The men of the 18th century maintained the old tradition of literary exclusiveness, but in a somewhat different way and more consciously.

I find, Gentlemen, when you read with me in private, that nine out of ten of you dislike the 18th century and all its literary works.  As for the Women students, they one and all abominate it.  You do not, I regret to say, provide me with reasons much more philosophical than the epigrammatist’s for disliking Doctor Fell.  May one whose time of life excuses perhaps a detachment from passion attempt to provide you with one?  If so, first listen to this from Mr and Mrs Hammond’s book “The Village Labourer,” 1760-1832: 

A row of 18th century houses, or a room of normal 18th century furniture, or a characteristic piece of 18th century literature, conveys at once a sensation of satisfaction and completeness.  The secret of this charm is not to be found in any special beauty or nobility of design or expression, but simply in an exquisite fitness.  The 18th century mind was a unity, an order.  All literature and art that really belong to the 18th century are the language of a little society of men and women who moved within one set of ideas; who understood each other; who were not tormented by any anxious or bewildering problems; who lived in comfort, and, above all things, in composure.  The classics were their freemasonry.  There was a standard for the mind, for the emotions, for taste:  there were no incongruities.

When you have a society like this, you have what we roughly call a civilisation, and it leaves its character and canons in all its surroundings and in its literature.  Its definite ideas lend themselves readily to expression.  A larger society seems an anarchy in contrast:  just because of its escape into a greater world it seems powerless to stamp itself in wood or stone; it is condemned as an age of chaos and mutiny, with nothing to declare.

You do wrong, I assure you, in misprising these men of the 18th century.  They reduced life, to be sure:  but by that very means they saw it far more completely than do we, in this lyrical age, with our worship of ‘fine excess.’  Here at any rate, and to speak only of its literature, you have a society fencing that literature around—­I do not say by forethought or even consciously—­but in effect fencing its literature around, to keep it in control and capable of an orderly, a nice, even an exquisite cultivation.  Dislike it as you may, I do not think that any of you, as he increases his knowledge of the technique of English Prose, yes, and of English Verse (I do not say of English Poetry) will deny his admiration to the men of the 18th century.  The strength of good prose resides not so much in the swing and balance of the single sentence as in the marshalling of argument, the orderly procession of paragraphs, the disposition of parts so that each finds its telling, its proper, place; the adjustment