A sketch of Raleigh's character would be imperfect indeed if it contained no word concerning his genius as a coloniser. One of his main determinations, early in life, was "to discover and conquer unknown lands, and take possession of them in the Queen's name." We celebrate in Sir Walter Raleigh one of the most intelligent and imaginative of the founders of our colonial empire. The English merchantmen before his time had been satisfied with the determination to grasp the wealth of the New World as it came home to Spain; it had not occurred to them to compete with the great rival at the fountain-head of riches. Even men like Drake and Frobisher had been content with a policy of forbidding Spain, as the poet Wither said, "to check our ships from sailing where they please." South America was already mainly in Spanish hands, but North America was still open to invasion. It was Raleigh's half-brother, Sir Humphrey Gilbert, who first thought of planting an English settlement in what is now the United States, in 1578. But Gilbert had "no luck at sea," as Queen Elizabeth observed, and it was Raleigh who, in 1584, took up the scheme of colonisation. He did not drop it until the death of Elizabeth, when, under the east wind of the new régime, the blossom of his colonial enterprises flagged.
The motion for the ceremony of to-day originated with the authorities of an important American city, which proudly bears the name of our adventurer. The earliest settlement in what are now the United States was made at Roanoke, in Virginia, on a day which must always be prominent in the annals of civilisation, August 17th, 1585. But this colony lasted only ten months, and it was not until nearly two years later that the fourth expedition which Raleigh sent out succeeded in maintaining a perilous foothold in the new country. This was the little trembling taper to which his own name was given, the twinkling spark which is now the flourishing city of Raleigh in North Carolina. We may well marvel at the pertinacity with which Sir Walter persisted, in the face of innumerable difficulties, in sending out one colonising fleet after another, although, contrary to common legend, he himself never set foot in North America. It was fortunate that at this period of his career he was wealthy, for the attempts to plant settlements in the vast region which he named Virginia cost him more than £40,000. We note at all turns of his fortune his extraordinary tenacity of purpose, which he illustrated, as though by a motto, in the verses he addressed to a comrade towards the end of his imprisonment in the Tower:—
"Change not! to change thy fortune 'tis too late;
Who with a manly faith resolves to die
May promise to himself a lasting State,
Though not so great, yet free from infamy."
So we may think of him in his prime, as he stood on the Hoe of Plymouth twenty years before, a gallant figure of a man, bedizened with precious stones, velvets, and embroidered damasks, shouting his commands to his captains in a strong Devonshire accent. We think of him resolutely gazing westward always, with the light of the sea in his eyes.
We come to the final scene which we are here to-day to commemorate. Little honour to the rulers of England in 1618 redounds from it, and yet we may feel that it completed and even redeemed from decay the character of Raleigh. This tragedy, which was almost a murder, was needed to round off the accomplishment of so strange and frantic a career of romantic violence, and to stamp it with meaning. If Raleigh had been thrown from his horse or had died of the ague in his bed, we should have been depressed by the squalid circumstances, we should have been less conscious than we are now of his unbroken magnanimity. His failures and his excesses had made him unpopular throughout England, and he was both proud and peevish in his recognition of the fact. He declared that he was "nothing indebted" to the world, and again that, "the common people are evil judges of honest things." But the thirteen years of his imprisonment caused a reaction. People forgot how troublesome he had been and only recollected his magnificence. They remembered nothing but that he had spent his whole energy and fortune in resisting the brutality and avarice of the Spaniard.
Then came the disgraceful scene of his cross-examination at Westminster, and the condemnation by his venal judges at the order of a paltry king. It became known, or shrewdly guessed, that Spain had sent to James I. a hectoring alternative that Raleigh must be executed in London or sent alive for a like purpose to Madrid. The trial was a cowardly and ignominious submission of the English Government to the insolence of England's hereditary enemy. Raleigh seemed for the moment to have failed completely, yet it was really like the act of Samson, who slew more men at his death than in all his life. Samuel Pepys, who had some fine intuitions at a time when the national moral was very low, spoke of Raleigh as being "given over, as a sacrifice," to our enemies. This has been, in truth, the secret of his unfailing romantic popularity, and it is the reason of the emotion which has called us together here three hundred years after his death upon the scaffold.
THE SONGS OF SHAKESPEARE
Among the "co-supremes and stars of love" which form the constellated glory of our greatest poet there is one small splendour which we are apt to overlook in our general survey. But, if we isolate it from other considerations, it is surely no small thing that Shakespeare created and introduced into our literature the Dramatic Song. If with statistical finger we turn the pages of all his plays, we shall discover, not perhaps without surprise, that these contain not fewer than fifty strains of lyrical measure. Some of the fifty, to be sure, are mere star-dust, but others include some of the very jewels of our tongue. They range in form from the sophisticated quatorzains of The Two Gentlemen of Verona (where, however, comes "Who is Silvia?") to the reckless snatches of melody in Hamlet. But all have a character which is Shakespearean, and this regardless of the question so often raised, and so incapable of reply, as to whether some of the wilder ones are Shakespeare's composition or no. Whoever originally may have written such scraps as "They bore him bare-faced on the bier" and "Come o'er the bourne, Bessy, to me," the spirit of Shakespeare now pervades and possesses them.
Our poet was a prodigious innovator in this as in so many other matters. Of course, the idea and practice of musical interludes in plays was not quite novel. In Shakespeare's early youth that remarkable artist in language, John Lyly, had presented songs in several of his plays, and these were notable for what his contemporary, Henry Upchear, called "their labouring beauty." We may notice that Lyly's songs were not