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we only make use of their example to insult and degrade it still more beneath our own level.

It is the present fashion to speak with veneration of old English iterature; but the homage we pay to it is more akin to the rites of superstition than to the worship of true religion. Our iaith is doubtful; our love cold; our knowledge little or none. We now and then repeat the names of some of the old writers by rote, but we are shy of looking into their works. Though we seem disposed to think highly of them, and to give them every credit for a masculine and original vein of thought, as a matter of literary courtesy and enlargement of taste, we are afraid of coming to the proof, as too great a trial of our candour and patience. We regard the enthusiastic admiration of these obsolete authors, or a desire to make proselytes to a belief in their extraordinary merits, as an amiable weakness, a pleasing delusion; and prepare to listen to some favourite passage, that may be referred to in support of this singular taste, with an incredulous smile; and are in no small pain for the result of the hazardous experiment; feeling much the same awkward condescending disposition to patronize these first crude attempts at poetry and lispings of the Muse, as when a fond parent brings forward a bashful child to make a display of its wit or learning. We hope the best, put a good face on the matter, but are sadly afraid the thing cannot answer.-Dr. Johnson said of these writers generally, that "they were sought after because they were scarce, and would not have been scarce had they been much esteemed." His decision is neither true history nor sound criticism. They were esteemed, and they deserved to be so.

One cause that might be pointed out here, as having contributed to the long-continued neglect of our earlier writers, lies in the very nature of our academic institutions, which unavoidably neutralizes a taste for the productions of native genius, estranges the mind from the history of our own literature, and makes it in each successive age like a book sealed. The Greek and Roman classics are a sort of privileged text-books, the standing order of the day, in a University education, and leave little leisure for a competent acquaintance with, or due admiration of, a whole host of able writers of our own, who are suffered to

moulder in obscurity on the shelves of our libraries, with a decent reservation of one or two top-names, that are cried up for form's sake, and to save the national character. Thus we keep a few of these always ready in capitals, and strike off the rest to prevent the tendency to a superfluous population in the republic of letters; in other words, to prevent the writers from becoming more numerous than the readers. The ancients are become effete in this respect, they no longer increase and multiply ; or if they have imitators among us, no one is expected to read, and still less to admire them. It is not possible that the learned professors and the reading public should clash in this way, or necessary for them to use any precautions against each other. But it is not the same with the living languages, where there is danger of being overwhelmed by the crowd of competitors, and pedantry has combined with ignorance to cancel their unsatisfied claims.

We affect to wonder at Shakspeare, and one or two more of that period, as solitary instances upon record; whereas it is our own dearth of information that makes the waste; for there is no time more populous of intellect, or more prolific of intellectual wealth, than the one we are speaking of. Shakspeare did not look upon himself in this light, as a sort of monster of poetical genius, or on his contemporaries as "less than smallest dwarfs," when he speaks with true, not false modesty, of himself and them, and of his wayward thoughts, "desiring this man's art, and that man's scope." We fancy that there were no such men, that could either add to or take anything away from him, but such there were. He indeed overlooks and commands the admiration of posterity, but he does it from the table-land of the age in which he lived. He towered above his fellows, "in shape and gesture proudly eminent," but he was one of a race of giants, the tallest, the strongest, the most graceful, and beautiful. of them; but it was a common and a noble brood. He was not something sacred and aloof from the vulgar herd of men, but shook hands with nature and the circumstances of the time, and is distinguished from his immediate contemporaries, not in kind, but in degree and greater variety of excellence. He did not form a class or species by himself, but belonged to a class or

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species. His age was necessary to him; nor could he have been wrenched from his place in the edifice of which he was so conspicuous a part, without equal injury to himself and it. Mr. Wordsworth says of Milton, that "his soul was like a star, and dwelt apart." This cannot be said with any propriety of Shakspeare, who certainly moved in a constellation of bright luminaries, and "drew after him a third part of the heavens.' If we allow, for argument's sake (or for truth's, which is better), that he was in himself equal to all his competitors put together; yet there was more dramatic excellence in that age than in the whole of the period that has elapsed since. If his contemporaries, with their united strength, would hardly make one Shakspeare, certain it is that all his successors would not make half a one. With the exception of a single writer, Otway, and of a single play of his (Venice Preserved'), there is nobody in tragedy and dramatic poetry (I do not here speak of comedy), to be compared to the great men of the age of Shakspeare, and immediately after. They are a mighty phalanx of kindred spirits closing him round, moving in the same orbit, and impelled by the same causes in their whirling and eccentric career. They had the same faults and the same excellences; the same strength, and depth, and richness, the same truth of character, passion, imagination, thought and language, thrown, heaped, massed together without careful polishing or exact method, but poured out in unconcerned profusion from the lap of nature and genius in boundless and unrivalled magnificence. The sweetness of Decker, the thought of Marston, the gravity of Chapman, the grace of Fletcher and his young-eyed wit, Jonson's learned sock, the flowing vein of Middleton, Heywood's ease, the pathos of Webster, and Marlowe's deep designs, add a double lustre to the sweetness, thought, gravity, grace, wit, artless nature, copiousness, ease, pathos, and sublime conceptions of Shakspeare's Muse. They are indeed the scale by which we can best ascend to the true knowledge and love of him. Our admiration of them does not lessen our relish for him: but, on the contrary, increases and confirms it. For such an extraordinary combination and development of fancy and genius many causes may be assigned, and we seek for the chief of them in religion, in politics, in the

