A History of Nineteenth Century Literature (1780-1895)

by George Saintsbury

THE DEVELOPMENT OF PERIODICALS

Perhaps there is no single feature of the English literary history of the nineteenth century, not even the enormous popularisation and multiplication of the novel, which is so distinctive and characteristic as the development in it of periodical literature. For this did not, as the extension of novel writing did, concern a single department only. The periodical—it may almost for shortness' sake be said the newspaper—not only became infinitely multiplied, but it gradually absorbed almost every department, or a share of almost every department, into itself. Very large numbers of the best as well as of the worst novels themselves have originally appeared in periodicals; not a very small proportion of the most noteworthy nineteenth century poetry has had the same origin; it may almost be said that all the best work in essay, whether critical, meditative, or miscellaneous, has thus been ushered into the world. Even the severer and more academic divisions of history, philosophy, theology, and their sisters, have condescended to avail themselves of this means of obtaining a public audience; and though there is still a certain conventional decency in apologising for reprints from periodicals, it is quite certain that, had such reprints not taken place, more than half the most valuable books of the age in some departments, and a considerable minority of the most valuable in others, would never have appeared as books at all.

The first division of our time, the last twenty years of the eighteenth century, though it witnessed a very great development of the mere newspaper, with which we have little to do, did not see very much of this actual "development of periodical literature" which concerns us. These twenty years saw the last attempts in the line of the Addisonian essay; they saw the beginnings of some modern newspapers which exist at the present day; they beheld in the Anti-Jacobin perhaps the most brilliant specimen of political persiflage in newspaper form that had or has ever been seen. But they did not see—though they saw some fumbling attempts at it—anything like those strangely different but mutually complementary examples of periodical criticism which were given just after the opening of the new age by The Edinburgh Review (1802) and Cobbett's Weekly Register; and they saw nothing at all like the magazine, or combination of critical and creative matter, in which Blackwood was, some years later, to lead the way. At the close of the eighteenth century such magazines were in an exceedingly rudimentary state, and criticism was mainly still in the hands of the old Monthly and Critical Reviews, the respective methods of which had drawn from Johnson the odd remark that the Critical men, being clever, said little about their books, which the Monthly men, being "duller fellows," were glad to read and analyse. These Reviews and their various contemporaries had indeed from time to time enjoyed the services of men of the greatest talent, such as Smollett earlier and Southey just at the last. But, as a rule, they were in the hands of mere hacks; they paid so wretchedly that no one, unless forced by want or bitten by an amateurish desire to see himself in print, would contribute to them; they were by no means beyond suspicion of political and commercial favouritism; and their critiques were very commonly either mere summaries or scrappy "puffs" and "slatings," seldom possessing much grace of style, and scarcely ever adjusted to any scheme of artistic criticism.

This is a history of literature, not of the newspaper press, and it is necessary to proceed rather by giving account of the authors who were introduced to the public by—or who, being otherwise known, availed themselves of—this new development of periodicals. It may be sufficient to say here that the landmarks of the period, in point of the birth of papers, are, besides the two above mentioned, the starting of the Quarterly Review as a Tory opponent to the more and more Whiggish Edinburgh in 1809, of the Examiner as a Radical weekly in 1808, of Blackwood's Magazine as a Tory monthly in 1817, of the London Magazine about the same time, and of Fraser in 1830.

It was a matter of course that in the direction or on the staff of these new periodicals some of the veterans of the older system, or of the men who had at any rate already some experience in journalism, should be enlisted. Gifford, the first editor of the Quarterly, was in all respects a writer of the old rather than of the new age. Southey had at one time wholly, and for years partly, supported himself by writing for periodicals; Coleridge was at different times not merely a contributor to these, but an actual daily journalist; and so with others. But, as always happens when a really new development of literature takes place, new regiments raised themselves to carry out the new tactics, as it were, spontaneously. Many of the great names and the small mentioned in the last three chapters—perhaps indeed most of them—took the periodical shilling at one time or other in their lives. But those whom I shall now proceed to mention—William Cobbett, Francis Jeffrey, Sydney Smith, John Wilson, Charles Lamb, Leigh Hunt as a prose writer, William Hazlitt, Thomas De Quincey, John Gibson Lockhart, and some others—were, if not exactly journalists (an incorrect, but the only single designation), at any rate such frequent contributors to periodical literature of one kind or another that in some cases nothing, in most comparatively little, would be left of their work if contributions to newspapers, reviews, and magazines were to be excluded from it.

William Cobbett, not the greatest, but the most singular and original of the group, with the exception of Lamb, and as superior to Lamb in fertility and massive vigour as he was inferior to him in exquisite delicacy and finish, was the son of a very small farmer little above the labouring rank, and was born near Farnham in 1762. He was first a ploughboy, next an attorney's clerk, and then he enlisted in the 24th regiment. He served very creditably for seven or eight years, became serjeant-major, improved himself very much in education, and obtained his discharge. But, by one of the extraordinary freaks which mark his whole career, he first took it into his head to charge the officers of his regiment with malversation, and then ran away from his own charge with his newly married wife, first to France and then to America. Here he stayed till the end of the century, and here he began his newspaper experiments, keeping up in Peter Porcupine's Journal a violent crusade against French Jacobins and American Democrats. He returned to England in June 1800, and was encouraged by the Government to set up what soon became his famous Weekly Register—a paper which, after being (as Cobbett's politics had been up to this time) strongly Tory, lapsed by rapid degrees into a strange kind of fantastic Radicalism shot with Tory gleams. This remained Cobbett's creed till his death. The paper was very profitable, and for some time Cobbett was able to lead something like a country gentleman's life at Botley in Hampshire. But he met with two years' imprisonment for a violent article on flogging in the army, he subsequently got into money difficulties, and in 1817 he made a second voyage to America, which was in fact a flight both from his creditors and from the risk of another Government prosecution under the Six Acts. Through all his troubles the Register, except for a month or two, had continued to appear; and so it did to the last. Its proprietor, editor, and in the main author, stood for Parliament several times, and, after a trial for sedition in 1831, was at last returned for Oldham in 1832. He was not much of a success there, and died on 18th June 1835 near Guildford; for he always clung to the marches of Surrey and Hampshire.

