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The strangeness of the contrast which these two plays offer when compared with the third is peculiar in English literature. Elsewhere it is common enough. That tragedy should be stately, decorous, and on the whole somewhat uneventful as far as visible action goes, – comedy bustling, crammed with incident, and quite regardless of decorum, – might seem a law of nature to the audience of Æschylus and Aristophanes, of Plautus and Pacuvius, even to the audience of Molière and Racine. But the vast and final change, the inception of which we have here to record, has made tragedy, tragi-comedy, comedy, and farce pass into one another so gradually, and with so little of a break in the English mind, that Gammer Gurton's Needle and Gorboduc, though they were presented to the same audiences, and in all probability written within ten years of each other at furthest, seem to belong to different worlds of literature and society. The two comedies just noticed are framed upon no literary model at all as wholes, but simply upon the model of human nature. Gorboduc is framed, though not with absolute fidelity, on the model of the tragedies of Seneca, which had, during the early years of the sixteenth century, mastered the attention of the literary playwrights of Italy, France, and even to some extent Germany, and which determined for three hundred years, at any rate, the form of the tragedy of France. This model – which may be briefly described as the model of Greek tragedy, still further pruned of action, with the choruses retained, but estranged from their old close connection with the dialogue, and reduced to the level of elaborate lyrical moralisings, and with the tendency to such moralising in dialogue as well as in chorus largely increased – was introduced in England with hardly less advantage than abroad. Sackville, one of the reputed authors of Gorboduc, was far superior to Jodelle, both as poet and as versifier, and the existence of the two universities in England gave a support, to which nothing in France corresponded, to the influence of learned writers. Indeed, till nearly the close of our present period, the universities had the practical control of literary production. But the genius of the English nation would have none of Seneca. It refused him when he was first introduced by Sackville and others; it refused him once more when Daniel and the set of the Countess of Pembroke again attempted to introduce him; it refused him again and again in the later seventeenth century, when imitation, first of his earlier French followers, and then of the greater tragedy of Corneille and Racine (which was only the Senecan model strengthened and improved) was repeatedly tried by fine gentlemen and by needy hacks, by devotees of the unities, and by devotees of court fashion. I hardly know any other instance in literary history of a similar resistance offered to a similar tide of literary influence in Europe. We have little room here for fanciful comparisons, yet might the dramatic events of 1560-1590 in England well seem a literary battle of Tours, in which an English Charles Martel stemmed and turned back for ever and ever the hitherto resistless march of a literary invader and spread of a literary heresy.
To the modern reader Gorboduc (part of which is attributed to Thomas Norton, and which was acted on 18th January 1561, published piratically in 1565, and authoritatively under the title of Ferrex and Porrex in 1571?) is scarcely inviting, but that is not a criterion of its attractiveness to its own contemporaries. Perhaps the most curious thing about it is the violence done to the Horatian and Senecan theories, or rather the naïf outwitting of those theories, by an arrangement of dumb shows between the acts to satisfy the hunger for real action which the model refused to countenance. All the rest is of the most painful regularity: and the scrupulosity with which each of the rival princes is provided with a counsellor and a parasite to himself, and the other parts are allotted with similar fairness, reaches such a point that it is rather surprising that Gorboduc was not provided with two queens – a good and a bad. Such action as there is lies wholly in the mouths of messengers, and the speeches are of excessive length. But even these faults are perhaps less trying to the modern reader than the inchoate and unpolished condition of the metre in the choruses, and indeed in the blank verse dialogue. Here and there, there are signs of the stateliness and poetical imagery of the "Induction"; but for the most part the decasyllables stop dead at their close and begin afresh at their beginning with a staccato movement and a dull monotony of cadence which is inexpressibly tedious, as will be seen in the following: —
(Videna soliloquises.)
"Why should I live and linger forth my time
In longer life to double my distress?
O me, most woeful wight, whom no mishap
Long ere this day could have bereaved hence.
Might not these hands, by fortune or by fate,
Have pierc'd this breast, and life with iron reft?
Or in this palace here where I so long
Have spent my days, could not that happy hour
Once, once have happ'd in which these hugy frames
With death by fall might have oppressed me?
Or should not this most hard and cruel soil,
So oft where I have press'd my wretched steps,
Some time had ruth of mine accursed life,
To rend in twain and swallow me therein?
