ing logical argument, how much a creature of tastes and prejudices. And the method he adopted in the Provinciales, as he proceeded, was that which he thought most likely to appeal to the average man. To combat prejudice he evoked prejudice. To the help of argument he brought irony and eloquence. Before Addison and Steele, he realised that, even on religious matters, the man of the world must be addressed in a different tone from that which suits the savant. Pascal made French prose a fit instrument, at once for the precise expression of scientific thought and for the more delicate and varied uses of social intercourse and letters. The history of English prose, and of the less important Dutch prose, of the period, is not quite the same as that of French. It was not till later that rationalism and classicism united in the shaping of modern English prose; and Van Effen's Hollandsche Spectator is generally regarded as the first work in Dutch prose that is distinctly modern. For England on a large, for Holland on a smaller scale, the earlier seventeenth century is a period of enrichment rather than of settling and uniformity; and the chief influence in each is Latin oratorical and historical prose. Hooker and Bacon, Donne and Taylor, Milton and Browne, enriched the resources of English prose in vocabulary, in structure, and in harmony, so much that, despite the work done by Dryden and his followers, the greatest prose writers, from Johnson to Ruskin, have never failed to go back to the study of these great models. On a much smaller scale, something of the same kind was done for Dutch prose by the pedantic, but dignified and harmonious, work of Hooft. Yet even in this period the simpler, directer prose of Dryden and Swift is heralded; and, as might be expected, it is among those in whom the spirit of reason, of the Aufklärung, is at work. The prose of the moderate divines, Hales and Chillingworth, is comparatively simple and straightforward, though Taylor is still diffuse and ambiguous; and Hobbes's style, in everything but ease and grace, is as modern as Dryden's-precise, orderly, and regular in construction. These are the chief forces at work in this period, a period to which the title of transitional might be applied quite as fittingly as to the fifteenth century. But the transition is not marked by the slow decay of an old tradition and the gradual birth of a new, -rather by the confused conflict of great and active forces. The Renaissance, the Reformation, the Counter Reformation, all are potent and shaping influences. Even the prophetic vision of a Bacon could hardly have descried at the opening of the century how completely all these would yield place before it closed to the spirit of rationalist inquiry. Adams, T., 218 note. Arcadia, 262, 263. Arden of Feversham, 112. Areopagitica, 221, 224. Argenis, 264. Ariadne, 295. Addison, Joseph, 102, 139, 283, 348, Ariosto, 182, 328, 339. 350. Address to Cromwell, 188. Adone, 143, 328, 330, 331, 336, 338, Advancement of Learning, The, Aenchen von Tharau, 356. Alamanni, 340. Alchemist, The, 96, 98, 100, 102. Amadis of Gaul, 260 note, 262, 265. Amours Tragiques de Pyrame et An Advertisement touching the Con- on the Remon- Antonio and Mellida, 104. Aristotle, 211, 259, 300, 310. Artamène ou le Grand Cyrus, 267. Bacon, Francis, 203, 204, 205 and Ballad upon a Wedding, 177. Baro, Balthasar, 297. Beaumont, Francis, 85, 120-127. Beets, Dr Nicholas, 79, 193 note, Behemoth, 237. Bellarmine, 212. Bellini, A., 193 note, 325 note. Bembo, Cardinal, 327, 339. Bergerac, Cyrano de, 271. Blurt, Master Constable, 108. Boas, Mr F., 85 note, 87, 88 note. Boileau, 195, 260, 267, 283. Bourgogne, Hôtel de, 251, 290. Brandt, Geraert, 25, 42, 45, 46-48. Brederoo, Gerb. Adriaensz., 4, 18-20, Brink, Prof. Ten, 2 note. Britain's Ida, 141. Broken Heart, The, 131. Browne, Sir T., 204, 223, 228-233. Browne, W., 134, 144, 145. Buchanan, G., 73, 76, 312. Buddensieg, Rudolf, 193 note. Cardinal, The, 133. Castara, 180. Catiline, His Conspiracy, 99. Chambers, E. K., 135 note. Literature, 202 note. Chapman, G., 85 and note, 88, Characters of Virtues and Vices, Chaste Maid in Cheapside, A, 109. Chiabrera, Gabriello, 325, 328, 339, Chillingworth, William, 27, 216, Chriséide et Arimande, 298. Christian Ethics, 171. Church, Dean, 205 note. Cinna, 311. City Madam, 129. Clarendon, E. Hyde, Lord, 46, 187, Claretti, 343. Clélie, ou Histoire Romaine, 267. Cléopâtre, 266, 306. Cleveland, Ed., 176, 186. Clitandre, 304. Calum Britannicum, 175. Colours of Good and Evil, 205. Comédiens du Prince d'Orange, 303. Comédiens du Roi, 303. Commedia dell' Arte, 324, 350. Complete Angler, The, 243. Comus, 144, 180, 182, 183, 201. Confrérie de la Passion, 289, 290. Considerazioni sopra le Rime del Cooper's Hill, 188. Carducci, 339 note, 340, 343, 345 Coornhert, D. V., 11, 12. Coriolan, 292. Counter-Reformation, the, 371-375. Crépet, 244 note, 245. Cypress Grove, A, 150. Cytherée, 266. Da Porta, 322. Dach, Simon, 356, 357. D'Ancona e Bacci, 325 note. Daniel, S., 138, 152, 239, 288. Dante, 339, 342. D'Aubigné, 258. Don Sanche d'Aragon, 311, 314, Donne, John, 35, 140, 144, 152, 153, Drayton, Michael, 137, 138, 140, Drummond, William, 96, 149-152, Dryden, John, 120 note, 122, 152, Du Bartas, 23, 193, 195. Du Bellay, 244, 246, 355, 365. Davenant, Sir W., 134, 186, 190, Ductor Dubitantium, 216. 191. Davideis, 182, 190. D'Avila, Enrico Caterina, 240, 351. Defensio pro Populo Anglicano, 222. Dekker, 85, 103, 106-108, 111, 125, Delights of the Muses, 170. Denham, Sir John, 186, 187, 188, Descartes, 204, 230, 237, 273, 274- Desgilberts, G., 303, 307. Desportes, Malherbe's notes on, Endymion, 265. 346. Devil is an Ass, The, 99. Devil, The White, or the Hypocrite Dictionary of National Biography, Discours de la Méthode, 275, 276. Dobell, B., 171. England's Worthies, 236. Evelyn, John, 242. Every Man in his Humour, 90, 92. 92. Doctrine and Discipline of Divorce, Eymael, H. J., 37. 192, 222. Dodsley, 21 note. Don Japhet d'Armenie, 324. Don Quixote, 268, 269, 270, 347. |