Chapter XII: The Later Fiction

After the turn of the century fiction passes through a change similar to that of which we have seen evidence in poetry. The increased tendency to analysis, the greater frequency of the novel of purpose, and the philosophic strain conspicuous in George Eliot, all point to the operation of the forces which stimulated the intellectual movement in verse. The novelists, on the whole, take themselves more seriously than their predecessors--not always to their own advantage or that of their readers. Dickens, in his later days, is more of a reformer than at the opening of his career; and Charles Reade and Kingsley likewise make a conscious attempt to benefit society. In the case of the greatest novelist yet to be discussed this tendency to seriousness of aim grew till it injured her art. George Eliot was always serious in mind, but there is a great difference in treatment between _Scenes of Clerical Life_ and _Daniel Deronda_.

[Sidenote: George Eliot (1819-1880).]

Mary Ann Evans, who adopted the _nom de plume_ of George Eliot, was the daughter of an estate agent. After the death of her mother in 1836 she was charged with the care of her father's house. But she continued to study, her subject at this period being language, German and Italian, Latin and Greek. Her father moved in 1841 from Griff, near Nuneaton, to Coventry. There Miss Evans came under influences which affected her whole life. Intercourse with certain friends named Bray, and the reading of books like Hennell's _Inquiry concerning the Origin of Christianity_ overthrew her hitherto unquestioning orthodoxy, gave to her thought a permanent bent, and introduced her to literature. A project for translating Strauss's _Leben Jesu_ into English had been for some time entertained; the person who originally undertook the work had to abandon it; and Miss Evans took her place. _The Life of Jesus_ was published in 1846. Miss Evans afterwards translated also Feuerbach's _Essence of Christianity_ (1854), the only book ever published under her own name.

The death of her father in 1849 left her without domestic ties, and in 1850 or 1851 she accepted the position of assistant editor of the _Westminster Review_. In 1854 she took the most questionable step of her life. She went to live with George Henry Lewes, not only without the ceremony of marriage, but while he had a wife still living. All that can be said in defence has been said by herself; but there are several passages in her works which show that she was permanently uneasy, and was not fully convinced that what she had done was right either towards herself or towards society.

Apart from the moral and social aspects of the question, the influence of Lewes upon George Eliot's literary career seems to have been mixed. On the one hand, it must be said that he acted with a delicate generosity for which his general character hardly prepares us. He encouraged her efforts, recognised her genius, avowed that all he was and all he did himself were due to her, and voluntarily sank into the second place. It is at least possible that without such fostering care the genius of George Eliot would not have run so smooth and successful a course. Further, the very difficulties due to the relation add a deeper note to her voice. There is often a solemn, almost tragic tone in her utterances about domestic life which might have been absent had all been smooth between the world and herself.

On the other hand, Lewes, loyally as he effaced himself, could not but foster tendencies in her mind which were strong enough without his encouragement. He was a philosopher, imbued with the tenets of positivism; and she was naturally prone to be fascinated by abstract thought. Not that she was ever exactly original in philosophic speculation: the danger would have been less had she been so. But she hungered for philosophy, took the results proclaimed for absolute truth, and wove them into the fabric of her own work. From the _Scenes of Clerical Life_ to _Daniel Deronda_ and _Theophrastus Such_ her writings became more and more loaded with philosophy. The two last-named books are decidedly overloaded; and even _Middlemarch_, the most massive, and probably on the whole the greatest outcome of her genius, would be still greater were it somewhat lightened of the burden.

_Blackwood_, the nurse of so much genius, in January, 1857, contained the first part of what became the _Scenes of Clerical Life_. _Adam Bede_ appeared in 1859, _The Mill on the Floss_ in the following year, and _Silas Marner_ in 1861. _Romola_ (1863) was the outcome of a journey to Italy in 1860. After _Felix Holt_ (1866) George Eliot attempted poetry, and visited Spain to gather materials for _The Spanish Gypsy_ (1868). Her only other long poem, _The Legend of Jubal_, was published with other pieces in 1874. _Middlemarch_ was issued in eight parts in 1871 and 1872. _Daniel Deronda_ (1876) was her last novel; and the _Impressions of Theophrastus Such_ (1879) was her last work. In 1878 Lewes died; and in April, 1880, George Eliot married Mr. J. W. Cross, but survived the union less than a year, dying December 22, 1880.

George Eliot's place is certainly among the great novelists. At the lowest, she is classed after Scott, Dickens and Thackeray (and a few might add Jane Austen); at the highest, she is placed above them all. She carried by storm the intellect of one of the most thoughtful and weighty of critics, Edmond Scherer, who in his _Etudes sur la Litterature Contemporaine_ devoted three essays to her, which have been admirably translated by Professor Saintsbury. In the last of these Scherer goes so far as to say that for her 'was reserved the honour of writing the most perfect novels yet known.' In spite of the note of exaggeration this judgment is significant. Only a writer, not merely of genius, but of great genius, could have drawn it from a critic so sober-minded; a foreigner, unbiassed by the predilections of patriotism; a man of wide knowledge, well aware of all that his sweeping assertion implied.

Most writers, even the greatest, have loaded themselves with a weight of literary lumber. George Eliot carries less of such _impedimenta_ than many, but it will be well nevertheless to put aside at once such works as are neither in her special field nor in her best manner. Under this head fall the heavy and laboured volume of essays entitled _Impression of Theophrastus Such_, and also the poems. The latter, thoughtful, and occasionally eloquent, nevertheless prove that the writer had not the gift of verse. Richard Congreve described _The Spanish Gypsy_ as 'a mass of positivism.' The description is accurate; and perhaps the fact that it is so is, to others who are not positivists, a heavier objection than it was to him. _The Legend of Jubal_, though better, is not great poetry.

Leaving these works then aside, the novels of George Eliot fall pretty clearly into three groups, which conform to the divisions of chronology. In the first we have at one extreme the _Scenes of Clerical Life_, and at the other _Silas Marner_; in the second _Romola_ stands alone; in the third, _Felix Holt_, the weakest if not the least readable of all, is transitional; while _Middlemarch_ and _Daniel Deronda_ illustrate her later manner respectively in full flower and in decay.

Each of these groups has found special admirers among critics. George Eliot herself was disposed to prefer _Romola_ to all her other works; but she seems to have been swayed by the consideration that it had cost her more than any other book. _Romola_ has been praised also as a marvellous picture of Florentine life in the fifteenth century. Only men who are profoundly versed in Italian character, literature and history are entitled to pronounce upon the question; and they are few in number. But if the statement be true the fact is wonderful, for George Eliot had only spent about six weeks in Florence before she wrote the book. In any case it smells of the lamp, and we may therefore suspect that it will give less permanent pleasure than most of her novels. Tito Melema is admitted to be a masterpiece of subtle delineation; but for the most part the picture of Romola, her home and her associates, is laboured to a degree almost painful.

Of the two other groups, if we take them as wholes, there can be little hesitation in assigning the palm to the earlier. The excellence here is evener, the artistic skill finer, the style more uniformly pleasing. The evenness of quality is proved by the fact that each work in turn has been praised as the author's best, or at least as equal to her best; whereas there can be no reasonable doubt about the pre-eminence of _Middlemarch_ in the last group. The artistic excellence, again, of _Silas Marner_, perhaps the most faultless (which does not necessarily mean the best) of English novels, is as conspicuous as are the artistic defects of _Middlemarch_. And as to style, nearly all readers have felt how the fresh, easy grace, the flexibility of language, the lightness of touch, gradually disappear from the works of George Eliot; and how in her later books passages of genuine eloquence, masterly dialogue or description or reflexion, are mingled with leaden paragraphs wherein the author seems to be struggling under a burden too great for her strength.

The early novels then have the advantage of grace, spontaneity, and the charm exercised by a great writer when the great work is done without apparent effort. Like a giant wielding a club, George Eliot seems to execute the heavy tasks imposed by _Adam Bede_ and _The Mill on the Floss_ with an ease possible only because there is a reserve of strength behind. But some of these early products of genius, and among them the most charming of all, could hardly be repeated. Has child-life ever been as delightfully represented in literature as in the first part of _The Mill on the Floss_? But one secret of the charm is that the book, especially in this part, is autobiographical. Again, in the _Scenes of Clerical Life_ and in _Adam Bede_ the writer moves easily among characters with whom she had been familiar from girlhood. The religious enthusiasm of Dinah Morris is partly a reminiscence of her own early feelings, and partly a picture of her aunt Elizabeth; while in Adam Bede, as afterwards in Caleb Garth, may be seen the features of her own father. In those early years George Eliot skimmed the cream of her experience. Like Scott, she began to write novels rather late. Her powers were therefore mature, and in her first books she combines the perfect freshness of a new writer with the weight and the range of an experienced one.

Thoughtfulness and serious purpose were from the start conspicuous in the writings of George Eliot. It is the overgrowth of these qualities, to the detriment of the artistic element, that mars her later works. _Daniel Deronda_ is ruined by its philosophy and its didactic purpose. The style is ponderous and often clumsy, and the question of heredity is made too prominent. _Middlemarch_ too shows signs of failure on the part of the artist. More than almost any other great novel, it sins against the law of unity. The stories of Dorothea and Casaubon and Ladislaw, of Lydgate and Rosamond, of the Garths, and of Bulstrode, are tacked together by the most flimsy external bonds. They all illustrate a single thesis; but it is for this, and not for their natural connexion, that they are chosen. The keynote of the whole novel is struck in the prelude; and, as in the case of the young Saint Theresa and her brother, we see throughout 'domestic reality,' in diverse shapes, meeting the idealist and turning him back from his great resolve. But even want of unity will be pardoned, provided the details are conceived and presented in the manner of an artist, as they are in _Middlemarch_. Some of George Eliot's books contain fresher pictures than we find here, but none contains more that dwell in the mind, and in none is her maturest thought so well expressed. _Middlemarch_ gives us one of the rarest things in literature, the philosophy of a powerful mind presented with all the charm of art. For this reason it at least rivals the best work of her first period.

[Sidenote: Mrs. Henry Wood (1814-1887).]

[Sidenote: Dinah Maria Craik (1826-1887).]

George Eliot was the last of the race of giants in fiction. Some good novelists remain to be noticed, but none who can without hesitation be called great. Those who did respectable work are so numerous that the task of selection becomes exceedingly difficult; and moreover, as we draw near the dividing-line, it proves sometimes doubtful whether a man should be included in the present period, or viewed as belonging to that still current. It is safe to say however that of all forms of literature, fiction is the one in which a rigorous law of selection is the most necessary. Many popular writers must be passed over in silence. Mrs. Henry Wood, notwithstanding the success of her _East Lynne_, can be barely mentioned; and little more is possible in the case of Dinah Maria Craik, best known as the author of _John Halifax, Gentleman_, a pleasing but somewhat namby-pamby story, ranked by some unaccountably high. Mrs. Craik never shocks, never startles, nor does she ever invigorate. She is one of those writers who appeal to the taste of the middle class, not perhaps as it is now, but as it was a generation ago.

