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could hope to rise up to, that it gave a man an indignation at himself and all others. . . . His style was rather too fine; but there was a majesty and beauty in it that left so deep an impression that I cannot yet forget the sermons I heard him preach thirty years ago." The writings of Archbishop Leighton that have come down to us have been held by some of the highest minds of our own day-Coleridge for one-to bear out Burnet's affectionate panegyric. But perhaps the greatest genius among the theological writers of this age was the famous Dr. Isaac Barrow, popularly known chiefly by his admirable Sermons, but renowned also in the history of modern science as, next to Newton himself, the greatest mathematician of his time. "As a writer," the late Professor Dugald Stewart has well said of Barrow, "he is equally distinguished by the redundancy of his matter and by the pregnant brevity of his expression; but what more peculiarly characterizes his manner is a certain air of powerful and of conscious facility in the execution of whatever he undertakes. Whether the subject be mathematical, metaphysical, or theological, he seems always to bring to it a mind which feels itself superior to the occasion, and which, in contending with the greatest difficulties, puts forth but half its strength. He has somewhere spoken of his Lectiones Mathematica (which it may, in passing, be remarked, display metaphysical talents of the highest order) as extemporaneous effusions of his pen; and I have no doubt that the same epithet is still more literally applicable to his pulpit discourses. It is, indeed, only thus that we can account for the variety and extent of his voluminous remains, when we recollect that the author died at the age of forty-six." But the name that in popular celebrity transcends all others, among the theological writers of this age, is that of John Bunyan, the author of various religious works, and especially of the Pilgrim's Progress. One critic has in our time had the courage to confess in print, that to him this famous allegory appeared mean, jejune, and wearisome." Our late brilliant essayist, Lord Macaulay, on the other hand, in a paper published in 1830, has written:-"We are not afraid to say, that, though there were many clever men in England during the latter half of the seventeenth century, there were only two minds which possessed the imaginative faculty in a very eminent degree. One of those minds produced the Paradise Lost, the other the Pilgrim's Progress." And, to the

* Own Time, i. 135.

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† Dissertation on the Progress of Philosophy, p. 45.

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end of his life, we find him faithful to the same enthusiasm.* He conceives it to be the characteristic peculiarity of the Pil grim's Progress "that it is the only work of its kind which possesses a strong human interest." The pilgrimage of the great Italian poet through Hell, Purgatory, and Paradise is of course regarded as not properly an allegory. But high poetry is treated somewhat unceremoniously throughout this paper. the Fairy Queen it is said:" Of the persons who read the first canto, not one in ten reaches the end of the first book, and not one in a hundred perseveres to the end of the poem. Very few and very weary are those who are in at the death of the Blatant Beast. If the last six books, which are said to have been destroyed in Ireland, had been preserved, we doubt whether any heart less stout than that of a commentator would have held out to the end." It must be admitted that, as a story, the Pilgrim's Progress is a great deal more interesting than the Fairy Queen. And we suspect that, if we are to take the verdict of the most numerous class of readers, it will carry off the palm quite as decidedly from the Paradise Lost. Very few, comparatively, and very weary, we apprehend, are the readers of that great poem, too, who have made their way steadily through it from the beginning of the First Book to the end of the Twelfth. Still, although Bunyan had undoubtedly an ingenious, shaping, and vivid imagination, and his work, partly from its execution, partly from its subject, takes a strong hold, as Macaulay has well pointed out, of minds of very various kinds, commanding the admiration of the most fastidious critics, such, for instance, as Doctor Johnson, while it is loved by those who are too simple to admire it, we must make a great distinction between the power by which such general attraction as this is produced and what we have in the poetry of Milton and Spenser. The difference is something of the same kind with that which exists between any fine old popular ballad and a tragedy of Sophocles or of Shakespeare. Bunyan could rhyme too, when he chose; but he has plenty of poetry without that, and we cannot agree with the opinion expressed by good Adam Clarke, "that the Pilgrim's Progress would be more generally read, and more abundantly useful to a particular class of readers, were it turned into decent rhyme." We suspect the ingenious gentleman, who, in the early part of the last century, published an edition of Paradise Lost turned into prose, had a more correct notion of what would

See the Paper on Ranke's History of the Popes (1840); and again the lively, though slight, sketch of Bunyan's history in the Biographies.

be most useful, and also most agreeable, to a pretty numerous class of readers.

