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DRYDEN,

AND THE

LITERATURE OF THE RESTORATION.1

IT is a common remark that literature flourishes best in times of social order and leisure, and suffers immediate depression whenever the public mind is agitated by violent civil controversies. The remark is more true

than such popular inductions usually are. It is confirmed, on the small scale, by what every one finds in his own experience. When a family is agitated by any matter affecting its interests, there is an immediate cessation from all the lighter luxuries of books and music wherewith it used to beguile its leisure. All the members of the family are intent for the time being on the matter in hand; if books are consulted it is for some purpose of practical reference; and, if pens are active, it is in writing letters of business.

1 British Quarterly Review, July, 1854. the English Poets: Edited by Robert Bell. Dryden." 3 vols. London. 1854.

Not till the

The Annotated Edition of "Poetical Works of John

matter is fairly concluded are the recreations of music and literature resumed; though then, possibly, with a keener zest and a mind more full and fresh than before. Precisely so it is on the large scale. If everything that is spoken or written be called literature, there is probably always about the same amount of literature going on in a community; or, if there is any increase or decrease, it is but in proportion to the increase of the population. But, if by literature we mean a certain peculiar kind and quality of spoken or written matter, recognisable by its likeness to certain known precedents, then, undoubtedly literature flourishes in times of quiet and security, and wanes in times of convulsion and disorder. When the storm of some great civil contest is blowing, it is impossible for even the serenest man to shut himself quite in from the noise, and turn over the leaves of his Horace, or practise his violin, as undistractedly as before. Great is the power of pococurantism; and it is a noble sight to see, in the midst of some Whig and Tory excitement which is throwing the general community into sixes and sevens, and sending mobs along the streets, the calm devotee of hard science, or the impassioned lover of the ideal, going on his way, aloof from it all, and smiling at it all. But there are times when even these obdurate gentlemen will be touched, in spite of themselves, to the tune of what is going on; when the shouts of the mob will penetrate to the closets

of the most studious; and when, as Archimedes of old had to leave his darling diagrams and trudge along the Syracusan streets to superintend the construction of rough cranes and catapults, so philosophers and poets alike will have to quit their favourite occupations, and be whirled along in the common agitation. Those are times when whatever literature there is assumes a character of immediate and practical interest. Just as, in the supposed case, the literary activity of the family is consumed in mere letters of business, so, in this, the literary activity of the community exhausts itself in newspaper articles, public speeches, and pamphlets, more or less elaborate, on the present crisis. There may be a vast amount of mind at work, and as much, on the whole, may be written as before; but the very excess of what may be called the pamphlet literature, which is perishable in its nature, will leave a deficiency in the various departments of literature more strictly so called-philosophical or expository literature, historical literature, and the literature of pure imagination. Not till the turmoil is over, not till the battle has been fairly fought out, and the mental activity involved in it has been let loose for more scattered work, will the calmer muses resume their sway, and the press send forth treatises and histories, poems and romances, as well as pamphlets. Then, however, men may return to literature with a new zest, and the very storm which has interrupted the course of pure

literature for a time may infuse into such literature, when it begins again, a fresher and stronger spirit. If the battle has ended in a victory, there will be a tone of joy, of exultation, and of scorn, in what men think and write after it; if it has ended in a defeat, all that is thought and written will be tinged by a deeper and finer sorrow.

It

The history of English literature affords some curious illustrations of this law. It has always puzzled historians, for example, to account for such a great unoccupied gap in our literary progress as occurs between the death of Chaucer and the middle of the reign of Elizabeth. From the year 1250, when the English language first makes its appearance in anything like its present form, to the year 1400, when Chaucer died, forms, as all know, the infant age of our literature. was an age of great literary activity; and how much was achieved in it remains apparent in the fact that it culminated in a man like Chaucer-a man whom, without any drawback for the early epoch at which he lived, we still regard as one of our literary princes. Nor was Chaucer the solitary name of his age. He had some notable contemporaries, both in verse and in prose. When we pass from Chaucer's age, however, we have to overleap nearly a hundred and eighty years before we alight upon a period presenting anything like an adequate show of literary continuation. A few smaller

names, like those of Lydgate, Surrey, and Skelton, are all that can be cited as poetical representatives of this sterile interval in the literary history of England: whatever of Chaucer's genius still lingered in the island seeming to have travelled northward, and taken refuge in a series of Scottish poets, excelling any of their English contemporaries. How is this to be accounted for? Is it that really, during this period, there was less of available mind than before in England, that the quality of the English nerve had degenerated? By no means

necessarily so. Englishmen, during this period were engaged in enterprises requiring no small amount of intellectual and moral vigour; and there remain to us, from the same period, specimens of grave and serious prose, which, if we do not place them among the gems of our literature, we at least regard as evidence that our ancestors of those days were men of heart and wit and solid sense. In short, we are driven to suppose that there was something in the social circumstances of England during the long period in question which prevented such talent as there was from assuming the particular form of literature. Fully to make out what this "something" was may baffle us; but, when we remember that this was the period of the Civil Wars of the Roses, and also of the great Anglican Reformation, we have reason enough to conclude that the dearth of pure literature may have been owing, in part, to the

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