Three detached novels, by men who cannot be classed as writers of fiction, may be named for the sake of their authors--_Eustace Conway_ (1834), by F. D. Maurice, and _Loss and Gain_ (1848) and _Callista_ (1856), by J. H. Newman. Maurice's story was written when, a young man, he was still groping his way; but Newman's deliberately and when the bent of his mind had been long taken. His novels are among the symptoms of the passing of theological interest into general literature, but they have in themselves no value.

[Sidenote: Charles Kingsley (1819-1875).]

Charles Kingsley was also by profession a theologian, and his disastrous controversy with Newman remains as a proof of the interest he took in the movement Newman sought to serve by _Callista_. But fortunately Kingsley did not allow this interest to dominate his books. Tractarianism is indeed one of the themes of his earliest novels, _Alton Locke_ (1850) and _Yeast_ (1848), but socialism, to which his attention had been turned by the personal influence of Maurice, is a far more prominent one. _Yeast_ pictures the condition of agricultural labour, _Alton Locke_ that of labour in crowded cities. Both books are immature, sometimes rash, and on the whole not well constructed; but they have the merits of vigour, earnestness and knowledge at first-hand; for Kingsley had personally taken part in the labour movements in London which resulted in Chartism. _Hypatia_ (1853) is an ambitious novel, at once historical and philosophical, impressive in parts, but on the whole heavy. Kingsley, a man whose physical nature and instincts were quite as well developed as his intellect, is happiest where he can bring to play the experiences of his life, and where he can describe scenes familiar to him. About his best work there is always a breath of the moor, of the fen or of the sea; for he had lived by them all and had learnt to love them. This is shown by his verse as well as his prose. His _Ode to the North-East Wind_, his _Sands of Dee_, and the images scattered everywhere through his poems, prove how the features of the scenery and of the weather had sunk into his mind. So do such novels as _Westward Ho!_ (1855) and _Hereward the Wake_ (1866). The former, a historical romance, the scene of which is laid in the time of Elizabeth, is generally considered Kingsley's best work; and it is only a small minority, to which the writer happens to belong, who find it dreary. The power of some of the descriptions must be acknowledged; but whether _Westward Ho!_ will live is a question on which there may be difference of opinion. _Hereward the Wake_, generally ranked much lower, is certainly uneven and in parts dull. But it has two great merits: it reproduces in a marvellous way the impression of the fen country; and, by vivid flashes, though not constantly, the reader seems to see before his eyes the very life of the old vikings.

Kingsley's work was most varied. Besides his novels, his professional work, such as sermons, and his lectures as Professor of History at Cambridge, we may mention his beautiful fairy-tale, _The Water Babies_ (1863), with its exquisite snatches of verse, 'Clear and Cool,' and 'When all the world is young.' His poetry, if it were as copious as it is often high in quality, would place him among the great. But it was only occasional. Besides short pieces, he was the author of a drama, _The Saint's Tragedy_ (1848), somewhat immature, and of _Andromeda_ (1858), one of the few specimens of English hexameters that are readable, and that seem to naturalise the metre in our language. It is however noticeable that Kingsley's success is won at the cost of wholly altering the character of the measure. _Andromeda_ is true and fine poetry, but its effect is not that of 'the long roll of the hexameter.' There is a very great preponderance of dactyls. This is the case with almost all English hexameters; and the fact goes far to prove that the hexameter, as understood by the ancients, a fairly balanced mixture of dactyls and spondees, is not suited to the genius of English.

[Sidenote: Henry Kingsley (1830-1876).]

Henry Kingsley, the younger brother of Charles, was a novelist likewise, but one of considerably less merit. He passed some years in Australia, and his experiences there supplied materials for one of his best stories, _Geoffrey Hamlyn_. That by which he is best known is however _Ravenshoe_ (1862). His novels are extremely loose in construction, and he is no rival to his brother in that exuberance of spirits which gives to the writings of the latter their most characteristic excellence.

[Sidenote: Anthony Trollope (1815-1882).]

Senior to both the brothers, alike in years and as a writer, was Anthony Trollope. Coming of a literary family (both his mother and his elder brother wrote novels), he proved himself, from 1847, when he published _The Macdermotts of Ballycloran_, to his death, one of the most prolific of novelists. No recent writer illustrates better than he the function of the novel when it is something less than a work of genius. The demand for amusement is the explanation of the enormous growth of modern fiction. But pure amusement is inconsistent with either profound thought or tragic emotion, while, on the other hand, it requires competent literary workmanship. Anthony Trollope exactly satisfied this demand. He wrote fluently and fairly well. He drew characters which, if they were never very profound or subtle, were at any rate tolerably good representations of human nature. He had a pleasant humour, could tell a story well, and could, without becoming dull, continue it through any number of volumes that might be desired. Perhaps no one has ever equalled him at continuations. What are commonly known as the Barsetshire novels are his best group. There are some half-dozen stories in the group, yet four of them, _Barchester Towers_, _Doctor Thorne_, _Framley Parsonage_, and _The Last Chronicle of Barset_, extending over a period of ten years (1857-1867), must all be classed with his best work. Perhaps it was the touch of the commonplace that made it possible for him thus frequently to repeat his successes. Trollope's description of his own methods of work in his _Autobiography_ shows that he worked himself as a manufacturer works his steam-engine, and with the same result, so much of a given pattern produced _per diem_. His monograph on Thackeray proves him capable of comparing his methods with the methods of a man of genius, by no means to the advantage of the latter.

[Sidenote: James Grant (1822-1887).]

[Sidenote: George John Whyte-Melville (1821-1878).]

[Sidenote: Wilkie Collins (1824-1889).]

[Sidenote: George Alfred Lawrence (1827-1876).]

Among the minor writers a few, typical of different classes, may be briefly mentioned. James Grant wrote some historical works as well as many novels well spiced with adventure. His best book is perhaps _The Romance of War_ (1845). It follows the fortunes of a regiment through the Peninsula; but while the plan gives it a good groundwork of reality and an abundance of stirring scenes, it is inartistic. George John Whyte-Melville was similarly fond of adventure, but, though he was a soldier who had seen service in the Crimea, he is specially identified with sporting rather than with military novels. His best work is descriptive of fox-hunting, a sport to which he was passionately devoted. He also wrote historical novels, of which the best known is _The Gladiators_. Both of these writers relied for their effect upon the feeling of interest produced by the situations in which they placed their characters. So, but in a totally different way, did Wilkie Collins. He was a master of sensational narrative. He excelled in the skilful construction and the skilful unravelling of plot, and in his own domain he is among the best of recent writers. His best known book is _The Woman in White_, while perhaps that which best deserves to be known is _The Moonstone_. In neither is there a single character worth remembering; the story is everything. The novel of society, again, is represented by George Alfred Lawrence, the author of _Guy Livingstone_, who repeats many of the faults of Bulwer Lytton, and has not the genius which in Lytton's case partly redeems the faults.

[Sidenote: Charles Reade (1814-1884).]

There remains one man of genius, Charles Reade, who towers over all these men of talent. Reade was mature in years before he began his literary career with a group of dramas, of which _Gold_, acted with moderate success in 1853, was the best. His easy circumstances as the son of an Oxfordshire squire, and fellow of Magdalen College, exempted him from the necessity of pushing his way in the world. In literature he had one great ambition and one great gift, and unfortunately the two diverged. His talent lay in prose fiction, while his ambition drew him towards the stage. It was the advice of an actress that caused him to turn _Masks and Faces_, a drama written in collaboration with Tom Taylor, into the prose story of _Peg Woffington_ (1853), and so to find his true vocation. But he remained unsatisfied, and through his whole career he continued to make experiments in the drama, never with much success except in the case of _Drink_ (1879), founded on Zola's _L'Assommoir_. So strong was his predilection, that he desired that in the inscription on his tombstone the word 'dramatist' should be put first in the specification of his pursuits.

Those who study Reade can have no difficulty in detecting the cause of his failure in the drama. He is fertile of incident, but he has not the art of selecting a few striking scenes rising out of one another and leading rapidly up to a catastrophe. His copiousness finds room in the freer field of prose fiction, and his want of skill in selection is less noticeable there. Accordingly he soon won as a novelist the popularity he never secured as a playwright. _Christie Johnstone_ (1853), one of his best stories, was the successor of _Peg Woffington_, and after _It is Never Too Late to Mend_ (1856) he took his place as one of the first writers of fiction of the time.

Charles Reade was a man of strong individuality, intense in all his opinions, and bent on making them known. Hence he gives us perhaps the best examples of the novel with a purpose. Dickens had done much work of this description, but Reade went beyond him. Many of his novels are devoted to special questions. Thus _It is Never Too Late to Mend_ deals with prison administration, _Hard Cash_ with lunatic asylums, and _Put Yourself in his Place_ with trade-unions. Moreover, Reade was by no means the man to approach these questions with a few _a priori_ impressions only in his head. He was thorough, and he made an elaborate study of each before he wrote about it. Every incident reported in the newspapers, every trial in the courts of law, every fact wherever recorded, he made it his business to master. He cared less for theories, at least for the theories of other people: he made his own, and loved them. But his survey of the evidence was as nearly exhaustive as it could be. No other writer of fiction ever left such an apparatus of note-books, newspaper cuttings, etc., all digested and systematically arranged. It has been commonly held that Reade's work was injured by this laborious method; and no doubt the opinion is in part sound. Yet his merits as well as his defects are closely related to his method. His variety and his inexhaustible resource are due to the enormous accumulation of his facts. He loved to illustrate the saying that truth is stranger than fiction, and he held that no man's invention could supply incidents equal to those which patient investigation would reveal. There is no novelist with respect to whom it is so dangerous to say, 'this is unnatural or impossible.' Probably the seeming impossibility is a hard fact, disclosed by some forgotten trial or recorded in some old newspaper.

While however this backbone of reality gives strength to Reade's novels, his devotion to fact sometimes leads him to forget unity and proportion. The violence of his convictions was apt to overbalance his judgment. He is at his best in his calmer and less didactic moods. For this reason _The Cloister and the Hearth_ (1861) is his masterpiece. In a historical novel, of which the scene is laid in the fifteenth century and the hero is the father of Erasmus, there is ample scope for Reade's love of investigation, and he has with great skill woven into the narrative the results of wide reading and patient study. The works of Erasmus are appropriately laid under contribution. But Reade has here no thesis to defend, no abuse to attack. The book is consequently better balanced than the novels of the class already mentioned; and the adventures are diversified with touches of pathos and with scenes of domestic life in the Dutch home, such as are hardly to be found elsewhere in Reade's works. The delineation of character also is subtler. In many of Reade's novels the characters are wholly subordinate to the purpose of the story. It is not Mr. Eden who interests us in _It is Never Too Late to Mend_, but rather his theories and methods.

