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production of a practised versifier, which goes so far to furnish
a presumption of its authenticity, this composition, which is
entitled Majesty in Misery, or an Imploration to the King of
Kings, indicates poetic feeling, and an evident familiarity with
the highest models. Here are a few of its more striking
verses :-

Nature and law, by thy divine decree
The only sort of righteous royalty,
With this dim diadem invested me.

The fiercest furies, that do daily trcad
Upon my grief, my gray discrowned head,
Are those that owe my bounty for their bread.

The Church of England doth all faction foster,
The pulpit is usurped by each impostor;
Extempore excludes the Pater Noster.
The Presbyter and Independent seed
Springs with broad blades; to make religion bleed
Herod and Pontius Pilate are agreed.
The corner-stone's misplaced by every paviour;
With such a bloody method and behaviour
Their ancestors did crucify our Saviour.

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With my own power my majesty they wound;
In the king's name the king himself's uncrowned ;
So doth the dust destroy the diamond.

Milton's PROSE Works. We have already mentioned Bishop Hall, both as a poet and as a writer of prose. A part which IIall took in his old age in the grand controversy of the time brought him into collision with one with whose name in after ages the world was to resound. John Milton, then in his thirty-third year, and recently returned from his travels in France and Italy, had already, in 1641, lent the aid of his pen to the war of the Puritans against the established church by the publication of his treatise entitled Of Reformation, in Two Books. The same year Hall published his Humble Remonstrance in favour of

VOL. II.

Episcopacy; which immediately called forth an Answer by Smectymnuus,-a word formed from the initial letters of the names of five Puritan ministers by whom the tract was written -Stephen Marshall, Edmund Calamy, Thomas Young, Matthew Newcomen, and William (or, as he was on this occasion reduced to designate himself, Uuilliam) Spurstow. The Answer produced a Confutation by Archbishop Usher; and to this Milton replied in a treatise entitled Of Prelatical Episcopacy. Hall then published a Defence of the Humble Remonstrance; and Milton wrote Animadversions upon that About the same time he also brought out a performance of much greater pretension, under the title of The Reason of Church Government urged against Prelaty, in Two Books. This is the work containing the magnificent passage in which he makes the announcement of his intention to attempt something in one of the highest kinds of poetry "in the mother-tongue,” long afterwards accomplished in his great epic. Meanwhile a Confutation of the Animadversions having been published by Bishop Hall, or his son, Milton replied, in 1642, in an Apology for Smectymnuus, which was the last of his publications in this particular controversy. But, nearly all his other prose writings were given to the world within the period with which we are now engaged :-namely, his Tractate of Education, addressed to his friend Hartlib, and his noble Areopagitica, a Speech for the Liberty of Unlicensed Printing, in 1644; his Doctrine and Discipline of Divorce, and his Judgment of Martin Bucer concerning Divorce, the same year; his Tetrachordon, and Colasterion (both on the same subject) in 1645; his Tenure of Kings and Magistrates, his Eikonoclastes, in answer to the Eikon Basilike, and one or two other tracts of more temporary interest, all after the execution of the king, in 1649; his Defence for the People of England, in answer to Salmasius (in Latin), in 1651 ; his Second Defence (also in Latin), in reply to a work by Peter du Moulin, in 1654 ; two additional Latin tracts in reply to rejoinders of Du Moulin, in 1655 ; his treatises on Civil Power in Ecclesiastical Cases, and on The Means of Removing Hirelings out of the Church, in 1659 ; his Letter concerning the Ruptures of the Commonwealth, and Brief Delineation of a Free Commonwealth, the same year; and, finally, his Ready and Easy Way to establish a Free Commonwealth, and his Brief Notes upon a Sermon preached by Dr. Griffith, called The Fear of God and the King, in the spring of 1660, immediately before the king's return. Passages of great poetic splendour occur in some of these productions, and a fervid and fiery spirit breathes in all of them, though the animation is as apt to take the tone of mere coarse objurgation and abuse as of lofty and dignified scom or of vigorous argument; but, upon the whole, it cannot be said that Milton's English prose is a good style. It is in the first place, not perhaps in vocabulary, but certainly in genius and construction, the most Latinized of English styles ; but it does not merit the commendation bestowed by Pope on another style which he conceived to be formed after the model of the Roman eloquence, of being “so Latin, yet so English all the while.” It is both soul and body Latin, only in an English dress. Owing partly to this principle of composition upon which he deliberately proceeded, or to the adoption of which his education and tastes or habits led him, partly to the character of his mind, fervid, gorgeous, and soaring, but having little involuntary impulsiveness or self-abandonment, rich as his style often is, it never moves with any degree of rapidity or easy grace even in passages where such qualities are most required, but has at all times something of a stiff, cumbrous, oppressive air, as if every thought, the lightest and most evanescent as well as the gravest and stateliest, were attired in brocade and whalebone. There is too little relief from constant straining and striving; too little repose and variety; in short, too little nature. Many things, no doubt, are happily said; there is much strong and also some brilliant expression; but even such imbedded gems do not occur so often as might be looked for from so poetical a mind. In fine, we must admit the truth of what he has himself confessed—that he was not naturally disposed to “this manner of writing ;” “wherein,” he adds, “knowing myself inferior to myself, led by the genial power of nature to another task, I have the use, as I may account it, but of my left hand.” * With all his quick susceptibility for whatever was beautiful and bright, Milton seems to have needed the soothing influences of the regularity and music of verse fully to bring out his poetry, or to sublimate his imagination to the true poetical state. The passion which is an enlivening flame in his verse half suffocates him with its smoke in his prose. * Reason of Church Government, Book II.

