It is probable that Law, like other writers on the orthodox side, did not sufficiently take into account the service rendered by the Deists in arousing a spirit of inquiry. Free-thinking is right thinking, and 'it was a result of the Deistic controversy, which went far to make up many evils in it, that in the end it widened and enlarged Christian thought.'[64]
The author's next and weakest work, On the Unlawfulness of Stage Entertainments (1726), is mentioned elsewhere.[65]
In the same year he published Christian Perfection, a profoundly earnest but puritanically narrow work, in which our earthly life is regarded simply as the road to another. 'There is nothing that deserves a serious thought,' he writes, 'but how to get out of the world and make it a right passage to our eternal state.' No man ever practised what he preached with more sincerity and persistency than William Law, but it can hardly be doubted that he narrowed the range of his influence by the views he expressed with regard to culture and to all human learning. He forgot that, without the logic, the wit, the irony, the singular force and lucidity of style displayed in his own writings, he would have lost the power as a religious teacher which he was so eager to exercise.
Literature quâ literature Law regarded with contempt, and he is said to have looked upon the study even of Milton as waste of time. Yet his biographer states what seems likely enough, considering the fine qualities of Law's own writings, that 'no author was ever a favourite with him, unless he was a man of literary merit.'
In 1727, and probably before that date, Law held the position of tutor to Edward Gibbon, whose famous son, the historian, in his Autobiography, gives to him the high praise of having left in the family 'the reputation of a worthy and pious man, who believed all that he professed, and practised all that he enjoined.'
Law accompanied his pupil to Cambridge, and it is conjectured that during this residence at the university he wrote what Gibbon justly called his 'master work,' A Serious Call to a Devout and Holy Life (1729), the most impressive book of its class produced in the eighteenth century. The historian's father was a man of feeble character. He left Cambridge without a degree, and went on his travels, the tutor meanwhile remaining in the family house at Putney, where he seems to have gathered round him a number of disciples.
The Serious Call had an immediate and strong influence on many thoughtful men, and Law's book stimulated in no common measure the religious life of the country. John Wesley spoke of it as a treatise hardly to be excelled in the English tongue 'either for beauty of expression, or for justness and depth of thought.' Whitefield, Venn, and Thomas Scott, the commentator, acknowledged their indebtedness to the work, and Dr. Johnson, speaking of his youthful days, said: 'I became a sort of lax talker against religion, for I did not much think against it; and this lasted till I went to Oxford, when I took up Law's Serious Call to a Holy Life, expecting to find it a dull book (as such books generally are), but I found Law quite an over-match for me; and this was the first occasion of my thinking in earnest.' The first Lord Lyttelton, the historian and friend of Thomson, is said to have taken up the book one night at bed-time, and to have read it through before he went to bed; but, perhaps, the most unimpeachable evidence in its favour comes from the pen of Gibbon, who writes: 'Mr. Law's precepts are rigid, but they are founded on the Gospel. His satire is sharp, but it is drawn from the knowledge of human life, and many of his portraits are not unworthy of the pen of La Bruyère. If he finds a spark of piety in his reader's mind he will soon kindle it to a flame.'
Law's art as a portrait painter will be seen in the following sketch of Flavia:
'Flavia would be a miracle of piety if she was but half so careful of her soul as she is of her body. The rising of a pimple on her face, the sting of a gnat, will make her keep her room two or three days, and she thinks they are very rash people that do not take care of things in time. This makes her so over careful of her health that she never thinks she is well enough, and so over indulgent that she never can be really well. So that it costs her a great deal in sleeping draughts and waking draughts, in spirits for the head, in drops for the nerves, in cordials for the stomach, and in saffron for her tea.
'If you visit Flavia on the Sunday, you will always meet good company, you will know what is doing in the world, you will hear the last lampoon, be told who wrote it, and who is meant by every name that is in it. You will hear what plays were acted that week, which is the finest song in the opera, who was intolerable at the last assembly, and what games are most in fashion. Flavia thinks they are atheists who play at cards on the Sunday, but she will tell you the nicety of all the games, what cards she held, how she played them, and the history of all that happened at play, as soon as she comes from church. If you would know who is rude and ill-natured, who is vain and foppish, who lives too high and who is in debt; if you would know what is the quarrel at a certain house, or who and who are in love; if you would know how late Belinda comes home at night, what clothes she has bought, how she loves compliments, and what a long story she told at such a place; if you would know how cross Lucius is to his wife, what ill-natured things he says to her, when nobody hears him; if you would know how they hate one another in their hearts though they appear so kind in public; you must visit Flavia on the Sunday. But still she has so great a regard for the holiness of the Sunday, that she has turned a poor old widow out of her house as a profane wretch, for having been found once mending her clothes on the Sunday night.'