Chapter XI: The German Tributary (2)

With all this, "The Monk" is a not wholly contemptible work. There is a certain narrative power about it which puts it much above the level of "The Castle of Otranto." And though it partakes of the stilted dialogue and false conception of character that abound in Mrs. Radcliffe's romances, it has neither the excess of scenery nor of sentiment which distinguishes that very prolix narrator. There is nothing strictly mediaeval about it. The knight in armor cuts no figure and the historical period is not precisely indicated. But the ecclesiastical features lend it a semblance of mediaevalism; and one is reminded, though but faintly, by the imprisonment of the offending sister in the sepulcher of the convent, of the scene in "Marmion" where Constance is immured in the vaults of Lindisfarne--a frank anachronism, of course, on Scott's part, since Lindisfarne had been in ruins centuries before the battle of Flodden. The motto from Horace on the title page of "The Monk" sums up its contents, and indeed the contents of most of its author's writings, prose and verse--

"Somnia, terrores magicos, miracula, sagas,
Nocturnos lemures portentaque."

The hero Ambrosio is the abbot of St. Francis' Capuchin monastery in Madrid; a man of rigid austerity, whose spiritual pride makes him an easy prey to the temptations of a female demon, who leads him by degrees through a series of crimes, including incest and parricide, until he finally sells his soul to the devil to escape from the dungeons of the Inquisition and the _auto da fe_, subscribing the agreement, in approved fashion, upon a parchment scroll with an iron pen dipped in blood from his own veins. The fiend, who enters with thunder and lightning, over whose shoulders "waved two enormous sable wings," and whose hair "was supplied by living snakes," then snatches up his victim and soars with him to a peak of the Sierra Morena, where in a Salvator Rosa landscape of torrents, cliffs, caverns, and pine forests, by the light of an opera moon, and to the sound of the night wind sighing hoarsely and "the shrill cry of mountain eagles," he drops him over a precipice and makes an end of him.

A passage from the episode of Agnes de Medina, the incarcerated nun, will illustrate Lewis' wonder-working arts: "A faint glimmering of light which strained through the bars permitted me to distinguish the surrounding horrors. I was oppressed by a noisome, suffocating smell; and perceiving that the grated door was unfastened, I thought that I might possibly effect my escape. As I raised myself with this design, my hand rested upon something soft. I grasped it and advanced it toward the light. Almighty God! what was my disgust! my consternation! In spite of its putridity and the worms which preyed upon it, I perceived a corrupted human head, and recognized the features of a nun who had died some months before. . . A sepulchral lamp was suspended from the roof by an iron chain and shed a gloomy light through the dungeon. Emblems of death were seen on every side; skills, shoulder-blades, thigh-bones and other relics of mortality were scattered upon the dewy ground. . . As I shrunk from the cutting wind which howled through my subterraneous dwelling, the change seemed so striking, so abrupt, that I doubted its reality. . . Sometimes I felt the bloated toad, hideous and pampered with the poisonous vapors of the dungeon, dragging his loathsome length along my bosom; sometimes the quick, cold lizard roused me, leaving his slimy track upon my face, and entangling itself in the tresses of my wild and matted hair. Often have I, at waking, found my fingers ringed with the long worms which bred in the corrupted flesh of my infant."

"The Monk" won for its author an immediate and wide celebrity, assisted no doubt by the outcry against its immorality. Lewis tried to defend himself by pleading that the outline and moral of his story were borrowed from "The History of Santon Barsisa" in the _Guardian_ (No. 148). But the voluptuous nature of some of the descriptions induced the Attorney General to enjoin the sale of the book, and Lewis bowed to public opinion so far as to suppress the objectionable passages in later editions. Lewis' melodrama "The Castle Specter" was first performed December 14, 1797, at Drury Lane, ran sixty nights and "continued popular as an acting play," says the biographer, "up to a very recent period."[36] This is strong testimony to the contemporary appetite for nightmare, for the play is a trumpery affair. Sheridan, who had a poor opinion of it, advised the dramatist to keep the specter out of the last scene. "It had been said," explains Lewis in his preface, "that if Mr. Sheridan had not advised me to content myself with a single specter, I meant to have exhibited a whole regiment of ghosts." The prologue, spoken by Mr. Wroughton, invokes "the fair enchantress, Romance":

"The moonstruck child of genius and of woe,"

who

"--Loathes the sun or blazing taper's light:
The moonbeamed landscape and tempestuous night
Alone she loves; and oft with glimmering lamp
Near graves new opened, or midst dungeons damp,
Drear forests, ruined aisles and haunted towers,
Forlorn she roves and raves away the hours."

The scene of the drama is Conway Castle in Wales, where abides Earl Osmond, a feudal tyrant of the "Otranto" type, who is planning an incestuous marriage with his own niece, concerning which he thus soliloquizes: "What though she prefer a basilisk's kiss to mine? Because my short-lived joy may cause her eternal sorrow, shall I reject those pleasures sought so long, desired so earnestly? That will I not, by Heaven! Mine she is, and mine she shall be, though Reginald's bleeding ghost flit before me and thunder in my ear 'Hold! Hold!'--Peace, stormy heart, she comes." Reginald's ghost does not flit, because Reginald is still in the flesh, though not in very much flesh. He is Osmond's brother and Angela's father, and the wicked Earl thought that he had murdered him. It turns out, however, that, though left for dead, he had recovered of his hurts and has been kept unbeknown in solitary confinement, in a dungeon vault under the castle, for the somewhat long period of sixteen years. He is discovered in Act V., "emaciated, in coarse garments, his hair hanging wildly about his face, and a chain bound round his body."

