last compositions are darkly tinctured by the incomprehensible
visions of Jacob Behmen; and his discourse on the absolute
unlawfulness of stage entertainments is sometimes quoted for a
ridiculous intemperance of sentiment and language.--"The actors and
spectators must all be damned: the playhouse is the porch of Hell,
the place of the Devil's abode, where he holds his filthy court of
evil spirits: a play is the Devil's triumph, a sacrifice performed
to his glory, as much as in the heathen temples of Bacchus or Venus,
&c., &c." But these sallies of religious frenzy must not extinguish
the praise, which is due to Mr. William Law as a wit and a scholar.
His argument on topics of less absurdity is specious and acute, his
manner is lively, his style forcible and clear; and, had not his
vigorous mind been clouded by enthusiasm, he might be ranked with
the most agreeable and ingenious writers of the times. While the
Bangorian controversy was a fashionable theme, he entered the lists
on the subject of Christ's kingdom, and the authority of the
priesthood: against the plain account of the sacrament of the Lord's
Supper he resumed the combat with Bishop Hoadley, the object of Whig
idolatry, and Tory abhorrence; and at every weapon of attack and
defence the non-juror, on the ground which is common to both,
approves himself at least equal to the prelate. On the appearance
of the Fable of the Bees, he drew his pen against the licentious
doctrine that private vices are public benefits, and morality as
well as religion must join in his applause. Mr. Law's master-work,
the Serious Call, is still read as a popular and powerful book of
devotion. His precepts are rigid, but they are founded on the
gospel; his satire is sharp, but it is drawn from the knowledge of
human life; and many of his portraits are not unworthy of the pen of
La Bruyere. If he finds a spark of piety in his reader's mind, he
will soon kindle it to a flame; and a philosopher must allow that he