English Literature: Its History and Significance for the Life of the English-Speaking World, William J. Long [suggested reading .txt] 📗

from the tyranny of rulers. A great river is not judged by the foam on its surface, and certain austere laws and doctrines which we have ridiculed are but froth on the surface of the mighty Puritan current that has flowed steadily, like a river of life, through English and American history since the Age of Elizabeth.

Changing Ideals. The political upheaval of the period is summed up in the terrible struggle between the king and Parliament, which resulted in the death of Charles at the block and the establishment of the Commonwealth under Cromwell. For centuries the English people had been wonderfully loyal to their sovereigns; but deeper than their loyalty to kings was the old Saxon love for personal liberty. At times, as in the days of Alfred and Elizabeth, the two ideals went hand in hand; but more often they were in open strife, and a final struggle for supremacy was inevitable. The crisis came when James I, who had received the right of royalty from an act of Parliament, began, by the assumption of "divine right," to ignore the Parliament which had created him. Of the civil war which followed in the reign of Charles I, and of the triumph of English freedom, it is unnecessary to write here. The blasphemy of a man's divine right to rule his fellow-men was ended. Modern England began with the charge of Cromwell's brigade of Puritans at Naseby.

Religious Ideals.Religiously the age was one of even greater ferment than that which marked the beginning of the Reformation. A great ideal, the ideal of a national church, was pounding to pieces, like a ship in the breakers, and in the confusion of such an hour the action of the various sects was like that of frantic passengers, each striving to save his possessions from the wreck. The Catholic church, as its name implies, has always held true to the ideal of a united church, a church which, like the great Roman government of the early centuries, can bring the splendor and authority of Rome to bear upon the humblest village church to the farthest ends of the earth. For a time that mighty ideal dazzled the German and English reformers; but the possibility of a united Protestant church perished with Elizabeth. Then, instead of the world-wide church which was the ideal of Catholicism, came the ideal of a purely national Protestantism. This was the ideal of Laud and the reactionary bishops, no less than of the scholarly Richard Hooker, of the rugged Scotch Covenanters, and of the Puritans of Massachusetts Bay. It is intensely interesting to note that Charles called Irish rebels and Scotch Highlanders to his aid by promising to restore their national religions; and that the English Puritans, turning to Scotland for help, entered into the solemn Covenant of 1643, establishing a national Presbyterianism, whose object was:

To bring the churches of God in the three kingdoms to uniformity in religion and government, to preserve the rights of Parliament and the liberties of the Kingdom; ... that we and our posterity may as brethren live in faith and love, and the Lord may delight to live in the midst of us.

In this famous Covenant we see the national, the ecclesiastical, and the personal dream of Puritanism, side by side, in all their grandeur and simplicity.

Years passed, years of bitter struggle and heartache, before the impossibility of uniting the various Protestant sects was generally recognized. The ideal of a national church died hard, and to its death is due all the religious unrest of the period. Only as we remember the national ideal, and the struggle which it caused, can we understand the amazing life and work of Bunyan, or appreciate the heroic spirit of the American colonists who left home for a wilderness in order to give the new ideal of a free church in a free state its practical demonstration.

Literary Characteristics. In literature also the Puritan Age was one of confusion, due to the breaking up of old ideals. Mediaeval standards of chivalry, the impossible loves and romances of which Spenser furnished the types, perished no less surely than the ideal of a national church; and in the absence of any fixed standard of literary criticism there was nothing to prevent the exaggeration of the "metaphysical" poets, who are the literary parallels to religious sects like the Anabaptists. Poetry took new and startling forms in Donne and Herbert, and prose became as somber as Burton's Anatomy of Melancholy. The spiritual gloom which sooner or later fastens upon all the writers of this age, and which is unjustly attributed to Puritan influence, is due to the breaking up of accepted standards in government and religion. No people, from the Greeks to those of our own day, have suffered the loss of old ideals without causing its writers to cry, "Ichabod! the glory has departed." That is the unconscious tendency of literary men in all times, who look backward for their golden age; and it need not concern the student of literature, who, even in the break-up of cherished institutions, looks for some foregleams of a better light which is to break upon the world. This so-called gloomy age produced some minor poems of exquisite workmanship, and one great master of verse whose work would glorify any age or people,--John Milton, in whom the indomitable Puritan spirit finds its noblest expression.

