carlier authors appear rude and untutored in the comparison. Men grew ashamed of admiring, and afraid of imitating, writers of so little skill and smartness; and the opinion became general, not only that their faults were intolerable, but that even their beauties were puerile and barbarous, and unworthy the serious regard of a polite and distinguishing age. These and similar considerations will go far to account for the celebrity which those authors acquired in their day; but it is not quite so easy to explain how they should have so long retained their ascendant. One cause undoubtedly was, the real excellence of their productions, in the style which they had adopted. It was hopeless to think of surpassing them in that style; and, recommended as it was by the felicity of their execution, it required some courage to depart from it, and to recur to another, which seemed to have been so lately abandoned for its sake. The age which succeeded, too, was not the age of courage or adventure. There never was, on the whole, a quieter time than the reigns of the first two Georges, and the greater part of that which ensued. There were two little provincial rebellions indeed, and a fair proportion of foreign war; but there was nothing to stir the minds of the people at large, to rouse their passions, or excite their imaginations—nothing like the agitations of the Reformation in the sixteenth century, or of the civil wars in the seventeenth. They went on, accordingly, minding their old business, and reading their old books, with great patience and stupidity: and certainly there never was so remarkable a dearth of original talent-so long an interregnum of native genius-as during about sixty years in the middle of the last century. The dramatic art was dead fifty years before-and poetry seemed verging to a similar extinction. The few sparks that appeared, too, shewed that the old fire was burned out, and that the altar must hereafter be heaped with fuel of another quality. Gray, with the talents rather of a critic than a poet-with learning, fastidiousness, and scrupulous delicacy of taste, instead of fire, tenderness, or invention— began and ended a small school, which we could scarcely have wished to become permanent, admirable in many respects as some of its productions are-being far too elaborate and artificial, either for grace or for fluency, and fitter to excite the admiration of scholars than the delight of ordinary men. However, he had the merit of not being in any degree French, and of restoring to our poetry the dignity of seriousness, and the tone at least of force and energy. The Whartons, both as critics and as poets, were of considerable service in discrediting the high pretensions of the former race, and in bringing back to public notice the great stores and treasures of poetry which lay hid in the records of our older literature. Akenside attempted a sort of classical and philosophical rapture, which no elegance of language could easily have rendered popular, but which had merits of no vulgar order for those who could study it. Goldsmith wrote with perfect elegance and beauty, in a style of mellow tenderness and elaborate simplicity. He had the harmony of Pope without his quaintness, and his selectness of diction without his coldness and eternal vivacity. And, last of all, came Cowper, with a style of complete originality; and, for the first time, made it apparent to readers of all descriptions, that Pope and Addison were no longer to be the models of English poetry. In philosophy and prose writing in general the case was nearly parallel. The name of Hume is by far the most considerable which occurs in the period to which we have alluded. But, though his thinking was English, his style is entirely French; and being naturally of a cold fancy, there is nothing of that eloquence or richness about him which characterises the writings of Taylor, and Hooker, and Bacon-and continues, with less weight of matter, to please in those of Cowley and Clarendon. Warburton had great powers; and wrote with more force and freedom than the wits to whom he succeeded—but his faculties were perverted by a paltry love of paradox, and rendered useless to mankind by an unlucky choice of subjects, and the arrogance and dogmatism of his temper. Adam Smith was nearly the first who made deeper reasonings and more exact knowledge popular among us; and Junius and Johnson the first who again familiarised us with more glowing and sonorous diction-and made us feel the tameness and poorness of the serious style of Addison and Swift. Washington Irving: 1783-1859. Visit to Henry the Seventh's Chapel in Westminster Abbey.-From 'The Sketch-book.' The day was gradually wearing away; the distant tread of loiterers about the abbey grew less and less frequent; the sweet-tongued bell was summoning to evening prayers; and I saw at a distance the choristers, in their white surplices, crossing the aisle and entering the choir. I stood before the entrance to Henry the Seventh's chapel. A flight of steps lead up to it, through a deep and gloomy, but magnificent arch. Great gates of brass, richly and delicately wrought, turn heavily upon their hinges, as if proudly reluctant to admit the feet of common mortals into this most gorgeous of sepulchres. On entering, the eye is astonished by the pomp of architecture, and the elaborate beauty of sculptured detail. The very walls are wrought into universal ornament, incrusted with tracery, and scooped into niches, crowded with the statues of saints and martyrs. Stone seems, by the cunning labour of the chisel, to have been robbed of its weight and density, suspended aloft, as if by magic, and the fretted roof achieved with the wonderful minuteness and airy security of a cobweb. T Along the sides of the chapel are the lofty stalls of the Knights of the Bath, richly carved of oak, though with the grotesque decorations of Gothic architecture. On the pinnacles of the stalls are affixed the helmets and crests of the knights, with their scarfs and swords; and above them are suspended their banners, emblazoned with armorial bearings, and contrasting the splendour of gold and purple and crimson with the cold gray fretwork of the roof. In the midst of this grand mausoleum stands the sepulchre of its founder-his effigy, with that of his queen, extended on a sumptuous tomb, and the whole surrounded by a superbly wrought brazen railing. There is a sad dreariness in this magnificence; this strange mixture of tombs and trophies; these emblems of living and aspiring ambition, close beside mementos which shew the dust and oblivion in which all must sooner or later terminate. Nothing impresses the mind with a deeper feeling of loneliness, than to tread the silent and deserted scene of former throng and pageant. On