The first three quarters of the 16th century produced no great original work of literature in England. It was a season of preparation, of education. The storms of the Reformation interrupted and delayed the literary renascence through the reigns of Henry VIII., Edward VI., and Queen Mary. When Elizabeth came to the throne, in 1558, a more settled order of things began, and a period of great national prosperity and glory. Meanwhile the English mind had been slowly assimilating the new classical culture, which was extended to all classes of readers by the numerous translations of Greek and Latin authors. A fresh poetic impulse came from Italy. In 1557 appeared _Tottel's Miscellany_, containing songs and sonnets by a "new company of courtly makers." Most of the pieces in the volume had been written years before by gentlemen of Henry VIII.'s court, and circulated in manuscript. The two chief contributors were Sir Thomas Wiat, at one time English embassador to Spain, and that brilliant noble, Henry Howard, the Earl of Surrey, who was beheaded in 1547 for quartering the king's arms with his own. Both of them were dead long before their work was printed. The verses in _Tottel's Miscellany_ show very clearly the influence of Italian poetry. We have seen that Chaucer took subjects and something more from Boccaccio and Petrarch. But the sonnet, which Petrarch had brought to perfection, was first introduced into England by Wiat. There was a great revival of sonneteering in Italy in the 16th century, and a number of Wiat's poems were adaptations of the sonnets and _canzoni_ of Petrarch and later poets. Others were imitations of Horace's satires and epistles. Surrey introduced the Italian blank verse into English in his translation of two books of the _Aeneid_. The love poetry of _Tottel's Miscellany_ is polished and artificial, like the models which it followed. Dante's Beatrice was a child, and so was Petrarch's Laura. Following their example, Surrey addressed his love complaints, by way of compliment, to a little girl of the noble Irish family of Geraldine. The Amourists, or love sonneteers, dwelt on the metaphysics of the passion with a tedious minuteness, and the conventional nature of their sighs and complaints may often be guessed by an experienced reader from the titles of their poems: "Description of the restless state of a lover, with suit to his lady to rue on his dying heart;" "Hell tormenteth not the damned ghosts so sore as unkindness the lover;" "The lover prayeth not to be disdained, refused, mistrusted nor forsaken," etc. The most genuine utterance of Surrey was his poem written while imprisoned in Windsor--a cage where so many a song-bird has grown vocal. And Wiat's little piece of eight lines, "Of his Return from Spain," is worth reams of his amatory affectations. Nevertheless the writers in _Tottel's Miscellany_ were real reformers of English poetry. They introduced new models of