Some such details of Cobbett's life are necessary even in the most confined space, because they are intimately connected with his singular character and his remarkable works. These latter are enormous in bulk and of the most widely diversified character. Peter Porcupine fills twelve not small volumes; the mere selections from the Register, which are all that has been republished of it, six very bulky ones; with a wilderness of separate works besides—Rural Rides, a History of the Reformation, books on husbandry, gardening, and rural economy generally, some on the currency, an English Grammar, and dozens of others. Of these the Rural Rides is the most interesting in matter and the most picturesque in style, while it affords a fair panorama of its author's rugged but wonderfully varied and picturesque mind and character; the History of the Reformation is the most wrong-headed and unfair; the currency writings the most singular example of the delusion that strong prejudices and a good deal of mother-wit will enable a man to write, without any knowledge, about the most abstruse and complicated subjects; the agricultural books and the English Grammar the best instances of genial humours, shrewdness, and (when crotchets do not come in too much) sound sense. But hardly anything that Cobbett writes is contemptible in form, however weak he may often be in argument, knowledge, and taste. He was the last, and he was not far below the greatest, of the line of vernacular English writers of whom Latimer in the sixteenth, Bunyan in the seventeenth, and Defoe in the eighteenth, are the other emerging personalities. To a great extent Cobbett's style was based on Swift; but the character of his education, which was not in the very least degree academic, and still more the idiosyncrasy of his genius, imposed on it almost from the first, but with ever-increasing clearness, a manner quite different from Swift's, and, though often imitated since, never reproduced. The "Letter to Jack Harrow," the "Letter to the People of Botley," the "Letters to Old George Rose," and that to "Alexander Baring, Loan Monger," to take examples almost at random from the Register, are quite unlike anything before them or anything after them. The best-known parody of Cobbett, that in Rejected Addresses, gives rather a poor idea of his style; exhibiting no doubt his intense egotism, his habit of half trivial divagation, and his use of strong language, but quite failing to give the immense force, the vivid clearness, and the sterling though not precisely scholarly English which characterise his good work. The best imitation to be found is in some of the anonymous pamphlets in which, in his later days, government writers replied to his powerful and mischievous political diatribes, and which in some cases, if internal evidence may be trusted, must have been by no mean hands.

Irrational as Cobbett's views were,—he would have adjusted the entire concerns of the nation with a view to the sole benefit of the agricultural interest, would have done away with the standing army, wiped out the national debt, and effected a few other trifling changes with a perfectly light heart, while in minor matters his crotchets were not only wild but simply irreconcilable with each other,—his intense if narrow earnestness, his undoubting belief in himself, and a certain geniality which could co-exist with very rough language towards his opponents, would give his books a certain attraction even if their mere style were less remarkable than it is. But it is in itself, if the most plebeian, not the least virile, nor even the least finished on its own scheme of the great styles in English. For the irony of Swift, of which, except in its very roughest and most rudimentary forms, Cobbett had no command or indeed conception, it substitutes a slogging directness nowhere else to be found equalled for combination of strength and, in the pugilistic sense, "science"; while its powers of description, within certain limits, are amazing. Although Cobbett's newspaper was itself as much of an Ishmaelite and an outsider as its director, it is almost impossible to exaggerate the effect which it had in developing newspapers generally, by the popularity which it acquired, and the example of hammer-and-tongs treatment of political and economic subjects which it set. The faint academic far-off-ness of the eighteenth century handling, which is visible even in the much-praised Letters of Junius, which is visible in the very ferocity of Smollett's Adventures of an Atom, which put up with "Debates of the Senate of Lilliput" and so forth, has been blown away to limbo, and the newspaper (at first at some risk) takes men and measures, politics and policies, directly and in their own names, to be its province and its prey.