There is no rival among Reade's novels to _The Cloister and the Hearth_; but several of them nevertheless are of high quality. _Christie Johnstone_, a remarkably clever and successful study of the fisher population of the east of Scotland, is perhaps the freshest and least laboured of all his works; and _Griffith Gaunt_, an analysis of the workings of the passion of jealousy, is the subtlest as a psychological study; while _It is Never Too Late to Mend_ stands pretty near the head of its own class, the novel of purpose. Except the greatest of the writers already dealt with, and one other, Mr. George Meredith, who belongs rather to the next period, there was no contemporary writer who could do work equal to any one of them.

* * * * *

We have now traced the course of literature through a period of forty years, distinguished for their fertility and for the variety of the talent displayed in them. In the prominence given to history, in the drift of philosophic speculation, in the prevalence of the novel of purpose, and in the spirit of the later poetry, we see the influence of social problems clamouring for solution. The Age of Tennyson has been essentially an age of reconstruction. It inherited from the preceding generation a gigantic task, which it has earnestly and laboriously striven to accomplish. What measure of success has been won is still doubtful; how long the literary expression of the effort will remain satisfying may be doubtful too. It is said to-day that we no longer read Carlyle; it may be said to-morrow that we no longer read Tennyson or Browning either. But there is substance in the work of all these men, and of all the leaders of the period. If they are no longer read it is because their thought has penetrated the life of the time; and we may be sure that they will revive and have a second vogue when they are old enough to be partly forgotten.

CHRONOLOGICAL TABLE.

1831. Disraeli: _The Young Duke_.
Ebenezer Elliott: _Corn Law Rhymes_.
Peacock: _Crotchet Castle_.
Scott: _Count Robert of Paris_.
Scott: _Castle Dangerous_.

1832. John Austin: _The Province of Jurisprudence Determined_.
E. L. Bulwer (Lord Lytton): _Eugene Aram_.
Disraeli: _Contarini Fleming_.
Samuel Warren: _The Diary of a Late Physician_.
Bentham died.
Crabbe died.
Scott died.

1833. Robert Browning: _Pauline_.
Carlyle: _Sartor Resartus_ (finished 1834).
Hartley Coleridge: _Poems_.
Disraeli: _The Wondrous Tale of Alroy_.
Lamb: _Last Essays of Elia_.
Lyell: _Principles of Geology_ (completed).
J. H. Newman: _Arians of the Fourth Century_.
Newman and others: _Tracts for the Times_ (begun).
Tennyson: _Poems_.

1834. E. L. Bulwer (Lord Lytton): _The Last Days of Pompeii_.
Landor: _The Citation and Examination of William Shakespeare_.
Marryat: _Peter Simple_.
Marryat: _Jacob Faithful_.
Henry Taylor: _Philip van Artevelde_.
S. T. Coleridge died.
Charles Lamb died.
Malthus died.

1835. Robert Browning: _Paracelsus_.
E. L. Bulwer (Lord Lytton): _Rienzi_.
Dickens: _Sketches by Boz_ (finished 1836).
Thirlwall: _History of Greece_ (finished 1847).
Wordsworth: _Yarrow Revisited, and other Poems_.
Mrs. Hemans died.
James Hogg died.

1836. Dickens: _Pickwick_ (finished 1837).
Landor: _Pericles and Aspasia_.
Lockhart: _Life of Sir Walter Scott_ (finished 1838).
Marryat: _Mr. Midshipman Easy_.
Marryat: _Japhet in Search of a Father_.
W. Godwin died.
James Mill died.

1837. Robert Browning: _Strafford_.
Carlyle: _History of the French Revolution_.
Dickens: _Oliver Twist_ (finished 1838).
Disraeli: _Henrietta Temple_.
Disraeli: _Venetia_.
Hallam: _Literature of Europe_ (finished 1839).
Landor: _The Pentameron_.
Thackeray: _The Yellowplush Papers_ (finished 1838).

1838. Thomas Arnold: _History of Rome_ (last volume, 1843).
E. Barrett (Browning): _The Seraphim_.
E. L. Bulwer (Lord Lytton): _The Lady of Lyons_.
Dickens: _Nicholas Nickleby_ (finished 1839).
Maurice: _The Kingdom of Christ_ (enlarged 1842).
Newman: _Lectures on Justification_.

1839. Bailey: _Festus_.
E. L. Bulwer (Lord Lytton): _Cardinal Richelieu_.
Carlyle: _Chartism_.
Carlyle: _Critical and Miscellaneous Essays_.
Lever: _Harry Lorrequer_.
Thackeray: _Catherine_ (finished 1840).
John Galt died.
W. M. Praed died.

1840. Robert Browning: _Sordello_.
E. L. Bulwer (Lord Lytton): _Money_.
Dickens: _The Old Curiosity Shop_ (finished 1841).
Frere: _Translation of Aristophanes_.
Thackeray: _The Paris Sketch Book_.
Madame D'Arblay died.

1841. Robert Browning: _Pippa Passes_.
Carlyle: _Heroes and Hero-Worship_.
Dickens: _Barnaby Rudge_.
Lever: _Charles O'Malley_.
Hugh Miller: _The Old Red Sandstone_.
Newman: _Tract XC_.
Thackeray: _The Great Hoggarty Diamond_.
Warren: _Ten Thousand a Year_.

1842. Robert Browning: _Dramatic Lyrics_.
E. L. Bulwer (Lord Lytton): _Zanoni_.
Dickens: _American Notes_.
Macaulay: _Lays of Ancient Rome_.
Marryat: _Percival Keene_.
Henry Taylor: _Edwin the Fair_.
Tennyson: _Poems_.
Wilson: _The Recreations of Christopher North_.
Wordsworth: _The Borderers_.
Thomas Arnold died.

1843. Robert Browning: _A Blot in the 'Scutcheon_.
Carlyle: _Past and Present_.
Dickens: _Martin Chuzzlewit_ (finished 1844).
Horne: _Orion_.
E. L. Bulwer (Lord Lytton): _The Last of the Barons_.
Macaulay: _Critical and Historical Essays_ (collected).
Mill: _A System of Logic_.
Ruskin: _Modern Painters_ (finished 1860).
Thackeray: _The Irish Sketch Book_.
Southey died.

1844. Barnes: _Poems of Rural Life, in the Dorset Dialect_.
E. Barrett (Browning): _Poems_.
Robert Browning: _Colombe's Birthday_.
Disraeli: _Coningsby_.
Kinglake: _Eothen_.
Stanley: _Life of Arnold_.
Thackeray: _Barry Lyndon_.
Thomas Campbell died.

1845. Robert Browning: _Dramatic Romances and Lyrics_.
Carlyle: _Cromwell_.
Disraeli: _Sybil_.
Thomas Hood died.
Sydney Smith died.

1846. Dickens: _Dombey and Son_ (finished 1848).
Grote: _History of Greece_ (finished 1856).
Newman: _The Development of Christian Doctrine_.

1847. Charlotte Bronte: _Jane Eyre_.
Emily Bronte: _Wuthering Heights_.
Disraeli: _Tancred_.
Helps: _Friends in Council_.
Landor: _Hellenics_.
Tennyson: _The Princess_.
Thackeray: _Vanity Fair_ (finished 1848).
Trollope: _The Macdermotts of Ballycloran_.

1848. Clough: _The Bothie of Tober-na-Vuolich_.
Mrs. Gaskell: _Mary Barton_.
Charles Kingsley: _Yeast_.
Macaulay: _History of England_, vols. i. and ii. (last volume,
1860).
Mill: _Political Economy_.
Thackeray: _The Book of Snobs_ (reprinted from _Punch_).
Emily Bronte died.
Marryat died.

1849. Matthew Arnold: _The Strayed Reveller, and other Poems_.
W. E. Aytoun: _Lays of the Scottish Cavaliers_.
Charlotte Bronte: _Shirley_.
Clough: _Ambarvalia_.
Dickens: _David Copperfield_ (finished 1850).
Lytton: _The Caxtons_.
Ruskin: _The Seven Lamps of Architecture_.
Thackeray: _Pendennis_ (finished 1850).
T. L. Beddoes died.
Hartley Coleridge died.
Maria Edgeworth died.

1850. Beddoes: _Death's Jest-Book_.
E. B. Browning: _Sonnets from the Portuguese_.
Robert Browning: _Christmas Eve and Easter Day_.
Carlyle: _Latter-Day Pamphlets_.
Dobell: _The Roman_.
Charles Kingsley: _Alton Locke_.
D. G. Rossetti and others: _The Germ_.
Tennyson: _In Memoriam_.
Wordsworth: _The Prelude_.
Francis Jeffrey died.
Wordsworth died.

1851. E. B. Browning: _Casa Guidi Windows_.
Carlyle: _Life of Sterling_.
Ruskin: _The Stones of Venice_ (finished 1853).
Joanna Baillie died.

1852. Matthew Arnold: _Empedocles on Etna_.
Dickens: _Bleak House_ (finished 1853).
Thackeray: _Esmond_.
Moore died.

1853. Matthew Arnold: _Poems_.
Charlotte Bronte: _Villette_.
Dobell: _Balder_.
Mrs. Gaskell: _Cranford_.
Charles Kingsley: _Hypatia_.
W. S. Landor: _The Last Fruit off an Old Tree_.
Lytton: _My Novel_.
Charles Reade: _Peg Woffington_.
Charles Reade: _Christie Johnstone_.
Alexander Smith: _A Life Drama_.
Thackeray: _The English Humourists of the Eighteenth
Century_ (printed).

1854. Hugh Miller: _My Schools and Schoolmasters_.
Milman: _History of Latin Christianity_.
Patmore: _The Angel in the House_ (Part I.).
Thackeray: _The Newcomes_ (finished 1855).
Susan Ferrier died.
Lockhart died.
John Wilson died.

1855. Matthew Arnold: _Poems_.
Robert Browning: _Men and Women_.
Mrs. Gaskell: _North and South_.
Charles Kingsley: _Westward Ho!_
Lewes: _Life of Goethe_.
Herbert Spencer: _Principles of Psychology_.
Tennyson: _Maud_.
Charlotte Bronte died.
Samuel Rogers died.

1856. Dobell: _England in Time of War_.
Froude: _History of England_ (finished 1870).
Charles Reade: _It is Never Too Late to Mend_.
Sir W. Hamilton died.
Hugh Miller died.

1857. E. B. Browning: _Aurora Leigh_.
Buckle: _History of Civilization_ (vol. ii. in 1861).
Hugh Miller: _The Testimony of the Rocks_.
Alexander Smith: _City Poems_.
Thackeray: _The Virginians_ (finished 1859).
Trollope: _Barchester Towers_.

