CHAPTER XII

THE POST-VICTORIAN AGE

THE HISTORICAL BACKGROUND (1890–1920)

The period covered by this chapter, thirty years in extent, begins with the decline of the Victorian tradition, and practically ends with the European War. It is a time of unrest, of a hardening of temper, of the decay of the larger Victorian ideals, and of the growth of a more critical, cynical, and analytic spirit. The period, one will find, is not very rich in literature of the highest class; and looking back over our literature, and studying the rise and fall of the literary impulse, the alternation of rich harvest with lean years, one is tempted to regard the post-Victorian age as an interval between two epochs, between the great Victorian age and another, still to be, that will be as truly great.

LITERARY FEATURES OF THE AGE

=1. Decline of Poetry.= For almost the first time in the history of English literature the poetical product must be relegated to a subordinate position. Much verse, some of great charm and considerable power, has been written, but very little of real outstanding literary importance. It is this decided decline in the poetical spirit that must make the period take an inferior place in our literary history. Even the Great War failed to produce a poet who might proclaim its ideals as Wordsworth did those of the French Revolution. One is reluctantly driven to conclude that the divine poetical impulse was not there.

=2. The Domination of the Novel.= Comparatively late in its appearance, the novel has now become the most prominent of the literary forms. The output is enormous, the general level quite high, and the scope of its subject almost all-embracing. The growth of the popular press, including the cheap magazine specializing in the production of fiction, the cheapening of books and journals, the increasing use of shorthand and the typewriter, all combine to add to the torrent of fiction.

=3. Modern “Realism.”= The tendency of the time is to avoid sentiment, and to look upon life critically and even cynically. There is a supercilious attitude toward enthusiasm, which is banned as being “Victorian,” a word which has assumed a derogatory meaning. In the domain of fiction this feeling is the strongest. Victorian convention is anathema; all subjects are explored, and handled with a frankness that would have horrified the moralists of the earlier age. A particularly strong school of novelists is interested in social subjects, and is affected with the prevailing economic unrest.

=4. Foreign Influences.= In other countries the same tendency toward realism is apparent, and has helped the movement in England. In Europe there were two geniuses of international importance, and both of them were fired with revolutionary social ideals: Henrik Ibsen (1828–1906), the Norse dramatist, and Leo Tolstoï (1828–1910), the Russian novelist. The influence of Ibsen went right to the roots of English drama, and the works of Tolstoï awoke English readers to the importance of Russian fiction, which is strongly realistic. French novelists of the realistic school, such as Émile Zola (1840–1902), had their share in the development of the English novel.

=5. The Celtic Revival.= The revival of Irish literature is of much interest. It began in the effort of a group of writers to preserve and reanimate Irish sentiment and (to a certain extent) the Irish language. It has affected all branches of literature: it has affected poetry, producing poems such as those of Mr. Yeats; it has created a type of drama, and a theater in which to act it; its dramatists include Mr. Synge, Lady Gregory, and (partly) Mr. Shaw; it has added a novelist of importance in George Moore; and it has a worthy example of a man of letters in George Russell, whose _nom de plume_ is “A. E.”

THOMAS HARDY

We shall deal with three outstanding novelists, each of whom is representative of a different class. We shall have space sufficient for a small number only of the other novelists.

=1. His Life.= Thomas Hardy was born (1840) in Dorsetshire, and after being educated locally finished his studies at King’s College, London. He adopted the profession of an architect, being specially interested in the architecture of early churches. Ambitious to achieve fame as an author, he began, as so many other literary aspirants have done, with poetry. In this branch of literature he met with scant recognition; so, when he was over thirty years old, he took to the writing of novels. These too had no popular success, though they did not go unpraised by discerning critics. Nevertheless, Hardy continued uninterruptedly to issue works of fiction, which gradually but surely brought him fame. He was enabled to abandon his profession as an architect and retire to his native Dorchester, where he lived the life of a literary recluse. Popular applause, which he had never courted, in the end came in full measure. On the occasion of his eightieth birthday the greatest literary figures of the day united to do him homage, and the King, with characteristic felicity, sent a message of gracious compliment. Some years previously (1910) he had received the Order of Merit, no inappropriate distinction.

=2. His Poetry.= As early as 1865, and thence onward, Mr. Hardy issued fugitive pieces of poetry, which were at length collected and published as _Wessex Poems_ (1898). Many of the poems, none of which is very long, are of the dramatic monologue type. The typical Hardy note is apparent in nearly all of them; a careful and measured utterance, a stern eye for the tragedy of common things, and a somber submission to the dictates of an unkind fate. One or two of them are brighter, with a wry kind of humor, like the well-known _Valenciennes_. A second collection, _Poems of the Past and Present_ (1901), has a deeper and more sardonic note, but the feeling of pitiful regret is still predominant. This is particularly so in the poems on the South African War. _The Dead Drummer_, a poem of this group, three brief stanzas in length, tells of Drummer Hodge slain and buried in the veld. The Hardy attitude is almost perfectly revealed in the last stanza:

Yet portion of that unknown plain Will Hodge for ever be; His homely northern breast and brain Grow up a southern tree; And strange-eyed constellations reign His stars eternally.

In _The Dynasts_, which was published in several parts between 1903 and 1908, we meet with Mr. Hardy’s most ambitious poetical effort. In scope the poem is vast, for it deals with the Napoleonic wars, with all Europe for its scene. In length it is prodigious, and before the reader has reached the end he is overwhelmed with the magnitude of it. In form it is dramatic, in the sense that Shelley’s _Prometheus Unbound_ is dramatic; the scene shifts from point to point, the historical figures utter long monologues, and superhuman intelligences, such as Pity and the Spirit of the Years, add commentaries upon the

## activities of mankind. Above and behind all of it broods a sense of

stern fatalism--the Immanent Will, as the author calls it; and in front of this enormous curtain of fate and futility even the figure of Napoleon is dwarfed and impotent.

_Satires of Circumstance_ (1914) is another collection of shorter pieces. The satires themselves, which occupy quite a small portion of the book, are almost brutal and rancorous in their choice and treatment of unhappy incidents. No doubt their author judges such a tone to be necessary in the production of satire. The effect is very impressive. For example, in the short piece called _In the Cemetery_ he begins:

“You see those mothers squabbling there?” Remarks the man of the cemetery. “One says in tears, ‘_’Tis mine lies here!_’ Another, ‘_Nay, mine, you Pharisee!_’ Another, ‘_How dare you move my flowers And put your own on this grave of ours!_’ But all their children were laid therein At different times, like sprats in a tin.”

And the cemetery man goes on to say that all the bodies had been removed to make room for a drain-pipe, and that the quarreling was taking place over the drain-pipe.

A further group of poems in this same volume is called _Poems of 1912–1913_. In this group of poems, which are elegiac in nature, Mr. Hardy’s lyrical genius develops a late but splendid bloom. It is unique in our history for a poet over seventy years old to surpass all the efforts of his prime. In the depth of their emotion and the terse adequacy of their style they represent the consummation of his poetry. We quote briefly:

(1) I found her out there On a slope few see, That falls westwardly To the sharp-edged air, Where the ocean breaks On the purple strand, And the hurricane shakes The solid land.

(2) Nobody says: Ah, that is the place Where chanced, in the hollow of years ago, What none of the Three Towns cared to know-- The birth of a little girl of grace-- The sweetest the house saw, first or last; Yet it was so On that day long past.

Nobody thinks: There, there she lay In a room by the Hoe, like the bud of a flower, And listened, just after the bed time hour, To the stammering chimes that used to play The quaint Old Hundred-and-Thirteenth tune In Saint Andrew’s tower Night, morn, and noon.

* * * * *

Nay: one there is to whom these things, That nobody else’s mind calls back, Have a savour that scenes in being lack, And a presence more than the actual brings; To whom to-day is beneaped and stale, And its urgent clack But a vapid tale. _Places_

=3. His Novels.= Mr. Hardy’s first novel, _Desperate Remedies_ (1871), is, even as a first attempt, a little disappointing. _Under the Greenwood Tree_ (1872) is an improvement, and in its sweet and faithful rendering of country life suggests _Silas Marner_. Next appeared _A Pair of Blue Eyes_ (1873), much more powerful, in which coincidences combine to produce a pitifully tragic conclusion. This is a fine specimen of the Hardy “pessimism.” By this time Mr. Hardy had matured his style and developed his views, and the succeeding novels display a masterly power that rarely deserts him: _Far from the Madding Crowd_ (1874), _The Hand of Ethelberta_ (1876), _The Return of the Native_ (1878), _The Trumpet-Major_ (1879), _A Laodicean_ (1881), _Two on a Tower_ (1882), _The Mayor of Casterbridge_ (1885), and _The Woodlanders_ (1887). Then Mr. Hardy’s career as a novelist culminated in two novels which have already taken rank among the great books of the language: _Tess of the d’Urbervilles_ (1891) and _Jude the Obscure_ (1894). The first is the story of a woman (“a pure woman,” the novelist calls her), of a noble line long decayed, who, as the victim of a malign and persistent destiny, commits murder and perishes on the scaffold; the second is the life-history of an obscure craftsman, fired by the noblest ideals, who struggles to attain to better things, but dies broken and disappointed, like Job cursing the day he was born: drab and somber tales, lit by rare gleams of delicious humor and sentiment, and lifted to the level of great art by boundless insight and pity. After this _The Well Beloved_ (1897) was of the nature of an anti-climax, and Mr. Hardy wrote no more novels.

=4. Features of his Novels.= (_a_) _Their Literary Quality._ Of the novelists of his time Mr. Hardy is the most assiduous in his attention to the practices of his great literary predecessors, such as Sophocles, Shakespeare, and Shelley. This, perhaps, gives his novels rather a heavy touch, so that he will never find a facile popularity; but he is never cheap and never tawdry, he builds broad and square, and his work will surely endure.

(_b_) _Their English Quality._ Like Chaucer and Shakespeare, Mr. Hardy, though he includes all humanity in his outlook, is profoundly and essentially English. His works embrace English folk and strike their roots deep into English soil. His most successful creations are those of peasants bred in his own native shire, or in the adjacent shires. Hence he has given us a notable gallery of men and women who are true to their breed and satisfying in their actuality. The scene of the majority of his novels is a section of England that he calls Wessex. This includes approximately all the south and west of England south of a line joining Oxford and Bristol. Within this boundary he moves with ease and precision, and there he finds adequate literary sustenance. From a man of the caliber of Mr. Hardy such parochialism hardly requires an apology, but if it does he has given it fully. We quote a passage in which he defends his practice, and which in addition provides a good specimen of his expository prose:

It has sometimes been conceived of novels that evolve their

## action on a circumscribed scene--as do many (though not all) of

these--that they cannot be so inclusive in their exhibition of human nature as novels wherein the scenes cover large extents of country, in which events figure amid towns and cities, even wander over the four quarters of the globe. I am not concerned to argue this point further than to suggest that the conception is an untrue one in respect of the elementary passions. But I would state that the geographical limits of the stage here trodden were not absolutely forced upon the writer by circumstances; he forced them upon himself from judgment. I considered that our magnificent heritage from the Greeks in dramatic literature found sufficient room for a large proportion of its action in an extent of their country not much larger than the half-dozen counties here reunited under the old name of Wessex, that the domestic emotions have throbbed in Wessex nooks with as much intensity as in the palaces of Europe, and that, anyhow, there was quite enough human nature in Wessex for one man’s literary purpose. So far was I possessed by this idea that I kept within the frontiers when it would have been easier to overleap them and give more cosmopolitan features to the narrative. _General Preface to the Wessex Edition_

(_c_) _Their Pessimism._ It cannot be denied that the novels are somewhat oppressive in the gloom of their atmosphere. As a novelist Mr. Hardy seems to conceive mankind as overlooked by a deliberately freakish and malignant Fate. His characters are consistently unfortunate when they deserve it least. In places, as in the case of Tess, he appears to bear down the scales, throwing against them the weight of repeated unhappy coincidences. Such a dismal method would in the end be repulsive to the reader’s sense of pity and justice if Mr. Hardy did not add to it a certain largeness and detachment of view and a somber but sympathetic clarity of vision that make the reader’s objections seem paltry and spiritless.

(_d_) _Their Humor and Pathos._ In many places, as in the rustic scenes of _The Mayor of Casterbridge_, the novels have a delicacy and acuteness of humor that strongly resembles that of George Eliot. At other times the humor is hard and heavy, as it is in his satires; at others, again, it has an odd grotesqueness. A short poetical extract will illustrate the last type:

That night your great guns, unawares, Shook all our coffins as we lay, And broke the chancel window-squares. We thought it was the Judgment-day And sat upright. While drearisome Arose the howl of wakened hounds: The mouse let fall the altar-crumb, The worms drew back into the mounds. _Channel Firing_

His pathos is deep, sure, and strong, never degenerating into mawkishness or sentimentality. The conclusion of _Tess of the d’Urbervilles_ is a pattern of the dignified expression of sorrow:

Upon the cornice of the tower a tall staff was fixed. Their eyes were riveted on it. A few minutes after the hour had struck something moved slowly up the staff, and extended itself upon the breeze. It was a black flag.

“Justice” was done, and the President of the Immortals, in Æschylean phrase, had ended his sport with Tess. And the d’Urberville knights and dames slept on in their tombs unknowing. The two speechless gazers bent themselves down to the earth, as if in prayer, and remained thus a long time, absolutely motionless: the flag continued to wave silently. As soon as they had strength they arose, joined hands again, and went on.

(_e_) _His Style._ Like many other great novelists, Mr. Hardy has no outstanding tricks of style. The general impression given is one of immense strength and dignity. His vocabulary is copious, but handled with scholarly care and accuracy. He is apt in phrase and pithy in expression, and in moments of emotion his prose moves with a strong rhythmic beauty. In his poetry the style may sometimes be crabbed and unorthodox, but only to suit a definite satiric purpose. We may sum up by saying that in his style, as in all the other constituents of his writing, he is always the sane and catholic artist.

JOSEPH CONRAD (1857–1924)

=1. His Life.= “Joseph Conrad” is the pen-name of =Teodor Jozef Konrad Korzeniowski=, who was born in the south of Poland in 1857. His father was implicated in the Nationalist plots of the Poles, and the son shared some of his father’s wanderings and exile. For a time the boy was educated at Cracow, but very soon an obstinate love of the sea manifested itself; and in 1874, in spite of all obstacles, he shipped as a seaman at Marseilles. His earliest seafaring was done in the Mediterranean. In 1878 he satisfied a lifelong desire by visiting England and making his first practical acquaintance with the English language. He had long wished to sail under the English flag, and for the remainder of his career he continued to do so. Till 1894 he led the life of a deep-sea sailor, rising from the position of an ordinary seaman to that of a master-mariner in the Mercantile Marine. Bad health, partly occasioned by a voyage up the Congo, stopped his seafaring; and then his first novel was accepted by a London publisher. Henceforth he was able to devote himself to writing novels, for his books, after a moderate beginning, have brought him a rapidly widening circle of readers.

=2. His Novels.= Mr. Conrad’s first novel, _Almayer’s Folly_, was begun about 1889 and not finished till 1894, when it was published. In some respects the novel is immature, for it is halting in plot, and there is a tendency to fumble in the handling of some of the characters; but the power and originality of the work are unquestionable. The scene is that of an Eastern river, fatally beautiful, haunted with disease, death, and the destinies of mysterious men. The principal characters are wild and diabolical, of strange race and stranger desires. Over the whole of the book hangs the glamour of a style quite new to English prose: rich and exotic as a tropical blossom, subtly pervasive and powerful, languorous and debilitating, but most fascinating. The

## book is typical of the remainder of Mr. Conrad’s novels; he was to

improve upon it; but only in degree, not in substance. We have space to mention only the more important of his later works: _An Outcast of the Islands_ (1896), a kind of sequel to the first book; _The Nigger of the Narcissus_ (1898), a brighter tale, full of the glory of the deep seas; _Lord Jim_ (1900), an astonishing story, detailed with microscopic care, of a broken sailor who “makes good”; _Youth_ (1902), perhaps Mr. Conrad’s masterpiece--briefer, more direct, and instinct with the beauty of romantic youth; _Nostromo_ (1903), a tale of South American politics and treasure-hunting; _The Secret Agent_ (1907), in which the novelist leaves his favorite Eastern scenes for the grimmer purlieus of London; _’Twixt Land and Sea_ (1912), three short stories, containing some of his best work; _Chance_ (1914); _Within the Tides_ (1915); _Victory_ (1915); _The Shadow Line_ (1917); _The Arrow of Gold_ (1919), in which the interest shifts to Spain and the Carlist plotters; and _The Rescue_ (1920). In addition there are several other volumes of short stories; two volumes of memories and impressions, extremely valuable as specimens of the Conrad manner, called _The Mirror of the Sea_ (1906) and _Some Reminiscences_ (1912); and two volumes written in collaboration with Ford Madox Hueffer, _The Inheritors_ (1901) and _Romance_ (1903).

=3. Features of his Novels.= (_a_) _Their Exotic Quality._ Just as Mr. Hardy is probably the most English of the greater novelists, so Mr. Conrad is, in no disparaging sense of the term, the most un-English. No other novelist can so well convey the charm and repulsiveness of alien regions. The impression is borne upon the reader through every constituent of the novels. The setting, in the best examples, is among tropical islands, or upon the deep seas. The characters are men and women thoroughly in tune with the scene: nautical people, generally of mixed or alien breed--Danish, Malay, or Italian. Even when Mr. Conrad introduces English scenes and people in some fashion they always succeed in conveying the impression of being un-English.

(_b_) The _style_ of the books, moreover, adds to the prevailing feeling. It is haunting and beautiful, sumptuous in detail, delicate in rhythm, but curiously and decidedly exotic.

A brief extract cannot do justice to the style of Mr. Conrad, but we shall quote two passages in illustration. The first shows his prose in its less happy mood: somewhat mechanical and cumbrous in its imagery, and forced and overloaded with epithet. The second is much better. Here every word is necessary and appropriate, the rhythm is free, and the music sweet and persuasive.

(1) Shaw tried to speak. He swallowed great mouthfuls of tepid water which the wind drove down his throat. The brig seemed to sail through undulating waves that passed swishing between the masts and swept over the decks with the fierce rush and noise of a cataract. From every spar and every rope a ragged sheet of water streamed flicking to leeward. The overpowering deluge seemed to last for an age; became unbearable--and, all at once, stopped. In a couple of minutes the shower had run its length over the brig and now could be seen like a straight grey wall, going away into the night under the fierce whispering of dissolving clouds. The wind eased. To the northward, low down in the darkness, three stars appeared in a row, leaping in and out between the crests of the waves like the distant heads of swimmers in a running surf; and the retreating edge of the cloud, perfectly straight from east to west, slipped along the dome of the sky like an immense hemispheric iron shutter pivoting down smoothly as if operated by some mighty engine. An inspiring and penetrating freshness flowed together with the shimmer of light through the augmented glory of the heaven, a glory exalted, undimmed, and strangely startling as if a new universe had been created during the short flight of the stormy cloud. It was a return to life, a return to space; the earth coming out from under a pall to take its place in the renewed and immense scintillation of the universe.

The brig, her yards slightly checked in, ran with an easy motion under the topsails, jib, and driver, pushing contemptuously aside the turbulent crowd of noisy and agitated waves. As the craft went swiftly ahead she unrolled behind her over the uneasy darkness of the sea a broad ribbon of seething foam shot with wispy gleams of dark discs escaping from under the rudder. Far away astern, at the end of a line no thicker than a black thread, which dipped now and then in its long curve in the bursting froth, a toy-like object could be made out, elongated and dark, racing after the brig over the snowy whiteness of her wake. _The Rescue_

(2) The _Narcissus_, left alone, heading south, seemed to stand resplendent and still upon the restless sea, under the moving sun. Flakes of foam swept past her sides; the water struck her with flashing blows; the land glided away, slowly fading; a few birds screamed on motionless wings over the swaying mastheads. But soon the land disappeared, the birds went away; and to the west the pointed sail of an Arab dhow running for Bombay rose triangular and upright above the sharp edge of the horizon, lingered, and vanished like an illusion. Then the ship’s wake, long and straight, stretched itself out through a day of immense solitude. The setting sun, burning on the level of the water, flamed crimson below the blackness of heavy rainclouds. The sunset squall, coming up from behind, dissolved itself into the short deluge of a hissing shower. It left the ship glistening from trucks to water-line, and with darkened sails. She ran easily before a fair monsoon, with her decks cleared for the night; and, moving along with her, was heard the sustained and monotonous swishing of the waves, mingled with the low whispers of men mustered aft for the setting of watches; the short plaint of some block aloft; or, now and then, a loud sigh of wind. _The Nigger of the Narcissus_

(_c_) _Their Graphic Power._ The strongest appeal of Mr. Conrad’s novels is to the eye and the ear. His pictures of seafaring life and of life connected with the sea have never been surpassed. Their veracity and beauty are due to his personal acquaintance with the subject; to a scrupulous and artistic selection of detail, often of the technical kind that the sailor loves; and, once more, to the charm of the expression. In addition, his faculty of graphic description is often revealed in the deft manner in which he can outline some personality that flits across the pages of a story:

He held up his head in the glare of the lamp--a head vigorously modelled into deep shadows and shining lights--a head powerful and misshapen with a tormented and flattened face--a face pathetic and brutal: the tragic, the mysterious, the repulsive mask of the nigger’s soul. _The Nigger of the Narcissus_

(_d_) _Their Narrative Method._ Mr. Conrad has evolved a narrative method of his own, which, while it is usually successful in his own hands, would probably be disastrous in hands less careful and adroit. The method is, first, indirect. The author’s favorite device is to create some character (a Captain Marlow often appears for this purpose) who relates the story, or part of the story, in his own words. Often another story crops up in the original story, adding complications, with, as can be seen in _Lord Jim_, results that are a little bewildering. Secondly, the greatest attention is given to details. The motives and impressions of the characters are discussed and analyzed, and their trivial actions faithfully recorded. Moreover, Mr. Conrad delights in leading his characters into morasses of doubt and hesitation. He may be called the novelist of doubt and hesitation, so skilled is he in the elaborate suggestion of such emotions. Consequently many a Conrad story, like one of his ships, is becalmed in its career, and stirs uneasily without making much progress. Hence he who runs must not read Conrad. This author demands a reader who is patient and wary, and who follows the course of the narrative very carefully, for he has a troublesome habit of inserting important matter in the midst of less essential details. If the reader will but observe these cautions, he will be led, deviously perhaps, but none the less certainly, into many regions of delightful romance.

HERBERT GEORGE WELLS

=1. His Life.= Mr. Wells was born in Kent in the year 1866. His early education was private, and later he studied at London University. Here he finally graduated in science, zoology and kindred subjects being his special choice. But he had his living to earn while he carried on his studies, and the experiences of these early years are reflected in his novels. Teaching, lecturing, and journalistic work followed; but literature was not long in exercising its fascination, and an early measure of success was soon his portion. Henceforth he devoted himself to the writing of books, which command a wide public both in England and America.

=2. His Works.= For the literary historian the books of Mr. Wells provide an interesting study, as, in the course of their production, they register a clear development of manner. The books themselves are so numerous that here we can mention only the more important among them.

As was only to be expected, Mr. Wells began by utilizing his scientific training as an adjunct to his story-telling. His first efforts in fiction were a series of scientific romances, extremely ingenious in their mingling of fact and fiction, rapidly and felicitously narrated, and casting shrewd side-glances at many social problems. The best of this class were _The Time Machine_ (1895), _The Invisible Man_ (1897), and _The Food of the Gods_ (1904). The second stage of the novelist’s career (slightly overlapping the first stage) was represented by a series of genuine novels, which reveal considerable talent in the manipulating of plot, a faculty, amounting to positive genius, for depicting ordinary people with zest, accuracy, and humor, and a clear and flexible style admirably in keeping with his subject. _Love and Mr. Lewisham_ (1900), _Kipps_ (1905), and _The History of Mr. Polly_ (1910) were representative of this group. In the third stage problems of modern society, social, religious, political, and commercial, which had all along strongly attracted the attention of Mr. Wells, elbowed themselves into the midst of the fictitious material, claiming an equal place. Of such a nature were _Tono-Bungay_ (1909), which is almost an epical treatment of modern commercialism, _Ann Veronica_ (1909), concerning a modern love-affair, and _The New Machiavelli_ (1911), on contemporary politics. In the fourth stage the discursive and dogmatic elements take the principal place, subordinating the fictitious portions, as can be seen in _Boon_ (1915), an extraordinary book, crammed with excellent lively literary criticism, but chaotic, splenetic, and irresponsible; _Mr. Britling Sees It Through_ (1916), a book treating of the Great War, with an able beginning, but a hazy and unsatisfactory conclusion; and _Joan and Peter_ (1918), also dealing

## partly with the War, but much concerned with educational matters.

A collection of short stories, _The Country of the Blind_ (1911), contains, along with much that is scamped and trashy, some first-rate work, notably in the tale that gives the title to the book.

In addition to his numerous works of fiction Mr. Wells has written books that are almost entirely pamphlets, expressing his ideas on social and other problems; _The Island of Doctor Moreau_ (1896), _A Modern Utopia_ (1905), and _New Worlds for Old_ (1908) are only a few out of many. He has also, with much hardihood and considerable success, given the world _The Outline of History_ (1920), a work that antagonized the pedants and charmed and instructed the ordinary intelligent man.

=3. Features of his Novels.= (_a_) _Their “Modern” Quality._ Possessed of an eager and inquiring mind, of great energy, and of a wide public ready to give ear to his opinions, Mr. Wells has come more and more to use the novel as a means of voicing his hopes, his criticisms, and his fears. Such a course must in the end bring about the decay of his novels as works of art. It is possible, indeed, that his later works will rapidly fall into oblivion, as did the later novels of George Eliot, who pursued a course in some respects similar to that of Mr. Wells. No one, however, can question the force and vivacity of his expressed opinions, and the eager reception that awaits them in many quarters. To many of his time he is the sage and prophet, as Carlyle, in his own fashion, was to the Victorian age; and as the need for Carlyle passed away with the problems that he handled, so, perhaps, will the need for the pen of Mr. Wells. It is possible that _Kipps_ will be widely read when such works as _The Soul of a Bishop_ have been entirely forgotten.

(_b_) _Their Literary Quality._ In addition to his intellectual gifts, Mr. Wells possesses an imagination of great power and grasp. This appears all through his works, being perhaps most prominent in the earlier romances, such as _The First Men in the Moon_, and in the earlier novels. In the novels the strength of Mr. Wells’s imagination becomes a positive drawback when it leads to overproduction, which in its turn brings a certain mechanical quality in the plot and in the central characters. His descriptions, however, alike of homely English scenes and of the most fantastic and barbarous regions, are brilliantly dashing and real. Like Dickens, he excels in the creation of ordinary folks, of the type of tradesmen and clerks, upon whom he expends a wealth of observation and humorous comment.

(_c_) _Their Humor._ Freshness and abundance are the outstanding qualities of Mr. Wells’s humor. Sometimes he is almost juvenile in his high spirits. In its more sober moments the humor is the urbane acceptance of men’s little weaknesses, somewhat patronizing perhaps, but sharply scrutinizing and faithfully recording. In other moods it is satirical, and then it is swift and destructive. In its more reckless phase it passes into jeering and irreverent laughter. The humor of Mr. Wells is a powerful weapon, and he is somewhat careless in his handling of it.

(_d_) _His Style._ The clearness and rapidity of Mr. Wells’s style has undoubtedly led to a lack of taste and balance and (in the mind of the reader) to a sense of improvisation. In its more careless passages it conveys the impression of a brilliant but shallow loquacity. The style, nevertheless, has some great and positive virtues: an instant command of epithet, a vivid pictorial quality, and sometimes a rich suggestiveness of romance. As an example of this last quality, the love-passages in _The Country of the Blind_ are idyllically beautiful.

The two brief extracts that follow illustrate two different aspects of his style. The first is a picture of a tropical scene, the style resembling in some respects that of Mr. Conrad. It lacks the intimate detail of Mr. Conrad’s descriptions, but it is much less labored. The second is an example of the pictorial narrative power that is Mr. Wells’s chief claim to literary greatness:

(1) Here and there strange blossoms woke the dank intensities of green with a trumpet-call of colour. Things crept among the jungle and peeped and dashed back rustling into stillness. Always in the sluggishly drifting, opaque water were eddyings and stirrings; little rushes of bubbles came chuckling up lightheartedly from this or that submerged conflict and tragedy; now and again were crocodiles like a stranded fleet of logs basking in the sun. Still it was by day, a dreary stillness broken only by insect sounds and the creaking and flapping of our progress, by the calling of the soundings and the captain’s confused shouts; but in the night as we lay moored to a clump of trees the darkness brought a thousand swampy things to life, and out of the forest came screamings and howlings, screamings and yells that made us glad to be afloat. And once we saw between the tree stems long blazing fires. We passed two or three villages landward, and brown-black women and children came and stared at us and gesticulated, and once a man came out in a boat from a creek and hailed us in an unknown tongue; and so at last we came to a great open place, a broad lake rimmed with a desolation of mud and bleached refuse and dead trees, free from crocodiles or water birds or sight or sound of any living thing, and saw far off, even as Nasmyth had described, the ruins of the deserted station and hard by two little heaps of buff-hued rubbish under a great rib of rock. The forest receded. The land to the right of us fell away and became barren, and far off across a notch in its backbone was surf and the sea. _Tono-Bungay_

(2) There was a fumbling at the latch of the front door.

“’Ere’s my lord,” said Mrs Coombes. “Went out like a lion and comes back like a lamb, I’ll lay.”

Something fell over in the shop: a chair, it sounded like. Then there was a sound as of some complicated step exercise in the passage. Then the door opened and Coombes appeared. But it was Coombes transfigured. The immaculate collar had been torn carelessly from his throat. His carefully brushed silk hat, half-full of a crush of fungi, was under one arm; his coat was inside out, and his waistcoat adorned with bunches of yellow-blossomed furze. These little eccentricities of Sunday costume, however, were quite overshadowed by the change in his face; it was livid white, his eyes were unnaturally large and bright, and his pale blue lips were drawn back in a cheerless grin. “Merry!” he said. He had stopped dancing to open the door. “Rational ’njoyment. Dance.” He made three fantastic steps into the room and stood bowing.

“Jim!” shrieked Mrs Coombes, and Mr Clarence sat petrified, with a drooping lower jaw.

“Tea,” said Mr Coombes. “Jol’ thing, tea. Tose-stools, too. Brosher.”

“He’s drunk,” said Jennie in a weak voice. Never before had she seen this intense pallor in a drunken man, or such shining, dilated eyes. _The Purple Pileus_

OTHER NOVELISTS

=1. George Gissing (1857–1903)= was born at Wakefield, and concluded his education at Owens College, Manchester. He took to literature, but with little success, and for years lived in dire poverty. In time his books met with a somewhat wider acceptance, though they were never popular; and his scholarship and the high quality of his literary criticism always commanded respect. He died in the Pyrenees, whither failing health had compelled him to go.

His novels are almost entirely devoted to the lives of the poorer classes: _Workers of the Dawn_ (1880), _The Unclassed_ (1884), _Demos_ (1889), _Grub Street_ (1891), and _The Odd Women_ (1893) are only a selection from his books. His _Private Papers of Henry Ryecroft_ (1903) is partly autobiographical, and is an excellent example of his style. He handles his subjects with a depressing fidelity that will always restrict his novels to a narrow circle of readers. He lacks Mr. Hardy’s Elizabethan largeness of vision, and will not rank as a really great writer, but he deserves honorable mention as a novelist who in poverty and distress would not bow the knee to false gods, who steadily kept in view the highest ideals, and who died true to his literary faith.

