JOHN WESLEY.

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The literature of this period is more distinguished for learning and cleverness than for genius. There are a few names that rise above the smartness and mere accomplishment of the time into the regions of pure genius; but, with very few exceptions, even they bear the stamp of the period. We have here no Milton, no Shakespeare, no Herbert, no Herrick even, to produce; but De Foe, Addison, Steele, Thomson, and Pope, if they do not lift us to the highest creative plane, give us glimpses and traits of what is found there. For the rest, however full of power, there hangs a tone of "town," of a vicious and sordid era, about them, of an artificial and by no means refined life, a flavour of the grovelling of the politics which distinguished the period, and of the low views and feelings which occupied and surrounded the throne during the greater portion of this term.

Some of the writers of the last period were still existing in this. Dryden was living, and wrote some of his most perfect works, as his "Fables," and his "Alexander's Feast," as well as translated Virgil after the Revolution. He was still hampered by his miserable but far more successful dramatic rivals, Shadwell and Elkanah Settle. Nathaniel Lee produced in William's time his tragedies, "The Princess of Cleves," and his "Massacre of Paris." Etherege was yet alive; Wycherley still poured out his licentious poems; and Southern wrote the greater part of his plays. His "Oronooko" and his "Fatal Marriage" were produced now, and he received such prices as astonished Dryden. Whilst "Glorious John" never obtained more than a hundred pounds for a play, Southern obtained his six or seven hundred.

From the Picture in the National Gallery of British Art.

DOCTOR JOHNSON IN THE ANTE-ROOM OF LORD CHESTERFIELD, WAITING FOR AN AUDIENCE, 1748.

By E. M. WARD, R.A.

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