1858. Carlyle: _Frederick the Great_ (finished 1865).
George Eliot: _Scenes of Clerical Life_ (serially, 1857).
Lytton: _What will He do with It?_
William Morris: _The Defence of Guenevere_.

1859. Barnes: _Hwomely Rhymes_.
Darwin: _The Origin of Species_.
Dickens: _A Tale of Two Cities_.
George Eliot: _The Mill on the Floss_.
Edward FitzGerald: _Rubaiyat of Omar Khayyam_.
George Meredith: _The Ordeal of Richard Feverel_.
Mill: _Liberty_.
Tennyson: _Idylls of the King_ (part).
De Quincey died.
Henry Hallam died.
Leigh Hunt died.
Macaulay died.

1860. George Eliot: _The Mill on the Floss_.
_Essays and Reviews_ (various authors).
Swinburne: _The Queen Mother_.
Swinburne: _Rosamond_.
Thackeray: _The Four Georges_ (printed).
Sir W. Napier died.

1861. Matthew Arnold: _On Translating Homer_.
George Eliot: _Silas Marner_.
Maine: _Ancient Law_.
May: _Constitutional History of England_ (finished 1863).
Mill: _Representative Government_.
Charles Reade: _The Cloister and the Hearth_.
D. G. Rossetti: _The Early Italian Poets_.
Thackeray: _The Adventures of Philip_ (finished 1862).
Trollope: _Framley Parsonage_.
E. Barrett Browning died.

1862. Alfred Austin: _The Human Tragedy_.
Colenso: _The Pentateuch and the Book of Joshua Examined_
(finished 1879).
George Meredith: _Modern Love, and Poems of the English
Roadside, with Poems and Ballads_.
Mill: _Utilitarianism_.
Christina Rossetti: _Goblin Market, and other Poems_.
Henry Taylor: _St. Clement's Eve_.
Buckle died.

1863. George Eliot: _Romola_.
Freeman: _History of Federal Government_.
Kinglake: _The Invasion of the Crimea_ (finished 1887).
Lyell: _The Antiquity of Man_.
George Macdonald: _David Elginbrod_.
Margaret Oliphant: _Chronicles of Carlingford_ (begun).
Thackeray died.
Whately died.

1864. Robert Browning: _Dramatis Personae_.
Dickens: _Our Mutual Friend_ (finished 1865).
Newman: _Apologia pro Vita Sua_.
Herbert Spencer: _Principles of Biology_ (finished 1867).
Tennyson: _Enoch Arden_.
Landor died.

1865. Matthew Arnold: _Essays in Criticism_ (collected).
Lewis Carroll: _Alice's Adventures in Wonderland_.
Grote: _Plato and the other Companions of Socrates_.
Lecky: _History of Rationalism_.
Lightfoot: _St. Paul's Epistle to the Galatians_.
George Meredith: _Rhoda Fleming_.
Ruskin: _Ethics of the Dust_.
Ruskin: _Sesame and Lilies_.
Seeley: _Ecce Homo!_
Swinburne: _Atalanta in Calydon_.
Swinburne: _Chastelard_.
Aytoun died.
Mrs. Gaskell died.

1866. Matthew Arnold: _Thyrsis_.
Lord de Tabley: _Philoctetes_.
Mrs. Gaskell: _Wives and Daughters_.
Charles Kingsley: _Hereward the Wake_.
Charles Reade: _Griffith Gaunt_.
Christina Rossetti: _The Prince's Progress, and other Poems_.
Ruskin: _Crown of Wild Olive_.
Swinburne: _Poems and Ballads_.
Keble died.
Whewell died.

1867. Matthew Arnold: _New Poems_.
Bagehot: _The English Constitution_.
Lord de Tabley: _Orestes_.
Freeman: _History of the Norman Conquest_ (finished 1876).
Froude: _Short Studies on Great Subjects_ (last series, 1883).
William Morris: _The Life and Death of Jason_.
Thackeray: _Denis Duval_.
Trollope: _The Last Chronicle of Barset_.
Alex. Smith died.

1868. Robert Browning: _The Ring and the Book_ (finished 1869).
George Eliot: _The Spanish Gypsy_.
Lightfoot: _St. Paul's Epistle to the Philippians_.
William Morris: _The Earthly Paradise_ (finished 1870).
Milman died.

1869. Matthew Arnold: _Culture and Anarchy_.
Blackmore: _Lorna Doone_.
Lecky: _History of European Morals_.
George Macdonald: _Robert Falconer_.
Mill: _The Subjection of Women_.
Tennyson: _The Holy Grail, and other Poems_.
Wallace: _The Malay Archipelago_.

1870. Matthew Arnold: _St. Paul and Protestantism_.
Dickens: _The Mystery of Edwin Drood_.
Disraeli: _Lothair_.
Huxley: _Lay Sermons_.
Newman: _Grammar of Assent_.
D. G. Rossetti: _Poems_.
Dickens died.

ALPHABETICAL LIST OF WRITERS.