Reginald's ghost does not flit, but Evelina's does. Evelina is Reginald's murdered wife, and her specter in "white and flowing garments, spotted with blood," appears to Angela in the oratory communicating with the cedar room, which is furnished with an antique bedstead and the portrait of a lady on a sliding panel. In truth, the castle is uncommonly well supplied with apparitions. Earl Herbert rides around it every night on a white horse; Lady Bertha haunts the west pinnacle of the chapel tower; and Lord Hildebrand may be seen any midnight in the great hall, playing football with his own head. So says Motley the jester, who affords the comedy element of the play, with the help of a fat friar who guzzles sack and stuffs venison pasties, and a soubrette after the "Otranto" pattern.

A few poems were scattered through the pages of "The Monk," including a ballad from the Danish, and another from the Spanish. But the most famous of these was "Alonzo the Brave and the Fair Imogene," original with Lewis, though evidently suggested by "Lenore." It tells how a lover who had gone to Palestine presented himself at the bridal feast of his faithless fair one, just as the clock struck one and the lights burned blue. At the request of the company, the strange knight raises his visor and discloses a skeleton head:

"All present then uttered a terrified shout;
All turned with disgust from the scene;
The worms they crept in and the worms they crept out,
And sported his eyes and his temples about
While the spectre addressed Imogene."

He winds his arms about her and sinks with his prey through the yawning ground; and

"At midnight four times in each year does her sprite,
When mortals in slumber are bound.
Arrayed in her bridal apparel of white,
Appear in the hall with a skeleton knight
And shriek as he whirls her around.

"While they drink out of skulls newly torn from the grave,
Dancing round them pale spectres are seen.
Their liquor is blood, and this horrible stave
They how: 'To the health of Alonzo the Brave
And his consort, the Fair Imogene!'"

Lewis' own contributions to his "Tales of Terror" and "Tales of Wonder," were of his same raw-head and bloody-bones variety. His imagination rioted in physical horrors. There are demons who gnash with iron fangs and brandish gore-fed scorpions; maidens are carried off by the Winter King, the Water King, the Cloud King, and the Sprite of the Glen; they are poisoned or otherwise done to death, and their wraiths revisit their guilty lovers in their shrouds at midnight's dark hour and imprint clammy kisses upon them with livid lips; gray friars and black canons abound; requiem and death knell sound through the gloom of the cloisters; echo roars through high Gothic arches; the anchorite mutters in his mossy cell; tapers burn dim, torches cast a red glare on vaulted roofs; the night wind blows through dark aisles; the owl hoots in the turret, and dying groans are heard in the lonely house upon the heath, where the black and tattered arras molders on the wall.

The "Tales of Wonder" included translations by Lewis from Goethe's "Fisher" and "Erl-King," and from German versions of Runic ballads in Herder's "Stimmen der Voelker." Scott's "Wild Huntsman," from Buerger, was here reprinted, and he contributed, in addition, "Frederick and Alice," paraphrased from a romance-fragment in Goethe's opera "Claudina von Villa Bella"; and three striking ballads of his own, "The Fire King," a story of the Crusades, and "Glenfinlas" and "The Eve of St. John," Scottish tales of "gramarye." There were two or three old English ballads in the collection, such as "Clerk Colvin" and "Tam Lin"; a contribution from George Colman, Jr., the dramatist, and one from Scott's eccentric friend Leyden; and the volume concluded with Taylor's "Lenora."[37]

It is comical to read that the Monk gave Scott lectures in the art of versification and corrected the Scotticisms and false rhymes in his translations from Buerger; and that Scott respectfully deferred to his advice. For nothing can be in finer contrast with Lewis' penny dreadful, than the martial ring of the verse and the manly vigor of the style in Scott's part of the book. This is how Lewis writes anapaests, _e.g._:

"All shrouded she was in the garb of the tomb,
Her lips they were livid, her face it was wan;
A death the most horrid had rifled her bloom
And each charm of beauty was faded and gone."

And this is how Scott writes them:

"He clenched his set teeth and his gauntleted hand,
He stretched with one buffet that page on the sand. . .
For down came the Templars like Cedron in flood,
And dyed their long lances in Saracen blood."

It is no more possible to take Monk Lewis seriously than to take Horace Walpole seriously. They are both like children telling ghost-stories in the dark and trying to make themselves shudder. Lewis was even frivolous enough to compose paradies on his own ballads. A number of these _facetiae_--"The Mud King," "Giles Jollup the Grave and Brown Sally Green," etc.--diversify his "Tales of Wonder."

Scott soon found better work for his hands to do than translating German ballads and melodramas; but in later years he occasionally went back to these early sources of romantic inspiration. Thus his poem "The Noble Moringer" was taken from a "Sammlung Deutscher Volkslieder" published at Berlin in 1807 by Busching and Von der Hagen. In 1799 he had made a _rifacimento_ of a melodrama entitles "Der Heilige Vehme" in Veit Weber's "Sagen der Vorzeit." This he found among his papers thirty years after (1829) and printed in "The Keepsake," under the title of "The House of Aspen." Its most telling feature is the description of the Vehm-Gericht or Secret Tribunal, but it has little importance. In his "Historic Survey," Taylor said that "Goetz von Berlichingen" was "translated into English in 1799 at Edinburgh, by Wm. Scott, Advocate; no doubt the same person who, under the poetical but assumed name of Walter, had since become the most extensively popular of the British writers"! This amazing statement is explained by a blunder on the title-page of Scott's "Goetz," where the translator's name is given as _William_ Scott. But it led to a slightly acrimonious correspondence between Sir Walter and the Norwich reviewer.[38]

The tide of German romance had begun to ebb before the close of the century. It rose again a few years later, and left perhaps more lasting tokens this second time; but the ripple-marks of its first invasion are still discernible in English poetry and prose. Southey was clearly in error when he wrote to Taylor, September 5, 1798: "Coleridge's ballad, 'The Ancient Mariner' is, I think, the clumsiest attempt at German sublimity I ever saw."[39] The "Mariner" is not in the least German, and when he wrote it, Coleridge had not been in Germany and did not know the language. He had read "Die Rauber," to be sure, some years before in Tytler's translation. He was at Cambridge at the time, and one night in winter, on leaving the room of a college friend, carelessly picked up and took away with him a copy of the tragedy, the very name of which he had never heard before. "A winter midnight, the wind high and 'The Robbers' for the first time. The readers of Schiller will conceive what I felt." He recorded, in the sonnet "To Schiller" (written December, 1794, or January, 1795), the terrific impression left upon his imagination by

--"The famished father's cry
From the dark dungeon of the tower time-rent,"

and wish that he might behold the bard himself, wandering at eve--

"Beneath some vast old tempest-swinging wood."