circumstances of the time, the recent diffusion of letters, in local situation, and in the character of the men who adorned that period, and availed themselves so nobly of the advantages placed within their reach.

I shall here attempt to give a general sketch of these causes, and of the manner in which they operated to mould and stamp the poetry of the country at the period of which I have to treat; independently of incidental and fortuitous causes, for. which there is no accounting, but which, after all, have often the greatest share in determining the most important results.

The first cause I shall mention, as contributing to this general effect, was the Reformation, which had just then taken place. I This event gave a mighty impulse, and increased activity to thought and inquiry, and agitated the inert mass of accumulated prejudices throughout Europe. The effect of the concussion was general, but the shock was greatest in this country. It toppled down the full-grown, intolerable abuses of centuries at a blow; heaved the ground from under the feet of bigoted faith and slavish obedience; and the roar and dashing of opinions, loosened from their accustomed hold, might be heard like the noise of an angry sea, and has never yet subsided. Germany first broke the spell of misbegotten fear, and gave the watchword; but England joined the shout, and echoed it back with her island voice from her thousand cliffs and craggy shores, in a longer and a louder strain. With that cry the genius of Great Britain rose and threw down the gauntlet to the nations. There was a mighty fermentation: the waters were out; public opinion was in a state of projection. Liberty was held out to all to think and speak the truth. Men's brains were busy; their spirits stirring; their hearts full; and their hands not idle. Their eyes were open to expect the greatest things, and their ears burned with curiosity and zeal to know the truth, that the truth might make them free. The death-blow which had been struck at scarlet vice and bloated hypocrisy loosened their tongues, and made the talisans and love-tokens of Popish superstition, with which she had beguiled her followers and committed abominations with the people, fall harmless from their necks.

The translation of the Bible was the chief engine in the great

vork. It threw open, by a secret spring, the rich treasures of religion and morality, which had been there locked up as in a shrine. It revealed the visions of the prophets, and conveyed the lessons of inspired teachers (such they were thought) to the meanest of the people. It gave them a common interest in the common cause. Their hearts burnt within them as they read. It gave a mind to the people, by giving them common subjects of thought and feeling. It cemented their union of character and sentiment it created endless diversity and collision of opinion. They found objects to employ their faculties, and a motive in the magnitude of the consequences attached to them, to exert the utmost eagerness in the pursuit of truth, and the most daring intrepidity in maintaining it. Religious controversy sharpens the understanding by the subtlety and remoteness of the topics it discusses, and braces the will by their infinite importance. We perceive in the history of this period a nervous masculine intellect. Νο levity, no feebleness, no indifference; or if there were, it is a relaxation from the intense activity which gives a tone to its general character. But there is a gravity approaching to piety; a seriousness of impression, a conscientious severity of argument, an habitual fervour and enthusiasm in their mode of handling almost every subject. The debates of the schoolmen were sharp and subtle enough; but they wanted interest and grandeur, and were, besides, confined to a few : they did not affect the general mass of the community. But the Bible was thrown open to all ranks and conditions "to run and read," with its wonderful table of contents from Genesis to the Revelations. Every village in England would present the scene so well described in Burns's Cotter's Saturday Night. I cannot think that all this variety and weight of knowledge could be thrown in all at once upon the mind of a people, and not make some impression upon it, the traces of which might be discerned in the manners and literature of the age. For, to leave more disputable points, and take only the historical parts of the Old Testament, or the moral sentiments of the New, there is nothing like them in the power of exciting awe and admiration, or of rivetting sympathy. We see what Milton has made of the account of the Creation, from the manner in which he has treated it, imbued and impregna ed

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