English Literature: Its History and Significance for the Life of the English-Speaking World - William J. Long (book club books .TXT) 📗

a leader. The first Parliament, while it contained some noble and patriotic members, was dominated by young men who remembered the excess of Puritan zeal, but forgot the despotism and injustice which had compelled Puritanism to stand up and assert the manhood of England. These young politicians vied with the king in passing laws for the subjugation of Church and State, and in their thirst for revenge upon all who had been connected with Cromwell's iron government. Once more a wretched formalism--that perpetual danger to the English Church--came to the front and exercised authority over the free churches. The House of Lords was largely increased by the creation of hereditary titles and estates for ignoble men and shameless women who had flattered the king's vanity. Even the Bench, that last strong refuge of English justice, was corrupted by the appointment of judges, like the brutal Jeffreys, whose aim, like that of their royal master, was to get money and to exercise power without personal responsibility. Amid all this dishonor the foreign influence and authority of Cromwell's strong government vanished like smoke. The valiant little Dutch navy swept the English fleet from the sea, and only the thunder of Dutch guns in the Thames, under the very windows of London, awoke the nation to the realization of how low it had fallen.

Revolution of 1688 Two considerations must modify our judgment of this disheartening spectacle. First, the king and his court are not England. Though our histories are largely filled with the records of kings and soldiers, of intrigues and fighting, these no more express the real life of a people than fever and delirium express a normal manhood. Though king and court and high society arouse our disgust or pity, records are not wanting to show that private life in England remained honest and pure even in the worst days of the Restoration. While London society might be entertained by the degenerate poetry of Rochester and the dramas of Dryden and Wycherley, English scholars hailed Milton with delight; and the common people followed Bunyan and Baxter with their tremendous appeal to righteousness and liberty. Second, the king, with all his pretensions to divine right, remained only a figurehead; and the Anglo-Saxon people, when they tire of one figurehead, have always the will and the power to throw it overboard and choose a better one. The country was divided into two political parties: the Whigs, who sought to limit the royal power in the interests of Parliament and the people; and the Tories, who strove to check the growing power of the people in the interests of their hereditary rulers. Both parties, however, were largely devoted to the Anglican Church; and when James II, after four years of misrule, attempted to establish a national Catholicism by intrigues which aroused the protest of the Pope[171] as well as of Parliament, then Whigs and Tories, Catholics and Protestants, united in England's last great revolution.

The complete and bloodless Revolution of 1688, which called William of Orange to the throne, was simply the indication of England's restored health and sanity. It proclaimed that she had not long forgotten, and could never again forget, the lesson taught her by Puritanism in its hundred years of struggle and sacrifice. Modern England was firmly established by the Revolution, which was brought about by the excesses of the Restoration.

French InfluenceLiterary Characteristics. In the literature of the Restoration we note a sudden breaking away from old standards, just as society broke away from the restraints of Puritanism. Many of the literary men had been driven out of England with Charles and his court, or else had followed their patrons into exile in the days of the Commonwealth. On their return they renounced old ideals and demanded that English poetry and drama should follow the style to which they had become accustomed in the gayety of Paris. We read with astonishment in Pepys's Diary (1660-1669) that he has been to see a play called Midsummer Night's Dream, but that he will never go again to hear Shakespeare, "for it is the most insipid, ridiculous play that ever I saw in my life." And again we read in the diary of Evelyn,--another writer who reflects with wonderful accuracy the life and spirit of the Restoration,--"I saw Hamlet played; but now the old plays begin to disgust this refined age, since his Majesty's being so long abroad." Since Shakespeare and the Elizabethans were no longer interesting, literary men began to imitate the French writers, with whose works they had just grown familiar; and here begins the so-called period of French influence, which shows itself in English literature for the next century, instead of the Italian influence which had been dominant since Spenser and the Elizabethans.

One has only to consider for a moment the French writers of this period, Pascal, Bossuet, Fénelon, Malherbe, Corneille, Racine, Molière,--all that brilliant company which makes the reign of Louis XIV the Elizabethan Age of French literature,--to see how far astray the early writers of the Restoration went in their wretched imitation. When a man takes another for his model, he should copy virtues not vices; but unfortunately many English writers reversed the rule, copying the vices of French comedy without any of its wit or delicacy or abundant ideas. The poems of Rochester, the plays of Dryden, Wycherley, Congreve, Vanbrugh, and Farquhar, all popular in their day, are mostly unreadable. Milton's "sons of Belial, flown with insolence and wine," is a good expression of the vile character of the court writers and of the London theaters for thirty years following the Restoration. Such work can never satisfy a people, and when Jeremy Collier,[172] in 1698, published a vigorous attack upon the evil plays and the playwrights of the day, all London, tired of the coarseness and excesses of the Restoration, joined the literary revolution, and the corrupt drama was driven from the stage.