Coleridge was destined to make the standard translation of "Wallenstein"; and there are motives borrowed from "The Robbers" and "The Ghost-Seer" in his own very rubbishy dramas, "Zapolya"--of which Scott made some use in "Peveril of the Peak"--and "Osorio" (1797). The latter was rewritten as "Remorse," put on at Drury Lane January 23, 1813, and ran twenty nights. It had been rejected by Sheridan, who expressed a very proper contempt for it as an acting play. The Rev. W. L. Bowles and Byron, who had read it in manuscript and strangely overvalued it, both made interest with the manager to have it tried on the stage. "Remorse" also took some hints from Lewis' "Monk."

But Coleridge came in time to hold in low esteem, if not precisely "The Robbers" itself, yet that school of German melodrama of which it was the grand exemplar. In the twenty-third chapter of the "Biographia Literaria" (1817) he reviewed with severity the Rev. Charles Robert Maturin's tragedy "Bertram, or the Castle of St. Aldobrand,"[40] and incidentally gave the genesis of that whole theatric species "which it has been the fashion, of late years, at once to abuse and to enjoy under the name of the German Drama. Of this latter Schiller's 'Robbers' was the earliest specimen, the first-fruits of his youth. . . Only as _such_ did the maturer judgment of the author tolerate the play." Coleridge avows that "The Robbers" and its countless imitations were due to the popularity in Germany of the translations of Young's "Night Thoughts," Hervey's "Meditations," and Richardson's "Clarissa Harlowe." "Add the ruined castles, the dungeons, the trap-doors, the skeletons, the flesh-and-blood ghosts, and the perpetual moonshine of a modern author[41] (themselves the literary brood of the 'Castle of Otranto,' the translations of which, with the imitations and improvements aforesaid, were about that time beginning to make as much noise in Germany as their originals were making in England), and, as the compound of these ingredients duly mixed, you will recognize the so-called _German_ Drama," which "is English in its origin, English in its materials, and English by readoption; and till we can prove that Kotzebue, or any of the whole breed of Kotzebues, whether dramatists or romantic writers or writers of romantic dramas, were ever admitted to any other shelf in the libraries of well-educated Germans than were occupied by their originals . . . in their mother country, we should submit to carry our own brat on our own shoulders."

Germany, rather than Italy or Spain, became under these influences for a time the favored country of romance. English tale-writers chose its forests and dismantled castles as the scenes of their stories of brigandage and assassination. One of the best of a bad class of fictions, _e.g._, was Harriet Lee's "The German's Tale: Kruitzner," in the series of "Canterbury Tales" written in conjunction with her sister Sophia (1797-1805). Byron read it when he was fourteen, was profoundly impressed by it, and made it the basis of "Werner," the only drama of his which had any stage success. "Kruitzner" is conceived with some power, but monotonously and ponderously written. The historic period is the close of the Thirty Years' War. It does not depend mainly for its effect upon the time-honored "Gothic" machinery, though it makes a moderate use of the sliding panel and secret passage once again.

We are come to the gate of the new century, to the date of the "Lyrical Ballads" (1798) and within sight of the Waverly novels. Looking back over the years elapsed since Thomson put forth his "Winter," in 1726, we ask ourselves what the romantic movement in England had done for literature; if indeed that deserves to be called a "movement" which had no leader, no programme, no organ, no theory of art, and very little coherence. True, as we have learned from the critical writings of the time, the movement, such as it was, was not all unconscious of its own aims and directions. The phrase "School of Warton" implies a certain solidarity, and there was much interchange of views and some personal contact between men who were in literary sympathy; some skirmishing, too, between opposing camps. Gray, Walpole, and Mason constitute a group, encouraging each other's studies in their correspondence and occasional meetings. Shenstone was interested in Percy's ballad collections, and Gray in Warton's "History of English Poetry." Akenside read Dyer's "Fleece," and Gray read Beattie's "Minstrel" in MS. The Wartons were friends of Collins; Collins a friend and neighbor of Thomson; and Thomson a frequent visitor at Hagley and the Leasowes. Chatterton sought to put Rowley under Walpole's protection, and had his verses examined by Mason and Gray. Still, upon the whole, the English romanticists had little community; they worked individually and were scattered and isolated as to their residence, occupations, and social affiliation. It does not appear that Gray ever met Collins, or the Wartons, or Shenstone or Akenside; nor that MacPherson, Clara Reeve, Mrs. Radcliffe, and Chatterton ever saw each other or any of those first mentioned. There was none of that united purpose and that eager partisanship which distinguished the Parisian _cenacle Romantische Schule_ whose members have been so brilliantly sketched by Heine.

But call it a movement, or simply a drift, a trend; what had it done for literature? In the way of stimulus and preparation, a good deal. It had relaxed the classical bandages, widened the range of sympathy, roused a curiosity as to novel and diverse forms of art, and brought the literary mind into a receptive, expectant attitude favorable to original creative activity. There never was a generation more romantic in temper than that which stepped upon the stage at the close of the eighteenth century: a generation fed upon "Ossian" and Rousseau and "The Sorrows of Werther" and Percy's "Reliques" and Mrs. Radcliffe's romances. Again, in the department of literary and antiquarian scholarship much had been accomplished. Books like Tyrwhitt's "Chaucer" and Warton's "History of English Poetry" had a real importance, while the collection and preservation of old English poetry, before it was too late, by scholars like Percy, Ritson, Ellis, and others was a pious labor.