So had my bones possessed now in peace
Their happy grave within the closed ground,
And greedy worms had gnawn this pined heart
Without my feeling pain: so should not now
This living breast remain the ruthful tomb
Wherein my heart yielden to death is graved;
Nor dreary thoughts, with pangs of pining grief,
My doleful mind had not afflicted thus."
There is no blame due to Sackville in that he did not invent what no single man invented, and what even in England, where only it has been originally attained, took some thirty years of the genius of the nation working through innumerable individual tentatives and failures to bring about. But he did not invent it; he did not even make any attempt to invent it; and had this first English tragedy been generally followed, we should have been for an unknown period in the land of bondage, in the classical dungeon which so long retained the writers of a nation, certainly not, at the time of the appearance of Gorboduc, of less literary promise than our own.
In describing these tentatives and failures it will be impossible here to enter into any lengthened criticism of particular works. We shall have to content ourselves with a description of the general lines and groups, which may be said to be four in number: (1) The few unimportant and failing followers of Sackville; (2) The miscellaneous farce-and-interlude-writers, who, incult and formless as their work was, at least maintained the literary tradition; (3) The important and most interesting group of "university wits" who, with Marlowe at their head, made the blank verse line for dramatic purposes, dismissed, cultivated as they were, the cultivation of classical models, and gave English tragedy its Magna Charta of freedom and submission to the restrictions of actual life only, but who failed, from this cause or that, to achieve perfect life-likeness; and (4) The actor-playwrights who, rising from very humble beginnings, but possessing in their fellow Shakespere a champion unparalleled in ancient and modern times, borrowed the improvements of the University Wits, added their own stage knowledge, and with Shakespere's aid achieved the master drama of the world.
A very few lines will suffice for the first group, who are the merest literary curiosities. Indeed the actual number of Senecan dramas in English is very small indeed, though there may possibly be some undiscovered in MS. The Tancred and Gismund of Robert Wilmot (acted 1568, and of some merit), the Cornelia of Garnier, translated by Kyd and printed in 1594, the curious play called The Misfortunes of Arthur, acted before the Queen in the Armada year, with "triumphs" partly devised by Francis Bacon, the two plays of Samuel Daniel, and a very few others, complete the list; indeed Cornelia, Cleopatra, and Philotas are almost the only three that keep really close to the model. At a time of such unbounded respect for the classics, and when Latin plays of the same stamp were constantly acted at the universities, such a paucity of examples in English can only testify to a strong national distaste – an instinctive feeling that this would never do.
The nondescript followings of morality and farce are infinitely more numerous, and perhaps intrinsically more interesting; but they can hardly be said to be, except in bulk, of much greater importance. Their real interest to the reader as he turns them over in the first seven or eight volumes of Dodsley, or in the rarer single editions where they occur, is again an interest of curiosity – a desire to trace the various shiftings and turnings of the mighty but unorganised genius which was soon to find its way. Next to the difficulty of inventing a conveniently plastic form seems to have been the difficulty of inventing a suitable verse. For some time the swinging or lumbering doggerel in which a tolerably good rhyme is reached by a kind of scramble through four or five feet, which are most like a very shuffling anapæst – the verse which appears in the comedies of Udall and Still – held its ground. We have it in the morality of the New Custom, printed in 1573, but no doubt written earlier, in the Interlude of The Trial of Treasure, in the farcical comedy of Like Will to Like, a coarse but lively piece, by Ulpian Fulwell (1568). In the very curious tragi-comedy of Cambyses this doggerel appears partly, but is alternated with the less lawless but scarcely more suitable "fourteener" (divided or not as usual, according to printer's exigencies) which, as was shown in the last chapter, for a time almost monopolised the attention of English poets. The same mixture appears to some extent, though the doggerel occupies the main text, in the Damon and Pythias of Richard Edwards, the editor of The Paradise of Dainty Devices. In Appius and Virginia (a decidedly interesting play) the fourteener on the contrary is the staple verse, the doggerel being only occasional. Something the same may be said of a very late morality, The Conflict of Conscience. Both doggerel and fourteeners appear in the quaint productions called Three Ladies of London, etc.; but by this time the decasyllable began to appear with them and to edge them out. They died hard, however, thoroughly ill-fitted as they were for dramatic use, and, as readers of Love's Labour Lost know, survived even in the early plays of Shakespere. Nor were the characters and minor details generally of this group less disorderly and inadequate than the general schemes or the versification. Here we have the abstractions of the old Morality; there the farcical gossip of the Gammer Gurton's Needle class; elsewhere the pale and dignified personages of Gorboduc: all three being often jumbled together all in one play. In the lighter parts there are sometimes fair touches of low comedy; in the graver occasionally, though much more rarely, a touching or dignified phrase or two. But the plays as wholes are like Ovid's first-fruits of the deluge – nondescripts incapable of life, and good for no useful or ornamental purpose.
