XII. THE POST-VICTORIAN AGE

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.Return to passage

[238] irons.Return to passage

[239] rope.Return to passage

[240] mouth.Return to passage

[241] PoetryReturn to reference 1 Return to reference 2 Return to reference 3 Return to reference 4 Return to reference 5 Return to reference 6 Return to reference 7 Return to reference 8 Return to reference 9 Return to reference 10 Return to reference 11 Return to reference 12 Return to reference 13 Return to reference 14 Return to reference 15 Return to reference 16 Return to reference 17 Return to reference 18 Return to reference 19 Return to reference 20 Return to reference 21 Return to reference 22 Return to reference 23 Return to reference 24

[242] ProseReturn to reference 1 Return to reference 2 Return to reference 3 Return to reference 4 Return to reference 5 Return to reference 6 Return to reference 7 Return to reference 8 Return to reference 9 Return to reference 10 Return to reference 11 Return to reference 12 Return to reference 13 Return to reference 14 Return to reference 15 Return to reference 16

[243] Stopped.Return to reference 1 Return to reference 2 Return to reference 3 Return to reference 4 Return to reference 5 Return to reference 6 Return to reference 7 Return to reference 8 Return to reference 9 Return to reference 10

[244] Loose.Return to reference 1 Return to reference 2 Return to reference 3 Return to reference 4 Return to reference 5 Return to reference 6 Return to reference 7 Return to reference 8

[245] English form.Return to reference 1 Return to reference 2 Return to reference 3

[246] Italian form.Return to reference 1 Return to reference 2 Return to reference 3 Return to reference 4 Return to reference 5 Return to reference 6 Return to reference 7 Return to reference 8 Return to reference 9

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=.