slated by a friend of his, "that our own tongue should be written
clean and pure, unmixed and unmangled with the borrowing of other
tongues, wherein if we take not heed by time, ever borrowing and never
paying, she shall be fain to keep her house as bankrupt." Writings in
the Saxon vernacular like the sermons of Latimer, who was careful to use
nothing not familiar to the common people, did much to help the scholars
to save our prose from the extravagances which they dreaded. Their
attack was directed no less against the revival of really obsolete
words. It is a paradox worth noting for its strangeness that the first
revival of mediaevalism in modern English literature was in the
Renaissance itself. Talking in studious archaism seems to have been a
fashionable practice in society and court circles. "The fine courtier,"
says Thomas Wilson in his _Art of Rhetoric_, "will talk nothing but
Chaucer." The scholars of the English Renaissance fought not only
against the ignorant adoption of their importations, but against the
renewal of forgotten habits of speech.

Their efforts failed, and their ideals had to wait for their acceptance
till the age of Dryden, when Shakespeare and Spenser and Milton, all of
them authors who consistently violated the standards of Cheke, had done
their work. The fine courtier who would talk nothing but Chaucer was in
Elizabeth's reign the saving of English verse. The beauty and richness
of Spenser is based directly on words he got from _Troilus and Cressida_
and the _Canterbury Tales_. Some of the most sonorous and beautiful
lines in Shakespeare break every canon laid down by the humanists.

"Th' extravagant and erring spirit hies
To his confine"

is a line, three of the chief words of which are Latin importations that
come unfamiliarly, bearing their original interpretation with them.
Milton is packed with similar things: he will talk of a crowded meeting
as "frequent" and use constructions which are unintelligible to anyone
who does not possess a knowledge--and a good knowledge--of Latin syntax.
Yet the effect is a good poetic effect. In attacking latinisms in the
language borrowed from older poets Cheke and his companions were
attacking the two chief sources of Elizabethan poetic vocabulary. All
the sonorousness, beauty and dignity of the poetry and the drama which
followed them would have been lost had they succeeded in their object,
and their verse would have been constrained into the warpe