Chapter IV: Part 4

But above everything looms the man himself--a chronic invalid, who might well have pleaded his weakness and constant pains as an excuse for idleness and railings against fate. Stoic courage in the strong is a virtue, but how much greater the cheerful courage that laughs at sickness and pain! Stevenson writing in a sickbed stories and essays that help one to endure the blows of fate is a spectacle such as this world has few to offer. So the man's life and work have come to be a constant inspiration to those who are faint-hearted, a call to arms of all one's courage and devotion.

THOMAS HARDY AND HIS TRAGIC TALES OF WESSEX

GREATEST LIVING WRITER OF ENGLISH FICTION--BECAUSE OF
RESENTMENT OF HARSH CRITICISMS THE PROSE MASTER TURNS TO
VERSE.

No one will question the assertion that Thomas Hardy is the greatest living English writer of fiction, and the pity of it is that a man with so splendid an equipment for writing novels of the first rank should have failed for many years to give the world any work in the special field in which he is an acknowledged master. Hardy seems to have revolted from certain harsh criticism of his last novel, _Jude the Obscure_, and to have determined that he would write no more fiction for an unappreciative world. So he has turned to the writing of verse, in which he barely takes second rank. It is one of the tragedies of literature to think of a man of Hardy's rank as a novelist, who might give the world a second _Tess_ or _The Return of the Native_, contenting himself with a ponderous poem like _The Dynasts_, or wasting his powers on minor poems containing no real poetry.

Hardy's best novels are among the few in English fiction that can be read again and again, and that reveal at every reading some fresh beauties of thought or style. The man is so big, so genuine and so unlike all other writers that his work must be set apart in a class by itself. Were he not so richly endowed his pessimism would be fatal, for the world does not favor the novelist who demands that his fiction should be governed by the same hard rules that govern real life. In the work of most novelists we know that whatever harsh fate may befall the leading characters the skies will be sunny before the story closes, and the worthy souls who have battled against malign destiny will receive their reward. Not so with Hardy. We know when we begin one of his tales that tragedy is in store for his people. The dark cloud of destiny soon obscures the heavens, and through the lowering storm the victims move on to the final scene in which the wreck of their fortunes is completed.

Literary genius can work no greater miracle than this--to make the reader accept as a transcript of life stories in which generous, unselfish people are dealt heavy blows by fate, while the mean-souled, sordid men and women often escape their just deserts. Hardy is not unreligious; he is simply and frankly pagan. Yet he differs from the classical writers in the fact that he is keenly alive to all the strong influences of nature on a sympathetic mind, and he is also a believer in the power of romantic love.

No one has ever equaled Hardy in making the reader feel the living power of trees and other objects of nature. You can not escape the influence of his scenic effects. These are never theatrical--in fact they seem to form a vital part of every story. The scenes of all his novels are laid in his native Dorsetshire, which he has thinly disguised under the old Saxon name of Wessex. In _Far From the Madding Crowd_ Hardy first demonstrated the tremendous possibilities of rural scenes as a vital background for a story, but in _The Return of the Native_ he actually makes Egdon heath the most absorbing feature of the book. All the characters seem to take life and coloring from this heath, which has in it the potency of transforming characters and of wrecking lives. And in _Tess_ the peaceful, rural scenes appear to accentuate the tragedy of the heroine's unavailing struggles against a fate that was worse than death.

Hardy's parents intended him for the church, but the boy probably gave some indications of his pagan cast of mind, for they finally compromised by apprenticing him to an ecclesiastical architect. In this calling the youth worked with sympathy and ability; the results of this training may be seen in the perfection of his plots and in his fondness for graphic description of churches and other picturesque buildings. One curious feature of this training may be seen in Hardy's sympathy and reverence for any church building. As Professor William Lyon Phelps very aptly says of Hardy: "No man to-day has less respect for God and more devotion to his house."

The antipathy of Hardy to any kind of publicity has kept the facts of his life in the background, but it is an open secret that much of the longing of Jude for a college education was drawn from his own boyhood. It is also a matter of record that as a boy he served as amanuensis for many servant maids, writing the love letters which they dictated. In this way, before he knew the real meaning of sex and the significance of life he had obtained a deep insight into the nature of women, which served him in good stead when he came to draw his heroines. All his women are made up of mingled tenderness and caprice, and though female critics of his work may claim that these traits are over-drawn, no man ever feels like dissecting Hardy's women, for the reason that they are so charmingly feminine.

One may fancy that Hardy took great delight in his architectural work, for it required many excursions to old churches in Dorsetshire to see whether they were worth restoring. When he was thirty-one Hardy decided to abandon architecture for fiction. His first novel, _Desperate Remedies_, was crude, but it is interesting as showing the novelist in his first attempts to reveal real life and character. His second book, _Under the Greenwood Tree_, is a charming love story, and _A Pair of Blue Eyes_ was a forerunner of his first great story, _Far From the Madding Crowd_. It may have been the title, torn from a line of Gray's _Elegy_, or the novelty of the tale, in which English rustics were depicted as ably as in George Eliot's novels, that made it appeal to the great public. Whatever the cause, the book made a great popular hit. I can recall when Henry Holt brought it out in the pretty Leisure Hour series in 1875. Three years later Hardy produced his finest work, _The Return of the Native_. He followed this with more than a dozen novels, among which may be mentioned _The Mayor of Casterbridge_, _The Woodlanders_, _Tess of the d'Urbervilles_, and _Jude the Obscure_.

In taking up Hardy one should begin with _Far From the Madding Crowd_. The story of Bathsheba Everdene's relations with her three lovers, Sergeant Troy, Boldwood and Gabriel Oak, moves one at times to some impatience with this charming woman's frequent change of mind, but she would not be so attractive or so natural if she were not so full of caprice. His women all have strong human passion, but they are destitute of religious faith. They adore with rare fervor the men whom they love. In this respect Bathsheba is like Eustacia, Tess, Marty South or Lady Constantine. Social rank, education or breeding does not change them. Evidently Hardy believes women are made to charm and comfort man, not to lead him to spiritual heights, where the air is thin and chill and kisses have no sweetness.

In his first novel Hardy lightened the tragedy of life with rare comedy. These comic interludes are furnished by a choice collection of rustics, who discuss the affairs of the universe and of their own township with a humor that is infectious. In this work Hardy surpasses George Eliot and all other novelists of his day, just as he surpasses them all in such wholesome types of country life as Giles Winterbourne and Marty South of _The Woodlanders_. No pathos is finer than Marty's unselfish love for the man who cannot see her own rare spirit, and nothing that Hardy has written is more powerful than Marty's lament over the grave of Giles:

"Now, my own, my love," she whispered, "you are mine, and on'y
mine, for she has forgot 'ee at last, although for her you
died. But I--whenever I get up I'll think of 'ee, and whenever
I lie down I'll think of 'ee. Whenever I plant the young
larches I'll think none can plant as you planted; and whenever
I split a gad, and whenever I turn the cider-wring, I'll say
none could do it like you. If I forget your name, let me
forget home and heaven! But, no, no, my love, I never can
forget 'ee, for you was a good man and did good things!"