ADAMS, SARAH FLOWER 1805-1848

AINSWORTH, WILLIAM HARRISON 1805-1882

ALISON, SIR ARCHIBALD 1792-1867

ALLINGHAM, WILLIAM 1824-1889

ARNOLD, MATTHEW 1822-1888

ARNOLD, THOMAS 1795-1842

AUSTIN, JOHN 1790-1859

AYTOUN, WILLIAM EDMONDSTOUNE 1813-1865

BAILEY, PHILIP JAMES 1816-1902

BARHAM, RICHARD HARRIS 1788-1845

BARNES, WILLIAM 1801-1886

BATES, HENRY WALTER 1825-1892

BLACKIE, JOHN STUART 1809-1895

BLANCHARD, SAMUEL LAMAN 1804-1845

BORROW, GEORGE 1803-1881

BOSWORTH, JOSEPH 1789-1876

BRONTE, ANNE 1820-1849

BRONTE, CHARLOTTE 1816-1855

BRONTE, EMILY JANE 1818-1848

BROUGH, ROBERT BARNABAS 1828-1860

BROWN, DR. JOHN 1810-1882

BROWNING, ELIZABETH BARRETT 1806-1861

BROWNING, ROBERT 1812-1889

BUCKLE, HENRY THOMAS 1821-1862

BURTON, JOHN HILL 1809-1881

CAIRNES, JOHN ELLIOT 1823-1875

CALVERLEY, CHARLES STUART 1831-1884

CARLETON, WILLIAM 1794-1869

CARLYLE, THOMAS 1795-1881

CHAMBERS, ROBERT 1802-1871

CHAMIER, FREDERICK 1796-1870

CLARK, WILLIAM GEORGE 1821-1878

CLARKE, CHARLES COWDEN 1787-1877

CLARKE, MARY COWDEN 1809-1897

CLOUGH, ARTHUR HUGH 1819-1861

COLENSO, JOHN WILLIAM 1814-1883

COLERIDGE, HARTLEY 1796-1849

COLERIDGE, SARA 1802-1852

COLLIER, JOHN PAYNE 1789-1883

COLLINS, MORTIMER 1827-1876

COLLINS, WILLIAM WILKIE 1824-1889

CONINGTON, JOHN 1825-1869

CORY, WILLIAM 1823-1892

CRAIK, DINAH MARIA 1826-1887

CROKER, THOMAS CROFTON 1798-1854

DARWIN, CHARLES ROBERT 1809-1882

DE MORGAN, AUGUSTUS 1806-1871

DE TABLEY, J. B. LEICESTER WARREN, LORD 1835-1895

DE VERE, AUBREY 1814-1902

DICKENS, CHARLES 1812-1870

DISRAELI, BENJAMIN, EARL OF BEACONSFIELD 1804-1881

DOBELL, SYDNEY THOMPSON 1824-1874

DOYLE, SIR FRANCIS HASTINGS 1810-1888

DUFFERIN, HELEN SELINA SHERIDAN, LADY 1807-1867

DYCE, ALEXANDER 1798-1869

ELIOT, GEORGE 1819-1880

FERGUSON, SIR SAMUEL 1810-1886

FERRIER, JAMES FREDERICK 1808-1864

FINLAY, GEORGE 1799-1875

FITZGERALD, EDWARD 1809-1883

FORSTER, JOHN 1812-1876

FROUDE, RICHARD HURRELL 1803-1836

FROUDE, JAMES ANTHONY 1818-1894

GASKELL, ELIZABETH CLEGHORN 1810-1865

GLADSTONE, WILLIAM EWART 1809-1898

GLASCOCK, WILLIAM NUGENT 1787?-1867

GORDON, ADAM LINDSAY 1833-1870

GRANT, JAMES 1822-1887

GRAY, DAVID 1838-1861

GREENWELL, DORA 1821-1882

GROTE, GEORGE 1794-1871

HALLAM, ARTHUR HENRY 1811-1833

HALLIWELL-PHILLIPPS, JAMES ORCHARD 1820-1889

HAMILTON, SIR WILLIAM 1788-1856

HANNAY, JAMES 1827-1873

HAWKER, ROBERT STEPHEN 1803-1875

HELPS, SIR ARTHUR 1813-1875

HINCKS, EDWARD 1792-1866

HOOD, THOMAS 1799-1845

HOOK, THEODORE EDWARD 1788-1841

HOOK, WALTER FARQUHAR 1798-1875

HORNE, RICHARD HENGIST 1803-1884

INGELOW, JEAN 1820-1897

JAMES, GEORGE PAINE RAINSFORD 1801-1860

JAMESON, ANNA BROWNELL 1794-1860

JERROLD, DOUGLAS WILLIAM 1803-1857

JONES, EBENEZER 1820-1860

JOWETT, BENJAMIN 1817-1893

KAYE, SIR JOHN WILLIAM 1814-1876

KEBLE, JOHN 1792-1866

KINGLAKE, ALEXANDER WILLIAM 1809-1891

KINGSLEY, CHARLES 1819-1875

KINGSLEY, HENRY 1830-1876

LANDON, LETITIA ELIZABETH 1802-1838

LANE, EDWARD WILLIAM 1801-1876

LAWRENCE, GEORGE ALFRED 1827-1876

LAYARD, SIR AUSTEN HENRY 1817-1894

LEAR, EDWARD 1812-1888

LEVER, CHARLES JAMES 1806-1872

LEWES, GEORGE HENRY 1817-1878

LEWIS, SIR GEORGE CORNEWALL 1806-1863

LIVINGSTONE, DAVID 1813-1873

LOCKER-LAMPSON, FREDERICK 1821-1895

LOCKHART, JOHN GIBSON 1794-1854

LOVER, SAMUEL 1797-1868

LYELL, SIR CHARLES 1797-1875

LYTTON, EDWARD BULWER, LORD 1803-1873

LYTTON, EDWARD ROBERT, LORD 1831-1891

MACAULAY, THOMAS BABINGTON 1800-1859

McCLINTOCK, SIR FRANCIS LEOPOLD 1819-

MADDEN, SIR FREDERICK 1801-1873

MAGINN, WILLIAM 1793-1842

MAHONY, FRANCIS SYLVESTER 1804-1866

MAINE, SIR HENRY JAMES SUMNER 1822-1888

MANGAN, JAMES CLARENCE 1803-1849

MANSEL, HENRY LONGUEVILLE 1820-1871

MARRYAT, FREDERICK 1792-1848

MARSTON, JOHN WESTLAND 1819-1890

MARTINEAU, HARRIET 1802-1876

MASSEY, GERALD 1828-1907

MAURICE, JOHN FREDERICK DENISON 1805-1872

MAXWELL, WILLIAM HAMILTON 1792-1850

MERIVALE, CHARLES 1808-1893

MILL, JOHN STUART 1806-1873

MILLER, HUGH 1802-1856

MILMAN, HENRY HART 1791-1868

MILNES, RICHARD MONCKTON, LORD HOUGHTON 1809-1885

MORRIS, WILLIAM 1834-1896

MOTHERWELL, WILLIAM 1797-1835

MUNRO, HUGH ANDREW JOHNSTONE 1819-1885

NEALE, JOHN MASON 1818-1866

NEWMAN, FRANCIS WILLIAM 1805-1897

NEWMAN, JOHN HENRY 1801-1890

NORTON, HON. MRS. 1808-1877

OUTRAM, GEORGE 1805-1856

OWEN, SIR RICHARD 1804-1892

PALGRAVE, SIR FRANCIS 1788-1861

PATMORE, COVENTRY 1823-1896

PATTISON, MARK 1813-1884

PLANCHE, JAMES ROBINSON 1796-1880

PRAED, WINTHROP MACKWORTH 1802-1839

PROCTER, ADELAIDE ANNE 1825-1864

PUSEY, EDWARD BOUVERIE 1800-1882

RANDS, WILLIAM BRIGHTY 1823-1882

RAWLINSON, SIR HENRY CRESWICKE 1810-1895

READE, CHARLES 1814-1884

REYNOLDS, JOHN HAMILTON 1796-1852

ROBERTSON, FREDERICK WILLIAM 1816-1853

ROSCOE, WILLIAM CALDWELL 1823-1859

ROSSETTI, CHRISTINA GEORGINA 1830-1894

ROSSETTI, DANTE GABRIEL 1828-1882

RUSKIN, JOHN 1819-1900

SCOTT, MICHAEL 1789-1835

SCOTT, WILLIAM BELL 1811-1890

SENIOR, NASSAU W. 1790-1864

SMEDLEY, MENELLA BUTE 1820-1877

SMITH, ALEXANDER 1829-1867

SPENCER, HERBERT 1820-1903

STANHOPE, PHILIP HENRY, EARL 1805-1875

STANLEY, ARTHUR PENRHYN 1815-1881

STERLING, JOHN 1806-1844

STIRLING-MAXWELL, SIR WILLIAM 1818-1878

STRICKLAND, AGNES 1806-1874

TALFOURD, SIR THOMAS NOON 1795-1854

TAYLOR, SIR HENRY 1800-1886

TAYLOR, TOM 1817-1880

TENNYSON, ALFRED, LORD 1809-1892

THACKERAY, WILLIAM MAKEPEACE 1811-1863

THIRLWALL, CONNOP 1797-1875

THOM, WILLIAM 1798-1848

THORNBURY, GEORGE WALTER 1828-1876

TRENCH, RICHARD CHENEVIX 1807-1886

TROLLOPE, ANTHONY 1815-1882

TUPPER, MARTIN FARQUHAR 1810-1889

TURNER, CHARLES TENNYSON 1808-1879

WADE, THOMAS 1805-1875

WALLACE, ALFRED RUSSEL 1822-

WARD, WILLIAM GEORGE 1812-1882

WARREN, SAMUEL 1807-1877

WHATELY, RICHARD 1787-1863

WHITEHEAD, CHARLES 1804-1862

WHEWELL, WILLIAM 1794-1866

WHYTE-MELVILLE, GEORGE JOHN 1821-1878

WILBERFORCE, SAMUEL 1805-1873

WOOD, MRS. HENRY 1814-1887

INDEX.

_Adam Bede_, 264, 267.

Adams, Sarah Flower, 256.

_Advent Sunday_, 244.

_Adventures of Philip, The_, 93.

_Agamemnon_, 237.

_Age of Queen Anne, The_, 141.

_Agnes Grey_, 102.

Ainsworth, W. H., 71;
Scott's criticism on, 77-78.

_Alfred Hagart's Household_, 249.

Alison, Sir Archibald, 140, 141.

Allingham, William, 256.

_All the Year Round_, 85.

_Alton Locke_, 3, 269, 270.

_American Iliad in a Nutshell, The_, 21.

_American Notes_, 84.

_Amours de Voyage_, 220.

_Ancient Law_, 134-135.

_Andrea del Sarto_, 231.

_Andromeda_, 271.

_Angel in the House, The_, 251.

_Annals of the Parish_, 161.

_Annuity, The_, 61.

_Antiquity of Man, The_, 178.

_Apologia pro Vita Sua_, 9, 146, 148, 149, 153.

_Aratra Pentelici_, 196.

_Archbishops of Canterbury, Lives of the_, 141-142.

_Arethusa, The_, 80.

_Ariadne Florentina_, 196.

_Arians of the Fourth Century, The_, 147.

_Aristophanes' Apology_, 232.

Arnold, Matthew, 40, 69, 122, 191, 192;
his prose, 203-209;
and French literature, 205-206;
on Gambetta, 205;
on the classics, 205, 206;
and Carlyle, 205, 206-207;
his theological writings, 208-209;
his poetry, 214-219;
its critical aspect, 214-215;
his elegiacs, 216;
and Wordsworth, 216-217;
his dramatic poems, 217-218;
his narrative poems, 218;
244.

Arnold, Thomas, 17, 120, 121-123, 140, 157-158.

_Arnold, Life of Thomas_, 139, 140.

_Artists of Spain, Annals of the_, 142.

_Art of England, The_, 196,

'As I laye a-thynkynge,' 59.

_Asolando_, 232, 233.

_Atalanta in Calydon_, 253, 254.

_Athens, its Rise and Fall_, 71.

_Auguste Comte and Positivism_, 162.

_Aurora Leigh_, 234, 235.

Austin, Charles, 111, 160.

Austin, John, 160-161.

_Autobiography of J. S. Mill_, 135, 162.

_Autobiography of Anthony Trollope_, 272.

_Aylmer's Field_, 224.

Aytoun, W. E., 246.

Bailey, Philip James, 52, 63-64.

Baillie, Joanna, 46.

_Balaustion's Adventure_, 232.

_Balder_, 247-248.

_Balder Dead_, 217, 218.

_Ballad of Bouillabaisse, The_, 97.

_Ballad of Harlaw_, Scott's, 119.

_Ballads and Sonnets_, 241.

_Ballads of Policeman X, The_, 91, 94.

_Barchester Towers_, 272.

Barham, R. H., 58.

_Barnaby Rudge_, 87.

Barnes, William, 65-66.

_Barry Lyndon_, 91, 97.

Bates, H. W., 189.

_Battle of Naseby_, 119.

_Becket_, 74, 226-227.

_Bells and Pomegranates_, 7, 45.

_Ben Brace_, 80.

Bentham, Jeremy, 160, 162-163.

_Bertha in the Lane_, 236.

_Bible in Spain, The_, 212.

_Biographical History of Philosophy, A_, 169.

_Bishop Blougram_, 231.

Blackie, John Stuart, 256.

Blanchard, Laman, 57.

_Blessed Damozel, The_, 241, 243.

_Blind Boy's Pranks, The_, 61.

_Bob Burke's Duel with Ensign Brady_, 70.

_Bon Gaultier Ballads_, 246.

_Book Hunter, The_, 141.

_Book of Snobs, The_, 91, 95.

Borrow, George, 212.

Bosworth, Joseph, 211.

_Bothie of Tober-na-Vuolich, The_, 220.

_Bridge of Sighs, The_, 56.

Bronte, Anne, 100, 102.

Bronte, Charlotte, 100-102, 103-106;
and Thackeray, 105;
and Mrs. Gaskell, 106, 107.

Bronte, Emily Jane, 100, 101, 102-103.

_Bronte, Life of Charlotte_, 106.

Brough, R. B., 257.

Brown, Dr. John, 210, 244.

Browning, E. B., 44, 119, 233-236, 242;
and Christina Rossetti, 245.

Browning Robert, 11, 43-51;
life, 43-44;
his relation to contemporaries, 44-45;
and Shelley, 45;
his dramatic experiments, 46-48;
his dramatic monologues, 48-50;
and Carlyle, 50-51;
220, 228-233;
and religious controversy, 228-229;
his self-revelation, 230;
his love-poems, 230-231;
his closing period, 231-233;
244.

Buckle, Henry Thomas, 110, 133-134.

_Budget of Paradoxes, A_, 176.

Burns, Robert, 239.

Burton, John Hill, 141.

Byron, Lord, 1, 36, 37, 46.

_Cadyow Castle_, 119.

Cairnes, J. E., 165.

Calderon, 237.

_Callista_, 269.

Calverley, C. S. 257.

_Cardinal Richelieu_, 74.

Carleton, William, 98-99.

Carlyle, Thomas, 12-35;
his life, 12-16;
his relation to contemporaries, 16-18;
and Mill, 17, 18, 24;
unity of his work, 18;
on Burns, 19;
on Scott, 19;
on Goethe, 20;
his choice of historical subjects, 20-22;
and German thought, 23;
his treatment of facts, 27;
of social and political problems, 30-33;
and Fletcher of Saltoun, 32;
his critical writings, 33-34;
his style, 34-35;
and Browning, 50-51; 72;
118;
and Macaulay, 119-120;
205;
and Matthew Arnold, 206-207.

_Carlyle, Life of Thomas_, 135.

_Carmina Crucis_, 259.

_Casa Guidi Windows_, 234, 235.

_Cavaliers and Roundheads_, 210.

_Cavalier Song_, 61.

_Caxtons, The_, 73.

_Cenci, The_, 46.

_Chaldee Manuscript, The_, 136.

Chambers, Robert, 180-181.

Chamier, F., 80.

_Characteristics of Shakespeare's Women_, 193.

CHARLES O'MALLEY, 99.

_Chartism_, 15, 30, 32.

_Child's Grave at Florence, A_, 234, 235, 236.

_Christianity under the Empire, History of_, 126-127.

Christian Socialism, 157.

_Christie Johnstone_, 274, 276.

_Christmas Eve and Easter Day_, 220, 228

_Chronicle of the Drum, The_, 97.

_Church of Brou, The_, 217.

_City Poems_, 250.

_Claims of the Bible and of Science, The_, 157.

Clark, W. G., 193.

Clarke, C. Cowden, 193.

Clarke, M. Cowden, 193.

