The Jewel-Harding Controversy

Extract

I cannot oucrslipp some without manifest iniury. that descrue to haue their names enrolled in the first rancke of valiant Confuters: worthy men, but subiect to imperfections, to errour. to mutual reproofe; some more, some lesse, as the manner is. Harding, and lewell, were our Aeschines, and Demosthenes: and scarsely any language in the Christian world, hath affoorded a payre of aduersaries, equiualent to Harding, and lewell; two thundring and lightning Oratours in Jiuinity.

These words, occuring as they do in Gabriel Harvey's Pierces Supererogation (1593), cannot but sound strange to modern ears. The language is, of course, somewhat peculiar, as we might expect from a contemporary of Shakespeare's, and in particular from so pedantic a writer as Gabriel Harvey. But apart from that, the reference of his words—with their apparently exaggerated praise—seems oddly misplaced. If he had spoken of More and Tyndale, or even of Whitgift and Cartwright, his praise might have appeared more intelligible. But who today has heard of Jewel or Harding, at least in terms of literature? Neither of them receives so much as a mention in The Oxford Companion to English Literature, or even in Baugh's voluminous Literary History of England, no doubt because they are regarded as belonging to a brief episode in ecclesiastical history. Yet Harvey speaks of them, in openly literary terms, as “two thundring and lightning Oratours in diuinity,” and even dares to compare them with the great Athenian orators, Aeschines and Demosthenes. So the question arises: Was he merely deluding himself with a spirit of exaggeration—a spirit not unknown in Shakespeare's England? Or was he, after all, recording a widespread feeling among Shakespeare's contemporaries which has somehow vanished like a bubble on the river of time?