HALES; CHILLINGWORTH.

Two other eminent names of theological controversialists belonging to this troubled age of the English church may be mentioned together—those of John Hales and William Chillingworth. Hales, who was born in 1584, and died in 1656, the same year with Hall and Usher, published in his lifetime a few short tracts, of which the most important is a Discourse on Schism, which was printed in 1642, and is considered to have been one of the works that led the way in that bold revolt against the authority of the fathers, so much cried up by the preceding school of Andrews and Laud, upon which has since been founded what many hold to be the strongest defence of the Church of England against that of Rome. All Hales's writings were collected and published after his death, in 1659, in a quarto volume, bearing the title of Golden Remains of the Ever-Memorable Mr. John Hales,-a designation which has stuck to his name. The main idea of his treatise on Schism had, however, been much more elaborately worked out by his friend Chillingworth-the Immortal Chillingworth, as he is styled by his admirers—in his famous work entitled The Religion of Protestants a Safe Way to Salvation, published in 1637. This is one of the most closely and keenly argued polemical treatises ever written: the style in which Chillingworth presses his reasoning home is like a charge with the bayonet. He was still only in his early manhood when he produced this remarkably able work; and he died in 1644 at the age of forty-two.

JEREMY TAYLOR.

But the greatest name by far among the English divines of the middle of the seventeenth century is that of Jeremy Taylor. He was born in 1613, and died bishop of Down and Connor in 1667; but most of his works were written, and many of them were also published, before the Restoration. In abundance of thought; in ingenuity of argument; in opulence of imagination ; in a soul made alike for the feeling of the sublime, of the beautiful, and of the picturesque; and in a style, answering in its

rdly to his most res of Prophe roopa

compass, flexibility, and sweetness to the demands of all these powers, Taylor is unrivalled among the masters of English eloquence. He is the Spenser of our prose writers; and his prose is sometimes almost as musical as Spenser's verse. His Sermons, his Golden Grove, his Holy Living, and, still more, his Holy Dying, all contain many passages, the beauty and splendour of which are hardly to be matched in any other English prose writer. Another of his most remarkable works, Theologia Eclectica, a Discourse of the Liberty of Prophesying, first published in 1647, may be placed beside Milton's Areopagitica, published three years before, as doing for liberty of conscience the same service which that did for the liberty of the press. Both remain the most eloquent and comprehensive defences we yet possess of these two great rights.

FULLER.

The last of the theological writers of this era that we shall notice is Fuller. Dr. Thomas Fuller was born in 1604, and died in 1661; and in the course of his not very extended life produced a considerable number of literary works, of which his Church History of Britain from the Birth of Jesus Christ until the Year 1648, which appeared in 1656, and his History of the Worthies of England, which was not published till the year after his death, are the most important. He is a most singular writer, full of verbal quibbling and quaintness of all kinds, but by far the most amusing and engaging of all the rhetoricians of this school, inasmuch as his conceits are rarely mere elaborate feats of ingenuity, but are usually informed either by a strong spirit of very peculiar humour and drollery, or sometimes even by a warmth and depth of feeling, of which too, strange as it may appear, the oddity of his phraseology is often a not ineffective exponent. He was certainly one of the greatest and truest wits that ever lived: he is witty not by any sort of effort at all, but as it were in spite of himself, or because he cannot help it. But wit, or the faculty of looking at and presenting things in their less obvious relations, is accompanied in him, not only by humour and heart, but by a considerable endowment of the irradiating power of fancy. Accordingly, what he writes is always

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