It is a far cry from Cobbett to the founders of the Edinburgh Review, who, very nearly at the same time as that at which he launched his Register, did for the higher and more literary kind of periodical what he was doing for the lower and vernacular kind. I say the founders, because there is a still not quite settled dispute whether Francis Jeffrey or Sydney Smith was the actual founder of the famous "Blue and Yellow." This dispute is not uninteresting; because the one was as typically Scotch, with some remarkable differences from other Scotchmen, as the other was essentially English, with some points not commonly found in men of English blood. Jeffrey, the younger of the two by a couple of years, was still a member of the remarkable band who, as has been noticed so often already, were all born in the early seventies of the eighteenth century; and his own birthday was 23rd October 1773. He was an Edinburgh man; and his father, who was of a respectable though not distinguished family, held office in the Court of Session and was a strong Tory. Jeffrey does not seem to have objected to his father's profession, though he early revolted from his politics; and, after due study at the High School of his birthplace, and the Universities of Glasgow, Edinburgh, and Oxford (at which latter, however, he only remained a year, deriving very little benefit or pleasure from his sojourn at Queen's College), he was called to the Scottish bar. He practised at first with very little success, and in 1798 had serious thoughts of taking up literary life in London. But he could obtain no footing, and, returning to Edinburgh and marrying a cousin, he fell into the company of Sydney Smith, who was there with a pupil. It seems to be admitted that the idea of a new Review—to be entirely free from the control or influence of publishers, to adopt an independent line of criticism (independent, but somewhat mistaken; for the motto Judex damnatur cum nocens absolvitur gives a very one-sided view of the critic's office), and to be written for fair remuneration by persons of more or less distinct position, and at any rate of education—originated with Sydney Smith. He is also sometimes spoken of as the first "editor," which would appear to be a mistake. At first (the original issue was in October 1802) the review appears to have been a kind of republic; the contributors being, besides Jeffrey and Sydney, a certain Francis Horner (who died too soon to demonstrate the complete falsity of the golden opinions entertained of him by his friends), Brougham, and some Professors of Edinburgh University. But no such plan has ever succeeded, though it has been more than once tried, and very soon accident or design showed that Jeffrey was the right man to take the command of the ship. The Review was not ostensibly a political one at first, and for some years Tories, the greatest of whom was Scott, wrote in it. But the majority of the contributors were Whigs, and the whole cast of the periodical became more and more of that complexion, till at last, private matters helping public, a formidable secession took place, and the Quarterly was founded.

From time to time students of literature turn to the early numbers of these famous periodicals, of the Edinburgh especially, with the result, usually of a certain, sometimes of a considerable, disappointment. With the exception of a few things already known from their inclusion in their authors' collected works, the material as a whole is apt to seem anything but extraordinarily good; and some wonder is often expressed at the effect which it originally had. This arises from insufficient attention to a few obvious, but for that very reason easily neglected, truths. The inquirers as a rule have in their minds much more what has followed than what has gone before; and they contrast the early numbers of the Edinburgh, not with its jejune forerunners, but with such matured instances as Macaulay's later essays; the early numbers of the Quarterly, not with the early numbers of the Edinburgh, but with their own successors. Again it is apt to be forgotten that the characteristics of joint-stock periodical-writing make as much for general inequality as for occasional goodness. That which is written by many hands will seldom be as bad, but can never be as good, as that which is written by one; that which takes its texts and starting-points from suggested matters of the moment will generally escape the occasional dulness, but can rarely attain the occasional excellence, of the meditated and original sprout of an individual brain.

The Edinburgh in its early years was undoubtedly surpassed by itself later and by its rivals; but it was a far greater advance upon anything that had gone before it. It had the refreshing audacity, the fly-at-all character of youth and of intellectual opposition to established ideas; it was, if even from the first not free from partisanship, at any rate not chargeable with the dull venal unfairness of the mere bookseller's hack who attacks Mr. Bungay's books because he is employed by Mr. Bacon, or vice versa. And it had a very remarkable staff, comprising the learning and trained intelligence of men like Leslie and Playfair, the unrivalled wit of Sydney Smith, the restless energy and occasional genius of Brougham, the solid profundity of Horner, the wide reading and always generous temper of Scott, and other good qualities of others, besides the talents of its editor Jeffrey himself.

Of these talents there is no doubt, though they were initially somewhat limited and not seldom misdirected afterwards. Jeffrey's entire energies were absorbed by the Review between its foundation and his resignation of the editorship after nearly thirty years' tenure, soon after which, his party at last coming into power, he was rewarded first by the Lord Advocateship and then by a seat on the Bench. He made a very fair judge, and held the post almost till his death in 1850. But his life, for the purposes of literature, is practically comprised between 1802 and 1829, during which he was far more than titularly the guiding spirit of the Review. Recently, or at any rate until quite recently (for there has been some reaction in the very latest days), the conception of an editor has been of one who writes not very much, and, though choosing his contributors with the best care he can give, does not interfere very much with them when they are chosen. This was very far from being the Jeffreyan ideal. He wrote a great deal,—often in the earlier years as many as half a dozen articles in a number,—and he "doctored" his contributors' articles (except in the case of persons like Sydney Smith, who were of too unconquerable idiosyncrasy and too valuable) with the utmost freedom. At the present day, however, his management of the Review is less interesting than his own work, which he himself in his later years collected and selected in an ample definitive edition. It is exceedingly interesting, and for a good many years past it has been distinctly undervalued; the common, though very uncritical, mistake having been made of asking, not whether Jeffrey made a good fight for his own conclusions from his own premises, but whether he approved or disapproved authors whom we now consider great. From this latter point of view he has no doubt small chance. He began by snubbing Byron, and did not change his tone till politics and circumstances combined made the change obligatory; he pooh-poohed and belittled his own contributor and personal friend Scott; he pursued Wordsworth with equal relentlessness and ill-success. And these three great examples might be reinforced with whole regiments of smaller ones. A more serious fault perhaps was the tone which he, more than any one else, impressed on the Review, and which its very motto expressed, as though an author necessarily came before the critic with a rope about his neck, and was only entitled to be exempted from being strung up speciali gratia. This notion, as presumptuous as it is foolish, is not extinct yet, and has done a great deal of harm to criticism, both by prejudicing those who are not critical against critics, and by perverting and twisting the critic's own notion of his province and duty.