=2. George Moore=, born in Mayo in the year 1857, is the son of a landowner in that county. He was educated at Oscott, and then for some years studied art in Paris. During those years he imbibed that passion for French art and French fiction that was never to leave him. As an artist he had no success; but as a novelist, after a moderate beginning, he has won the admiration of an important section of the reading public. He is a man of varied but unstable enthusiasms, which are reflected in his novels. In the course of time he was caught up in the Celtic Revival, which he valiantly served with his pen, though he was not backward in candid criticism of it.

Mr. Moore began authorship with two volumes of verse, the first of which was _Flowers of Passion_ (1878). Neither of them was of any great merit. He started his career as a novelist as disciple of the great French realist Zola, publishing in this manner _A Mummer’s Wife_ (1884). This novel, a squalid tale unrelieved by any bright touches, followed the example of Zola with much audacity, and shocked the more staid opinion in England. Other stories of the same kind followed, the more noteworthy being _A Drama in Muslin_ (1886) and _The Confessions of a Young Man_ (1888). His more mature works, though they never lacked frankness, were rather more restrained in manner; characteristic specimens were _Esther Waters_ (1894) and _Sister Teresa_ (1901). Subsequently he wrote some attractive books of reminiscence, of which the best is _Hail and Farewell_, published in three volumes between the years 1911 and 1914.

In his later books Mr. Moore’s style is delightfully sweet and clear. The earlier books, in which he followed his model with a devoted fidelity, are devoid of the ornaments of style. In humor he is often whimsical and charming, though his wit seldom lacks the sharp touch of satire.

=3. Rudyard Kipling= was born (1865) at Bombay, where his father was an official. He was educated in Devonshire, and wished to join the Army, a project that had to be abandoned. Returning to India, he joined the editorial staff of the Lahore _Civil and Military Gazette_ and of _The Pioneer_. For these journals he began writing short stories, which very soon attracted an attention that became worldwide. After some years’ residence in the United States, Mr. Kipling settled in England. For a time his popularity was immense, and received international recognition in the award of the Nobel Prize for literature (1907). Passing years have dimmed his brightness, and recently his voice has fallen nearly silent.

Mr. Kipling first became known as a writer of short stories, and it is upon the short story that his fame will probably rest. As the writer of such a type of fiction he is very well equipped: he has a genius for terse narrative, a swift eye for dramatic incident and detail, a capacity for touching off men’s characters, and a style which, though it may be cocksure and jerky, is none the less attractive and intensely individual. _Plain Tales from the Hills_ (1887) and _Soldiers Three_ (1888) are among the most enjoyable of the volumes of short stories. In his longer tales he is less at his ease. _The Light that Failed_ (1891) is not a great success; but _Kim_ (1901), a kind of picaresque Indian tale, is crammed with a rich abundance of observation and description. The two _Jungle Books_ (1894 and 1895) are among the most delightful of books written for children.

As a poet of Army life and of British Imperialism Mr. Kipling was long a notable figure. The climax came during the South African War of 1899–1902; after that the patriotic poem began to suffer eclipse. A good deal of Mr. Kipling’s poetry is brazen and commonplace, but it rarely lacks energy and picturesqueness. In such pieces as _Mandalay_, however, he touches the deeper springs of humanity, and becomes a real poet; and in _The Recessional_ (1897), a short poem that in essence expresses the negation of all his usual teachings, he has attained to poetical greatness.

=4. Arnold Bennett=, whose full name is Enoch Arnold Bennett, was born in North Staffordshire in 1867. He was educated at Newcastle, and studied for the law, which he later forsook for journalism (1893). He was on the staff of _Woman_ till 1900, when his books claimed all his time.

Mr. Bennett’s most notable contribution to the novel is a group of interrelated stories dealing with his native Staffordshire. These stories, very full in detail, are realistic presentations of the squalid life of the pottery district; the personages introduced are commonplace, and the style, though it does not lack vivacity and humor, is studiously subdued. _Anna of the Five Towns_ (1902), _The Old Wives’ Tale_ (1908), _Clayhanger_ (1910), _Hilda Lessways_ (1911), and _These Twain_ (1916) represent this group. _The Card_ (1911) is lighter and more humorous; and _The Pretty Lady_ (1918), rather unequal, contains some telling reflections upon modern society.

Like Mr. Hardy, Mr. Bennett has essayed to render with artistic completeness the life of one section of England; unlike Mr. Hardy, however, he tends to become swamped with detail, so that he fails to give his works unity and singleness of purpose. In addition, his style has a certain aridity and a lack of flavor and attraction. On the other hand, he writes with clearness and care, his humor is reticent but keenly penetrating, and his character-drawing able and realistic.

=5. Compton Mackenzie= may be taken as the latest type of novelist who will claim our attention. Born at West Hartlepool in 1883, he was the son of Mr. Edward Compton, the well-known actor. He was educated at St. Paul’s School and at Oxford, and then became associated with literature and the stage. He served in the South African War, and in the Great War he was with the Naval Division in the Dardanelles.

After publishing _Poems_ (1907), Mr. Mackenzie produced _The Passionate Elopement_ (1911), a novel of much promise, that was realized in _Carnival_ (1912), a story dealing partly with theatrical life, and revealing much shrewd insight and satirical humor. Like Thackeray and Mr. Bennett, Mr. Mackenzie developed the novel series, introducing the same people into several successive stories. _Sinister Street_ (1914), _Guy and Pauline_ (1915), _Sylvia Scarlett_ (1918), and _Sylvia and Michael_ (1919), are more or less closely interrelated in theme. _Poor Relations_ (1919) revealed a rich and somewhat unexpected vein of light comedy, which Mr. Mackenzie did not improve upon in _Rich Relatives_ (1921). Much of Mr. Mackenzie’s work is of unnecessary length, and much of it, in comformity with the modern manner, is laboriously and somewhat unpleasantly detailed in its revelation of personal and social relations; but his writing is seldom lacking in competence; it has ease, versatility, and a certain cool urbanity; and at its best it reaches a high level.

GEORGE BERNARD SHAW

=1. His Life.= Mr. Shaw, born in Dublin in 1856, is the son of a retired civil servant. His early education was received in Dublin, and at the age of fifteen he was earning his living as a clerk. Coming to London (1876), he tried novel-writing as an alternative to clerking, but with no success at all. He was one of the first members (1884) of the Fabian Society, and took a vigorous part in its socialistic work. A witty and voluble speaker, not without moments of real eloquence, he was much in demand as a lecturer. In 1885 he began his connection with journalism, and was successively on the staff of several London papers, writing on music, painting, and the drama. In music he was a strong advocate of Wagner. The dramatic works of the great Norwegian Ibsen were for long his pet subject. During the years 1895–98 his dramatic articles in _The Saturday Review_ attracted much attention owing to the freshness of their opinions and the vitality of their style. About this time he started to write and produce plays of his own; and with them he began his long verbal contest with the British public over their failure to appreciate the merit of his work. In the end, owing partly to his own voluble persistence, but chiefly to the virtues inherent in his dramas, he won the day; so that a new play by Mr. Shaw, if indeed it does not command a wide acceptance of its views, is at least received as a powerful and stimulating addition to the dramatic literature of our time.

=2. His Novels.= Mr. Shaw began his career as an author by writing four novels which were rejected by every publisher in London, and subsequently saw the light in obscure periodicals of socialistic sympathies. The best of the four are _The Irrational Knot_ (1880) and _Cashel Byron’s Profession_ (1882). He republished the books in 1901, calling them “Novels of my Nonage.” To readers acquainted with the later writings of Mr. Shaw there are several familiar features plainly to be seen: the straight, clean thrust of the style, the bold and dramatic portraiture of the characters, and the irreverent mishandling of treasured institutions. There is even the note typical of the earliest plays--a curious frigidity and barrenness of emotion, as if the novelist had made a vow to cut sentiment clean out of his books. The crude socialism preached in the stories probably scared the publishers; for, though they by no means represent even the average of Mr. Shaw’s work, they are always readable and often amusing.

=3. His Plays.= As a playwright Mr. Shaw began as a disciple of Ibsen. In his early attempts he succeeded in reproducing the cold and intellectual realism of the great Norwegian, but he quite failed to catch the humane and intensely romantic idealism that lies deep within the heart of the Ibsen plays. _Widowers’ Houses_ (1885), a didactic play on the subject of slum-property, was a discouraging beginning to his play-writing. It was hard and repulsive in sentiment; it lacked the later Shavian high spirits and verbal acrobatics; and it appealed only to a small circle of enthusiasts. _The Philanderer_ (1893) was much lighter and more attractive, though it did not lack harsher touches, almost callous in their nonchalance; it showed, however, the beginning of that mastery of the technique of the stage that was henceforth to distinguish nearly all Mr. Shaw’s plays. _Mrs. Warren’s Profession_ (1893), grimmer and abler, was refused a license by the censor of plays; and then with _Arms and the Man_ (1894) Mr. Shaw had his first successful bout with the British public. In the play the satiric intention was obvious, for the “glories” of war were freely ridiculed; but the satire was so overlaid with a briskness of action, with a rocketing interchange of witticisms, and with an almost reckless display of high spirits that both the general public and the cautious critics were taken by storm. From this point Mr. Shaw never looked back, and his plays appeared in a steady procession. We can mention only the more important of them: _Candida_ (1894), an attempt at the romantic sentimental comedy, only too rare with Mr. Shaw; _You Never Can Tell_ (1896), purely and hilariously comic, and masterly from beginning to end; _Cæsar and Cleopatra_ (1898), quaintly serio-comic, but picturesque and brilliant; _Man and Superman_ (1903), containing many of its author’s opinions expressed with startling audacity, but too long and voluble; _John Bull’s Other Island_ (1904), on the Irish question; _The Doctor’s Dilemma_ (1906), very censorious on the medical profession; and _Androcles and the Lion_ (1912). At this point the War intervened, and the effects of it on Mr. Shaw’s acutely sensitive mind, along with the pressure of increasing years, can be seen in the style of the later plays. One can detect a certain waning strength. The energy and gayety are still visible, but they appear fitfully; the high scorn is apt to degenerate into querulousness; and there is a hardening of temper, for which the dramatist tries to atone by fits of puerile burlesque. _Heartbreak House_ (1917) is abrupt and even savage in places; and _Back to Methuselah_ (1920), in spite of its infinity of range and the brilliance of disconnected passages, is heavy with the weight of mortality.

We have still to mention Mr. Shaw’s prefaces, which are remarkable features of his plays. As the plays successively appeared, the prefaces increased in length, till they began to rival in importance the plays themselves. Each of them is a tractate on some question that for the time engrossed the attention of the playwright. For example, the preface to _Cæsar and Cleopatra_ deals in Shavian fashion with Shakespeare, that to _Androcles and the Lion_ with early Christianity, and that to _Back to Methuselah_ with what he calls Creative Evolution. The prefaces are diffuse, paradoxical, and egotistical; but they are brilliant and incisive, and they represent the best of Mr. Shaw’s non-dramatic prose.

=4. Features of his Plays.= (_a_) _Their Wit._ The distinction between wit and humor is commonly expressed by saying that humor appeals to the emotions, whereas wit touches only the intellect: humor deals with incidents and actions, wit with words and phrases. Mr. Shaw ranks among the greatest wits in the language. He delights in the quick cut and thrust of verbal sword-play, in the clever distortion of a phrase, and in the brilliant paradoxical sally of the intellect. It is this wittiness that has given him his commanding position in foreign countries. It is not that Mr. Shaw is inhumanly devoid of emotion and sympathy, but he is afraid of such emotions, and often deliberately stifles them. In _Candida_ he attains to a high level of delicate sentimentality, but in _How He lied to Her Husband_ he jeers at the admirers of his own handiwork. In his later plays he wearies a little over this exuberant play of wit. In _Back to Methuselah_, for example, perhaps the most attractive feature is a mood of sere romantic melancholy.

(_b_) _His Contribution to the Drama._ Mr. Shaw’s long experience as a dramatic critic taught him at least what he was to avoid. When he began his career as a dramatist the theater was given up to the production of frivolous and even immoral pieces. Mr. Shaw vitalized this stuffy atmosphere, gave to play-writing a strong and vigorous tone, and added to it a spirit of broad comedy. From the purely formal point of view, he employed all the devices of stagecraft to give his plays an attractive and realistic setting. As regards the literary side of his plays, he marks in his work a great increase in the importance given to the stage-directions. Like Ibsen, he elaborates this feature of his plays till on the printed page they are almost as important as the dialogue. He is reverting to the precepts of Aristotle, who maintained that the drama is an affair of _action_, not of speech. Consequently Mr. Shaw’s plays often read like an interesting hybrid between the novel and the drama. We add an extract to illustrate this combination of speech and action:

_Behind the Emperor’s box at the Coliseum, where the performers assemble before entering the arena. In the middle a wide passage leading to the arena descends from the floor level under the imperial box. On both sides of this passage steps ascend to a landing at the back entrance to the box. The landing forms a bridge across the passage. At the entrance to the passage are two bronze mirrors, one on each side._

_On the west side of this passage, on the right hand of anyone coming from the box and standing on the bridge, the martyrs are sitting on the steps. Lavinia is seated half-way up, thoughtfully trying to look death in the face. On her left Androcles consoles himself by nursing a cat. Ferrovious stands behind them, his eyes blazing, his figure stiff with intense resolution. At the foot of the steps crouches Spintho, with his head clutched in his hands, full of horror at the approach of martyrdom._

_On the east side of the passage the gladiators are standing and sitting at ease, waiting, like the Christians, for their turn in the arena. One (Retiarius) is a nearly naked man with a net and trident. Another (Secutor) is in armour with a sword. He carries a helmet with a barred visor. The Editor of the gladiators sits on a chair a little apart from them._

_The Call Boy enters from the passage._

_The Call Boy._ Number six. Retiarius _versus_ Secutor.

_The gladiator with the net picks it up. The gladiator with the helmet puts it on; and the two go into the arena, the net-thrower taking out a little brush and arranging his hair as he goes, the other tightening his straps and shaking his shoulders loose. Both look at themselves in the mirrors before they enter the passage._

_Lavinia._ Will they really kill one another?

_Spintho._ Yes, if the people turn down their thumbs.

_The Editor._ You know nothing about it. The people indeed! Do you suppose we would kill a man worth perhaps fifty talents to please the riff-raff? I should like to catch any of my men at it.

_Spintho._ I thought----

_The Editor_ [_contemptuously_]. You thought! Who cares what _you_ think? _You’ll_ be killed all right enough.

_Spintho_ [_groans and again hides his face_].!!!...

_Lavinia._ Does the Emperor ever interfere?

_The Editor._ Oh yes; he turns his thumb up fast enough if the vestal virgins want to have one of his pet fighting men killed. _Androcles and the Lion_

(_c_) _His Defects._ As a dramatist Mr. Shaw has many faults. When he is anxious to expound one of his opinions he subordinates the dramatic interest and permits his characters to become merely the mouthpieces of his views. Jack Tanner, the chief character in _Man and Superman_, is the stock example of such a personage. Nearly all his characters, moreover, though they are galvanically active, hardly impress the reader as being actually alive. Like Dickens, Mr. Shaw is skillful in the creation of freaks and oddities, but he is weak in the presentation of living and ordinary people.

(_d_) _His Opinions._ Like Mr. Wells, Mr. Shaw holds decided views on many subjects, from phonetics to the construction of the universe, and he is not backward in expressing them. More than once he has declared that he would never have written a word if he had not some message to convey. He has, however, a curious method of exposition, which he has purposely developed in order to shock his opponents into attention: a jesting, paradoxical mishandling of the truth, often glaringly personal, and stated with almost brutal clearness. As a result Mr. Shaw rarely finds himself taken seriously by the superficial reader, though the deep underlying seriousness of his opinions is nearly always perceptible to the attentive mind. It has often been urged that his opinions are purely destructive; and his efforts to provide alternatives to the institutions he condemns are not always of the happiest.

(_e_) _His Style._ Like his great fellow-countryman Swift, Mr. Shaw has a powerful and logical mind, with the same fierce satiric purpose and (it may be added) the same type of Irish nationalism. His prose is more amusing, less destructive, more diffuse, and less simple than that of the great Dean. In his dramatic dialogue, however, Mr. Shaw is pithy, direct, and absolutely clear. The example already given shows its character.

We add a brief specimen of his expository prose. It is the peroration to a long preface, and therefore somewhat more elevated in style than the average. It contains a characteristic mock-serious personal reference which sheds light on Mr. Shaw’s own opinion of his work.

I now find myself inspired to make a second legend of Creative Evolution without distractions and embellishments. My sands are running out; the exuberance of 1901 has aged into the garrulity of 1920; and the war has been a stern intimation that the matter is not one to be trifled with. I abandon the legend of Don Juan with its erotic associations, and go back to the legend of the Garden of Eden. I exploit the eternal interest of the philosopher’s stone which enables men to live for ever. I am not, I hope, under more illusion than is humanly inevitable as to the crudity of this my beginning of a Bible for Creative Evolution. I am doing the best I can at my age. My powers are waning; but so much the better for those who found me unbearably brilliant when I was in my prime. It is my hope that a hundred apter and more elegant parables by younger hands will soon leave mine as far behind as the religious pictures of the fifteenth century left behind the first attempts of the early Christians at inconography. In that hope I withdraw and ring up the curtain. _Preface to “Back to Methuselah”_

OTHER DRAMATISTS

=1. Oscar O. W. Wilde (1856–1900)= was the son of a famous Irish surgeon, and was educated at Dublin and Oxford. At Oxford he distinguished himself both as a scholar and as an eccentric. In the latter capacity he posed as an “æsthete” in opposition to the common type of “athlete,” wearing fantastic garments, and behaving with an extraordinary combination of folly, extravagance, and presumption. On leaving the university he dabbled in literature in an amateurish fashion, writing poems, novels, and plays, and contributing to magazines and reviews. His opinions--he held that “morality” does not exist in “art”--led to much heated discussion, and to many charges being made against his moral character. Wilde instituted proceedings for libel, which in turn brought to light many unpleasant facts against him, and in the end landed him in jail (1895). On regaining his liberty (1897) he lived a wandering life on the Continent, and died miserably in Paris.

Wilde’s early poems and novels, an example of which latter is _The Picture of Dorian Gray_ (1891), are sumptuous in detail, cynically phrased, and richly ornamented in style;[237] but over them all is a curious taint, a faint malodorous corruption, that repels the healthy-minded reader. His plays, however, almost escape this infection. In tone they are hard and cynical, and in the portrayal of character they are exceedingly weak, but they are brilliant with epigram and telling phrase, are ingeniously contrived, and have many clever situations. They are the cleverest society comedies since the days of Wilde’s great fellow-country-man Sheridan. The best of them are _Lady Windermere’s Fan_ (1892) and _The Importance of Being Earnest_ (1895).

=2. John Galsworthy= (born in 1867) in drama takes the place occupied in the novel by Gissing. In sincerity, in his close scrutiny of the vexed problems of to-day, and in his deep sympathy for the poor and wretched Mr. Galsworthy much resembles the earlier novelist. As a playwright, however, he is too deeply engrossed with his problems to do complete justice to his talents. He is too serious, his humor is wan and meager, and the severe detachment of his plays makes them rather cold and depressing. _The Silver Box_ (1906) deals with the inequality of “justice” as it is administered in the police courts; _Joy_ (1907), _Strife_ (1909), and _Justice_ (1910) discuss various social and domestic problems; and _The Skin Game_ (1920) deals with the post-war profiteer.

Mr. Galsworthy has written a considerable number of novels, which culminate in _The Forsyte Saga_ (1922). This immense work includes three longish novels and two shorter tales, all of which had previously been published individually. In its breadth and power of comprehension, and in its keen and destructive vision into social and personal weaknesses, the book takes rank as one of the most noteworthy of the present day.

=3. Sir James Barrie= was born in 1860 at Kirriemuir, a small town in Forfarshire. Educated at Dumfries and at Edinburgh University, he became a journalist, settling ultimately in London. His early sketches and novels, such as _Auld Licht Idylls_ (1888), _A Window in Thrums_ (1889), and _Sentimental Tommy_ (1896), squared with the average Englishman’s notions of Scotland, and were exceedingly successful. The element of pathos was heavily drawn upon, and their quaint and attractive humor--a delicate compound of fancy, pathos, and whimsical sentiment--was something quite new of its kind.

His plays strongly resemble the novels. In them he displays a sweet ethereal fancy that adds to the humor and pathos. _The Admirable Crichton_ (1903) is fresh and delightful; _Peter Pan_, a golden venture into unashamed nonsense, is to the stage what _Alice in Wonderland_ is to literature--a children’s classic; and _Quality Street_ (1901), _What Every Woman Knows_ (1908), _A Kiss for Cinderella_ (1916), _Dear Brutus_ (1917), and _Mary Rose_ (1920) have the sweetly sensitive tears-in-laughter that make the Barrie plays quite different from all others.

=4. John M. Synge (1871–1909)= deserves mention as being the most important playwright of the purely Celtic school. He was always in delicate health, and his period of play-writing was very brief. During the years of his literary output he lived in close association with Irish peasantry, especially that of the Aran Islands, where the Celtic spirit is least affected by modern movements.

_The Shadow of the Glen_ (1903) and _Riders to the Sea_ (1904) are short plays of one act; and with the longer plays called _The Well of the Saints_ (1905), _The Playboy of the Western World_ (1907), _The Tinker’s Wedding_ (1909), and _Deirdre of the Sorrows_ (1910), they represent his published works. All portray the life of the Irish peasant; but it is the peasant as viewed from the outside by the cultured literary man. The observation is often keen, and the satiric intention apparent; but the peasant remains an idealized literary figure, and his language is idealized language. As acting plays, moreover, they are heavy and lifeless, for Synge was little skilled in stage technique. Their real importance lies in their style: a slow-moving, wonderful prose, rich in poetic embellishment and sonorous rhythms, and full of the typical Celtic mysticism. Consequently Synge’s plays will be read far more than they will be acted. A specimen of his style will be found on p. 568.

WRITERS OF MISCELLANEOUS PROSE

=1. Gilbert K. Chesterton= was born in London in the year 1874. He was educated at St. Paul’s School, then studied art, but ultimately became a journalist. He wrote much literary and miscellaneous prose for journals, and distinguished himself as a writer of much ingenuity, topsy-turvy humor, and a robust, rampageous style. His books of verse, such as _Gray-beards at Play_ (1900), _The Wild Knight_ (1900), and _Wine, Water, and Song_ (1915), are quite excellent in their way: clever and vigorous, skillfully constructed, and genuinely funny. His novels are fine-spun webs of ingenious nonsense, and include _The Club of Queer Trades_ (1905) and _The Man Who was Thursday_ (1908). His literary and miscellaneous work, often apparently willful and inconsequent, is usually sane and substantial at bottom. His critical work is well represented by his books on Dickens and Browning, and his miscellaneous writing, gloriously Chestertonian, by _Tremendous Trifles_ (1909) and _A Shilling for my Thoughts_ (1916).

=2. Hilaire Belloc=, the son of a Frenchman, was born in France in 1870. He was educated in England, served two years with the French Artillery, and finished his education at Oxford University. Mr. Belloc has contributed to most kinds of literature. His serious verses are noteworthy for their ease and vigor, and his nonsense verses, such as _A Bad Child’s Book of Beasts_, are excellent fooling. As a humorist Mr. Belloc specializes in a super-solemnity of manner while he is stating the most ridiculous problems. His humor, however, rarely lacks the sharp stab of satire. His novels, like those of Disraeli, are a shrewd commentary upon our political life. They have an unwinkingly solemn humor, biting scorn scarcely concealed, and a clear and incisive style. _Mr. Clutterbuck’s Election_ (1908) and _A Change in the Cabinet_ (1909) come high in the thin ranks of the first-rate political novel. His miscellaneous work is often clever, whimsically learned, and often distinguished by the same parade of grave nonsense. _On Nothing_ (1908) sets him high among modern essayists. His two travel volumes, _The Path to Rome_ (1902) and _The Pyrenees_ (1909), in spite of their somewhat labored mannerisms, deserve to become classical.

=3. Lord Morley (1838–1923)= is the sole writer of serious miscellaneous prose that we have space to mention. He was born at Blackburn, took his degree at Oxford, and became a journalist of a Radical and philosophical type. He was in turn editor of more than one important review, entered Parliament (1883), and was closely associated with Mr. Gladstone during the struggles over the Irish Home Rule Bills. He held high offices under the Liberal Government, was created Viscount Morley of Blackburn (1908), and on the outbreak of war in 1914 retired from public life.

Lord Morley wrote a great deal of literary, philosophical, and miscellaneous work, distinguished by its scholarly care and accuracy, by a deep but placable seriousness, and by a strong and flexible style. His monographs on _Voltaire_ (1872), _Burke_ (1879), and _Walpole_ (1889) are models of what such brief works ought to be; his _Life of Cromwell_ (1900) is a sane and scholarly treatment of a difficult subject; and his monumental _Life of Gladstone_ (1903), though it lacks proportion in some respects, is a well-filled storehouse of historical fact, and, on this side of idolatry, a reverent tribute to a great man.

THE POETS

In the section that follows we have made a careful selection from the poets of the period. Many more names might have been included, of a value and interest little inferior to those given a place. In any case, a selection such as this must be in the nature of an experiment, for time alone will sift out the poems of permanent value.

=1. Sir William Watson= was born in 1858, the son of a Yorkshire farmer, and was educated privately. His life has been devoted to letters: a devotion that was recognized by Mr. Gladstone, who transferred to him (1893) the Civil List pension that had been granted to Tennyson. He was knighted in 1917.

His fairly abundant poetry includes _The Prince’s Quest_ (1880), after the manner of Tennyson; _Wordsworth’s Grave_ (1890), the style of which suggests the meditative poetry of Matthew Arnold; _Lacrymæ Musarum_ (1893), which contains a fine elegy on the death of Tennyson; _The Muse in Exile_ (1913); and _The Superhuman Antagonists_ (1919). Sir William Watson is at his best as an elegiac poet, when, though he is apt to become diffusely meditative, he writes with sincerity and a scholarly enthusiasm. In the heroic vein, such as he attempted in the last poem mentioned above, he is merely violent, without being impressive. His political poetry, such as _The Year of Shame_ (1897), is strong rhetorical verse, palpably sincere, but of no high poetical merit.

=2. Francis Thompson (1859–1907)= had a career suggestive of that of the poets of the eighteenth century. He was born in Lancashire, and was dedicated to the profession of medicine. He abandoned medicine, and went to London as a friendless literary adventurer. Then followed the tragically familiar tale of loneliness, poverty, opium, and disease. After a time (1893) his poems drew a little attention to himself, and he was rescued just in time from the fate of Chatterton. His health, however, was never fully restored, and finally he died of consumption.

In style and temper Thompson is a strange blend of the poets of past epochs. He has the rapt religious enthusiasm and the soaring imagination of the Metaphysical poets, as can be clearly seen in his truly magnificent _Hound of Heaven_; or again, as in _The Daisy_, he is the inspired babbler of the type of William Blake. In one sense he wrote too much, when he marred his splendid lyrical energy with too abundant detail; in another sense he wrote too little, for the fire that was within him was extinguished before it could burn clear. He is not quite another Coleridge, hag-ridden with opium, but at least he is a lyrical poet far above mediocrity.

=3. John Masefield= (born 1874) has contributed much poetry to modern literature. Quite a budget of long descriptive-narrative poems has come from him, including _The Widow in the Bye Street_ (1912), a grimly realistic tale; _Dauber_ (1913), full of the splendor and terror of the sea; and _Reynard the Fox_ (1920), a bustling tale of the foxhunt. These long poems are well informed and masterfully narrated, with many purple passages of description, and in the grimmer incidents a strong fidelity to fact that does not stop short of strong language. Mr. Masefield’s shorter poems, though they do not include any great lyrics, are dignified, reticent, and tuneful. He is undoubtedly at his best when he writes of the sea, a subject that was never far from the hearts of his great poetical predecessors.

=4. William H. Davies= was born at Newport, Monmouthshire, in 1870. In his youth he emigrated to America, where he became a tramp, and then served as a cattleman on a steamer. An accident in which he lost a foot made him incapable of hard physical work, so for a living he sang in the streets and lived in common lodging-houses. His first volume of verse, _The Soul’s Destroyer_ (1906), rescued him from penury. His _Collected Poems_ (1916) and _Forty New Pieces_ (1918) contain his best work.

Like Burns, Mr. Davies is the natural, untaught lyrical genius. His capacity is neither so deep nor so intense as that of Burns, but within his limits he can write poems of great beauty. When he writes of nature he almost recreates the spirit of Wordsworth, he shows such insight, freshness, and ease. His artless simplicity is at times almost grotesque, yet the reader cannot help admitting that it is in keeping with his subject. This marked naïveté, however, is often given a queer metaphysical twist; or it sometimes rises, with a mighty rhythm, into passages of noble harmony. At least half a dozen of his shorter pieces--the expressive _Thunderstorms_; the exquisite _Moon_, so old in theme and so original in expression; the dainty _Sweet Stay-at-Home_, with its haunting Caroline meter and phrasing; the absolutely perfect _The White Cascade_, eight lines long; the provokingly beautiful _Dreams of the Sea_, that one cries out upon as being too wonderful to be merely imitative of the grand Marlowe manner; and the amazing verses, Elizabethan to the core, beginning _When I Am Old_--are stamped with immortality. The temptation to quote is irresistible:

(1) When I am old, and it is spring, And joy leaps dancing, wild and free, Clear out of every living thing, While I command no ecstasy; And to translate the songs of birds Will be beyond my power in words:

* * * * *

For when these little songs shall fail, These happy notes that to the world Are puny mole-hills, nothing more, That unto me are Alps of gold-- That toad’s dark life must be my own, Buried alive inside a stone.

(2) Thou knowest the way to tame the wildest life, Thou knowest the way to bend the great and proud: I think of that Armada whose puffed sails, Greedy and large, came swallowing every cloud.

But I have seen the sea-boy young and drowned, Lying on shore, and, by thy cruel hand, A seaweed beard was on his tender chin, His heaven-blue eyes were filled with common sand.

And yet, for all, I yearn for thee again, To sail once more upon thy fickle flood: I’ll hear thy waves wash under my death-bed, Thy salt is lodged for ever in my blood. _Dreams of the Sea_

=5. John Drinkwater= (born 1882) was educated at Oxford High School, and for a time worked in insurance offices. He has done much to revive the modern drama, helping to found the Birmingham Repertory Theatre. As a poet he is representative of the work of his day: meditative rather than passionate, descriptive rather than narrative, and always clear, competent, and precise. He is one of the best of modern blank-verse writers. His shorter poems will be found in his _Poems of 1908–1914_ (1914) and _Swords and Ploughshares_ (1915).

=6. Rupert C. Brooke (1887–1915)= was educated at Rugby and Cambridge, and for a time traveled in America. In 1914 he enlisted in the Royal Naval Division, took part in the fighting at Antwerp, and died of fever while on active service in the Dardanelles.

Brooke’s lamentably early death gave rise to a quite natural tendency to overpraise his poetry. The exaggerated estimates made at his death must be revised, and real justice done to his name. As a poet he is not consistently great, but he is always readable, often delightfully mannered and humorous (as in the poem called _Heaven_), and on at least one occasion, in the splendid sonnet called _The Soldier_, touches greatness. His sonnets are perhaps his best achievement. In this very difficult species of composition he has the requisite technical skill and delicate ear for rhythm, and he can catch the unmistakable surge and swell that mark the successful sonnet.

We quote from his piece called _Heaven_. In felicity of phrasing and aptness of humor it is of the best Metaphysical tradition.

But somewhere, beyond Space and Time, Is wetter water, slimier slime! And there (they trust) there swimmeth One Who swam ere rivers were begun, Immense, of fishy form and mind, Squamous, omnipotent, and kind; And under that Almighty Fin, The littlest fish may enter in. Oh! never fly conceals a hook, Fish say, in the Eternal Brook, But more than mundane weeds are there, And mud, celestially fair; Fat caterpillars drift around, And Paradisal grubs are found; Unfading moths, immortal flies, And the worm that never dies. And in that Heaven of all their wish, There shall be no more land, say fish.

