But whilst his political efforts did their work in his lifetime, his literary labours are the basis of his present fame. These were almost all produced after his sixtieth year; "Robinson Crusoe," by far the most popular of all his writings and one of the most popular in all the world's literature, "The Dumb Philosopher," "Captain Singleton," "Duncan Campbell," "Moll Flanders," "Colonel Jacque," "The Journal of the Plague," "The Memoirs of a Cavalier," "The Fortunate Mistress; or, Roxana," "The New Voyage round the World," and "Captain Carleton." The life and fidelity to human nature with which these are written have continually led readers to believe them altogether real narratives. The "Journal of the Plague" was quoted as a relation of facts by Dr. Mead; Chatham used to recommend "The Memoirs of a Cavalier" as the best account of the Civil War; Dr. Johnson read the life of "Captain Carleton" as genuine, and we continually see the story of "Mrs. Veal's Ghost," written by Defoe to puff Drelincourt's heavy "Essay on Death," included in collections as a matter-of-fact account of an apparition. This quality of verisimilitude is one of the greatest charms of his inimitable "Crusoe," which is the delight of the young from age to age.
Amongst the prose writers of this period a lady stands prominent, Lady Mary Wortley Montagu (b. 1690; d. 1762), the daughter of the Duke of Kingston, and mother of Lady Bute, the wife of the Earl of Bute, the celebrated Minister of George III. Lady Mary derives her chief fame from her Letters, which were not published till after her death. They are as remarkable for their wit, brilliancy, and clear, thorough sense, as any of the writings of the age. In these we have a most graphic picture of life in the East, as she had lived some years at Constantinople with her husband. She thence conferred one of the greatest boons on her country, by the introduction of inoculation for the smallpox. Lady Mary translated the "Enchiridion of Epictetus," and wrote many verses, including satirical ones, called "Town Eclogues;" but her fame must always rest upon her clear and sparkling letters. She was celebrated for her wit and beauty, and was a leading figure in the fashionable as well as the literary world. Pope and she were long great friends, but quarrelled irreconcilably.
At the head of the poets of this period stands Alexander Pope, who became the founder of a school which has had followers down to our own time. Pope was the poet of society, of art, and polish. His life was spent in London and in the country, chiefly between Binfield, in Windsor Forest, and Twickenham; and his poetry partakes very much of the qualities of that scenery—rich, cultivated, and beautiful, but having no claims to the wild or the sublime. He is opposed to poets like Milton and Shakespeare as pastures and town gardens are opposed to seas, forests, and mountains. In style he is polished to the highest degree, piquant, and musical; but, instead of being profound and creative, he is sensible, satiric, and didactic. He failed in "the vision and the faculty divine," but he possessed fancy, a moderate amount of passion, and a clear and penetrating intellect. He loved nature, but it was such only as he knew—the home-scenes of Berkshire and the southern counties, the trained and polished beauties in his gardens, the winding walks and grottoes at Twickenham. Mountains he had never seen, and there are none in his poetry. He was born in the year of the Revolution, and died in 1744, aged fifty-six; and, considering that he suffered from a feeble constitution and defective health, he was a remarkably industrious man. His pastorals appeared in Tonson's "Miscellany" when he was only twenty-one years old. Before this he had translated the first book of the "Thebais," and Ovid's "Epistle from Sappho to Phaon;" paraphrased Chaucer's "January and May," and the prologue to "The Wife of Bath's Tale." In two years after his "Pastorals" appeared his "Essay on Criticism" (1711). "The Messiah" and "The Rape of the Lock" were published in 1712—the year in which the "Spectator" died. "The Rape of the Lock" celebrated the mighty event of the clipping of a lock of hair from the head of Miss Belle Fermor by Lord Petre. This act, adorned with a great machinery of sylphs and gnomes, a specimen of elegant trifling, enchanted the age, which would have less appreciated grander things, and placed Pope on the pinnacle of fame. In 1713 he published "Windsor Forest," a subject for a pleasant but not a great poem, yet characteristic of Pope's genius, which delighted in the level and ornate rather than the splendid and the wild. In 1715 appeared the first four books of his translation of Homer's "Iliad," which was not completed till 1720. This still continues the most popular translation of the great heroic poet of Greece; for although it is rather a paraphrase of this colossal yet simple poem, and therefore not estimated highly by Greek scholars who can go to the original, it has that beauty and harmony of style which render it to the English reader an ever-fascinating work. In 1717 appeared his "Epistle from Eloisa to Abelard," a poem displaying more passion than any other of Pope's writings, but too sensuous, and the subject itself far from well chosen. Next succeeded his "Odyssey" of Homer, in conjunction with Fenton and Broome, and in 1728 the first three books of "The Dunciad," in which he took a sweeping vengeance on the critics and poetasters of the time, who had assailed him fiercely on all sides, with John Dennis at their head. The vigour with which Pope wielded the satiric lash excited the wonder of the public, which had seen no such trenchant production hitherto in the language, and filled the whole host of flayed and scalded dunces with howls of wrath and agony. Pope was not sparing of foul language in his branding of others, and they were still more obscene and scurrilous in their retorts. It is questionable whether they or Pope felt the most torture; for, so far from silencing them, they continued to kick, sting, and pelt him with dirt so long as he lived. So late as 1742 he published a fourth book of the satire, to give yet one more murderous blow to the blackguard crew. Besides this satire, he modernised an edition of Donne's Satires, and produced his "Essay on Man," his "Epistle on Taste," his "Moral Essays," and other poems, down to 1740. His "Essay on Man," "Moral Essays," etc., display shrewd sense, and a keen perception of the characteristics of human nature and of the world; yet they do not let us into any before unknown depths of life or morals, but, on the contrary, are, in many particulars, unsound. In fact, these productions belong by no means to poetry, of which they exhibit no quality, and might just as well have been given in prose. On the whole, Pope is a poet whose character is that of cleverness, strong intellect, carefully-elaborative art, much malice, and little warmth or breadth of genuine imagination. He reflects the times in which he lived, which were corrupt, critical, but not original, and he had no conception of the heavens of poetry and soul into which Milton and Shakespeare soared before him, and Keats, Shelley, Coleridge, Wordsworth and Tennyson in our time have wandered at large.