Nevertheless, Jeffrey had great merits. His literary standpoint was a little unfortunate. Up to a certain extent he had thoroughly sympathised with the Romantic movement, and he never was an advocate for the Augustan period in English. But either some curiosity of idiosyncrasy, or the fact that Scott and the Lake Poets were all in different ways pillars of Toryism, set him against his own Romantic contemporaries in a very strange fashion. Still, in some ways he was a very great critic. His faculty of summarising a period of literature has rarely been equalled, and perhaps never surpassed; he had, when prejudice of some sort did not blind him, an extraordinary faculty of picking out the best passages in a book; and, above all, he arranged his critical judgments on something like a regular and co-ordinated system. Even his prejudices and injustices were systematic: they were linked to each other by arguments which might sometimes be questionable, but which were always arguments. And though, even when, as in the cases of Keats and Shelley, his extra-literary bias was not present to induce him wrong, he showed a deplorable insensibility to the finer strokes of poetry, he was in general, and taking literature all round, as considerable a critic as we have had in English.

Sydney Smith was a curious contrast to Jeffrey in almost every respect except in politics, and even there the resemblance was rather fortuitous than essential. The second son of a man of eccentric character and some means, he was born in 1771, was sent to Winchester, and proceeded thence to New College, Oxford, where he became Fellow and resided for a considerable time; but unusually little is recorded either of his school or of his college days. He took orders and was appointed to a curacy on Salisbury Plain, where the squire of the parish took a fancy to him and made him tutor to his eldest son. Tutor and pupil went to Edinburgh, just then in great vogue as an educational centre, in 1798; and there Sydney, besides doing clerical duty, stumbled upon his vocation as reviewer. He abode in the Scottish capital for about five years, during which he married, and then removed to London, where he again did duty of various kinds, lectured on Moral Philosophy, and, when the Grenville administration came in, received a fairly valuable Yorkshire living, that of Foston. Here, after a time, he had, owing to new legislation about clerical absentees, to take up his residence, which involved building a parsonage. He had repaid his Whig patrons by writing the exceedingly brilliant and passably scurrilous Letters of Peter Plymley on Catholic Emancipation, and he reviewed steadily for the Edinburgh, as indeed he did during almost the whole editorship of Jeffrey. At last Lord Lyndhurst, a Tory, gave him a stall at Bristol, and he was able to exchange Foston for Combe-Florey, in the more genial latitude of Somerset. The rest of his life was fortunate in worldly ways; for the Reform Ministry, though they would not give him a bishopric, gave him a canonry at St. Paul's, and divers legacies and successions made him relatively a rich man. He died five years before Jeffrey, in February 1845.

Besides the differences of their Scotch and English nationality and education, the contrast between the two friends and founders of the "Blue and Yellow" was curiously pervading. Jeffrey, for all his supposed critical savagery, was a sentimentalist, and had the keenest love of literature as literature; Sydney cared very little for books as books, and had not a grain of sentiment in his composition. Jeffrey had little wit and no humour; Smith abounded in both, and was one of the very wittiest of Englishmen. Even in his Review articles he constantly shocked his more solemn and pedagogic editor by the stream of banter which he poured not merely upon Tories and High Churchmen, but on Methodists and Non-conformists; his letters are full of the most untiring and to this day the most sparkling pleasantry; and his two chief works outside his reviews, the earlier Peter Plymley's Letters and the later Letters to Archdeacon Singleton (written when the author's early Whiggism had crystallised into something different, and when he was stoutly resisting the attempts of the reformed government to meddle with cathedral establishments), rank among the capital light pamphlets of the world, in company with those of Pascal and Swift and Courier. The too few remnants of his abundant conversation preserve faint sparks of the blaze of impromptu fun for which in his day he was almost more famous than as a writer. Sydney Smith had below the surface of wit a very solid substratum of good sense and good feeling; but his literary appeal consisted almost wholly in his shrewd pleasantry, which, as it has been observed, might with even more appropriateness than Coleridge said it of Fuller, have been said to be "the stuff and substance of his intellectual nature." This wit was scarcely ever in writing—it seems to have been sometimes in conversation—forced or trivial; it was most ingeniously adjusted to the purpose of the moment, whether that purpose was a political argument, a light summary of a book of travels, or a mere gossiping letter to a friend; and it had a quality of its own which could only be displayed by extensive and elaborate citation. But if it be possible to put the finger on a single note, it is one distinguishing Sydney Smith widely from Fuller himself, bringing him a little nearer to Voltaire, and, save for the want of certain earnestness, nearer still to Swift—the perfect facility of his jokes, and the casual, easy man-of-the-worldliness with which he sets them before the reader and passes on. Amid the vigorous but slightly ponderous manners of the other early contributors to the Review, this must have been of inestimable value; but it is a higher credit to Sydney Smith that it does not lose its charm when collected together and set by itself, as the more extravagant and rollicking kinds of periodical humour are wont to do. It was probably his want of serious preoccupations of any kind (for his politics were merely an accident; he was, though a sincere Christian, no enthusiast in religion; and he had few special interests, though he had an honest general enjoyment of life) which enabled Sydney Smith so to perfect a quality, or set of qualities, which, as a rule, is more valuable as an occasional set-off than as the staple and solid of a man's literary fare and ware. If so, he points much the same general moral as Cobbett, though in a way as different as possible. But in any case he was a very delightful person, an ornament of English literature, such as few other literatures possess, in his invariable abstinence from unworthy means of raising a laugh, and, among the group of founders of the new periodical, the representative of one of its most important constituents—polished persiflage.