_Cloister Life of Charles V., The_, 142.

Clough, A. H., 158, 219-220, 244.

_Clytemnestra_, 252.

_Codlingsby_, 94.

Colenso, J. W., 159.

Coleridge, Hartley, 59-60.

Coleridge, Henry Nelson, 61.

Coleridge, S. T., 156.

Coleridge, Sara, 61.

Collier, J. P., 192-193.

Collins, Mortimer, 257.

Collins, Wilkie, 273.

Colman, George, 83.

_Columbus_, 225.

_Comic Annual, Hood's_, 55.

_Coming Race, The_, 74.

Comte, 168, 169.

_Comte's Philosophy of the Sciences_, 169.

_Concordance to Shakespeare_, 193.

_Congal_, 258.

_Coningsby_, 75, 76.

Conington, John, 211.

_Contarini Fleming_, 75.

Cooper, Fenimore, 80.

_Cornhill Magazine, The_, 93.

_Cornish Ballads_, 259.

_Corn Law Rhymes_, 3.

Cory, William, 257.

_Cosmo de' Medici_, 64.

Craik, Dinah Maria, 269.

_Cranford_, 107.

_Critical and Historical Essays_ (Macaulay's), 114, 118.

Criticism, Journalistic, 191-192.

Croker, Crofton, 70.

_Cromwell_, 15, 28.

_Cruise of the Midge, The_, 80.

_Cry of the Children, The_, 3, 236.

_Daniel Deronda_, 262, 264, 266, 268.

_Dante and his Circle_, 241.

_Dante Gabriel Rossetti_ (Sharp's), 241.

Darwin, Charles, 170, 172, 177, 178, 180, 181-189;
and A. R. Wallace, 183, 186, 189;
198.

_David Copperfield_, 82, 85.

_Death-Bed, The_, 56.

_Death in the Desert, A_, 229, 230.

_Death of Marlowe, The_, 64.

_Death of OEnone, The_, 227.

_Deerbrook_, 168.

_Defence of Guenevere, The_, 255.

_Defence of Lucknow, The_, 221.

_Demeter_, 227.

Democratic Movement, The, 2-5.

De Morgan, A., 176.

_Denis Duval_, 93.

De Quincey, 153, 199, 200.

_Descent of Man, The_, 186.

De Tabley, Lord, 253-254.

_Development of Christian Doctrine, The_, 148.

De Vere, Aubrey, 261.

_Diamond Necklace, The_, 14.

_Diary of a late Physician, The_, 81.

Dickens, Charles, 69, 82-90;
his life, 82-85;
and George Colman, 83;
his public readings, 85;
his characters, 86-88;
his humour and pathos, 88-89;
262.

_Dickens, Life of_, 141.

_Dipsychus_, 220.

_Discourses in America_, 203, 204.

_Discussions on Philosophy and Literature_, 167.

Disraeli, Benjamin, Earl of Beaconsfield, 71, 75-78.

Dobell, Sydney, 247-249.

_Doctor Thorne_, 272.

_Doctrine of Sacrifice, The_, 157.

_Don John of Austria_, 142.

_Dover Beach_, 217.

Doyle, Sir F. H., 258.

_Dramatic Lyrics_, 45.

_Dramatic Romances_, 45.

_Dramatis Personae_, 49, 229, 231.

_Dream of Fair Women, A_, 40.

_Dream of Gerontius, The_, 148.

_Dreamthorp_, 249.

_Drink_, 274.

_Duchess de la Valliere, The_, 74.

Dufferin, Lady, 260.

Dyce, Alexander, 193.

_Eagle's Nest, The_, 196.

_Early History of Institutions, The_, 135.

_Early Italian Poets, The_, 241.

_Earthly Paradise, The_, 255.

_Easter Day, Naples_, 219.

_Eastern Church, Lectures on the_, 140.

_East Lynne_, 269.

_Edwin of Deira_, 250.

_Edwin the Fair_, 62.

Eliot, George, and Mrs. Gaskell, 108;
262-268;
and G. H. Lewes, 263-264;
Edmond Scherer on, 265.

_Eliot, Life of Sir John_, 141.

_Emma_, 103.

_Empedocles on Etna_, 214, 217.

_End of the Play, The_, 98.

_England, History of_ (Froude's), 128-130.

_England, History of_ (Macaulay's), 116-119.

_England, History of_ (Stanhope's), 142.

_England in Time of War_, 247, 249.

_English Commonwealth, Rise and Progress of the_, 142.

_English Dramatic Poetry, History of_, 192.

_English Humourists of the Eighteenth Century, The_, 92, 114.

_English Idylls_, 224.

_English in Ireland in the Eighteenth Century, The_, 130-131.

_English Past and Present_, 211.

_Enquiry into the Credibility of Early Roman History, An_, 169.

_Enid_, 224.

_Eothen_, 132.

_Epilogue to Lessing's Laocoon_, 204.

_Epistles to the Corinthians, Commentary on the_, 140.

_Erasmus_, 131.

Erskine, Thomas, of Linlathen, 156.

_Esmond_, 87, 91, 92, 95-96.

_Essay on Mind_, 234.

_Essays and Reviews_, 124, 158-159.

_Essays in Criticism_, 204, 205, 207.

_Essence of Christianity, The_, 263.

_Etonian, The_, 57.

_Eugene Aram_, 72.

_Eugene Aram's Dream_, 55.

_Euphranor_, 237.

_Europe during the French Revolution, History of_, 141.

Evans, Mary Ann. _See_ Eliot, George.

_Evening Dream, An_, 249.

_Examination of Sir William Hamilton's Philosophy, An_, 162, 164.

_Expansion of England, The_, 131.

_Expression of the Emotions in Man and Animals, The_, 187.

_Fairy Legends and Traditions of the South of Ireland_, 70.

_Falcon, The_, 227.

_Falkland_, 71-72.

_Felix Holt_, 264, 266.

Ferguson, Sir Samuel, 258.

_Ferishtah's Fancies_, 232.

Ferrier, J. F., 167-168.

_Fertilisation of Orchids, The_, 185.

_Fifine at the Fair_, 232.

Finlay, George, 127.

_Firmilian_, 246.

_First Principles_, 172.

Fitzgerald, Edward, 42, 236-239.

_Fleshly School of Poetry, The_, 241.

Fletcher, Andrew, of Saltoun, 32.

_Fly Leaves_, 257.

_Footprints of the Creator_, 179.

_Foresters, The_, 227.

_Forsaken Merman, The_, 217.

_Fors Clavigera_, 201.

_Forster, John_, 85, 141.

_Four Georges, The_, 92, 93, 94.

_Fra Lippo Lippi_, 231.

_Framley Parsonage_, 272.

Fraser, Hugh, 70.

_Fraser's Magazine_, 69-70.

_Frederick the Great_, 15, 16, 28-30.

Freeman, E. A., 117, 130.

French Revolution, The, 1-2, 37.

_French Revolution, History of the_, 14, 15, 26-28, 29, 84.

_Friends in Council_, 194.

Froude, Hurrell, 145, 147.

Froude, J. A., 127-132;
and Freeman, 130;
on Carlyle, 131;
146, 152.

Galt, John, 161.

Garnett, Dr. Richard, quoted, 248.

Gaskell, E. C., 106-108;
George Sand on, 107;
and Charlotte Bronte, 106, 107;
and George Eliot, 108.

_Geoffrey Hamlyn_, 271.

_Germ, The_, 240, 244.

_German Romance_, 13.

_Gipsies in Spain, The_, 212.

_Gladiators, The_, 273.

Gladstone, W. E., 211.

Glascock, W. N., 80.

_Glasgow_, 250.

_Goblin Market_, 244, 246.

_Goethe, Life of_, 169.

_Gold_, 274.

_Goldsmith, Life of_, 141.

Gordon, A. L., 258.

_Grammar of Assent, Essay in Aid of a_, 148.

_Grandmother, The_, 225.

Grant, James, 273.

Gray, David, 258.

_Great Hoggarty Diamond, The_, 91.

_Greece, History of_ (Finlay's), 127.

_Greece, History of_ (Grote's), 125-126.

_Greece, History of_ (Thirlwall's), 124.

Greenwell, Dora, 259.

_Gregory VII._, 64.

_Griffith Gaunt_, 276.

Grote, George, 122, 125-126.

_Gulliver's Travels_, 98.

_Guy Livingstone_, 273.

Hallam, A. H., 38.

Halliwell-Phillipps, J. O., 193.

Hamilton, Sir William, 167.

Hamilton, Sir W. Rowan, 176.

_Hand and Soul_, 241.

_Handy Andy_, 99.

Hannay, James, 80-81.

_Hard Cash_, 275.

_Harold_, 226.

_Harry Lorrequer_, 99.

_Haunted House, The_, 56.

Hawker, R. S., 259.

Helps, Sir Arthur, 194.

Hemans, Felicia, 52, 53.

_Henrietta Temple_, 76.

_Henry Holbeach_, 210.

_Hereward the Wake_, 270.

_Heroes and Hero-Worship_, 15.

Hincks, Edward, 212.

_Holy Grail, The_, 224.

_Hood's Magazine_, 56.

Hood, Thomas, 54-56;
and Praed, 57-58.

Hook, Theodore, 70.

Hook, W. F., 141-142.

Horace, 238, 239.

_Horae Subsecivae_, 210.

Horne, R. H., 64-65.

_Horton_, 250.

_Household Words_, 85.

Howells, Mr. W. D., quoted, 241.

Huxley, Thomas, 180, 184.

_Hymn to Astarte_, 254.

_Hypatia_, 270.

_Ideal of a Christian Church, The_, 146.

_Idylls of the King_, 222-224.

_In a Balcony_, 45.

_In a Gondola_, 49.

_Inductive Sciences, History of the_, 166.

_Inductive Sciences, Philosophy of The_, 166.

_Influence of Authority in Matters of Opinion, The_, 170.

Ingelow, Jean, 259.

_Ingoldsby Legends, The_, 58.

_In Memoriam_, 38, 39, 220-221.

_Inn Album, The_, 232.

_Inquiry Concerning the Origin of Christianity_, 263.

_Insectivorous Plants_, 187.

_Invasion of the Crimea, The_, 132-133.

_Ionica_, 257.

_Irish Sketch Book, The_, 91.

_Isaac Comnenus_, 62.

_Is it all Vanity?_, 75.

_Ismail and other Poems_, 71.

_It is Never Too Late to Mend_, 274, 275, 276.

_Jael_, 254.

James, G. P. R., 71, 78-79.

_James Lee's Wife_, 230.

Jameson, Anna, 193.

_Jane Eyre_, 100, 102, 103, 104, 137.

_Jeanie Morison_, 61.

Jerrold, Douglas, 47.

_Jewish Church, Lectures on the_, 140.

_Jews, History of the_, 126.

_John Halifax, Gentleman_, 269.