It is at this moment that the cleavage takes place. And when I say "this moment," I am perfectly conscious that the exact moment in dates and years cannot be defined. Not a little harm has been done to the history of English literature by the confusion of times in which some of its historians have pleased themselves. But even greater harm might be done if one were to insist on an exact chronology for the efflorescence of the really poetical era of Elizabethan literature, if the blossoming of the aloe were to be tied down to hour and day. All that we can say is that in certain publications, in certain passages even of the same publication, we find the old respectable plodding, the old blind tentative experiment in poetry and drama: and then without warning – without, as it seems, any possible opportunity of distinguishing chronologically – we find the unmistakable marks of the new wine, of the unapproachable poetry proper, which all criticism, all rationalisation can only indicate and not account for. We have hardly left (if we take their counterparts later we have not left) the wooden verse of Gorboduc, the childish rusticity of Like Will to Like, when suddenly we stumble on the bower —
"Seated in hearing of a hundred streams" —
of George Peele, on the myriad graceful fancies of Lyly, on the exquisite snatches of Greene, on the verses, to this day the high-water mark of poetry, in which Marlowe speaks of the inexpressible beauty which is the object and the despair of the poet. This is wonderful enough. But what is more wonderful is, that these lightning flashes are as evanescent as lightning. Lyly, Peele, Greene, Marlowe himself, in probably the very next passages, certainly in passages not very remote, tell us that this is all matter of chance, that they are all capable of sinking below the level of Sackville at his even conceivably worst, close to the level of Edwards, and the various anonymous or half-anonymous writers of the dramatic miscellanies just noted. And then beyond these unequal wits arises the figure of Shakespere; and the greatest work of all literature swims slowly into our ken. There has been as yet no history of this unique phenomenon worthy of it: I have not the least pretension to supply one that shall be worthy. But at least the uniqueness of it shall here have due celebration. The age of Pericles, the age of Augustus, the age of Dante, had no such curious ushering-in unless time has dealt exceptional injustice to the forerunners of all of them. We do not, in the period which comes nearest in time and nature to this, see anything of the same kind in the middle space between Villon and Ronsard, between Agrippa d'Aubigné and Corneille. Here if anywhere is the concentrated spirit of a nation, the thrice-decocted blood of a people, forcing itself into literary expression through mediums more and more worthy of it. If ever the historical method was justified (as it always is), now is its greatest justification as we watch the gradual improvements, the decade-by-decade, almost year-by-year acquisitions, which lead from Sackville to Shakespere.
The rising sap showed itself in two very different ways, in two branches of the national tree. In the first place, we have the group of University Wits, the strenuous if not always wise band of professed men of letters, at the head of whom are Lyly, Marlowe, Greene, Peele, Lodge, Nash, and probably (for his connection with the universities is not certainly known) Kyd. In the second, we have the irregular band of outsiders, players and others, who felt themselves forced into literary and principally dramatic composition, who boast Shakespere as their chief, and who can claim as seconds to him not merely the imperfect talents of Chettle, Munday, and others whom we may mention in this chapter, but many of the perfected ornaments of a later time.
