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what is worthiest. In the pursuit he may leave his guide far behind him; but none the less will he be grateful to the pioneer who started him on his travels.
If the Age of Pope proves of help in this way the wishes of the writer will be satisfied. It has been
endeavour in all cases to acknowledge the debt I owe to the authors who have made this period their study; but it is possible that a familiar acquaintance with their writings may have led me occasionally to mistake the matter thus assimilated for original criticism. If, therefore-to quote the phrase of Pope's enemy and my namesake-I have sometimes borrowed another man's 'thunder,' the fault of having 'made a sinner of my memory' may prove the reader's gain, and will, I hope, be forgiven.
J. D. HAMPSTEAD,
II. MATTHEW PRIOR-JOHN GAY-EDWARD YOUNG-
ROBERT BLAIR-JAMES THOMSON
THE AGE OF POPE.
I. THE death of John Dryden, on the first of May, 1700, closed a period of no small significance in the history of English literature. His faults were many, both as a man and as a poet, but he belongs to the race of the giants, and the impress of greatness is stamped upon his works. No student of Dryden can fail to mark the force and sweep of an intellect impatient of restraint. His long-resounding march' reminds us of a turbulent river that overflows its banks, and if order and perfection of art are sometimes wanting in his verse, there is never the lack of power. Unfortunately many of the best years of his life were devoted to a craft in which he was working against the grain. His dramas, with one or two noble exceptions, are comparative failures, and in them he too often 'Profaned the God-given strength, and marred the lofty line.'
In two prominent respects his influence on his successors is of no slight significance. As a satirist Pope acknowledged the master he was unable to excel, and so did many of the eighteenth century versemen, who appear to have looked upon satire as the beginning and the end of poetry. Moreover Dryden may be regarded, without much
exaggeration, as the father of modern prose. Nothing can be more lucid than his style, which is at once bright and strong, idiomatic and direct. He knows precisely what he has to say, and says it in the simplest words. It is the form and not the substance of Dryden's prose to which attention is drawn here. There is a splendour of imagery, a largeness of thought, and a grasp of language in the prose of Hooker, of Jeremy Taylor, and of Milton which is beyond the reach of Dryden, but he has the merit of using a simple form of English free from prolonged periods and classical constructions, and fitted therefore for common
The wealthy baggage of the prose Elizabethans and their immediate successors was too cumbersome for ordinary travel; Dryden's riches are less massive, but they can be easily carried, and are always ready for service.
In these respects he is the literary herald of a century which, in the earlier half at least, is remarkable in the use it makes of our mother tongue for the exercise of common
The Revolution of 1688 produced a change in English politics scarcely more remarkable than the change that took place a little later in English literature and is to be seen in the poets and wits who are known familiarly as the Queen Anne men. It will be obvious to the most superficial student that the gulf which separates the literary period, closing with the death of Milton in 1674, from the first half of the eighteenth century, is infinitely wider than that which divides us from the splendid band of poets and prose
writers who made the first twenty years of the present century so famous. There is, for example, scarcely more than fifty years between the publication of Herrick's Hesperides and of Addison's Campaign, between the Holy Living of Taylor and the Tatler of Steele, and less than fifty years between Samson Agonistes, which Bishop Atterbury asked Pope to polish, and the poems of Prior.