But if we inquire what positive additions had been made to the modern literature of England, the reply is disappointing. No one will maintain that the Rowley poems, "Caractacus," "The Monk," "The Grave of King Arthur," "The Friar of Orders Gray," "The Castle of Otranto," and "The Mysteries of Udolpho" are things of permanent value: or even that "The Bard," "The Castle of Indolence," and the "Poems of Ossian" take rank with the work done in the same spirit by Coleridge, Scott, Keats, Rossetti, and William Morris. The two leading British poets of the _fin du siecle_, Cowper and Burns, were not among the romanticists. It was left for the nineteenth century to perform the work of which the eighteenth only prophesied.

[1] Scherer's "History of German Literature," Conybeare's Translation, Vol. II, p. 26.

[2] Scherer, Vol. II. pp. 123-24.

[3] See _ante_, pp. 300-301.

[4] See _ante_, pp. 337-38.

[5] "The Beauties of Shakspere. Regularly selected from each Play. With a general index. Digesting them under proper heads." By the Rev. Wm. Dodd, 1752.

[6] "Es war nicht blos die Tiefe der Poesie, welche sie zu Shakespeare zog, es war ebenso sehr das sichere Gefuehl, das hier germanische Art und Kunst sei."--_Hettner's Geschichte der deutschen Literatur_, 3.3.1. s. 51. "Ist zu sagen, dass die Abwendung von den Franzosen zu den stammverwandten Englaendern . . . in ihrem geschichtlichen Ursprung und Wachsthum wesentlich die Auflehnung des erstarkten germanischen Volksnaturells gegen die erdrueckende Uebermacht der romanischen Formenwelt war," etc.--_Ibid._ s. 47. See also, ss. 389-95, for a review of the interpretation of the great Shaksperian roles by German actors like Schroeder and Fleck.

[7] "Wir hoeren einen Nachklang jener froehlichen Unterhaltungen, in denen die Freunde sich ganz und gar in Shakepear'schen Wendungen und Wortwitzen ergingen, in seiner Uebersetzung von Shakespeare's 'Love's Labour's Lost'"--_Hettner_, s. 244.

[8] See the whole oration (in Hettner, s. 120,) which gives a most vivid expression of the impact of Shakspere upon the newly aroused mind of Germany.

[9] "German Literature," Vol. II. pp. 82-83

[10] "Unter allen Menschen des Achtzehnten Jahrhunderts war Geothe wieder der Erste, weicher die lang verachtete Herrlichkeit der gothischen Baukunst empfand und erfasste."--_Hettner_, 3.3.1., s. 120.

[11] _Construirtes Ideal_.

[12] Scherer, II. 129-31. "Oberon" was englished by William Sotheby in 1798.

[13] "Vor den classischen Dichtarten faengt mich bald an zu ekeln," wrote Buerger in 1775. "Charakteristiken": von Erich Schmidt (Berlin, 1886) s. 205. "O, das verwuenschte Wort: Klassisch!" exclaims Herder. "Dieses Wort war es, das alle wahre Bildung nach den Alten als noch lebenden Mustern verdrangte. . . Dies Wort hat manches Genie unter einen Schutt von Worten vergraben. . . Es hat dem Vaterland bluehende Fruchtbaeume entzogen!"--_Hettner_ 3.3.1. s. 50.

[14] "German Literature," Vol. II. p. 230.

[15] "Literaturegeschichte," 3.3.1. s. 30-31.

[16] See _ante_, p. 48.

[17] "Our polite neighbors the French seem to be most offended at certain pictures of primitive simplicity, so unlike those refined modes of modern life in which they have taken the lead; and to this we may partly impute the rough treatment which our poet received from them"--_Essay on Homer_ (Dublin Edition, 1776), p. 127.

[18] See Francis W. Newman's "Iliad" (1856) and Arnold's "Lectures on Translating Homer" (1861).

[19] "Romance," Edgar Poe.

[20] "Lockhart's Life of Scott," Vol. I. p. 163.

[21] For full titles and descriptions of these translations, as well as for the influence of Buerger's poems in England, see Alois Brandl: "Lenore in England," in "Charakteristiken," by Erich Schmidt (Berlin, 1886) ss. 244-48. Taylor said in 1830 that no German poem had been so often translated: "eight different versions are lying on my table and I have read others." He claimed his to be the earliest, as written in 1790, though not printed till 1796. "Lenore" won at once the honors of parody--surest proof of popularity. Brandl mentions two--"Miss Kitty," Edinburgh, 1797, and "The Hussar of Magdeburg, or the Midnight Phaeton," Edinburgh, 1800, and quotes Mathias' satirical description of the piece ("Pursuits of Literature," 1794-97) as "diablerie tudesque" and a "'Blue Beard' story for the nursery." The bibliographies mention a new translation in 1846 by Julia M. Cameron, with illustrations by Maclise; and I find a notice in Allibone of "The Ballad of Lenore: a Variorum Monograph," 4to, containing thirty metrical versions in English, announced as about to be published at Philadelphia in 1866 by Charles Lukens. _Quaere_ whether this be the same as Henry Clay Lukens ("Erratic Enrico"), who published "Lean 'Nora" (Philadelphia, 1870; New York, 1878), a title suggestive of a humorous intention, but a book which I have not seen.

[22] "History of German Literature," Vol. II. p. 123.

[23] These are book phrases, not true ballad diction.