_The Return of the Native_ is generally regarded as Hardy's finest work. Certainly in this novel of passion and despair he has conjured up elements that speak to the heart of every reader. The hand of fate clutches hold of all the characters. When Eustacia fails to go to the door and admit her husband's mother she sets in motion events that bring swift ruin upon her as well as upon others. At every turn of the story the somber Egdon heath looms in the background, more real than any character in the romance, a sinister force that seems to sweep the characters on to their doom. _Tess_ is more appealing than any other of Mr. Hardy's works, but it is hurt by his desire to prove that the heroine was a good woman in spite of her sins against the social code. What has also given this work a great vogue is the splendid acting of Mrs. Fiske in the play made from the novel.

In _Jude the Obscure_ Hardy had a splendid conception, but he developed it in a morbid way, bringing out the animalism of the hero's wife and forcing upon the reader his curious ideas about marriage.

But above and beyond everything else Thomas Hardy is one of the greatest story tellers the world has ever seen. You may take up any of his works and after reading a chapter you have a keen desire to follow the tale to the end, despite the fact that you feel sure the end will be tragic. Nothing is forced for effect; the whole story moves with the simplicity of fate itself, and the characters, good and bad, are swept on to their doom as though they were caught in the rush of waters that go over Niagara falls. Hardy's style is clear, simple, direct, and abounds in Biblical allusions and phrases. In nature study Hardy's novels are a liberal education, for beyond any other author of the last century he has brought out the beauty and the significance of tree and flower, heath and mountain. They may be read many times, and at each perusal new beauties will be discovered to reward the reader.

KIPLING'S BEST SHORT STORIES AND POEMS

TALES OF EAST INDIAN LIFE AND CHARACTER--IDEAL TRAINING OF THE
GENIUS THAT HAS PRODUCED SOME OF THE BEST LITERARY WORK OF OUR
DAY.

Rudyard Kipling cannot be classified with any writer of his own age or of any literary age in the past. His tremendous strength, his visual faculty, even his mannerisms, are his own. He has written too much for his own fame, but although the next century will discard nine-tenths of his work, it will hold fast to the other tenth as among the best short stories and poems that our age produced. Kipling is essentially a short-story writer; not one of his longer novels has any real plot or the power to hold the reader's interest to the end. _Kim_, the best of his long works, is merely a series of panoramic views of Indian life and character, which could be split up into a dozen short stories and sketches.

But in the domain of the short story Kipling is easily the first great creative artist of his time. No one approaches him in vivid descriptive power, in keen character portraiture, in the faculty of making a strange and alien life as real to us as the life we have always known. And in some of his more recent work, as in the story of the two young Romans in _Puck of Pook's Hill_, Kipling reaches rare heights in reproducing the romance of a bygone age. In these tales of ancient Britain the poet in Kipling has full sway and his visual power moves with a freedom that stamps clearly and deeply every image upon the reader's mind.

The first ten years of Kipling's literary activity were given over to a wonderful reproduction of East Indian life as seen through sympathetic English eyes. Yet the sympathy that is revealed in Kipling's best sketches of native life in India is never tinged with sentiment. The native is always drawn in his relations to the Englishman; always the traits of revenge or of gratitude or of dog-like devotion are brought out. Kipling knows the East Indian through and through, because in his childhood he had a rare opportunity to watch the native. The barrier of reserve, which was always maintained against the native Englishman, was let down in the case of this precocious child, who was a far keener observer than most adults. And these early impressions lend an extraordinary life and vitality to the sketches and stories on which Kipling's fame will ultimately rest.

The early years of Kipling were spent in an ideal way for the development of the creative literary artist. Born at Bombay in December, 1865, he absorbed Hindustanee from his native nurse, and he saw the native as he really is, without the guard which is habitually put up in the presence of the Briton, even though this alien may be held in much esteem. The son of John Lockwood Kipling, professor of architectural sculpture in the British School of Art at Bombay, and of a sister of Edward Burne-Jones, it was not strange that this boy should have developed strong powers of imagination or that his mind should have sought relief in literary expression.

The school days of Kipling were spent at Westward Ho, in Devon, where, though he failed to distinguish himself in his studies, he established a reputation as a clever writer of verse and prose. He also enjoyed in these formative years the friendship and counsel of Burne-Jones, and he had the use of several fine private libraries. His wide reading probably injured his school standing, but it was of enormous benefit to him in his future literary work. At seventeen young Kipling returned to India, where he secured a position on the CIVIL AND MILITARY GAZETTE of Lahore, where his father was principal of a large school of arts.

The Anglo-Indian newspaper is not a model, but it afforded a splendid field for the development of Kipling's abilities. He was not only a reporter of the ordinary occurrences of his station, but he was constantly called upon to write short sketches and poems to fill certain corners in the paper, that varied in size according to the number and length of the advertisements. Some of the best of his short sketches and bits of verse were written hurriedly on the composing stone to satisfy such needs. These sketches and poems he published himself and sent them to subscribers in all parts of India, but though their cleverness was recognized by Anglo-Indians, they did not appeal to the general public. After five years' work at Lahore, Kipling was transferred to the ALLAHABAD PIONEER, one of the most important of the Anglo-Indian journals. For the weekly edition of this paper he wrote many verses and sketches and also served as special correspondent in various parts of India.

It was in 1889 that the PIONEER sent him on a tour of the world and he wrote the series of letters afterwards reprinted under the title _From Sea to Sea_. Kipling, like Stevenson, had to have a story to tell to bring out all his powers; hence these letters are not among his best work.

Vividly do I recall Kipling's visit to San Francisco. He came into the CHRONICLE office and was keenly interested in the fine collections which made this newspaper's library before the fire the most valuable on this Coast, if not in the country. He was also much impressed with the many devices for securing speed in typesetting and other mechanical work. The only feature of his swarthy face that impressed one was his brilliant black eyes, which behind his large glasses, seemed to note every detail. He talked very well, but although he made friends among local newspapermen, he was unsuccessful in selling any of his stories to the editors of the Sunday supplements. He soon went to New York, but there also he failed to dispose of his stories.

