BEN JONSON (1573?-1637). The greatest figure among these dramatists

The value of Jonson's plays is that they give us vivid pictures of
Elizabethan society, its speech, fashions, amusements, such as no other
dramatist has drawn. Shakespeare pictures men and women as they might be in
any age; but Jonson is content to picture the men and women of London as
they appeared superficially in the year 1600. His chief comedies, which
satirize the shams of his age, are: _Volpone, or the Fox_, a merciless
exposure of greed and avarice; _The Alchemist_, a study of quackery (знахарство) as
it was practiced in Elizabethan days; _Bartholomew Fair_, a riot of
folly; and _Epicoene, or the Silent Woman_, which would now be called
a roaring farce. His chief tragedies are _Sejanus_ and
_Catiline_.

In later life Jonson was appointed poet laureate придворный поэт, and wrote many masques (драматическое произведение для театра масок), such as the _Masque of Beauty_ and the unfinished _Sad Shepherd_.
These and a few lyrics, such as the "Triumph of Charis" and the song
beginning, "Drink to me only with thine eyes," are the pleasantest of
Jonson's works.

THE PROSE WRITERS

There is little in Elizabethan prose to reward the reader. Strange to say, the most tedious (boring) part of it was written by literary men in what was supposed to be a very fine style; while the small part that still attracts us (such as Bacon's _Essays_ or Hakluyt's _Voyages_) was mostly written by practical men with no thought for literary effect.

In the sixteenth century poetry was old, but English prose was new; there are about the only two books that can be said to have a prose style. Then, just as the Elizabethans were turning to literature, John Lyly appeared with his ”the Anatomy of Wit” (1578), an alleged novel made up of conversations upon love, education, fashion,--everything that came into the author's head.

This "high fantastical" style, ever since called euphuistic, created a
sensation.

Elizabethan men and women began to wear grotesque ruffs about their necks
so now they began to decorate their writing with the conceits of Lyly. [Footnote: Lyly did not invent the fashion; he carried to an extreme a tendency towards
artificial writing which was prevalent in England and on the Continent. As
is often the case, it was the extreme of fashion that became fashionable.

Among prose writers of the period the name that appears most frequently is
that of Philip Sidney (1554-1586). He wrote one of our first critical
essays, _An Apologie for Poetrie_ (cir. 1581).

The finest example of the prose of the period is the King James or
Authorized Version of the Bible, which appeared in 1611. This translation
was so much influenced by the earlier work of Wyclif, Tyndale, and many
others, that its style cannot properly be called Elizabethan or Jacobean;
it is rather an epitome of English at its best in the two centuries between
Chaucer and Shakespeare. It remained a standard of English prose for more than three centuries. It has not only been a model for our best writers; it has pervaded all the minor literature of the nation, and profoundly influenced the thought and the expression of the whole English-speaking world.

FRANCIS BACON (1561-1626)

"My name and memory I leave to foreign nations, and to mine own country
_after some time is passed over_," said Bacon in his will. That
reference to the future meant, not that England might learn to forget and
forgive (for Bacon was not greatly troubled by his disgrace), but that she
might learn to appreciate his works.

LIFE. Bacon belongs to that group of Elizabethans who aimed to be men of affairs, politicians, reformers, explorers, rather than writers of prose or poetry. He
was of noble birth, and from an early age was attached to
Elizabeth's court. Bacon studied law and entered Parliament, where he rose rapidly to leadership.

When Elizabeth died, Bacon saw his way open. He offered his
services to the royal favorite, Buckingham, and was soon in the
good graces of King James. He was made Baron Verulam and Viscount
St. Albans; he married a rich wife; he rose rapidly from one
political honor to another, until at sixty he was Lord High
Chancellor of England. So his threefold ambition for position,
wealth and power was realized. It was while he held the highest
state office that he published his _Novum Organum_, which
established his reputation as "the first philosopher in Europe."
That was in 1620, the year when a handful of Pilgrims sailed away
unnoticed on one of the world's momentous voyages.

After four years of power Bacon, who had been engaged with
Buckingham in selling monopolies, and in other schemes to be rich
at the public expense, was brought to task сделать выговор by Parliament. He was
accused of receiving bribes, confessed his guilt (it is said to
shield the king and Buckingham, who had shared the booty), was
fined, imprisoned, banished from court, and forbidden to hold
public office again.

