Page:Catholic Encyclopedia, volume 5.djvu/532

ENGLAND The "Church of England", now the State "established" Church, was, however, in a state of spiritual poverty—many of her best clergy having left her for conscience' sake at the time of the Act of Uniformity. As far as the current stream of poetry was concerned, it had become an affair of a circle of leisured and fashionable people. A great admiration prevailed for the classics and classical principles, seen generally through the eyes of French critics.

The century opened badly for literature. For years there had not been such a barren literary time. Dryden had just died, and though much verse was being written, it was mostly poor. In prose, there were few men of any mark. The only work showing power was the drama, in the brilliant and unmoral comedies of Congreve, Vanburgh, and Farquhar. But within ten years there was a remarkable change. Pope came to the front in verse, and for many years poetry was to be almost synonymous with his name.

In prose there was a galaxy of genius, Swift (1667-1746), Addison (1672-1719), Steele ( 1671-1726), Berkeley (1685-1753), to mention only a few, in whose hands modern prose—mature, varied, capable, combining, when at its best, strength, sweetness, grace, and magnificence—becomes henceforth a secure possession of English literature. But this was not all at once. Prose had first to go through a discipline from the hands not only of writers just mentioned, together with the great novelists in the first half of the century, but from Dr. Johnson and those who followed him, especially the historians Gibbon and Robertson. It thus took on a certain formality and stateliness not known before.

Pope and Johnson are the two names that dominate almost tyrannically the first and second half respectively of the eighteenth century. Most of the elements of his age are more or less represented in the work of Alexander Pope (1688-1744), though, as a Catholic, his religious sympathies lay in another direction than those of his day. His first important poem, the "Essay on Criticism", lays down rules for the guidance of critics according to the prevalent classical ideals; his "Rape of the Lock", perhaps his best poem, gives a brilliant and witty picture of the high society of his time; his translation of Homer is a Greek story told in an eighteenth-century manner; his "Essay on Man" is a versifying of Shaftesbury's philosophy; and the "Essays and Epistles" and the "Dunciad" are didactic and satiric. Dryden and Pope share between them the chief honors of English satire. Pope's picture of Atticus (Addison) and Dryden's of Zimri (Buckingham) have no equals in our satiric literature. The subject-matter of Pope's poetry may sometimes fail to interest us, but the versification always claims attention. Pope refined and polished and super-refined the heroic couplet until it became the most perfect instrument for satiric verse. It has not the original vigor and variety of Dryden's couplet, but it has a finer finish and a more subtle thrust.

The greatest strength of literature, however, at this time went into prose, and the prose writers contemporary with Pope are men of genius, with Swift by far the greatest of them. His "Tale of a Tub" and "Gulliver's Travels"—to mention only the two greatest of his writings—show a power of intellect and imagination worthy to be employed upon much finer subject-matter. The first part of "Gulliver's Travels" finds him, perhaps, at his happiest, and is less marred by the bitter rage against men and life, and the touches of foulness, which spoil so much of his work. He is, too, one of the great humorists, and his style is marked by sincerity, clearness, force, flexibility, and sometimes grace.

But the greatest work in prose, on the whole, was done by Addison and Steele in the essays of "The Tatler" and "The Spectator". They were men of less genius than Swift, but who looked at life humanly and wished to add to men's peace and happiness. They expressed with wit, kindliness, and literary skill their views and their intentions. Their definite aim was to bring together the opposing parties in politics and religion by showing them how much of life and interests they possessed in common, and by gentle raillery and well-bred exhortation, to "rub off their corners". They did accomplish much of this; everybody, regardless of politics, read the Essays, which came out several times a week, or daily, and every one enjoyed and talked them over. Polite literature by this means permeated and helped to refine the great and growing middle class.

Another form of prose which arises now, and was destined to even a much greater future than the essay, was the novel. The modern novel is born with the work of Richardson and Fielding—the work of the one viewing things from an emotional standpoint, that of the other giving a more comprehensive and objective picture of life. Richardson wrote out of his own native feeling and somewhat restricted experience; Fielding, equally original, was largely and beneficially influenced by Cervantes and the novel of Spain. Both are men of genius, whose work grips the reader, but their offenses against good taste and morality will always prevent their becoming household companions as Scott and Dickens have become. Smollett and Sterne continue the life of the novel, and Goldsmith, in his masterpiece, "The Vicar of Wakefield", has earned the gratitude of all readers. Biography, philosophy, and history have a large and distinguished place in the prose of this time. Samuel Johnson (1709-1784) accomplished many kinds of literature. His earliest attempt as well as his latest is biography; of essays he wrote many, but his genius is not best suited to that form, and the work is too often ponderous and mannered; novel and ethical treatise are combined in the delightful pages of "Rasselas". His great dictionary is philology with an autobiographical flavor; his lives of the poets are partly biographical, but mainly critical, while criticism fills a good space in his edition of Shakespeare. But it is not only the range and value of all this work which makes it so attractive, but—in spite of its limitations—the sincere, strong, kindly character that animates every line of it.

"That fellow calls forth all my powers", said Johnson of Burke. Edmund Burke (1729-1797) is now looked upon as England's greatest political philosopher, and his writings belong in subject-matter to history and politics, rather than to literature. Their style, however, rich, imaginative, full of energy, varied to suit its theme, moving among worlds of knowledge, and selecting just the right word and illustration in each place, puts him among the great liter-