learning; if we remember that to speak euphuistically was a coveted and
studiously cultivated accomplishment, and that to pun, to utter caustic
jests, to let fall neat epigrams were the highest ambition of wit; if we
take this trouble to prepare ourselves for reading Lyly's plays, we may
still find them dull, but we shall at least understand why they took the
form they did, and shall be in a position to recognize the substantial
service rendered to Comedy by the author. Lyly's work was just the
application of the laws of euphuism to native comedy, and it wrought a
change curiously similar to the effect of Senecan principles upon native
tragedy, transferring the importance from the action to the words. It
may be remarked that this redistribution of the interest must always be
of great value in the early stage of any literature. The popular taste
for action and incident is sure to be gratified sooner or later; the
demand for elegant and appropriate diction, usually confined to the
cultured few, is more apt to be passed over. Euphuism never did the harm
to comedy which tragedy suffered at the hands of the late Elizabethans
who, in their pursuit of moving incident, lost themselves in a reckless
licence of language and verse. Action, therefore, fell into the
background. Refinement, elevation was aimed at. In the place of Hodge,
Dame Chat and their company, there now appeared gracious beings of
perfect manners and speech; and since things Greek and mythological had
become the fashion, Arcadian nymphs and swains, beauteous goddesses and
Athenian philosophers were judged the most fitting to stand before the
English court. In scene after scene fair ladies talk of love, reverend
sages display their readiness in solving knotty problems, lovers sigh
into the air long rhapsodies over the charms of their mistresses,
sharp-tongued (but rarely coarse) serving-boys lure fools into greater
folly or exchange amusing badinage at the expense of their absent
masters. The story does not advance much, but that is of small account
so long as the dialogue tickles ears taught to find delight in