WORKS OF BACON. His first venture was a tiny volume called _Essays, Religious Meditations, Places of Persuasion and Dissuasion_ (1597). This was modeled upon a French work by Montaigne (_Essais_, 1580) and was considered of small consequence by the author.

Bacon's moral philosophy was that of the gamester (азартный); his leading motive was self-interest; so when he wrote of love or friendship or any other noble sentiment he was dealing with matters of which he had no knowledge.

It is only when Bacon deals with practical matters, leaving the high places
of life, where he is a stranger, to write of "Discourse" or "Gardens" or
"Seeming Wise" that his essays begin to strike home by their vigor and
vitality. Though seldom profound or sympathetic, they are notable for their
keen observation and shrewd judgment of the ambitious world in which the
author himself lived. Among those that are best worth reading are
"Studies," "Wisdom for a Man's Self," "Riches," "Great Place," "Atheism,"
and "Travel."The style of these essays is in refreshing contrast to most Elizabethan
prose, to the sonorous periods of Hooker, to the ramblings of Sidney, to
the conceits of Lyly and Shakespeare. The sentences are mostly short,
clear, simple;

Other works of Bacon are seldom read, and may be passed over lightly. We
mention only, as indicative of his wide range, his _History of Henry
VII_, his Utopian romance _The New Atlantis_, his Advancement of
Learning and his _Novum Organum_. The last two works, one in English,
the other in Latin, were parts of the _Instauratio Magna_, or _The
Great Institution of True Philosophy_, a colossal work which Bacon did
not finish, which he never even outlined very clearly.

The aim of the _Instauratio_ was, first, to sweep away ancient
philosophy and the classic education of the universities; and second, to
substitute a scheme of scientific study to the end of discovering and
utilizing the powers of nature. It gave Bacon his reputation (in Germany
especially) of a great philosopher and scientist, and it is true that his
vision of vast discoveries has influenced the thought of the world; but to
read any part of his great work is to meet a mind that seems ingenious(изобретательный) rather than philosophical, and fanciful(странный) rather than scientific.

Meanwhile the real scientists of his age were discovering secrets in the
only sure way, of hard, self-denying work. Gilbert was studying magnetism,
Harvey discovering the circulation of the blood, Kepler determining the
laws that govern the planets' motions, Napier inventing logarithms, and
Galileo standing in ecstasy beneath the first telescope ever pointed at the
stars of heaven.

Of the work of these scientific heroes Bacon had little knowledge, and for
their plodding methods he had no sympathy. He was Viscount, Lord
Chancellor, "high-browed Verulam," and his heaven-scaling
_Instauratio_ which, as he said, was "for the glory of the Creator and
for the relief of man's estate" must have something stupendous,
Elizabethan, about it, like the victory over the Armada. In his plans there
was always an impression of vastness; his miscellaneous works were like the
strange maps that geographers made when the wonders of a new world opened
upon their vision. Though he never made an important discovery, his
conviction that knowledge is power and that there are no metes or bounds to
knowledge, his belief that the mighty forces of nature are waiting to do
man's bidding, his thought of ships that navigate the air as easily as the
sea,--all this Baconian dream of mental empire inspired the scientific
world for three centuries. It was as thoroughly Elizabethan in its way as
the voyage of Drake or the plays of Shakespeare.

SUMMARY. The most remarkable feature of the Elizabethan age was its
patriotic enthusiasm. This enthusiasm found its best expression on
the stage, in the portrayal of life in vigorous action; and dramas
were produced in such number and of such quality that the whole
period is sometimes called the age of the play. It was a time of
poetry rather than of prose, and nearly all of the poetry is
characterized by its emotional quality, by youthful freshness of
feeling, by quickened imagination, and by an extravagance of
language which overflows, even in Shakespeare, in a kind of
glorious pomposity.

Our study of the literature of the age includes: (1) The outburst
of lyric poetry. (2) The life and works of Spenser, second in time
of the great English poets. (3) A review of the long history of the
drama, from the earliest church spectacle, through miracle,
morality, interlude, pageant and masque to the Elizabethan drama.
(4) The immediate forerunners of Shakespeare, of whom the most
notable was Marlowe. (5) The life and work of Shakespeare. (6) Ben
Jonson, the successors of Shakespeare, and the rapid decline of the
drama. (7) Elizabethan prose; the appearance of euphuism- напыщенный стиль – эвфизм); Sidney's_Apologie for Poetrie_; the Authorized Version of the
Scriptures; and the life and work of Francis Bacon.

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