so that the truest writer will be some captive knight after all." This
bond between literature and action explains more than the writings of
the voyagers or the pamphlets of men who lived in London by what they
could make of their fellows. Literature has always a two-fold relation
to life as it is lived. It is both a mirror and an escape: in our own
day the stirring romances of Stevenson, the full-blooded and vigorous
life which beats through the pages of Mr. Kipling, the conscious
brutalism of such writers as Mr. Conrad and Mr. Hewlett, the plays of
J.M. Synge, occupied with the vigorous and coarse-grained life of
tinkers and peasants, are all in their separate ways a reaction against
an age in which the overwhelming majority of men and women have
sedentary pursuits. Just in the same way the Elizabethan who passed his
commonly short and crowded life in an atmosphere of throat-cutting and
powder and shot, and in a time when affairs of state were more momentous
for the future of the nation than they have ever been since, needed his
escape from the things which pressed in upon him every day. So grew the
vogue and popularity of pastoral poetry and of pastoral romance.



(2)

It is with two courtiers that modern English poetry begins. The lives of
Sir Thomas Wyatt and the Earl of Surrey both ended early and unhappily,
and it was not until ten years after the death of the second of them
that their poems appeared in print. The book that contained them,
Tottel's _Miscellany of Songs and Sonnets_, is one of the landmarks of
English literature. It begins lyrical love poetry in our language. It
begins, too, the imitation and adaptation of foreign and chiefly Italian
metrical forms, many of which have since become characteristic forms of