[24] _Cf_. The "Ancient Mariner":

"The feast is set, the guests are met,
May'st hear the merry din."

[25] "Memoir of Wm. Taylor of Norwich," by J. W. Robberds (1843), Vol. II. p. 573.

[26] For Taylor's opinion of Carlyle's papers on Goethe in the _Foreign Review_, see "Historic Survey," Vol. III. pp. 378-79.

[27] "Memoir of Taylor," Vol. I. p. 255.

[28] Among the most notable of these was "Maler" (Friedrich) Mueller's "Golo und Genoveva" (written 1781; published 1811); Count Toerring's "Agnes Bernauerin" (1780); and Jacob Meyer's "Sturm von Borberg" (1778), and "Fust von Stromberg" (1782). Several of these were very successful on the stage.

[29] "Essay on Walter Scott."

[30] Kotzebue's "The Stranger" ("Menschenhass und Reue") still keeps the English stage. Sheridan's "Pizarro"--a version of Katzebue's "Spaniards in Peru"-was long a favorite; and "Monk" Lewis made another translation of the same in 1799, entitled "Rolla," which, however, was never acted.

[31] "State of German Literature."

[32] Lewis sat in Parliament for Hindon, Wilts, succeeding Beckford of "Vathek" and Fonthill Abbey fame.

[33] "The Grim White Woman," in "Tales of Wonder."

[34] Matthew Arnold's lovely "Scholar Gypsy" was suggested by a passage in this.

[35] The following is a list of his principal translations: "The Minister" (1797), from Schiller's "Kabale and Liebe"; played at Covent Garden in 1803, as "The Harper's Daughter." "Rolla" (1799), from Kotzebue's "Spaniards in Peru." "Adelmorn, or the Outlaw" (1800), played at Drury Lane, 1801. "Tales of Terror" (1801) and "Tales of Wonder" (1801). (There seems to be some doubt as to the existence of the alleged Kelso editions of these in 1799 and 1800, respectively. See article on Lewis in the "Dict. Nat. Biog.") "The Bravo of Venice" (1804), a prose romance, dramatized and played at Covent Garden, as "Rugantino," in 1805. "Feudal Tyrants" (1807), a four-volume romance. "Romantic Tales" (1808), 4 vols. From German and French.

[36] The printed play had reached its eleventh edition in 1803.

[37] The "Tales of Terror," and "Tales of Wonder" are reprinted in a single volume of "Morley's Universal Library," 1887.

[38] See "Memoir of Wm. Taylor," Vol. II. Pp. 533-38.

[39] "Memoir of Taylor," Vol. I. p. 223.

[40] This was one of the latest successes of the kind. It was played at Drury Lane in 1816 for twenty-two nights, bringing the author 1000 pounds, and the printed play reached the seventh edition within the year. Among Maturin's other works were "The Fatal Revenge" (1807), "Manuel" (Drury Lane, 1817) "Fredolfo" (Covent Garden, 1817), and his once famous romance, "Melmoth the Wanderer" (1820), see _ante_, p. 249.

[41] Mrs. Radcliffe.

BIBLIOGRAPHY

[This bibliography is intended to give practical aid to any reader who may wish to follow up the history of the subject for himself. It by no means includes all the books and authors referred to in the text; still less, all that have been read or consulted in the preparation of the work.]

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Austen, Jane. "Northanger Abbey," London, 1857.

Bagehot, Walter. "Literary Studies." London, 1879. 2 vols.
Beattie, James. Poetical Works. Gilfillan's ed. Edinburgh, 1854.
Beckford, William. "History of the Caliph Vathek." New York, 1869.
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Boswell, James. "Life of Samuel Johnson." Abridged ed. New York, 1878.
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Schmidt. Berlin, 1886.
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Carlyle, Thomas. Works. London, 1869-72. 31 vols.
Chateaubriand, F. A. R. de. "The Beauties of Christianity." Translation
of F. Shoberl. Philadelphia, 1815.
Chatterton, Thomas. Poetical Works. Skeat's ed. London, 1871. 2 vols.
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INDEX.

Abhandlung von dem Wunderbaren, 374
Abuse of Traveling, The, 84, 89
Account of the English Dramatic Poets, An, 69
Account of the Greatest English Poets, An, 80
Account of Wm. Canynge's Feast, 344, 355
Adams, Jean, 95
Addison, Joseph, 35, 37, 40-42, 45, 46, 49-52, 55-57, 80, 120,
126, 139, 141, 148, 152, 178, 179, 181, 210, 218, 219, 223,
226-28, 283-85, 377, 382, 388, 408
Adelmorn, 409
Adonais, 98, 370
Adventurer, The, 207
Adventures of a Star, 353
Aella, 344, 346, 349, 363-65, 367
Aeneid, The, 56, 328
Aesop's Fables, 84
Agamemnon, 75
Agnes Bernauerin, 399
Aiken, Lucy, 391, 397
Akenside, Mark, 52, 75, 84, 85, 91, 102, 106, 124, 136, 139-42,
145, 157, 159, 168, 215, 228, 235, 403, 422, 423
Albion's Triumph, 85
Alfieri, Vittorio, 3
Alley, The, 80
Allibone's Dictionary of Authors, 392, 393
Alonzo the Brave, 415
Alps, The, 182
Ambrosio, see the Monk.
Amherst, Alicia, 119, 123
Amis et Amile, 64
Ancient Armor, 189
Ancient Lays, 326
Ancient Mariner, The, 18, 262, 269, 299, 369, 394, 419
Ancient Songs, 293
Anecdotes of Painting, 230, 351
Annus Mirabilis, 137
Another Original Canto, 84
Anti-Jacobin, The, 402, 403
Antiquities of Scotland, 187
Apology for Smectymnuus, 146
Apuleius, Lucius, 16, 220
Arcadia, The Countess of Pembroke's, 239
Archimage, 84
Architectura Gothica, 181
Ardinghello, 400
Argenis, 241, 242
Argument against Abolishing Christianity, 42
Ariosto, Lodovico, 25, 100, 219, 222, 225, 226
Aristotle, 19, 38, 51, 55, 274, 276
Arme Heinrich, Der, 64
Armstrong, Jno., 106, 124
Arnold's Chronicle, 274
Arnold, Matthew, 71, 173, 315, 389, 408
Ars Poetica, 47
Art of Preserving Health, 124
Art Poetique, L', 47
Aspects of Poetry, 315
Atalanta in Calydon, 35
Athalie, 217
Atlantic Monthly, The, 11
Aucassin et Nicolete, 64, 189, 221
Austen, Jane, 263
Aytoun, Wm. E., 269