=7. William B. Yeats= was born in Dublin in 1865, and was educated both in London and in his native city. He studied art, but his real bent was literary. He was one of the chief supporters of the Celtic Revival, helped to found the Irish Literary Theatre (1899), wrote plays for it, and discovered other literary talent, including that of Mr. Synge.

Mr. Yeats’s poetry was published in several volumes, and was issued in a collected edition in 1908. _The Wanderings of Oisin_ (1889) was his first volume, and among the rest we may mention _The Countess Cathleen_ (1892), a romantic drama, _The Wind among the Reeds_ (1899), containing some of his best lyrics, and _The Wild Swans of Coole_ (1917). Of his poetical plays _The Land of Heart’s Desire_ (1894) is perhaps the best, and of the prose dramas _Cathleen ni Hoolihan_ (1902) is a fine example.

Mr. Yeats is a fastidious poet, writing little and revising often. As a consequence the average merit of his poetry is very high; and sometimes, as in the often-quoted _Lake Isle of Innisfree_, he breathes the pathos and longing that are generally regarded as typical of the Celtic spirit. His style has the usual Celtic peculiarities: a meditative and melancholy beauty, a misty idealism, and a sweet and dignified diction. Mr. Yeats is the most important of the modern Irish poets.

THE DEVELOPMENT OF LITERARY FORMS

=1. The Novel.= In mass of production the novel easily outdoes all other species of literature; in general workmanship it has advanced exceedingly; and in importance it probably deserves to take the first place. We shall comment briefly upon a few of the outstanding lines of development.

(_a_) _The Novel as Propaganda._ The “purpose novel” has long been a feature of our literature, but was never so prominent as it is to-day. It seems as if the novel were swallowing up the duties of the sermon, the pamphlet, and the text-book. Of all the subjects that are discussed social and religious questions are the most popular.

(_b_) _The Realism of the Novel._ This will probably be regarded as typical of the age. The realistic novel certainly forms a large proportion of the whole. In subject it deals with modern life in all its complexity; in detail it seeks to reflect faithfully the world we live in; and in style it is studiously subdued. How much this modern development makes for the improvement of the novel is a question still unsolved. In the hands of a novelist of the caliber of Mr. Hardy realism becomes actual beauty, and George Gissing and Mr. Galsworthy are able to make it artistically important. In lesser hands, however, realism is apt to degenerate into squalor and ugliness, and the studious simplicity of style becomes a dreary burden.

(_c_) _The Romantic Novel._ Along with the flood of realistic novels, there is a steady stream of the romantic kind. Mr. Kipling, who seems to delight in such mundane things as machinery, is concerned with showing the intense romantic beauty behind them. Other writers, such as =Maurice Hewlett= and =Kenneth Grahame=, are openly absorbed in things that are remote and beautiful--the essential qualities of the romance. On the other hand, it is unfortunately true that the historical novel shows hardly a flicker of life.

(_d_) _The Commercializing of the Novel._ It is a common habit to decry the age one lives in, and the present age is no exception. It is freely declared that, in spite of the importance attained by the novel, there are few great novelists, and that the level of merit, such as it is, will rapidly fall. The decline, moreover, is (it is declared) due to the stress that is being laid upon the commercial value of fiction. Novels are now expensive things to publish; to make each one of them worth publishing a large circulation must be assured; to ensure this circulation the novel must appeal to the vulgar taste, and must avoid originality and teasing literary devices--these are the charges levelled against the modern novel. Such assertions are exaggerated, but there is no doubt that the persistent desire to turn the novel into a commercial chattel will lead to its decline as literature.

=2. The Short Story.= This type of fiction has become so important that it is here necessary to give a very brief sketch of its development.

(_a_) _Definition._ To define a “short” story, we must clearly come to some conclusion as to length. We can approximately define this length by saying that a short story should be capable of being read at one brief sitting.

(_b_) _Medium of Publication._ At the very outset a difficulty met the writer of the short story: how was he to get his work published? The short story is not long enough to appear as a book by itself. There were two ways of overcoming the difficulty: by inserting (or interpolating) the short story in the midst of a long one, or by using it as an item in a magazine. We shall trace the development of both these methods. The publication of collections of short stories in volume form is a comparatively modern practice.

(_c_) _The Interpolated Story._ This was the earliest form of the short story. As early as the romance of _Don Quixote_ we have one or more of the characters of the main story relating some short tale that acts as a foil to the principal narrative. The interpolated story is a common device in the picaresque novel, and it is freely employed by Defoe, Fielding, Smollett, and Sterne. Scott, in his famous _Wandering Willie’s Tale_, which is introduced in _Redgauntlet_, continues the practice; and as late as Dickens we have the common use of short stories, some of them of very inferior quality, in _The Pickwick Papers_. At this point the interpolated story becomes quite rare in good fiction, for the magazine has appeared on the scene and has provided the natural medium for the genuine short story. In many cases the interpolated tale is of great merit, but it spoils the unity of the main story, and so it is better out of the way.

(_d_) _The Magazine Short Story._ The development of the popular magazine led to the establishment of this class of tale. In English its history can be said to begin with Addison, whose Coverley papers are really a collection of short stories; the record continued through the eighteenth century in the miscellaneous work of Goldsmith and Dr. Johnson. During the first half of the nineteenth century there was a decline in the production of the short story. The lighter type of magazine was not yet in favor, and the more ponderous journals, like _The Quarterly Review_ and _The Edinburgh Review_, which specialized in literary and political articles, held the stage. _Blackwood’s Magazine_ and _The London Magazine_ encouraged the more popular kinds of fiction. Among their contributors were James Hogg, De Quincey, and Charles Lamb. Some of the essays of these writers, such as Lamb’s famous tale of roast pig, are short stories thinly disguised. Another contributor of the same kind was =Douglas Jerrold (1803–57)=, whose _Cakes and Ale_ (1842) is one of the first collections of short stories and sketches. After the middle of the century there was a rapid increase in part-fiction magazines, such as Dickens’s _All the Year Round_ (1859) and Thackeray’s _Cornhill Magazine_ (1860). As the century drew near its close the number of lighter magazines largely increased, until nowadays we have a large proportion entirely given over to the supply of fiction. Nearly all the writers of the modern epoch have taken to the short story, and most of them have issued this class of their work in volume form. To the names already mentioned in this chapter we may add those of =Sir Arthur Conan Doyle= (born 1859) and =W. W. Jacobs= (born 1863). The former struck a rich vein in the popular detective story, and the latter specialized in the humorous presentation of the longshoreman.

=3. The Drama.= (_a_) _The Poetical Drama._ In this class of drama there is little to set on record. The blank-verse tragedy is still written with skill and enthusiasm, but there is little of outstanding merit, and nothing of originality. The poetical dramas of Mr. Yeats--for example, _The Countess Cathleen_ (1892) and _The Shadowy Waters_ (1900)--have all his mystical beauty, and are the most original of their class. =Stephen Phillips (1868–1915)= achieved some distinction, and even considerable stage success, with his smooth and Tennysonian blank-verse tragedies, such as _Paolo and Francesca_ (1899), _Ulysses_ (1902), and _The Virgin Goddess_ (1910). Mr. Hardy’s _Dynasts_ is dramatic only in form; it is rather a philosophical poem with a dramatic setting.

(_b_) _The Prose Drama._ In this age the activity of the prose drama is second only to that of the novel. The mood of the time is essentially critical, and the prose drama is an excellent medium for expressing such a mood. Among the earliest of the modern dramatists is =Sir Arthur Pinero= (born 1855), and we can trace the development through the work of Mr. Galsworthy, already mentioned, and of =St. John Hankin (1869–1909)= and =Granville Barker= (born 1877). Their plays have the note of the realistic novel in the emphasis they lay upon common life and common speech. The plays of Mr. Shaw, by reason of their wit and high spirits, stand rather apart from this class; and the brilliance of the Wilde comedies is that of a past age.

=4. Poetry.= (_a_) The main poetical tendency of the time is toward the _lyric_, especially toward a chastened and rather tepid form of it. Of this class, the lyrics of Sir William Watson are fairly typical. Mr. Davies’s best pieces, and some of Mr. Hardy’s, are good examples of the simple and direct lyric, and Francis Thompson excels in the descriptive style.

(_b_) In the class of _descriptive-narrative poetry_ we have the sea-pieces of Mr. Masefield and the rustic poetry of Mr. Drinkwater. To these we must add the work of =Ralph Hodgson= (born 1871), several of whose poems, in particular _The Bull_ and _The Song of Honour_, have some of the ecstatic energy of the young Coleridge.

(_c_) In addition to what we may call the standard types of poetry, there are experiments in _vers libre_, or _free verse_ (that is, rhymeless verse of the type of Matthew Arnold’s _The Strayed Reveller_), and the more daring efforts of others who defy the conventions of rhyme, meter, and even intelligibility. Experiments such as these are all for the good of poetry, which, if it is to live at all, must live by progressing. So far, the attempts of the innovators have produced nothing that is really noteworthy; and with that we must leave them.

THE DEVELOPMENT OF LITERARY STYLE

=1. Poetry.= As can easily be understood, in such a troubled age there is little uniformity in style. The average verse is distinguished by a correct and scholarly diction, somewhat ornate, but clear and ably used. Of the highly ornate style there is little to mention, except the more elaborate compositions of Francis Thompson; but from the scholarly elegance of =Dr. Bridges= (born 1844) we may run down the scale of simplicity through the mannered graces of Mr. Kipling, the crabbed satiric verses of Mr. Hardy, the high simplicity of Mr. Davies, to the sweet child-verse of =Walter de la Mare= (born 1873), whose _Songs of Childhood_ (1902), _Peacock Pie_ (1913), and other volumes are the almost perfect expression of artless youth. When we arrive here we cannot allow to pass unnoticed the lyrics of =James Stephens= (born 1882), whose poems of country life are simplicity itself, but full of the deepest sympathy. His short poem called _The Snare_ is a little masterpiece.

When simplicity develops further it becomes realism, and in poetry the prevailing taste is revealed. The European War, as was natural, produced a crop of realistic poems. Of this kind are the verses of =Siegfried Sassoon= (born 1886), whose war-poems are distinguished by a passionate desire to get to grips with reality.

=2. Prose.= In this age, as in most other ages, there is much lamentation over the decay of English prose. There is probably a great deal of truth in the charge that our prose is lapsing into slovenly ways, and there is no doubt that the stress of modern methods leads to haphazard and makeshift production. On the other hand, we have but to glance at the names that have a place in this chapter to find exponents of prose styles who represent the best traditions: the reverent respect shown for English in the ornate prose of Mr. Conrad; the massive middle prose of Mr. Hardy; the sonorous and poetical mannerisms of the Celts; the eighteenth-century grace and precision of Lord Morley; the swift, clean swoop of the Shavian manner; and the quick ease of Mr. Wells. Surely such an age is not unblessed. With regard to the future none dare dogmatize; but, with a confidence born of the knowledge of nineteen centuries, one can look forward undismayed.

GENERAL QUESTIONS AND EXERCISES

NOTE.--_In answering some of the following questions the General Tables (Appendix I) will be of use._

1. With the aid of the following and other quotations, give an account of the origin and development of English blank verse. Compare and contrast the styles of the given extracts.

(1) Now came still evening on, and twilight gray Had in her sober livery all things clad; Silence accompanied, for beast and bird, They to their grassy couch, these to their nests, Were slunk, all but the wakeful nightingale-- She all night long her amorous descant sung; Silence was pleased. Now glowed the firmament With living sapphires; Hesperus, that led The starry host, rode brightest till the moon, Rising in clouded majesty, at length Apparent queen, unveiled her peerless light And o’er the dark her silver mantle threw. MILTON, _Paradise Lost_

(2) At length a pleasant instantaneous gleam Startles the pensive traveller while he treads His lonesome path, with unobserving eye Bent earthwards; he looks up--the clouds are split Asunder,--and above his head he sees The clear Moon, and the glory of the heavens. There, in a black-blue vault she sails along, Followed by multitudes of stars, that, small And sharp and bright, along the dark abyss Drive as she drives: how fast they wheel away, Yet vanish not!--the wind is in the tree, But they are silent;--still they roll along Immeasurably distant; and the vault, Built round by those white clouds, enormous clouds, Still deepens its unfathomable depth. At length the Vision closes; and the mind, Not undisturbed by the delight it feels, Which slowly settles into peaceful calm, Is left to muse upon the solemn scene. WORDSWORTH, _The Prelude_

(3) And from the reading, and that slab I leant My elbow on, the while I read and read I turned, to free myself and find the world, And stepped out on the narrow terrace, built Over the street and opposite the church, And paced its lozenge brickwork sprinkled cool; Because Felice-church-side stretched, a-glow Through each square window fringed for festival, Whence came the clear voice of the cloistered ones Chanting a chant made for midsummer nights-- I know not what particular praise of God, It always came and went with June. Beneath I’ the street, quick shown by openings of the sky When flame fell silently from cloud to cloud, Richer than that gold snow Jove rained on Rhodes, The townsmen walked by twos and threes, and talked, Drinking the blackness in default of air-- A busy human sense beneath my feet: While in and out the terrace-plants, and round One branch of tall datura, waxed and waned The lamp-fly lured there, wanting the white flower. Over the roof o’ the lighted church I looked A bowshot to the street’s end, north away Out of the Roman gate to the Roman road By the river, till I felt the Apennine. BROWNING, _The Ring and the Book_

2. Point out the features of each of the following extracts that are typical of the author or his period. Write a brief critique of the style of each.

(1) Although there be none so ignorant that doth not know, neither any so impudent that will not confess, friendship to be the jewel of human joy: yet whosoever shall see this amity grounded upon a little affection, will soon conjecture that it shall be dissolved upon a light occasion: as in the sequel of Euphues and Philautus you shall soon see, whose hot love waxed soon cold: for as the best wine doth make the sharpest vinegar, so the deepest love turneth to the deadliest hate. Who deserved the most blame, in mine opinion, it is doubtful and so difficult, that I dare not presume to give verdict. For love being the cause for which so many mischiefs have been attempted, I am not yet persuaded whether of them was most to be blamed, but certainly neither of them was blameless. LYLY, _Euphues and his England_

(2) A doubtful truce restored the appearances of concord, till the death of Abu Taleb abandoned Mahomet to the power of his enemies, at the moment when he was deprived of his domestic comforts by the loss of his faithful and generous Cadijah. Abu Sophian, the chief of the branch of Ommiyah, succeeded to the principality of the republic of Mecca. A zealous votary of the idols, a mortal foe of the line of Hashem, he convened an assembly of the Koreishites and their allies, to decide the fate of the apostle. His imprisonment might provoke the despair of his enthusiasm; and the exile of an eloquent and popular fanatic would diffuse the mischief through the provinces of Arabia. His death was resolved; and they agreed that a sword from each tribe should be buried in his heart, to divide the guilt of the blood, and baffle the vengeance of the Hashemites. An angel or a spy revealed their conspiracy; and flight was the only resource of Mahomet. At the dead of night, accompanied by his friend Abubeker, he silently escaped from his house: the assassins watched at the door; but they were deceived by the figure of Ali, who reposed on the bed, and was covered with the green vestment of the apostle. GIBBON, _The Decline and Fall of the Roman Empire_

(3) There was no sleeping in the daytime on the planter’s clearing: the wages were too high to risk. Deesa sat on Moti Guj’s neck and gave him orders, while Moti Guj rooted up the stumps--for he owned a magnificent pair of tusks; or pulled at the end of a rope--for he had a magnificent pair of shoulders; while Deesa kicked behind the ears and said he was the king of elephants. At evening time Moti Guj would wash down his three hundred pounds’ weight of green food with a quart of arrack, and Deesa would take a share and sing songs between Moti Guj’s legs till it was time to go to bed. Once a week Deesa led Moti Guj down to the river, and Moti Guj lay on his side luxuriously in the shallows, while Deesa went over him with a coir-swab and a brick.... Then Deesa would look at his feet, and examine his eyes, and turn up the fringes of his mighty ears in case of sores or budding ophthalmia. After inspection, the two would “come up with a song from the sea,”

Moti Guj all black and shining, waving a torn tree branch twelve feet long in his trunk, and Deesa knotting up his own long wet hair. KIPLING, _Moti Guj--Mutineer_

(4) As the dawn was just breaking he found himself close to Covent Garden. The darkness lifted, and, flushed with faint fires, the sky hollowed itself into a perfect pearl. Huge carts filled with nodding lilies rumbled slowly down the polished empty street. The air was heavy with the perfume of the flowers, and their beauty seemed to bring him an anodyne for his pain. He followed into the market, and watched the men unloading their waggons. A white-smocked carter offered him some cherries. He thanked him, and wondered why he refused to accept any money for them, and began to eat them listlessly. They had been plucked at midnight, and the coldness of the moon had entered into them. A long line of boys carrying crates of striped tulips, and of yellow and red roses, defiled in front of him, threading their way through the huge jade-green piles of vegetables. Under the portico, with its grey sun-bleached pillars, loitered a group of draggled, bareheaded girls, waiting for the auction to be over. Others crowded round the swinging doors of the coffee-house in the Piazza. The heavy cart-horses slipped and stamped upon the rough stones, shaking their bells and trappings. Some of the drivers were lying asleep on a pile of sacks. Iris-necked and pink-footed, the pigeons ran about picking up seeds. WILDE, _The Picture of Dorian Gray_

3. With the aid of the following extracts, and of others known to you, say what subjects are best suited to the simple style in poetry. State the merits of the style, and its limitations. Write a critical note upon each of the given extracts.

(1) Dreamers, mark the honey bee; Mark the tree Where the blue cap “_tootle tee_” Sings a glee, Sung to Adam and to Eve-- Here they be. When floods covered every bough, Noah’s ark Heard that ballad singing now; Hark, hark,

“_Tootle, tootle, tootle tee_”-- Can it be Pride and fame must shadows be? Come and see-- Every season owns her own; Bird and bee Sing creation’s music on; Nature’s glee Is in every mood and tone Eternity CLARE, _The Blue Tit_

(2) Few months of life has he in store As he to you will tell, For still, the more he works, the more Do his weak ankles swell. My gentle Reader, I perceive How patiently you’ve waited, And now I fear that you expect Some tale will be related.

O Reader! had you in your mind Such stores as silent thought can bring, O gentle Reader! you would find A tale in every thing. What more I have to say is short, And you must kindly take it: It is no tale; but, should you think, Perhaps a tale you’ll make it. WORDSWORTH, _Simon Lee_

(3) Piping down the valleys wild, Piping songs of pleasant glee, On a cloud I saw a child, And he laughing said to me:

“Pipe a song about a lamb!” So I piped with merry cheer. “Piper, pipe that song again!” So I piped; he went to hear.

* * * * *

“Piper, sit thee down, and write In a book that all may read.” So he vanished from my sight; And I plucked a hollow reed,

And I made a rural pen, And I stained the water clear, And I wrote my happy songs Every child may joy to hear. BLAKE, _Songs of Innocence_

4. Sketch the history of the prose drama from the Restoration to modern times. The following extracts are fairly typical of the style and formal features of the drama:

(1) (_To them_) Lady WISHFORT _and_ FAINALL

_Lady Wishfort._ Nephew, you are welcome.

_Sir Wilfull Witwoud._ Aunt, your servant.

_Fainall._ Sir Wilfull, your most faithful servant.

_Sir Wilfull._ Cousin Fainall, give me your hand.

_Lady Wishfort._ Cousin Witwoud, your servant; Mr. Petulant, your servant--nephew, you are welcome again. Will you drink anything after your journey, nephew, before you eat? Dinner’s almost ready.

_Sir Wilfull._ I’m very well I thank you, aunt--however, I thank you for your courteous offer. ’Sheart, I was afraid you would have been in the fashion too, and have remembered to have forgot your relations. Here’s your cousin Tony, belike, I mayn’t call him brother for fear of offence.

_Lady Wishfort._ O he’s a rallier, nephew--my cousin’s a wit; and your great wits always choose to rally their best friends. When you have been abroad, nephew, you’ll understand raillery better. [FAINALL _and_ Mrs. MARWOOD _talk apart_.

_Sir Wilfull._ Why then let him hold his tongue in the meantime; and rail when that day comes. CONGREVE, _The Way of the World_

(2) _Mrs. Candour._ What do you think of Miss Simper?

_Sir Benjamin Backbite._ Why, she has very pretty teeth.

_Lady Teazle._ Yes, and on that account, when she is neither speaking nor laughing (which very seldom happens), she never absolutely shuts her mouth, but leaves it always on a jar, as it were--thus--[_Shows her teeth._

_Mrs. Candour._ How can you be so ill-natured?

_Lady Teazle._ Nay, I allow even that’s better than the pains Mrs. Prim takes to conceal her losses in front. She draws her mouth till it positively resembles the aperture of a poor’s-box, and all her words appear to slide out edgewise as it were thus: _How do you do, madam? Yes, madam._ [_Mimics._

_Lady Sneerwell._ Very well, Lady Teazle; I see you can be a little severe.

_Lady Teazle._ In defence of a friend, it is but justice. But here comes Sir Peter to spoil our pleasantry.

_Enter_ Sir PETER TEAZLE

_Sir Peter._ Ladies, your most obedient. [_Aside_] Mercy on me, here is the whole set! a character dead at every word, I suppose. SHERIDAN, _The School for Scandal_

(3) _Sarah_ [_tidying herself, in great excitement_]. Let you be sitting here and keeping a great blaze, the way he can look on my face; and let you seem to be working, for it’s a great love the like of him have to talk of work.

_Michael_ [_moodily, sitting down and beginning to work at a tin can_]. Great love, surely.

_Sarah_ [_eagerly_]. Make a great blaze now, Michael Byrne.

[_The_ Priest _comes in on right; she comes forward in front of him_.

_Sarah_ [_in a very plausible voice_]. Good evening, your reverence. It’s a grand fine night, by the grace of God.

_Priest._ The Lord have mercy on us! What kind of living woman is it that you are at all?

_Sarah._ It’s Sarah Casey I am, your reverence, the Beauty of Ballinacree, and it’s Michael Byrne is below in the ditch.

_Priest._ A holy pair, surely! Let you get out of my way.

[_He tries to pass by._

_Sarah_ [_keeping in front of him_]. We are wanting a little word with your reverence. SYNGE, _The Tinker’s Wedding_

(4) HORNBLOWER _enters--a man of medium height, thoroughly broadened, blown out, as it were, with success. He has thick, coarse hair, just grizzled, very bushy eyebrows, a wide mouth. He wears quite ordinary clothes, as if that department were in charge of someone who knew about such things. He has a small rose in his buttonhole, and carries a Homburg hat, which one suspects will look too small on his head._

_Hornblower._ Good morning! good morning! How are ye, Dawker? Fine morning! Lovely weather!

[_His voice has a curious blend in its tone of brass and oil, and an accent not quite Scotch nor quite North country._

Haven’t seen ye for a long time Hillcrist.

_Hillcrist_ [_who has risen_]. Not since I sold you Longmeadow and those cottages, I believe.

_Hornblower._ Dear me, now! that’s what I came about.

_Hillcrist_ [_subsiding again into his chair_]. Forgive me! Won’t you sit down?

_Hornblower_ [_not sitting_]. Have ye got gout? That’s unfortunate. I never get it. I’ve no disposition that way. Had no ancestors, you see. Just me own drinking to answer for.

_Hillcrist._ You’re lucky. GALSWORTHY, _The Skin Game_

5. What do you understand by “Romanticism” in poetry? Point out any Romantic features in the following extracts. Does Romanticism take any other forms than those apparent in the given passages? Give an account of what is commonly known as the Romantic Revival. Are there any other periods in our literature in which Romanticism flourished?

(1) Full fathom five thy father lies; Of his bones are coral made: Those are pearls that were his eyes: Nothing of him that doth fade, But doth suffer a sea-change Into something rich and strange. Sea-nymphs hourly ring his knell: Hark! now I hear them--ding-dong, bell. SHAKESPEARE, _The Tempest_

(2) And they are gone: aye, ages long ago These lovers fled away into the storm. That night the Baron dreamt of many a woe, And all his warrior-guests, with shade and form Of witch, and demon, and large coffin-worm, Were long be-nightmared. Angela the old Died palsy-twitched, with meagre face deform; The Beadsman, after thousand aves told, For aye unsought for slept among his ashes cold. KEATS, _The Eve of St. Agnes_

(3) _At the Gate of the Sun, Bagdad, in olden time._

THE MERCHANTS (_together_)

Away, for we are ready to a man! Our camels sniff the evening and are glad. Lead on, O Master of the Caravan: Lead on the Merchant-Princes of Bagdad.

THE CHIEF DRAPER

Have we not Indian carpets dark as wine, Turbans and sashes, gowns and bows and veils, And broideries of intricate design, And printed hangings in enormous bales?

THE CHIEF GROCER

We have rose-candy, we have spikenard, Mastic and terebinth and oil and spice, And such sweet jams meticulously jarred As God’s own Prophet eats in Paradise.

THE PRINCIPAL JEWS

And we have manuscripts in peacock styles By Ali of Damascus; we have swords Engraved with storks and apes and crocodiles, And heavy beaten necklaces, for Lords. J. E. FLECKER (1885–1915), _The Golden Journey to Samarkand_

6. In what respects are the following passages realistic? What are the chief aspects of realism in poetry? Are there any periods in our literature when realism was a prominent feature?

(1) Tam was able To note upon the haly table A murderer’s banes in gibbet airns;[238] Twa span-lang, wee unchristened bairns; A thief new-cutted frae a rape,[239] Wi’ his last gasp his gab[240] did gape; Five tomahawks, wi’ blude red-rusted; Five scimitars wi’ murder crusted; A garter, which a babe had strangled, A knife, a father’s throat had mangled, Whom his ain son o’ life bereft, The grey hairs yet stack to the heft. BURNS, _Tam o’ Shanter_

(2) Here is a thing that happened. Like wild beasts whelped, for den, In a wild part of North England, there lived once two wild men Inhabiting one homestead, neither a hovel nor hut, Time out of mind their birthright: father and son, these--but-- Such a son, such a father! Most wildness by degrees Softens away: yet, last of their line, the wildest and worst were these.

* * * * *

Thus were they found by the few sparse folk of the countryside; But how fared each with other? E’en beasts couch, hide by hide, In a growling, grudged agreement: so, father and son aye curled The closelier up in their den because the last of their kind in the world. BROWNING, _Halbert and Hob_

(3) (_A newcomer overhears some men discussing his wife._)

“And he knows nothing of her past; I am glad the girl’s in luck at last; Such ones, though stale to native eyes, Newcomers snatch at as a prize.”

“Yes, being a stranger he sees her blent Of all that’s fresh and innocent, Nor dreams how many a love-campaign She had enjoyed before his reign!”

That night there was the splash of a fall Over the slimy harbour-wall: They searched, and at the deepest place Found him with crabs upon his face. HARDY, _Satires of Circumstance_

(4) Some ancient man with silver locks Will lift his weary face to say: “War was a fiend who stopped our clocks Although we met him grim and gay.” And then he’ll speak of Haig’s last drive, Marvelling that any came alive Out of the shambles that men built And smashed, to cleanse the world of guilt. But the boys, with grin and sidelong glance, Will think, “Poor grandad’s day is done.” And dream of those who fought in France And lived in time to share the fun. SASSOON, _Songbooks of the War_

7. Trace the presence of realistic elements in the English novel from Fielding to Thomas Hardy.

8. The following extracts illustrate the history of the ballad. What features have they in common, and in what respects do they differ? Trace the history of the ballad in English literature.

(1) The lady she walked in yon wild wood, Aneath the hollin tree, And she was aware of two bonny bairns Were running at her knee.

“Now why pull ye the red rose, fair bairns, And why the white lilie?” “O we sue wi’ them at the seat of grace For the soul of thee, ladie.”

She heard a voice, a sweet, low voice, Say, “Weans, ye tarry lang”-- She stretched her hand to the youngest bairn, “Kiss me before ye gang.”

She sought to take a lily hand, And kiss a rosy chin-- “Oh nought sae pure can abide the touch Of a hand red-wet wi’ sin!”

“O! where dwell ye, my ain sweet bairns, I’m woe and weary grown!” “O! lady, we live where woe never is, In a land to flesh unknown.”

There came a shape that seemed to her As a rainbow ’mang the rain; And sair these sweet babes pled for her, And they pled and pled in vain.

“And O! and O!” said the youngest babe, “My mother maun come in.” “And O! and O!” said the eldest babe, “Wash her twa hands frae sin.”

“And O! and O!” said the youngest babe, “She nursed me on her knee.” “And O! and O!” said the eldest babe, “She’s a mither yet to me.” ANONYMOUS

(2) Good people all, of every sort, Give ear unto my song; And if you find it wondrous short, It cannot hold you long.

In Islington there was a man Of whom the world might say, That still a goodly race he ran When’er he went to pray.

A kind and gentle heart he had, To comfort friends and foes; The naked every day he clad When he put on his clothes.

And in that town a dog was found, As many dogs there be, Both mongrel, puppy, whelp, and hound, And curs of low degree.

This dog and man at first were friends; But when a pique began, The dog, to gain some private ends, Went mad and bit the man.

Around from all the neighbouring streets The wondering neighbours ran, And swore the dog had lost his wits, To bite so good a man.

The wound it seem’d both sore and sad To every Christian eye; And while they swore the dog was mad, They swore the man would die.

But soon a wonder came to light, That showed the rogues they lied: The man recover’d of the bite, The dog it was that died. GOLDSMITH, _Elegy on the Death of a Mad Dog_

(3) Oh, East is East, and West is West, and never the twain shall meet, Till Earth and Sky stand presently at God’s great Judgment Seat; But there is neither East nor West, Border, nor Breed, nor Birth, When two strong men stand face to face, though they come from the ends of the earth!

Kamal is out with twenty men to raise the Border-side, And he has lifted the Colonel’s mare that is the Colonel’s pride: He has lifted her out of the stable-door between the dawn and the day, And turned the calkins upon her feet, and ridden her far away. KIPLING, _The Ballad of East and West_

9. What effects had Milton’s politics and public work upon his prose and verse? In this respect compare him with Dryden. Write a general essay upon “The Influence of Contemporary Events upon the Poet and the Man of Letters.”

10. Observe the style and subject of each of the following extracts, and name the author of each. Write a critical comparison of the extracts. In what respects is each typical of its period?

(1) Then said Christian, “You make me afraid, but whither shall I fly to be safe? If I go back to mine own country, that is prepared for fire and brimstone; and I shall certainly perish there. If I can get to the celestial city, I am sure to be in safety there. I must venture. To go back is nothing but death; to go forward is fear of death, and life everlasting beyond it. I will yet go forward.” So Mistrust and Timorous ran down the hill; and Christian went on his way. But thinking again of what he heard from the men, he felt in his bosom for his roll, that he might read therein and be comforted; but he felt and found it not.

(2) His prose is the model of the middle style: on grave subjects not formal, on light occasions not grovelling; pure without scrupulosity, and exact without apparent elaboration; always equable and always easy, without glowing words or pointed sentences. Addison never deviates from his track to snatch a grace; he seeks no ambitious ornaments and tries no hazardous innovations. His page is always luminous, but never blazes in unexpected splendour.

(3) Two men I honour, and no third. First, the toilworn Craftsman that with earth-made Implement laboriously conquers the Earth, and makes her man’s. Venerable to me is the hard Hand; crooked, coarse; wherein notwithstanding lies a cunning virtue, indefeasibly royal, as of the Sceptre of this Planet. Venerable too is the rugged face, all weather-tanned, besoiled, with its rude intelligence; for it is the face of a Man living manlike. O, but the more venerable for thy rudeness, and even because we must pity as well as love thee! Hardly-entreated Brother! For us was thy back so bent, for us were thy straight limbs and fingers so deformed: thou wert our Conscript, on whom the lot fell, and fighting our battles wert so marred.

