Before undertaking the study of an artist, the critic should carefully distinguish between these two critical methods. A complete study must of course comprehend both; and in the case of Shakespeare, shall we say, each should be exhaustive. On the other hand, there are artists whose dynamical value is far greater than their intrinsic value, and _vice versa_; and in such instances the critic must be guided in his action by the relative importance of these values in any particular example. This is so in the case of John Lyly. In the course of the following treatise we shall have occasion to pass many aesthetic judgments upon his work; but it will be from the historical side that we shall view him in the main, because his importance for the readers of the twentieth century is almost entirely dynamical. His work is by no means devoid of aesthetic merit. He was, like so many of the Elizabethans, a writer of beautiful lyrics which are well known to this day; but, though the rest of his work is undoubtedly that of an artist of no mean ability, the beauty it possesses is the beauty of a fossil in which few but students would profess any interest. Moreover, even could we claim more for John Lyly than this, any aesthetic criticism would of necessity become a secondary matter in comparison with his importance in other directions, for to the scientific critic he is or should be one of the most significant figures in English literature. This claim I hope to justify in the following pages; but it will be well, by way of obtaining a broad general view of our subject, to call attention to a few points upon which our justification must ultimately rest.
In the first place John Lyly, inasmuch as he was one of the earliest writers who considered prose as an artistic end in itself, and not simply as a medium of expression, may be justly described as a founder, if not _the_ founder, of English prose style.
In the second place he was the author of the first novel of manners in the language.
And in the third place, and from the point of view of Elizabethan literature most important of all, he was one of our very earliest dramatists, and without doubt merits the title of Father of English Comedy.