The other contributors of the first generation to the Edinburgh Review do not require much notice here; for Brougham was not really a man of letters, and belongs to political and social, not to literary history, while Mackintosh, though no one would contest his claims, will be better noticed under the head of philosophy. Nor do many of the first staff of the Edinburgh's great rival, the Quarterly, require notice; for Gifford, Canning, Ellis, Scott, Southey have all been noticed under other heads.

Two, however, not of the absolutely first rank, may be mentioned here more conveniently than anywhere else—Sir John Barrow and Isaac Disraeli. The former had a rather remarkable career; for he was born, in 1764, quite of the lower rank, and was successively a clerk in a workshop, a sailor, a teacher of mathematics, and secretary to Macartney on his famous embassy to China. After following the same patron to South Africa, Barrow, at the age of forty, became Secretary of the Admiralty, which post he held with one short break for more than forty years longer. He was made a baronet in 1835, and died in 1848. Barrow was a considerable writer on geography and naval history; and one of the pillars of the Quarterly. Isaac Disraeli, son of one Benjamin of that name and father of another, seems to have been as unlike his famous offspring as any father could be to any son. Born at Enfield in 1766, he showed absolutely no taste for business of any kind, and after some opposition was allowed to cultivate letters. His original work was worth little; indeed, one of the amiable sayings attributed to his friend Rogers was that Isaac Disraeli had "only half an intellect." He fell, however, pretty early (1791) into an odd but pleasant and profitable course of writing which amused himself during the remainder of a long life (he died blind in the same year with Barrow), and has amused a vast number of readers for more than a century. The Curiosities of Literature, the first part of which appeared at the date above mentioned, to be supplemented by others for more than forty years, were followed by the Calamities of Authors and the Quarrels of Authors (1812-14), a book on Charles I., and the Amenities of Literature (1840). Of these the Curiosities is the type, and it is also the best of them. Isaac Disraeli was not a good writer; and his original reflections may sometimes make the reader doubt for a moment whether Rogers was not more wrong in granting him half an intellect than in denying him a whole one. But his anecdotage, though, as perhaps such anecdotage is bound to be, not extremely accurate, is almost inexhaustibly amusing, and indicates a real love as well as a wide knowledge of letters.

The next periodicals, the founding of which enlisted or brought out journalists or essay-writers of the true kind, were Blackwood's Magazine, founded at Edinburgh in 1817, and the London Magazine, of about the same date, the first with one of the longest as well as the most brilliant careers to run that any periodical can boast of, the latter as short-lived as it was brilliant. Indeed, the two had an odd and—in the Shakespearian sense—metaphysical opposition. Scotland and England, the country and the Cockney schools, Toryism and Liberalism (though the London was by no means so thoroughgoing on the Liberal side as Blackwood was on the Tory, and some of its most distinguished contributors were either Tory, as De Quincey, or neutral, as Lamb) fought out their differences under the two flags. And by a climax of coincidence, the fate of the London was practically decided by the duel which killed John Scott, its editor, this duel being the direct result of an editorial or contributorial quarrel between the two periodicals.

Both these magazines, besides being more frequent in appearance than the Edinburgh and the Quarterly, attempted, as their very title of "magazine" expressed, a much wider and more miscellaneous collection of subjects than the strict "review" theory permitted. From the very first Blackwood gave a welcome to fiction, to poetry, and to the widest possible construction of the essay, while, in almost every respect, the London was equally hospitable. Both had staffs of unusual strength, and of still more unusual personality; and while the London could boast of Charles Lamb, of Hazlitt, of De Quincey, of Hood, of Miss Mitford, besides many lesser names, Blackwood was practically launched by the triumvirate of Wilson, Lockhart, and the Ettrick Shepherd, with the speedy collaboration of Maginn.

The eldest of these, and if not the most vigorous, if very nearly the least prolific, yet the most exquisite and singular in literary genius, was Charles Lamb. He also was of the "Seventy Club," as we may call it, which founded the literature of the nineteenth century, and he was born in London on 18th February 1775. He was of rather lower birth than most of its other members (if membership can be predicated of a purely imaginary body), being the son of a lawyer's clerk and confidential servant; but he was educated at Christ's Hospital, and, through the interest of his father's employer, obtained, at the age of seventeen, a berth in the East India House, which assured his modest fortunes through life. But there was the curse of madness in his family, and though he himself escaped with but one slight and passing attack of actual lunacy, and at the cost of an eccentricity which only imparted a rarer touch to his genius, his elder sister Mary was subject to constant seizures, in one of which she stabbed her mother to the heart. She was more gently dealt with than perhaps would have been the case at present, and Lamb undertook the entire charge of her. She repaid him by unfailing care and affection during her lucid intervals (which were long and frequent), and by a sympathy with his own literary tastes, which not seldom made her a valuable collaborator as well as sympathiser. But the shadow was on his whole life: it made it impossible for him to marry, as he evidently would have done if it had not existed; and it perhaps had something to do with a venial but actual tendency on his part to take, rather fully, the convivial license of the time. But Lamb had no other weakness, and had not this in any ruinous degree. The quality of his genius was unique. He had from the first been a diligent and affectionate student of sixteenth and seventeenth century writers, and some of his first literary efforts, after some early sonnets (written with Coleridge and their friend Lloyd, and much fallen foul of by the Tory wits of the Anti-Jacobin), were connected with these studies. He and his sister wrote Tales from Shakespeare, which, almost alone of such things, are not unworthy of the original. He executed an Elizabethan tragedy, John Woodvil, which is rather better than it has been generally said to be; and he arranged a series (or rather two) of scenes from the Elizabethan drama itself, the short, interspersed, critical remarks of which, though occasionally a very little fanciful, contain the most exquisitely sympathetic criticism to be found anywhere in English literature.

