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pathos, and simple love of nature were almost wholly banished from poetry, and the poet was taught to confide for success in his smooth and antithetical couplets, his judicious employment of a system of stereotype images, his polished sarcasm, his knowledge of genteel society, and his accurate delineation of the conventionalities of artificial life. For the purposes for which in a degenerate age literature was employed, the style now introduced was indeed admirably adapted, but these purposes were by no means of the highest order. Well suited for irony and satire, controversy and narrative, it was ill adapted to express warmth of feeling, depth of thought, and dignity of sentiment; and hence this period of our literature exhibits a great deficiency in all that is of the highest excellence in tragedy, in poetry, and the higher departments of prose. This style continued to prevail for nearly a century, for so long did the same habits of thought prevail in the nation. During that period the energies of the nation seemed to remain dormant; the quiet, commonplace decorum of the reigns of William and Anne was succeeded by the dull and heartless scepticism of the early Georges, and nothing occurred to awaken into life that intensity and earnestness of feeling, without which no literature of the highest class has ever been produced.

2. Of the poets of this period, the earliest in point of time was Matthew Prior, one of the fortunate sons of the Muses, who contrived by his abilities to procure for himself honourable and lucrative political employment. His "Tales" afford one of the finest specimens of the new French style, for they possess in perfection all the excellences of which that style is capable, and his subject required no higher. They are, however, considerably tinged with the prevalent licentiousness of the period. Addison's poems are distinguished by the same moral purity and correctness of language which characterize his prose, but are deficient in all the higher virtues of poetry. His short devotional hymns are perhaps his best works; they are certainly those by which he is at present best known and most likely to be remembered. Garth, a well-known physician in London, is the author of a mock-heroic poem called the "Dispensary," which was long deservedly popular, as the light, graceful style in which it is written is admirably in keeping with the object of the author. Equally popular at the time, though long ago forgotten, were the solemn epics of another noted physician, Sir Richard Blackmore. His "Prince Arthur," " King Arthur," "Creation," Eliza,' ," "Nature of Man," and "King Alfred," all heroic and philosophical poems, were written on the model of the graver French writers, and, besides abounding in instances of false taste and bombast, which Swift and Pope delighted to hold up to ridicule, are perhaps the dullest poems ever written. Pope, the next great poet of the age, holds the unquestioned pre-eminence among all the poets of the reign of Queen Anne. He possessed, in the highest excellence, all those accomplishments which were then considered essential to the poetical character, combined with others which, though less esteemed in his own day, are now more highly appreciated. His versification, in polish, roundness, and epigrammatic smartness, has never been equalled, and whatever objection may be made to the uniformity and monotonous excellence of the heroic couplet in his hands, it must at least be admitted that he has given

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to that measure every perfection of which it is capable. His "Elegy on an Unfortunate Lady," and his "Epistle of Eloisa to Abelard," display a greater depth of feeling than has been manifested by any of the poets of that era; and the recent discovery that we owe to Pope's suggestions many of the finest passages in Thomson's "Seasons," shows that amidst the conventionalities of an artificial generation, he retained an eye for the beauties of nature, and a heart capable of feeling her charms. His earliest works were his "Pastorals" and "Windsor Forest," in the latter of which his unrivalled powers of versification were first exhibited. His next work, the "Essay on Criticism," displays great maturity of judgment, and is an admirable summary of the principles that should regulate what may be called the mechanical parts of criticism and composition. His "Rape of the Lock" is the finest of all his poems, and is unequalled in richness of fancy, sprightliness of language, and the exquisite taste' with which he has introduced by way of machinery the sprites of the Rosicrucian Philosophers. His "Elegy on an Unfortunate Lady" and "Epistle of Eloisa to Abelard" have been already noticed. His translations of the "Iliad" and "Odyssey," which followed, are now generally admitted not to have reached the simple grandeur which characterizes their great original, though his command of the language has enabled him to produce an admirable modernized version of Homer. His "Dunciad," a satire upon some rival versifiers, though not very creditable to Pope's good nature, is the finest satirical poem in the language; and his "Essay on Man," to which, on the score of religion, objections have been made, not without reason, has carried the power of polished versification and sententious expression to a height which has never been surpassed. Gay, a contemporary and friend of Pope, has written a volume of fables of very high merit, this being one of those subjects to which a light style of versification is peculiarly adapted. Swift's verses are, as might be expected, chiefly satirical, and are perhaps scarcely entitled to be ranked as poetry. It is unnecessary to recite the names of the minor poets whose works have been now consigned to oblivion: Tickell, a frequent contributor to the "Spectator;" Parnell, author of the "Hermit;" and Fenton and Broome, who assisted Pope in translating the “Odyssey," are almost the only writers whose names still survive.