11. Compare Shakespeare’s methods of description and characterization with those of Chaucer. Wherein lies the difference, and wherein the resemblance?

12. Give a historical account of the sonnet in English, from its inception to the death of Tennyson. Who were the most successful writers in this type of poetry, and why were they so successful?

13. Distinguish between wit and humor. In which class would you place the works of Chaucer, Bernard Shaw, Swift, Thackeray, Charles Lamb, Wilde, Goldsmith, and Shakespeare? Give reasons for your classification.

14. In what respects is Burns a national poet? Try to explain why in this respect he is unique in British literature.

15. It has been said that Shakespeare’s women characters are more important in his comedies than they are in his tragedies. Quote the examples of some of his plays in support of this statement, and try to account for it.

16. Compare any one of Shakespeare’s comedies with one by Goldsmith or Sheridan.

17. Trace the Celtic (Irish and Scottish) influence in English literature. Can you account for the comparative poverty of the Welsh influence in English?

18. Mention some of the great English nature-poets. What is their outlook upon nature? What aspects of nature particularly appealed to them? State your preference among the poets you mention, quote from his works, and give reasons for your choice.

19. Discuss the statement that “Wycliff, Langland, and Chaucer are the three great figures of English literature in the Middle Ages.” Would you place any of their contemporaries along with them?

20. What is Chaucer’s attitude to chivalry and to the Church? Compare his Knight (in _The Prologue_) with a similar character of Spenser and Tennyson.

21. Give a historical account of the English essay (_a_) from its origin to the death of Addison; (_b_) from the death of Addison to the death of Charles Lamb; (_c_) from the time of Lamb to modern times. Then give a brief summary of the history of the essay, indicating its periods of progress and decay.

22. What are the chief merits of the literary essay? Mention some English essayists who approach the ideal essay-manner.

23. Distinguish between the tale and the novel. Show how the one developed into the other. Give some account of one medieval and one modern prose tale-teller.

24. Mention five books of exploration and travel. Give a more detailed account of the one that appeals most strongly to you. What are the ideals to which in your opinion the travel-book ought to aspire?

25. Compare Milton’s _Samson Agonistes_ with any tragedy by Shakespeare.

26. Account for the late appearance of historical literature, and sketch its subsequent development.

27. In the light of your knowledge of the English lyric criticize Shelley’s statement that “Our sweetest songs are those that tell of saddest thought.”

28. Give an account of the verse-tale (_a_) from Chaucer to Dryden and (_b_) from Crabbe to William Morris. What style and meter are best adapted to the verse-tale? Illustrate by means of extracts.

29. Estimate the importance of journalism as an aid to literature; give a short account of its rise; and add a note upon the literary attainments of modern journalism.

30. What effect had the attitude of the Church upon the early drama? Has the Church exerted any influence, good or bad, on any other kind of literature?

31. Mention some of the earliest literary critics in English; and continue with a brief history of literary criticism up to modern times.

32. Mention three important biographies in English. In what respects do they conform to the ideal biography?

33. Consider the works of Dickens, Wordsworth (especially his sonnets), Samuel Butler (1835–1902), Milton (both prose and verse), Gibbon, Bunyan, and Shelley as political, religious, or social propaganda. Write a general essay on the use and abuse of propaganda in works of literature.

34. Estimate the value of the work of the female novelist and the poetess. In which of these two departments of literature is woman’s achievement the higher? Does the level of her accomplishment show any signs of rising?

35. Discuss Charles Lamb, Meredith, Walter Pater, John Ruskin, and R. L. Stevenson as prose stylists. Write an account of prose style during the nineteenth century.

36. What are the qualities of good poetical satire? Trace the course of the satire in English from Dryden to Byron.

37. Compare Scott and Byron as poetical tale-tellers, as lyrical writers, and as men. Comment upon the history of their respective reputations.

38. What is meant by an “ode”? What are the requirements of a good ode? Mention the chief odes in English, from those of Spenser to those of Tennyson.

39. Compare _Lycidas_, _Adonais_, and _The Scholar-Gipsy_ as elegies. Add to this an account of other important English elegies, and sketch the growth of this type of poem.

40. Give a short account of six heroines in standard English novels; add an account of six heroines of poems; and conclude with a description of six of Shakespeare’s heroines.

41. What was Scott’s contribution to the historical novel? How far has the historical novel advanced since his death?

42. Mention some patriotic poems in English. What are the merits and chief weaknesses of this particular kind of poetry?

43. In Irish and Scottish literature are there any literary peculiarities that are essentially Irish and Scottish? Discuss the general question of nationality in literature.

44. Taking Lamb, Scott, George Eliot, Charlotte Brontë, and Junius as the chief examples, consider the use of the _nom de plume_ or of anonymity in literature. To what extent is anonymity a feature of modern journalism?

45. What novels dealing with life in India or British colonial life are known to you? Have they any features in common?

46. Has the spread of modern education affected the standard of literature? What species of literature has it encouraged, and which has it depressed?

47. Discuss the statement that “the English epic began and ended with Milton.” Trace the course of the epic in English.

48. Justify the statement that “English poetry is full of the color and odor of the sea.” Who are the chief sea-poets in English?

49. Is the cinematograph likely to affect the literature of the future? Is it likely to affect in any way the literature of the past?

50. (_a_) Write a paragraph of description and criticism upon each of the following works:

_Gulliver’s Travels_, _Sesame and Lilies_, _The Fortunes of Nigel_, _Doctor Faustus_, _Ancren Riwle_, _Henry Esmond_, _The Nigger of the Narcissus_, _Absalom and Achitophel_, _Euphues and his England_, _The Faithful Shepherdess_, _Locksley Hall_, _Jude the Obscure_, _Il Penseroso_, _The Pickwick Papers_, _Abt Vogler_, _Urne Buriall_, _Northanger Abbey_, _The Blessed Damozel_, _To a Mouse_, _The Vanity of Human Wishes_, _The Egoist_, _Paradise Regained_, _Satires of Circumstance_, _The Woman in White_, _Lady Windermere’s Fan_, _The Dance of the Sevin Deidlie Sins_, _Old Mortality_, _Tono-Bungay_, _Plays for Puritans_.

(_b_) Write a paragraph on each of the following characters. Mention the work in which each appears, and write a critical estimate:

Jeanie Deans, Prospero, Sir Charles Grandison, Michael Fane, Delilah, Sir Galahad, Mr. Collins, Jos Sedley, Mrs. Proudie, Falstaff, Roderick Random, Major Barbara, Enoch Arden, Mr. Worldly Wiseman, Arthur Kipps, Maggie Tulliver, Sir Andrew Aguecheek, Childe Harold, Hilda Lessways, Marmion, Angel Clare, Archimago, Sairey Gamp, Alan Breck, Peter Pan, Dr. Primrose, Amyas Leigh, the Wife of Bath, Mrs. Battle, Lord Jim.

(_c_) Mention works in which the following types or professions are depicted. Estimate the degree of success attained in each character.

Miser; hypocrite; jester; soldier of fortune; adventuress; undergraduate; surgeon; country parson; detective; Puritan; peasant-farmer; artist; cook; innkeeper; magician; statesman; religious fanatic; garrulous woman; dominie; shepherd; dunce; usurer; boaster; murderer; fisherman; tramp; carpenter; naval officer; conspirator; antiquary.

APPENDIX I

GENERAL TABLES

(1) Authors’ names appear in roman type; the titles of books are given in _italics_.

(2) Every author and book that is mentioned in the tables has already found a place earlier in this history. Reference to the index at the end will lead to further information.

(3) The chief use of each table is to provide a clear view of some aspect of English literature. To effect this a certain amount of =rigidity= is unavoidable in the classification. The reader should clearly understand that a greater elasticity of opinion is possible than appears in the tables. Caution, therefore, is necessary in the use of them.

I. PROSE FORMS

+------+----------+-----------+------------+---------------+ | DATE | TALE AND | ESSAY | NOVEL | MISCELLANEOUS | | | ROMANCE | | | | +------+----------+-----------+------------+---------------+ | | | | | | | | | | | | | | | | | Pecock | | | | | | | | | | | | | | | Malory | | | | | 1500 | | | | | +------+----------+-----------+------------+---------------+ | | | | | | | | | | _Utopia_ | | | | | | | Ascham | | | | | Nash | | | | _Arcadia_| | _Arcadia_ | | | 1600 | Ford | Bacon | | Hooker | +------+----------+-----------+------------+---------------+ | | | Overbury | | | | | | | | Bacon | | | | | | Burton | | | | | | Browne | | | Boyle | | | Clarendon | | | | Dryden | | Milton | | | | Temple | Behn | Dryden | | 1700 | | | | | +------+----------+-----------+------------+---------------+ | | | Addison | | | | | Defoe | Steele | Defoe | Swift | | | | | Richardson | | | | | Johnson | Fielding | | | | Johnson | Goldsmith | Smollett | Burke | | | | | Sterne | | | | | | Goldsmith | Gibbon | | 1800 | | Coleridge | Austen | | +------+----------+-----------+------------+---------------+ | | | | | Southey | | | | Hazlitt | Scott | | | | | Lamb | | Lockhart | | | Marryat | | Dickens | | | | Lever | | Thackeray | Ruskin | | | Borrow | Thackeray | | | | | | Stevenson | Meredith | | | 1900 | | | Hardy | Stevenson | +------+----------+-----------+------------+---------------+

II. THE NOVEL

+------+-------------------+--------------+-------------------+----------+ |DATE | PICARESQUE | SOCIETY AND | HISTORICAL | DIDACTIC | | | | DOMESTIC | | | +------+-------------------+--------------+-------------------+----------+ | | | | | | | | | | | | | | | | | | | | | | | | |1500 | | | | | +------+-------------------+--------------+-------------------+----------+ | | | | | _Utopia_ | | | | | | | | | | | | | | |_The Unfortunate | | | _Arcadia | |1600 | Traveller_ | | | | +------+-------------------+--------------+-------------------+----------+ | | | | | | | | | | | | | | | | | | | | Head | | | | |1700 | Behn | | | | +------+-------------------+--------------+-------------------+----------+ | | | Addison | | | | | Defoe | | | | | | | Richardson | | | | | | Fielding | | Johnson | | | Smollett | | | | | | Sterne | Burney | | | |1800 | | Austen | | | +------+-------------------+--------------+-------------------+----------+ | | | Edgeworth | Porter | | | | Marryat | | Scott | | | | | Dickens | Bulwer-Lytton | | | | Borrow | Thackeray | G. P. R. James | | | | | Meredith | Thackeray | | |1900 | | Hardy | Stevenson | Pater | +------+-------------------+--------------+-------------------+----------+

III. THE ESSAY

+-------+---------------------------+----------------------+---------------+ |DATE | SCIENTIFIC AND DIDACTIC | LITERARY CRITICISM | MISCELLANEOUS | +-------+---------------------------+----------------------+---------------+ | | | | | | | | | | | | | | | |1500 | | | | +-------+---------------------------+----------------------+---------------+ | | | | | | | | | | | | |_Apologie for Poetrie_| | |1600 | | | Bacon | +-------+---------------------------+----------------------+---------------+ | | | | | | | Milton | | Cowley | | | | Dryden | Howell | | | | | | |1700 | Locke | Temple | | +-------+---------------------------+----------------------+---------------+ | | | Addison | Addison | | | | Steele | Steele | | | Bolingbroke | | Swift | | | Hume | Johnson | Johnson | | | | Goldsmith | Goldsmith | |1800 | | | | +-------+---------------------------+----------------------+---------------+ | | Cobbett | Jeffrey | Hazlitt | | | | Coleridge | Lamb | | | | Hazlitt | Thackeray | | | | Carlyle | Froude | | | | Macaulay | Stevenson | |1900 | | Symonds | | +-------+---------------------------+----------------------+---------------+

IV. PROSE STYLE

N.B.--_In this table the classification is often only approximate._

+-----+--------------+-------------+---------------+---------------+ |DATE | PLAIN | MIDDLE | ORNATE | POETIC | +-----+--------------+-------------+---------------+---------------+ | | Mandeville | | | | | | (_d._ 1372) | | | | | | | | | | | | | | | | | | | | | | | | Malory | | | | |1500 | | | | | +-----+--------------+-------------+---------------+---------------+ | | | More | | | | | | | Fisher | | | | Ascham | | | | | | | | | | | | Nash | | | | | | | Hooker | Lyly | | |1600 | | Bacon | | | +-----+--------------+-------------+---------------+---------------+ | | Overbury | | | The Bible | | | | Burton | Milton | | | | | | Browne | | | | | | | | | | Walton | Hobbes | Jeremy Taylor | | | | Bunyan | Dryden | | | | | Locke | Temple | | | |1700 | | | | | +-----+--------------+-------------+---------------+---------------+ | | | Addison | | | | | Swift | | | | | | | | | | | | | | | | | | Fielding | Goldsmith | Johnson | | | | | | Burke | Macpherson | | | | Cowper | Gibbon | | |1800 | | | | | +-----+--------------+-------------+---------------+---------------+ | | Cobbett | Southey | | De Quincey | | | | | Lamb | Wilson | | | | | | | | | | | | | | | | Macaulay | Ruskin | Carlyle | | | | | | | | | | Thackeray | Meredith | W. Morris | |1900 | G. B. Shaw | | | | +-----+--------------+-------------+---------------+---------------+

V. THE DRAMA

N.B.--_Some cross-classification is unavoidable in this table._

+-------+------------------+------------------------+---------------------------------+ | DATE | TRAGEDY | COMEDY | HISTORICAL AND PASTORAL | +-------+------------------+------------------------+---------------------------------+ | | | | | | | | | | | | | | | | | | | | | | | | | |1500 | | | | +-------+------------------+------------------------+---------------------------------+ | | | _Ralph Roister Doister_| | | | | | | | | _Gorboduc_ | | | | | Kyd | | _The Famous Victories of | | | Marlowe | J. Heywood | Henry the Fifth_ | | | Greene | Lyly | | |1600 | Nash | Shakespeare | Shakespeare | +-------+------------------+------------------------+---------------------------------+ | | Shakespeare | Jonson | Jonson | | | Jonson | Massinger | Fletcher | | | Webster | | | | | | | | | | Ford | | | | | Milton | Dryden | | | | Dryden | | | |1700 | Lee | Congreve | | +-------+------------------+------------------------+---------------------------------+ | | Addison | Steele | | | | | | | | | | | | | | Johnson | | | | | | | | | | | Goldsmith | Home | | | | Sheridan | | |1800 | | | Baillie | +-------+------------------+------------------------+---------------------------------+ | | Byron | | Byron | | | Shelley | | | | | Browning | | | | | | | | | | Swinburne | | | | | Tennyson | Wilde | Tennyson | |1900 | | G. B. Shaw | Swinburne | +-------+------------------+------------------------+---------------------------------+

VI. POETICAL FORMS

+-------+------------+----------------------+-------------------------+------------+ |DATE | EPIC | LYRIC AND ODE | NARRATIVE-DESCRIPTIVE | DIDACTIC | +-------+------------+----------------------+-------------------------+------------+ | | | | | | | | |_The Nut-brown Maid_ | Chaucer (_d._ 1400) | | | | | | James I of Scotland | Lydgate | | | | | | | | | | | | | |1500 | | | Hawes | Hawes | +-------+------------+----------------------+-------------------------+------------+ | | | | | | | | | Wyat | Sackville | | | | | Surrey | | | | | | | | | |1600 | | Shakespeare | Spenser | Drayton | +-------+------------+----------------------+-------------------------+------------+ | | | Donne | P. and G. Fletcher | | | | | | | | | | Cowley | Herbert | | | | | Davenant | Carew | | | | | | | | | | | Milton | | | | | | | Dryden | Dryden | Dryden | |1700 | | | Butler | | +-------+------------+----------------------+-------------------------+------------+ | | Blackmore | Prior | Pope | | | | | | | | | | | | | Pope | | | | Collins | | | | | | Gray | | Johnson | | | | | Cowper | | | | | Burns | Crabbe | | |1800 | | Wordsworth | Coleridge | | +-------+------------+----------------------+-------------------------+------------+ | | | Keats | Scott | Shelley | | | | Shelley | Byron | Byron | | | | Tennyson | Tennyson | | | | | Browning | | Tennyson | | | Tennyson | | Browning | | | | | Arnold | Arnold | | | | | D. G. Rossetti | Swinburne | | |1900 | | | | | +-------+------------+----------------------+-------------------------+------------+

VII. MISCELLANEOUS FORMS (PROSE AND POETRY)

+------+----------------+--------------+-------------+-------------+ | DATE | ALLEGORY[241] | SATIRE[241] | ELEGY[241] | LETTERS AND | | | [242] | [242] | | DIARY[242] | +------+----------------+--------------+-------------+-------------+ | | | | | | | | | | | | | | Lydgate[241] | | | | | | | | | | | | | | | | | 1500 | | Skelton[241] | | | +------+----------------+--------------+-------------+-------------+ | | Douglas[241] | Barclay[241] | Dunbar[241] | | | | Dunbar[241] | | | | | | | Lyndsay[241] | | | | | | | | | | | | | | | | | Spenser[241] | | | | | 1600 | | Donne[241] | | | +------+----------------+--------------+-------------+-------------+ | | | | | | | | | | | | | |P. Fletcher[241]| | | | | | | | | Howell[242] | | | | | Milton[241] | | | | Bunyan[242] | Dryden[241] | | Pepys[242] | | 1700 | | | | Evelyn[242] | +------+----------------+--------------+-------------+-------------+ | | Addison[242] | Swift[242] | | | | | | Pope[241] | | Lady M. W. | | | | | | Montagu[242]| | | | | | | | | | Johnson[241] | Gray[241] | Gray[242] | | | | | | Cowper[242] | | | Goldsmith[242] | Burns[241] | | | | 1800 | | | | | +------+----------------+--------------+-------------+-------------+ | | | | | Lamb[242] | | | | Byron[241] | Shelley[241]| Scott[242] | | | | | | | | | | |Tennyson[241]| | | | Tennyson[241] | | Arnold[241] | | | | | | | | | | | Butler[242] | | | | 1900 | | | | | +------+----------------+--------------+-------------+-------------+

VIII. CHIEF METRICAL FORMS: PART I

+----+----------------------+----------------------+--------------------+-------------+ |DATE| HEROIC COUPLET[243][244]| OCTOSYLLABIC COUPLET| BALLAD METER | BLANK VERSE | | | [244] | | | | +----+----------------------+----------------------+--------------------+-------------+ | | | | | | | | Chaucer[243][244] | Chaucer | Numerous ballads | | | | (_d._ 1400) | | | | | | | | | | | | | | _Sir Patrick Spens_| | | | | | | | | | | | | | |1500| | | _Chevy Chace_ | | +----+----------------------+----------------------+--------------------+-------------+ | | | | | | | | | | | Surrey | | | | | | | | | Spenser[244] | Spenser | | Marlowe | |1600| | | | Shakespeare | +----+----------------------+----------------------+--------------------+-------------+ | | Wither[243] | P. Fletcher | | Jonson | | | | | | | | | Cowley[243] | Milton | | | | | _Cooper’s Hill_[243] | | | | | | | | | Milton | | | Dryden[243] | Butler | | | | | | | | Dryden | |1700| | | | | +----+----------------------+----------------------+--------------------+-------------+ | | Pope[243] | Swift | | | | | | | | Thomson | | | | | Percy | | | | Johnson[243] | | | | | | | | Chatterton | | | | | | | | | | Goldsmith[243] | | Goldsmith | Cowper | |1800| | Coleridge | Coleridge | Wordsworth | +----+----------------------+----------------------+--------------------+-------------+ | | Keats[244] | Scott | Scott | Keats | | | Byron[243] | Byron | | Shelley | | | | | | | | | | | Tennyson | | | | Arnold[244] | | | Tennyson | | | W. Morris[244] | W. Morris | D. G. Rossetti | Browning | | | | | | Arnold | |1900| Swinburne[244] | | | Swinburne | +----+----------------------+----------------------+--------------------+-------------+

IX. CHIEF METRICAL FORMS: PART II

+-------+--------------------+-----------------------+---------------------+-------------------+ |DATE | SPENSERIAN STANZA | OTTAVA RIMA | RHYME ROYAL | SONNET | +-------+--------------------+-----------------------+---------------------+-------------------+ | | | | | | | | | | Chaucer (_d._ 1400) | | | | | | | | | | | | James I of Scotland | | | | | | | | | | | | | | | | | | | | |1500 | | | Henryson | | +-------+--------------------+-----------------------+---------------------+-------------------+ | | | | | | | | | | | | | | | | | | | | | | Sackville | Wyat[246] | | | Spenser | | | Surrey[245] | |1600 | | | | Spenser[245] | +-------+--------------------+-----------------------+---------------------+-------------------+ | | |_Britannia’s Pastorals_| | Shakespeare[245] | | | | | | Drayton[246] | | | | | | | | | | | | | | | | | | Milton[246] | | | | | | | |1700 | | | | | +-------+--------------------+-----------------------+---------------------+-------------------+ | | | | | | | | Thomson | | | | | | Shenstone | | | | | | | | | | | | | | | | |1800 | | | | Wordsworth[246] | +-------+--------------------+-----------------------+---------------------+-------------------+ | | Keats | Byron | | Byron[246] | | | Shelley | Keats | | Keats[246] | | | Byron | | | Shelley[246] | | | Tennyson | | | Tennyson[246] | | | | | W. Morris | | | | | | |D. G. Rossetti[246]| |1900 | | | | | +-------+--------------------+-----------------------+---------------------+-------------------+

APPENDIX II

BIBLIOGRAPHY

I. GENERAL WORKS

_The Cambridge History of English Literature._ _A Short History of English Literature_, G. Saintsbury. _Cyclopædia of English Literature._ _A History of English Poetry_, W. J. Courthope. _A History of English Prosody_, G. Saintsbury. _History of English Dramatic Literature_, Sir A. W. Ward. _Chronicle of the English Drama_, F. G. Fleay. _The English Novel_, Sir W. Raleigh. _The English Novel_, G. Saintsbury. _English and Scottish Popular Ballads_, F. J. Child. _Scottish Vernacular Literature_, A. Henderson. _Early English Literature_, Stopford A. Brooke. _Early English Literature_, B. ten Brink. _English Literature from the Norman Conquest to Chaucer_, W. H. Schofield. _The Transition Period_, G. Gregory Smith. _Elizabethan Literature_, G. Saintsbury. _History of Eighteenth-Century Literature_, E. Gosse. _The Age of Dryden_, R. Garnett. _The Augustan Age_, O. Elton. _Nineteenth-Century Literature_, G. Saintsbury. _A Survey of English Literature, 1830–1880_, O. Elton. _English Prose_ (extracts), H. Craik. _English Poets_ (extracts), T. H. Ward. _The Encyclopædia Britannica._ _Dictionary of National Biography._

II. BIOGRAPHY AND CRITICISM

NOTES.--1. _Abbreviations_:

_E._, “English Men of Letters.” _S.W._, “Studies of Living Writers.” _W.D._, “Writers of the Day.” _P.B._, “The People’s Books.”

2. When the title of a book is not given it is identical with the name of the writer being dealt with. For instance, the title of Courthope’s work on Addison is _Joseph Addison_.

Addison, Joseph _E._, W. J. Courthope. See _English Humourists_, Thackeray, and _English Comic Writers_, Hazlitt.

Arnold, Matthew _E._, Herbert Paul. See _Studies in Literature_, Sir A. T. Quiller-Couch.

Austen, Jane _E._, F. W. Cornish. S. F. Maldon.

Bacon, Francis _E._, R. W. Church. See _Essays_, Macaulay. _P.B._, A. R. Skemp.

Bennett, Arnold _W.D._, F. J. Harvey Dalton. See _Some Impressions of my Elders_, St. John G. Ervine.

Brontë, Charlotte _Charlotte Brontë and her Circle_, Clement K. Shorter. _Life of_, Mrs. Gaskell.

Browne, Sir Thomas _E._, E. Gosse.

Browning, Robert _E._, G. K. Chesterton. _P.B._, A. R. Skemp. E. Gosse. _Introduction to the Study of_, A. Symons. _The Poetry of_, Stopford A. Brooke. See _Obiter Dicta_, A. Birrell, and _Literary Studies_, W. Bagehot.

Bunyan, John _E._, J. A. Froude. _Life of_, W. Hale White. See _The Art of Letters_, R. Lynd, and _Essays_, Macaulay.

Burke, Edmund _E._, Lord Morley. _Life of_, Sir J. Prior. See _Obiter Dicta_, A. Birrell.

Burney, Fanny _E._, A. Ainger.

Burns, Robert _E._, Principal Shairp. _Life of_, J. G. Lockhart. _Primer of_, W. A. Craigie. See _English Poets_, Hazlitt; _Essays_, Carlyle; _Familiar Studies of Men and Books_, R. L. Stevenson; _Essays_, W. E. Henley.

Butler, Samuel (1612–80) See _English Comic Writers_, Hazlitt.

Butler, Samuel (1835–1902) _Life of_, H. Festing Jones. _Records and Memorials of_, R. A. Streatfield.

Byron, Lord _Life of_, T. Moore. _E._, John Nichol. See _Essays_, Macaulay; _Essays_, W. E. Henley; _English Poets_, Hazlitt.

Carlyle, Thomas _E._, John Nichol. _Life of_, J. A. Froude. _P.B._, L. Maclean Watt. See _Obiter Dicta_, A. Birrell, and _My Study Windows_, J. R. Lowell.

Chaucer, Geoffrey _E._, Sir A. Ward. See _My Study Windows_, J. R. Lowell, and _Riches of_, C. Cowden-Clarke.

Coleridge, S. T. _E._, H. D. Traill. _P.B._, S. L. Bensusan. See _English Poets_, Hazlitt; _Essays and Studies_, A. C. Swinburne; _Studies in Literature_, Sir A. T. Quiller-Couch; _The Art of Letters_, R. Lynd.

Collins, William See _Lives of the Poets_, Dr. Johnson, and _The Art of Letters_, R. Lynd.

Congreve, William _Life of_, E. Gosse. See _Lives of the Poets_, Dr. Johnson; _English Comic Writers_, Hazlitt; _Essays_, Macaulay; _English Humourists_, Thackeray.

Conrad, Joseph _S.W._, R. Curle. _W.D._, Hugh Walpole. See _The Moderns_, J. Freeman.

Cowper, William _E._, Goldwin Smith. See _English Poets_, Hazlitt; _Literary Studies_, W. Bagehot; _The Art of Letters_, R. Lynd.

Crabbe, George _E._, A. Ainger. T. H. Kebbel.

Defoe, Daniel _E._, W. Minto. See _British Novelists_, D. Masson, and _Hours in a Library_, Sir Leslie Stephen.

De Quincey, Thomas _E._, D. Masson. See _Hours in a Library_, Sir Leslie Stephen.

Dickens, Charles _Life of_, J. Forster. G. K. Chesterton. _E._, Sir A. W. Ward. _P.B._, S. Dark. See _Literary Studies_, W. Bagehot.

Donne, John _Life and Letters of_, E. Gosse. See _English Poets_, Hazlitt; _Studies in Literature_, Sir A. T. Quiller-Couch; _The Art of Letters_, R. Lynd.

Dryden, John _E._, G. Saintsbury. See _Lives of the Poets_, Dr. Johnson, and _Essays_, Macaulay.

Eliot, George _E._, Sir Leslie Stephen. Oscar Browning.

Fielding, Henry _E._, Austin Dobson. See _English Humourists_, Thackeray, and _Essays_, W. E. Henley.

Galsworthy, John _W.D._, Sheila Kaye-Smith. See _Some Impressions of my Elders_, St. John G. Ervine.

Gibbon, Edward _E._, J. C. Morrison. See _Literary Studies_, W. Bagehot, and _Essays Political and Biographical_, Sir Spencer Walpole.

Goldsmith, Oliver _E._, W. Black. Austin Dobson. See _English Comic Writers_, Hazlitt, and _English Humourists_, Thackeray.

Gray, Thomas _E._, E. Gosse. See _Essays in Criticism_, Matthew Arnold, and _The Art of Letters_, R. Lynd.

Hardy, Thomas _W.D._, H. Child. _The Art of_, L. P. Johnson. H. C. Duffin. See _Studies in Literature_, Sir A. T. Quiller-Couch, and _The Moderns_, J. Freeman.

Hazlitt, William _E._, A. Birrell. See _Essays_, W. E. Henley, and _Hours in a Library_, Sir Leslie Stephen.

Johnson, Samuel _Life of_, J. Boswell. _E._, Sir Leslie Stephen. See _Essays_, Macaulay, and _Obiter Dicta_, A. Birrell.

Jonson, Ben _Life of_, J. A. Symonds. _E._, G. Gregory Smith. See _English Comic Writers_, Hazlitt.

Keats, John _Life of_, Lord Houghton. _Life of_, Sir Sidney Colvin. _E._, Sir Sidney Colvin. _P.B._, E. Thomas. See _Essays_, F. Jeffrey; _Essays in Criticism_, Matthew Arnold; _Four Poets_, Stopford A. Brooke.

Kipling, Rudyard _Rudyard Kipling: A Criticism_, R. Le Gallienne. _W. D._, J. Farmer.

Lamb, Charles _Life of_, E. V. Lucas. _E._, A. Ainger. _P.B._, Flora Masson. See _The Spirit of the Age_, Hazlitt, and _Obiter Dicta_, A. Birrell.

Landor, W. S. _E._, Sir Sidney Colvin.

Macaulay, Lord _Life and Letters of_, Sir G. O. Trevelyan. _E._, J. C. Morrison. See _Literary Studies_, W. Bagehot; _Critical Miscellanies_, Lord Morley; _Hours in a Library_, Sir Leslie Stephen.

Marlowe, Christopher See _English Dramatic Poets_, C. Lamb, and _English Comic Writers_, Hazlitt.

Meredith, George _The Poetry and Philosophy of_, G. M. Trevelyan. _Some Characteristics_, R. Le Gallienne. See _Studies in Literature_, Sir A. T. Quiller-Couch; _The Art of Letters_, R. Lynd; _Studies in Prose and Verse_, A. Symons.

Milton, John _Life of_, D. Masson. _E._, Mark Pattison. Sir Walter Raleigh. See _Essays_, Addison; _Lectures_, S. T. Coleridge; _Literary Studies_, W. Bagehot; _Essays_, Macaulay; _Obiter Dicta_, A. Birrell.

Morris, William _Life and Letters of_, J. W. Mackail. _E._, Alfred Noyes. See _The Art of Letters_, R. Lynd, and _Studies in Prose and Verse_, A. Symons.

Pope, Alexander _E._, Sir Leslie Stephen. See _Lives of the Poets_, Dr. Johnson; _My Study Windows_, J. R. Lowell; _English Poets_, Hazlitt; _The English Humourists_, Thackeray; _Obiter Dicta_, A. Birrell; _Hours in a Library_, Sir Leslie Stephen.

Richardson, Samuel _E._, Austin Dobson. See _The English Comic Writers_, Hazlitt, and _Hours in a Library_, Sir Leslie Stephen.

Rossetti, D. G. _Record and Study of_, W. Sharp. F. G. Stephen. See _Essays and Studies_, A. C. Swinburne.

Ruskin, John _E._, Frederic Harrison. _Life of_, W. G. Collingwood. _Studies in_, E. T. Cook.

Scott, Walter _Life of_, J. G. Lockhart. _E._, R. H. Hutton. G. Saintsbury. See _The Spirit of the Age_, Hazlitt; _Essays_, Carlyle; _Hours in a Library_, Sir Leslie Stephen; _Literary Studies_, W. Bagehot; _Four Poets_, Stopford A. Brooke.

