Raleigh. Gosse Edmund

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      He, sitting me beside in that same shade,

      Provokèd me to play some pleasant fit,

      (that is to say, to read the MS. of the Faery Queen, now approaching completion,)

      Among the other poems thus read by Raleigh to Spenser at Kilcolman was the 'lamentable lay' to which reference had just been made – the piece in praise of Elizabeth which bore the name of Cynthia. In Spenser's pastoral, the speaker is persuaded by Thestylis (Lodovick Bryskett) to explain what ditty that was that the Shepherd of the Ocean sang, and he explains very distinctly, but in terms which are scarcely critical, that Raleigh's poem was written in love and praise, but also in pathetic complaint, of Elizabeth, that

      This is most valuable evidence of the existence in 1589 of a poem or series of poems by Sir Walter Raleigh, set by Spenser on a level with the best work of the age in verse. This poem was, until quite lately, supposed to have vanished entirely and beyond all hope of recovery. Until now, no one seems to have been aware that we hold in our hands a fragment of Raleigh's magnum opus of 1589 quite considerable enough to give us an idea of the extent and character of the rest.4

      In 1870 Archdeacon Hannah printed what he described as a 'continuation of the lost poem, Cynthia,' from fragments in Sir Walter's own hand among the Hatfield MSS. Dr. Hannah, however, misled by the character of the handwriting, by some vague allusions, in one of the fragments, to a prison captivity, and most of all, probably, by a difficulty in dates which we can now for the first time explain, attributed these pieces to 1603-1618, that is to say to Raleigh's imprisonment in the Tower. The second fragment, beginning 'My body in the walls captived,' belongs, no doubt, to the later date. It is in a totally distinct metre from the rest and has nothing to do with Cynthia. The first fragment bears the stamp of much earlier date, but this also can be no part of Raleigh's epic. The long passage then following, on the contrary, is, I think, beyond question, a canto, almost complete, of the lost epic of 1589. It is written in the four-line heroic stanza adopted ten years later by Sir John Davies for his Nosce teipsum, and most familiar to us all in Gray's Churchyard Elegy. Moreover, it is headed 'the Twenty-first and Last Book of The Ocean to Cynthia.' Another note, in Raleigh's handwriting, styles the poem The Ocean's Love to Cynthia, and this was probably the full name of it. Spenser's name for Raleigh, the Shepherd, or pastoral hero, of the Ocean, is therefore for the first time explained. This twenty-first book suffers from the fact that stanzas, but apparently not very many, have dropped out, in four places. With these losses, the canto still contains 130 stanzas, or 526 lines. Supposing the average length of the twenty preceding books to have been the same, The Ocean's Love to Cynthia must have contained at least ten thousand lines. Spenser, therefore, was not exaggerating, or using the language of flattery towards a few elegies or a group of sonnets, when he spoke of Cynthia as a poem of great importance. As a matter of fact, no poem of the like ambition had been written in England for a century past, and if it had been published, it would perhaps have taken a place only second to its immediate contemporary, The Faery Queen.

      At this very time, and in the midst of his poetical holiday, Raleigh was actively engaged in defending the rights of the merchants of Waterford and Wexford to carry on their trade in pipe-staves for casks. Raleigh himself encouraged and took part in this exportation, having two ships regularly engaged between Waterford and the Canaries. Traces of his peaceful work in Munster still remain. Sir John Pope Hennessy says:

      These were boons to mankind which the zeal of Raleigh's agents had brought back from across the western seas, gifts of more account in the end than could be contained in all the palaces of Manoa, and all the emerald mines of Trinidad, if only this great man could have followed his better instinct and believed it.

      Raleigh's habitual difficulty in serving under other men showed itself this autumn in his dispute with the Irish Deputy, Sir William Fitzwilliam, and led, perhaps, to his return early in the winter. We do not know what circumstances led to his being taken back into Elizabeth's favour again, but it was probably in November that he returned to England, and took Spenser with him. Of this interesting passage in his life we find again an account in Colin Clout's come home again. Spencer says:

      and advised him to come to Court and be presented to 'Cynthia,'

      He then devotes no less than ninety-five lines to a description of the voyage, which was a very rough one, and at last he is brought by Raleigh into the Queen's presence:

      finally commanding the publication of it. On December 1, 1589, the Faery Queen was registered, and a pension of 50l. secured for the poet. The supplementary letter and sonnets to Raleigh express Spenser's generous recognition of the services his friend had performed for him, and appeal to Raleigh, as 'the Summer's Nightingale, thy sovereign goddess's most dear delight,' not to delay in publishing his own great poem, the Cynthia. The first of the eulogistic pieces prefixed by friends to the Faery Queen was that noble and justly celebrated sonnet signed W. R. which alone would justify Raleigh in taking a place among the English poets.

      Raleigh's position was once more secure in the sunlight. He could hold Sir William Fitzwilliam informed, on December 29, that 'I take myself far his better by the honourable office I hold, as well as by that nearness to her Majesty which still I enjoy, and never more.' The next two years were a sort of breathing space in Raleigh's career; he had reached the table-land of his fortunes, and neither rose nor fell in favour. The violent crisis of the Spanish Armada had marked the close of an epoch at Court. In September 1588 Leicester died, in April 1590 Walsingham, in September 1591 Sir Christopher Hatton, three men in whose presence, however apt Raleigh might be to vaunt his influence, he could never have felt absolutely master. New men were coming on, but for the moment the most violent and aggressive of his rivals, Essex, СКАЧАТЬ