Finally Kipling reached London in September, 1889, and after several months of discouragement, he induced a large publishing house to bring out _Plain Tales From the Hills_. It scored an immediate success. Like Byron, the unknown young writer awoke to find himself famous; magazine editors clamored for his stories at fancy prices and publishers eagerly sought his work. It may be said to Kipling's credit that he did not utilize this opportunity to make money out of his sudden reputation. He doubtless worked over many old sketches, but he put his best into whatever he gave the public. He married the sister of Wolcott Balestier, a brilliant American who became very well known in London as a publishers' agent, and after Balestier's death Kipling moved to his wife's old home in Brattleboro, Vermont, where he built a fine country house; but constant trouble with a younger brother of his wife caused him to abandon this American home and go back to England, where he set up his lares at Rottingdean, in Surrey. There he has remained, averaging a book a year, until now he has over twenty-five large volumes to his credit. In 1907 Kipling was given the Nobel prize "for the best work of an idealist tendency."

In reading Kipling it is best to begin with some of the tales written in his early life, for these he has never surpassed in vigor and interest. Take, for instance, _Without Benefit of Clergy_, _The Man Who Was_, _The Drums of the Fore and Aft_, _The Man Who Would Be King_ and _Beyond the Pale_. These stories all deal with Anglo-Indian life, two with the British soldier and the other three with episodes in the lives of British officials and adventurers.

_The Man Who Would Be King_, the finest of all Kipling's tales of Anglo-Indian life and adventure, is the story of the fatal ambition of Daniel Dravot, told by the man who accompanied him into the wildest part of Afghanistan. Daniel made the natives believe that he was a god and he could have ruled them as a king had he not foolishly become enamored of a native beauty. This girl was prompted by a native soothsayer to bite Dravot in order to decide whether he was a god or merely human. The blood that she drew on his neck was ample proof of his spurious claims and the two adventurers were chased for miles through a wild country. When captured Daniel is forced to walk upon a bridge, the ropes of which are then cut, and his body is hurled hundreds of feet down upon the rocks. The story of the survivor, who escaped after crucifixion, is one of the ghastliest tales in all literature.

Other tales that Kipling has written of Indian life are scarcely inferior to these in strange, uncanny power. One of the weirdest relates the adventures of an army officer who fell into the place where those who have been legally declared dead, but who have recovered, pass their lives. As a picture of hell on earth it has never been surpassed. Another of Kipling's Indian tales that is worth reading is _William the Conqueror_, a love story that has a background of grim work during the famine year.

One of Kipling's claims to fame is that he has drawn the British soldier in India as he actually lives. His _Soldiers Three_--Mulvaney, the Irishman, Ortheris, the cockney, and Learoyd, the Yorkshireman--are so full of real human nature that they delight all men and many women. Mulvaney is the finest creation of Kipling, and most of his stories are brimful of Irish wit. Of late years Kipling has written some fine imaginative stories, such as _The Brushwood Boy_, _They_ and _An Habitation Enforced_. He has also revealed his genius in such tales of the future as _With the Night Mail_, a remarkably graphic sketch of a voyage across the Atlantic in a single night in a great aeroplane. Another side of Kipling's genius is seen in his _Jungle Stories_, in which all the wild animals are endowed with speech. Mowgli, the boy who is suckled by a wolf, is a distinct creation, and his adventures are full of interest. Compare these stories with the work of Thompson-Seton and you get a good idea of the genius of Kipling in making real the savage struggle for life in the Indian jungle.

Of Kipling's long novels _The Naulakha_ ranks first for interest of plot, but _Kim_ is the best because of its series of wonderful pictures of East Indian life and character. _Captains Courageous_ is a story of Cape Cod fishing life, with an improbable plot but much good description of the perils and hardships of the men who seek fortune on the fishing banks.

As a poet Kipling appeals strongly to men who love the life of action and adventure in all parts of the world. In his _Departmental Ditties_ he has painted the life of the British soldier and the civilian in India, and his _Danny Dever_, his _Mandalay_ and others which sing themselves have passed into the memory of the great public that seldom reads any verse unless it be the words of a popular song. The range of his verse is very wide, whether it is the superb imagery in _The Last Chantey_ or the impressive Calvanism of _McAndrew's Hymn_. His _Recessional_, of course, is known to everyone. It is one of the finest bits of verse printed in the last twenty years.

Kipling, in spite of his many volumes, is only forty-six years old, and he may be counted on to do much more good work.

If he turns to historical fiction he may yet do for English history what the author of _Waverley_ has done for the history of Scotland. Certainly he has the finest creative imagination of his age; in whatever domain it may work it is sure to produce literature that will live.

_Bibliography_

_Short Notes of Both Standard and Other Editions, With Lives,
Sketches and Reminiscences._

_These bibliographical notes on the authors discussed in this volume are brief because the space allotted to them was limited. They are designed to mention the first complete editions--the standard editions--as well as the lives of authors, estimates of their works and sketches and personal reminiscences. A mass of good material on the great writers of the Victorian age is buried in the bound volumes of English and American reviews and magazines. The best guide to these articles is Poole's "Index."_

_The most valuable single volumes to one who wishes to make a study of eighteenth and nineteenth century English writers are: "A Study of English Prose Writers" and "A Study of English and American Poets" by J. Scott Clark. (New York: Charles Scribner's Sons. Price, $2 net a volume.) These two volumes will give any one who wishes to make a study of the authors I have discussed the material for a mastery of their works. Under full biographical sketches the author gives estimates of the best critics, extracts from their works and a full bibliography, including the best magazine articles._

MACAULAY

The editions of Macaulay are so numerous that it is useless to
attempt to enumerate them. A standard edition was collected in
1866 by his sister, Lady Trevelyan. Four volumes are devoted
to the history and three to the essays and lives of famous
authors which he wrote for the _Encyclopedia Britannica_.
Macaulay's essays, which have enjoyed the greatest popularity
in this country, may be found in many forms. A one-volume
edition, containing the principal essays, is issued by several
publishers. Sir George Otto Trevelyan's _The Life and Letters
of Lord Macaulay_ in two volumes (1876) is a more interesting
biography than Lockhart's _Scott_. The best single-volume
estimate of Macaulay is J. Cotter Morison's _Macaulay_ in the
English Men of Letters series. Good short critical sketches of
Macaulay and his work may be found in Sir Leslie Stephen's
_Hours in a Library_, volume 2, and in Lord Morley's _Critical
Miscellanies_, volume 2.

