When there is no actual expression of the spirit of adventure, the air of the sea which it carried with it still blows. Shakespeare, save for his scenes in _The Tempest_ and in _Pericles_, which seize in all its dramatic poignancy the terror of storm and shipwreck, has nothing dealing directly with the sea or with travel; but it comes out, none the less, in figure and metaphor, and plays like the _Merchant of Venice_ and _Othello_ testify to his accessibility to its spirit. Milton, a scholar whose mind was occupied by other and more ultimate matters, is full of allusions to it. Satan's journey through Chaos in _Paradise Lost_ is the occasion for a whole series of metaphors drawn from seafaring. In _Samson Agonistes_ Dalila comes in, "Like a stately ship ... With all her bravery on and tackle trim Sails frilled and streamers waving Courted by all the winds that hold them play." and Samson speaks of himself as one who, "Like a foolish pilot have shipwracked My vessel trusted to me from above Gloriously rigged." The influence of the voyages of discovery persisted long after the first bloom of the Renaissance had flowered and withered. On the reports brought home by the voyagers were founded in part those conceptions of the condition of the "natural" man which form such a large part of the philosophic discussions of the seventeenth and eighteenth centuries, Hobbes's description of the life of nature as "nasty, solitary, brutish, and short," Locke's theories of civil government, and eighteenth century speculators like Monboddo all took as the basis of their theory the observations of the men of travel. Abroad this connection of travellers and philosophers was no less intimate. Both Montesquieu and Rousseau owed much to the tales of the Iroquois, the North American Indian allies of France. Locke himself is the best example of the closeness of this alliance. He was a diligent student of the texts of the voyagers, and himself edited out of Hakluyt and Purchas the best collection of them current in his day. The purely literary influence of the age of discovery persisted down to _Robinson Crusoe_; in that book by a refinement of satire a return to travel itself (it must be remembered Defoe posed not as a novelist but as an actual traveller) is used to make play with the deductions founded on it. Crusoe's conversation with the man Friday will be found to be a satire of Locke's famous controversy with the Bishop of Worcester. With _Robinson Crusoe_ the influence of the age of discovery finally perishes. An inspiration hardens into the mere subject matter of books of adventure. We need not follow it further. CHAPTER II ELIZABETHAN POETRY AND PROSE (1)