The incense, then, that was offered to the Queen by such men as Spenser, Raleigh, Essex, Shakespeare, and Sidney, the most noble, chivalrous, and gifted spirits that ever gathered round a throne, is not to be judged of as the flattery which cringing courtiers pay to a dreaded tyrant; but rather as the outpouring of a general enthusiasm, the echo of the stirring voice of chivalry, and the expression of the feelings of a devoted yet free people.
An age of tyranny is always an age of frivolity, of heartless levity, of dwarfish objects and pursuits, of dreadful contrasts--laughter amid mourning, rioting and wantonness amid judgments and executions; dancing and music at the hour of death. Such was the frivolity of the days of Nero; such was the mirth of the "death-dance" in the days of Robespierre. Nothing like this sickly and appalling joy could be seen in the times of Elizabeth. There were masques and balls and tournaments at the court, and gay revels as the stately Queen went from castle to castle, and palace to palace, in her visits to her princely subjects. But such amusements did not form the chief object or occupation of the court of Elizabeth. The Queen, and those who had grown up with her, had passed through too many dangers and witnessed too much suffering to allow them to become frivolous or very light-hearted. They had lived among scenes of cruelty, persecution, and death. Their childhood had witnessed the successive horrors of the reign of Henry VIII, and their youth had suffered from the bloody fanaticism of Mary. Sorrow and tribulation had overspread the morning of their life like a cloud.
Miss Aikin, in the beginning of her charming work upon the court of Queen Elizabeth, has described the gorgeous procession which filed along the streets of London at the baptism of the infant princess. The same picture also forms the closing scene of Shakespeare's _Henry VIII_. As we look upon the gay and splendid train, marching in their robes of state, beneath silken canopies, and then glance our eye along the map of history till we trace almost every actor in the pageant to a bloody grave, we can scarcely believe that it is a scene of joy and festivity that we are witnessing. The angel of death seems to hover over them; there is something dreadful in their rejoicing; their gaudy robes, their mantles, their vases, their fringes of gold, assume the sable hue of the grave; and, instead of a baptismal train, it seems like a funeral procession descending to the tomb.