SCOTT

The edition of Scott, which was his own favorite, was issued
in Edinburgh in forty-eight volumes, from 1829 to 1833. Scott
wrote new prefaces and notes for this edition. Another is the
Border edition, with introductory essays and notes by Andrew
Lang (forty-eight volumes, 1892-1894). The recent editions of
Scott are numerous for, despite all criticisms of his careless
style, he holds his own with the popular favorites of the day.
Of his poems a good edition was edited by William Minto in two
volumes, in 1888. _The Life of Scott_ by his son-in-law, J.G.
Lockhart, is the standard work. This was originally issued in
seven volumes but Lockhart was induced to condense it into one
volume, which gives about all that the ordinary reader cares
for. This may be found in Everyman's library. Scott's
_Journal_ and his _Familiar Letters_, both edited by David
Douglas, contain much interesting material. The best short
lives of Scott are by R.H. Hutton in the English Men of
Letters series and by George Saintsbury in the Famous Scots
series. Among the best sketches and estimates of Scott are by
Andrew Lang in _Letters to Dead Authors_; Sir Leslie Stephen
in _Hours in a Library_; Conan Doyle in _Through the Magic
Door_; Walter Bagehot in _Literary Studies_; Stevenson in
_Gossip on Romance_ and in _Memoirs and Portraits_, and S.R.
Crockett in _The Scott Country_. _Abbotsford_, by Washington
Irving, gives the best personal sketches of Scott at home.

CARLYLE

Carlyle's _Essays_ and his _French Revolution_, upon which his
fame will chiefly rest, are issued in many editions. It would
be well if his longer works could be condensed into single
volumes by competent hands. A revised edition of his
_Frederick_ was issued in one short volume. For the facts of
Carlyle's life, the best book is his own _Reminiscences
issued_ in 1881 and edited by Froude, who was his literary
executor with the full power to publish or suppress. Froude
had so great an antipathy to what Carlyle himself called
"mealy-mouthed biography" that he erred on the side of extreme
frankness. In _Thomas Carlyle--The First Forty Tears of His
Life_, _Life in London_ and _Letters of Jane Welsh Carlyle_,
Froude permitted the publication of many malicious comments by
Carlyle on his famous contemporaries. These and morbid
expressions of remorse by Carlyle over imaginary neglect of
his wife caused a great revulsion of public sentiment and the
fame of Carlyle was clouded for ten years. Finally, after much
acrimonious controversy, the truth prevailed and Carlyle came
into his own again.

Among the best books on Carlyle are Lowell's _Essays_, volume
2; David Masson, _Carlyle Personally and in His Writings_;
E.P. Whipple, _Essays and Reviews_; Emerson, _English Traits_;
Lowell, _My Study Windows_; Morley, _English Literature in the
Reign of Victoria_; Greg, _Literary and Social Judgments_;
Moncure Conway, _Carlyle_, and Henley, _Views and Reviews_.

Among magazine and review articles may be mentioned George
Eliot in WESTMINSTER REVIEW, volume 57; John Burroughs in
ATLANTIC MONTHLY, volume 51; Emerson in SCRIBNER'S MAGAZINE,
volume 22; Froude in NINETEENTH CENTURY, volume 10, and Leslie
Stephen in CORNHILL, volume 44.

DE QUINCEY

It is a curious fact that the first complete edition of De
Quincey's works was issued in Boston in twenty volumes
(1850-1855) by Ticknor & Fields. Much of the material was
gathered from English periodicals, as De Quincey was the
greatest magazine writer of his age. This was followed by the
Riverside edition in twelve volumes (Boston, 1877). The
standard English edition is _The Collected Writings of Thomas
De Quincey_, fourteen volumes, edited by David Masson
(1889-1890). A.H. Japp wrote the standard English _Life of De
Quincey_ (London, two volumes, 1879). The best short life is
Masson's in the English Men of Letters series. George
Saintsbury gives a good sketch of De Quincey in _Essays in
English Literature_. Other estimates may be found in the
following works: Leslie Stephen, _Hours in a Library_; H.A.
Page, _De Quincey, His Life and Writings_ and in Mrs.
Oliphant's _Literary History of England_.

LAMB

Reprints of the _Essays of Elia_ have been very numerous. One
of the best editions of Lamb's complete works was edited by
E.V. Lucas in seven volumes, to which he added in 1905 _The
Life of Charles Lamb_ in two volumes. Another is _Complete
Works and Correspondence_, edited by Canon Ainger (London, six
volumes). Ainger also wrote an excellent short life of Lamb
for the English Men of Letters series. Hazlitt and Percy
Fitzgerald have revised Thomas Noon Talfourd's standard
_Letters of Charles Lamb, With a Sketch of His Life_. Among
sketches of the life of Charles and Mary Lamb may be noted
Barry Cornwall's _Charles Lamb--A Memoir_; Fitzgerald,
_Charles Lamb: His Friends, His Haunts and His Books_; Walter
Pater, _Appreciations_; R.H. Stoddard, _Personal
Recollections_; Augustine Birrell, _Res Judicatæ_; Nicoll,
_Landmarks of English Literature_; Talfourd, _Final Memorials
of Charles Lamb_; Hutton, _Literary Landmarks of London_.

DICKENS

The first collective edition of Dickens' works was issued in
1847. The standard edition is that of Chapman & Hall, London,
who were the original publishers of _Pickwick_. One of the
best of the many editions of Dickens is the Macmillan Pocket
edition with reproductions of the original covers of the
monthly parts of the novels as they appeared, the original
illustrations by Cruikshank, Leech, "Phiz" (Hablot Browne) and
others, and valuable and interesting introductions by Charles
Dickens the younger. Another good edition is in the World's
Classics, with brilliant introductions by G.K. Chesterton. In
buying an edition of Dickens it is well to get one with
reproductions of the original illustrations, as these add much
to the pleasure and interest of the novels.

For ready reference to Dickens' works there is a _Dickens
Dictionary_, giving the names of all characters and places in
the novels, by G.A. Pierce, and another similar work by A.J.
Philip. Mary Williams has also prepared a _Dickens
Concordance_.

Forster's _Life of Charles Dickens_, in three volumes, is the
standard work, as Forster was closely connected with the
novelist from the time he made his hit with _Pickwick_. George
Gissing, the novelist, made an abridgment of Forster's _Life_
in one volume, which is well done. Scores of shorter lives and
sketches have been written. Among the best of these are Dr.
A.W. Ward's _Charles Dickens_ in the English Men of Letters
series; Taine's chapter on Dickens in his _History of English
Literature_; Sir Leslie Stephen's article in the _Dictionary
of National Biography_; Mrs. Oliphant's _The Victorian Age in
English Literature_; F.G. Kitton's _Charles Dickens: His Life,
Writings and Personality_. _The Letters_, edited by Miss
Hogarth and Mary Dickens, are valuable for the light they
throw on the novelist's character and work.