looking round on the vacant stalls of the knights and their esquires, and on the rows of dusty but gorgeous banners that were once borne before them, my imagination conjured up the scene when this hall was bright with the valour and beauty of the land; glittering with the splendour of jewelled rank and military array; alive with the tread of many feet and the hum of an admiring multitude. All had passed away; the silence of death had settled again upon the place, interrupted only by the casual chirping of birds, which had found their way into the chapel, and built their nests among its friezes and pendants-sure signs of solitariness and desertion. When I read the names inscribed on the banners, they were those of men scattered far and wide about the world; some tossing upon distant seas; some under arms in distant lands; some mingling in the busy intrigues of courts and cabinets; all seeking to deserve one more distinction in this mansion of shadowy honours-the melancholy reward of a monument. Two small aisles on each side of this chapel present a touching instance of the equality of the grave; which brings down the oppressor to a level with the oppressed, and mingles the dust of the bitterest enemies together. In one is the sepulchre of the haughty Elizabeth; in the other is that of her victim, the lovely and unfortunate Mary. Not an hour in the day but some ejaculation of pity is uttered over the fate of the latter, mingled with indignation at her oppressor. The walls of Elizabeth's sepulchre continually echo with the sighs of sympathy heaved at the grave of her rival. A peculiar melancholy reigns over the aisle where Mary lies buried. The light struggles dimly through windows darkened by dust. The greater part of the place is in deep shadow, and the walls are stained and tinted by time and weather. A marble figure of Mary is stretched upon the tomb, round which is an iron railing, much corroded, bearing her national emblem-the thistle. I was weary with wandering, and sat down to rest myself by the monument, revolving in my mind the checkered and disastrous story of poor Mary. The sound of casual footsteps had ceased from the abbey. I could only hear, now and then, the distant voice of the priest repeating the evening service, and the faint responses of the choir; these paused for a time, and all was hushed. The stillness, the desertion and obscurity that were gradually prevailing around, gave a deeper and more solemn interest to the place: For in the silent grave no conversation, Dust, and an endless darkness.' Suddenly the notes of the deep-labouring organ burst upon the ear, falling with doubled and redoubled intensity, and rolling, as it were, huge billows of sound. How well do their volume and grandeur accord with this mighty building! With what pomp do they swell through its vast vaults, and breathe their awful harmony through these caves of death, and make the silent sepulchre vocal!-And now they rise in triumphant acclamation, heaving higher and higher their accordant notes, and piling sound on sound.-And now they pause, and the soft voices of the choir break out into sweet gushes of melody; they soar aloft, and warble along the roof, and seem to play about these lofty vaults like the pure airs of heaven. Again the pealing organ heaves its thrilling thunders, compressing air into music, and rolling it forth upon the soul. What long-drawn cadences! What solemn sweeping concords! It grows more and more dense and powerful-it fills the vast pile, and seems to jar the very walls-the ear is stunned-the senses are overwhelmed. And now it is winding up in full jubilee-it is rising from the earth to heaven-the very soul seems rapt away and floated upwards on this swelling tide of harmony! Thomas Carlyle: 1795 The Most Honourable.-From Sartor Resartus.' Two men I honour, and no third. First, the toilworn craftsman that with earth-made implement laboriously conquers the earth, and makes her man's. Venerable to me is the hard hand; crooked, coarse; wherein notwithstanding lies a cunning virtue, indefeasibly royal, as of the sceptre of this planet. Venerable too is the rugged face, all weather-tanned, besoiled, with its rude intelligence; for it is the face of a man living manlike. Oh, but the more venerable for thy rudeness, and even because we must pity as well as love thee! Hardly entreated brother! For us was thy back so bent, for us were thy straight limbs and fingers so deformed: thou wert our conscript, on whom the lot fell, and fighting our battles wert so marred. For in thee too lay a God-created form, but it was not to be unfolded; incrusted must it stand with the thick adhesions and defacements of labour; and thy body, like thy soul, was not to know freedom. Yet toil on, toil on; thou art in thy duty, be out of it who may; thou toilest for the altogether indispensable, for daily bread. A second man I honour, and still more highly: him who is seen toiling for the spiritually indispensable; not daily bread, but the bread of life. Is not he too in his duty; endeavouring towards inward harmony; revealing this, by act or by word, through all his outward endeavours, be they high or low? Highest of all, when his outward and his inward endeavour are one: when we can name him artist; not earthly craftsman only, but inspired thinker, who with heaven-made implements conquers heaven for us! If the poor and humble toil that we have food, must not the high and glorious toil for him in return, that he have light, have guidance, freedom, immortality? These two, in all their degrees, I honour: all else is chaff and dust, which let the wind blow whither it listeth. Unspeakably touching is it, however, when I find both dignities united; and he that must toil outwardly for the lowest of man's wants, is also toiling inwardly for the highest. Sublimer in this world know I nothing than a peasant saint, could such now anywhere be met with. Such a one will take thee back to Nazareth itself; thou wilt see the splendour of heaven spring forth from the humblest depths of earth, like a light shining in great darkness. Lord Macaulay: 1800-1859. The Revolution of 1688-1689.—From The History of England.' On the morning of Wednesday the 13th of February [1689] the court of Whitehall and all the neighbouring streets were filled with gazers. The magnificent Banqueting House, the masterpiece of Inigo, embellished by masterpieces of Rubens, had been prepared for a great ceremony. The walls were lined by the yeomen of the guard. Near the northern door, on the right hand, a large number of Peers had assembled. On the left were the Commons with their Speaker, attended by the mace. door opened; and the Prince and Princess of Orange, side by side, entered, and took their place under the canopy of state. The southern |