It may be accident or it may not, but the beginning of this period is certainly due to the "university wits." Lyly stands a good deal apart from them personally, despite his close literary connection. We have no kind of evidence which even shows that he was personally acquainted with any one of the others. Of Kyd, till Mr. Boas's recent researches, we knew next to nothing, and we still know very little save that he was at Merchant Taylors' School and was busy with plays famous in their day. But the other five were closely connected in life, and in their deaths they were hardly divided. Lodge only of the five seems to have freed himself, partly in virtue of a regular profession, and partly in consequence of his adherence to the Roman faith, from the Bohemianism which has tempted men of letters at all times, and which was especially dangerous in a time of such unlimited adventure, such loose public morals, and such unco-ordinated society as the Elizabethan era. Whatever details we have of their lives (and they are mostly very meagre and uncertain) convey the idea of times out of joint or not yet in joint. The atheism of Marlowe rests on no proof whatever, though it has got him friends in this later time. I am myself by no means sure that Greene's supposed debauchery is not, to a great extent, "copy." The majority of the too celebrated "jests" attributed to George Peele are directly traceable to Villon's Repues Franches and similar compilations, and have a suspiciously mythical and traditional air to the student of literary history. There is something a little more trustworthily autobiographical about Nash. But on the whole, though we need not doubt that these ancestors of all modern Englishmen who live by the gray goose quill tasted the inconveniences of the profession, especially at a time when it was barely constituted even as a vocation or employment (to quote the Income Tax Papers), we must carefully avoid taking too gloomy a view of their life. It was usually short, it was probably merry, but we know very little else about it. The chief direct documents, the remarkable pamphlets which some of them have left, will be dealt with hereafter. Here we are busied only with their dates and their dramatic work, which was in no case (except perhaps in that of Kyd) their sole known work, but which in every case except those of Nash and perhaps Greene was their most remarkable.
In noticing Euphues an account has already been given of Lyly's life, or rather of the very scanty particulars which are known of it. His plays date considerably later than Euphues. But they all bear the character of the courtier about them; and both in this characteristic and in the absence of any details in the gossipping literature of the time to connect him with the Bohemian society of the playhouse, the distinction which separates Lyly from the group of "university wits" is noteworthy. He lost as well as gained by the separation. All his plays were acted "by the children of Paul's before her Majesty," and not by the usual companies before Dick, Tom, and Harry. The exact date and order of their writing is very uncertain, and in one case at least, that of The Woman in the Moon, we know that the order was exactly reversed in publication: this being the last printed in Lyly's lifetime, and expressly described as the first written. His other dramatic works are Campaspe, Sappho and Phaon, Endymion, Galathea, Midas, Mother Bombie, and Love's Metamorphosis; another, The Maid's Metamorphosis, which has been attributed to him, is in all probability not his.
The peculiar circumstances of the production of Lyly's plays, and the strong or at any rate decided individuality of the author, keep them in a division almost to themselves. The mythological or pastoral character of their subject in most cases might not of itself have prevented their marking an advance in the dramatic composition of English playwrights. A Midsummer Night's Dream and much other work of Shakespere's show how far from necessary it is that theme, or class of subject, should affect merit of presentment. But Lyly's work generally has more of the masque than the play. It sometimes includes charming lyrics, such as the famous Campaspe song and others. But most of it is in prose, and it gave beyond doubt – though Gascoigne had, as we have seen, set the example in drama – no small impetus to the use and perfectioning of that medium. For Lyly's dramatic prose, though sometimes showing the same faults, is often better than Euphues, as here: —
"End. O fair Cynthia, why do others term thee unconstant, whom I have ever found immovable? Injurious time, corrupt manners, unkind men, who finding a constancy not to be matched in my sweet mistress, have christened her with the name of wavering, waxing, and waning. Is she inconstant that keepeth a settled course, which since her first creation altereth not one minute in her moving? There is nothing thought more admirable, or commendable in the sea, than the ebbing and flowing; and shall the moon, from whom the sea taketh this virtue, be accounted fickle for increasing and decreasing? Flowers in their buds are nothing worth till they be blown; nor blossoms accounted till they be ripe fruit; and shall we then say they be changeable, for that they grow from seeds to leaves, from leaves to buds, from buds to their perfection? then, why be not twigs that become trees, children that become men, and mornings that grow to evenings, termed wavering, for that they continue not at one stay? Ay, but Cynthia being in her fulness decayeth, as not delighting in her greatest beauty, or withering when she should be most honoured. When malice cannot object anything, folly will; making that a vice which is the greatest virtue. What thing (my mistress