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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