visaged and carrion lean people, I fear them most," meaning
Brutus and Cassius.

Shakespeare merely touches such a scene with the magic of his genius, and
his Caesar speaks:

Let me have men about me that are fat:
Sleek-headed men, and such as sleep o' nights.
Yond Cassius has a lean and hungry look:
He thinks too much: such men are dangerous.

A careful reading of North's _Plutarch_ and then of the famous Roman plays
shows to how great an extent Shakespeare was dependent upon his obscure
contemporary.

North's translation, to which we owe so many heroic models in our
literature, was probably made not from Plutarch but from Amyot's excellent
French translation. Nevertheless he reproduces the spirit of the original,
and notwithstanding our modern and more accurate translations, he remains
the most inspiring interpreter of the great biographer whom Emerson calls
"the historian of heroism."

SUMMARY OF THE AGE OF ELIZABETH. This period is generally regarded as the
greatest in the history of our literature. Historically, we note in this
age the tremendous impetus received from the Renaissance, from the
Reformation, and from the exploration of the New World. It was marked by a
strong national spirit, by patriotism, by religious tolerance, by social
content, by intellectual progress, and by unbounded enthusiasm.

Such an age, of thought, feeling, and vigorous action, finds its best
expression in the drama; and the wonderful development of the drama,
culminating in Shakespeare, is the most significant characteristic of the
Elizabethan period. Though the age produced some excellent prose works, it
is essentially an age of poetry; and the poetry is remarkable for its
variety, its freshness, its youthful and romantic feeling. Both the poetry
and the drama were permeated by Italian influence, which was dominant in
English literature from Chaucer to the Restoration. The literature of this
age is often called the literature of the Renaissance, though, as we have
seen, the Renaissance itself began much earlier, and for a century and a
half added very little to our literary possessions.

In our study of this great age we have noted (1) the Non-dramatic Poets,
that is, poets who did not write for the stage. The center of this group is
Edmund Spenser, whose _Shepherd's Calendar_ (1579) marked the appearance of
the first national poet since Chaucer's death in 1400. His most famous work
is _The Faery Queen_. Associ