Jones, Ebenezer, 66-67.

Jowett, Benjamin, 158.

_Julius Caesar_, 131.

_Jurisprudence, Lectures on_, 161.

_Justification, Lectures on_, 147.

_Juventus Mundi_, 211.

_Karshish_, 229.

Kaye, Sir J. W., 142.

Keble, John, 144-145, 147.

_Keith of Ravelston_, 249.

_Kenelm Chillingly_, 73.

_King Arthur_, 74.

_Kingdom of Christ, The_, 157.

Kinglake, A. W., 132-133.

Kingsley, Charles, 155, 157, 262, 269-271.

Kingsley, Henry, 271.

_King's Tragedy, The_, 241, 243.

_Knight's Quarterly Magazine_, 57.

Knowles, James Sheridan, 46.

_Lady Geraldine's Courtship_, 234, 236.

_Lady of Lyons, The_, 74.

_Lady of Shalott, The_, 222.

Lamarck, 188.

Lancaster, William, pseudonym for Lord de Tabley, _q. v._

Landon, L. E., 52, 53.

_Landor, Life of_, 141.

Lane, E. W., 212.

_La Saisiaz_, 228, 229, 232.

_Last Confession, A_, 242.

_Last Chronicle of Barset, The_, 272.

_Last Days of Pompeii, The_, 72.

_Last Essays on Church and Religion_, 203.

_Last of the Barons, The_, 72, 73.

_Last Tournament, The_, 224.

_Latin Christianity, History of_, 127.

_Latter-Day Pamphlets_, 15, 16, 30, 32.

_Lavengro_, 212.

Lawrence, G. A., 273.

Layard, Sir A. H., 211.

_Lay of Elena, The_, 63.

_Lay of the Brown Rosary, The_, 236.

_Lays of Ancient Rome_, 119.

_Lays of the Scottish Cavaliers_, 58, 246.

Lear, Edward, 259.

_Legendary and Historic Ballads_, 261.

_Legend of Jubal, The_, 264, 265.

_Legends of the Madonna_, 193.

_Legends of the Monastic Orders_, 193.

_Letters of Matthew Arnold_, 40, 122, 205.

_Letters to a Young Friend_, 124.

Lever, Charles James, 99-100.

Lewes, George Henry, 169;
and George Eliot, 263-264.

Lewis, Sir George Cornewall, 120, 169-170.

_Liberty_, 161, 165.

_Life and Death of Jason, The_, 255.

_Life Drama, A_, 249-250.

_Life of Jesus, The_, 263.

_Lilliput Levee_, 210.

_Limits of Religious Thought, The_, 168.

Livingstone, David, 212.

Locker-Lampson, F., 57.

Lockhart, J. G., 39, 136-139.

_Locksley Hall_, 42, 226.

_Locksley Hall Sixty Years After_, 226.

_London Magazine_, 55.

_Lord of Burleigh, The_, 236.

_Loss and Gain_, 269.

_Lost Days_, 243.

_Lost Mistress, The_, 49.

_Lothair_, 76.

_Lotos-Eaters, The_, 40, 225.

_Lovel the Widower_, 91, 93.

Lover, Samuel, 99.

_Love's Meinie_, 196.

_Lucile_, 253.

_Lucretius_, 224.

_Luggie, The_, 258.

_Luria_, 45.

_Lycus the Centaur_, 55.

Lyell, Sir Charles, 177-178;
and Darwin, 178.

_Lyra Apostolica_, 147.

Lytton, Edward Bulwer, first Lord, 47, 71-75;
and Byron, 72;
and Charles Reade, 73;
252.

Lytton, Edward Robert, Earl of ('Owen Meredith'), 75, 252-253.

Macaulay, T. B., 111-120;
his life, 111-114;
and Charles Austin, 111;
and Carlyle, 119-120.

McClintock, 212.

_Macdermotts of Ballycloran, The_, 272.

Madden, Sir F., 211.

Maginn, William, 70.

_Magyar's New-Year-Eve, The_, 249.

Mahony, Francis, 70.

Maine, Sir Henry, 134-135.

_Malay Archipelago, The_, 190.

Malthus, 1, 165, 183.

Mangan, James Clarence, 66.

_Manners and Customs of the Modern Egyptians, Account of the_, 212.

Mansel, H. L., 168.

_Marah_, 252.

Marryat, Frederick, 71, 79-80;
and Smollett, 80;
and Fenimore Cooper, 80.

Marston, J. Westland, 47.

_Martin Chuzzlewit_, 84.

Martin, Sir Theodore, 246.

Martineau, Harriet, 168.

_Mary Barton_, 106, 107.

_Masks and Faces_, 274.

Massey, Gerald, 259.

_Maud_, 221, 222, 230.

Maurice, J. F. D., 155-157, 161, 269.

Maxwell, W. H., 99.

_Mehrab Khan_, 258.

Melbourne, Lord, 123.

_Men and Women_, 45, 49, 229, 231.

Meredith, Owen. _See_ Lytton, Edward Robert, Earl of.

Merivale, Charles, 127.

_Merope_, 217.

_Metaphysics and Logic, Lectures on_, 167.

_Middlemarch_, 264, 266, 267, 268.

Mill, James, 160.

Mill, John Stuart, 17, 18, 24, 156, 160, 161-166, 167.

_Mill on the Floss, The_, 264, 267.

Miller, Hugh, 178-179.

Milman, H. H., 126-127.

Milnes, Richard Monckton, Lord Houghton, 58.

_Mimnermus in Church_, 257.

_Miss Kilmansegg_, 55, 56.

_Mr. Minns and his Cousin_, 83.

Mitford, William, 125.

_Mixed Essays_, 204.

_Modern Painters_, 194-195.

Mommsen, Dr. Theodor, 122, 123.

_Monna Innominata_, 245.

_Moonstone, The_, 273.

_Moral and Metaphysical Philosophy_, 157.

_Mornings in Florence_, 196.

Morris, William, 255-256.

_Morte d'Arthur_, 42, 43, 222, 224.

Motherwell, William, 61.

_Movements and Habits of Climbing Plants, The_, 185.

_Mundi et Cordis Carmina_, 66.

Munro, H. A. J., 211.

_Mycerinus_, 215.

_My Last Duchess_, 231.

_My Novel_, 73.

_My Schools and Schoolmasters_, 179.

_My Sister's Sleep_, 241.

_National Apostasy_, 145.

_Naturalist on the Amazons, The_, 189.

_Naturalist's Voyage round the World, A_, 181, 182.

Neale, John Mason, 127.

_Nemesis of Faith, The_, 128, 152.

_Newcomes, The_, 90, 91, 97.

Newman, F. W., 146.

Newman, J. H., 17, 146-153, 154, 156, 269.

_New Poems_, 214.

_Nicholas Nickleby_, 84.

Niebuhr, 120, 123.

_Nigger Question, The_, 15, 21, 32.

_Noctes Ambrosianae_, 80.

_Nonsense Rhymes_, 259.

_North and South_, 107.

_Northern Cobbler, The_, 225.

_Northern Farmer, The_, 225.

Norton, the Hon. Mrs., 260.

_Notes and Emendations to the Plays of Shakespeare_, 193.

_Novum Organum Renovatum_, 166.

_Obermann Once More_, 215, 216.

_Oceana_, 131.

_Ode on the Death of the Duke of Wellington_, 221-222.

_Odes and Addresses to Great People_, 55.

_Ode to the North-East Wind_, 270.

_Old Red Sandstone, The_, 179.

_Oliver Twist_, 84.

'O lyric love,' 230.

Omar Khayyam, 237, 238-239;
and Horace, 238-239;
and Burns, 239.

_One Word More_, 230.

_Orestes_, 253.

_Origin of Species, The_, 178, 180, 181, 182-185.

_Our Dogs_, 210.

_Our Mutual Friend_, 90.

Outram, George, 61.

Owen, Sir Richard, 180.

Oxford Movement, The, 9, 144.

_Pageant, A_, 244.

_Palace of Art, The_, 40.

Palgrave, Sir Francis, 142.

_Paracelsus_, 7, 44, 45, 50, 248.

_Paris Sketch-Book, The_, 91.

_Parleyings with certain People of Importance_, 232.

_Passing of Arthur, The_, 222, 224.

_Past and Present_, 15, 30, 31.

Patmore, Coventry, 251-252.

Paton, Sir J. Noel, 240.

Pattison, Mark, 158.

_Pauline_, 44, 45.

_Peg Woffington_, 274.

_Pelham_, 72.

_Pendennis_, 91, 97.

Periodicals, 5-6.

_Phantasmion_, 61.

_Phases of Faith_, 146.

_Phil Fogarty_, 94.

_Philip van Artevelde_, 36, 62-63.

_Philoctetes_, 253.

_Philosophy of the Conditioned, The_, 168.

_Physiology of Common Life, The_, 169.

_Pickwick_, 84.

_Pippa Passes_, 46, 50.

Planche, James R., 47.

_Plato and the other Companions of Socrates_, 125.

_Plea of the Midsummer Fairies, The_, 55.

_Pleasures of England, The_, 196.

_Poems_, by C. E. and A. Bell, 101.

_Poems_ (1833, by Tennyson), 39.

_Poems_ (1842, by Tennyson), 39.

_Poems and Ballads_, 254.

_Poems by Two Brothers_, 37, 38, 53.

_Poems, chiefly Lyrical_, 38.

_Poems Dramatic and Lyrical_, 253-254.

_Poems, Legendary and Historical_, 58.

_Political Economy_ (Mill's), 161, 164.

_Pope, The_, 229, 230.

_Popular Government_, 135.

Praed, W. M., 54, 57-58.

_Praeterita_, 253.

Pre-Raphaelites, The, 10, 213, 240.

_Pre-Raphaelitism_, 195.

_Prince Hohenstiel-Schwangau_, 232.

_Prince's Progress, The_, 244.

_Princess, The_, 39, 42-43, 221, 224.

_Principles of Biology_, 172.

_Principles of Ethics_, 173.

_Principles of Geology_, 177-178.

_Principles of Psychology_, 172.

_Principles of Sociology_, 172.

_Principles of Taste_, 140.

_Private of the Buffs, The_, 258.

_Problems of Life and Mind_, 169.

Procter, Adelaide Anne, 260.

_Professor, The_, 101, 103.

_Prolegomena Logica_, 168.

_Prometheus Unbound_, 46.

_Promise of May, The_, 227.

_Prophetical Office of the Church, The_, 147.

_Proverbial Philosophy_, 64.

_Province of Jurisprudence Determined, The_, 161.

Pusey, E. B., 153-155;
Pius IX. on, 154;
156.

_Put Yourself in his Place_, 275.

_Qua Cursum Ventus_, 219.

_Queen Mary_, 226.

_Queens of England, Lives of the_, 142.

_Queens of Scotland, Lives of the_, 142.