It was not, however, till he had well reached middle age that the establishment of the London, the later publishers of which, Taylor and Hessey, were his friends, gave him that half accidental, and yet it would seem necessary, opening which has so often made the fame of men of genius, and which apparently they are by no means often able to make for themselves. Lamb's poems have occasionally an exquisite pathos and more frequently a pleasant humour, but they would not by themselves justify a very high estimate of him; and it is at least possible that, if we had nothing but the brief critical remarks on the dramatists above noticed, they would, independently of their extreme brevity, have failed to obtain for him the just reputation which they now hold, thanks partly to the fact that we have, as comments on them, the Essays of Elia and the delightful correspondence. This latter, after being first published soon after Lamb's death in 1834 (nine years after he had been pensioned off from the India House), by Mr., afterwards Serjeant and Sir Thomas Talfourd, has been gradually augmented, till it has at last found an excellent and probably final editor in Canon Ainger.

It is in these two collections that Lamb presents himself in the character which alone can confer on any man the first rank in literature, the character of unicity—of being some one and giving something which no one before him has given or has been. The Essays of Elia (a nom de guerre said to have been taken from an Italian comrade of the writer's elder brother John in the South Sea House, and directed by Lamb himself to be pronounced "Ell-ia") elude definition not merely as almost all works of genius do, but by virtue of something essentially elvish and tricksy in their own nature. It is easy to detect in them—or rather the things there are so obvious that there is no need of detection—an extraordinary familiarity with the great "quaint" writers of the seventeenth century—Burton, Fuller, Browne—which has supplied a diction of unsurpassed brilliancy and charm; a familiarity with the eighteenth century essayists which has enabled the writer to construct a form very different from theirs in appearance but closely connected with it in reality; an unequalled command over that kind of humour which unites the most fantastic merriment to the most exquisite pathos; a perfect humanity; a cast of thought which, though completely conscious of itself, and not in any grovelling sense humble (Lamb, forgiving and gentle as he was, could turn sharply even upon Coleridge, even upon Southey, when he thought liberties had been taken with him), was a thousand miles removed from arrogance or bumptiousness; an endlessly various and attractive set of crotchets and whimsies, never divorced from the power of seeing the ludicrous side of themselves; a fervent love for literature and a wonderful gift of expounding it; imagination in a high, and fancy almost in the highest degree. But when all this has been duly set down, how much remains both in the essays and in the letters, which in fact are chiefly distinguished from one another by the fact that the essays are letters somewhat less discursive and somewhat in fuller dress, the letters essays in the rough. For the style of Lamb is as indefinable as it is inimitable, and his matter and method defy selection and specification as much as the flutterings of a butterfly. One thing he has always, and that is charm; as for the rest he is an epitome of the lighter side of belles lettres, and not always of the lighter side only.

No one who studies Lamb can fail to see the enormous advantage which was given him by his possession of an official employment which brought him a small but sufficient income without very hard labour. Such literary work as his could never be done (at any rate for a length of time) as "collar-work," and even if the best of it had by chance been so performed, it must necessarily have been mixed, as that of Leigh Hunt is, with a far larger quantity of mere work to order. No such advantage was possessed by the third of the great trio of Cockney critics, or at least critics of the so-called Cockney school; for William Hazlitt, as much the greatest of English critics in a certain way as Lamb is in another and Jeffrey in a third (though a lower than either), was a Cockney neither by extraction nor by birth, nor by early sojourn, nor even by continuous residence in later life. His family was Irish, his father a Unitarian minister; he was born at Maidstone in 1778. When his father was officiating at Wem in Shropshire, in Hazlitt's twentieth year, Coleridge, who at times affected the same denomination, visited the place, and Hazlitt was most powerfully impressed by him. He was, however, divided between art and literature as professions, and his first essays were in the former, which he practised for some time, visiting the Louvre during the peace, or rather armistice, of Amiens, to copy pictures for some English collectors, and to study them on his own account. Returning to London, he met Lamb and others of the literary set in the capital, and, after some newspaper work, married Miss Stoddart, a friend of Mary Lamb's, and a lady of some property. He and his wife lived for some years at her estate of Winterslow on Salisbury Plain (long afterwards still a favourite resort of Hazlitt's), and then he went in 1812 once more to London, where abundant work on periodicals of all kinds, on the Liberal side, from daily newspapers to the Edinburgh Review, soon fell into his hands. But after a time he gave up most kinds of writing except literary, theatrical, and art criticism, the delivery of lectures on literature, and the composition of essays of a character less fanciful and less purely original than Lamb's, but almost as miscellaneous.

