_1._ POETRY.--(_a_) _The Caroline Lyrists_: Decline of the sonnet. The classical lyric. The Caroline lyric. Jonson’s influence. Herrick. Carew. Suckling. Lovelace. Chamberlayne. Kynaston. John Hall. (_b_) _The Metaphysical School_: Herbert. Crashaw. Vaughan. Treherne. Quarles. (_c_) _The Couplet_: Decline of blank verse. Sir John Beaumont. Sandys. Waller. Denham. Cowley. Davenant. Marvell. (_d_) _Milton and his poetry_: The epic. The ode. The pastoral. The sonnet. The masque. _2._ THE DRAMA and its decline. The Elizabethan tradition: Massinger. Ford. Shirley. Randolph. Brome. Suckling. The masque: Jonson to Milton. Davenant and the new heroic play. _3._ THE NOVEL. Bunyan. _4._ ESSAYISTS AND CRITICS.--Milton. Hobbes. Davenant. Cowley. Growth of literary characterisation and appreciation. Beginnings of journalism. _5._ THE SATIRE.--Marvell. Denham. _6._ STUDY AND RESEARCH.--(_a_) _Theology_: Baker. Treherne. Baxter. Fuller. Taylor, (_b_) _Philosophy_: Hobbes and his critics. Harington. Glanvill. (_c_) _History and Antiquities_: Herbert. Clarendon. Digby. Browne. Fuller. Walton. Urquhart. PART II.--AGE OF DRYDEN (_1660-1700_). _Forces at Work._--The rigour of the Puritans did not long survive the death of Cromwell. In _1660_, the Stuarts were restored and the pendulum swung from restriction to license. The political power of England declined, and the old Stuart tyranny in religion and politics served to keep alive religious and political factions. In _1688_, James II. fled, to be succeeded by William and Mary. A new era of constitutional monarchy, of civil and religious freedom, of decency in social life resulted, and England’s position in European affairs rose once more. These conditions were strikingly reflected in the literature of the times. After _1688_, literature emphasises the political rather than the religious side of affairs. _Literary Features._--The Elizabethan romantic spirit is completely spent. The new spirit is all for restraint and convention. Note the imitation of Latin models in poetry, and French models in comedy; the combination of French and classical models in producing the new “heroic play,” and the growth of the “correct school.” As in the previous age one figure towers over all the rest. Outside the work of Dryden the age is poor in ode, lyric, and narrative poetry, but satirical verse shows great development. The use of the heroic couplet spreads throughout poetry and drama; blank verse is very rare and very slipshod; while the lyric still follows the artificial Caroline tradition. Drama has a new lease of life; French example is developing the new play of “Manners” of a very licentious character. Prose is not very great in bulk, but it shows a tendency towards a plain and forcible style. The new “Royal Society,” with its demand for clearness of expression had much to do with the new prose. The ornate style of the previous age has but one great exponent: Burnet.