Puritan and Elizabethan Literature There are three main characteristics in which Puritan literature differs from that of the preceding age: (1) Elizabethan literature, with all its diversity, had a marked unity in spirit, resulting from the patriotism of all classes and their devotion to a queen who, with all her faults, sought first the nation's welfare. Under the Stuarts all this was changed. The kings were the open enemies of the people; the country was divided by the struggle for political and religious liberty; and the literature was as divided in spirit as were the struggling parties. (2) Elizabethan literature is generally inspiring; it throbs with youth and hope and vitality. That which follows speaks of age and sadness; even its brightest hours are followed by gloom, and by the pessimism inseparable from the passing of old standards. (3) Elizabethan literature is intensely romantic; the romance springs from the heart of youth, and believes all things, even the impossible. The great schoolman's credo, "I believe because it is impossible," is a better expression of Elizabethan literature than of mediæval theology. In the literature of the Puritan period one looks in vain for romantic ardor. Even in the lyrics and love poems a critical, intellectual spirit takes its place, and whatever romance asserts itself is in form rather than in feeling, a fantastic and artificial adornment of speech rather than the natural utterance of a heart in which sentiment is so strong and true that poetry is its only expression.

II. LITERATURE OF THE PURITAN PERIOD

The Transition Poets. When one attempts to classify the literature of the first half of the seventeenth century, from the death of Elizabeth (1603) to the Restoration (1660), he realizes the impossibility of grouping poets by any accurate standard. The classifications attempted here have small dependence upon dates or sovereigns, and are suggestive rather than accurate. Thus Shakespeare and Bacon wrote largely in the reign of James I, but their work is Elizabethan in spirit; and Bunyan is no less a Puritan because he happened to write after the Restoration. The name Metaphysical poets, given by Dr. Johnson, is somewhat suggestive but not descriptive of the followers of Donne; the name Caroline or Cavalier poets brings to mind the careless temper of the Royalists who followed King Charles with a devotion of which he was unworthy; and the name Spenserian poets recalls the little band of dreamers who clung to Spenser's ideal, even while his romantic mediæval castle was battered down by Science at the one gate and Puritanism at the other. At the beginning of this bewildering confusion of ideals expressed in literature, we note a few writers who are generally known as Jacobean poets, but whom we have called the Transition poets because, with the later dramatists, they show clearly the changing standards of the age.

Samuel Daniel (1562-1619). Daniel, who is often classed with the first Metaphysical poets, is interesting to us for two reasons,--for his use of the artificial sonnet, and for his literary desertion of Spenser as a model for poets. His Delia, a cycle of sonnets modeled, perhaps, after Sidney's Astrophel and Stella, helped to fix the custom of celebrating love or friendship by a series of sonnets, to which some pastoral pseudonym was affixed. In his sonnets, many of which rank with Shakespeare's, and in his later poetry, especially the beautiful "Complaint of Rosamond" and his "Civil Wars," he aimed solely at grace of expression, and became influential in giving to English poetry a greater individuality and independence than it had ever known. In matter he set himself squarely against the mediæval tendency:

Let others sing of kings and paladines
In aged accents and untimely words,
Paint shadows in imaginary lines.

This fling at Spenser and his followers marks the beginning of the modern and realistic school, which sees in life as it is enough poetic material, without the invention of allegories and impossible heroines. Daniel's poetry, which was forgotten soon after his death, has received probably more homage than it deserves in the praises of Wordsworth, Southey, Lamb, and Coleridge. The latter says: "Read Daniel, the admirable Daniel. The style and language are just such as any pure and manly writer of the present day would use. It seems quite modern in comparison with the style of Shakespeare."

The Song Writers. In strong contrast with the above are two distinct groups, the Song Writers and the Spenserian poets. The close of the reign of Elizabeth was marked by an outburst of English songs, as remarkable in its sudden development as the rise of the drama. Two causes contributed to this result,--the increasing influence of French instead of Italian verse, and the rapid development of music as an art at the close of the sixteenth century. The two song writers best worth studying are Thomas Campion (1567?-1619) and Nicholas Breton (1545?-1626?). Like all the lyric poets of the age, they are a curious mixture of the Elizabethan and the Puritan standards. They sing of sacred and profane love with the same zest, and a careless love song is often found on the same page with a plea for divine grace.

The Spenserian Poets. Of the Spenserian poets Giles Fletcher and Wither are best worth studying. Giles Fletcher (1588?-1623) has at times a strong suggestion of Milton (who was also a follower of Spenser in his early years) in the noble simplicity and majesty of his lines. His best known work, "Christ's Victory and Triumph" (1610), was the greatest religious poem that had appeared in England since "Piers Plowman," and is not an unworthy predecessor of Paradise Lost.

The life of George Wither (1588-1667) covers the whole period of English history from Elizabeth to the Restoration, and the enormous volume of his work covers every phase of the literature of two great ages. His life was a varied one; now as a Royalist leader against the Covenanters, and again announcing his Puritan convictions, and suffering in prison for his faith. At his best Wither is a lyric poet of great originality, rising at times to positive genius; but the bulk of his poetry is intolerably dull. Students of this period find him interesting as an epitome of the whole age in which he lived; but the average reader is more inclined to note with interest that he published in 1623 Hymns and Songs of the Church, the first hymn book that ever appeared in the English language.

The Metaphysical Poets. This name--which was given by Dr. Johnson in derision, because of the fantastic form of Donne's poetry--is often applied to all minor poets