Like his own "Paradise Lost," he appears, with his Titanic proportions and independent loneliness, as the most impressive figure in English literature.

FOR FURTHER READING AND STUDY.

The character of the Puritans, Macaulay, "Essay on Milton" and "History of England," vol. I., pp. 82-84, 153-158, Green, "History of the English People," vol. III., Ch. 1. The work of Cromwell in the Civil War, Green, "History of the English People," vol. III., Ch. 9.

John Bunyan.-Froude, "Life of Bunyan," (English Men of Letters), Venable, "Life of Bunyan" (Great Writer Series), Macaulay, "Essay on Bunyan," Painter, "History of English Literature." His life in the Bedford jail, Froude and Venable (as above). The story of Doubting Castle in the "Pilgrim's Progress." A description of the land of Beulah.

Fantastic Poets.- A study of Herrick's poems, Ward, "The English Poets," vol. II., Palgrave, "Golden Treasury," in connection with Painter's "Guide to Literary Criticism," Chs. 2, 7, and 8. A study of Cowley, Ward, "The English Poets," vol. II. A study of Waller, Ward, "The English Poets," vol. II.

Milton.-Masson, "Life and Times of Milton," Pattison, "Life of Milton" (English Men of Letters), Garnett, "Life of Milton (Great Writer Series), Matthew Arnold, "Mixed Essays," Macaulay, "Essay on Milton," Lowell, “Among My Books," vol. II., Emerson, North American Review, 47:56. Milton's views on education, "Tractate on Education" and Painter's "History of Education," pp. 207-213. His arguments for the liberty of the press, "Areopagitica." A review of Lycidas, following suggestions in Painter's "Guide to Literary Criticism," Chs. 2, 7, and 8. The Character of Satan as portrayed in the first book of "Paradise Lost." An outline of "Samson Agonistes." Milton's character as reflected in his sonnets.

PRINCIPAL WRITERS.

DIARISTS. John Evelyn (1620-1706). Miscellaneous writer, but chiefly remembered for his 'Diary." (See Text.)

Samuel Pepys (1633-1703). His "Diary" covers the period 1660-1669, first published in 1825. (See Text.)

PHILOSOPHERS. Sir Isaac Newton (1642-1727). Author of several works, the chief of which is "Principia Philosophiæ Naturalis Mathematica" (1687).

Robert Boyle (1627-1691). A distinguished member of the Royal Society ; "the most faithful, the most patient, the most successful disciple who carried forward the experimental philosophy of Bacon." John Locke (1632-1704). Author of two "Treatises on Government" (1690), "Thoughts Concerning Education " (1693), "Essay on the Human Understanding" (1690), etc. (See Text.)

Thomas Hobbes ('1588-1679). Author of "Human Nature" (1650), "Leviathan " (1651), "The Behemoth (1678).

THEOLOGIANS.-Joseph Butler (1692-1752). Bishop of Durham, and author of "The Analogy of Religion to the Constitution and Course of Nature" (1736).

Gilbert Burnet (1643-1715). Bishop of Salisbury, and author of the "History of the Reformation (1681), "Life of Sir Matthew Hale" (1682), etc.

Ralph Cudworth (1617-1688). Author of "True Intellectual System of the Universe" (1678).

John Tillotson (1630-1694). Archbishop of Canterbury, author of "The Rule of Faith" (1666), and “Sermons.”

Jeremy Collier (1650–1726). Nonconformist clergyman, and author of various works, of which the best known is "A Short View of the Profaneness and Immorality of the Stage" (1698). His vigorous attacks led to a purification of the theatre.

NOVELISTS. - Daniel Defoe (1663-1731). Voluminous author, best known for his "Robinson Crusoe" (1719), "Moll Flanders (1721), "Journal of the Plague" (1722), etc. (See Text.)

Samuel Richardson (1689-1761). First novelist of love, author

of "Pamela" (1740), "Clarissa Harlowe" (1749), and "Sir Charles Grandison" (1754), written to exhibit an ideal hero. (See Text.)

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Henry Fielding (1707-1754). Author of "Joseph Andrews " (1742), “Jonathan Wild” (1743), “Tom Jones" (1749), Amelia " (1751), etc. (See Text.)

DRAMATISTS.

- William Wycherly (1640-1715). Best drama, "The Country Wife" (1675): William Congreve

Love" (1695).