In reminiscence of Dickens, the best books are Mary Dickens'
_My Father as I Recall Him_; J.T. Fields' _In and Out of Doors
With Charles Dickens_ and G. Dolby's _Charles Dickens as I
Knew Him_, the last devoted to the famous reading tours.
Edmund Yates, Anthony Trollope, James Payn, R.H. Haine and
many others have written readable reminiscences.

For the home life of Dickens and his haunts see F.G. Kitton's
_The Dickens Country_; Thomas Fort's _In Kent With Charles
Dickens_ and H.S. Ward's _The Real Dickens Land_. Of poems on
Dickens' death the very best is Bret Harte's _Dickens in
Camp_. _The Wisdom of Dickens_, compiled by Temple Scott, is a
good collection of extracts.

THACKERAY

Almost as many editions of Thackeray's works have been
published as of Dickens' novels, and the reader in his
selection must be guided largely by his own taste. In choosing
an edition, however, always get one that contains Thackeray's
own illustrations, as, though the drawing is frequently crude,
the sketches are full of humor and help one to understand the
author's conception of the characters. The best general
edition is _The Biographical_, with introductions by his
daughter, Mrs. Richmond Ritchie (London, 1897-1900). The
Charterhouse edition of Thackeray in twenty-six volumes,
published in England by Smith, Elder & Co. and in this country
by Lippincott, is an excellent library set containing all the
original illustrations.

No regular biography of Thackeray has ever been written
because of his expressed wish, but his daughter, Mrs. Richmond
Ritchie, has supplied this lack with many sketches and
introductions to various editions of her father's works.
Anthony Trollope in his autobiography gives many charming
glimpses of Thackeray but his sketch of Thackeray in the
English Men of Letters series is not warmly appreciative.

One of the best short estimates of Thackeray is Charles
Whibley's _Thackeray_ (1905). Also valuable are sketches by
Frederic Harrison in _Early Victorian Literature_; Brownell,
_Early Victorian Masters_; Whipple, _Character and
Characteristic Men_; R.H. Stoddard, _Anecdote Biography of
Thackeray_; Andrew Lang, _Letters to Dead Authors_; G.T.
Fields, _Yesterdays With Authors_; Jeaffreson, _Novels and
Novelists_ and W.B. Jerrold, _The Best of All Good Company_.

The reviews and magazines, especially in the last ten years,
have abounded in articles on Thackeray. Among these the best
have appeared in SCRIBNER'S MAGAZINE. A small volume, _The
Sense and Sentiment of Thackeray_ (Harper's, 1909), gives
numerous good extracts from the novels as well as from the
essays.

CHARLOTTE BRONTË

Smith, Elder & Co. of London were the publishers of _Jane
Eyre_ and they also issued the first collected edition of
Charlotte Brontë's works. This firm still publishes the
standard English edition, the Haworth edition, with admirable
introductions by Mrs. Humphrey Ward and with many
illustrations from photographs of the places and people made
memorable in Charlotte's novels. A good American edition is
the Shirley edition, with excellent illustrations, many of
them reproductions of rare daguerreotypes.

The standard life of Charlotte Brontë until fifteen years ago
was Mrs. Gaskell's, one of the most appealing stories in all
literature. Clement K. Shorter's _Charlotte Brontë and Her
Circle_ is now indispensable because of the mass of facts that
the author has gathered in regard to the life of the sisters
in the lonely parsonage and their remarkable literary
development. Augustine Birrell has written a good short life
of Charlotte, while A.M.F. Robinson (Mme. Duclaux) has a
volume on Emily Brontë in the Famous Women series.

T. Wemyss Reid was the first writer to make original research
among the Brontë material and his book, _Charlotte Brontë--A
Monograph_, paved the way for the exhaustive study of this
strange family of genius by Clement Shorter. Other books that
give much original material are _The Brontës in Ireland_, by
Rev. Dr. William Wright, and _Charlotte Brontë and Her
Sisters_, by Clement Shorter. Mr. Shorter also in _The
Brontës--Life and Letters_ gives all of Charlotte's letters in
the order of their dates.

GEORGE ELIOT

The first collected edition of George Eliot's works was
brought out in 1878-1880 in London and Edinburgh. Many
editions have since appeared in England and in this country,
the best one being the English Cabinet edition, published by
A. & C. Black.

The standard life of George Eliot is _George Eliot's Life as
Related in Her Letters and Journals_, edited by her husband,
J.W. Cross, who served for ten years as curate of Haworth.
Leslie Stephen has written a remarkably good short life of
George Eliot in the English Men of Letters series.

Among critical articles on George Eliot may be mentioned Henry
James in _Partial Portraits_; Mathilde Blind, _George Eliot_;
Oscar Browning, _Life of George Eliot_ in Great Writers
series; Dowden, _Studies in Literature_; Oscar Browning,
_Great Writers_; Mayo W. Hazeltine, _Chats About Books_; R.H.
Hutton, _Modern Guides of Religious Thought_; R.E. Cleveland,
_George Eliot's Poetry_; Frederic Harrison, _The Choice of
Books_ and Sydney Lanier, _The Development of the English
Novel_.

RUSKIN

The great edition of Ruskin is the Library edition by E.T.
Cook and A. Wedderburn, begun in 1903. It is splendidly
illustrated and is a superb specimen of book-making. English
and American editors of Ruskin are numerous.

The standard life of Ruskin is by W.G. Collingwood, his
secretary and ardent disciple. One of his pupils, E.T. Cook,
published _Studies in Ruskin_, which throws much light on his
methods of teaching art. J.A. Hobson in _John Ruskin, Social
Reformer_ discusses his economic and social teaching. Dr.
Charles Waldstein of Cambridge in _The Work of John Ruskin_
develops his art theories. Good critical studies may also be
found in W.M. Rossetti's _Ruskin_ and Frederic Harrison's
_Tennyson, Ruskin, Mill and Other Literary Estimates_; Justin
McCarthy, _Modern Leaders_; Mary R. Mitford, _Recollections of
a Literary Life_ and R.H. Hutton, _Contemporary Thought and
Thinkers_.

Among magazine articles may be noted W.J. Stillman in the
CENTURY, volume 13; Charles Waldstein in HARPER'S, volume 18;
Justin McCarthy in the GALAXY, volume 13, and Leslie Stephen
in FRAZER'S, volumes 9 and 49.

TENNYSON

The best edition of Tennyson is the Eversley in six volumes,
published by the Macmillans and edited by his son Hallam,
which contains a mass of notes left by the poet and many
explanations of peculiar words and metaphors which the father
gave to the son in discussing his work. This edition also
gives the changes made by the poet in his constant revision of
his works, some of which were not improvements.