3. At a later period a new race of poets sprung up, who ventured to depart, in some respects, from the school of Pope, without, however, following in the footsteps of the older authors. They did not confine themselves exclusively to the use of the heroic couplet, but varied it with blank verse and other measures, and they employed language of a more energetic character than had been customary in the previous writers; but there was, in general, no return to the study of nature, and no throwing off of the artificial trammels by which the free action of the mind was impeded. Young is still well known by his Night Thoughts," which appeared in 1742, and which, amid much affected gloom and over-charged bombast, contain many striking and impressive passages. Thomson displays a greater love of nature than any of his contemporaries; and his "Seasons," though the sentiments are sometimes low, and the language turgid and tautologous, never fail to please from their beautiful descriptions of natural scenery.

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His "Castle of Indolence," a poem in the style and stanza of Spenser, is the most perfect production of his muse, and is one of the best which the century has left us. Gray is one of the finest lyrical poets in the language. His "Bard," and his "Progress of Poesy," are written in a very dignified and elevated strain, with perfect purity of taste, and are constructed with exquisite skill in a varied and highlymusical measure. In a softer strain, but equally excellent, are his "Elegy in a Country Church-yard," and his "Ode on a Distant View of Eton College." Lyrical poetry was also cultivated by Collins, whose "Ode on the Passions" is perhaps next to Dryden's "Ode on St Cecilia's Day," the most famous in the language. Akenside's "Pleasures of Imagination," a sort of philosophical poem in blank verse, possesses many both of the excellences and failings of Young's Night Thoughts." Its fine passages are too often declamatory, and his enthusiasm often degenerates into extravagant rhapsody. Goldsmith's "Traveller" and "Deserted Village are perhaps the most pleasing works which that generation of poets has bequeathed to posterity; and akin to them, in their calm, contemplative air, is the "Minstrel" of Beattie, the first Scotch poet, if we except Thomson (who, however, spent most of his time in London), who distinguished himself as a writer of English verse. The poetry of Dr Johnson, his "London," a satire, and "Vanity of Human Wishes," resembles that of Pope in the roundness of the versification and the terseness of the language, but has a moral dignity to which Pope could not pretend. Many of the minor poets of this period still enjoy a small share of reputation, and are occasionally quoted. Among these may be mentioned Blair, a Scotch clergyman, author of the " Grave," a highly impressive piece; Logan, likewise a Scotch clergyman, and best known by his "Ode to the Cuckoo;" Falconer, author of the "Shipwreck;" Smollett the novelist, author of the famous "Ode to Liberty;" Mickle, Armstrong, and Michael Bruce, all Scotsmen; Isaac Watts, whose hymns are so well known to the juvenile population; Somerville, author of the "Chase;" Shenstone, whose "Schoolmistress and "Pastoral Ballads" have been generally admired; Smart, the Wartons, Hammond, and Dodsley. The poems of Chatterton display a precocity of genius such as our country has never since seen; but an untimely fate cut him off before his muse had reached her maturity. In the Scotch dialect two poets are of sufficient note to require special mention :-Allan Ramsay, whose "Gentle Shepherd" is now generally allowed to be the best pastoral poem which our country has produced; and Robert Ferguson, who, though he died in early youth, left behind him poems which entitle him to be considered as the poetical forerunner of Burns.

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4. The tragic dramatists of this period are not entitled to much praise. Their works are in general unimpressive and deficient in feeling, while they possess, of course, the virtues of smoothness of versification and appropriateness of language. Southerne was one of the most popular of the early tragedians, and his "Isabella" is still occasionally represented. Lillo's "George Barnwell," founded on a well-known ballad, and drawing its characters from ordinary life, is kept in memory by the tragic interest which attaches to the story. Rowe was perhaps the most distinguished tragedian of the period; his

