ners) to descend to those words of imaginary ser vitude which the refinement (blandities) of ages hath invented."1 Yet their fondness of foreign fashions had long been the butt of native satirists. Every one remembers Portia's merry picture of the English lord: "How oddly he is suited! I think he bought his doublet in Italy, his round hose in France, his bonnet in Germany, and his behavior everywhere." But while she laughs at his bungling efforts to make himself a cosmopolite in externals, she hints at the persistency of his inward Anglicism: "He hath neither Latin, French, nor Italian." In matters of taste the Anglo-Saxon mind seems always to have felt a painful distrust of itself, which it betrays either in an affectation of burly contempt or in a pretence of admiration equally insincere. The young lords who were to make the future court of Charles II. no doubt found in Paris an elegance beside which the homely bluntness of native manners seemed rustic and underbred. They frequented a theatre where propriety was absolute upon the stage, though license had its full swing behind the scenes. They brought home with them to England debauched morals and that urbane discipline of manners which is so agreeable a substitute for discipline of mind. The word "genteel" came back with them, an outward symptom of the inward change. In the last generation, the men whose great aim was success in the Other World had wrought a political revolution; now, those whose ideal was prosperity in This World

1 Barclaii Satyricon, p. 382. Barclay had lived in France.

were to have their turn and to accomplish with their lighter weapons as great a change. Before the end of the seventeenth century John Bull was pretty well persuaded, in a bewildered kind of way, that he had been vulgar, and especially that his efforts in literature showed marks of native vigor, indeed, but of a vigor clownish and uncouth. He began to be ashamed of the provincialism which had given strength, if also something of limitation, to his character.

Waller, who spent a whole summer in polishing the life out of ten lines to be written in the Tasso of the Duchess of York, expresses the prevailing belief as regarded poetry in the prologue to his "improvement" of the "Maid's Tragedy" of Beaumont and Fletcher. He made the play reasonable, as it was called, and there is a pleasant satire in the fact that it was refused a license because there was an immoral king in it. On the throne, to be sure, but on the stage! Forbid it, decency!

"Above our neighbors' our conceptions are,
But faultless writing is the effect of care;
Our lines reformed, and not composed in haste,
Polished like marble, would like marble last.

"Were we but less indulgent to our fau'ts,
And patience had to cultivate our thoughts,
Our Muse would flourish, and a nobler rage
Would honor this than did the Grecian stage."

It is a curious comment on these verses in favor of careful writing, that Waller should have failed even to express his own meaning either clearly or

with propriety. He talks of "cultivating our thoughts," when he means "pruning our style" he confounds the Muse with the laurel, or at any rate makes her a plant, and then goes on with perfect equanimity to tell us that a nobler “rage (that is, madness) than that of Greece would fol low the horticultural devices he recommends. It never seems to have occurred to Waller that it is the substance of what you polish, and not the polish itself, that insures duration. Dryden, in his roughand-ready way, has hinted at this in his verses to Congreve on the "Double Dealer." He begins by stating the received theory about the improvement of English literature under the new régime, but the thin ice of sophistry over which Waller had glided smoothly gives way under his greater weight, and he finds himself in deep water ere he is aware.

"Well, then, the promised hour has come at last,

The present age in wit obscures the past;

Strong were our sires, and as they fought they writ,
Conquering with force of arm1 and dint of wit.
Theirs was the giant race before the Flood;
And thus when Charles returned our Empire stood;
Like Janus he the stubborn soil manured,
With rules of husbandry the rankness cured,
Tamed us to manners when the stage was rude,
And boisterous English wit with art endued;

Our age was cultivated thus at length,
But what we gained in skill we lost in strength;
Our builders were with want of genius curst,
The second temple was not like the first."

There would seem to be a manifest reminiscence of

1 Usually printed arms, but Dryden certainly wrote arm, to correspond with dint, which he used in its old meaning of a downright blow.

Waller's verse in the half-scornful emphasis which Dryden lays on "cultivated." Perhaps he was at first led to give greater weight to correctness and to the restraint of arbitrary rules from a consciousness that he had a tendency to hyperbole and extravagance. But he afterwards became convinced that the heightening of discourse by passion was a very different thing from the exaggeration which heaps phrase on phrase, and that genius, like beauty, can always plead its privilege. Dryden, by his powerful example, by the charm of his verse which combines vigor and fluency in a measure perhaps never reached by any other of our poets, and above all because it is never long before the sunshine of his cheerful good sense breaks through the clouds of rhetoric, and gilds the clipped hedges over which his thought clambers like an unpruned vine, - Dryden, one of the most truly English of English authors, did more than all others combined to bring about the triumphs of French standards in taste and French principles in criticism. But he was always like a deserter who cannot feel happy in the victories of the alien arms, and who would go back if he could to the camp where he naturally belonged. Between 1660 and 1700 more French words, I believe, were directly transplanted into our language than in the century and a half since. What was of more consequence, French ideas came with them, shaping the form, and through that modifying the spirit, of our literature.

Voltaire, though he came later, was steeped in the theories of art which had been inherited as tradi

tions of classicism from the preceding generation. He had lived in England, and, I have no doubt, gives us a very good notion of the tone which was prevalent there in his time, an English version of the criticism imported from France. He tells us that Mr. Addison was the first Englishman who had written a reasonable tragedy. And in spite of the growling of poor old Dennis, whose sandy pedantry was not without an oasis of refreshing sound judgment here and there, this was the opinion of most persons at that day, except, it may be suspected, the judicious and modest Mr. Addison himself. Voltaire says of the English tragedians,

and it will be noticed that he is only putting, in another way, the opinion of Dryden, "Their productions, almost all barbarous, without polish, order, or probability, have astonishing gleams in the midst of their night; . . . it seems sometimes that nature is not made in England as it is elsewhere." Eh bien, the inference is that we must try and make it so! The world must be uniform in order to be comfortable, and what fashion so becoming as the one we have invented in Paris? It is not a little amusing that when Voltaire played master of ceremonies to introduce the bizarre Shakespeare among his countrymen, that other kind of nature made a profounder impression on them than quite pleased him. So he turned about presently and called his whilome protégé a buffoon.

The condition of the English mind at the close of the seventeenth century was such as to make it particularly sensitive to the magnetism which