Chapter VII: After Shakespeare 347

I. Heroical romances--Their origin mainly French--The new
heroism _a panache_ on the stage, in epics, in the novel,
in real life--The heroic ideal--The Hotel de Rambouillet 347

II. Heroes and heroism _a 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, Furetiere,
&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

INDEX 419

EXPLANATORY LIST OF ILLUSTRATIONS.

PAGE
1.--Queen Elizabeth in State costume, with the royal
insignia, after the engraving by William Rogers (born
in London, about 1545) _Frontispiece_

2 to 13.--The signs of the Zodiac, after Robert Greene's
"Francesco's Fortunes," 1590. Towards the end of this
novel a palmer is asked by his host to leave a
remembrance of his visit in his entertainer's house;
the palmer engraves on an ivory arch verses and
drawings illustrating at the same time, and in the same
way as the signs of the Zodiac, both the course of the
year and the course of human life _p. 9 et passim_
[_tail-pieces to all the chapters_]

14.--An Elizabethan Shepherdess, from a wood-block
illustrating a ballad (the inscription added) 23

15.--Beginning of the unique MS. of "Beowulf," preserved
in the British Museum 31

16.--Chaucer's pilgrims seated round the table of the
"Tabard" at Southwark, a reproduction of Caxton's
engraving in his second edition of the "Canterbury
Tales," 1484 45

17.--Robert the devil on horseback (_alias_ Romulus), being
the frontispiece of several romances in verse published
by Wynkyn de Worde, London, 1510 (?), 8vo. The history
of Robert is illustrated throughout 57

18.--The knight of the swan, from the frontispiece of the
metrical romance: "The Knight of the Swanne. Here
beginneth the history of ye noble Helyas knyght of the
swanne, newly translated out of frensshe," London,
Copland, 1550 (?), 4to 61

19.--"Then went Guy to fayre Phelis." From the metrical
romance "Guy of Warwick," London, 1550 (?), 4to, Sig.
Cc. iij 65

20.--Drawing by Isaac Oliver (b. 1556) after an Italian
model, from the original preserved in the British
Museum; illustrative of the cultivation of Italian art
by Englishmen in Tudor times 69

21.--Frontispiece to Harington's translation of Ariosto,
London, 1591, fol. This engraving and the numerous
copper-plates adorning this very fine book are usually
said to be English. But these plates were in fact a
product of Italian art, being the work of Girolamo
Porro, of Padua; they are to be found in the Italian
edition of Ariosto published at Venice in 1588, and in
various other editions. The English engraver, Thomas
Coxon (or Cockson), whose signature is to be seen at
the bottom of the frontispiece, only drew the portrait
of Harington in the space filled in the original by a
figure of Peace. Coxon, according to the "Dictionary of
National Biography" and other authorities, is supposed
to have flourished from about 1609 to 1630 or 1636. The
date on this plate (1st August, 1591), shows that he
began to work nearly twenty years earlier.

It must be added that this portrait of Harington has an
Italian softness and elegance, and differs greatly in
its style from the other portraits signed by Coxon
(portrait of Samuel Daniel on the title-page of his
Works, 1609; of John Taylor, "Workes," 1630, etc.). It
is possible that Harington's portrait was merely drawn
by Coxon, and engraved by an Italian 77

22.--How the knight Eurialus got secretly into his
lady-love's chamber. From the German version of the
history of the Lady Lucrece of Sienna, 1477, fol. (a
copy in the British Museum) 82

23.--Queen Cleopatra as represented on the English stage in
the eighteenth century: Mrs. Hartley in "All for
Love"; Page's engraving, dated 1776, for Bell's
"Theatre" 97

24.--Sketches made by Inigo Jones in Italy, 1614; from his
sketch-book reproduced in fac-simile by the care of the
Duke of Devonshire, London, 1832 100

