Handbook of Universal Literature, From the Best and Latest Authorities

by Anne C. Lynch Botta

The reign of Elizabeth gave the key-note to the literature of the two succeeding reigns, that of James I. (1603-1625), and Charles (1625-1649), and the literary works of this period were not only more numerous, but stand higher in the mass than those which closed the sixteenth century. But Spenser remained un-imitated and Shakspeare was inimitable; the drama, however, which in this as in the last generation monopolized the best minds, received new developments, poetry was enriched beyond precedent, and prose writing blossomed into a harvest of unexampled eloquence. But although, under the rule of James, learning did good service in theology and the classics, English writing began to be infected with pedantic affectations. The chivalrous temper of the preceding age was on the wane, coarseness began to pass into licentiousness, and moral degeneracy began to diffuse its poison widely over the lighter kinds of literature. Bacon, the great pilot of modern science, gave to the world the rudiments of his philosophy. Bishop Hall exemplified not only the eloquence and talent of the clergy, but the beginning of that resistance to the tendencies by which the church was to be soon overthrown. The drama was headed by Ben Jonson, honorably severe in morals, and by Beaumont and Fletcher, who heralded the licentiousness which soon corrupted the art generally, while the poet Donne introduced fantastic eccentricities into poetical composition.

Some of the most eloquent prose writings of the English language had their birth amidst the convulsions of the Civil War, or in the strangely perplexed age of the Commonwealth and protectorate (1649-1660), that stern era which moulded the mind of one poet gifted with extraordinary genius. Although Milton would not, in all likelihood, have conceived the "Paradise Lost" had he not felt and acted with the Puritans, yet it would have been less the consummate work of art which it is, had he not fed his fancy with the courtly pomp of the last days of the monarchy.

The prose writers of this time are represented by Bishop Hall and Jeremy Taylor, among the clergy, and Selden and Camden among the laymen. The roughness of speech and manners of Elizabeth's time, followed, in the next reign, by a real coarseness and lowness of sentiment, grew rapidly worse under Charles, whose reign was especially prolific in poetry, the tone of which varied from grave to gay, from devotion to licentiousness, from severe solemnity to indecent levity; but no great poet appeared in the crowd. The drama was still rich in genius, its most distinguished names being those of Ford, Massinger, and Shirley; but here depravity had taken a deeper root than elsewhere, and it was a blessing that, soon after the breaking out of the war, the theatres were closed, and the poets left to idleness or repentance.

The Commonwealth and Protectorate, extending over eleven years (1649- 1660), made an epoch in literature, as well as in the state and church. The old English drama was extinct, and poetry had few votaries. Cowley now closed with great brilliancy the eccentric and artificial school of which Donne had been the founder, and Milton was undergoing the last steps of that mental discipline that was to qualify him for standing forth the last and all but the greatest of the poetical ancients. At the same time, the approach of a modern era was indicated by the frivolity of sentiment and ease of versification which prevailed in the poems of Waller.

In philosophy, Hobbes now uttered his defiance to constitutional freedom and ecclesiastical independence; Henry More expounded his platonic dreams in the cloisters of Cambridge; and Cudworth vindicated the belief in the being of the Almighty and in the foundations of moral distinctions. The Puritans, the ruling power in the state, became also a power in literature, nobly represented by Richard Baxter. Milton, like many of his remarkable contemporaries, lived into the succeeding generation, and he may be accepted as the last representative of the eloquence of English prose in that brilliant stage of its history which terminated about the date of the Restoration.

The aspect of the last forty years of the seventeenth century—the age of the Restoration and the Revolution—is far from being encouraging, and some features marking many of their literary works are positively revolting. Of the social evils of the time, none infected literature so deeply as the depravation of morals, into which the court and aristocracy plunged, and many of the people followed. The drama sunk to a frightful grossness, and the tone of all other poetry was lowered. The reinstated courtiers imported a mania for foreign models, especially French, literary works were anxiously moulded on the tastes of Paris, and this prevalence of exotic predilections lasted for more than a century. But amidst these and other weaknesses and blots there was not wanting either strength or brightness.

The literary career of Dryden covers the whole of this period and marks a change which contained many improvements. Locke was the leader of philosophical speculation; and mathematical and physical science had its distinguished votaries, headed by Sir Isaac Newton, whose illustrious name alone would have made the age immortal.

The Nonconformists, forbidden to speak, wrote and printed. A younger generation was growing up among them, and some of the elder race still survived, such as Baxter, Owen, and Calamy. But greatest of all, and only now reaching the climax of his strength, was Milton, in his neglected old age consoling himself for the disappointments which had darkened a weary life, by consecrating its waning years, with redoubled ardor of devotion, to religion, to truth, and to the service of a remote posterity.

In England, as elsewhere in Europe, the temper of the eighteenth century was cold, dissatisfied, and hypercritical. Old principles were called in question, and the literary man, the statesman, the philosopher, and the theologian found their tasks to be mainly those of attack or defence. The opinions of the nation and the sentiments which they prompted were neither speculative nor heroic, and they received adequate literary expression in a philosophy which acknowledged no higher motive than utility,—in a kind of poetry which found its field in didactic discussion, and sunk in narrative into the coarse and domestic. In all departments of literature, the form had come to be more regarded than the matter; and melody of rhythm, elegance of phrase, and symmetry of parts were held to be higher excellences than rich fancy or fervid emotion. Such an age could not give birth to a literature possessing the loftiest and most striking qualities of poetry or of eloquence; but it increased the knowledge previously possessed by mankind, swept away many wrong opinions, produced many literary works, excellent in thought and expression, and exercised on the English language an influence partly for good and partly for evil, which is shown in every sentence which we now speak or write.

The First Generation is named from Queen Anne (1702-1714), but it includes also the reign of her successor. Our notion of its literary character is derived from the poetry of Pope and the prose of Addison and his friends. In its own region, which, though not low, is yet far from the highest, the lighter and more popular literature of Queen Anne's time is valuable; its lessons were full of good sense and correct taste, and as literary artists, the writers of this age attained an excellence as eminent as can be attained by art not inspired by the enthusiasm of genius nor employed on majestic themes. In its moral tone, the early part of the eighteenth century was much better than that of the age before it.