Shakespeare, William _Life of_, Sir Sidney Lee. _E._, Sir Walter Raleigh. _P. B._, C. Herford. _Studies in_, J. C. Collins. _Shakespearian Tragedy_, A. C. Bradley. _Ten Plays of_, Stopford A. Brooke. _Among my Books_, J. R. Lowell. See _English Comic Writers_, Hazlitt; _Literary Studies_, W. Bagehot; _Lectures on Dramatic Literature_, Hazlitt; _Essays and Lectures on_, S. T. Coleridge; _Essays_, Carlyle; _Shakespeare’s Mind and Art_, E. Dowden.

Shaw, George Bernard _George Bernard Shaw: His Life and Works_, A. Henderson. G. K. Chesterton. _S.W._, J. McCabe. See _The Moderns_, J. Freeman; _Dramatists of To-day_, E. E. Hale; _Some Impressions of my Elders_, St. John G. Ervine.

Shelley, Percy Bysshe _Life of_, E. Dowden. _E._, J. A. Symonds. _P.B._, Sydney Waterlow. See _Essays_, D. Masson; _Essays_, R. H. Hutton; _Literary Studies_, W. Bagehot; _The Art of Letters_, R. Lynd; _Four Poets_, Stopford A. Brooke.

Smollett, Tobias See _English Comic Writers_, Hazlitt; _English Humourists_, Thackeray; _Essays_, W. E. Henley.

Southey, Robert _E._, E. Dowden. See _Essays_, Macaulay.

Spenser, Edmund _E._, R. W. Church. _Life of_, J. W. Hales. See _English Poets_, Hazlitt, and _Essays_, Leigh Hunt.

Steele, Richard See _English Humourists_, Thackeray, and _Studies in English Literature_, Dennis.

Sterne, Laurence _Life of_, P. Fitzgerald. See _English Humourists_, Thackeray, and _Literary Studies_, W. Bagehot.

Stevenson, R. L. _Life of_, G. Balfour. Sir Walter Raleigh. See _Studies in Prose and Verse_, A. Symons.

Swift, Jonathan _E._, Sir Leslie Stephen. See _Lives of the Poets_, Dr. Johnson; _English Comic Writers_, Hazlitt; _English Humourists_, Thackeray.

Swinburne, A. C. See _Studies in Literature_, Sir A. T. Quiller-Couch, and _Victorian Poets_, Stedman.

Taylor, Jeremy _Life of_, R. Heber. _E._, E. Gosse. See _Lectures_, S. T. Coleridge.

Tennyson, Alfred _Life of_, H. Tennyson. _Life of_, A. C. Benson. _E._, Sir Alfred Lyall. _P.B._, A. Watson. See _The Art of Letters_, R. Lynd; _Literary Studies_, W. Bagehot; _Essays_, R. H. Hutton; _Essays_, P. Bayne; _Victorian Poets_, Stedman.

Thackeray, W. M. _Life of_, Merivale and Marzila. _E._, Anthony Trollope. See _Characters and Sketches_, Hannay, and _Literary Studies_, W. Bagehot.

Thomson, James _E._, G. C. Macaulay. See _Lives of the Poets_, Dr. Johnson, and _English Poets_, Hazlitt.

Wells, H. G. _W.D._, J. D. Beresford. See _The Moderns_, J. Freeman, and _Some Impressions of my Elders_, St. John G. Ervine.

Wilde, Oscar See _Studies in Prose and Verse_, A. Symons, and _The Art of Letters_, R. Lynd.

Wordsworth, William _Life of_, C. Knight. _E._, T. W. H. Myers. Sir Walter Raleigh. _P.B._, Rosaline Masson. See _English Poets_, Hazlitt; _Biographic Literaria_, S. T. Coleridge; _Essays in Criticism_, Matthew Arnold; _Literary Studies_, W. Bagehot; _Essays_, D. Masson; _Essays_, R. H. Hutton; _Appreciations_, W. Pater; _Hours in a Library_, Sir Leslie Stephen.

=III. ESSAYS ON LITERARY SUBJECTS.= A series of books of essays arranged in order of composition. These volumes form the basis of a history of English criticism.

Sidney, Sir Philip, _Apologie for Poetrie_. Dryden, John, _Essay of Dramatic Poesie_. Addison, Joseph, _Spectator_ essays. Johnson, Dr., _Lives of the Poets_. Coleridge, S. T., _Biographia Literaria_; _Essays and Lectures on Shakespeare_. Hazlitt, William, _Lectures on the English Poets_; _The English Comic Writers_. Lamb, Charles, _English Dramatic Poets_. Hunt, Leigh, _Imagination and Fancy_. Macaulay, Lord, _Essays_. Thackeray, W. M., _The English Humourists_. Arnold, Matthew, _Essays in Criticism_. Hutton, R. H., _Essays_. Bagehot, W., _Literary Studies_. Swinburne, A. C., _Essays and Studies_. Quiller-Couch, Sir A. T., _Studies in Literature_. Stephen, Sir Leslie, _Hours in a Library_. Henley, W. E., _Views and Reviews_; _Essays_. Collins, J. Churton, _Essays and Studies_. Gosse, E., _Seventeenth-Century Studies_; _Some Diversions of a Man of Letters_. Dobson, A., _Eighteenth-Century Studies_. Saintsbury, G., _Corrected Impressions_. Freeman, J., _The Moderns_. Lynd, R., _The Art of Letters_. Ervine, St. John G., _Some Impressions of my Elders_.

INDEX TO EXTRACTS

A

_Absalom and Achitophel_, 196, 227–228, 274

=Addison, Joseph=, 243, 246, 277

_Address to the Deil_, 359

_Address to Edinburgh_, 311

_Address to the King_ (Burke), 353

_Adonais_, 392, 449

=Ælfric=, 13–14

_Æneid_ (Surrey), 97, 150

=Alfred, King=, 9, 51

_All for Love_, 200

_Althea, To_, 185

_Alysoun_, 30

_Amoretti_, 152

_Anatomy of Melancholy, The_, 154

_Ancient Mariner, The Rime of the_, 378, 445

_Ancren Riwle_, 23

_Androcles and the Lion_, 543–544

_Anglo-Saxon Chronicle, The_, 10

_Antiquary, The_, 447

_Antony and Cleopatra_, 121, 122–123

_Areopagitica_, 163

=Arnold, Matthew=, 156, 229, 516

=Ascham, Roger=, 155

_Ask Me no More_, 172

_Asolando_, 463–464

_Astræa Redux_, 195

=Austen, Jane=, 420–421

_Autobiography_, Gibbon’s, 359

_Autumn, Ode to_ (Keats), 443

_Autumn_ (Shelley), 443

B

_Back to Methuselah_, 545–546

=Bacon, Francis=, 136–137

=Bale, John=, 85

_Ballad of East and West, The_, 574

_Ballad upon a Wedding, A_, 186

=Barbour, John=, 44

_Beaux’ Stratagem, The_, 225–226

_Bee, The_, 296, 347

=Behn, Aphra=, 221–222

_Beowulf_, 4–5

_Bible, the_, 83–84, 132, 133

_Biographia Literaria_, 368, 381, 443–444

_Black-eyed Susan_, 275

=Blake, William=, 314, 352–353, 566–567

_Blessed Damozel, The_, 515

_Blue Tit, The_, 565–566

=Boswell, James=, 329, 358–359

_Break, break, break_, 460

=Brooke, Rupert=, 555

=Browne, Sir Thomas=, 176

=Browne, William=, 125, 223

=Browning, Robert=, 462, 463, 464, 465, 466, 512, 514, 516, 563, 571

_Brus, The_, 44

_Brut_, 18, 29

=Bunyan, John=, 210–211, 225, 574

=Burke, Edmund=, 332, 353

=Burney, Frances=, 354

=Burns, Robert=, 309, 310, 311, 312, 359, 570

=Burton, Robert=, 154

=Butler, Samuel= (1612–80), 208–209

=Byron, Lord=, 383, 384, 385, 386, 387, 388, 446–447, 449

C

=Cædmon=, 12–13

_Caliban upon Setebos_, 465

_Caller Water_, 346

_Campaign, The_, 243

=Campion, Thomas=, 101

=Carew, Thomas=, 172

=Carlyle, Thomas=, 495–496, 513, 575

_Castaway, The_, 301

_Castle of Indolence, The_, 292–293

_Cato_, 277

=Caxton, William=, 67

_Cenci, The_, 392

=Chamberlayne, William=, 216

_Channel Firing_, 525–526

=Chaucer, Geoffrey=, 35, 37, 38, 39, 40

_Cherry Ripe_ (Campion), 101

=Chesterfield, Lord=, 342

_Chevy Chace_, 54–55

_Childe Harold’s Pilgrimage_, 385, 448

_Christabel_, 377

=Clare, John=, 565–566

_Cleannesse_, 31

=Cleveland, John=, 182, 185–186

_Clive, Essay on_, 498–499

=Clough, Arthur Hugh=, 515–516

=Cobbett, William=, 440

=Coleridge, Samuel Taylor=, 377, 378, 379, 380, 381, 443–444, 445–446

_Colin Clout_ (Skelton), 81–82

=Collins, William=, 352

_Complaint, The, or Night Thoughts_, 271, 278

_Compleat Angler, The_, 184

_Comus_, 186

_Confessio Amantis_, 53

_Confessions of an English Opium-Eater, The_, 430, 444

=Congreve, William=, 204, 567

=Conrad, Joseph=, 529, 530

=Coverdale, Miles=, 84

=Cowper, William=, 301, 343–344, 352

_Coy Mistress, To his_, 185

=Crabbe, George=, 356

=Crawford, Robert=, 276

_Cymon and Iphigenia_, 197–198

D

_Daffodils, To_ (Herrick), 222

_Dance of the Sevin Deidlie Sins, The_, 61

=Davies, William H.=, 553

=De Quincey, Thomas=, 430, 444

_Dead Drummer, The_, 521

_Decline and Fall of the Roman Empire, The_, 327, 564

=Defoe, Daniel=, 250–251, 272, 277

=Dekker, Thomas=, 150

_Deluge, The_, 84–85

_Deserted Village, The_, 295, 356

_Diary_, Pepys’, 213

=Dickens, Charles=, 477

_Dictionary_, Johnson’s, 349

_Doctor Faustus_, 153–154

_Don Juan_, 386–387, 449

=Donne, John=, 103, 184

_Dramatic Poesie, The Essay of_, 202

_Dreams of the Sea_, 553

=Drummond, William=, 224

=Dryden, John=, 185, 194, 195, 196, 198, 199, 200, 202, 214, 217, 222–223, 227–228, 274

=Dunbar, William=, 61

_Dunciad, The_, 258

E

_Ecclesiastical Polity, The Laws of_, 152–153

_Education of Nature, The_, 374–375

_Egoist, The_, 484

_Elegy on the Death of a Mad Dog_, 573

_English Bards and Scotch Reviewers_, 383

_English Comic Writers, The_, 432

_Enoch Arden_, 457

_Epicene_, 149

_Epistle to Arbuthnot_, 259, 274

_Epitaph on the Countess of Pembroke_, 125

_Epithalamion_, 92

_Essay on Clive_, 498–499

_Essay on Criticism, An_, 256, 261

_Essay of Dramatic Poesie, The_, 202

_Essay concerning Human Understanding, An_, 219–221

_Essay on Johnson_, 360

_Essays_, Bacon’s, 136–137

_Essays of Elia, The_, 428, 444

_Euphues and his England_, 138–139, 154, 563

_Eve of St. Agnes, The_, 398–399, 446, 569

_Eve of St Mark, The_, 400

_Evelina_, 354

_Everyman_, 75

_Examiner, The_ (Tory periodical), 279

F

_Fables_ (Dryden), 222–223

_Faerie Queene, The_, 95, 155–156

=Farquhar, George=, 225–226

_Ferdinand, Count Fathom_, 360

=Fergusson, Robert=, 346

=Fielding, Henry=, 318, 320–321, 354–355

=Fisher, John=, 68, 80

_Flaming Heart, The_, 174

=Flecker, James Elroy=, 569–570

_Fra Lippo Lippi_, 512

_French Revolution, The_, 513

_Frost at Midnight_, 379

_Funeral Sermon on Henry VII_ (Fisher), 80

G

=Galsworthy, John=, 568–569

_Garden Fancies_, 465

=Gascoigne, George=, 151

=Gay, John=, 275

=Gibbon, Edward=, 327, 358–359, 564

_God’s Promises_, 85

=Godric=, 24

_Golden Journey to Samarkand, The_, 569–570

_Golden Wings_, 514

=Goldsmith, Oliver=, 295, 296, 347, 356, 573–574

=Gower, John=, 53

=Gray, Thomas=, 188, 345

_Grecian Urn, Ode on a_, 402

=Greene, Robert=, 142–143

_Groatsworth of Wit, A_, 142–143

_Gulliver’s Travels_, 241, 277

H

_Halbert and Hob_, 571

_Hamlet_, 118, 121

_Handlyng Synne_, 30–31

=Hardy, Thomas=, 521, 522, 524, 525, 526, 571

_Havelock the Dane_, 30

=Hazlitt, William=, 432

_Heaven_, 554

_Henry Esmond_, 581

=Henryson, Robert=, 60

_Heroic Stanzas_ (Dryden), 194, 195

=Herrick, Robert=, 222

_Hind and the Panther, The_, 217

_History of England, The_ (Hume), 350–351

_History of England, The_ (Macaulay), 513

_Holy Sonnetts_, 103

_Holy Willie’s Prayer_, 310

=Hooker, Richard=, 152–153

_Hous of Fame, The_, 39

=Howard, Henry, Earl of Surrey=, 97, 150, 151

_Hudibras_, 208–209

_Human Understanding, An Essay concerning_, 219–221

=Hume, David=, 350–351

=Hunt, Leigh=, 445

_Hydriotaphia_, 176

_Hyperion_, 399

I

_Iliad_ (Pope), 256

_In the Cemetery_, 522

_In Memoriam_, 459

_Induction, The_, 98

_Intimations of Immortality_, 372, 374

_Isabella_, 401

J

=James I of Scotland=, 59, 81

=John of Trevisa=, 52

_Jonathan Wild the Great_, 318

=Johnson, Samuel=, 288, 289, 290, 349–350, 355, 357, 575

_Johnson, Life of_ (Boswell), 329, 359

_Johnson, Essay on_ (Macaulay), 360

=Jonson, Ben=, 125, 149

_Journal of the Plague Year, A_, 272, 276

K

=Keats, John=, 398, 399, 400, 401, 402, 446, 569

_Killigrew, On the Death of Mrs. Anne_, 214

_King Arthur’s Tomb_, 512–513

_King Lear_, 120, 157

_King of Tars, The_, 25

_Kingis Quhair, The_, 59, 81

=Kipling, Rudyard=, 564–565, 574

_Knight’s Tale, The_, 38

_Knight’s Tomb, The_, 379

_Kynge Johan_, 85

L

_Lady of the Lake, The_, 446

=Lamb, Charles=, 428, 444–445

_Lamia_, 400

=Langland, William=, 43, 53

=Latimer, Hugh=, 81

_Laws of Ecclesiastical Polity, The_, 152–153

_Layamon_, 18, 29

_Letter to his Wife_ (More), 80

_Letters to his Son_ (Chesterfield), 342

_Letters_, Cowper’s, 343–344

_Letters_, Leigh Hunt’s, 445

_Letters_, Johnson’s, 290, 357

_Letters_, Walpole’s, 358

_Life of Doctor Johnson, The_ (Boswell), 329, 358–359

_Life of John Sterling, The_, 496

_Lives of the Poets, The_, 350, 575

=Locke, John=, 219

_Lord Hastings, Upon the Death of_, 185, 228

_Love in Fantastic Triumph sate_, 221–222

_Love of King David and Fair Bethsabe, The_, 106

=Lovelace, Richard=, 185

_Lycidas_, 165

=Lyly, John=, 138, 154, 563–564

=Lyndsay, Sir David=, 82

M

=Macaulay, Lord=, 359, 498–499, 513

=Macpherson, James=, 349

=Malory, Sir Thomas=, 46–47, 52

=Mandeville, Sir John=, 45, 51–52, 153

=Marlowe, Christopher=, 109, 153–154

_Marmion_, 412–413

=Marvell, Andrew=, 185

_Masque of Anarchy, The_, 392

_Measure for Measure_, 121, 122

_Melibæus, The Tale of_, 37

_Merchant of Venice, The_, 157

=Meredith, George=, 484

_Midsummer Night’s Dream, A_, 120

=Milton, John=, 163, 165, 166, 167, 168, 186, 187, 562

_Milton_ (Ernest Myers), 188–189

_Modern Painters_, 513–514

_Moral Ode_, 29

=More, Sir Thomas=, 80

=Morris, William=, 512–513, 514

_Morte d’Arthur_ (Malory), 46–47, 52

_Moti Guj--Mutineer_, 564–565

_My First Play_ (Lamb), 428

=Myers, Ernest=, 188–189

N

_Natural History of Selborne, The_, 355

_Nigger of the Narcissus, The_, 529–530

_Night Thoughts_, 271, 278

_Noctes Ambrosianæ_, 441

=North, Christopher=, 441

_Northanger Abbey_, 420–421

_Nun’s Priest’s Tale, The_, 40

O

_O, My Luve is like a Red, Red Rose_, 309–310

_O, Willie brewed a Peck o’ Maut_, 309

_Ode: Intimations of Immortality_, 373–374

_Ode on a Distant Prospect of Eton College_, 345

_Ode on a Grecian Urn_, 402

_Ode to the West Wind_, 393

_Oh, to be in England_, 516

_Old Curiosity Shop, The_, 477

_Old Mortality_, 440–441

_On his Own Death_ (Swift), 237

_On the Death of Mrs. Anne Killigrew_, 214

_On Phillis_, 182

_On Prayer_ (Jeremy Taylor), 187

_Ormulum_, 20

_Orphan, The_, 217–218

_Ossian_, 349

=Otway, Thomas=, 217–218, 226

P

_Pacchiarotto_, 464

_Paracelsus_, 462

_Paradise Lost_, 144, 161, 562

_Passions, The_ (Collins), 352

_Pastoral Care_, 9, 51

_Pastorals_ (Pope), 255

_Pearl_, 149–150

=Peele, George=, 106

=Pepys, Samuel=, 213

=Philips, Ambrose=, 271

_Phœnix, The_, 13, 29

_Pickwick Papers, The_, 477

_Picture of Dorian Gray, The_, 565

_Pied Piper of Hamelin, The_, 514

_Piers Plowman_, 43, 53–54

_Pilgrim’s Progress, The_, 210–211, 225, 574–575

_Pine Forest, The_, 395

_Pippa Passes_, 466

_Places_, 522–523

=Pope, Alexander=, 224, 255, 256, 257, 258, 259, 274, 351

_Praise of Chimney-sweepers, The_, 444–445

_Prelude, The_, 562

_Princess, The_, 458

_Proclamation of Henry III_, 51

_Progress of Poesy, The_, 188

Psalms, the Book of, 133

_Purple Pileus, The_, 535

Q

_Queen Mab_, 390

R

_Ralph Roister Doister_, 78, 85–86

_Rambler, The_, 289–290

_Rape of the Lock, The_, 257–258, 351

_Rarely, rarely, comest Thou_, 394

_Recuyell of the Historyes of Troye, The_, 67

_Reflections on the French Revolution_, 332

_Rejected Addresses_, 410

_Rescue, The_, 529

_Resolution and Independence_, 372

_Rhapsody on Poetry_, 278

_Rime of the Ancient Mariner, The_, 378, 445

_Ring and the Book, The_, 465, 563

=Robert of Gloucester=, 25

_Robinson Crusoe_, 250

_Roderick Random_, 346

_Rokeby_, 413–414

=Rossetti, Dante Gabriel=, 515

_Rural Rides in England_, 440

=Ruskin, John=, 501, 513–514

S

=Sackville, Thomas, Earl of Dorset=, 98

St. Luke, the Gospel of, 132

_Samson Agonistes_, 167

_Sappho_ (A. Philips), 271

_Sartor Resartus_, 495

=Sassoon, Siegfried=, 571–572

_Satires of Circumstance_, 571

_Satyre of the Thrie Estatis, Ane Pleasant_, 82–83

_Say not the Struggle Naught Availeth_, 515

_Scholemaster, The_, 155

_School for Scandal, The_, 567–568

_Schoolmistress, The_, 351–352

=Scott, Sir Walter=, 412, 413, 414, 417–418, 446, 447–448

=Sedley, Sir Charles=, 218

_Sensitive Plant, The_, 395

_Sermons_, Latimer’s, 81

=Shakespeare, William=, 113, 118, 120, 121, 122, 151, 157, 569

_Shakespeare_ (Matthew Arnold), 156

=Shaw, George Bernard=, 543–544, 545–546

=Shelley, Percy Bysshe=, 390, 392, 393, 394, 395, 443, 449

=Shenstone, William=, 351–352

=Sheridan, Richard Brinsley=, 567–568

_Simon Lee_, 374, 566

=Skelton, John=, 63, 81–82

_Skin Game, The_, 568–569

_Sleeping Beauty, The_ (Tennyson), 459

=Smart, Christopher=, 304

=Smith, Horace=, 410

=Smith, James=, 410

=Smollett, Tobias=, 346, 360

_Song to David, The_, 304

_Songs of Experience_, 314

_Songs of Innocence_, 352~353, 566–567

_Songbooks of the War_, 571–572

=Sonnet=, by Matthew Arnold, 156; by Drayton, 152; by Ernest Myers, 188–189; by Shakespeare (cvi and cxvi), 113; by Spenser, 152; by Surrey, 151; by Wordsworth, 188

_Spectator, The_, 246, 277

=Spenser, Edmund=, 92, 95, 155–156

_Steel Glass, The_, 151

=Steele, Sir Richard=, 218

=Sterne, Laurence=, 323, 360

=Stevenson, Robert Louis=, 510

_Stones of Venice, The_, 501

_Strew on her Roses, Roses_, 516

=Suckling, Sir John=, 186

_Sumer is i-cumen in_, 26

=Surrey, Earl of=, 97, 150, 151

_Sweet Content_, 150

_Sweet Lullaby, A_, 155

=Swift, Jonathan=, 237, 239, 241, 277, 279

=Synge, J. M.=, 568

T

_Tale of Melibæus, The_, 37

_Tale of a Tub, The_, 239

_Talisman, The_, 447–448

_Tam o’ Shanter_, 570

_Tamburlaine the Great_, 109

_Task, The_, 352

_Tatler, The_, 248

=Taylor, Jeremy=, 187

_Tempest, The_, 122, 151, 569

=Tennyson, Lord=, 457, 458, 459, 460, 512

_Tess of the d’Urbervilles_, 526

_Testament of Cresseid, The_, 60

=Thackeray, William Makepeace=, 481–482

=Thomson, James= (1700–48), 292

_Three Maries, The_, 73–74

_Thrie Estatis, Satyre of the_, 82

_Tinker’s Wedding, The_, 568

_Tintern Abbey_, 448

_To Althea_, 185

_To Autumn_ (Keats), 443

_To his Coy Mistress_, 185

_To Daffodils_ (Herrick), 222

_To Mary in Heaven_, 309

_To Milton_ (Wordsworth), 188

_To Spring_ (Surrey), 151

_Tom Jones_, 320, 354

_Tono-Bungay_, 534–535

_Travels_ (Mandeville), 45, 51–52, 153

_Tristram Shandy_, 323, 360

_Triumph, The_, 125

_Troilus and Cressida_ (Chaucer), 35

_Twelfth Night_, 121

=Tyndale, William=, 83–84

U

=Udall, Nicholas=, 78, 85–86

_Ulysses_ (Tennyson), 512

_Upon the Death of the Lord Hastings_, 185, 228

V

_Valediction forbidding Mourning, A_, 184

_Vanity of Human Wishes, The_, 288, 355–356

_Venice Preserved_, 226

_Village, The_, 356

_Vision of Judgment, The_, 446–447

W

=Waller, Edmund=, 217, 224

=Walpole, Horace=, 358

=Walton, Isaac=, 184

_Waverley_, 417

_Way of the World, The_, 204, 566

_Ways to Perfect Religion, The_, 68

_Wedding, A Ballad upon a_, 186

_Weir of Hermiston_, 510

=Wells, H. G.=, 534–535

_West Wind, Ode to the_, 393

_When I am Old_, 553

=White, Gilbert=, 355

_Why come ye not to Court?_, 63–64

=Wilde, Oscar=, 565

=Wilson, John=, 441

_Winter Night, A_, 312

=Wordsworth, William=, 188, 371, 372, 373, 374, 375, 448, 562, 566

=Wyclif, John=, 83

Y

=Young, Edward=, 271, 278

GENERAL INDEX

The pages on which authors are more particularly dealt with are given in =black type=.

A

_A Man’s a Man for a’ That_, 310

_A Weary Lot is Thine_, 413

_Abbot, The_, 415

_Abou Ben Adhem_, 406

_Absalom and Achitophel_, 195, 215, 227, 274

_Absentee, The_, 421

_Acis and Galatea_, 262

_Adam Bede_, 488

_Adam Blair_, 434

=Addison, Joseph=, 169, 219, =242=, 259, 267, 269, 270, 272, 276, 277, 339, 347, 431, 439, 558

_Address to the Deil_, 359

_Address to Edinburgh_, 311

_Address to the King_ (Burke), 353

_Admirable Crichton, The_, 548

_Adonais_, 392, 449

_Advancement of Learning, The_, 135

_Adventurer, The_, 344

_Adventures of Harry Richmond, The_, 483

_Adventures of Philip, The_, 480

_Advice to a Daughter_, 211

_Ae Fond Kiss_, 308

=Ælfric=, =9=, 13–14, 71

_Æneid_ (Douglas), 62

_Æneid_ (Surrey), 97, 150

_After Dark_, 488

_Afton Water_, 308

_Agnes Grey_, 486

_Aids to Reflection_, 381

=Ainsworth, William Harrison=, =422=, 438

_Airly Beacon_, 490

=Akenside, Mark=, =303=

_Alarum to the Counties of England and Wales, An_, 178

_Alastor_, 390

_Alchemist, The_, 124

_Alcibiades_, 206

_Alciphron_, 252, 270

_Alexander’s Feast_, 198

=Alfred, King=, =8=, =14=, 18, 50, 61

_Alfred_ (Thomson), 293

_Alfred, The Proverbs of_, 20

_Alice in Wonderland_, 548

_All Fools_, 127

_All for Love_, 200, 215

_All the Year Round_, 474, 475, 558

_All’s Well that Ends Well_, 116

_Allegory, the_, 48, 69, 93

_Allegro, L’_, 164, 180

Alliteration, 5, 43, 49

_Alma_, 262

_Almayer’s Folly_, 527

_Alphonsus, King of Arragon_, 106

_Alroy_, 425

_Althea, To_, 173, 185

_Alton Locke_, 489

_Alysoun_, 26, 30

_Amazing Marriage, The_, 484

_Amelia_, 319

_America, The History of_, 328

_American Notes_, 475

_Amis and Amiloun_, 22

_Amoretti_, 91, 152

_Amours de Voyage_, 469

_Anatomy of Melancholy, The_, 140, 146, 154, 175, 400

_Anatomy of the World, An_, 102

_Ancient Mariner, The Rime of the_, 376–377, 378, 446

_Ancren Riwle_, 17, 23

_Andreas_, 3

_Androcles and the Lion_, 542, 543–544

Anglo-French language, in medieval England, 15

_Anglo-Saxon Chronicle, The_, 10, 11

_Ann Veronica_, 532

_Anna of the Five Towns_, 538

_Annals of the Parish, The_, 422

_Annus Mirabilis_, 194

_Anthea, To_, 170

_Antiquary, The_, 415, 447

_Antonio and Mellida_, 128

_Antonio’s Revenge_, 128

_Antony and Cleopatra_, 117, 119, 121, 123

_Apologie for Poetrie, An_, 90, 269

_Apophthegms_ (Bacon), 135

_Appius and Virginia_ (early tragedy), 77

_Appius and Virginia_ (Webster), 129

_Appreciations_, 502

_Araygnement of Paris, The_, 105

=Arbuthnot, John=, =251=

_Arcadia_, 146, 337

_Areopagitica_, 163–164

_Arms and the Man_, 541

=Arnold, Matthew=, 156, 229, 370, 453, =467=, 509, 516, 560

_Arrow of Gold, The_, 528

_Art of Political Lying, The_, 251

_Arthur and Merlin_, 22

_As You Like It_, 116

=Ascham, Roger=, =137=, 155

_Ask me No More_, 172

_Asolando_, 463

_Astræa Redux_, 195

_Astrophel and Stella_, 99

_Atalanta in Calydon_, 471

_Atheist’s Tragedy, The_, 129

_Auld Lang Syne_, 311

_Auld Licht Idylls_, 547

_Aurengzebe_, 199

_Aurora Leigh_, 467

=Austen, Jane=, 325, =418=, 438, 440

Authorized Version, the, 72, 130

_Autobiography_ (Gibbon), 326, 359

_Autobiography_ (Leigh Hunt), 406

_Autumn, Ode to_ (Keats), 401, 443

_Autumn_ (Shelley), 443

_Ayenbite of Inwyt_, 23

_Ayrshire Legatees, The_, 422

B

_Back to Methuselah_, 542, 545

=Bacon, Francis=, =134=, 147, 269

_Bad Child’s Book of Beasts, A_, 549

=Baillie, Joanna=, =336=

_Balaustion’s Adventure_, 463

=Bale, John=, 85

Ballad, the, 47, 70, 335

_Ballad of Bouillabaisse, The_, 480

_Ballad of East and West, The_, 574

_Ballad upon a Wedding, A_, 173, 186

_Ballads and Poems_ (Meredith), 482

_Ballads of Policeman X, The_, 480

_Ballads and Sonnets_ (D. G. Rossetti), 469

Ballantyne, James, 411

Ballantyne, John, 411

_Baltic, The Battle of the_, 405

=Barbour, John=, 33, =44=

_Barchester Towers_, 487

=Barclay, Alexander=, =65=, 69

_Bard, The_, 298, 335

=Barker, Granville=, 559

_Barnaby Rudge_, 475

_Barons’ Wars, The_, 100

=Barrie, Sir James=, =547=

=Barrow, Isaac=, 181

_Barry Lyndon_, 479

_Bartholomew Fair_, 124

_Bastard, The_, 263

_Battle of the Baltic, The_, 405

_Battle of Blenheim, The_, 403

_Battle of the Books, The_, 238

_Battle of Brunanburgh, The_, 6

_Battle of Hastings, The_, 314

_Battle of Maldon, The_, 6, 11

_Battle-song_ (Ebenezer Elliott), 408

=Baxter, Richard=, =181=

_Beauchamp’s Career_, 483

=Beaumont, Francis=, =126=

_Beaux’ Stratagem, The_, 205, 215, 225–226

_Becket_ (Tennyson), 458

=Beckford, William=, =324=

=Bede=, 7, 8, 9

_Bee, The_, 296, 344, 347

_Beggar’s Opera, The_, 262, 266, 267

=Behn, Aphra=, 222, =339=

_Belle Dame sans Merci, La_, 401, 402

=Belloc, Hilaire=, =549=

=Bennett, Arnold=, =538=

Bentley, Richard, 256

_Beowulf_, 2, 4, 11, 12, 179

_Beppo_, 385

=Berkeley, George=, =252=, 270, 509

=Berners, Lord=, 70

=Besant, Walter=, =490=

_Bestiary, The_, 20

_Betrothed, The_, 415

_Bevis of Hampton_, 22

Bible, the, 70, 83, 130; Authorized Version, 130; the Bishops’, 72; the Geneva (“Breeches,”), 72; the Great, 72, 84; other early translations of, 71, 83

