Into such a world as this goes forth young Raleigh, his heart full of chivalrous worship for England’s tutelary genius, his brain aflame with the true miracles of the new-found Hesperides, full of vague hopes, vast imaginations, and consciousness of enormous power. And yet he is no wayward dreamer, unfit for this work-day world. With a vein of song ‘most lofty, insolent, and passionate,’ indeed unable to see aught without a poetic glow over the whole, he is eminently practical, contented to begin at the beginning that he may end at the end; one who could ‘toil terribly,’ ‘who always laboured at the matter in hand as if he were born only for that.’ Accordingly, he sets to work faithfully and stoutly, to learn his trade of soldiering, and learns it in silence and obscurity. He shares (it seems) in the retreat at Moncontour, and is by at the death of Condé, and toils on for five years, marching and skirmishing, smoking the enemy out of mountain-caves in Languedoc, and all the wild work of war. During the San Bartholomew massacre we hear nothing of him; perhaps he took refuge with Sidney and others in Walsingham’s house. No records of these years remain, save a few scattered reminiscences in his works, which mark the shrewd, observant eye of the future statesman. When he returned we know not. We trace him, in 1576, by some verses prefixed to Gascoigne’s satire, the ‘Steele Glass,’ solid, stately, epigrammatic, ‘by Walter Rawley of the Middle Temple.’ The style is his; spelling of names matters nought in days in which a man would spell his own name three different ways in one document. Gascoigne, like Raleigh, knew Lord Grey of Wilton, and most men about town too; and had been a soldier abroad, like Raleigh, probably with him. It seems to have been the fashion for young idlers to lodge among the Templars; indeed, toward the end of the century, they had to be cleared out, as crowding the wigs and gowns too much; and perhaps proving noisy neighbours, as Raleigh may have done. To this period may be referred, probably, his Justice done on Mr. Charles Chester (Ben Jonson’s Carlo Buffone), ‘a perpetual talker, and made a noise like a drum in a room; so one time, at a tavern, Raleigh beats him and seals up his mouth, his upper and nether beard, with hard wax.’ For there is a great laugh in Raleigh’s heart, a genial contempt of asses; and one that will make him enemies hereafter: perhaps shorten his days.