A History of English Literature by George Saintsbury (e novels for free .txt) π
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Owing to the different forms in which this fleeting and unequal work has been reprinted, it is not very easy to decide off-hand on the relative bulk of the authors' works. But the palm in this respect must be divided between Robert Greene and Nicholas Breton, the former of whom fills eleven volumes of loosely-printed crown octavo, and the latter (in prose only) a thick quarto of very small and closely-printed double columns. Greene, who began his work early under the immediate inspiration first of his travels and then of Lyly's Euphues, started, as early as 1583, with Mamillia, a Looking-Glass for the Ladies of England, which, both in general character and in peculiarities of style, is an obvious copy of Euphues. The Mirror of Modesty is more of a lay sermon, based on the story of Susanna. The Tritameron of Love is a dialogue without action, but Arbasto, or the Anatomie of Fortune returns to the novel form, as does The Card of Fancy. Planetomachia is a collection of stories, illustrating the popular astrological notions, with an introduction on astrology generally. Penelope's Web is another collection of stories, but The Spanish Masquerado is one of the most interesting of the series. Written just at the time of the Armada, it is pure journalismβa livre de circonstance composed to catch the popular temper with aid of a certain actual knowledge, and a fair amount of reading. Then Greene returned to euphuism in Menaphon, and in Euphues, his Censure to Philautus; nor are Perimedes the Blacksmith and Tully's Love much out of the same line. The Royal Exchange again deviates, being a very quaint collection, quaintly arranged, of moral maxims, apophthegms, short stories, etc., for the use of the citizens. Next, the author began the curious series, at first perhaps not very sincere, but certainly becoming so at last, of half-personal reminiscences and regrets, less pointed and well arranged than Villon's, but remarkably similar. The first and longest of these was Greene's Never too Late, with its second part Francesco's Fortunes. Greene's Metamorphosis is Euphuist once more, and Greene's Mourning Garment and Greene's Farewell to Folly are the same, with a touch of personality. Then he diverged into the still more curious series on "conny-catching"βrooking, gulling, cheating, as we should call it. There are five or six of these tracts, and though there is not a little bookmaking in them, they are unquestionably full of instruction as to the ways of the time. Philomela returns once more to euphuism, but Greene is soon back again with A Quip for an Upstart Courtier, a piece of social satire, flying rather higher than his previous attempts. The zigzag is kept up in Orpharion, the last printed (at least in the only edition now known) of the author's works during his lifetime. Not till after his death did the best known and most personal of all his works appear, the famous Groat's Worth of Wit Bought with a Million of Repentance, in which the "Shakescene" passage and the exhortation to his friends to repentance occur. Two more tracts in something the same styleβGreene's Repentance and Greene's Visionβfollowed. Their genuineness has been questioned, but seems to be fairly certain.