_Bible in Spain, The_, 490

_Biographia Literaria_, 368, 380, 443–444

_Black Arrow, The_, 491

_Black Dwarf, The_, 415

_Black-eyed Susan_, 262, 275

=Blackmore, Sir Richard= (1650–1729), =264=, 266

=Blackmore, Richard D.= (1825–1900), =491=

_Blackwood’s Magazine_, 365, 397, 424, 429, 434, 467, 488, 558

=Blair, Robert=, =305=

=Blake, William=, =314=, 334, 345, 353, 556–557

Blank verse, 97, 183, 271, 437, 456

_Bleak House_, 475

_Blenheim, The Battle of_, 403

_Blessed Damozel, The_, 469, 515

_Blind Beggar, The_, 127

_Blow, bugle, blow_, 459

_Blue Tit, The_, 566

“Bobbed” lines in Old English poetry, 25

Boëthius, 8, 60

_Boke named the Governour, The_, 70

=Bolingbroke, Lord=, =251=, 270

_Book of Faith, The_, 66

_Book of Snobs, The_, 478

_Booke of Ayres, A_, 100

_Books, The Battle of the_, 238

_Boon_, 532

_Borderers, The_, 369, 371, 437

_Borough, The_, 302

=Borrow, George=, =490=

=Boswell, James=, 287, 296, =328=, 343, 359, 439

_Bothie of Tober-na-Vuolich, The_, 469

_Bothwell_, 472

_Bowge of Court, The_, 63

=Boyle, Roger=, 339

Brawne, Fanny, 397

_Brazil, The History of_, 403

_Break, break, break_, 460

_Bridal of Triermain, The_, 413

_Bride of Abydos, The_, 384

_Bride of Lammermoor, The_, 415

_Bridge of Sighs, The_ (Hood), 409

=Bridges, Dr. Robert=, 560

_Bristowe Tragedy, The_, 335

_Britannia’s Pastorals_, 144

=Brontë, Anne=, 485

=Brontë, Charlotte=, =485=, 508

=Brontë, Emily=, =485=

_Brook, The_, 460

=Brooke, Rupert=, =554=

Brown, Dr. John, 433

=Browne, Sir Thomas=, =174=, 181, 219, 427, 509

=Browne, William=, 125, 144, 223

_Brownie of Bodsbeck, The_, 407

=Browning, Elizabeth Barrett=, 461, =466=

=Browning, Robert=, 367, 453, =461=, 506, 507, 509, 512, 514, 516, 563, 571

_Brunanburgh, The Battle of_, 6

_Brus, The_, 44

_Brut_, 17–18, 24, 29

=Buckhurst, Lord (Thomas Sackville, Earl of Dorset)=, 77, =98=, 144

_Bull, The_, 560

=Bulwer-Lytton, Edward=, =425=, 438

=Bunyan, John=, 42, 65, =209=, 216, 224–225, 339, 574

=Burke, Edmund=, 283, 286, =330=, 344, 347, 353, 365

_Burke_, 550

=Burnet, Gilbert=, 221

=Burney, Frances=, =325=, 354

=Burns, Robert=, 265, =305=, 334, 335, 345, 359, 371, 404, 570

=Burton, Robert=, =140=, 146, 154–155, 175, 400, 509

_Bury Fair_, 205

_Bussy d’Ambois_, 127

=Butler, Samuel= (1612–80), =207=

=Butler, Samuel= (1835–1902), =492=

=Byron, Lord=, 364, 366, 378, =382=, 404, 414, 436, 439, 446–447, 448

_Byron, The Life of_, 405, 439

C

_Cadenus and Vanessa_, 237

=Cædmon=, 2, 3, =6=, 12–13

_Cæsar_ (Froude), 503

_Cæsar and Cleopatra_, 542

_Cain_, 387

_Cakes and Ale_, 558

_Caleb Williams_, 334

_Caliban upon Setebos_, 465

_Caligula_, 207

_Caller Water_, 346

_Cambises, King of Percia_, 77

_Campaign, The_, 242

=Campbell, Thomas=, =405=

=Campion, Thomas=, =100=, 143, 147

_Candida_, 541, 543

_Canterbury Tales, The_, 35, 48

_Cap and Bells, The_, 401

=Capgrave, John=, 70

_Captain Popanilla, The Voyage of_, 425

_Captain Singleton_, 250, 339

=Captives, The=, 129

_Card, The_, 538

=Carew, Thomas=, =172=, 181

=Carlyle, Thomas=, 438, 453, =493=, 508, 510, 513, 575

_Carnival_, 539

Carols, 47, 70

_Casa Guidi Windows_, 467

_Cashel Byron’s Profession_, 540

_Castaway, The_, 301

_Castle Dangerous_, 415

_Castle of Health, The_, 70

_Castle of Indolence, The_, 292

_Castle of Otranto, The_, 323

_Castle Rackrent_, 421

_Cathleen ni Hoolihan_, 555

_Catiline his Conspiracy_, 125

_Cato_, 243, 267, 277

_Catriona_, 492

Cavalier poets, the, 161, 173

=Caxton, William=, 46, =66=

_Caxtons, The_, 426

_Cecilia_, 325

_Cenci, The_, 391, 395, 437

_Certain Bokes of Virgiles Æneis turned into English Meter_, 97, 150

_Certayne Ecloges_, 65

_Certayne Notes of Instruction concerning the Making of Verse in English_, 99

=Chamberlayne, William=, 180, 216

_Chameleon, The_, 262

_Chance_, 528

_Change in the Cabinet, A_, 549

_Changeling, The_, 128

_Channel Firing_, 525–526

=Chapman, George=, =127=

_Character of a Trimmer, The_, 211

_Characters_ (Overbury), 139

_Characters of Shakespeare’s Plays, The_, 431

_Characteristics of Men, Manners, Opinions, and Times_, 253

_Charles V, The History of_, 328

_Charles, Duke of Byron_, 127

_Charles O’Malley_, 423

_Chartism_ (Carlyle), 494

_Chastelard_, 472

=Chatterton, Thomas=, =313=, 335, 345

=Chaucer, Geoffrey=, =33=, 197, 215, 285, 507

_Chaucer’s ABC_, 34

_Cherry Ripe_ (Campion), 101

_Cherry Ripe_ (Herrick), 170

=Chesterfield, Earl of=, =333=, 342

=Chesterton, G. K.=, =549=

_Chevy Chace_, 48, 54–55

_Child’s Garden of Verses, A_, 492

_Childe Harold’s Pilgrimage_, 383, 437, 448

_Chillianwallah_, 482

_Christ_, 7

_Christ’s Victorie and Triumph_, 102

_Christabel_, 377

Christabel metre, the, 377

_Christian Hero, The_, 270

_Christian Morals_, 175

_Christie Johnstone_, 486

_Christis Kirk on the Green_, 58

_Christmas Carol, A_, 475

_Chronicle, Anglo-Saxon_, 10, 11

_Chronicle of England, The_, 70

_Chronicle History of King Leir, The_, 77, 118

_Chronologia Sacra_, 141

_Church-History of Britain, The_, 178

=Churchill, Charles=, =304=

_Citizen of the World, The_, 296

_City Madam, The_, 174

_City of the Plague, The_, 434

_Civil Wars, The_, 104

=Clare, John=, =409=, 565–566

=Clarendon, Edward Hyde, Earl of=, =176=, 181, 218, 221, 341, 501

_Clarissa Harlowe_, 316

_Clayhanger_, 538

_Cleannesse_, 21, 31, 50

_Cleomenes_, 201

=Cleveland, John=, 181, 185–186

Clevelandisms, 182

_Clive, Essay on_, 497

_Cloister and the Hearth, The_, 486

=Clough, Arthur Hugh=, =468=, 515–516

_Club of Queer Trades, The_, 549

Clubs and coffee-houses, 234

=Cobbett, William=, 365, =435=, 440

=Coleridge, Samuel Taylor=, 363, 366, 368, 370, =375=, 429, 431, 436, 439, 443–444, 445–446, 496, 508

_Colin Clout_ (Skelton), 81

_Colin Clouts come Home againe_, 91

_Collected Poems_, W. H. Davies’, 552

_Collection of Original Trifles_, 409

=Collier, Jeremy=, 219

=Collins, Wilkie=, =487=

=Collins, William=, =299=, 335, 345, 352

_Colonel Jack_, 250, 339

_Columbus_, 406

Comedies, early, 77

_Comedy of Errors, The_, 116, 117

_Comic Annual, The_, 408

_Comical Revenge, The_, 205

_Coming Race, The_, 426

_Complaint, The, or Night Thoughts_, 263, 271, 278

_Complaint of Henry, Duke of Buckingham, The_, 98

_Complaint of Our Lady, The_, 64

_Complaint of Rosamund, The_, 104

_Compleat Angler, The_, 181, 184

_Compleynte of Chaucer to his Purse, The_, 36

_Compleynte of Faire Anelida, The_, 34

_Compleynte of Mars, The_, 34

_Compleynte unto Pité, The_, 34

_Comus_, 164, 186

_Confederacy, The_, 205

_Confessio Amantis_, 43, 50, 53

_Confessions of an English Opium-Eater, The_, 429, 430–431, 444

_Confessions of a Young Man, The_, 537

=Congreve, William=, =203=, 205, 215, 567

_Coningsby_, 425

_Connoisseur, The_, 344

_Conquest of England, The_, 504

_Conquest of Granada, The_ (Dryden), 199

=Conrad, Joseph=, =526=, 561

_Conscience_, 62

_Conscious Lovers, The_, 247

_Constable of the Tower, The_, 422

_Constantia and Philetus_, 169

_Contarini Fleming_, 425

_Conversion of Swerers, The_, 65

_Cooper’s Hill_, 180, 183

_Coriolanus_, 117

_Corn Law Rhymes_, 408

_Cornelia_, 108

_Cornhill Magazine, The_, 467, 480, 500, 558

_Corsair, The_, 384

_Cotter’s Saturday Night, The_, 307, 310, 312

_Count Basil_, 336

_Count Julian_, 403

_Count Robert of Paris_, 415

_Countess Cathleen, The_, 555

_Countess of Pembroke, Epitaph on the_, 125

_Country of the Blind, The_, 532, 534

_Country Wife, The_, 204, 215

_Court of Love, The_, 36

=Coverdale, Miles=, 71, 84

Coverley papers, the, 245, 339, 558

=Cowley, Abraham=, 160, =169=, 180, 216, 269

=Cowper, William=, =300=, 335, 343, 344, 345, 352, 364, 439

_Coy Mistress, To his_, 185

=Crabbe, George=, =302=, 335, 345, 356, 364, 408

=Cranmer, Thomas=, 70

=Crashaw, Richard=, =170=, 180

=Crawford, Robert=, 276

_Creation, The_, 265

_Crimean War, The History of the_, 504

_Cripps the Carrier_, 491

_Critic, The_, 336

_Criticism, An Essay on_, 255, 256, 261

_Cromwell, The Life of_, 550

_Crossing the Bar_, 460

_Crown of Wild Olive, The_, 500

=Crowne, John=, =207=

_Cruise of the Midge, The_, 424

_Cry of the Children, The_, 467

_Culture and Anarchy_, 468

_Cup, The_, 458

Curll, Edmund, 235

_Curse of Kehama, The_, 403

_Cursor Mundi_, 20

_Cymbeline_, 117

_Cymon and Iphigenia_, 197–198

=Cynewulf=, 2, =7=

_Cynthia’s Revels_, 124

_Cypress Grove, The_, 183

D

_Daffodils, To_ (Herrick), 222

_Daily Courant, The_, 268

_Daily News, The_, 474

_Daisy, The_, 551

_Dance of the Sevin Deidlie Sins, The_, 61

=Daniel, Samuel=, =103=, 143

_Daniel Deronda_, 488

=D’Arblay, Madame=, =325=

_Darnley_, 423

=Darwin, Charles=, 452, =505=

_Dauber_, 552

=Davenant, Sir William=, 180, 183

_David Copperfield_, 475

_Davideis, The_, 169, 179, 183

=Davies, William H.=, =552=, 559, 560

=Day, John=, 145

=De la Mare, Walter=, 560

_De Montfort_, 336

_De l’Orme_, 423

=De Quincey, Thomas=, =428=, 439, 441, 444, 558

_Dead Drummer, The_, 521

_Dead Secret, The_, 487

_Death of Œnone, The_, 458

_Death-bed, The_, 409

_Decline and Fall of the Roman Empire, The_, 326, 341, 564

_Defence of Guenevere, The_, 470

_Defence of Poetry, The_, 394

=Defoe, Daniel=, =249=, 268, 270, 272, 277, 339, 557

_Deformed Transformed, The_, 387

_Deirdre of the Sorrows_, 548

_Dejection_, 378

=Dekker, Thomas=, =128=, 150, 174

_Delia_, 104, 143

_Deluge, The_, 84–85

_Demos_, 536

=Denham, Sir John=, 160, 180, 216

_Denis Duval_, 480

_Deor’s Complaint_, 6, 11

_Descent of Man, The_, 505

_Descriptive poetry_, 48, 144, 436, 506, 559

_Descriptive Sketches_ (Wordsworth), 268

_Deserted Village, The_, 265, 293, 294, 295, 335, 556

_Desperate Remedies_, 523

_Destruction of Troy, The_, 22

_Dethe of the Duchesse, The_, 34

_Devereux_, 425

_Devil is an Ass, The_, 124

_Devil’s Law Case, The_, 129

Dialects, Middle English, 16, 20; Old English, 3

_Diall of Princes, The_, 141

_Dialogues of Hylas and Philonous_, 252

_Diana of the Crossways_, 484

_Diary_ (Evelyn), 213

_Diary_ (Pepys), 212–213

=Dickens, Charles=, 453, =472=, 487, 507, 508, 510, 534, 557, 558

_Dictes and Sayengis of the Philosophers, The_, 66

_Dictionary_, Johnson’s, 287, 289, 349–350

_Dido_, 107, 109

_Dipsychus_, 469

_Dirge on Edward IV_, 63

_Discourse concerning Oliver Cromwell_, 169

_Dispensary, The_, 263

=Disraeli, Benjamin=, =424=, 438

_Distant Prospect of Eton College, Ode on a_, 298

_Distressed Mother, The_, 264

_Divorce, On_ (Milton), 163

_Doctor Faustus_, 109, 153–154

_Dr. Jekyll and Mr. Hyde_, 491

_Doctor Thorne_, 487

_Doctor’s Dilemma, The_, 542

_Dombey and Son_, 475

_Don Carlos_, 206

_Don Juan_, 385, 437, 449

_Don Quixote_, 338

_Don Sebastian_, 201

=Donne, John=, =102=, 140, 143, 144, 172, 184–185

=Dorset, Thomas Sackville, Earl of= (1536–1608), =77=, =98=, 144. See also Buckhurst, Lord.

=Dorset, Earl of= (1637–1706), 213

_Double Dealer, The_, 203

=Douglas, Gawain=, =62=, 79

_Douglas_ (Home), 336

_Dover Beach_, 468

=Doyle, Sir Arthur Conan=, 558

Drama, the, 72, 89, 144, 161, 180, 335, 437, 507, 558

_Drama in Muslin, A_, 537

_Dramatic Idylls_, 463

_Dramatic Lyrics_, 462

_Dramatic Monologues_, 463

_Dramatic Poesie, The Essay of_, 201, 269

_Dramatis Personæ_, 463

_Drapier’s Letters_, 240, 270, 343

=Drayton, Michael=, =100=, 144, 397

_Dream-Children_, 428

_Dream of Eugene Aram, The_, 409

_Dream of the Rood, The_, 7

_Dreams of the Sea_, 553

_Dreme, The_, 59

=Drinkwater, John=, =553=, 559

_Drummer, The_, 243

=Drummond, William=, 182, 224

_Dry Sticks_, 404

=Dryden, John=, 169, 185, =193=, 215, 217, 222, 228, 269, 273, 274, 305

_Dublin University Magazine, The_, 423

_Duchess of Malfy, The_, 129

_Duke of Milan, The_, 174

=Dunbar, William=, =61=, 70, 79

_Duncan Campbell_, 249

_Dunciad, The_, 235, 258, 264, 266

Dunton, John, 235

_Dynasts, The_, 521, 559

E

=Earle, John=, =140=, 269

_Earth and Animated Nature, The History of_, 297

_Earthly Paradise, The_, 470, 507

_Eastward Hoel_, 127

_Ecclesiastical Polity, The Laws of_, 139, 152–153

Eclogue, the, 69, 91

=Edgeworth, Maria=, =421=

_Edinburgh Review, The_, 365, 383, 432, 433, 497, 558

_Education, Of_ (Milton), 163

_Education of Nature, The_, 374–375

_Edward the First_, 105

_Edward II_, 109

_Edward III_, 116

_Edwin Drood, The Mystery of_, 475

_Egoist, The_, 483

_Elegy written in a Country Churchyard_, 298

_Elegy on the Death of a Mad Dog_, 295, 573–574

_Elene_, 3, 7

_Elia, The Essays of_, 427, 444–445

=Eliot, George= (Mary Ann Evans), =488=, 508, 533

=Elliott, Ebenezer=, 363, =407=

=Elyot, Sir Thomas=, 70

_Emilia in England (Sandra Belloni)_, 483

_Emma_, 419

_Empedocles on Etna_, 467

_Empress of Morocco, The_, 207

_Encyclopædia Britannica, The_, 497

_Endimion and Phœbe_, 144

_Endymion_ (Keats), 397

_Endymion_ (Lyly), 105

_England, A History of_ (Froude), 503

_England, The History of_ (Goldsmith), 297

_England, A Constitutional History of_ (Hallam), 436

_England, The History of_ (Hume), 328, 341, 350–351

_England, The History of_ (Macaulay), 498, 513

_England’s Helicon_, 104

_England’s Heroical Epistles_, 100, 144

_English Bards and Scotch Reviewers_, 383

_English Comic Writers, The_, 432

_English Humourists, The_, 480

_English in Ireland, The_, 503

_English Mail-coach, The_, 429

_English Rogue, The_, 338

_English Traveller, The_, 129

_Englishman, The_, 247

_Enoch Arden_, 457

_Entail, The_, 422

_Eöthen_, 504

Epic, the, 11, 179

_Epic of Women, The_, 472

_Epicene, or The Silent Women_, 124, 149

_Epipsychidion_, 392

_Epistle to Arbuthnot_, 259, 274–275

_Epistle to Curio_, 303

_Epitaph on the Countess of Pembroke_, 125

_Epitaph on a Hare_, 301

_Epithalamion_, 92, 179

_Erectheus_, 472

_Erewhon_, 492

Essay, the, 145, 268, 344, 438, 508

_Essay on Clive_, 497, 498–499

_Essay on Criticism, An_, 255, 261

_Essay of Dramatic Poesie, The_, 201, 269

_Essay concerning Human Understanding, An_, 219–221, 268

_Essay on Johnson_, 360

_Essay on Man, An_, 253, 260

_Essay on Mind, An_, 466

_Essay on Poetry, An_, 211

_Essays_, Bacon’s, 135

_Essays_, Cowley’s, 169

_Essays in Criticism_, 468

_Essays of Elia, The_, 427, 444–445

_Essays, Moral, Political, and Literary_, 328

_Esther Waters_, 537

=Etheredge, George=, =204=

_Eugene Aram, The Dream of_, 409

_Euphranor_, 468

_Euphues, the Anatomy of Wit_, 138, 146, 337, 340

_Euphues and his England_, 138–139, 154, 563–564

Euphuism, 138, 147

_Evan Harrington_, 483

=Evans, Mary Ann= (George Eliot), =488=

_Eve of St. Agnes, The_, 398, 401, 437, 446, 569

_Eve of St. John, The_, 412

_Eve of St. Mark, The_, 399–400

_Evelina, 325_, 354

=Evelyn, John=, =213=, 219

_Evening Walk, The_, 368

_Every Man in his Humour_, 124

_Every Man out of his Humour_, 124

_Everyman_, 74–75

_Evidences of Christianity, A View of the_, 333

_Examiner, The_ (Hunt), 365, 406

_Examiner, The_ (Tory periodical), 240, 268, 279

_Example of Virtue, The_, 65

_Excursion, The_, 369, 370, 371

Exeter Book, the, 3, 6, 7

_Exodus_ (Middle English poem), 20

_Expedition of Humphrey Clinker, The_, 321

_Expostulation and Reply_, 368

F

_Fables_ (Dryden), 222–223

_Fables for the Holy Alliance_, 405

_Fabliau_, the, 49

_Faerie Queene, The_, 48, 91, 93, 98, 155–156

_Fair Maid of Perth, The_, 415

_Fair Penitent, The_, 207

_Faithful Shepherdess, The_, 127, 145

_Falcon, The_, 458

_Falkland_, 425

_Falls of Princes_, The, 64

_Famous Chronicle of Edward the First, The_, 105

_Famous Victories of Henry the Fifth, The_, 77

_Fancies Chaste and Noble_, 174

_Far from the Madding Crowd_, 523

=Farquhar, George=, =205=, 215, 225–226

_Fates of the Apostles, The_, 7

_Fazio_, 435

_Felix Holt_, 488

=Felltham, Owen=, 181, 184

_Ferdinand, Count Fathom_, 321, 360

=Fergusson, Robert=, =315=, 345

_Ferishtah’s Fancies_, 463

_Ferrex and Porrex (Gorboduc)_, 77, 98

=Fielding, Henry=, =317=, 336, 338, 340, 346, 354–355, 479, 480, 481, 557

_Fifine at the Fair_, 463

_Fight at Finnesburgh, The_, 6, 11

_Fingal_, 313

_Finnesburgh, The Fight at_, 6, 11

_First Men in the Moon, The_, 533

=Fisher, John=, =67=, 70, 80

Fitton, Mary, 112

_Fitzboodle Papers, The_, 479

=Fitzgerald, Edward=, =468=

_Flaming Heart, The_, 171

=Flecker, J. E.=, 569–570

=Fletcher, Giles=, =101=

=Fletcher, John=, =126=, 397

=Fletcher, Phineas=, =101=

_Flower and the Leaf, The_, 36

_Flowers of Passion_, 536

_Food of the Gods, The_, 532

_Force of Religion, The_, 262

=Ford, Emanuel=, 339

=Ford, John=, =174=, 180

_Forest Minstrel, The_, 407

_Foresters, The_, 458

_Forsyte Saga, The_, 547

=Fortescue, Sir John=, 70

_Fortnightly Review, The_, 482

_Fortunes of Glencore, The_, 423

_Fortunes of Nigel, The_, 205, 415

_Forty New Pieces_ (W. H. Davies), 552

_Foul Play_, 486

_Four Georges, The_, 480

_Four Hymns_ (Spenser), 92

_Four P’s, The_, 76

_Fra Lippo Lippi_, 512

_Framley Parsonage_, 487

=Francis, Sir Philip=, 343

_Fraser’s Magazine_, 478, 479, 494, 500, 503

_Frederick II, The Life of_, 494

Free verse, 560

=Freeman, Edward A.=, =504=, 509

French Revolution, the, and English literature, 283, 330, 362, 366, 452

_French Revolution, The_, 494, 513

_French Revolution, Reflections on the_, 331, 332, 345

_Friar of Orders Grey, The_, 335

_Friar Bacon and Friar Bungay_, 106

_Friend, The_, 380

Froissart, 70

_Frost at Midnight_, 378, 379

=Froude, James Anthony=, =503=

_Fudge Family in Paris, The_, 405

=Fuller, Thomas=, =178=, 180, 181, 427

_Funeral, The_, 247

_Funeral Sermon on Henry VII_ (Fisher), 80

G

=Galsworthy, John=, =547=, 556, 568–569

=Galt, John=, 421

_Game and Playe of Chesse, The_, 66

_Gammer Gurton’s Needle_, 78

_Garden of Cyrus, The_, 175

_Garden Fancies_, 465

=Gardiner, Samuel=, 509

_Garlande of Laurell, The_, 63

_Garment of Gude Ladies, The_, 60

Garrick, David, 289

=Garth, Sir Samuel=, =263=

=Gascoigne, George=, =99=, 144, 151

_Gawain and the Green Knight, Sir_, 21, 25, 337

=Gay, John=, =262=, 275

_Gebir_, 403

_Genesis_ (Middle English poem), 20

_Gentle Shepherd, The_, 266

_Gentleman Dancing Master, The_, 204

_Gentleman’s Magazine, The_, 289, 438

Germany, the influence of, on English literature, 365, 454

_Gertrude of Wyoming_, 405

_Ghost, The_, 305

_Giaour, The_, 384

=Gibbon, Edward=, 272, =325=, 341, 347, 348, 359, 436, 564

_Gil Blas_, 338

_Gil Morrice_, 48

_Gipsy, The_, 423

=Gissing, George=, =536=, 556

_Gladstone, The Life of_, 550

_Glove, The_, 464

_Goblin Market_, 470

_God’s Promises_, 85

=Godric=, 24

=Godwin, William=, =333=, 345, 390

_Golden Butterfly, The_, 490

_Golden Journey to Samarkand, The_, 569–570

_Golden Targe, The_, 61, 70

_Golden Wings_, 514

=Goldsmith, Oliver=, 248, 286, =293=, 335, 340, 344, 345, 347, 356, 491, 558, 573–574

_Gondibert_, 179

_Good Thoughts in Bad Times_, 178

_Good-natured Man, The_, 295

_Gorboduc_, 77, 98

=Gosson, Stephen=, 90

_Governance of England, The_, 70

_Governour, The Boke named the_, 70

=Gower, John=, =43=, 48, 50, 53

_Grace Abounding_, 209, 210

=Grahame, Kenneth=, 556

_Grave, The_, 305

_Graves of a Household, The_, 408

=Gray, Thomas=, 188, =297=, 334, 335, 342, 345, 365, 468

_Gray-beards at Play_, 549

_Great Expectations_, 475

_Great God Pan, The_, 467

_Great Hoggarty Diamond, The_, 479

_Great Rebellion, The History of the_, 176, 341

_Grecian Urn, Ode on a_, 401, 402

_Greece, The History of_, 435

=Green, John Richard=, =504=

_Green grow the Rashes, O!_, 311

=Greene, Robert=, =106=, 111, 142

Gregory I, Pope, 8

=Gregory, Lady=, 519

=Greville, Fulke, Lord Brooke=, 144

_Griffith Gaunt_, 486

_Groatsworth of Wit bought with a Million of Repentance, A_, 111, 142–143

=Grote, George=, =435=

Grub Street, 235, 249, 286, 287, 294

_Grub Street_, 536

_Guardian, The_ (Steele’s), 244, 247

_Gulliver’s Travels_, 240, 277, 425

_Guy Mannering_, 415, 417

_Guy and Pauline_, 539

_Guy of Warwick_, 22

H

_Hail and Farewell_, 537

=Hakluyt, Richard=, 88

_Halbert and Hob_, 571

=Hales, John=, 181

=Halifax, Lord=, =211=, 219

=Hall, Joseph=, =141=, 144, 163, 269

=Hallam, Henry=, =436=

_Hamlet_, 116, 117, 118, 121

=Hampole, the Hermit=, of, 16, =21=

_Hand of Ethelberta, The_, 523

_Handfull of Pleasant Delites, A_, 104

_Handlyng Synne_, 19, 30–31

=Hankin, St. John=, 559

_Hard Cash_, 486

_Hard Times_, 475

=Hardy, Thomas=, 453, =520=, 536, 538, 539, 556, 559, 560, 561, 571

_Hare, Epitaph on a_, 301

_Harmony of the Church, The_, 100, 144

_Harold_ (Lytton), 426

_Harold_ (Tennyson), 458

_Harrington_, 421

_Harrowing of Hell, The_, 7

_Harry Lorrequer_, 423

_Hastings, The Battle of_, 314

_Havelock the Dane_, 22, 24, 30

=Hawes, Stephen=, =65=

=Hazlitt, William=, 365, =431=, 438, 440, 508

=Head, Richard=, 338

_Heart of Midlothian, The_, 415

_Heartbreak House_, 542

_Heaven_, 554–555

_Hecatompathia_, 144

=Hemans, Felicia=, 363, =408=

_Hendyng, The Proverbs of_, 20, 25

_Henrietta Temple_, 425

_Henry IV_ (Parts 1 and 2), 116, 117

_Henry the Fifth, The Famous Victories of_, 77

_Henry V_, 116, 122

_Henry VI_ (Parts 1, 2, and 3), 116

_Henry VIII_, 107, 117

_Henry Esmond_, 479, 481–482

=Henryson, Robert=, =59=, 79

=Herbert, George=, =170=

_Hereward the Wake_, 489

_Hermit, The_ (Goldsmith), 295, 335

_Hermit, The_ (Parnell), 265

_Hero and Leander_, 144

_Heroes, The_, 490

_Heroes and Hero-worship_, 494

Heroic couplet, the, 183, 216, 284, 334, 335

Heroic play, the, 199, 215

_Heroic Stanzas_ (Dryden), 194

=Herrick, Robert=, =170=, 180, 222

_Hesperides, The_, 170

=Hewlett, Maurice=, 556

=Heywood, John=, 76

=Heywood, Thomas=, =128=

=Higden, Ranulf=, 49

_Hilda Lessways_, 538

_Hind and the Panther, The_, 197, 217, 261

Historical plays, early, 77; research, growth of, 285; works, 181, 340, 509

_Historie of Horestes, The_, 77

_Historie of James the Fourth, The Scottish_, 107

_History of America, The_, 328

_History of Brazil, The_, 403

_History of Charles V, The_, 328

_History of the Crimean War, The_, 504

_History of Earth and Animated Nature, The_, 297

_History of England, The_ (Froude), 503

_History of England, The_ (Goldsmith), 297

_History of England, A Constitutional_ (Hallam), 436

_History of England, The_ (Hume), 328, 341, 350–351

_History of England, The_ (Macaulay), 498, 513

_History of the English People, A Short_, 504

_History of the Great Rebellion, The_, 176, 341

_History of Greece, The_, 435

_History of the Holy War, The_ (Fuller), 178

_History of the Jews, The_, 435

_History of John Bull, The_, 251

_History of Latin Christianity, The_, 435

_History of Mr. Polly, The_, 532

_History of the Norman Conquest, The_, 504

_History of his own Times, The_, 221

_History of the Renaissance, Studies in the_, 502

_History of Richard III, The_, 69

_History of Samuel Titmarsh, The_, 478

_History of Scotland, The_ (Robertson), 328

_History of Switzerland, A_, 326

_History of the World, A_, 341

=Hobbes, Thomas=, =177=, 181, 183, 218

=Hoccleve, Thomas=, =64=

=Hodgson, Ralph=, 559

=Hogg, James=, =407=, 558

_Holly-tree, The_, 403

_Holy Dying_, 178

_Holy Fair, The_, 308

_Holy Living_, 178

_Holy Sonnetts_, 103

_Holy War, The_, 209

_Holy War, The History of the_ (Fuller), 178

_Holy Willie’s Prayer_, 310–311

=Home, John=, 336

_Home Thoughts from Abroad_, 462–463

_Homer_ (Chapman), 127, 142

=Hood, Thomas=, 263, =408=

=Hooker, Richard=, =139=, 147, 152–153

_Horæ Paulinæ_, 333

_Horn_, 22, 24

_Hound of Heaven, The_, 551

_Hours of Idleness_, 383

_Hous of Fame, The_, 35, 39–40

_House of the Wolfings, The_, 471

_Household Words_, 474, 475

_How He lied to her Husband_, 543

_How they Brought the Good News from Ghent to Aix_, 464

=Howard, Henry, Earl of Surrey=, =96=, 143, 150, 151

=Howell, James=, 181, 184

_Hudibras_, 208, 215, 237, 261

=Hueffer, Ford Madox=, 528

_Human Knowledge, The Principles of_, 252

_Human Nature, Treatise on_, 328

_Human Understanding, An Essay concerning_, 219–220, 268, 269

=Hume, David=, =328=, 341, 350–351

_Humphrey Clinker, The Expedition of_, 321

=Hunt, Leigh=, 363, 365, 396, 397, =406=, 445

_Husband’s Message, The_, 6

=Huxley, Thomas Henry=, =505=

=Hyde, Edward, Earl of Clarendon=, =176=, 181, 218, 221, 341, 501

_Hydriotaphia, or Urne Buriall_, 175, 181

_Hylas and Philonous, Dialogues of_, 252

_Hymen’s Triumph_, 104

Hymns, Latin, influence of, on the lyric, 26

_Hypatia_, 489

_Hyperion_, 399

I

Ibsen, Henrik, 519, 540, 541

_Idea of a Patriot King, The_, 252–253

_Idiot Boy, The_, 368

_Idler, The_ (periodical), 289, 344

_Idylls of the King, The_, 457, 458

_Iliad_ (Pope), 256

_Imaginary Conversations_, 404

_Imaginary Portraits_, 502

_Imitation of Spenser_, 397

_Importance of being Earnest, The_, 547

_Impressions of Theophrastus Such, The_, 488

_In the Cemetery_, 522

_In Memoriam_, 453, 456, 459

_Inchcape Rock, The_, 403

_Indian Emperor, The_, 199

_Induction, The_, 98, 144

_Infernal Marriage, The_, 425

_Inheritors, The_, 528

_Inland Voyage, An_, 491

_Inn Album, The_, 463

Interludes, 76

_Intimations of Immortality_, 373, 374

_Introduction to the Literature of Europe, An_, 436

_Invisible Man, The_, 532

_Irene_, 289, 335

_Irish Melodies_, 404

_Irrational Knot, The_, 540

Irving, Sir Henry, 458

_Isabella_, 398, 401

_Island of Dr. Moreau, The_, 533

_Isle of Palms, The_, 434

_Isles of Greece, The_, 388

_It’s Never too Late to Mend_, 486

_Italy_, 406

_Ivanhoe_, 415, 480

_Ixion in Heaven_, 425

J

_Jack Hinton_, 423

_Jack Sheppard_, 422

_Jack Wilton, or The Unfortunate Traveller_, 107, 146, 338

_Jacob Faithful_, 424

=Jacobs, W. W.=, 558

_Jacqueline_, 406

=James I of Scotland=, =58=, 81

_James the Fourth, The Scottish Historie of_, 107

=James, G. P. R.=, =422=, 438

_Jane Eyre_, 453, 485

_Jane Shore_, 207

_Japhet in Search of a Father_, 424

=Jeffrey, Francis=, =432=

=Jehan de Bourgogne=, =45=

_Jeronimo_, 108

=Jerrold, Douglas=, 558

_Jew of Malta, The Rich_, 109

_Jews, The History of the_, 435

_Joan of Arc_, 403

_Joan and Peter_, 532

_Job_, 264

_Jocasta_, 77, 99

_Jockey’s Intelligencer, The_, 268

_Jocoseria_, 463

_Johan Johan_, 76

=John of Trevisa=, 49, 52

_John Anderson, my Jo_, 308

_John Bull, The History of_, 251

_John Bull’s Other Island_, 542

_John Gilpin_, 301, 335

_John Woodvil_, 427

Johnson, Esther, 236

=Johnson, Samuel=, 193, 207, 263, 268, 272, 283, =286=, 294, 297, 300, 313, 335, 340, 343, 347, 349–350, 355–356, 356–358, 439, 494, 558, 575