25.--Persians standing as caryatides, from a drawing by
Inigo Jones for the circular court projected at
Whitehall, and reproduced by W. Kent: "The Drawings of
Inigo Jones," London, 1835, 2 vols., fol. 101

26.--A dragon according to Topsell, "The historie of
Serpents," London, 1608, fol., p. 153 103

27.--The "AEgyptian or land crocodile," according to
Topsell's "Historie of Serpents," London, 1608, fol.,
p. 140 109

28.--A Hippopotamus taking its food, according to Topsell's
"Historie of foure footed beastes," London, 1607, fol.,
p. 328 113

29.--"The true picture of the Lamia," _ibid._, p. 453 117

30.--"The boas," from Topsell's "Serpents," 1608,
frontispiece 121

31.--The Great Sea-serpent, _ibid._, p. 236 125

32.--Knightly pastimes; Hawking; illustrative of Gerismond's
life in the forest of Arden as described in Lodge's
"Rosalynd"; from Turberville's "Booke of Faulconerie,"
London, 1575, 4to, frontispiece 144

33.--Another dragon from Topsail's "Serpents," 1608, p. 153 145

33A.--Robert Greene in his shroud, from Dickenson's "Greene
in conceipt," 1598 161

34.--Yet another dragon, from Topsell's "Serpents," p. 153 171

35.--Velvet breeches and cloth breeches, from Greene's
"Quip," 1592, frontispiece 190

36.--Preparing for the Hunt, from Turberville's "Noble Arte
of Venerie or Hunting," London, 1575, 4to, frontispiece 205

37.--Penshurst, Sidney's birthplace, from a drawing by
M. G. du Thuit.

"Thou art not, Penshurst, built to envious show
Of touch or marble ...
Thou hast thy walks for health as well as sport ...
That taller tree which of a nut was set
At his great birth, where all the Muses met."

(Ben Jonson, "The Forest") 217

38.--A shepherd of Arcady, as seen on the title-page of various
editions of Sidney's "Arcadia," _e.g._, the third, 1598 242

39.--A Princess of Arcady, _ibid._ 243

40.--Argalus and Parthenia reading a book in their garden; from
Quarles' poem of "Argalus and Parthenia," London, 1656,
4to, p. 135 265

41.--"The renowned Argalus and Parthenia":

"See the fond youth! he burns, he loves, he dies;
He wishes as he pines and feeds his famish'd eyes."

From "The unfortunate Lovers, the History of Argalus and
Parthenia, in four books," London, 12mo, a chap-book of
the eighteenth century. Frontispiece 273

42.--"How the two princesses, Pamela and her sister
Philoclea, went to bath themselves in the river Ladon,
accompanied with Zelmane and Niso: And how Zelmane
combated with Amphialus for the paper and glove of the
princess Philoclea, and what after hapned." From "The
famous history of heroick acts ... being an abstract of
Pembroke's Arcadia," London, 1701, 12mo, p. 31. Not
without truth does the publisher state that the book is
illustrated with "curious cuts, the like as yet not
extant" 275

43.--"How the two illustrious princesses, Philoclea and
Pamela, being Basilius's only daughters, were married to
the two invincible princes, Pyrocles of Macedon and
Musidorus of Thessalia: and of the glorious
entertainments that graced the happy nuptials," from the
same chap-book, p. 139 277

44.--An interior view of the Swan Theatre in the time
of Shakespeare, from a drawing by John de Witt, 1596,
recently discovered in the Utrecht library by M. K. T.
Gaedertz, of Berlin. Reproduced as illustrative of
Dekker's "Horne-booke," 1609 (_infra_, ch. vi. Sec. 3).
Spectators have not been represented. They must be
supposed to fill the pit, "planities sive arena," where
they remained standing in the open air, and the covered
galleries. The more important people were seated on the
stage. Actors, to perform their parts, came out of the
two doors inscribed "mimorum aedes." The boxes above
these doors, concerning which some doubts have been
expressed, seem to be what was called "the Lords'
room." "Let our gallant," says Dekker, "advance himself
up to the throne of the stage. I meane not the Lords
roome (which is now but stages suburbs): no, those
boxes, by the iniquity of custome, conspiracy of
waiting women and gentlemen ushers, that there sweat
together, and the covetousness of sharers are
contemptibly thrust into the reare, and much new satten
is there dambd by being smothrd to death in darknesse.
But on the very rushes, where the comedy is to daunce,
yea and under the state of Cambises himselfe must our
fethered Estridge be planted valiantly, because
impudently, beating downe the mewes and hisses of
opposed rascality" ("Works," ed. Grosart, vol. ii. p.
247) 286

