alone in possessing a charming style, and so it will probably
be read as long as men go fishing. Best of all, it leads to a better
appreciation of nature, and it drops little moral lessons into the reader's
mind as gently as one casts a fly to a wary trout; so that one never
suspects his better nature is being angled for. Though we have sometimes
seen anglers catch more than they need, or sneak ahead of brother fishermen
to the best pools, we are glad, for Walton's sake, to overlook such
unaccountable exceptions, and agree with the milkmaid that "we love all
anglers, they be such honest, civil, quiet men."

SUMMARY OF THE PURITAN PERIOD. The half century between 1625 and 1675 is
called the Puritan period for two reasons: first, because Puritan standards
prevailed for a time in England; and second, because the greatest literary
figure during all these years was the Puritan, John Milton. Historically
the age was one of tremendous conflict. The Puritan struggled for
righteousness and liberty, and because he prevailed, the age is one of
moral and political revolution. In his struggle for liberty the Puritan
overthrew the corrupt monarchy, beheaded Charles I, and established the
Commonwealth under Cromwell. The Commonwealth lasted but a few years, and
the restoration of Charles II in 1660 is often put as the end of the
Puritan period. The age has no distinct limits, but overlaps the
Elizabethan period on one side, and the Restoration period on the other.

The age produced many writers, a few immortal books, and one of the world's
great literary leaders. The literature of the age is extremely diverse in
character, and the diversity is due to the breaking up of the ideals of
political and religious unity. This literature differs from that of the
preceding age in three marked ways: (1) It has no unity of spirit, as in
the days of Elizabeth, resulting from the patriotic enthusiasm of all
classes. (2) In contrast with the hopefulness and vigor of Elizabethan
writings, much of the literature of this period is somber in character; it
saddens rather than inspires us. (3) It has lost the romantic impulse of
youth, and become critical and intellectual; it makes us think, rather than
feel deeply.

In our study we have noted (1) the Transition Poets, of whom Daniel is
chief; (2) the Song Writers, Campion and Breton; (3) the Spenserian Poets,
Wither and Giles Fletcher; (4) the Metaphysical Poets, Donne and Herbert;
(5) the Cavalier Poe