_Johnson, Life of_, 276, 328, 343, 360

_Johnson, Essay on_ (Macaulay), 360

Johnsonese, 289, 347, 349, 440

_Jolly Beggars, The_, 308

_Jonathan Wild the Great_, 318

_Jongleurs_, 26

=Jonson, Ben=, 110, =123=, 149, 172

_Joseph Andrews_, 318

_Journal of the Plague Year, A_, 250, 272, 277

_Journal to Stella_, 240

_Journey to the Western Islands of Scotland, A_, 291

_Journey from this World to the Next_, 318

_Joy_, 547

_Joyfull Medytacyon, A_, 65

_Jude the Obscure_, 523

_Judith_, 3

_Julia, To_, 170

_Julian and Maddalo_, 392

_Juliana_, 7

_Julius Cæsar_, 116

_Jungle Book, The_, 538

Junian manuscript, the, 3, 7

=Junius=, 286, 343

_Justice_, 547

Jutish dialect, the, 3

K

=Keats, John=, 94, 363, 364, 392, =396=, 406, 436, 439, 443, 446, 459, 506, 569

Kemble, J. M., 7

_Kenilworth_, 415

Kennings, in Old English poetry, 5, 12

Kentish dialect, the, 3, 16

_Kidnapped_, 492

_Killigrew, On the Death of Mrs. Anne_, 214

_Kilmeny_, 407

_Kim_, 538

_King Alisaunder_, 22

_King Arthur’s Tomb_, 512, 513

_King Edward the Fourth_, 129

_King Hart_, 62

_King John_, 116, 119

_King Lear_, 116, 120, 157

_King Leir, The Chronicle History of_, 77, 118

_King and No King, A_, 127

_King Stephen_, 401

_King of Tars, The_, 25

_King’s Own, The_, 424

_Kingis Quhair, The_, 58, 81

=Kinglake, Alexander=, =503=

=Kingsley, Charles=, =489=

=Kipling, Rudyard=, =537=, 556, 560, 564, 574

_Kipps_, 532, 533

_Kiss for Cinderella, A_, 548

_Knight of the Burning Pestle, The_, 127

_Knight of Gwynne, The_, 423

_Knight’s Tale, The_, 38

_Knight’s Tomb, The_, 378

_Kubla Khan_, 377

=Kyd, Thomas=, =107=

_Kynge Johan_, 85

L

_Lack of Stedfastness, The_, 36

_Lacrymæ Musarum_, 551

_Lady of the Lake, The_, 413, 446

_Lady Montague’s Page_, 423

_Lady of Pleasure, The_, 180

_Lady Windermere’s Fan_, 547

_Lake Isle of Innisfree, The_, 555

_Lalla Rookh_, 404

=Lamb, Charles=, 365, 375, =426=, 439, 441, 444–445, 558

_Lament for the Makaris_, 60, 61

_Lamia_, 400

_Land of Heart’s Desire, The_, 555

=Landor, Walter Savage=, =403=

=Langland, William=, =41=, 48, 53–54

=Langley, William=--_see_ =Langland, William=

Language, Old English, 3

_Laodicean, A_, 523

_Laon and Cynthia_ (_The Revolt of Islam_), 391

_Lara_, 384

_Last Chronicle of Barset, The_, 487

_Last Day, The_, 262

_Last Days of Pompeii, The_, 426

_Last Poems_ (E. B. Browning), 467

=Latimer, Hugh=, =68=, 81

_Latin Christianity, The History of_, 435

_Latter-day Pamphlets_, 494

_Lavengro_, 490

_Laws of Ecclesiastical Polity, The_, 139, 152–153

_Lay of the Last Minstrel, The_, 412

_Lay Sermons and Addresses_, 506

_Lays of Ancient Rome, The_, 497

_Lays of France_, 472

=Layamon=, =17=, 29

Lecture, the, and literature, 508

_Lectures on the English Poets_, 431

=Lee, Nathaniel=, =206=

_Legend of the Rhine, The_, 480

_Legende of Good Women, The_, 35, 39

_Lenora_, 421

_Lenore_, 412

Letter-writing, 341, 439

_Letter to the English People, A_, 10

_Letter to a Noble Lord, A_, 331

_Letter, More’s to his Wife_, 80

_Letter to Windham_, 251

_Letters_, Cowper’s, 302, 343–344

_Letters, Drapier’s_, 240, 270, 343

_Letters_, Howell’s, 181

_Letters_, Leigh Hunt’s, 445

_Letters_, Johnson’s, 343, 357

_Letters of Junius_, 343

_Letters_, Lady M. Wortley Montagu’s, 252, 341

_Letters_, Pope’s, 260

_Letters_, Walpole’s, 323, 343, 358

_Letters of Peter Plymley, The_, 433

_Letters on a Regicide Peace_, 331

_Letters to his Son_ (Chesterfield), 333, 342

_Letters on the Spirit of Patriotism_, 251

=Lever, Charles=, =423=

_Leviathan, The_, 177, 183

_Levities_, 304

=Lewis, Matthew=, =324=

_Liberty_, 292

_Liberty of Prophesying, The_, 178

_Library, The_, 282, 302

_Life and Death of Jason, The_, 470

_Life and Death of Mr. Badman, The_, 209, 339

_Life of Byron, The_, 401, 439

_Life of Cromwell, The_, 550

_Life of Frederick II, The_, 494

_Life of Gladstone, The_, 550

_Life of Jesus, The_, Strauss’s (George Eliot), 488

_Life of Doctor Johnson, The_, 287, 328, 329, 343, 336

_Life of Napoleon, The_, 416

_Life of Nelson, The_, 403

_Life of Schiller, The_, 494

_Life of Scott, The_, 435, 439

_Life of John Sterling, The_, 494, 496

_Light that Failed, The_, 538

Lindisfarne Gospels, the, 71

_Literature and Dogma_, 468

_Literature of Europe, An Introduction to the_, 436

_Little Dorrit_, 475

_Lives of the Novelists, The_, 416

_Lives of the Poets, The_, 291, 350, 575

_Lives of the Saints, The_, 9

_Lochaber no More_, 265

=Locke, John=, =219=, 268, 269

=Lockhart, John G.=, 411, =434=, 438, 439, 440

_Locksley Hall_, 456

_Locksley Hall Sixty Years after_, 458

_Locrine_, 472

=Lodge, Thomas=, =107=, 142

_London_, 287, 288, 335

_London Gazette, The_, 268

_London Lickpenny_, 64

_London Magazine, The_, 365, 408, 427, 429, 558

_Looker On, The_, 344

_Lord Hastings, Upon the Death of the_, 185, 228

_Lord Jim_, 527, 531

_Lorna Doone_, 491

_Lotos-Eaters, The_, 456

_Lounger, The_, 344

_Love_, 378

_Love of Fame, The_, 263

_Love in Fantastic Triumph sate_, 221–222

_Love of King David and Fair Bethsabe, The_, 106

_Love for Love_, 203

_Love and Mr. Lewisham_, 532

_Love Triumphant_, 201

_Love in the Valley_, 482

_Love in a Wood_, 204

_Love’s Labour’s Lost_, 116, 117

_Love’s Sacrifice_, 174

_Lovel the Widower_, 480

=Lovelace, Richard=, =173=, 185

_Lover’s Melancholy, The_, 174

_Lucasta, To_, 173

_Lucy_, 372

_Lucy Gray_, 368, 370

_Luria_, 463

_Lycidas_, 164

=Lydgate, John=, =64=, 70

_Lyfe of John Picus, The_, 69

_Lying Lover, The_, 247

=Lyly, John=, 105, 107, =138=, 154, 337, 563–564

=Lyndsay, Sir David=, =59=, 79, 82–83

=Lyric, the=, 11, 16, 47, 114, 143, 178, 179, 181, 213, 218, 266, 335, 436, 506

_Lyrical Ballads_, 367, 368, 369, 375, 376

=Lytton, Lord=, =425=, 438

M

=Macaulay, Lord=, 287, 360, 438, =496=, 508, 509, 510, 513

_Macbeth_, 116, 117, 119

_MacFlecknoe_, 197, 215

=Mackenzie, Compton=, =539=

=Mackenzie, Henry=, =324=, 344

=Macpherson, James=, 290, =312=, 335, 348, 349

Macready, William Charles, 462

_Magnificence_, 63

_Maid of Sker, The_, 491

_Maid’s Tragedy, The_, 127

_Making of England, The_, 504

_Maldon, The Battle of_, 6

_Male Regle, La_, 64

=Malory, Sir Thomas=, 33, =46=, 50, 52, 457

_Man, An Essay on_, 253, 260

_Man of Feeling, The_, 324

_Man of Mode, The_, 205

_Man in the Moon, The_, 100

_Man and Superman_, 542, 544

_Man who was Thursday, The_, 549

_Man’s Place in Nature_, 506

_Mandalay_, 538

=Mandeville, Sir John=, 33, =44=, 49, 50, 51–52, 153

_Manfred_, 387

=Manning, Robert=, =18=, 24

_Mansfield Park_, 419

Manuscripts, Old English, 3

Marco Polo, 45

=Mare, Walter de la=, 560

_Marino Faliero_, 387

_Marius the Epicurean_, 502

Marlborough, Duke of, 232, 242

=Marlowe, Christopher=, 104, 105, =108=, 129, 144, 153–154

_Marmion_, 412

=Marryat, Frederick=, =423=

=Marston, John=, =127=

_Martin Chuzzlewit_, 475

=Marvell, Andrew=, 179, 185, 214

_Mary in Heaven, To_, 309, 311

_Mary Rose_, 548

_Mary Stuart_ (Swinburne), 472

=Masefield, John=, =552=, 559

_Masks and Faces_, 486

Masque, the, 125, 145

_Masque of Anarchy, The_, 392, 437

_Masque of Beauty, The_, 125

_Masque of Queens, The_, 125

_Massacre at Paris, The_, 109

=Massinger, Philip=, =173=, 180

_Master of Ballantrae, The_, 492

_Master Humphrey’s Clock_, 474

_Masterman Ready_, 424

_Maud_, 456

_Mayor of Casterbridge, The_, 523, 525

_Mazeppa_, 385

_Measure for Measure_, 116, 121, 122

_Medal, The_, 197

_Melibœus, The Tale of_, 36, 37

_Memoirs of Barry Lyndon, The_, 479

_Memoirs of a Cavalier, The_, 250

_Men and Women_, 463

_Men, Women, and Books_, 406

_Merchant of Venice, The_, 116, 157

_Mercurius Anglicus_, 267

_Mercurius Politicus_, 267

_Mercurius Pragmaticus_, 267

=Meredith, George=, =482=, 492, 508, 510

=Meres, Francis=, 115

_Merry Wives of Windsor, The_, 116

Metaphysical poets, the, 160, 161, 170, 184

Meter, early development of, 24

Middle English, 49

=Michel of Northgate, Dan=, 23

_Middlemarch_, 488

=Middleton, Thomas=, =128=

Midland dialect, the, 3, 16

_Midshipman Easy, Mr._, 424

_Midsummer Night’s Dream, A_, 76, 116, 118, 119, 120

=Mill, John Stuart=, 452

_Mill on the Floss, The_, 488

=Miller, Hugh=, =504=

=Milman, Henry Hart=, =435=

=Milton, John=, 94, 102, 160, =161=, 182, 186, 217, 303, 459, 501, 562

_Milton_ (Earnest Myers), 188–189

Mimes, 72

_Mind, An Essay on_, 466

=Minot, Laurence=, 19, 25

_Minstrelsy of the Scottish Border, The_, 412

Miracle-plays, 74

_Mirror, The_, 344

_Mirror for Magistrates, The_, 98

_Mirror of the Sea, The_, 528

Miscellanies, poetical, 104

_Misfortunes of King Arthur, The_, 77

_Mr. Britling sees it Through_, 532

_Mr. Clutterbuck’s Election_, 549

_Mr. Midshipman Easy_, 424

_Mr. Polly, The History of_, 532

_Mrs. Anne Killigrew, On the Death of_, 214

_Mrs. Warren’s Profession_, 541

_Mistress, The_, 169

_Mithridates_, 206

_Modern Love_, 482

_Modern Painters_, 500, 513–514

_Modern Utopia, A_, 533

Molière, 192

_Moll Flanders_, 250, 339

_Monk, The_, 324

=Montagu, Lady Mary Wortley=, =252=, 341

Montaigne, 269

_Monthly Magazine, The_, 473

_Moon, The_, 552

_Moonstone, The_, 487

=Moore, George=, 520, =536=

=Moore, Thomas=, =404=

_Moral Ode_, 20, 28, 29

_Moral and Political Philosophy_, 333

_Morall Fabillis of Esope, The_, 60

Morality-plays, 74

=More, Sir Thomas=, =69=, 80

=Morley, Lord=, =550=, 561

_Morning Chronicle, The_, 365, 473

_Morning Post, The_, 365, 380

=Morris, William=, =470=, 506, 507, 512–513, 514

_Morte d’Arthure_ (Middle English romance), 22

_Morte d’Arthur_ (Malory), 46–47, 52

_Morte d’Arthur_ (Tennyson), 456

_Mother Hubberd’s Tale_, 91, 92

_Mother’s Picture, On the Receipt of my_, 301

_Moti Guj--Mutineer_, 564

_Mourning Bride, The_, 203

_Much Ado about Nothing_, 116

_Mummer’s Wife, A_, 537

Mummings, 72

_Munera Pulveris_, 500

_Murder considered as One of the Fine Arts_, 429

_Muse in Exile, The_, 551

_Music and Moonlight_, 472

_My First Play_ (Lamb), 428

_My Heart’s in the Hielands_, 308

_My Novel_, 426

=Myers, Ernest=, 188–189

_Mysteries of Udolpho, The_, 324

Mystery-plays, 73

N

_Napoleon, The Life of_, 416

Narrative poetry, 48, 144, 215, 266, 436, 506, 559

=Nash, Thomas=, =107=, 142, 338

_Natural History of Selborne, The_, 334, 355

_Naval Officer, The_, 424

_Necessity of Atheism, The_, 389

_Neglected Heart, A_, 472

_Nelson, The Life of_, 403

_Nero_, 206

_New Arabian Nights, The_, 491

_New Atlantis, The_, 135, 146

_New Machiavelli, The_, 532

_New Monthly Magazine, The_, 405, 408

_New Poems_ (M. Arnold), 467

_New Poems_ (C. G. Rossetti), 470

_New Voyage round the World, A_, 250

_New Way to pay Old Debts, A_, 174

_New Worlds for Old_, 533

_Newcomes, The_, 479

Newman, Cardinal John, 454

=Nicholas of Guildford=, 20

_Nicholas Nickleby_, 474

_Nigger of the Narcissus, The_, 528, 529–530

_Night_ (Charles Churchill), 305

_Night Thoughts, The Complaint, or_, 263, 270, 271, 278, 305

_Nightingale, Ode to a_, 401

_No Name_, 487

_Noble Numbers_, 170

_Noctes Ambrosianæ_, 434, 441

_Nocturnal Reverie, The_, 264

_Norman Conquest, The History of the_, 504

=North, Christopher=, =433=, 441

_Northanger Abbey_, 418, 420

Northern dialect, the, 16, 20

Northumbrian dialect, the, 3, 7, 16

=Norton Thomas=, 77, 98

_Nostromo_, 528

_Notes of Instruction concerning the Making of Verse in English, Certayne_, 99

Novel, the, 107, 146, 336, 437, 507, 555–556

_Nun’s Priest’s Tale, The_, 40–41

_Nuptials of Attila, The_, 482

_Nut-brown Maid, The_, 47

_Nutting_, 368

_Nymphidia_, 100

O

_O’ a’ the Airts_, 308

_O, my Luve is like a Red, Red Rose_, 308, 309–310

_O, Willie brewed a Peck o’ Maut_, 308

_Oberon, the Fairy Prince_, 125

_Observer, The_, 344

=Occleve, Thomas=, =64=

_Occleve’s Complaint_, 64

_Oceana_, 503

_Odd Women, The_, 536

Ode, the, 179, 214

_Ode to Autumn_ (Keats), 401, 443

_Ode on a Distant Prospect of Eton College_, 298

_Ode to Evening_, 299

_Ode to France_, 378

_Ode on a Grecian Urn_, 401, 402

_Ode: Intimations of Immortality_, 373, 374

_Ode on the Morning of Christ’s Nativity_, 164

_Ode to a Nightingale_, 401

_Ode to the West Wind_, 393

_O’Donovan, The_, 423

_Œdipus Tyrannus, or Swellfoot the Tyrant_, 437

_Œnone_, 456

_Œnone, The Death of_, 458

_Oh, to be in England_, 516

_Old Bachelor, The_, 203

_Old Curiosity Shop, The_, 475, 477

_Old English Baron, The_, 416

Old English language, the, 3

_Old Fortunatus_, 128

_Old Mortality_, 415, 440–441

_Old Red Sandstone, The_, 505

_Old St. Paul’s_, 422

_Old Wives’ Tale, The_ (Bennett), 538

_Old Wives’ Tale, The_ (Peele), 106

=Oldham, John=, 215

_Oliver Cromwell’s Letters and Speeches_, 494

_Oliver Twist_, 474

_Olor Iscanus_, 171

_On Divorce_ (Milton), 163

_On his Own Death_ (Swift), 237

_On the Death of Mrs. Anne Killigrew_, 214

_Of Education_ (Milton), 163

_On Nothing_, 550

_On Phillis_, 182

_On Prayer_ (Jeremy Taylor), 187–188

_On the Receipt of my Mother’s Picture_, 301

_On Shakespeare_ (Milton), 164

_One of our Conquerors_, 484

_Ordeal of Richard Fever, The_, 482

_Origin of Species, The_, 453, 505, 506

_Origines upon the Maudeleyne_, 36

_Orinooko, or The Royal Slave_, 339

_Orison to Our Lady, The_, 20

_Orlando Furioso_, 107

_Ormond_, 421

=Orm, or Ormin=, 19

_Ormulum_, 19, 24

Orosius, 8

_Orphan, The_, 206, 217–218

_Orpheus and Eurydice_, 60

=O’Shaughnessy, Arthur Edward=, =472=

_Ossian_, 290, 313, 348

_Othello_, 116

_Otho the Great_, 401

_Ottava rima_, 386, 398

=Otway, Thomas=, =206=, 217–218, 226, 391, 392

_Our Mutual Friend_, 475

_Outcast of the Islands, An_, 527

_Outline of History, An_, 533

=Overbury, Sir Thomas=, =139=, 269

_Ovid_ (Sandys), 183

_Owl and the Nightingale, The_, 20

_Oxford Gazette, The_, 268

P

_Pacchiarotto_, 464

_Pageant, A_, 470

_Pair of Blue Eyes, A_, 523

=Paley, William=, =333=, 345

_Palice of Honour, The_, 62

_Palladis Tamia, Wit’s Treasury_, 115

_Pamela_, 315, 316, 340, 341

Pamphlets, 89, 142

_Paolo and Francesca_, 559

_Paracelsus_, 462

_Paradise Lost_, 165, 179, 187, 562

_Paradise Regained_, 166, 179

_Paradyse of Daynty Devises, The_, 104

_Parisina_, 384

_Parismus, Prince of Bohemia_, 339

_Parlement of Foules, The_, 34

_Parleyings with Certain People_, 463

_Parliament of Bees, The_, 145

=Parnell, Thomas=, =265=

_Parson’s Tale, The_, 36, 37

_Parthenissa_, 339

_Passetyme of Pleasure, The_, 65

_Passionate Elopement, The_, 539

_Passionate Pilgrim, The_, 104, 112

_Passions, The_, 335, 352

_Past and Present_, 494

_Past and Present, Poems of the_ (Hardy), 521

_Pastoral Care_, 8, 9, 51

Pastoral poetry, 178, 266

_Pastorals_ (Pope), 255

=Pater, Walter=, =502=, 508

_Path to Rome, The_, 550

_Patience_, 21, 22

_Patronage_, 421

_Paul Clifford_, 425

_Pauline_, 461

_Peacock Pie_, 560

_Pearl_, 21, 25, 28, 149–150

_Peblis to the Play_, 58

=Pecock, Reginald=, =66=

=Peele, George=, =105=

_Peg Woffington_, 486

_Pelham_, 425

_Pendennis_, 479

_Peninsular War, The_, 403

_Penseroso, Il_, 164, 180

=Pepys, Samuel=, 194, =212=, 219, 240

=Percy, Bishop Thomas=, 285, 335, 345

_Peregrine Pickle_, 321

_Pericles_, 117

Periodicals, 234, 267, 344, 438

_Perkin Warbeck_, 174

_Persian Eclogues_, 299

_Persuasion_, 419

_Peter Bell_, 369

_Peter Pan_, 548

_Peter Plymley, The Letters of_, 433

_Peter Porcupine’s Journal_, 435

_Peter Simple_, 424

_Peter’s Letters to his Kinsfolk_, 434

_Peveril of the Peak_, 415

=Phaer, Thomas=, 142

_Pharonnida_, 180

_Philanderer, The_, 541

_Philaster_, 127

=Philips, Ambrose=, =264=, 271

=Philips, John=, 270

=Phillips, Stephen=, 559

_Philosophical Inquiry into the Origin of our Ideas of the Sublime and Beautiful, A_, 331, 344

_Phœnix, The_, 7, 13, 29

_Phœnix Nest, The_, 104

Picaresque novel, the, 338

_Pickwick Papers, The_, 473, 474, 475, 476, 477, 557

_Picture of Dorian Gray, The_, 546, 565

_Pied Piper of Hamelin, The_, 514

_Piers the Plowman, The Vision of William concerning_, 42, 50, 53–54

_Pilgrim of Glencoe, The_, 405

_Pilgrim Fathers, The_ (Hemans), 408

_Pilgrim’s Progress, The_, 209, 210–211, 225, 240, 339, 575

Pindaric odes, 169, 180, 334

_Pindaric Odes_ (Gray), 298

_Pindarique Odes_ (Cowley), 169, 180

_Pine Forest, The_, 395

=Pinero, Sir Arthur=, 559

_Pippa Passes_, 462, 466

_Piramus and Thisbe_ (Cowley), 169

_Pirate, The_, 415

_Pistyl of Susan, The_, 28

_Places_, 522–523

_Plague Year, A Journal of the_, 250

_Plain Dealer, The_, 204

_Plain Tales from the Hills_, 538

Play-cycles, 75

_Playboy of the Western World, The_, 548

_Pleasures of Hope, The_, 405

_Pleasures of the Imagination, The_, 303

_Pleasures of Memory, The_, 405

_Plebeian, The_, 247, 268

Plutarch’s _Lives_ (North), 141

_Poems_ (M. Arnold), 467

_Poems_ (Clare), 409

_Poems_ (Cowper), 300

_Poems_ (Keats), 397

_Poems_ (Compton Mackenzie), 539

_Poems_ (D. G. Rossetti), 469

_Poems_ (Tennyson, 1832), 455

_Poems_ (Tennyson, 1833), 455~456

_Poems_ (Vaughan), 171

_Poems, Chiefly Lyrical_ (Tennyson), 455

_Poems of 1908–1914_ (Drinkwater), 554

_Poems and Ballads_ (Swinburne), 471

_Poems by Two Brothers_ (A. and C. Tennyson), 455

_Poems of the Past and Present_ (Hardy), 521

_Poems by the Way_ (W. Morris), 471

_Poetaster, The_, 124, 128

_Poetical Sketches_ (Blake), 314

_Poetry, An Essay on_ (Temple), 211

_Political Justice_, 333, 345

_Political Lying, The Art of_, 251

_Political Register, The_, 365, 435

Political writing, 233

_Polychronicon_, 40

_Polyolbion_, 100, 144

_Poor Relations_, 540

=Pope, Alexander=, 224, =253=, 265, 266, 270, 272, 273, 274–275, 334, 351, 368, 383

=Porter, Jane=, 416

_Praise of Chimney-Sweepers, The_, 444–445

_Præterita_, 500

Prayer Book, the, 70

Pre-Raphaelites, the, 402, 453, 469, 470, 506, 509

_Prelude, The_, 369, 437, 562–563

_Present Discontents, Thoughts on the_, 331

_Preston Fight_, 422

_Pretty Lady, The_, 538

_Pricke of Conscience, The_, 21

_Pride and Prejudice_, 419

_Prince Arthur_, 264

_Prince Hohenstiel-Schwangau_, 463

_Prince’s Progress, The_, 470

_Prince’s Quest, The_, 551

_Princess, The_, 456, 458

_Principles of Human Knowledge, The_, 252

=Prior, Matthew=, =261=, 266

_Prisoner of Chillon, The_, 385

_Private Papers of Henry Ryecroft, The_, 536

_Proclamation of Henry III_, 51

_Prodigy, The_, 264

_Professor, The_, 485

_Progress of Poesy, The_, 188, 298

_Progress of the Soul, The_, 102

_Prologue, The_ (Chaucer), 36, 38

_Prometheus Bound_, 467

_Prometheus Unbound_, 391, 394

_Prophecy of Famine, The_, 305

_Prothalamion_, 92, 179

_Proud Maisie_, 413

_Proverbs of Alfred, The_, 20

_Proverbs of Hendyng, The_, 20, 25

_Provoked Wife, The_, 205

_Provost, The_, 422

Psalms, the Book of, 132, 133

_Pseudodoxia Epidemica_, 175

_Pseudo-Martyr, The_, 103

_Public Intelligencer, The_, 268

_Public Ledger, The_, 296

_Public Spirit of the Whigs, The_, 240

Publishing houses, 235

_Punch_, 409, 478, 480

_Purple Island, The_, 101

_Purple Pileus, The_, 535

=Purvey, John=, 71

_Pyrenees, The_, 550

Q

_Quality Street_, 548

_Quarterly Review, The_, 365, 397, 558

_Queen Mab_, 390

_Queen Mary_ (Tennyson), 458

_Queen Mother and Rosamond, The_, 472

_Queen’s Wake, The_ (Hogg), 407

_Queenes Wake, The_ (Daniel), 104

_Quentin Durward_, 415, 423

R

=Radcliffe, Mrs.=, =324=, 340

=Raleigh, Sir Walter=, 341

_Ralph Roister Doister_, 77, 78, 85–86

_Rambler, The_, 289, 344, 347

=Ramsay, Allan=, =265=

_Rape of the Lock, The_, 257, 351

_Rape of Lucrece, The_, 112, 144

_Rarely, rarely, comest Thou_, 395

_Rasselas_, 290, 340

_Rauf Coilyear_, 22

=Reade, Charles=, =486=

_Reader, The_, 247

_Ready-Money Mortiboy_, 490

Realism, 519

_Rebecca and Rowena_, 480

_Recessional, The_, 538

_Recluse, The_, 369

_Recruiting Officer, The_, 205

_Recuyell of the Historyes of Troye, The_, 66, 67

_Red Cotton Night-Cap Country_, 463

_Redgauntlet_, 415, 557

_Reflections on the French Revolution_, 331, 332, 345

_Regiment of Princes, The_, 64

_Rehearsal, The_, 215

_Reign of William Rufus, The_, 504

_Rejected Addresses_, 409

_Relapse, The_, 205

_Religio Medici_, 175

_Reliques of Ancient Poetry_, 285, 335

_Remarks on the Barrier Treaty_, 240

_Remorse_, 378, 437

_Renaissance, Studies in the History of the_, 502

_Renaissance in Italy, The_, 502

_Repressor of Over-much Blaming the Clergy, The_, 66

_Rescue, The_, 528, 529

_Resolution and Independence_, 372

_Resolves_, 181

Restoration comedy, 202; tragedy, 206

_Retreat, The_, 172

_Return of the Druses, The_, 463

_Return of the Native, The_, 523

_Revenger’s Tragedy, The_, 129

_Review, The_, 249, 268

_Revolt of Islam, The_, 391

Revolution, the French, and English literature, 283, 330, 362, 366, 452

_Reynard the Fox_, 552

_Rhapsody on Poetry_, 278

_Rhoda Fleming_, 483

Rhyme royal, 58, 98

=Rice, James=, =490=

_Rich Relatives_, 539

_Richard Cœur-de-Lion_, 22

_Richard II_, 116

_Richard III, The Historie of_ (More), 69

_Richard III_ (Shakespeare), 116

=Richardson, Samuel=, =315=, 340, 341

_Richelieu_ (G. P. R. James), 422

_Richelieu_ (Lytton), 426

_Riddles_ (Exeter Book), 7

_Riders to the Sea_, 548

_Rienzi_, 426

_Rime of the Ancient Mariner, The_, 376, 378–379, 445–446

_Rimini_, 406

_Ring and the Book, The_, 463, 465, 507, 563

_Rival Ladies, The_, 199, 216

_Rival Queens, The_, 206

_Rivals, The_, 336

_Roaring Girle, The_, 128

_Rob Roy_, 415

_Robene and Makyne_, 60

=Robert of Gloucester=, =18=, 25

=Robertson, William=, =328=, 341

_Robinson Crusoe_, 249, 250, 340

=Rochester, Earl of=, 213

_Roderick the Goth_, 403

_Roderick Random_, 321, 346

=Rogers, John=, 72

=Rogers, Samuel=, 405

_Rokeby_, 413–414

=Rolle, Richard, of Hampole=, 16, =21=

_Romance_, 528

_Romance of the Forest, The_, 324

Romances, metrical, 22, 26, 49, 57, 337

Romanticism, 89

_Romany Rye, The_, 490

_Romaunt of the Rose, The_, 34

_Romeo and Juliet_, 116

_Romola_, 488

_Rookwood_, 422

_Roots of the Mountains, The_, 471

_Rosamond_, 243

_Rosciad, The_, 305

_Rose Aylmer_, 403

_Rose Mary_, 469

=Rossetti, Christina Georgina=, =469=

=Rossetti, Dante Gabriel=, 467, =469=, 506, 515

_Roundabout Papers, The_, 480, 508

=Rowe, Nicholas=, =207=

_Rowley Poems, The_, 313

_Roxana_, 250

Royal Society, the, 219

_Royall King, The_, 129

_Rubáiyát of Omar Khayyâm, The_, 468

_Ruins of Rome, The_, 91

_Ruins of Time, The_, 91

_Rule, Britannia_, 293

_Rural Rides in England_, 435, 440

_Rural Sports_, 262

=Ruskin, John=, =499=, 502, 508, 513–514

=Russell, George=, (‘A. E.’), 520

_Ruth_, 368, 371

S

=Sackville, Thomas, Earl of Dorset=, Lord Buckhurst, 77, =98=, 144

_Sad Shepherd, The_, 124

_St. Cecilia’s Day, A Song for_ (Dryden), 198

_St. Irvyne_, 393

St. Luke, the Gospel of, 132

_St. Ronan’s Well_, 415

_Saint’s Tragedy, The_, 490

_Saints’ Everlasting Rest, The_, 181

_Saisiaz, La_, 463

_Samson Agonistes_, 166

_Samuel Titmarsh, The History of_, 478–479

_Sandra Belloni (Emilia in England)_, 483

_Sands of Dee, The_, 490

=Sandys, George=, 183

_Sappho_ (A. Philips), 271

_Sartor Resartus_, 494, 495–496

=Sassoon, Siegfried=, 560, 571–572

Satire, the, 195, 196, 214, 266, 437

_Satires_ (Donne), 102

_Satires of Circumstance_, 521, 571

_Satiromastix_, 128

_Saturday Review, The_, 540

_Satyre of the Thrie Estatis, Ane Pleasant_, 59, 82–83

=Savage, Richard=, =263=

_Say not the Struggle Naught Availeth_, 469, 515–516

_Scenes from Clerical Life_, 488

_Schiller, The Life of_, 494

_Scholar-Gipsy, The_, 468

_Scholemaster, The_, 137, 155

_School of Abuse, The_, 90

_School for Scandal, The_, 336, 567–568

_Schoolmistress, The_, 304, 335, 351–352

_Scornful Lady, The_, 127

_Scotland, The History of_ (Robertson), 328

_Scots wha hae_, 311

=Scott, Michael=, =424=

=Scott, Sir Walter=, 205, 337, 340, 364, 365, 367, 384, 396, =410=, 421, 436, 437, 438, 440, 441, 446, 447–448, 474, 497, 557

