_6._ Write a brief critical account of any one of the following: Marlowe, Jonson, Bacon, or Spenser. _7._ Discuss the origin and development of the novel in reference to this period. _8._ Shakespeare’s dramatic career is usually classified into periods. Describe these, and name three plays belonging to each. _9._ What were the chief poetical forms in use in Shakespeare’s day? Name four users of any one of them. _10._ Name the author of four of the following quotations, and the works in which they appear:-- “Drink to me only with thine eyes.” “Dost thou think because thou art virtuous There shall be no more cakes and ale.” “There is a garden in her face Where roses and white lilies blow.” “Into the breast which gave the rose Shall I with shuddering fall.” “We mark when we hit but rarely when we miss.” “Since there’s no help, come let us kiss and part.” “Was this the face that launched a thousand ships.” “He that plots to be the only figure among ciphers Is in danger of becoming the decay of a whole age.” _Lesson 3 (1630-1746)._ PART I.--AGE OF MILTON (_1630-1660_). _Forces at Work._--The national unity of the Elizabethan age changes to one of internal strife and dissension. The struggle between the doctrine of the “divine right of kings” and civil liberty becomes most acute, and after the failure of the Long Parliament the country is involved in civil war. The defeat of the Royalists and the rise of the Puritans changes the conflict to one of civil and religious liberty, in which the latter gains a temporary triumph. The pendulum of feeling sweeps violently back again soon after Cromwell’s death. _Literary Features._--The clash of parties is deeply reflected in the literature of the times. The unsettled state of affairs results in a smaller output of poetry, and prose assumes a fierce and disputatious character. Milton dominates the period, and with this exception, the fashion is towards shorter poems with more fancy and less fervour, as witness the metaphysical lyric and its frequent leaps into remote fancy and absurdity. The Elizabethan adventurous spirit has gone; a pensive and often melancholy attitude takes its place. The religious lyric is the only form showing signs of real exaltation: the love lyric, the ode, the narrative and descriptive poem all tend towards artificiality. The classic emphasis on form steadily develops. The heroic couplet begins its long reign, and except in Milton, blank verse is extremely slipshod. Prose shows a fairly continuous development. The tendency is toward the ornate, but both middle and plain styles are well represented. Narrative prose is small, but the age is famous for its sermons, philosophical, historical, and miscellaneous types. A special development is the journalistic essay. The drama has practically collapsed, the only men of note up to the closing of the theatres in _1642_, being Ford, Massinger, Shirley, Suckling, Davenant.