_Quest of the Sangraal, The_, 259.

_Rab and his Friends_, 210.

_Rabbi Ben Ezra_, 229, 230.

_Rands, W. B._, 210.

_Ranke's History of the Popes_, Macaulay's essay on, 115.

_Ravenshoe_, 271.

Rawlinson, Sir H. C., 211-212.

Reade, Charles, 73, 262, 273-276.

_Rebecca and Rowena_, 94.

_Red Fisherman, The_, 58.

_Red Thread of Honour, The_, 258.

_Rehearsals_, 253.

_Reign of Queen Anne, History of the_, 142.

_Reliques of Father Prout_, 70.

_Reminiscences_, by Carlyle, 16, 20.

_Rephan_, 233.

_Representative Government, Considerations on_, 162, 165, 166.

_Resignation_, 215, 217.

_Revenge, The_, 221, 225, 260.

Reynolds, John Hamilton, 55.

_Rhyme of the Duchess May, The_, 236.

_Ring and the Book, The_, 45, 49, 50, 229-230, 231.

_Rizpah_, 226.

Robertson, F. W., 155, 157.

_Roman, The_, 247.

_Romance of War, The_, 273.

_Romans under the Empire, History of the_, 127.

_Romany Rye, The_, 212.

_Romaunt of Margret, The_, 236.

_Rome, History of_, 122-123.

_Romola_, 264, 266.

Roscoe, William Caldwell, 260.

_Rose Mary_, 243.

Rossetti, Christina, 234, 242, 244-246;
and Mrs. Browning, 245;
and D. G. Rossetti, 245.

Rossetti, D. G., 240-244;
his sensuousness, 241-242;
his treatment of nature, 243;
his ballads, 243;
and Christina Rossetti, 245.

_Roundabout Papers_, 93, 97.

_Rubaiyat_ of Omar Khayyam, 237, 238-239.

_Rugby Chapel_, 216.

Ruskin, John, 153, 194-202;
his art criticism, 196-199;
his style, 199-200;
his social theories, 200-202.

_Ruth_, 56.

_Sacred and Legendary Art_, 193.

_St. Clement's Eve_, 62.

Ste. Beuve, 192.

_St. Mark's Rest_, 196.

_St. Paul and Protestantism_, 203.

_Saint's Tragedy, The_, 271.

_Salaman and Absal_, 237.

Sand, George, quoted, 107;
253.

_Sands of Dee, The_, 270.

_Sartor Resartus_, 12, 13, 15, 19, 23-26, 34, 35.

_Scenes of Clerical Life_, 262, 264, 266, 267.

Scherer, Edmond, on George Eliot, 265.

_Schiller, Life of_, 13, 22, 34.

Schleiermacher, 123.

_Scholar Gipsy, The_, 215, 216.

Science and literature, 8-9;
influence of science on the method of history, 110.

_Scot Abroad, The_, 141.

_Scotland, History of_ (Burton's), 141.

_Scotland, History of_ (Tytler's), 143.

_Scott's Journal_, 138, 139.

_Scott, Life of Sir Walter_, 137-139.

Scott, Michael, 80.

Scott, William Bell, 240, 260.

_Sea Dreams_, 224.

_Searching the Net_, 253.

Sedgwick, Adam, 189.

Seeley, J. R., 131.

Senancour, 217.

Senior, N. W., 165.

_Sepoy War in India, History of the_, 142.

_Seraphim, The_, 234.

_Seven Lamps of Architecture, The_, 195, 198.

'She is not fair to outward view,' 60.

Shelley, 45, 46.

_Shirley_, 103, 106.

_Shooting Niagara_, 16.

_Short Studies on Great Subjects_, 130.

_Sicilian Summer, A_, 62.

_Silas Marner_, 264, 266.

_Sinai and Palestine_, 140.

_Sing-Song_, 244.

_Sir Brook Fossbrooke_, 99.

_Sir Galahad_, 222.

_Sir John Oldcastle_, 225.

_Sir Launcelot and Queen Guinevere_, 222.

_Sir Richard Grenville's Last Fight_, 260.

_Sketches by Boz_, 83, 84.

_Slave Power, The_, 165.

Smedley, Menella B., 261.

Smith, Alexander, 247, 249-251.

Smollett, 80.

_Snob, The_, 90.

_Sohrab and Rustum_, 217, 218.

_Soldier of Fortune, The_, 253.

_Solitary, The_, 66.

Somerville, Mary, 175.

_Song of the Shirt, The_, 3, 56.

_Song of the Western Men, The_, 259.

_Songs of the Cavaliers and Roundheads_, 261.

_Songs of the Governing Classes_, 257.

_Sonnets and Fugitive Pieces_, 53.

_Sonnets from the Portuguese_, 234, 235-236, 245.

_Sonnets on the War_, 247, 249.

_Sordello_, 7, 45, 232.

_Soul's Tragedy, A_, 45, 46.

_Southern Night, A_, 216.

_Spanish Ballads_, 136.

_Spanish Gypsy, The_, 264, 265.

Spasmodic School, The, 213, 246.

Spencer, Herbert, 170-174.

_Sphinx, The_, 260.

Stanley, A. P., 17, 136, 139-140, 158.

Stanhope, Earl, 142.

_Stealthy School of Criticism, The_, 241.

Sterling, John, 34, 157, 161.

_Sterling, Life of_, 16, 20, 27, 34, 135.

Stirling-Maxwell, Sir William, 142.

_Stones of Venice, The_, 195.

_Stories from Waterloo_, 99.

_Strafford_, 45, 46.

_Strangers Yet_, 58.

_Strayed Reveller, The_, 214.

_Stream's Secret, The_, 243.

Strickland, Agnes, 142.

_Structure and Distribution of Coral Reefs, The_, 182.

_Studies of Sensation and Event_, 67.

_Study of Words, The_, 211.

_Subjection of Women, The_, 162, 165.

Swift, Jonathan, 35, 92, 98.

Swinburne, A. C., 254.

_Sybil_, 75, 76, 77.

_Synthetic Philosophy, The_, 170-174.

_System of Logic, A_, 161, 162, 164.

Tait, Archibald C., 159.

_Tale of Two Cities, A_, 84, 87.

Talfourd, Thomas Noon, 47.

_Tancred_, 76.

Taylor, Sir Henry, 36, 61-63.

Taylor, Tom, 47, 274.

_Tenant of Wildfell Hall, The_, 102.

Tennyson, Alfred, Lord, 37, 38-43;
his early poems, 38;
his development, 39-42;
Lockhart on, 39;
Carlyle on, 40;
Edward Fitzgerald on, 42;
and Keats, 42;
220-228;
his patriotism, 221;
and the Arthurian legends, 222-223;
his blank verse, 223-224;
his dramatic poems, 224-227.

Tennyson, Frederick, 54.

_Ten Thousand a Year_, 81.

_Testimony of the Rocks, The_, 179.

Thackeray, W. M., 69, 70, 90-98;
his early life, 90-91;
and the eighteenth century humourists, 92;
and Dickens, 93-94;
his satire, 95-96;
his women, 96-97;
and Swift, 92, 98;
105.

_Theophrastus Such, Impressions of_, 264.

Thirlwall, Connop, 120, 123-125.

Thom, William, 61.

Thornbury, G. W., 261.

Thorpe, Benjamin, 211.

_Thyrsis_, 215, 216.

_Timbuctoo_, 38.

_Timbuctoo_ (Thackeray's), 90.

_Time Flies_, 244.

''Tis sweet to hear the merry lark,' 60.

_To a Gipsy Child_, 215.

_Tom Burke of Ours_, 99.

_Tom Cringle's Log_, 80.

_Tracts for the Times_, 147.

_Traits and Stories of the Irish Peasantry_, 99.

_Translating Homer, On_, 204.

_Travels on the Amazon_, 189.

Trench, R. C., 211.

Trevelyan, Sir George, 111, 116.

_Tristram and Iseult_, 217.

Trollope, Anthony, 272.

Tupper, M. F., 64.

Turner, Charles Tennyson, 38, 53-54.

_Two Chiefs of Dunboy, The_, 131.

_Ulysses_, 224.

_Unknown Eros, The_, 251-252.

_Utilitarianism_, 162.

_Vanitas Vanitatum_, 98.

_Vanity Fair_, 91, 97.

_Variation of Animals and Plants under Domestication, The_, 185, 188.

_Vegetable Mould through the Action of Worms, The Formation of_, 187.

_Velasquez and his Work_, 142.

_Venetia_, 76.

_Verses and Translations_, 257.

_Vestiges of Creation_, 179, 180, 188.

_Vicar, The_, 57.

_Villette_, 101, 103.

_Virginians, The_, 93.

_Vision of Sin, The_, 42.

_Vivian Grey_, 75.

_Vivia Perpetua_, 256.

Wade, Thomas, 66.

Wallace, Alfred Russel, 180;
and Darwin, 183, 186;
189-190.

Ward, W. G., 146, 219.

_Ward's English Poets_, 207.

_War in Afghanistan, History of the_, 142.

_War of the Succession in Spain, History of the_, 142.

Warren, J. B. L. _See_ De Tabley, Lord.

_Warren Hastings_, 115.

Warren, Samuel, 81.

_Water Babies, The_, 271.

Watson, Mr. William, 62.

_Westward Ho!_, 270.

Whately, Richard, 144.

_What will He do with It?_ 73.

Whewell, William, 166.

_Whims and Oddities_, 55.

Whitehead, Charles, 66.

_White Ship, The_, 243.

Whyte-Melville, G. J., 273.

Wilberforce, Samuel, 155, 184.

_Wilhelm Meister_, Carlyle's translation of, 13.

Williams, Rowland, 124.

_Wilson, Life of Bishop_, 145.

_Witness, The_, 178.

_Wives and Daughters_, 107.

_Woman in White, The_, 273.

_Wondrous Tale of Alroy, The_, 76.

Wood, Mrs. Henry, 269.

_Woodland Grave, A_, 254.

Woolner, Thomas, 240.

Wordsworth, William, and Matthew Arnold, 216-217;
223.

Wright, W. Aldis, 193.

_Wuthering Heights_, 102, 103, 104.

_Yeast_, 269, 270.

_Yellowplush Papers_, The, 91.

_Youth of England to Garibaldi's Legion, The_, 249.

_Zanoni_, 73, 74.

CHISWICK PRESS:--CHARLES WHITTINGHAM AND CO.
TOOKS COURT, CHANCERY LANE, LONDON.

FOOTNOTES:

[1] In later times this has been confused with the very different doctrine that there is a domain of authority _within_ the domain of reason.

[2] _I.e._, if Ainsworth was the author of _Sir John Chiverton_.

[3] The 'Young Friend' to whom these remarkable letters are addressed is now Lady Hills-Johnes, of Dolancothy, Carmarthenshire.

[4] One early criticism was that the book was suspiciously _teres atque rotundus_.

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