Babes in the Wood, see Children in the Wood.
Babo, Joseph M., 398
Bacon, Francis, 8, 120
Bagehot, Walter, 17
Bailey's Dictionary, 360
Ballads that Illustrate Shakspere, 284
Ballantyne's Novelist's Library, 249
Balzac, Honore de, 249
Banks of Yarrow, The, 274
Bannatyne, Geo., 284
Banville, Theodore F. de, 373
Baour-Lormian, P. M. F. L., 337
Barbauld, Anna L., 391
Barclay, Jno., 241
Bard, The, 173, 193, 194, 196, 424
Barrett, Wm., 348, 354, 364, 367
Bartholin, Thos., 191, 196
Battle of Hastings, The, 345, 346, 348, 364, 365
Battle of Otterburn, The, 278
Bayly, T. H., 254
Beattie, Jas., 85, 97, 166, l86, 242, 245-47, 251, 302-05, 422
Beaumont and Fletcher, 284
Beauties of Shakspere, The, 377
Beckford, Wm., 403, 405
Bedingfield, Thos., 85, 97, 215
Bell, Edward, 340, 342
Bell of Arragon, The, 172
Belle Dame sans Merci, La, 299
Bell's Fugitive Poetry, 159, 161
Bentham, Jas, 180
Beowulf, 25, 318
Beresford, Jas., 391
Berkeley, Geo., 31
Bernart de Ventadour, 64
Bertram, 420
Both Gelert, 391
Biographia Literaria, 59, 420
Black-eyed Susan, 57, 273
Blacklock, Thos., 85, 333
Blair, Hugh, 309, 313, 320. 335
Blair, Robert, 163, 164, 251
Blake, Wm., 28, 164, 365, 366, 372
Blenheim, 104
Boccaccio, Giovanni, 28, 29, 49
Bodmer, J. J., 374, 375
Boiardo, M. M., 25, 100
Boileau-Despreaux, N., 35, 38, 47, 49, 65, 212, 214, 226, 227
Bolingbroke, Henry St. John, Viscount, 41, 135, 382
Bonny Earl of Murray, The, 300
Bonny George Campbell, 275
Borck, C. von, 377
Bossuet, J. B., 38
Boswell, Jas., 94, 105, 139, 150, 174, 288, 312, 320, 355
Botanic Garden, The, 99
Bouhours, Dominique, 49, 227
Bowles, W. L., 420
Boy and the Mantle, The, 300
Boyesen, H. H., 23
Braes of Yarrow, The, 61, 297
Brandl, Alois, 391-93
Bravo of Venice, The, 409
Brentano, Clemens, 384, 402
Bristowe Tragedy, The, 346, 349, 366, 370
Brockes, B. H., 106
Brown, "Capability," 124, 130
Brown, Chas. B., 403
Brown Robyn's Confession, 278
Browne, Sir Thos., 40, 66
Browne, Wm., 79
Browning, Robert, 43
Brunetiere, Ferdinand, 2, 5, 11, 14
Bryant, Jacob, 356
Brydges, Saml. Egerton, 336
Buchanan, Robt., 272
Buerger, G. A., 279, 289, 301, 375, 376, 382, 389-97, 416, 417
Burney, Francis, 252
Burning Babe, The, 41
Burns, Robt., 57, 95. 112, 187, 334, 360, 424
Burton, J. H., 178
Burton, Robt., 162
Byron, Geo. Gordon, Lord, 5, 16, 24, 36, 49, 78, 98, 107, 135,
181, 222, 229, 238, 250, 255, 262, 328-30, 333, 353, 362, 370,
402, 405, 406, 420, 421

