somewhat (indeed much) more fortunate than their neighbours. Monkish writing was with them an important element; but it was not the only one. They had an originality besides. And the Scandinavians were more fortunate still. The worshippers of Odin and Thor had a Mythology; and Mythologies are the Creators and Creations of Poetry. The Norse Mythology is as poetical as the Grecian. I speak this advisedly. Now this Mythology was common to all the Gothic Tribes. The Saxon and the Norse Literatures dealt (each in their degree) with the same materials; they breathed the same spirit; and they clothed it in an allied Language. But the Saxon Mythology is fragmentary; while the Norse Mythology is a whole. For this reason Scandinavian (or Norse) Literature is not extraneous to my subject.

These, the primeval and Pagan times of our ancestors, must claim and arrest our attention; since it is from these that our characteristic modes of Thought (call them Gothic, or call them Romantic) are derived. In the regions of Paganism lie the dark fountains of our Nationality.

Beside this, I consider that, even in the matter of Language, the direct Scandinavian element of the English is much underrated;[3] and still more underrated is the indirect Scandinavian element of the Norman-French. And here, again, when we come to the Conquest, we must grapple with new dialects, irregular imaginations, and mystical and mysterious Mythologies; for the things that have a value in Language, have a value in History also.

Now come, in due order, and in lineal succession, the formation of our Early English Literature, and the days of Chaucer; and then those of Spenser: periods necessary to be illustrated, but which may be illustrated at a future time. And after these the Æra of Elizabeth, fertile in great men, and fertile in great poets; so much so, that (the full view being too extensive) it must be contemplated by instalments and in sections.

There are many reasons for choosing as a subject for illustration the Dramatic Poets of this Period. They stood as great men amid a race of great men; so doing, they have a claim on our attention on the simple solitary grounds of their own supereminent excellence. But, besides this, they are, with the exception of their one great representative, known but imperfectly. Too many of us consider the Age of Elizabeth as the Age of Shakspeare exclusively. Too many of us have been misled by the one-sided partiality of the Shakspearian commentators. These men, in the monomania of their idolatry, not only elevate their author into a Giant, but dwarve down his cotemporaries into pigmies. And who knows not how (on the moral side of the question) their writings are filled even to nauseousness, with the imputed malignity of Ben Jonson? Themselves being most malignant.

This, however, has been, by the labor of a late editor, either wholly done away with, or considerably diluted. Be it with us a duty, and be it with us a labour of love, to seek those commentators who have rescued great men from the neglect of Posterity; and be our sympathies with the diligent antiquarian, who shows that obloquy has originated unjustly; and be our approbation with those who have corrected the errors of Fame, loosely adopted, and but lately laid aside.

Yet here we must guard against a reaction. Malone, and his compeers, valued, or seemed to value, the Elizabethan Drama, just for the light that it threw upon the text of their idol. Gifford, goaded into scorn by injustice, fought the fight on the other side, with strength and with spirit; but he fought it like a partizan; reserving (too much, but as Editors are wont to do,) his admiration and his eulogy for those whom he himself edited. Next came Hazlitt and Charles Lamb; who found undiscovered beauties in poets still more neglected. I think, however, that they discovered these beauties, or at any rate that they exaggerated them, in a great degree on account of their being neglected.

Be there here a more Catholic criticism! be there here eulogies more discriminate! be there here tastes less exclusive!

The Elizabethan Drama is pre-eminently independent, it is pre-eminently characteristic, it is also pre-eminently English. It is deeply, very deeply, imbued, with the colours and complexion of the age that gave it origin. It has much Wisdom, and much Imagination. The last of our Early Dramatists is Shirley. With him terminates the School of Shakspeare. The transition hence is sudden and abrupt. Imagination decays; Wit predominates. Amatory poets write as though they wore their hearts in their heads. Wit is perfected. It had grown out of a degeneracy of Imagination; it will soon be sobered into Sense; Sense the predominant characteristic of the writers under Queen Anne. The school of Dryden passes into that of Pope, Prior being, as it were, intermediate. The Æra of the Charleses comprises two Schools; the School of Cowley, falsely called Metaphysical, with an excess of Fancy, and a deficiency of Taste, and the School of Dryden, whose masculine and fiery intellectuality simulates, aye! and is, genius. Tragedy has run retrograde; but Comedy is evolving itself towards a separate existence, and towards its full perfection. The Spirit of Milton stands apart from his cotemporaries; reflecting nothing of its age but its self-relying energy, moral and intellectual.

Now, although, the Schools of Cowley and the Schools of Dryden, differ essentially from that particular section of the Elizabethan Æra, which we have just contemplated, they do not differ, essentially, from another section of that same æra. Be this borne in mind. There are in Literature, no precipitate transitions. The greatest men, the most original thinkers, the most creative spirits stand less alone than the world is inclined to imagine. Styles of composition, that in one generation are rife and common, always exist in the age that went before. They were not indeed its leading characteristics, but still they were existent within it. The metrical Metaphysics of Cowley were the metrical metaphysics of Donne: the versified Dialectics of Dryden may be found, with equal condensation but less harmony, in the Elizabethan writings of Sir John Davies. The section of one age is the characteristic of the next. This line of criticism is a fair reason (one out of many) for never overlooking and never underrating obscure composers and obsolete literature.

The School of Pope, and the School of our own days, are too far in the prospective to claim any immediate attention.

And here I feel myself obliged to take leave of a subject, that continually tempts me to grow excursive.

There are two sorts of lecturers; those that absolutely teach, and those that stimulate to learn; those that exhaust their subject, and those that indicate its bearings; those that infuse into their hearers their own ideas, and those that set them a-thinking for themselves. For my own part, it is, I confess, my aim and ambition to succeed in the latter rather than in the former object. To carry such as hear me through a series of Authors, or through a course of Languages, in full detail, is evidently, even if it were desirable, an impossibility; but it is no impossibility to direct their attention to the prominent features of a particular subject, and to instil into them the imperious necessity of putting forth their own natural powers in an independent manner, so as to read for themselves, and to judge for themselves. Now as I would rather see a man's mind active than capacious; and, as I love Self-reliance better than Learning, I have no more sanguine expectation, than, that instead of exhausting my subject I may move you to exhaust it for yourselves, may sharpen criticism, may indicate original sources, and, above all, suggest trains of honest, earnest, patient and persevering reflection.

NOTES.