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"Fair Penitent" and "Jane Shore" still retain their place on the stage. He was better versed than most of his contemporaries in the literature of the previous century,-his edition of Shakspere being the first which contributed to throw any light on the history of our great dramatist. Nothing could more conspicuously display the almost total neglect into which the writers of the reigns of James and Charles I. had fallen, than the fact that Rowe has ventured, in the confidence of perfect security, to borrow the plot, and much of the details and speeches, of his "Fair Penitent" from the "Fatal Dowry" of Massinger. Addison's "Cato" has been found unfitted for dramatic representation; but, though cold and often uninteresting, it contains many admirable speeches, which never fail deeply to impress the reader. Congreve's "Mourning Bride" is much inferior to the comedies of the same author, but contains some passages of high merit: its commencement, in particular, has always been much admired. Of the later tragedians of the period, few have acquired a permanent reputation; they exhibit the same want of passion, and the same inclination to supply its place by stilted declamation. Such is the character of "Revenge," a tragedy, by the author of the "Night Thoughts;" of Thomson's " Sophonisba" and "Agamemnon ;" and Dr Johnson's "Irene." Mason, in his "Elfrida" and " Caractacus," attempted unsuccessfully to produce on our stage plays written on the model of the old Greek tragedies; and in the dearth of original genius, some translations were made from the French of Voltaire. The only tragedy of the period that is now read with pleasure is "Douglas," written by Home, a Presbyterian clergyman, who was, however, obliged to resign his office for what was deemed so gross a breach of propriety. The simple and genuine affection which Douglas displays is so true to nature, that it irresistibly compells the sympathies of the audience. The poverty and inferiority of the tragedians of the period was amply compensated by the great fertility and excellence of the comic writers. Everything was favourable for the development of comic talent; the follies and absurdities of a highly artificial state of society, in contrast with the rusticity and awkwardness of those who lived out of the "world," offered an admirable field, and the universal conversational smartness allowed the writer to give full rein to his wit, without the risk of transgressing the limits of what was natural. Hence the regular comedy of this period reached a pitch of excellence which it has never since attained. Of the comic writers, Congreve, already mentioned as a tragedian, is usually considered the best; and his "Love for Love" and the "Double Dealer are admired as among the finest comedies in the language. Farquhar and Sir John Vanbrugh, contemporaries of Congreve, were his rivals in dramatic fame; the "Beaux' Stratagem " of the former, and "Provoked Husband " of the latter, contesting the palm of superiority with the works of Congreve. To these must be added Colley Cibber and Mrs Centlivre, both of whom have produced plays which still rank among our best comedies. The only objection to the merit of these writers arises from their licentiousness, which cannot but offend the more refined morals of a modern reader. This immorality of the drama drew down upon it the censure of Addison and the other essayists; and their efforts led, by degrees, to the purification of the stage, and

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the production of a class of comedies of a less objectionable character, known in works on literature as the "Genteel Comedy." Of this class of comic writers, Colman and Goldsmith are the best known. A lower class of productions, of which the "Beggar's Opera" of Gay, and the various farces of Garrick and Foote, may serve as examples, also enjoyed an extensive, and, on the whole, well-earned popularity. 5. The essayists form a class of writers peculiar to this period, their place being supplied in our days by the numerous writers in newspapers, magazines, and reviews. The essays were issued sometimes daily, sometimes at longer intervals, and the merit of originating the idea belongs to Defoe, though for the practical realization of it we are indebted to Sir Richard Steele. Happening to enjoy a government office which secured for him the early possession of the news from abroad, Steele resolved to avail himself of the opportunity, and issued three times a-week a small penny sheet, containing the most recent intelligence, the rest of the paper being occupied with some tale, allegory, imaginary correspondence, or original essay, designed to " expose the false arts of life, and encourage simplicity in dress, discourse, and behaviour." Such was the origin of the "Tatler;" and the plan proved eminently successful, Steele's diversity of talents qualifying him well for the duties which he had undertaken. He was also assisted by his friends, at first by Swift, who afterwards changed his politics and deserted him, but chiefly by Addison, who wrote a large part of the best papers in the "Tatler." After being issued for nearly two years it was discontinued, but encouraged by the unmistakable approbation of the public for such a work, Steele immediately started the "Spectator," the most famous of our British series of essays, and the only one which a student of literature is still expected to peruse. In the "Spectator," which appeared daily, Steele was again assisted by Addison, and occasional papers were contributed by Tickell, Budgell, Hughes, and others. Besides furnishing a never-failing supply of wholesome and amusing reading, the "Spectator" rendered essential service to our literature by purifying and elevating the tastes of the public, and introducing into the minor civilities of life a spirit of greater propriety, and a higher morality than had hitherto prevailed. The " Spectator was followed by the " Guardian," conducted mainly by the same authors, with some small aid also from Pope; and periodicals of the same kind appeared at intervals during the century. The "Examiner" was largely contributed to by Swift, and was characterized by the extreme vigour of its political articles. At a subsequent period Dr Johnson issued the "Rambler" and "Idler," which, though wanting the ease and sprightliness of Addison and Steele, are impressive from the dignified strain of morality which pervades them. The "World" by Moore, the "Adventurer" by Hawkesworth, and the "Connoisseur" by Colman and Thornton, are the best known of the other essayists; while in Scotland, Henry Mackenzie issued the " Lounger" and Mirror," highly creditable to the ability of the writers, and the state of literature in the country at the time. The "Gentleman's Magazine" and some reviews also belong to this period, but they possessed only a fraction of the influence which they now exert.

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6. The sceptical spirit, which was at this time so widely prevalent, may be considered as on the whole highly favourable to the produc

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