(1670-1729). Principal piece, "Love for

George Farquhar (1678–1707). Most popular work, "The Beaux's Stratagem" (1707).

MISCELLANEOUS PROSE. Sir William Temple (1628-1699). Statesman, and author of "Ancient and Modern Learning" (1692). Sir Richard Steele (1671-1729). Author of "The Christiar Hero" (1701), several comedies, "The Funeral, or Grief à la Mode" (1702), "The Tender Husband" (1703), founder of the Tatler, and distinguished essayist.

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Jonathan Swift (1667-1745). A writer of great originality and power. Author of A Tale of a Tub," "Journal to Stella," "Gulli(See Text.)

ver's Travels," etc.

POETS. Samuel Butler (1612-1680). Author of "Hudibras" (1662-1678), a mock-heroic poem ridiculing the Puritans. (See Text.)

James Thomson (1700-1748). Author of "The Seasons" (1726– 1730), several dramas, and "The Castle of Indolence polished poem in Spenserian verse. (See Text.)

(1748),

a

Edward Young (1681-1765. Royal chaplain, and author of The Love of Fame" (1725-1728), a series of satires, and The Complaint, or Night Thoughts" (1742-1746), on which his fame chiefly rests. (See Text.)

GREAT REPRESENTATIVE WRITERS.

JOHN DRYDEN. JOSEPH ADDISON. ALEXANDER POPE

V.

FIRST CRITICAL PERIOD.

(1660-1745.)

This period extends from the Restoration to the death of Pope and Swift. It was ushered in by a violent reaction.

166. Violent Reaction.- With all its moral earnestness and love of freedom, Puritanism had degenerated into a false and forbidding asceticism. It condemned many innocent pleasures. It clothed morality and religion in a garb of cant. The claims of the physical and intellectual parts of man were, under the influence of a terrific theology, sacrificed to his spiritual interests. All spontaneous joy and gayety were banished from life. The Puritan's steps were slow; his face was elongated; his tone had a nasal quality. He gave his children names drawn from the Scriptures; and shutting his eyes to the beauties of the world about him, and forgetting the infinite love of God, he lived perpetually in the shadow of divine wrath. His religion, at war with nature and the gospel, degenerated into fanaticism and weighed heavily upon the life of the English nation.

167. Reign of the Flesh.- With the Restoration, Puritanism was overthrown. The Royalist party, with its sharp contrasts to Puritan principles, again came into power. The result in its moral effects was dreadful. The stream of license, which had been held in check for years, burst forth with fearful momentum. The reign of the flesh set in. Virtue was held to savor of Puritanism; duty was thought to smack of fanaticism; and integrity, patriotism, and honor were regarded as mere devices for self-aggrandizement. Under the lead of Charles

II., himself a notorious libertine, the court became a scene of shameless and almost incredible debauchery. The effect upon literature can be easily imagined. It debased the moral tone of poetry and the drama to a shocking degree. As Dryden tells us in one of his epilogues:

168.

"The poets who must live by courts, or starve,
Were proud so good a government to serve;
And, mixing with buffoons and pimps profane,
Tainted the stage, for some small snip of gain."

French Influence.- But there are other respects in which the Restoration affected literature. Charles II. returned to England with French companions and French tastes. It was but natural, therefore, that English literature should be influenced by French models. It was the Augustan Age of literature in France. Louis XIV., the most powerful monarch in Europe, had gathered about him the best literary talent of the age. Corneille, Molière, and Racine gave great splendor to dramatic poetry, and Boileau developed the art of criticism. But the French drama, besides following classical models in regard to the unities, imposed the burden of rhymed couplets upon dramatic composition. It was in obedience to the wish of Charles that rhyme was first introduced into the English drama. Through French influence the course of the drama, as it had been developed by the great Elizabethans, was seriously interrupted.

169. Literary Criticism. But in respect to literary criticism, the influence of France was more salutary. Boileau had displayed great critical acumen in estimating French authors, and had laid down correct principles, by which to judge literary composition. The art of criticism took root in England. Dryden, whom Johnson calls the father of English criticism, sat at the feet of his great French contemporary, and in his numerous prefaces exhibited admirable judgment in weighing the productions both of ancient and modern times.

Pope, the greatest writer of the period, likewise followed French models. The characteristics of the new critcism,