A mass of critical commentary and reminiscence has been
published on Tennyson and his poetical work. Among the best of
these volumes are _Tennyson, Ruskin and Mill_, by Frederic
Harrison; _Tennyson and His Friends_, by Mrs. Richmond
Ritchie; _The Homes and Haunts of Tennyson_, by Napier;
_Tennyson, His Art and Relation to Modern Life_, by Stopford
A. Brooke; _The Poetry of Tennyson_, by Henry Van Dyke; the
chapter on Tennyson in Stedman's _Victorian Poets_; a
commentary on Tennyson's _In Memoriam_ by Prof. A.C. Bradley;
_Alfred Tennyson_, by Andrew Lang; _Views and Reviews_, by
W.E. Henley; _Yesterdays With Authors_, by J.T. Fields; _The
Victorian Age_, by Mrs. Oliphant. Dr. Henry Van Dyke
contributed five articles on Tennyson to SCRIBNER'S MAGAZINE,
volume 6.

BROWNING

An enormous literature of comment, appreciation and
interpretation has grown up around Browning, largely due to
the work of various Browning societies in this country and in
Europe. The London Browning Society especially has brought out
many papers that will be of interest to Browning students.
Other works are Arthur Symons, _Introduction to the Study of
Browning_ (London, 1886); G.W. Cooke, _Browning Guide Book_
(New York, 1901); Fotheringham, _Studies_ (London, 1898);
Stedman, _Victorian Poets_; Prof. Hiram Corson, _Introduction
to Browning_; George E. Woodberry, _Studies in Literature and
Life_; Hamilton W. Mabie, _Essays in Literary
Interpretation_; A. Birrell, _Obiter Dicta_; George
Saintsbury, _Corrected Impressions_.

The first edition of Browning's poems appeared in two volumes
in 1849, a second in three volumes in 1863 and a third in six
volumes in 1868. A revised edition containing all the poems
was issued in sixteen volumes in 1888-1889. A fine complete
edition in two volumes, edited by Augustine Birrell and F.G.
Kenyon, was issued in 1896, and Smith, Elder & Co., London,
brought out a two-volume edition in 1900. In this country the
Riverside edition of _Browning's Poetical Works_ in six
volumes, issued by Houghton, Mifflin & Co., and the Camberwell
edition in twelve handy volumes, with notes by Charlotte
Porter and Helen A. Clarke, published by Crowell, are valuable
for Browning students.

The standard life is _The Life and Letters of Robert
Browning_, by Mrs. Sutherland Orr, but valuable are _The Love
Letters of Robert Browning and Elizabeth Barrett Browning_,
issued by Browning's son in 1899. For Edmund Gosse's _Robert
Browning--Personalia_ the poet supplied much of the material
in notes. Good short sketches and estimates are Chesterton's
_Browning_ in the English Men of Letters series and Waugh's
_Robert Browning_.

GEORGE MEREDITH

The standard edition of Meredith's works is the Boxhill
edition in seventeen volumes, with photogravure frontispieces,
issued in this country by the Scribners. The same text is used
in the Pocket Edition in sixteen volumes, which does not
include the unfinished novel, _Celt and Saxon_. A mass of
comment on Meredith may be found in the English and American
reviews and magazines, to which Poole's _Index_ furnishes the
best guide.

Mrs. M.S. Henderson, _George Meredith: Novelist, Poet,
Reformer_; George Macaulay Trevelyan, _The Poetry and
Philosophy of George Meredith_; John Lane, _Biography of
George Meredith_, and R. Le Gallienne, _Characteristics of
George Meredith_.

STEVENSON

Robert Louis Stevenson's early work appeared in fugitive form
in magazines and reviews and even after he had written _The
New Arabian Nights_ and _Travels With a Donkey_ he was forced
to see such excellent matter as _The Silverado Squatters_ cut
up into magazine articles and more than half of it discarded.
The vogue of Stevenson was greater in this country than in
England until he had fully established his reputation. In 1878
_An Inland Voyage_ appeared and in 1879 _Travels With a
Donkey_, but it was not until 1883 that _Treasure Island_ made
him well known. The standard edition of Stevenson is the
Thistle edition, beautifully printed and illustrated, and
issued at Edinburgh and New York, 1894-1898. _The Letters of
Stevenson to His Family_, originally issued in 1899, have now
been incorporated with _Vailima Letters_ and issued in four
volumes. They are arranged chronologically, with admirable
biographical commentary by Sydney Colvin, to whom a great part
of them was written. Stevenson's personality was so attractive
that a mass of reminiscence and comment has been produced
since his death in 1894. The best books are Graham Balfour,
_Life of Robert Louis Stevenson_; Walter Raleigh, _R.L.
Stevenson_; Simpson, _Stevenson's Edinburgh Days_, and
_Memoirs of Vailima_, by Isobel Strong and Lloyd Osbourne, the
novelist's stepchildren. Henry James in _Partial Portraits_
has a fine appreciation of Stevenson and _Robert Louis
Stevenson in California_, by Katharine D. Osbourne is rich in
reminiscence.

THOMAS HARDY

Since 1895, Thomas Hardy has written no fiction. The standard
edition of his works is published in this country by the
Harpers. Recently this firm has issued Hardy in a convenient
thin paper edition which may be slipped into the coat pocket.
His first novel, _Desperate Remedies_, appeared in 1871 but it
was not until the issue of _Far From the Madding Crowd_ in
1874 that he gained popular fame. Many magazine articles have
been written on the "corner of Dorsetshire" which Hardy calls
Wessex. Good books on the Hardy country are _The Wessex of
Romance_, by W. Sherren, and _The Wessex of Thomas Hardy_, by
Windle.

KIPLING

The standard edition of Kipling is the Outward Bound edition,
published in this country by the Scribners. It contains a
general introduction by the author and special prefaces to
each volume, with illustrations from bas reliefs made by the
novelist's father. Doubleday, Page & Co. are issuing a pocket
edition of Kipling, on thin paper with flexible leather
binding, which is very convenient. Any additional books will
be added to each of these editions. Kipling has told of his
early life in India and of his precocious literary activity in
_My First Book_ (1894). Richard Le Gallienne made a study of
the novelist in _Rudyard Kipling--A Criticism_ and Edmund
Gosse in _Questions at Issue_ discusses his short stories.
Prof. William Lyon Phelps in _Essays on Modern Novelists_ has
a fine chapter on Kipling. Andrew Lang in _Essays in Little_
treats of "Mr. Kipling's Stories" and Barrie has an
appreciation in CONTEMPORARY REVIEW for March, 1891. A useful
_Kipling Index_ is issued by Doubleday, Page & Co. All titles
are indexed so that one may locate any story or character.

_Index_

A Blot on the 'Scutcheon, 108, 110, 113.

