who had volunteered to take the watch till midnight; and the rest of the force having got their scanty supper of biscuit (for provisions were running very short) lay down under arms among the sand-hills, and grumbled themselves to sleep.

He had paced up and down in the gusty darkness for some hour or more, exchanging a passing word now and then with the sentinel, when two men entered the battery, chatting busily together. One was in complete armor; the other wrapped in the plain short cloak of a man of pens and peace: but the talk of both was neither of sieges nor of sallies, catapult, bombard, nor culverin, but simply of English hexameters.

And fancy not, gentle reader, that the two were therein fiddling while Rome was burning; for the commonweal of poetry and letters, in that same critical year 1580, was in far greater danger from those same hexameters than the common woe of Ireland (as Raleigh called it) was from the Spaniards.

Imitating the classic metres, “versifying,” as it was called in contradistinction to rhyming, was becoming fast the fashion among the more learned. Stonyhurst and others had tried their hands at hexameter translations from the Latin and Greek epics, which seem to have been doggerel enough; and ever and anon some youthful wit broke out in iambics, sapphics, elegiacs, and what not, to the great detriment of the queen’s English and her subjects’ ears.

I know not whether Mr. William Webbe had yet given to the world any fragments of his precious hints for the “Reformation of English poetry,” to the tune of his own “Tityrus, happily thou liest tumbling under a beech-tree:” but the Cambridge Malvolio, Gabriel Harvey, had succeeded in arguing Spenser, Dyer, Sidney, and probably Sidney’s sister, and the whole clique of beaux-esprits round them, into following his model of

after snubbing the first book of “that Elvish Queene,” which was then in manuscript, as a base declension from the classical to the romantic school.

And now Spenser (perhaps in mere melancholy wilfulness and want of purpose, for he had just been jilted by a fair maid of Kent) was wasting his mighty genius upon doggerel which he fancied antique; and some piratical publisher (bitter Tom Nash swears, and with likelihood that Harvey did it himself) had just given to the world,—“Three proper wittie and familiar Letters, lately past between two University men, touching the Earthquake in April last, and our English reformed Versifying,” which had set all town wits a-buzzing like a swarm of flies, being none other than a correspondence between Spenser and Harvey, which was to prove to the world forever the correctness and melody of such lines as,

Let them pass—Alma Mater has seen as bad hexameters since. But then the matter was serious. There is a story (I know not how true) that Spenser was half bullied into re-writing the “Faerie Queene” in hexameters, had not Raleigh, a true romanticist, “whose vein for ditty or amorous ode was most lofty, insolent, and passionate,” persuaded him to follow his better genius. The great dramatists had not yet arisen, to form completely that truly English school, of which Spenser, unconscious of his own vast powers, was laying the foundation. And, indeed, it was not till Daniel, twenty years after, in his admirable apology for rhyme, had smashed Mr. Campian and his “eight several kinds of classical numbers,” that the matter was finally settled, and the English tongue left to go the road on which Heaven had started it. So that we may excuse Raleigh’s answering somewhat waspish to some quotation of Spenser’s from the three letters of “Immerito and G. H.”