excepted) being in the pride of her beauty, and latter minute of her age, that waxeth young again? Tell me, Eumenides, what is he that having a mistress of ripe years, and infinite virtues, great honours, and unspeakable beauty, but would wish that she might grow tender again? getting youth by years, and never-decaying beauty by time; whose fair face, neither the summer's blaze can scorch, nor winter's blast chap, nor the numbering of years breed altering of colours. Such is my sweet Cynthia, whom time cannot touch, because she is divine, nor will offend because she is delicate. O Cynthia, if thou shouldest always continue at thy fulness, both gods and men would conspire to ravish thee. But thou, to abate the pride of our affections, dost detract from thy perfections; thinking it sufficient if once in a month we enjoy a glimpse of thy majesty; and then, to increase our griefs, thou dost decrease thy gleams; coming out of thy royal robes, wherewith thou dazzlest our eyes, down into thy swath clouts, beguiling our eyes; and then – "
In these plays there are excellent phrases and even striking scenes. But they are not in the true sense dramatic, and are constantly spoilt by Lyly's strange weakness for conceited style. Everybody speaks in antitheses, and the intolerable fancy similes, drawn from a kind of imaginary natural history, are sometimes as prominent as in Euphues itself. Lyly's theatre represents, in short, a mere backwater in the general stream of dramatic progress, though not a few allusions in other men's work show us that it attracted no small attention. With Nash alone, of the University Wits proper, was Lyly connected, and this only problematically. He was an Oxford man, and most of them were of Cambridge; he was a courtier; if a badly-paid one, and they all lived by their wits; and, if we may judge by the very few documents remaining, he was not inclined to be hail-fellow-well-met with anybody, while they were all born Bohemians. Yet none of them had a greater influence on Shakespere than Lyly, though it was anything but a beneficial influence, and for this as well as for the originality of his production he deserves notice, even had the intrinsic merit of his work been less than it is. But, in fact, it is very great, being almost a typical production of talent helped by knowledge, but not mastered by positive genius, or directed in its way by the precedent work of others.
In the work of the University Wits proper – Marlowe, Greene, Peele, Lodge, Nash, and Kyd, the last of whom, it must again be said, is not certainly known to have belonged to either university, though the probabilities are all in favour of that hypothesis – a very different kind of work is found. It is always faulty, as a whole, for even Dr. Faustus and Edward II., despite their magnificent poetry and the vast capabilities of their form, could only be called good plays or good compositions as any kind of whole by a critic who had entirely lost the sense of proportion. But in the whole group, and especially in the dramatic work of Marlowe, Greene, Peele, and Kyd (for that of Lodge and Nash is small in amount and comparatively unimportant in manner), the presence, the throes of a new dramatic style are evident. Faults and beauties are more or less common to the whole quartet. In all we find the many-sided activity of the Shakesperian drama as it was to be, sprawling and struggling in a kind of swaddling clothes of which it cannot get rid, and which hamper and cripple its movements. In all there is present a most extraordinary and unique rant and bombast of expression which reminds one of the shrieks and yells of a band of healthy boys just let out to play. The passages which (thanks chiefly to Pistol's incomparable quotations and parodies of them) are known to every one, the "Pampered jades of Asia," the "Have we not Hiren here," the "Feed and grow fat, my fair Callipolis," the other quips and cranks of mine ancient are scattered broadcast in their originals, and are evidently meant quite seriously throughout the work of these poets. Side by side with this mania for bombast is another mania, much more clearly traceable to education and associations, but specially odd in connection with what has just been noticed. This is the foible of classical allusion. The heathen gods and goddesses, the localities of Greek and Roman poetry, even the more out-of-the-way commonplaces of classical literature, are put in the mouths of all the characters without the remotest attempt to consider propriety or relevance. Even in still lesser peculiarities the blemishes are uniform and constant – such as the curious and childish habit of making speakers speak of themselves in the third person, and by their names, instead of using "I" and "me." And on the other hand, the merits, though less evenly distributed in degree, are equally constant in kind. In Kyd, in Greene still more, in Peele more still, in Marlowe most of all, phrases and passages of blinding and dazzling poetry flash out of the midst of the bombast and the tedium. Many of these are known, by the hundred books of extract which have followed Lamb's Specimens, to all readers. Such, for instance, is the
"See where Christ's blood streams in the firmament"
of Marlowe, and his even more magnificent passage beginning
"If all the pens that ever poets held;"
such Peele's exquisite bower,
"Seated in hearing of a hundred streams,"
which is, with all respect to Charles Lamb, to be paralleled by a score of other jewels from the reckless work of "George Pyeboard": such Greene's
"Why thinks King Henry's son that Margaret's love
Hangs in the uncertain balance of proud time?"
such even Kyd's
"There is a path upon your left hand side
That leadeth from a guilty conscience
Unto a forest of distrust and fear."