This full listβto which must be added the already mentioned Pandosto, the Triumph of Time, or Dorastus and Fawnia, and the translated Debate between Folly and Loveβof a certainly not scanty life-work (Greene died when he was quite a young man, and wrote plays besides) has been given, because it is not only the earliest, but perhaps the most characteristic of the whole. Despite the apparently unsuitable forms, it is evident that the writer is striving, without knowing it, at what we call journalism. But fashion and the absence of models cramp and distort his work. Its main features are to be found in the personal and satirical pieces, in the vivid and direct humanity of some touches in the euphuist tract-romances, in the delightful snatches of verse which intersperse and relieve the heterogeneous erudition, the clumsy dialogue, and the rococo style. The two following extracts give, the first a specimen of Greene's ornate and Euphuist style from Orpharion, the second a passage from his autobiographical or semi-autobiographical confessions in the Groat's Worth:β
"I am Lydia that renowned Princess, whose never matched beauty seemed like the gorgeous pomp of PhΕbus, too bright for the day: rung so strongly out of the trump of Fame as it filled every ear with wonder: Daughter to Astolpho, the King of Lydia: who thought himself not so fortunate for his diadem, sith other kings could boast of crowns, nor for his great possessions, although endued with large territories, as happy that he had a daughter whose excellency in favour stained Venus, whose austere chastity set Diana to silence with a blush. Know whatsoever thou art that standest attentive to my tale, that the ruddiest rose in all Damasco, the whitest lilies in the creeks of Danuby, might not if they had united their native colours, but have bashed at the vermilion stain, flourish'd upon the pure crystal of my face: the Marguerites of the western Indies, counted more bright and rich than that which Cleopatra quaffed to Anthony, the coral highest in his pride upon the Afric shores, might well be graced to resemble my teeth and lips, but never honoured to overreach my pureness. Remaining thus the mirror of the world, and nature's strangest miracle, there arrived in our Court a Thracian knight, of personage tall, proportioned in most exquisite form, his face but too fair for his qualities, for he was a brave and a resolute soldier. This cavalier coming amongst divers others to see the royalty of the state of Lydia, no sooner had a glance of my beauty, but he set down his staff, resolving either to perish in so sweet a labyrinth, or in time happily to stumble out with Theseus. He had not stayed long in my father's court, but he shewed such knightly deeds of chivalry amongst the nobility, lightened with the extraordinary sparks of a courageous mind, that not only he was liked and loved of all the chief peers of the realms, but the report of his valour coming to my father's ears, he was highly honoured of him, and placed in short time as General of his warlike forces by land. Resting in this estimation with the king, preferment was no means to quiet his mind, for love had wounded so deep, as honour by no means might remedy, that as the elephants can hardly be haled from the sight of the waste, or the roe buck from gazing at red cloth, so there was no object that could so much allure the wavering eyes of this Thracian called Acestes, as the surpassing beauty of the Princess Lydia, yea, so deeply he doted, that as the Chameleon gorgeth herself with gazing into the air, so he fed his fancy with staring on the heavenly face of his Goddess, so long dallying in the flame, that he scorched his wings and in time consumed his whole body. Being thus passionate, having none so familiar as he durst make his confidant he fell thus to debate with himself."
"On the other side of the hedge sat one that heard his sorrow, who getting over, came towards him, and brake off his passion. When he approached, he saluted Roberto in this sort: Gentleman, quoth he (for so you seem) I have by chance heard you discourse some part of your grief; which appeareth to be more than you will discover, or I can conceit. But if you vouchsafe such simple comfort as my ability will yield, assure yourself, that I will endeavour to do the best, that either may procure your profit, or bring you pleasure: the rather, for that I suppose you are a scholar, and pity it is men of learning should live in lack.
"Roberto wondering to hear such good words, for that this iron age affords few that esteem of virtue; returned him thankful gratulations and (urged by necessity) uttered his present grief, beseeching his advice how he might be employed. 'Why, easily,' quoth he, 'and greatly to your benefit: for men of my profession get by scholars their whole living.' 'What is your profession?' said Roberto. 'Truly, sir,' said he, 'I am a player.' 'A player!' quoth Roberto. 'I took you rather for a gentleman of great living, for if by outward habit men should be censured, I tell you, you would be taken for a substantial man.' 'So am I, where I dwell' (quoth the player) 'reputed able, at my proper cost, to build a windmill. What though the world once went hard with me, when I was fain to carry my playing fardel a foot-back; Tempora mutantur, I know you know the meaning of it better than I, but I thus construe it; it is otherwise now; for my very share in playing apparel will not be sold for two hundred pounds.' 'Truly' (said Roberto) 'it is strange that you should so prosper in that vain practise, for that it seems to me your voice is nothing gracious.' 'Nay, then,' said the player, 'I mislike your judgment: why, I am as famous for Delphrigas, and the King of Fairies, as ever was any of my time. The twelve labours of Hercules have I terribly thundered on the stage, and placed three scenes of the devil on the highway
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