The strong sense, lively fancy, and smart style of his satires, distinguished also Pope's prose, as in his "Treatise of the Bathos; or, the Art of Sinking in Poetry;" his "Memoirs of P. P., Clerk of this Parish"—in ridicule of Burnet's "Own Times"—his Letters, etc. In some of the last he describes the country and country seats, and the life there of his friends; which shows that, in an age more percipient of the charm of such things, he would have probably approached nearer to the heart of Nature, and given us something more genial and delightful than anything that he has left us.
Dr. Arbuthnot, a great friend of Pope and Swift, was also one of the ablest prose writers, "The Memoirs of Martinus Scriblerus," published in Pope's and Swift's works, and the political satire of "John Bull," a masterly performance, being attributed to him.
John Gay, a contemporary of Pope, Swift, and Arbuthnot, is now best known by his "Fables" and his "Beggar's Opera." His "Fables" have been extremely popular, and still make him a general name; but, in his own time, his "Beggar's Opera" was his great success. Its wit, its charming music, its popular characters, gave it a universal favour; and it is the only English opera that even to this time has become permanent. Gay's "Trivia; or, the Art of Walking the Streets of London," is still amusing, and some of his ballads have a lightness and buoyancy about them which justify the esteem in which he was held.
Matthew Prior had a high reputation in his day as a poet, but his poetry has little to recommend it now. He was the more popular as a poet, no doubt, because he was much employed as a diplomatist in Queen Anne's reign by the Tory party. His "City and Country Mouse," written in conjunction with Lord Halifax, in ridicule of Dryden's "Hind and Panther," may be considered as one of his happiest efforts.
Sir Samuel Garth, author of "The Dispensary," a mock-heroic poem in six cantos, and Sir Richard Blackmore, another physician, and author of a whole heap of epics in ten or twelve books each—as "King Arthur," "King Alfred," "Eliza," "The Redeemer," etc.—may still be found in our collections of verse, but are rarely read. Dr. Young's "Night Thoughts" yet maintain their place, and are greatly admired by many, notwithstanding his stilted style and violent antithesis, for amid these there are many fine and striking ideas.
Still more have "The Seasons" and "The Castle of Indolence" of James Thomson retained, and are likely to retain, the public favour. "The Seasons" is a treasury of the life and imagery of the country, animated by a true love of Nature and of God, and abounding in passages of fire, healthy feeling, and strong sense, often of sublime conceptions, in a somewhat stiff and vicious style. "The Castle of Indolence" is a model of metrical harmony and luxurious fancy, in the Spenserian stanza. Another poet of the same time and country—Scotland—is Allan Ramsay, who, in his native dialect, has painted the manners and sung the rural loves of Scotland in his "Gentle Shepherd" and his rustic lyrics. Till Burns, no Scottish poet so completely embodied the spirit, feelings, and popular life of his country. Amongst a host of verse-makers, then deemed poets, but who were merely imitators of imitators, we must except Gray, with his nervous lyrics, and, above all, his ever-popular "Elegy in a Country Churchyard." Gray also has a genuine vein of wit and merriment in his verse. Collins was a poet who under happier conditions might have done the greatest things. Parnell's "Hermit," Blair's "Grave," Shenstone's "School Mistress," Akenside's "Imagination," can yet charm some readers, and there are others in great numbers whose works yet figure in collections of the poets, or whose individual poems are selected in anthologies, as Smith, King, Sprat Bishop of Rochester, Duke, Montague Earl of Halifax, Nicholas Rowe, Dyer—author of the "Fleece," "Grongar Hill," and "Ruins of Rome,"—Sheffield, Duke of Buckinghamshire, Fenton, Somerville—author of "The Chase," "Field Sports," etc.,—Hammond—author of "Love Elegies,"—Lord Lyttelton, Mallet, Mickle—author of the ballads of "Cumnor Hall," "There's Nae Luck about the House," and translator of the "Lusiad" of Camoens,—Shaw, Harte, West, Cawthorne, Lloyd, Gilbert Cooper, Grainger—author of "The Sugar Cane," and the once popular ballad of "Bryan and Pereene,"—Dodsley, poet and bookseller, Boyse—author of "The Deity," a poem, etc.,—Smollett—more remarkable as a novelist and historian,—Michael Bruce, Walsh, Falconer—author of "The Shipwreck,"—Yalden, Pattison, Aaron Hill, Broome, Pitt—the translator of Virgil,—John Philips—author of "Cider," a poem, "The Splendid Shilling," etc.,—West, and others. In fact, this age produced poets enough to have constituted the rhythmical literature of a nation, had they had as much genius as they had learning.