New TendenciesWith the final rejection of the Restoration drama we reach a crisis in the history of our literature. The old Elizabethan spirit, with its patriotism, its creative vigor, its love of romance, and the Puritan spirit with its moral earnestness and individualism, were both things of the past; and at first there was nothing to take their places. Dryden, the greatest writer of the age, voiced a general complaint when he said that in his prose and poetry he was "drawing the outlines" of a new art, but had no teacher to instruct him. But literature is a progressive art, and soon the writers of the age developed two marked tendencies of their own,--the tendency to realism, and the tendency to that preciseness and elegance of expression which marks our literature for the next hundred years.

RealismIn realism--that is, the representation of men exactly as they are, the expression of the plain, unvarnished truth without regard to ideals or romance--the tendency was at first thoroughly bad. The early Restoration writers sought to paint realistic pictures of a corrupt court and society, and, as we have suggested, they emphasized vices rather than virtues, and gave us coarse, low plays without interest or moral significance. Like Hobbes, they saw only the externals of man, his body and appetites, not his soul and its ideals; and so, like most realists, they resemble a man lost in the woods, who wanders aimlessly around in circles, seeing the confusing trees but never the whole forest, and who seldom thinks of climbing the nearest high hill to get his bearings. Later, however, this tendency to realism became more wholesome. While it neglected romantic poetry, in which youth is eternally interested, it led to a keener study of the practical motives which govern human action.

FormalismThe second tendency of the age was toward directness and simplicity of expression, and to this excellent tendency our literature is greatly indebted. In both the Elizabethan and the Puritan ages the general tendency of writers was towards extravagance of thought and language. Sentences were often involved, and loaded with Latin quotations and classical allusions. The Restoration writers opposed this vigorously. From France they brought back the tendency to regard established rules for writing, to emphasize close reasoning rather than romantic fancy, and to use short, clean-cut sentences without an unnecessary word. We see this French influence in the Royal Society,[173] which had for one of its objects the reform of English prose by getting rid of its "swellings of style," and which bound all its members to use "a close, naked, natural way of speaking ... as near to mathematical plainness as they can." Dryden accepted this excellent rule for his prose, and adopted the heroic couplet, as the next best thing, for the greater part of his poetry. As he tells us himself:

And this unpolished rugged verse I chose
As fittest for discourse, and nearest prose.

It is largely due to him that writers developed that formalism of style, that precise, almost mathematical elegance, miscalled classicism, which ruled English literature for the next century.[174]

The CoupletAnother thing which the reader will note with interest in Restoration literature is the adoption of the heroic couplet; that is, two iambic pentameter lines which rime together, as the most suitable form of poetry. Waller,[175] who began to use it in 1623, is generally regarded as the father of the couplet, for he is the first poet to use it consistently in the bulk of his poetry. Chaucer had used the rimed couplet wonderfully well in his Canterbury Tales, but in Chaucer it is the poetical thought more than the expression which delights us. With the Restoration writers, form counts for everything. Waller and Dryden made the couplet the prevailing literary fashion, and in their hands the couplet becomes "closed"; that is, each pair of lines must contain a complete thought, stated as precisely as possible. Thus Waller writes:

The soul's dark cottage, battered and decayed,
Lets in new light through chinks that time has made.[176]

That is a kind of aphorism such as Pope made in large quantities in the following age. It contains a thought, is catchy, quotable, easy to remember; and the Restoration writers delighted in it. Soon this mechanical closed couplet, in which the second line was often made first,[177] almost excluded all other forms of poetry. It was dominant in England for a full century, and we have grown familiar with it, and somewhat weary of its monotony, in such famous poems as Pope's "Essay on Man" and Goldsmith's "Deserted Village." These, however, are essays rather than poems. That even the couplet is capable of melody and variety is shown in Chaucer's Tales and in Keats's exquisite Endymion.

These four things, the tendency to vulgar realism in the drama, a general formalism which came from following set rules, the development of a simpler and more direct prose style, and the prevalence of the heroic couplet in poetry are the main characteristics of Restoration literature. They are all exemplified in the work of one man, John Dryden.

JOHN DRYDEN (1631-1700)

Dryden is the greatest literary figure of the Restoration, and in his work we have an excellent reflection of both the good and the evil tendencies of the age in which he lived. If we can think for a moment of literature as a canal of water, we may appreciate the figure that Dryden is the "lock by which the waters of English poetry were let down from the mountains of Shakespeare and Milton to the plain of Pope"; that is, he stands between two very different ages, and serves as a transition from one to the other.

Life. Dryden's life contains so many conflicting elements of greatness and littleness that the biographer is continually taken away from the facts, which are his chief concern, to judge motives, which are manifestly outside his knowledge and business. Judged by his own opinion of