Part I.--Age of Johnson (_1745-1798_).

Forces at Work.--The age is one of rapid and vigorous growth in science and speculation. Note particularly the influence of the “encyclopedists” and the French “salons.” In politics, England is developing a strong imperialistic tendency, and her wealth and possessions are growing apace. Whig and Tory still carry on the party feud, but with less animosity until the loss of the American colonies and the outbreak of the French Revolution. Philosophy is largely sceptical and official religion latitudinarian, but there is a growing feeling towards evangelism. Note the rise of Wesleyanism, the growing moral sense, the struggle for the freedom of the press, the movement towards prison reform and abolition of the slave trade, and also the beginnings of industrialism. Note above all the tendency towards naturalism, the new interest in man and his place in nature, and the growing feeling for the lower classes long before the French Revolution took place.

Literary Features.--In literature the tendencies are conflicting. The rapid growth of science and speculative thought is in favour of critical prose, but it also serves poetry by challenging the received ideas. Classicism is still a power with Johnson and his school, but there is a growing movement towards naturalism. The new spirit gradually led to the following changes. In poetry, a return to natural scenes in preference to the artificial pastoral pictures; a revolt against formal measures and a renewed interest in old Ballads and in the Middle Ages. In philosophy, to a great deal of theorising as to man’s place in the world around, and in history to a new critical school. In the novel we have realism side by side with sentimentalism, and in the latter years weird romance cheek by jowl with the philosophical novel and the didactic tale of manners. The drama is in a transition stage; the metrical play is giving way to the prose drama; tragedy is practically non-existent and comedy is only rescued from oblivion by two great names. In miscellaneous prose, letter-writing has become popular, and the periodical essay is becoming more literary and less political.

(a) AMERICAN LITERATURE.

1. POETRY.--Barlow and the “Hartford Wits.” Trumbull and Dwight’s epics. Frenau’s satires and lyrics. Ralph and the Philadelphians.

2. DRAMA.--Beginnings. Tyler. Dunlap. Hillhouse.

3. THE NOVEL.--Mrs. Foster. Mrs. Rowson and the domestic novel.

4. POLITICIANS AND ORATORS.--Franklin. Jefferson. Paine. Dickinson. Quincy. Otis. Adams. Henry.

5. DIARISTS.--Sewall. Woolman. Franklin.

6. STUDY AND RESEARCH.--(a) Philosophy and Religion: Chauncey. Franklin. Woolman. Johnson. (b) History and Travel: Prince. Irving. Carver. Bartram. Lewis and Clark.

(b) ENGLISH LITERATURE

1. POETRY.--(a) The Classical Tradition: Cibber. Whitehead. Pye. Johnson. Goldsmith. Dyer. Blair. Shenstone. Akenside. Glover. E. Darwin. (See also Satire). (b) Poets of Transition: Thomson. Collins. Gray. The Wartons. Russell. Smart. Cowper. Blake. Crabbe. (c) Influence of the Middle Ages: Macpherson. Percy’s “Reliques.” Ritson. Chatterton and Spenser. The Wartons. Tyrrwhitt and Chaucer. (d) The Scottish Revival: The Hamiltons. Jean Elliott. Beattie. Ross. Mickle. Logan. Bruce. Fergusson. Burns.

2. DRAMA.--The predominance of repertoire until 1770. Translations from the French, and the influence of Voltaire. (a) Tragedy: Johnson. Lillo. Moore. Home. (b) Panto and Ballad Opera: Rich. Gay. Centlivre. Young. Hughes. Thomson. (c) Burlesque and Farce: Fielding. Foote. (d) Comedy: Colman. Murphy. Towneley. Garrick. Goldsmith. Sheridan. O’Keefe. Macklin. Holcroft. (e) Sentimental Drama: Kelly. Cumberland.

3. NOVEL.--The perfecting of the novel proper. (a) The Picaresque Romance: Fielding. Smollett. Sterne. (b) The Novel of Manners and Sentiment: Richardson. Sterne. Mackenzie. Burney. Brooks. (c) The Romance of Terror: Amory. Walpole. Beckford. Radcliffe. Reeve. Lewis. (d) The Revolutionary Romance: Godwin. Holcroft. Bage. Inchbald. (e) The Didactic Tale: Johnson. Goldsmith. H. More.

4. ESSAYISTS AND CRITICS.--Johnson. Goldsmith. The Wartons. Gray. The periodical press. Mrs. Thrale. Mrs. Trench. Twining.

5. ORATORY.--Burke. Fox. Pitt. Sheridan.

6. DIARISTS, LETTER-WRITERS AND MEMOIRS.--Boswell. Burdy. Holcroft. Walpole. Wolfe Tone. Chesterfield. Burney. Hannah More. The Warwickshire coterie: Somervile. Shenstone. Jago. Graves. Cowper. Mrs. Montagu.

7. SATIRE.--Churchill. Wolcot. Anstey. “The Rolliad.” “The Anti-Jacobin,” “The Baviad,” etc. “Junius.” Gifford. Canning. Frere. Burns, etc.

8. POLITICAL LITERATURE.--Whig and Tory pamphleteers. Smollett. Wilkes. Burke. Paine. Godwin. Mary Wollstonecroft. Cobbett.

9. STUDY AND RESEARCH.--(a) Philosophy: Hume. Adam. Smith. Hartley. Reid and the “commonsense” school. Bentham. Mill and Utilitarianism. Malthus. Young. E. Darwin. Stewart. (b) Religion: Dislike of enthusiasm and general tolerance. The divines: Wake. Sherlock. The Apologists: Paley. Horsley. Watson. Lowth. Warburton. The Sceptics: Priestley, Middleton, Paine and the deists. The evangelists: Whitefield, Fletcher, and the Wesleys. (c) Classical Scholars, etc.: Parr. Horne Tooke. Wakefield. Porson. Toup. (d) Science and Discovery: Black. Cavendish. Priestley. Hutton. Dalton. White. Pennant. Pinkerton. Bruce. A. Young. (e) Historians: Gibbon. Hume. Robertson. Smollett. Goldsmith. Watson. Walpole. Mitford. Middleton. Whitaker. Ferguson. Strutt.

10. CHILDREN’S BOOKS.--The Newberys. Edgeworth. Sherwood. Blake. Trimmer. Day. Barbauld.