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His Letter to a Young Clergyman is little more than a didactic adaptation of that portion of Eachard's work which deals with the character and education of the clergy.

But of the substantial accuracy of both there can be no doubt at all. On the intelligent, discriminating friends of the Church, Eachard's work had something of the same effect, as Jeremy Collier's Short View of the Profaneness and Immorality of the English Stage had in another sphere.

The reprint of Eachard's Grounds and Occasions of the Contempt of the Clergy and Religion Enquired into, with the preceding extract from Chamberlayne's Angliae Notitia and the succeeding papers of Steele's in the Tatler and Guardian, throws light on a question which is not only of great interest in itself, but which has been brought into prominence through the controversies excited by Macaulay's famous picture of the clergy of the seventeenth and eighteenth centuries.

It did not, indeed, lead immediately to practical reform, but it advanced the cause of reform by inspiring and bringing other initiators into the field. And pre-eminent among these was Swift. Swift was evidently well acquainted with Eachard's work. In the apology prefixed to the fourth edition of the Tale of a Tub in 1710, he speaks of Eachard with great respect.

Swift had no motive for exaggeration, and yet his pictures of Corusodes and Eugenio in his Essay on the Fates of Clergymen, and what we gather from his Project for the Advancement of Religion, his Letter to a Young Clergyman, and what may be gathered generally from his writings, very exactly corroborate Eachard's account.

Eachard wrote his book about the Contempt of the Clergy, numbers of these answerers immediately started up, whose memory, if he had not kept alive by his replies, it would now be utterly unknown that he were ever answered at all. No one who is familiar with Swift's tracts on Church reform can doubt that he had read Eachard's work with minute attention, and was greatly influenced by it.

But Eachard's fate was Swift's fate afterwards, though there was more excuse for the High Church party missing the point of the Tale of a Tub than for the clergy generally missing that of Eachard's plea for them.

The clergy and orthodox laity of our own day were as angry with Eachard's interpreter as their predecessors, nearly two centuries before, had been with Eachard himself. The controversy began seriously, after some preliminary skirmishing in the newspapers and lighter reviews, with Mr. Churchill Babington's Mr.

The appearance of the first volume of Macaulay's History in 1848 again brought Eachard's work into prominence. Macaulay's famous description of the clergy of the seventeenth century in his third chapter was based mainly on Eachard's account.

She had considerably improved her mind by study; she had not only read all the modern plays, operas, oratorios, poems, and romances in all which she was a critic; but had gone through Rapin's History of England, Eachard's Roman History, and many French Memoires pour servir a l'Histoire: to these she had added most of the political pamphlets and journals published within the last twenty years.