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217 Of shepherds. I. Sidney's life--His travels and friendship with Languet--His court life and love--His death--The end of "Stella" 219 II. Sidney's works--Miscellaneous writings--The "Apologie"--Sidney's appreciation of the poetic and romantic novel. The "Arcadia," why written--Sidney's various heroes: shepherds, knights, princesses, &c.--Eclogues and battles, fetes, masques and tournaments--Anglo-arcadian architecture, gardens, dresses and furniture. Sidney's object according to Fulke Greville, and according to himself--His lovers--Youthful love, unlawful love, foolish love, innocent love--Pamela's prayer--The final imbroglio. Sidney's style as a novel writer--His wit and brightness--His eloquence--His bad taste--His fanciful ornaments 228 III. Sidney's reputation in England--Continuators, imitators, and admirers among dramatists, poets and novelists--Shakespeare, Jonson, Day, Shirley, Quarles--Lady Mary Wroth and her novel--Sidney's reputation in the eighteenth century, Addison, Young, Walpole, Cowper--Chap-books. In France--He is twice translated, and gives rise to a literary quarrel--Charles Sorel's judgment in the "Berger extravagant," and Du Bartas' praise--Mareschal's drama out of the "Arcadia"--Niceron and Florian 260 CHAPTER VI. _THOMAS NASH; THE PICARESQUE AND REALISTIC NOVEL_ 287 I. Merry books as a preservative of health--Sidney's contempt for the comic. Studies in real life--The picaresque tale; its Spanish origin--Its success in Europe---Lazarillo and Guzman 287 II. Thomas Nash--His birth, education and life--His writings, his temperament--His equal fondness for mirth and for lyrical poetry--His literary theories on art and style--His vocabulary, his style. His picaresque novel, "Jack Wilton"--Scenes and characters--Observation of nature--Dramatic and melodramatic parts--Historical personages--Nash's troubles on account of "Jack Wilton." His other works--Scenes of light comedy in them--Portraits of the upstart, of the sectary, &c. 295 III. Nash's successors--H. Chettle--Chettle's combined im
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