He lived till September 1830, the first of those early thirties of the nineteenth century which were to be as generally fatal to his generation of great English men of letters as the seventies of the eighteenth had been prolific of them; and his dying words, "Well, I have had a happy life," are noteworthy. For certainly that life would hardly have seemed happy to many. He quarrelled with his first wife, was divorced from her in Scotland, discreditably enough; published to the world with astounding lack of reticence the details of a frantic passion for Sarah Walker, a lodginghouse-keeper's daughter, who jilted him; and after marrying a second time, was left by his second wife. He had never been rich, and during the last years of his life was in positive difficulties, while for almost the whole period of his second sojourn in London he was the object of the most virulent abuse from the Tory organs, especially the Quarterly and Blackwood—abuse which, it must be confessed, he was both ready and able to repay in kind with handsome interest. He appears to have played the part of firebrand and makebate in the John Scott duel already referred to. Even with his friends he could not keep upon good terms, and the sincere gentleness of Lamb broke down at least once, as the easy good-nature of Leigh Hunt did many times, under the strain of his perverse and savage wrong-headedness.

But whether the critical and the unamiable temper are, as some would have it, essentially one, or whether their combination in the same person be mere coincidence, Hazlitt was beyond all question a great, a very great, critic—in not a few respects our very greatest. All his work, or almost all that has much merit, is small in individual bulk, though the total is very respectable. His longest book, his Life of Napoleon, which was written late and as a counterblast to Scott's, from the singular standpoint of a Republican who was an admirer of Bonaparte, has next to no value; and his earliest, a philosophical work in eighteenth century style on The Principles of Human Action, has not much. But his essays and lectures, which, though probably not as yet by any means exhaustively collected or capable of being identified, fill nine or ten volumes, are of extraordinary goodness. They may be divided roughly into three classes. The first, dealing with art and the drama, must take the lowest room, for theatrical criticism is of necessity, except in so far as it touches on literature rather than acting, of very ephemeral interest; and Hazlitt's education in art and knowledge of it were not quite extensive enough, nor the examples which in the first quarter of this century he had before him in England important enough, to make his work of this kind of the first importance. The best of it is the Conversations with Northcote, a painter of no very great merit, but a survivor of the Reynolds studio; and these conversations very frequently and very widely diverge from painting into literary and miscellaneous matters. The second class contains the miscellaneous essays proper, and these have by some been put at the head of Hazlitt's work. But although some of them, indeed, nearly all, display a spirit, a command of the subject, and a faculty of literary treatment which had never been given to the same subjects in the same way before, although such things as the famous "Going to a Fight," "Going a Journey," "The Indian Jugglers," "Merry England," "Sundials," "On Taste," and not a few more would, put together and freed from good but less good companions, make a most memorable collection, still his real strength is not here.

Great as Hazlitt was as a miscellaneous and Montaignesque essayist, he was greater as a literary critic. Literature was, though he coquetted with art, his first and most constant love; it was the subject on which, as far as English literature is concerned (and he knew little and is still less worth consulting about any other), he had acquired the largest and soundest knowledge; and it is that for which he had the most original and essential genius. His intense prejudices and his occasional inadequacy make themselves felt here as they do everywhere, and even here it is necessary to give the caution that Hazlitt is never to be trusted when he shows the least evidence of dislike for which he gives no reason. But to any one who has made a little progress in criticism himself, to any one who has either read for himself or is capable of reading for himself, of being guided by what is helpful and of neglecting what is not, there is no greater critic than Hazlitt in any language. He will sometimes miss—he is never perhaps so certain as his friends Lamb and Hunt were to find—exquisite individual points. Prejudice, accidental ignorance, or other causes may sometimes invalidate his account of authors or of subjects in general. But still the four great collections of his criticism, The Characters of Shakespeare, The Elizabethan Dramatists, The English Poets, and The English Comic Writers, with not a few scattered things in his other writings, make what is on the whole the best corpus of criticism by a single writer in English on English. He is the critics' critic as Spenser is the poets' poet; that is to say, he has, errors excepted and deficiencies allowed, the greatest proportion of the strictly critical excellencies—of the qualities which make a critic—that any English writer of his craft has ever possessed.

Blackwood's Magazine, the headquarters, the citadel, the place d'armes of the opposition to the Cockney school and of criticism and journalism that were Tory first of all, enlisted a younger set of recruits than those hitherto mentioned, and the special style of writing which it introduced, though exceedingly clever and stimulating, lent itself rather less to dispassionate literary appreciation than even the avowedly partisan methods of the Edinburgh. In its successful form (for it had a short and inglorious existence before it found out the way) it was launched by an audacious "skit" on the literati of Edinburgh written by John Wilson, John Gibson Lockhart, and James Hogg, while very soon after its establishment it was joined by a wild and witty Bohemian scholar from the south of Ireland, William Maginn, who, though before long he drifted away to other resorts, and ere many years established in Fraser a new abode of guerilla journalism, impressed on Blackwood itself, before he left it, several of its best-known features, and in particular is said to have practically started the famous Noctes Ambrosianæ. Of Hogg, enough has been said in a former chapter. For the critical purpose of "Maga," as Blackwood's Magazine loved to call itself, he was rather a butt, or, to speak less despiteously, a stimulant, than an originator; and he had neither the education nor indeed the gifts of a critic. Of each of the others some account must be given, and Maginn will introduce yet another flight of brilliant journalists, some of whom, especially the greatest of all, Carlyle, lived till far into the last quarter of the present century.

