With the epyllion comes a hint of the tastes of the following reign, and a similar shift of taste can be felt among those poets of the 1590s who began to modify the ornamental style in the direction of native plainness or Classical restraint. An astute courtier such as Davies might, in his Orchestra (1596) and Hymns of Astraea (1599), write confident panegyrics to the aging Elizabeth, but in Sir Walter Raleigh’s “Eleventh Book of the Ocean to Cynthia,” a kind of broken pastoral eclogue, praise of the queen is undermined by an obscure but eloquent sense of hopelessness and disillusionment. For Raleigh, the complimental manner seems to be disintegrating under the weight of disgrace and isolation at court; his scattered lyrics—notably “The Lie,” a contemptuous dismissal of the court—often draw their resonance from the resources of the plain style. Another courtier whose writing suggests similar pressures is Greville. His Caelica (published 1633) begins as a conventional sonnet sequence but gradually abandons Neoplatonism for pessimistic reflections on religion and politics. Other works in his sinewy and demanding verse include philosophical treatises and unperformed melodramas (Alaham and Mustapha) that have a sombre Calvinist tone, presenting man as a vulnerable creature inhabiting a world of unresolved contradictions: Oh wearisome condition of humanity!
Born under one law, to another bound;
Vainly begot, and yet forbidden vanity,
Created sick, commanded to be sound.
(Mustapha, chorus)
Greville was a friend of Robert Devereux, 2nd earl of Essex, whose revolt against Elizabeth ended in 1601 on the scaffold, and other poets on the edge of the Essex circle fueled the taste for aristocratic heroism and individualist ethics. Chapman’s masterpiece, his translation of Homer (1598), is dedicated to Essex, and his original poems are intellectual and recondite, often deliberately difficult and obscure; his abstruseness is a means of restricting his audience to a worthy, understanding elite. Daniel, in his verse Epistles (1603) written to various noblemen, strikes a mean between plainness and compliment; his Musophilus (1599), dedicated to Greville, defends the worth of poetry but says there are too many frivolous wits writing. The cast of Daniel’s mind is stoical, and his language is classically precise. His major project was a verse history of The Civil Wars Between the Two Houses of Lancaster and York (1595–1609), and versified history is also strongly represented in Drayton’s Legends (1593–1607), Barons’ Wars (1596, 1603), and England’s Heroical Epistles (1597).
The form that really set its face against Elizabethan politeness was the satire. Satire was related to the complaint, of which there were notable examples by Daniel (The Complaint of Rosamond, 1592) and Shakespeare (The Rape of Lucrece, 1594) that are dignified and tragic laments in supple verse. But the Elizabethans mistakenly held the term satire to derive from the Greek satyros, a satyr, and so set out to match their manner to their matter and make their verses snarl. In the works of the principal satirists, Donne (five satires, 1593–98), Joseph Hall (Virgidemiarum, 1597–98), and Marston (Certain Satires and The Scourge of Villainy, 1598), the denunciation of vice and folly repeatedly tips into invective, raillery, and sheer abuse. The versification of Donne’s satires is frequently so rough as barely to be verse at all; Hall apologized for not being harsh enough, and Marston was himself pilloried in Jonson’s play Poetaster (1601) for using ridiculously difficult language. “Vex all the world,” wrote Marston to himself, “so that thyself be pleased.” The satirists popularized a new persona, that of the malcontent who denounces his society not from above but from within. Their continuing attraction resides in their self-contradictory delight in the world they profess to abhor and their evident fascination with the minutiae of life in court and city. They were enthusiastically followed by Everard Guilpin, Samuel Rowlands, Thomas Middleton, and Cyril Tourneur, and so scandalous was the flood of satires that in 1599 their printing was banned. Thereafter the form survived in Jonson’s classically balanced epigrams and poems of the good life, but its more immediate impact was on the drama, in helping to create the vigorously skeptical voices that people The Revenger’s Tragedy (1607) and Shakespeare’s Hamlet (c. 1599–1601). Prose styles, 1550–1600
Prose was easily the principal medium in the Elizabethan period, and, despite the mid-century uncertainties over the language’s weaknesses and strengths—whether coined and imported words should be admitted; whether the structural modeling of English prose on Latin writing was beneficial or, as Bacon would complain, a pursuit of “choiceness of phrase” at the expense of “soundness of argument”—the general attainment of prose writing was uniformly high, as is often manifested in contexts not conventionally imaginative or “literary,” such as tracts, pamphlets, and treatises. The obvious instance of such casual success is Richard Hakluyt’s Principal Navigations, Voyages, and Discoveries of the English Nation (1589; expanded 1598–1600), a massive collection of travelers’ tales, of which some are highly accomplished narratives. William Harrison’s gossipy, entertaining Description of England (1577), Philip Stubbes’s excitable and humane social critique The Anatomy of Abuses (1583), Reginald Scot’s anecdotal Discovery of Witchcraft (1584), and John Stow’s invaluable Survey of London (1598) also deserve passing mention. William Kempe’s account of his morris dance from London to Norwich, Kempe’s Nine Days’ Wonder (1600), exemplifies a smaller genre, the newsbook (a type of pamphlet).
The writers listed above all use an unpretentious style, enlivened with a vivid vocabulary; the early prose fiction, on the other hand, delights in ingenious formal embellishment at the expense of narrative economy. This runs up against preferences ingrained in the modern reader by the novel, but Elizabethan fiction is not at all novelistic and finds room for debate, song, and the conscious elaboration of style. The unique exception is Gascoigne’s Adventures of Master F.J. (1573), a tale of thwarted love set in an English great house, which is the first success in English imaginative prose. Gascoigne’s story has a surprising authenticity and almost psychological realism (it may be autobiographical), but even so it is heavily imbued with the influence of Castiglione.
The existence of an audience for polite fiction was signaled in the collections of stories imported from France and Italy by William Painter (1566), Geoffrey Fenton (1577), and George Pettie (1576). Pettie, who claimed not to care “to displease twenty men to please one woman,” believed his readership was substantially female. There were later collections by Barnaby Rich (1581) and George Whetstone (1583); historically, their importance was as sources of plots for many Elizabethan plays. The direction fiction was to take was established by John Lyly’s Euphues: The Anatomy of Wit (1578), which, with its sequel Euphues and His England (1580), set a fashion for an extreme rhetorical mannerism that came to be known as euphuism. The plot of Euphues—a rake’s fall from virtue and his recovery—is but an excuse for a series of debates, letters, and speechifyings, thick with assonance, antithesis, parallelism, and balance and displaying a pseudoscientific learning. Lyly’s style would be successful on the stage, but in fiction its density and monotony are wearying. The other major prose work of the 1570s, Sidney’s Arcadia, is no less rhetorical (Abraham Fraunce illustrated his handbook of style The Arcadian Rhetoric [1588] almost entirely with examples from the Arcadia), but with Sidney rhetoric is in the service of psychological insight and an exciting plot. Dozens of imitations of Arcadia and Euphues followed from the pens of Greene, Lodge, Anthony Munday, Emanuel Forde, and others; none has much distinction.