A Child's Garden of Verse, 125.

Adam Bede, 65, 76, 82, 84.

Addison, 58.

A Dissertation on Roast Pig, 41, 71.

A Dream of Fair Women, 99.

Adventures of Philip, The, 60.

Aes Triplex, 130.

Agnes Gray, 71.

A Gossip on Romance, 130.

A Lodging for the Night, 124, 129.

Alison Cunningham, 125.

Allahabad Pioneer, 144.

Amazing Marriage, The, 122.

An English Mail Coach, 31.

An Habitation Enforced, 148.

An Inland Voyage, 126.

Anglo-Indian Life, 146.

Antiquary, The, 18.

A Pair of Blue Eyes, 135.

Apostles, 99.

Arnold, 116.

Arthurian Legends, 101.

Ashburton, Lady, 25.

Ashby de la Zouch, 17.

Asolando, 108, 111.

A Soldier of France, 12.

Asolo, 113.

A Soul's Tragedy, 108, 110, 113.

A Tale of Two Cities, 53.

Austro-Italian War, 118.

A Window in Thrums, 39.

Balestier, Wolcott, 145.

Ballantyne, 16, 90.

Balzac, 12.

Balzac's Seraphita, 74.

Bank of England, 109.

Barrett, Elizabeth, 110.

Barrie, 39.

Bathsheba Everdene, 136.

Becket, 101.

Bells and Pomegranates, 109.

Beyond the Pale, 146.

Biblical Allusions, 139.

Bleak House, 54.

Blue Coat School, 44.

Boldwood, 136.

Boswell, 4.

Bray, Charles, of Coventry, 80.

Brantwood, 93.

Break, Break, Break, 105.

Brontë, Charlotte, XII, 66 to 72.

Brontë, Emily, 68.

Browning, Robert, XII, 97, 103, 106 to 115, 117, 118.

Browning, Mrs., 110.

Brushwood Boy, The, 148.

Bunyan, 28.

Burne-Jones, 142, 143.

Burns, 113.

Byron, 7, 98, 109, 145.

Cain, 98.

California, 127.

Calvanism, 149.

Cape Cod, 148.

Captains Courageous, 148.

Carlyle, Thomas, XII, XIII, 3, 4, 8, 20 to 30, 43, 52, 53, 93.

Casa Guidi Windows, 110.

Cervantes, 11.

Chapman & Hall, 118.

Charlotte, 68.

Child Angel, The, 45.

Childe Harold, 7, 90.

Choir Invisible, The, 85.

Christmas Carol, 51.

Christmas Story, 51.

Chronicle, 144.

Clive, 4, 9.

Cloister and the Hearth, The, 65.

Coleridge, 35, 42, 43.

Colombe's Birthday, 110, 113.

Colonel Newcome, 58.

Confessions of an English Opium Eater, 36.

Count Robert of Paris, 18.

Court of Chancery, 54.

Cricket on the Hearth, The, 51.

Croker, 4.

Cromwell, 24.

Cross, J.W., 82.

Crossing the Bar, 98, 101, 105, 113.

Crown of Wild Olives, The, 94.

Dale in the Alps, 94.

Daniel Deronda, 79, 82.

Daniel Dravot, 146.

Danny Dever, 149.

David and Allan, 129.

David and Catriona in Holland, 129.

David Balfour, 128.

David Copperfield, 53, 128.

David Warwick, 120.

Defoe, 62.

Departmental Ditties, 149.

De Quincey, Thomas, XII, 30 to 38, 45, 93.
Autobiography, 31.
Confessions, 31, 32.

Desperate Remedies, 135.

Dickens, Charles, XII, 13, 44, 47 to 55, 61, 128.

Dinah Morris, 84.

Diana of the Crossways, 115, 120, 121, 122.

Dombey and Son, 54.

Don Juan, 98.

Doyle, Conan, 12.

Dramatic Idylls, 111.

Dramatic Romances and Lyrics, 110.

Dream Children, XIV, 41, 45.

Dr. Jekyll and Mr. Hyde, 125, 126, 128.

Drums of the Fore and Aft, The, 146.

Dynasts, The, 132.

East India Life, 141.

Edinburgh Review, 4, 23.

Egdon Heath, 133, 138.

Egoist, The, 121.

Eliot, George, XII, 52, 76 to 86, 136, 137.

Emerson, 27, 116.

English History, 120.

English Humorists, The, 60.

Enoch Arden, 101.

Esmond, 56.

Essays of Elia, 40, 43.

Eugenie Grandet, 12.

Eustacia, 136, 138.

Evan Harrington, 121.

Evelyn Hope, 113.

Far From the Madding Crowd, 133, 135, 136.

Father Damien, 124.

Felix Holt, 82.

Fifine at the Fair, 108, 111.

Fiske, Mrs., in Becky Sharp, 58, 138.

Flight of the Tartar Tribe, The, 31.

Fors Clavigera, 92.

Four Georges, The, 60.

Fra Lippo Lippi, 113.

Fraser's Magazine, 23.

Frederick the Great, 24.

French Revolution, The, 23, 27.

From Sea to Sea, 144.

Froude, 24.

Gabriel Oak, 136.

Gaelic Comment, 103.

Gaskell, Mrs., 70.

Gethsemane, XIV.

Giles Winterbourne, 137.

Goethe, 23, 26.

Goldsmith, 3.

Gray's Elegy, 135.

Great Hoggarty Diamond, The, 59.

Hallam, Alfred, 99.

Hallam, Arthur, 99, 100, 103.

Hardy, Thomas, XIII, 77, 115, 116, 131 to 140.

Harold, 101.

Hastings, Warren, 4, 9.

Heart of the Midlothian, The, 17, 18.

Henry Esmond, 60.

Herbert, Sidney, 120.

Heroes and Hero Worship, 22.

Herve Riel, 108.

History of England, 7.

Holt, Henry, 136.

Household Words and All the Year Round, 51.

Howells' Criticism of Thackeray, 62.

How They Brought the Good News, 108.

Idylls of the King, The, 96, 100, 104.

India, 102.

Indian Life, 140.

In Memoriam, 96, 98, 100, 103, 104.

Inn Album, The, 108, 111.

Irving, Washington, 130.

Ivanhoe, 17.

James, Henry, 115, 124.

Jane Eyre, 59, 66, 68, 71, 73.

Janet's Repentance, 81.

John Silver, 125, 128.

Johnson, 3.

Jude the Obscure, 131, 134, 136, 138.

Jungle Stories, 148.

Keats, 109.

Kidnaped, 128.

King Arthur, 104.

King's Treasures, 92.

Kim, 140, 148.

