Bartas' praise—Mareschal's drama out of the "Arcadia"—Niceron and Florian 260 CHAPTER VI. THOMAS NASH; THE PICARESQUE AND REALISTIC NOVEL 287 I. Merry books as a preservative of health—Sidney's contempt for the comic.
Studies in real life—The picaresque tale; its Spanish origin—Its success in Europe—-Lazarillo and Guzman 287 II. Thomas Nash—His birth, education and life—His writings, his temperament—His equal fondness for mirth and for lyrical poetry—His literary theories on art and style—His vocabulary, his style.
His picaresque novel, "Jack Wilton"—Scenes and characters—Observation of nature—Dramatic and melodramatic parts—Historical personages—Nash's troubles on account of "Jack Wilton."
His other works—Scenes of light comedy in them—Portraits of the upstart, of the sectary, &c. 295 III. Nash's successors—H. Chettle—Chettle's combined imitation of Nash, Greene and Sidney.
Dekker—His dramatic and poetical faculty—His prose works—His literary connection with Nash—His pictures of real life—His humour and gaiety—Grobianism—A gallant at the play-house in the time of Shakespeare—Defoe and Swift as distant heirs 327 CHAPTER VII. AFTER SHAKESPEARE 347 I. Heroical romances—Their origin mainly French—The new heroism à panache on the stage, in epics, in the novel, in real life—The heroic ideal—The Hôtel de Rambouillet 347 II. Heroes and heroism à panache migrate to England—Their welcome in spite of the Puritans—Translations of French romances—Use of French engravings—Imitation and appreciation of French manners—Orinda, the Duchess of Newcastle, Dorothy Osborne, Mrs. Pepys 362 III. Original English novels in the heroical style—Roger Boyle, J. Crowne—Heroism on the stage 383 IV. Reaction in France—Sorel, Scarron, Furetière, &c.—Reaction in England—"Adventures of Covent Garden," "Zelinda," &c. 397 V. Conclusion—The end of the period—Ingelo, Harrington, Mrs. Behn; how she anticipates Rousseau.
Connection between the master-novelists of the eighteenth century and the prentice-novelists of the sixteenth 411