The Vnfortunate Traveller, or The Life Of Jack Wilton | Page 5

and complimented his late antagonist on his "abundant scholarship." Harvey took no notice of this, and for four years their mutual animosity slumbered. In this same year, 1593, Nash produced the only play which has come down to us as wholly composed by him, the comedy of "Summer's Last Will and Testament."
Meanwhile "Pierce Penniless" had enjoyed a remarkable success, and had placed Nash in a prominent position among London men of letters. We learn that in 1596, four years after its original publication, it had run through six editions, besides being translated in 1594 into French, and, a little later, into Macaronic Latin. In "Christ's Tears" the young writer, conscious of his new importance, deals with what the critics have said about his style. He tells us, and we cannot wonder at it, that objections have been made to "my boisterous compound words, and ending my Italianate coined verbs all in ize." His defence is not unlike that of De Quincey; we can imagine his asking, when urged to be simple, whether simplicity be in place in a description of Belshazzar's Feast He says that the Saxon monosyllables that swarm in the English tongue are a scandal to it, and that he is only turning this cheap silver trash into fine gold coinage. Books, he says, written in plain English, "seem like shopkeepers' boxes, that contain nothing else save halfpence, three-farthings, and two-pences." To show what sort of doubloons he proposes to mint for English pockets, we need go no further than the opening phrases of his dedication of this very book to that amiable poet, the Lady Elizabeth Carey:--
"Excellent accomplished court-glorifying Lady, give me leave, with the sportive sea-porpoises, preludiately a little to play before the storm of my tears, to make my prayer before I proceed to my sacrifice. Lo, for an oblation to the rich burnished shrine of your virtue, a handful of Jerusalem's mummianized earth, in a few sheets of waste paper enwrapped, I here, humiliate, offer up at your feet."
These, however, in spite of the odd neologisms, are sentences formed in a novel and a greatly improved manner, and the improvement is sustained throughout this curious volume. Probably the intimate study of the Authorized Version of the Bible, which this semi-theological tractate necessitated, had much to do with the clarification of the author's style. At all events, from this time forth, Nash drops, except in polemical passages where his design is provocative, that irritating harshness in volubility which had hitherto marked his manner of writing. Here, for example, is a passage from "Christ's Tears" which is not without a strangely impressive melody:--
"Over the Temple, at the solemn feast of the Passover, was seen a comet most coruscant, streamed and tailed forth, with glistering naked swords, which in his mouth, as a man in his hand all at once, he made semblance as if he shaked and vambrashed. Seven days it continued; all which time, the Temple was as clear and light in the night as it had been noonday. In the Sanctum Sanctorum was heard clashing and hewing of armour, while flocks of ravens, with a fearful croaking cry, beat, fluttered and clashed against the windows. A hideous dismal owl, exceeding all her kind in deformity and quantity, in the Temple-porch built her nest. From under the altar there issued penetrating plangorous howlings and ghastly deadmen's groans."
He tells us, in the preface, that he takes an autumnal air, and in truth there is a melancholy refinement in this volume which we may seek for in vain elsewhere in Nash's writings. The greater part of the book is a "collachrimate oration" over Jerusalem, placed in the mouth of our Saviour; by degrees the veil of Jerusalem grows thinner and thinner, and we see more and more clearly through it the London of Elizabeth, denounced by a pensive and not, this time, a turbulent satirist.
In 1594 Nash's pen was particularly active. It was to the Lady Elizabeth Carey, again, that he dedicated "The Terrors of the Night," a discourse on apparitions. He describes some very agreeable ghosts, as, for instance, those which appeared to a gentleman, a friend of the author's, in the guise of "an inveigling troop of naked virgins, whose odoriferous breath more perfumed the air than ordnance would that is charged with amomum, musk, civet and ambergreece." It was surely a mock-modesty which led Nash to fear that such ghost-stories as these would appear to his readers duller than Holland cheese and more tiresome than homespun. To 1594, too, belongs the tragedy of "Dido," probably left incomplete by Marlowe, and finished by Nash, who shows himself here an adept in that swelling bombast of bragging blank verse of which he affected to disapprove. A new edition of "Christ's Tears" also belongs to this busy