But the whole point of the thing is that these flashes, which are not to be found at all before the date of this university school, are to be found constantly in its productions, and that, amorphous, inartistic, incomplete as those productions are, they still show Hamlet and A Midsummer Night's Dream in embryo. Whereas the greatest expert in literary embryology may read Gorboduc and The Misfortunes of Arthur through without discerning the slightest signs of what was coming.
Nash and Lodge are so little dramatists (the chief, if not only play of the former being the shapeless and rather dull comedy, Will Summer's Testament, relieved only by some lyrics of merit which are probably not Nash's, while Lodge's Marius and Sylla, while it wants the extravagance, wants also the beauty of its author's companions' work), that what has to be said about them will be better said later in dealing with their other books. Greene's prose pieces and his occasional poems are, no doubt, better than his drama, but the latter is considerable, and was probably his earliest work. Kyd has left nothing, and Peele little, but drama; while beautiful as Marlowe's Hero and Leander is, I do not quite understand how any one can prefer it to the faultier but far more original dramas of its author. We shall therefore deal with these four individually here.
The eldest of the four was George Peele, variously described as a Londoner and a Devonshire man, who was probably born about 1558. He was educated at Christ's Hospital (of which his father was "clerk") and at Broadgates Hall, now Pembroke College, Oxford, and had some credit in the university as an arranger of pageants, etc. He is supposed to have left Oxford for London about 1581, and had the credit of living a Bohemian, not to say disreputable, life for about seventeen years; his death in 1597(?) being not more creditable than his life. But even the scandals about Peele are much more shadowy than those about Marlowe and Greene. His dramatic work consists of some half-dozen plays, the earliest of which is The Arraignment of Paris, 1581(?), one of the most elaborate and barefaced of the many contemporary flatteries of Elizabeth, but containing some exquisite verse. In the same way Peele has been accused of having in Edward I. adopted or perhaps even invented the basest and most groundless scandals against the noble and stainless memory of Eleanor of Castile; while in his Battle of Alcazar he certainly gratifies to the utmost the popular anti-Spanish and anti-Popish feeling. So angry have critics been with Peele's outrage on Eleanor, that some of them have declared that none but he could have been guilty of the not dissimilar slur cast on Joan of Arc's character in Henry VI., the three parts of which it has been the good pleasure of Shakesperian commentators to cut and carve between the University Wits ad libitum. I cannot myself help thinking that all this has arisen very much from the idea of Peele's vagabondism given by the untrustworthy "Jests." The slander on Queen Eleanor was pretty certainly supplied to him by an older ballad. There is little or nothing else in Peele's undoubted writings which is at all discreditable. His miscellaneous poems show a man by no means given to low company or low thoughts, and one gifted with the truest poetic vein; while his dramas, besides exhibiting a greater command over blank verse than any of his predecessors and than any except Marlowe of his contemporaries can claim, are full of charming passages. Sir Clyomon and Sir Clamydes, which has been denied to him – an interesting play on the rare basis of the old romance – is written not in blank verse but in the fourteener. The Old Wives' Tale pretty certainly furnished Milton with the subject of Comus, and this is its chief merit. Edward I. and The Battle of Alcazar, but especially the latter, contain abundance of the hectoring rant which has been marked as one of the characteristics of the school, and which is half-excused by the sparks of valour that often break from its smoke and clatter. But Peele would undoubtedly stand higher, though he might not be so interesting a literary figure, if we had nothing of his save The Arraignment of Paris and David and Bethsabe. TheArraignment (written in various metres, but mainly in a musical and varied heroic couplet), is partly a pastoral, partly a masque, and wholly a Court play. It thus comes nearest to Lyly, but is altogether a more dramatic, livelier, and less conceited performance than anything by the author of Euphues. As for David and Bethsabe, it is crammed with beauties, and Lamb's curiously faint praise of it has always been a puzzle to me. As Marlowe's are the mightiest, so are Peele's the softest, lines in the drama before Shakespere; while the spirit and humour, which the author also had in plenty, save his work from the merely cloying sweetness of some contemporary writers. Two of his interposed or occasional lyrics will be given later: a blank verse passage may find room here: —