_Scott, The Life of_, 435, 439

_Scottish Chiefs, The_, 416

_Scottish Historie of James the Fourth, The_, 107

Scottish literature, 33, 58, 90

_Scriblerus, Memoirs of_, 251

=Scudéri, Mademoiselle=, =338=, 339

_Seafarer, The_, 6

_Seasons, The_, 284, 291, 292, 301, 409

_Secret Agent, The_, 528

=Sedley, Sir Charles=, 213, 218

_Sejanus his Fall_, 125

_Sense and Sensibility_, 419

_Sensitive Plant, The_, 395

_Sentimental Journey, A_, 322

_Sentimental Tommy_, 547

_Seraphim, The_, 467

Sermon, the, 180

_Sermons_ (Latimer), 81

_Sermons_ (Tillotson), 212

_Sesame and Lilies_, 500

Sestette, the Romance, 25

=Settle, Elkanah=, =207=

_Seven Lamps of Architecture, The_, 500

_Shadow of the Glen, The_, 548

_Shadow Line, The_, 528

_Shadowy Waters, The_, 559

=Shadwell, Thomas=, 197, =205=

=Shaftesbury, Earl of=, =252=

=Shakespeare, William=, 76, 77, =110=, 151, 157, 199, 202, 206, 285, 374, 417, 459, 569

_Shakespeare_ (Matthew Arnold), 156

_Shakespeare, On_ (Milton), 164

Shakespearian style, the, 120

=Shaw, George Bernard=, 519, =540=, 559, 561

_She Stoops to Conquer_, 295

_She Would if She Could_, 205

=Shelley, Percy Bysshe=, 307, 334, 363, 364, 366, 371, 383, =389=, 396, 436, 437, 439, 443, 449, 462

=Shenstone, William=, =304=, 351–352

_Shepherd’s Calendar, The_, 91, 144, 183

_Shepherd’s Week, The_, 262

=Sheridan, Richard Brinsley=, 336, 547, 567–568

_Shilling for my Thoughts, A_, 549

_Ship of Fools, The_, 65

=Shirley, James=, 180

_Shirley_, 485

_Shoemaker’s Holiday, The_, 128

_Short History of the English People, A_, 504

Short story, the development of the, 557

_Short Studies on Great Subjects_, 503

_Short View of the Profaneness and Immorality of the English Stage_, 219

_Shortest Way with the Dissenters, The_, 249

_Sibylline Leaves_, 380

_Sicilian Romance, A_, 324

=Sidney, Sir Philip=, 90, 91, =99=, 143, 146, 269, 337

_Siege of Corinth, The_, 384

_Silas Marner_, 488, 523

_Silex Scintillans_, 172

_Silver Box, The_, 547

_Simon Lee_, 374, 566

_Sinister Street_, 539

_Sir Charles Grandison_, 316

_Sir Courtly Nice_, 207

_Sir Ferumbras_, 22

_Sir Gawain and the Green Knight_, 21, 22, 25, 337

_Sir John Chiverton_, 422

_Sir Launcelot Graves_, 321

_Sir Orpheo_, 22

_Sir Patrick Spens_, 48

_Sir Ralph Esher_, 407

_Sir Tristrem_, 22, 25, 28

_Sister Teresa_, 537

_Sisters, The_, 472

=Skelton, John=, =62=, 81–82

=Skeltonics=, 63

_Sketches by Boz_, 473, 474

_Skin Game, The_, 547, 568–569

_Sleeping Beauty, The_, 459

=Smart, Christopher=, =303=, 335

=Smith, Adam=, =332=

=Smith, Horace=, =409=

=Smith, James=, =409=

=Smith, Sydney=, =433=

=Smollett, Tobias=, 303, =321=, 338, 340, 346, 360, 423, 557

_Snare, The_, 560

_Soldier, The_, 554

_Soldiers, Three_, 538

_Soliman and Perseda_, 108

_Solomon_, 261

_Some Reminiscences_ (Conrad), 528

_Song to David, The_, 303

_Song of Honour, The_, 560

_Song for St. Cecilia’s Day, A_ (Dryden), 198

_Song of the Shirt, The_, 409

_Songs of Childhood_, 560

_Songs of Experience_, 314

_Songs of Innocence_, 352–353, 566–567

_Songs of Mourning_, 100

_Songs before Sunrise_, 471–472

_Songs of a Worker_, 472

_Songs to Ælla_, 314

_Songbooks of the War_, 571–572

Sonnet, the English, 91, 96, 99, 104, 112, 113, 143, 144, 372–373; the Italian, 96, 143, 165

_Sonnet_, by Matthew Arnold, 156; by Drayton, 152; by Ernest Myers, 188–189; by Spenser, 152; by Surrey, 151; by Wordsworth, 188

_Sonnets_, Shakespeare’s, 112

_Sonnets from the Portuguese_, 467

_Sophonisba_, 206, 293

_Sordello_, 462

_Soul of a Bishop, The_, 533

_Soul’s Destroyer, The_, 552

=South, Robert=, 181

=Southey, Robert=, 364, 365, 375, 385, =402=, 436, 438, 440

=Southwell, Robert=, 144

_Spanish Ballads_, 434

_Spanish Gipsy, The_, 128

_Spanish Tragedy, The_, 108

_Spectator, The_, 235, 244, 245, 247, 268, 276, 289, 344

_Speculum Meditantis_, 43

=Spencer, Herbert=, 452

=Spenser, Edmund=, 60, =90=, 101, 102, 143, 144, 155–156, 292, 397, 436, 437

_Spenser, Imitation of_ (Keats), 398

Spenserian stanza, the, 94, 292, 304, 335, 398, 405, 436, 437

_Spirit of the Age, The_, 431

_Spirit of Patriotism, Letters on the_, 251

_Spleen, The_, 264

_Splendid Shilling, The_, 270

=Sprat, Thomas=, 219

_Squire of Alsatia, The_, 205

_Squire of Low Degree, The_, 22–23

Standardizing of English, the, 32

=Stanyhurst, Richard=, 142

_Staple of News, The_, 124

_Star Chamber, The_, 422

_Stately Homes of England, The_, 408

_Steel Glass, The_, 99, 144, 151

=Steele, Sir Richard=, 244, =247=, 268, 339, 431

=Stephens, James=, 560

_Steps to the Temple_, 171

_Sterling, John, The Life of_, 494

=Sterne, Laurence=, =322=, 340, 360, 557

=Stevenson, Robert Louis=, =491=, 508, 510

_Stones of Venice, The_, 500, 501

_Story of the Glittering Plain, The_, 471

_Story of Ingelond, The_, 18

_Story of Thebes, The_, 64

_Stafford_, 462

_Strange Story, A_, 426

_Strayed Reveller, The_, 467, 560

_Strew on her Roses, Roses_, 516

_Strife_, 547

=Stubbs, William=, 509

_Studies of the Greek Poets_, 502

_Studies in the History of the Renaissance_, 502

_Sublime and Beautiful, A Philosophical Inquiry into the Origin of our Ideas of the_, 331, 345~346

=Suckling, Sir John=, =173=, 180, 183, 186

_Sullen Lovers, The_, 205

_Sumer is i-cumen in_, 26

_Summer Night, A_, 468

_Summer’s Last Will and Testament_, 107

_Sundering Flood, The_, 471

_Superhuman Antagonists, The_, 551

_Supposes_, 99

=Surrey, Henry Howard, Earl of=, =96=, 143, 150, 151

_Suspiria de Profundis_, 429

_Sweet Content_, 150

_Sweet Lullaby, A_, 155

_Sweet Stay-at-Home_, 552–553

_Swellfoot the Tyrant_, 437

=Swift, Jonathan=, 219, =236=, 243, 245, 262, 270, 272, 278, 279, 318, 343, 365, 545

=Swinburne, Algernon Charles=, =471=, 482, 506, 553

_Switzerland, A History of_, 326

_Swords and Ploughshares_, 554

_Sybil_, 425

_Sylvia and Michael_, 539

_Sylvia Scarlett_, 539

=Symonds, John Addington=, =501=, 508

=Synge, J. M.=, 519, =548=, 568

T

_Table Talk_ (Coleridge), 381

_Tale of Melibæus, The_, 36, 37

_Tale of a Tub, The_, 239, 270

_Tale of Two Cities, A_, 475

_Tales of Fashionable Life_, 421

_Tales of a Grandfather, The_, 416

_Tales from Shakespeare_, Lamb’s, 427

_Tales in Verse_, 302

_Talisman, The_, 415, 447–448

_Tam o’ Shanter_, 307, 308, 570

_Tamburlaine the Great_ (Marlowe), 109–110

_Tamerlane_ (Rowe), 207

_Taming of the Shrew, The_, 99, 116

_Tancred_, 425, 438

_Task, The_, 300, 335, 352

_Tatler, The_, 244, 247, 268

=Taylor, Jeremy=, 68, =177=, 180, 187

_Tears of the Muses, The_, 91

_Temora_, 313

_Tempest, The_, 117, 122, 151, 569

=Temple, Sir William=, =211=, 219, 236, 238, 269

_Temple, The_, 170

_Temple of Glass, the_, 64

_Tenant of Wildfell Hall, The_, 486

_Tender Husband, The_, 247

=Tennyson, Lord=, 94, 402, 453, =454=, 506, 507, 509, 512

Terror novelists, the, 323–324

_Terza rima_, 96

_Tess of the d’Urbervilles_, 523, 526

_Testament and Compleynt of the Papyngo, The_, 59

_Testament of Cresseid, The_, 60

_Testament of Squyer Meldrum, The_, 59

_Testimony of the Rocks, The_, 505

=Thackeray, William Makepeace=, 453, =478=, 485, 507, 508, 510, 539

_Thalaba the Destroyer_, 403

_Thalia Rediviva_, 172

Theatres, early London, 111

_Theocritus_, 69

_These Twain_, 538

_Thief and the Cordelier, The_, 262

=Thompson, Francis=, =551=, 560

=Thomson James= (1700–48), 284, =291=

_Thorn, The_, 368

_Thoughts on the Present Discontents_, 331

_Three Fishers, The_, 490

_Three Maries, The_, 73–74

_Thrie Estatis, Ane Pleasant Satyre of the_, 59, 82–83

_Thrissill and the Rois, The_, 61

_Thunderstorms_, 552

_Thyestes_, 207

_Thyrsis_, 469

=Tillotson, John=, =212=

_Timbuctoo_, 455

_Time Machine, The_, 532

_Time’s Revenges_, 464

_Times, The_, 365

_Timon of Athens_, 117

_Tinker’s Wedding, The_, 548, 568

_Tintern Abbey_, 448

_Tithonous_, 507

_Titus Andronicus_, 116

_To Althea_, 173, 185

_To Anthea_, 170

_To Chloe_ (Prior), 262

_To his Coy Mistress_, 185

_To Daffodils_ (Herrick), 222

_To Julia_, 170

_To Lucasta, going to the Wars_, 173

_To Mary in Heaven_, 309, 311

_To Milton_ (Wordsworth), 188

_To Spring_ (Surrey), 151

Tolstoy, Leo, 519

_Tom Burke of Ours_, 423

_Tom Cringle’s Log_, 424

_Tom Jones_, 319, 336, 354–355

_Tom Thumb_, 336

_Tono-Bungay_, 532, 534–535

Tonson, Jacob, 235

_Tottel’s Miscellany_, 96, 97, 104

=Tourneur, Cyril=, =129=, 180

_Tower of London, The_, 422

_Town, The_, 407

_Town Mouse and the Country Mouse, The_, 261

_Toxophilus_, 137

Tragedies, early, 77

_Tragedy of Chabot, The_, 127

_Tragic Comedians, The_, 484

_Traveller, The_, 294, 335

_Travels_ (Mandeville), 45–46, 51–52, 153

_Travels with a Donkey_, 491

_Treasure Island_, 491

_Treatise on Human Nature_, 328

_Tremendous Trifles_, 549

_Trials of Margaret Lyndsay, The_, 434

_Tristram of Lyonesse_ (Swinburne), 472

_Tristram Shandy_, 322, 323, 360

_Triumph, The_, 125

_Trivia_, 262

_Troilus and Cressida_ (Chaucer), 34, 40, 58, 60

_Troilus and Cressida_ (Dryden), 201

_Troilus and Cressida_ (Shakespeare), 116

=Trollope, Anthony=, =486=

_Troubles of Queene Elizabeth, The_, 129

_Troublesome Raigne of King John, The_, 77

_Troy Town_, 469

_True-born Englishman, The_, 249

_Trumpet-Major, The_, 523

_Tub, The Tale of a_, 238, 239, 270

_Tunnynge of Elynore Runnynge, The_, 63

Turner, J. M. W., 499, 500

_Twa Meryit Wemen and the Wedo, The_, 61

_Twelfth Night, The_, 116, 121

_Twixt Land and Sea_, 528

_Two Books of Ayres_, 100

_Two Chiefs of Dunboy, The_, 503

_Two Foscari, The_, 387

_Two Gentlemen of Verona, The_, 116, 117

_Two Noble Kinsmen, The_, 117

_Two Paths, The_, 500

_Two on a Tower_, 523

_Two Years Ago_, 489

=Tyndale, William=, 71, 83–84

_Tyrannic Love_, 192, 199

U

=Udall, Nicholas=, 77, 78, 85–86

_Udolpho, The Mysteries of_, 324

_Ulysses_ (Stephen Phillips), 559

_Ulysses_ (Tennyson), 456, 506, 512

_Unclassed, The_, 536

_Unco Guid, The_, 308

_Uncommercial Traveller, The_, 508

_Under the Greenwood Tree_, 523

_Underwoods_ (Jonson), 125

_Underwoods_ (Stevenson), 492

_Unfortunate Traveller, Jack Wilton, or The_, 107, 146, 338

University Wits, the, 104

_Unnatural Combat, The_, 174

_Unto this Last_, 500

_Up the Rhine_, 408

_Urne Buriall_, 175, 181

=Ussher, James=, =140=

_Utopia_, 69, 135, 146

V

_Valediction forbidding Mourning, A_, 184–185

_Valenciennes_, 521

_Valerius_, 434

=Vanbrugh, Sir John=, =205=

Vanhomrigh, Esther, 236

_Vanity Fair_, 478, 479

_Vanity of Human Wishes, The_, 288, 355–356

_Vathek_, 324

=Vaughan, Henry=, =171=

_Venice Preserved_, 206, 215, 226–227, 391

_Venus and Adonis_, 112, 144

Vercelli Book, the, 3, 7

_Vers libre_, 560

_Vicar of Wakefield, The_, 296, 340

Vice, the, in early plays, 74

_Victory_, 528

_View of the Evidences of Christianity, A_, 334

_View of the Present State of Ireland, A_, 92

_Village, The_, 282, 302, 335, 356

_Villette_, 485

_Vindication of Natural Society, A_, 330

_Virgidemiarum_, 141

_Virgiles Æneis turned into English Meter, Certain Bokes of_, 97, 150

_Virgin Goddess, The_, 559

_Virgin Martyr, The_, 128, 174

_Virginians, The_, 479

_Virginibus Puerisque_, 491

_Vision of Judgment, The_, 385, 437, 446–447

_Vision of Mirza_, 244

_Vision of William concerning Piers the Plowman, The_, 42, 50

_Vittoria_, 483

_Vivian Grey_, 424

_Volpone, or The Fox_, 124

_Voltaire_, 550

_Vox Clamantis_, 43

_Voyage of the Beagle, The_, 505

_Voyage of Captain Popanilla, The_, 425

_Voyage to Lisbon, A_, 319

W

=Wace=, 17

_Waggoner, The_, 369

_Waldhere_, 6

=Waller, Edmund=, =183=, 216, 224

=Walpole, Horace=, 298, =323=, 343, 358

Walpole, Sir Robert, 286

_Walpole_, 550

=Walton, Isaac=, 181, 184

_Wanderer, The_ (Old English poem), 6

_Wanderer, The_ (Savage), 263

_Wanderings of Oisin, The_, 555

_Warden, The_, 487

_Watchman, The_, 375, 380

_Water Babies, The_, 490

=Watson, Thomas=, 144

=Watson, Sir William=, =550=, 559

Watts-Dunton, Theodore, 471

_Waverley_, 411, 415, 417–418

_Way of All Flesh, The_, 492

_Way of the World, The_, 203, 204, 215, 567

_Ways to Perfect Religion_, 68

_We are Seven_, 370

_Wealth of Nations, The_, 332, 505

=Webster, John=, =129=, 180

_Wedding, A Ballad upon a_, 186

_Weekly News, The_, 267

_Weir of Hermiston_, 492, 510–511

_Well Beloved, The_, 524

_Well of the Saints, The_, 548

=Wells, H. G.=, =531=, 545, 561

Wessex dialect, the, 3

_Wessex Poems_ (Hardy), 520

_West Wind, Ode to the_, 393

_Westminster Review, The_, 365, 488, 503

_Westward Ho!_, 489

_What d’ye call It?_, 262

_What Every Women Knows_, 548

_When I am Old_, 553

_When the Kye comes Hame_, 407

_Whims and Oddities_, 408

_Whimsicalities_, 409

=White, Gilbert=, =334=, 345, 355

_White Cascade, The_, 553

_White Devil, The_, 129

_White Doe of Rylstone, The_, 369, 371

_White Squall, The_, 480

_Why come ye not to Court?_, 63–64

_Widow in the Bye Street, The_, 552

_Widowers’ Houses_, 541

_Widsith_, 2, 6

_Wife’s Complaint, The_, 6

_Wild Gallant, The_, 199

_Wild Knight, The_, 549

_Wild Swans of Coole, The_, 555

_Wild Wales_, 490

=Wilde, Oscar=, =483=, 546, 559, 565

_Wilhelm Meister_, 493

_Will Waterproof’s Lyrical Monologue_, 460

_William of Palerne_, 22

=Wilson, John=, =433=, 441

=Winchilsea, Lady=, =264=, 266

_Wind among the Reeds, The_, 555

_Window in Thrums, A_, 547

_Windsor Castle_, 422

_Windsor Forest_, 256

_Wine, Water, and Song_, 549

_Winter Night, A_, 312

_Winter’s Tale, The_, 117

_Witch, The_, 128

_Witch of Atlas, The_, 392

_Witch of Edmonton, The_, 128, 174

=Wither, George=, 179

_Within the Tides_, 528

_Woman Killed with Kindnesse, A_, 129

_Woman in the Moon, The_, 105

_Woman in White, The_, 487

_Women beware Women_, 128

_Woodlanders, The_, 523

_Woodstock_, 415

Wordsworth, Dorothy, 366

=Wordsworth, William=, 188, 264, 303, 363, 365, =366=, 375, 376, 377, 379, 410, 436, 437, 562–563, 566

_Wordsworth’s Grave_, 551

_Workers of the Dawn_, 536

_World, A History of the_ (Raleigh), 341

_Worthies of England, The_, 178

_Woundes of Civile War, The_, 107

_Wulf and Eadwacer_, 6

=Wulfstan=, =9=, 12

_Wuthering Heights_, 485

=Wyat, Sir Thomas=, =96=, 143

=Wycherley, William=, =204=, 215

=Wyclif, John=, =46=, 50, 71, 83

_Wynnere and Wastour_, 50

Y

_Yarrow Revisited_, 369

_Ye Banks and Braes_, 308

_Ye Mariners of England_, 405

_Year of Shame, The_, 551

_Yeast_, 489

=Yeats, W. B.=, 519, =555=, 559

_Yellowplush Papers, The_, 478

_You Never Can Tell_, 541

=Young, Edward=, =262=, 270, 278

_Youth_, 527

_Ywain and Gawain_, 22

Z

_Zastorizzi_, 393

=Zola, Emile=, 519, 537

FOOTNOTES:

[1] Coats of mail.

[2] Fire.

[3] king.

[4] rowed.

[5] build.

[6] fine.

[7] birth.

[8] Romans.

[9] loyalty.

[10] peace.

[11] traitor.

[12] hides.

[13] seemliest.

[14] bondage.

[15] lucky.

[16] chance.

[17] I wot, I know.

[18] dirty.

[19] blue.

[20] foaming.

[21] approach.

[22] destroyed.

[23] smell.

[24] cucumbers.

[25] each one.

[26] wonder.

[27] yearned.

[28] Sultan.

[29] any.

[30] raised.

[31] Cheddar.

[32] rain.

[33] suitable.

[34] rocks.

[35] faintness.

[36] seized.

[37] as.

[38] realm.

[39] commenced.

[40] one.

[41] both.

[42] are.

[43] parted.

[44] Dryden wrote before the metrical importance of the final _e_ was understood.

[45] inlaid.

[46] gems.

[47] gleaming.

[48] lily.

[49] frosted.

[50] shivered.

[51] eyes.

[52] hollow.

[53] moisture.

[54] blue.

[55] out over.

[56] gray.

[57] tangled.

[58] attire.

[59] withered dress.

[60] sheaf.

[61] arrows.

[62] feathered.

[63] once.

[64] drawn.

[65] wasteful wants.

[66] cassock.

[67] nonce.

[68] deceiver.

[69] grinned.

[70] groans.

[71] broil.

[72] bear.

[73] blood.

[74] arbor.

[75] living person.

[76] play.

[77] blow.

[78] died.

[79] feeding.

[80] tribute.

[81] slime.

[82] prepare.

[83] _The Shepherd’s Calendar_ (1579).

[84] _Polyolbion_ (1612).

[85] _Tamburlaine_ (1587).

[86] _Love’s Labour’s Lost_ (1594).

[87] _Every Man in his Humour_ (1598).

[88] _Laws of Ecclesiastical Polity_ (1593).

[89] _Essays_ (1597).

[90] _Anatomy of Melancholy_ (1621).

[91] Mammon.

[92] carving.

[93] ore.

[94] hammered.

[95] ingots.

[96] utterly wasted.

[97] peeled.

[98] The passage containing this reference appears on pp. 142–143.

[99] This piece is sometimes ascribed to _William Browne_ (1588–1643.)

[100] Peele.

[101] Nash and Marlowe.

[102] _The Induction_ (1555).

[103] _Tottel’s Miscellany_ (1557).

[104] _The Steel Glass_ (1576).

[105] _The Shepherd’s Calendar_ (1579).

[106] Plutarch’s _Lives_ (1579).

[107] _The Laws of Ecclesiastical Polity_ (1593).

[108] _Venus and Adonis_ (1593).

[109] _Essays_ (1597).

[110] _Characters_ (1614).

[111] rejoice.

[112] bride.

[113] bulged.

[114] peel.

[115] The Cave of Despair.

[116] _Poetical Blossoms_ (1633).

[117] _Noble Numbers_ (1647).

[118] _Ode on the Morning of Christ’s Nativity_ (1629).

[119] _Paradise Lost_ (1658).

[120] _Religio Medici_ (1642).

[121] _The History of the Great Rebellion_ (1646).

[122] _Holy Living_ (1650).

[123] _The Leviathan_ (1651).

[124] Of St. Theresa.

[125] _Ode on the Morning of Christ’s Nativity_ (1629).

[126] _Religio Medici_ (1642).

[127] _The History of the Great Rebellion_ (1646).

[128] _Holy Living_ (1650).

[129] _Paradise Lost_ (1658).

[130] _Samson Agonistes_ (1671).

[131] 1802.

[132] _Astræa Redux_ (1660).

[133] _Hudibras_ (1663).

[134] _The Old Bachelor_ (1693).

[135] _The Pilgrim’s Progress_ (1678).

[136] His dedications, etc.

[137] _Religio Laici_ (1682).

[138] _The Hind and the Panther_ (1687).

[139] _Don Sebastian_ (1690).

[140] _Alexander’s Feast_ (1697).

[141] _Fables_ (1700).

[142] _The Rape of the Lock_ (1712).

[143] _The Complaint, or Night Thoughts_ (1742).

[144] _Gulliver’s Travels_ (1726).

[145] _The Spectator_ (1711).

[146] _Robinson Crusoe_ (1719).

[147] Sir Leslie Stephen.

[148] _The Funeral_ (1701).

[149] _The Review_ (1704).

[150] _The Campaign_ (1704).

[151] _The Battle of the Books_ (1704).

[152] _Pastorals_ (1709).

[153] The Coverley essays.

[154] _The Tatler_ (1709).

[155] _An Essay on Criticism_ (1711).

[156] _Cato_ (1713).

[157] _Robinson Crusoe_ (1719).

[158] _Gulliver’s Travels_ (1726).

[159] _The Dunciad_ (1728).

[160] Elkanah Settle (see p. 207).

[161] Lord John Hervey.

[162] _The Seasons_ (1730).

[163] _Elegy written in a Country Churchyard_ (1751).

[164] _Poems_ (Kilmarnock edition, 1786).

[165] _Pamela_ (1740).

[166] _Tom Jones_ (1749).

[167] _The Decline and Fall of the Roman Empire_ (1776).

[168] vomited.

[169] Mount Pindus, sacred to the Muses. Hence, a poet’s dream.

[170] That is, “the blind one.” A reference to Milton’s blindness.

[171] share.

[172] rinse.

[173] _London_ (1738).

[174] _Pamela_ (1740).

[175] _Joseph Andrew_ (1742).

[176] _The Castle of Indolence_ (1748).

[177] _The Vanity of Human Wishes_ (1749).

[178] _Irene_ (1749).

[179] _The Rambler_ (1750).

[180] _Elegy written in a Country Churchyard_ (1751).

[181] _Rasselas_ (1759).

[182] _The Rosciad_ (1761).

[183] _The Traveller_ (1764).

[184] _The Vicar of Wakefield_ (1766).

[185] _The Good-natured Man_ (1768).

[186] _The Decline and Fall of the Roman Empire_ (1776).

[187] _The Task_ (1785).

[188] The Devil.

[189] going last.

[190] perhaps.

[191] _Lyrical Ballads_ (1798).

[192] _Childe Harold’s Pilgrimage_ (1812).

[193] _Endymion_ (1818).

[194] _The Lay of the Last Minstrel_ (1805).

[195] _Waverley_ (1814).

[196] _Northanger Abbey_ (1798).

[197] _The Confessions of an English Opium-Eater_ (1821).

[198] _Lyrical Ballads_ (1798).

[199] _Northanger Abbey_ (1798).

[200] _The Watchman_ (1796).

[201] _The Lay of the Last Minstrel_ (1805).

[202] _Childe Harold’s Pilgrimage_ (1812).

[203] _Queen Mab_ (1813).

[204] _Waverley_ (1814).

[205] _Manfred_ (1817).

[206] _Endymion_ (1818).

[207] _Biographia Literaria_ (1817).

[208] _Don Juan_ (1819).

[209] _The Cenci_ (1819).

[210] _The Confessions of an English Opium-Eater_ (1821).

[211] _The Essays of Elia_ (1823).

[212] _The Life of Byron_ (1830).

[213] _The Life of Scott_ (1837).

[214] _The Borderers_ (1842).

[215] _Poems_ (1832).

[216] _Pauline_ (1833).

[217] _The Pickwick Papers_ (1836).

[218] _Vanity Fair_ (1847).

[219] _The Ordeal of Richard Feverel_ (1859).

[220] _Sartor Resartus_ (1833).

[221] _Essay on Milton_ (1825).

[222] _The Seven Lamps of Architecture_ (1849).

[223] Such a passage appears on p. 513.

[224] Coleridge.

[225] _Poems_ (1832).

[226] _Poems_ (1833).

[227] _Sartor Resartus_ (1833).

[228] _Pauline_ (1833).

[229] _The Pickwick Papers_ (1836).

[230] _Dramatic Lyrics_ (1842).

[231] _The Memoirs of Barry Lyndon_ (1842).

[232] _Modern Painters_ (1843).

[233] _The Return of the Druses_ (1843).

[234] _The Ordeal of Richard Feverel_ (1859).

[235] _Chastelard_ (1865).

[236] _Queen Mary_ (1875).

[237] An extract will be found on p. 565.

[238] irons.

[239] rope.

[240] mouth.

[241] Poetry

[242] Prose

[243] Stopped.

[244] Loose.

[245] English form.

[246] Italian form.

Transcriber’s Notes:

1. Obvious printers’, punctuation and spelling errors have been corrected silently.

2. Where hyphenation is in doubt, it has been retained as in the original.

3. Some hyphenated and non-hyphenated versions of the same words have been retained as in the original.

4. Italics are shown as _xxx_.

5. Bold print is shown as =xxx=.