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ascham

The next body of letters—Ascham's—which seems to call for notice here is of the next century. It has not a few points of appeal, more than one of which concern us very nearly. Most of the writers of the Paston Letters were, though in some cases of good rank and fairly educated, persons entirely unacademic in character, and their society was that of the last trouble and convulsion through which the Early Middle Ages struggled into the Renaissance, so long delayed with us. Ascham was one of our chief representatives of the Renaissance itself—that is to say, of a type at once scholarly and man-of-the-worldly, a courtier and a diplomatist as well as a "don" and a man of letters; a sportsman as well as a schoolmaster. And while from all these points of view his letters have interest, there is one thing about them which is perhaps more interesting to us than any other: and that is the fact that while he begins to write in Latin—the all but mother-tongue of all scholars of the time, and the universal language of the educated, even when not definitely scholarly, throughout Europe—he exchanges this for English latterly, in the same spirit which prompted his famous expression of reasons for writing the Toxophilus in our own and his own tongue. There is indeed a double attraction, which has not been always or often noticed, in this change of practice. Everybody has seen how important it is, not merely as resisting the general delusion of contemporary scholars that the vernaculars were things unsafe, "like to play the bankrupt with books," but as protesting by anticipation against the continuance of this error which affected Bacon and Hobbes, and was not entirely without hold even on such a magician in English as Browne. But perhaps everybody has not seen how by implication it acknowledges the peculiar character of the genuine letter—that, though it may be a work of art, it should not be one of artifice—that it is a matter of "business or bosoms," not of study or display.

Contemporary with these letters of Ascham, and going on to the end of the century and the closely coincident end of the reign of Elizabeth, we have a considerable bulk of letter-writing of more or less varied kinds. The greatest men of letters of the time—to the disgust of one, but not wholly so to that of another, class of "scholar"—give us little. Spenser is the most considerable exception: and his correspondence with Gabriel Harvey, though it is personal to a certain extent and on Gabriel's side sufficiently character-revealing, is really of the hybrid kind, partaking rather more of pamphlet or essay than of letter proper. Indeed a good part of that very remarkable pamphlet-literature of this time, which has perhaps scarcely yet received its due share of attention, takes the letter-form: but is mostly even farther from genuine letter-writing than the correspondence of "Immerito" and "Master G. H." We have of course more of Harvey's; we have laments from others, such as Lyly and Googe, about their disappointments as courtiers; we have a good deal of State correspondence. There are some, not very many, agreeable letters of strictly private character in whole or part, the pleasantest of all perhaps being some of Sir Philip Sydney's mother, Lady Mary Dudley. Others are from time to time being made public, such as those in Dr. Williamson's recent book on the Admiral-Earl of Cumberland. As far as mere bulk goes, Elizabethan epistolography would take no small place, just as it would claim no mean one in point of interest. But in an even greater degree than its successor (v. inf.) this corpus would expose itself to the criticism that the time for perfect letter-writing was not quite yet, in this day of so much that was perfect, that the style was not quite the right style, the knack not yet quite achieved. And if the present writer—who swore fealty to Elizabethan literature a full third of a century ago after informal allegiance for nearly as long a time earlier—admits some truth in this, there probably is some. The letters included in it attract us more for the matter they contain than for the manner in which they contain it: and when this is the case no branch of literature has perfected itself in art.

the seventeenth century

The position of the seventeenth century in England with regard to letter-writing has been the subject of rather different opinions. The bulk of its contributions is of course very considerable: and some of the groups are of prominent importance, the most singular, if not the most excellent, being Cromwell's, again to be mentioned. As in other cases and departments this century offers a curious "split" between its earlier part which declines—not in goodness but like human life in vitality—from, but still preserves the character of, the pure Elizabethan, and its later, which grows up again—not in goodness but simply in the same vitality—towards the Augustan. This relationship is sufficiently illustrated in the actual letters. The great political importance of the Civil War of course reflects itself in them. Indeed it may almost be said that for some time letters are wholly concerned with such things, though of course there are partial exceptions, such as those of Dorothy Osborne—"mild Dorothea" as she afterwards became, though there is no mere mildness of the contemptuous meaning in her correspondence. In most remarkable contrast to these stand the somewhat earlier letters of James Howell—our first examples perhaps of letters "written for publication" in the fullest sense, very agreeably varied in subject and great favourites with a good many people, notably Thackeray—but only in part (if at all) genuine private correspondence.

Not a few men otherwise distinguished in literature wrote letters—sometimes in curious contrast with other productions of theirs. The most remarkable instance of this, but an instance easily comprehensible, is that of Samuel Pepys. Only a part of Pepys' immense correspondence has ever been printed, but there is no reason to expect from the remainder—whether actually extant, mislaid or lost—anything better than the examples which are now accessible, and which are for the most part the very opposite in every respect of the famous and delectable Diary. They are perfectly "proper," and for the most part extremely dull; while propriety is certainly not the most salient characteristic of the Diary; and the diarist manages, in the most eccentric manner, to communicate interest not merely to things more specially regarded as "interesting," but to his accounts and his ailments, his business and his political history. His contemporary and rather patronising friend Evelyn keeps his performances less far apart from each other: but is certainly, though a representative, not a great letter-writer, and the few that we have of Pepys' patronised fellow-Cantabrigian Dryden are of no great mark, though not superfluous. In the earlier part of the century Latin had not wholly shaken off its control as the epistolary language; and it was not till quite the other end that English itself became supple and docile enough for the purposes of the letter-writer proper. It was excellent for such things as formal Dedications, semi-historical narratives, and the like. And it could, as in Sir Thomas Browne's, supply another contrast, much more pleasing than that referred to above, of domestic familiarity with a most poetical transcendence of style in published work. Yet, as was the case with the novel, the letter, to gain perfection, still wanted something easier than the grand style of the seventeenth century and more polished than its familiar style.