Calderon de la Barca, Pedro, 25
Caleb Williams, 403
Calverley. C. S., 270
Cambridge, R. O., 84, 89, 92, 98, 151, 228, 229
Cameron, Ewen, 335
Cameron, Julia M., 393
Campbell, Thos., 142, 143
Campbell, J. F., 314, 322, 323, 325, 327
Canning, Geo., 402, 403
Canterbury Tales (Chaucer), 27, 63, 358, 359
Canterbury Tales (Lee), 421
Caractacus, 190, 194, 195, 306, 424
Caradoc, 195
Carew, Thos., 66
Carey, Henry, 57
Caric-thura, 334
Carle of Carlisle, The, 293
Carlyle, Thos., 317, 330, 334, 397-400
Carmen Seculare, 35
Carter, Jno., 189
Carthon, 311, 333, 335
Castle of Indolence, the, 75, 85, 92-94, 97, 104, 114, 165,
219, 424
Castle of Otranto, The, 188, 211, 215, 223, 129, 231, 236-43,
247, 249, 253, 255, 340, 346, 362, 367, 401, 409, 411,
414, 415, 421, 424
Castle Spectre, The, 401, 413-15
Castles of Athlin and Dunbayne, The, 250, 258, 261
Cath-Loda, 334
Catalogue of Royal and Noble Authors, 230
Cato, 51, 218, 388
Celtic Literature (Sullivan), 315, 325
Celtic Literature, on the Study of (Arnold), 315
Cerdick, 329
Cervantes Saavedra, Miguel de, 244
Cesarotti, M., 321, 337
Champion of Virtue, The, 241-43
Chanson de Roland, The, 27, 64
Chappell, Wm., 270
Charakteristiken, 382, 391
Chase, The (Scott), 391
Chase, The (Somerville), 124
Chateaubriand, F. A. de., 255, 332, 333
Chatterton (Jones and Herman), 373
Chatterton (Masson), 362
Chatterton (Vigny), 372, 373
Chatterton, Thos., 152, 188, 211, 235, 245, 294, 317, 328,
339-73, 384, 422, 423
Chaucer, Geoffrey, 27, 28, 30, 63, 66, 69, 108, 154, 188, 199,
212, 213, 244, 266, 272, 279, 280, 294, 301, 304, 322, 342,
358-60, 363, 371, 382, 383, 433
Chesterfield, Philip Dormer Stanhope, Earl of, 40, 50, 137
Chevy Chase, 274, 283-86, 300, 346, 377
Child, F. J., 267, 284
Child Maurice, 292
Child of Elle, The, 289, 290, 301
Child Waters, 281, 295, 298, 301
Childe Harold, 98, 250, 333, 334, 364
Children in the Wood, The, 273, 283, 285, 288, 302
Choice of Hercules, The, 85
Chrestien de Troyes, 27
Christabel, 363, 369, 394
Christian Ballads, 165
Christ's Kirk o' the Green, 66
Churchill, Chas., 353
Cibber, Colley, 74, 176
Cid, The, 298
City of Dreadful Night, The, 162
Clarissa Harlowe, 352, 421
Classic and Romantic, 11
Classiques et Romantiques, 2
Classische Walpurgisnacht, 385
Claudina von Villa Bella, 417
Clerk, Archibald, 313, 320, 321, 323, 324
Clerk Colvin, 279, 417
Clerkes Tale, The, 280, 281
Coleridge, S. T., 59, 66, 73, 108, 110, 161, 188, 262, 265,
269, 299, 328, 363, 366, 368, 369, 372, 376, 387, 388, 394,
419-21, 424
Colin's Mistakes, 84
Collins, Wm., 25, 75, 104, 110, 112, 114, 118, 129, 136, 142,
151, 155, 156, 158, 163, 165, 166, 168-72, 175, 184, 186, 193,
197, 215, 251, 279, 281, 384, 403, 422, 423
Collection of Old Ballads, A., 284
Colman, Geo., Jr., 176, 254, 417
Colvin, Sidney, 16-18
Companion to the Oxford Guide Book, 202
Complaint of Ninathoma, The, 328
Complete Art of Poetry, The, 69, 72
Comus, 16, 144, 149, 150, 215
Conan, 195
Concubine, The, 85, 95
Conjectures on Original Composition, 387
Conquest of Granada, The, 44
Contemplation, 297
Cooper's Hill, 39
Coriolanus, 72, 74
Corneille, Pierre, 38, 65, 67
Corsair, The, 334
Cottle, Joseph, 350, 358, 368
Count of Narbonne, The, 240
Country Walk, The, 142
Cowley, Abraham, 37, 38, 53, 66, 79, 120, 228
Cowper, Wm., 53, 57, 103, 108, 110, 112, 115, 424
Coxe, A. C., 165
Crabbe, Geo., 103
Crashaw, Richard, 41
Croft. Herbert, 367, 368
Croma, 336
Cromwell, 19, 35
Croxall, Saml., 84
Crusade, The, 199
Cumberland, Richard, 74, 177
Cumnor Hall, 94
Cyder, 104, 124

Dacier, Anne L., 49
Dalrymple, Sir David, 291, 306, 336
Danmarks Gamie Folkeviser, 266
Dante Alighieri, 22, 28, 29, 64, 235
Darke Ladye, The, 369
Darthula, 314, 335
Darwin, Erasmus, 99
Davenant, Wm., 67, 74, 137, 226
David Balfour, 258
Davies, John, 137
De Anglorum Gentis Origine, 192
De Causis Contemnendae Mortis, 191
De Imitatione Christi, 64
Dean of Lismore's Book, The, 314
Death of Calmar and Orla, The, 328
Death of Cuthullen, The, 335
Death of Hoel, The, 195
Death of Mr. Pope, 85
Defence of Poesy, 72, 274
Defence of the Epilogue to the Conquest of Granada, 71
De Foe, Daniel, 40
Demonology and Witchcraft, 42, 189
Demosthenes, 3
Deirdre, 314
Denham, Sir Jno., 39
Denis, Michael, 337, 377
Dennis, Jno., 49, 62, 69, 72, 74, 285
Descent of Odin, The, 191, 192, 220
Deschanel, Emile, 2
Description of the Leasowes, 133, 139
Descriptive Poem, A, 185
Deserted Farm-house, The, 177
Deserted Village, The, 91, 207
Deutscher Art und Kunst, Einige Fliegende Blaetter, von, 380, 381
Dictionary of French Antiquities, 221
Dictionary of National Biography, 359
Dies Irae, 64
Dirge in Cymbeline, The, 75, 163
Dissertatio de Bardis, 195
Dissertation on Fable and Romance, 242, 245-47
Dissertation on the Authenticity of Ossian, 320
Divine Comedy, The, 27
Divine Emblems, 164
Dobson, Austin, 272
Dobson, Susannah,221
Dodd, Wm., 377
Doddington, Geo. Bubb, 111
Dodsley, Jas., 349
Dodsley, Robert, 84, 85, 132, 133, 135, 139, 209
Dodsley's Miscellany, 137, 159, 165
Don Juan, 5, 49
Donne, Jno., 28, 37, 66
Dorset, Chas. Sackville, Earl of, 283
Douglas, 170, 276, 308
Dream, A, 85
Dream of Gerontius, The, 41
Drummer, The, 408
Dryden, Jno., 27, 41, 44, 49, 50-53, 62, 63, 66-68, 70, 71, 74,
79, 80, 104, 137, 148, 149, 177, 192, 209, 210, 212, 213, 216,
265, 283
Dugdale, Wm., 198
Dunciad, The, 34, 56
Duerer, Albrecht, 162
D'Urfey, Thos., 74
Dyer, Jno., 75, 102, 103, 106, 119, 124, 142-45, 168, 215, 422