What Lord Macaulay says of Bunyan's English, though his estimate is, perhaps, a little high-pitched, is worth quoting:"The style of Bunyan is delightful to every reader, and invaluable as a study to every person who wishes to obtain a wide command over the English language. The vocabulary is the vocabulary of the common people. There is not an expression, if we except a few technical terms of theology, which would puzzle the rudest peasant. We have observed several pages which do not contain a single word of more than two syllables. Yet no writer has said more exactly what he meant to say. For magnificence, for pathos, for vehement exhortation, for subtle disquisition, for every purpose of the poet, the orator, and the divine, this homely dialect, the dialect of plain working men, was perfectly sufficient. There is no book in our literature on which we would so readily stake the fame of the old unpolluted English language, no book which shows so well how rich that language is in its own proper wealth, and how little it has been improved by all that it has borrowed."

To the names that have been mentioned may be added those of Izaak Walton, the mild-tempered angler and biographer; Sir William Temple, the lively, agreeable, and well-informed essayist and memoirist; and many others that might be enumerated if it were our object to compile a catalogue instead of noticing only the principal lights of our literature.

ENGLISH LITERATURE SINCE THE REVOLUTION OF 1688.

FIRST EFFECTS OF THE REVOLUTION ON OUR LITERATURE. THE Revolution, brought on by some of the same causes that had given birth to the Commonwealth, and restoring something of the same spirit and condition of things, came like another nightfall upon our higher literature, putting out the light of poetry in the land still more effectually than had even that previous triumph of the popular principle. Up to this date English literature had grown and flourished chiefly in the sunshine of court protection and favour; the public appreciation and sympathy were not yet sufficiently extended to afford it the necessary warmth and shelter. Its spirit, consequently, and affections were in the main courtly; it drooped and withered when the encouragement of the court was withdrawn, from the deprivation both of its customary support and sustenance and of its chief inspiration. And, if the decay of this kind of light at the Revolution was, as we have said, still more complete than that which followed upon the setting up of the Commonwealth, the difference seems to have been mainly owing to there having been less of it to extinguish at the one epoch than at the other. At the Restoration the impulse given by the great poets of the age of Elizabeth and James was yet operating, without having been interrupted and weakened by any foreign influence, upon the language and the national mind. Doubtless, too, whatever may be thought of the literary tendencies of puritanism and republicanism when they had got into the ascendant, the nurture both for head and heart furnished by the ten years of high deeds, and higher hopes and speculations, that ushered in the Commonwealth, must have been of a far other kind than any that was to be got out of the thirty years, or thereby, of laxity, frivolity, denationalization, and insincerity of all sorts, down the comparatively smooth stream of which men slid, without effort and without thought, to the Revolution. No wonder that some powerful minds were trained by the former, and almost none by the latter.

SURVIVING WRITERS OF THE PRECEDING PERIOD.

With the exception of some two or three names, none of them of the highest class, to be presently mentioned, almost the only writers that shed any lustre on the first reign after the Revolution are those of a few of the survivors of the preceding era. Dryden, fallen on what to him were evil days and evil tongues, and forced in his old age to write for bread with less rest for his wearied head and hand than they had ever had before, now produced some of his most laborious and also some of his most happily executed works: his translation of Virgil, among others, his Fables, and his Alexander's Feast. Lee, the dramatic poet, discharged from Bedlam, finished two more tragedies, his Princess of Cleve and his Massacre of Paris, before, "returning one night from the Bear and Harrow, in Butcher-Row, through Clare Market, to his lodgings in Duke Street, overladen with wine, he fell down on the ground as some say, according to others on a bulk, and was killed or stifled in the snow," early in the year 1692. The comic Etheredge also outlived the deposition of his patron James II., but is not known to have written anything after that event; he followed James to France, and is reported to have died characteristically at Ratisbon a year or two after: "having treated some company with a liberal entertainment at his house there, where he had taken his glass too freely, and, being, through his great complaisance, too forward in waiting on his guests at their departure, flushed as he was, he tumbled down stairs and broke his neck, and so fell a martyr to jollity and civility." Wycherley, who at the date of the Revolution was under fifty, lived to become a correspondent of Pope, and even saw out the reign of Anne; but he produced nothing in that of William, although he published a volume of poems in 1704, and left some other trifles behind him, which were printed long afterwards by Theobald. Southerne, indeed, who survived till 1746, continued to write and publish till within twenty years of his death; his two best dramas-his Fatal Marriage and his Oroonoko-were both produced in the reign of William. Southerne, though not without considerable pathetic power, was fortunate in a genius on the whole not above the appreciation of the unpoetical age he lived in: "Dryden once took occasion to ask him how much he got by one of his plays; to which he answered that he was really ashamed to inform him. But, Mr. Dryden being a little importunate to know, he plainly told him that by his last play he cleared seven hundred pounds, which appeared astonishing to Dryden, as he himself had never been able to acquire more

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