45.--Elizabethan gaieties. The actor Kemp's dance to
Norwich, from the frontispiece of "Kemps nine daies
wonder performed in a from London to Norwich,
containing the pleasure, paines and kind entertainment
of William Kemp betweene London and that city ...
written by himselfe to satisfie his friends," London,
1600, reprinted by Dyce, Camden Society, 1840, 4to 287

46.--Portrait of Nash, from "Tom Nash his ghost ...
written by Thomas Nash his ghost" (no date). A copy in
the British Museum 326

47.--Portrait of Dekker, from "Dekker his dreame," a
poem by the same, London, 1620, frontispiece 333

48.--Heroical deeds in an heroical novel. "Pandion
slayes Clausus," from "Pandion and Amphigenia," by J.
Crowne, London, 1665, 8vo 347

49.--Sir Guy of Warwick addressing a skull, in a
churchyard, from "The history of Guy, earl of Warwick,"
1750? (a chap-book), p. 18 350

50.--Burial of Sir Guy of Warwick, from the same chap-book 351

51.--A map of the "tendre" country. The original map
was inserted by Mdlle. de Scudery in her novel of
"Clelie," Paris, 1654, _et seq._, 10 vols., 8vo, vol.
i. p. 399. It was a map drawn by Clelia and sent by her
to Herminius, and which "showed how to go from New
Friendship to Tender." It was reproduced in the English
translations of "Clelie"; the plate we give is taken
from the edition of 1678 359

52.--Endymion plunged into the river in the presence of
Diana, after an engraving by C. de Pas, in "L'Endimion
de Gombauld," Paris, 1624, 8vo, p. 223. The French
plates were sent to England and used for the English
version of this novel: "Endimion, an excellent fancy
... interpreted by Richard Hurst," London, 1639, 8vo 367

53.--Frontispiece to Part IV. of the translation of La
Calprenede's "Cleopatre," by Robert Loveday: "Hymen's
praeludia or Loves master-piece," London, 1652, _et
seq._, 12mo. This frontispiece was drawn according to
the instructions of Loveday himself, "Loveday's
Letters," Letter lxxxiii. 371

54.--A fashionable conversation, from the frontispiece
of "La fausse Clelie," by P. de Subligny, Amsterdam,
1671, 12mo. An enlarged plate was made after this one,
to serve as frontispiece to the English version of the
same work: "The mock Clelia, being a comical history of
French gallantries ... in imitation of Don Quixote,"
London, 1678, 8vo 375

55.--Conversations and telling of stories at the house
of the Duchess of Newcastle, from a drawing by Abr. a
Diepenbeck, engraved for her book: "Natures pictures
drawn by Fancies pencil to the life," London, 1656, fol. 379

56.--Moorish heroes, from an engraving in Settle's
drama: "The Empress of Morocco," London, 1673, 4to 393

57.--A poet's dream realized, from the English version
of Sorel's "Berger Extravagant," "The extravagant
Shepherd," London, 1653, fol., translated by John
Davies. The usual description of the heroine of a novel
has been taken to the letter by the engraver, who
represents Love sitting on her forehead, and lilies and
roses on her cheeks. Two suns have taken the place of
her eyes, her teeth are actual pearls, &c. 401

The English Novel in the Time of Shakespeare.