Early English Metrical Romances, 301
Eastlake, Sir Chas., 54, 55, 199, 231-33
Ecclesiastical Sonnets, 145
Edda, The, 64, 190, 196, 220, 313, 390
Edinburgh Review, The, 350, 397
Education, 85, 89, 90, 126
Education of Achilles, The, 85, 97
Edward, 274, 300
Edwards, Thos., 53, 89, 161
Effusions of Sensibility, 250
Eighteenth Century Literature (Gosse), 84, 104, 106, 163,
l69, 362
Elegant Extracts, 211
Elegies (Shenstone's), 137, 138
Elegy on the Death of Prince Frederick, 85
Elegy to Thyrza, 135
Elegy Written in a Churchyard in South Wales, 176
Elegy Written in a Country Churchyard, 103, 137, 157,
163, 167, 173-77, 204
Elinoure and Juga, 346, 352, 354
Ellis, Geo., 188, 301, 402, 423
Elstob, Elizabeth, 192
Emerson, R, W., 66, 388
Emilia Galotti, 380
Endymion, 370
English and Scottish Popular Ballads, The, 267
English Bards and Scotch Reviewers, 405
English Garden, The, 123-27, 151
English Literature in the Eighteenth Century (Perry), 7, 163,
307, 211, 337
English Metamorphosis, 364, 365
English Romantic Movement, The (Phelps), 84, 85, l97,
283, 297, 329
English Women of Letters, 249, 262
Enid, 281
Enquiry into the Authenticity of the Rowley Poems, 359
Enquiry into the Present State of Polite Learning, 208
Enthusiast, The, 151-53, 160
Epigoniad, the, 89
Epistle of Eloisa to Abelard, 56, 157, 163, 218, 220
Epistle to Augustus, 66, 69, 72, 115
Epistle to Mathew, 370
Epistle to Sacheverel, 80
Epistle to the Earl of Burlington, 120, 129
Epitaphium Damonis, 146
Epithalamium, 84
Erl-King, The, 386, 416
Erskine, Wm., 203, 404
Essay of Dramatic Poesy, 68, 70
Essay on Ancient and Modern Learning, 69
Essay on Criticism, 47, 50, 388
Essay on Gothic Architecture, 180
Essay on Gray (Lowell), 209
Essay on Homer, 387, 389
Essay on Man, 34, 41, 113, 175
Essay on Poetry, 47
Essay on Pope (Lowell), 60, 169, 173
Essay on Pope (Warton), 97, 118, 149, 160, 163, 185, 193,
206, 212-20, 224
Essay on Satire, 47, 80
Essay on Scott, 400
Essay on Shakspere, 69, 72
Essay on the Ancient Minstrels, 245, 293, 302
Essay on the Rowley Poems, 359
Essay on Truth, 303
Essays on German Literature, 23
Essays on Men and Manners, 127
Essays on Poetry and Poets, 363
Ethelgar, 328
Etherege, Geo., 38
Evans, Evan, 195
Eve of St. Agnes, The, 98, 257, 363
Eve of St. John, The, 417
Eve of St. Mark, The, 177, 371
Evelina, 243, 252
Evelyn, Jno., 7
Evergreen, The, 284, 286
Excellente Ballade of Charitie, An, 366
Excursion, The (Mallet), 134
Excursion, The (Wordsworth), 304

Fables, (Aesop), 84
Fables (Dryden), 63
Faerie Queene, The, 16, 37, 66, 77-101, 154, 215, 225, 365
Fair Annie, 281, 295
Fair Circassian, The, 84
Fair Eleanor, 367
Fair Janet, 268
Fair Margaret and Sweet William, 268, 279, 283, 286, 300
Farewell Hymn to the Country, A, 85
Fatal Revenge, The, 249, 420
Fatal Sisters, The, 191
Faust, 27, 141, 384, 385, 401
Fergusson, Jas., 233
Feudal Tyrants, 409
Fichte, J. G., 387
Fielding, Henry, 26, 40, 76, 383
Filicaja, Vincenzio, 49
Fingal, 309, 311, 313, 317, 322, 324, 335, 336, 338
Fire King, The, 417
First Impressions of England, 109, 133
Fischer, Der, 386
Fisher, The, 416
Five English Poets, 372
Five Pieces of Runic Poetry, 190
Flaming Heart, The, 41
Fleece, The, 124, 144, 145, 422
Fleshly School of Poets, The, 272
Fletcher, Giles, 78
Fletcher, Jno., 25, 51, 79, 117, 162, 210
Fletcher, Phineas, 78
Ford, Jno., 241
Foreign Review, The, 398
Forsaken Bride, The, 280
Fouque, F. de la M., 4, 26, 384
Fragments of Ancient Poetry, 306, 307, 309, 311, 323, 326,
328, 336
Frankenstein, 401, 403, 406
Frederick and Alice, 416
Frederick, Prince of Wales, 84, 137
Fredolfo, 420
Freneau, Philip, 177
Friar of Orders Grey, The, 298, 301, 424
Froissart, Jean, 27, 64, 236
From Shakspere to Pope, 39, 60
Fruehling, Der, 106
Fuller, Thos., 28
Furnivall, F. J.,292
Fust von Stromberg, 399