Kipling, John Lockwood, 142.

Kipling, Rudyard, XIII, 140 to 149.

Labor, 26.

Lacy, 113.

Lady Constantine, 136.

Lady Geraldine's Courtship, 110.

Lady Godiva, 100.

Lady of Shalott, The, 99.

Lady of the Lake, The, 7, 15.

Lahore, 144.

Lamb, Mary, 41, 42.

Lamb, Charles, XII, 35, 38 to 46, 123, 130.

Lamp of Sacrifice, 94.

Last Chantey, The, 149.

Last Essays of Elia, The, 45.

Last Ride, The, 108.

Lay of the Last Minstrel, The, 15.

Lays of Ancient Rome, 7.

Leader, Organ of the Free Thinkers, 81.

Learoyd, 147.

Leisure Hour Series, 136.

Lewes, George Henry, 78, 81, 82.

Lincolnshire, 98.

Lockhart, 16.

Locksley Hall, 96, 97, 100, 101, 103.

London, Jack, 129.

London Magazine, 43.

Lord Ormont and His Aminta, 122.

Lotus Eaters, The, 99.

Lovel, the Widower, 60.

Lucy, 119, 120.

Lyrical Poems of Robert Browning, by Dr. A.J. George, 112.

Macaulay, Thomas Babington, 3 to 11, 20.

Malory's Chronicle, 104.

Manchester Grammar School, 34.

Mandalay, 149.

Manfred, 98.

Man Who Was, The, 146.

Man Who Would be King, The, 146.

Margaret Ogilvie, 39.

Marion Evans, 79.

Markheim, 124, 129.

Marmion, 15.

Marty South, 136, 137.

Mason's Song, 26.

Maud, 97, 100.

Mayor of Casterbridge, The, 136.

McAndrew's Hymn, 149.

Melbourne, Lord, 120.

Men and Women, 108.

Meredith, George, XII, 115 to 123, 124.

Micah Clarke, 12.

Middle Ages, The, 99.

Middlemarch, 79, 82, 85.

Millais, 92.

Miller, Henry, in The Only Way, 53.

Mill on the Floss, The, 76, 82, 84.

Milnes, 99.

Milton, 9, 107.

Mitchell, 130.

Modern Painters, 87, 91, 93.

Monckton, 99.

Monte Cristo, 12.

Moravian School, 118.

Morning Post, London, 118.

Morte d' Arthur, 100.

Mowgli, 148.

Mrs. Battle's Opinion on Whist, 41, 45.

Mulvaney, the Irishman, 147.

Murder As One of the Fine Arts, 31, 35.

My Star, 113.

Mystery of Edwin Drood, The, 50.

Napoleon of Rhyme, 109.

Naulakha, The, 148.

New Arabian Nights, 126.

Newcomes, The, 60.

Newdigate Prize, 91.

Niagara Falls, 139.

Nicholas Nickleby, 50, 54.

Nobel Prize, 146.

Norton, Caroline, 120.

Ode on the Death of the Duke of Wellington, 105.

Old Curiosity Shop, 50.

Old Mortality, 18.

Oliver Twist, 50.

O Lyric Love, 108, 111, 114.

One Word More, 108, 111, 113.

Ordeal of Richard Feverel, The, 115, 119.

Our Mutual Friend, 54.

Oxford, 90.

Palace of Art, The, 99.

Past and Present, 22, 26, 27.

Paracelsus, 109.

Parsifal, 107.

Pauline, 109.

Pavilion on the Links, The, 129.

Payn, James, 17.

Peel, Sir Robert, 120.

Pendennis, 60, 64.

Pew, 125, 128.

Pickwick Papers, 50, 52.

Pied Piper of Hamelin, The, 108.

Pilgrim's Progress, 79.

Pilgrim's Scrip, 119.

Pippa Passes, 108, 109, 113, 114.

Phelps, Prof. William Lyon, 115, 116, 134.

Plain Tales from the Hills, 145.

Poems by Two Brothers, 99.

Poems, Chiefly Lyrical, 99.

Preterita, 92, 94.

Princess, The, 100, 105, 114.

Professor, The, 71.

Prospice, 108, 111, 113.

Puck of Pook's Hill, 141.

Pulvis et Umbra, 130.

Punch, 59.

Queen Mary, 101.

Queen Victoria, 104.

Quentin Durward, 17, 18.

Rabbi Ben Ezra, 113.

Rasselas, 79.

Recessional, 149.

Red Cotton Nightcap Country, 111.

Reid, Mayne, 90.

Return of the Native, The, 132, 133, 136, 138.

Rhoda Fleming, 121.

Rhone below Geneva, 94.

Richardson, 62.

Richard the Lion-Hearted, 17.

Ring and the Book, The, 97, 106, 113.

Robinson Crusoe, 125.

Rob Roy, 18.

Romola, 77, 82, 85.

Rose La Touche, 92.

Rottingdean, 145.

Ruskin, John, XII, 17, 30, 87 to 95.

Sad Adventures of the Rev. Amos Barton, The, 81.

Sandra Belloni, 121.

Sands, George, 74.

San Marco, 111.

Sartor Resartus, 21, 23, 28.

Scenes From Clerical Life, 81.

School of Scandal, The, 120.

Scotch Moors, 127.

Scotch Scenes, 127.

Scotch Stories, 128.

Scott, Sir Walter, 11 to 19, 47, 52, 90, 128.

Sea Wolf, The, 129.

Seigfried, Wagner's, 107.

Sellwood, Miss Emily, 100.

Sesame and Lilies, 94.

Seven Lamps, The, 87, 92, 93.

Seymour, 50.

Shakespeare, 47, 106, 114, 120.

Shaving of Shagpat, The, 118.

Shelley, 109.

Sheridan, 120.

Shibli Bagarag, 119.

Shirley, 74.

Sicilian vengeance, 129.

Sidney, 104.

Silas Marner, 82, 84.

Sir Austin, 119.

Sire de Maletroit's Door, The, 124, 129.

Sketches by Boz, 50.

Soldiers Three, 147.

Somoa, 127.

Sonnets From the Portuguese, 110.

Sordello, 106, 109.

Southey, 43.

South Sea Islands, 127.

Spectator, 58.

Spedding, 99.

Spencer, Herbert, 81, 83.

Steele, 58.

Stevenson, XII, 11, 39, 40, 72, 120, 123 to 130.

Stones of Venice, The, 87, 92, 94, 95.

Story of an African Farm, The, 116.

Strafford, 109.

Strauss--Life of Jesus, 80.

Study of Sociology, The, 83.

Supernatural Man, The, 45

Suspira, 36.

Swift, 3.

Taine, 103.

Tales From Shakespeare, 43.