Wilson, the eldest of those just mentioned, though a younger man than any one as yet noticed in this chapter, and for many years the guiding spirit (there never has been any "editor" of Blackwood except the members of the firm who have published it) of Maga, must at some time or other have taken to literature, and would probably in any case have sooner or later written the poems and stories which exist under his name, but do not in the very least degree constitute its eminence. It was the chapter of accidents that made him a journalist and a critic. He was born in 1785, his father being a rich manufacturer of Paisley, was educated at the universities of Glasgow and Oxford, came early into a considerable fortune, married at twenty-six, and having established himself at Elleray on Windermere, lived there the life of a country gentleman, with more or less literary tastes. His fortune being lost by bad luck and dishonest agency, he betook himself to Edinburgh, and finding it impossible to get on with Jeffrey (which was not surprising), threw himself heart and soul into the opposition venture of Blackwood. He had, moreover, the extraordinary good luck to obtain, certainly on no very solid grounds (though he made at least as good a professor as another), the valuable chair of Moral Philosophy in the University of Edinburgh, which of itself secured him from any fear of want or narrow means. But no penniless barrister on his promotion could have flung himself into militant journalism with more ardour than did Wilson. He re-created, if he did not invent, the Noctes Ambrosianæ—a series of convivial conversations on food, drink, politics, literature, and things in general, with interlocutors at first rather numerous, and not very distinct, but latterly narrowed down to "Christopher North" (Wilson himself), the "Ettrick Shepherd" (Hogg), and a certain "Timothy Tickler," less distinctly identified with Wilson's mother's brother, an Edinburgh lawyer of the name of Sym. A few outsiders, sometimes real (as De Quincey), sometimes imaginary, were, till the last, added now and then. And besides these conversations, which are his great title to fame, he contributed, also under the nom de guerre of Christopher North, an immense number of articles, in part collected as Christopher North in his Sporting Jacket, substantive collections on Homer, on Spenser, and others, and almost innumerable single papers and essays on things in general. From the time when Lockhart (see below) went to London, no influence on Blackwood could match Wilson's for some ten or twelve years, or nearly till the end of the thirties. Latterly ill-health, the death of friends and of his wife, and other causes, lessened his energy, and for some years before his death in 1854 he wrote little. Two years before that time his increasing ailments caused him even to resign his professorship.

Wilson—whose stories are merely mediocre, and whose poems, The Isle of Palms (1812) and The City of the Plague (1816), merely show that he was an intelligent contemporary of Scott and Byron, and a neighbour of the Lake poets—developed in his miscellaneous journalism one of the most puissant and luxuriant literary faculties of the time; and in particular was among the first in one, and perhaps the very first in another, kind of writing. The first and less valuable of the two was the subjection of most, if not all, of the topics of the newspaper to a boisterous but fresh and vigorous style of critical handling, which bears some remote resemblance to the styles of L'Estrange towards the end of the seventeenth century, and Bentley a little later, but is in all important points new. The second and higher was the attempt to substitute for the correct, balanced, exactly-proportioned, but even in the hands of Gibbon, even in those of Burke, somewhat colourless and jejune prose of the past age, a new style of writing, exuberant in diction, semi-poetical in rhythm, confounding, or at least alternating very sharply between, the styles of high-strung enthusiasm and extravagant burlesque, and setting at naught all precepts of the immediate elders. It would be too much, no doubt, to attribute the invention of this style to Wilson. It was "in the air"; it was the inevitable complement of romantic diction in poetry; it had been anticipated to some extent by others, and it displayed itself in various forms almost simultaneously in the hands of Landor, who kept to a more classical form, and of De Quincey, who was modern. But Wilson, unless in conversation with De Quincey, cannot be said to have learnt it from any one else: he preceded most in the time, and greatly exceeded all in the bulk and influence of his exercises, owing to his position on the staff of a popular and widely-read periodical.

The defect of both these qualities of Wilson's style (a defect which extends largely to the matter of his writings in criticism and in other departments) was a defect of sureness of taste; while his criticism was more vigorous than safe. Except his Toryism (which, however, was shot with odd flashes of democratic sentiment and a cross-vein of crotchety dislike not to England but to London), he had not many pervading prejudices. But at the same time he had not many clear principles: he was the slave of whim and caprice in his individual opinions; and he never seems to have been able to distinguish between a really fine thing and a piece of fustian, between an urbane jest and a piece of gross buffoonery, between eloquence and rant, between a reasoned condemnation and a spiteful personal fling. Accordingly the ten reprinted volumes of his contributions to Blackwood and the mass of his still uncollected articles contain the strangest jumble of good and bad in matter and form that exists anywhere. By turns trivial and magnificent, exquisite and disgusting, a hierophant of literature and a mere railer at men of letters, a prince of describers, jesters, enthusiasts, and the author of tedious and commonplace newspaper "copy," Wilson is one of the most unequal, one of the most puzzling, but also one of the most stimulating and delightful, figures in English literature. Perhaps slightly over-valued for a time, he has for many years been distinctly neglected, if not depreciated and despised; and the voluminousness of his work, coupled with the fact that it is difficult to select from it owing to the pervading inequality of its merits, may be thought likely to keep him in the general judgment at a lower plane than he deserves. But the influence which he exerted during many years both upon writers and readers by his work in Blackwood cannot be over-estimated. And it may be said without fear that no one with tolerably wide sympathies, who is able to appreciate good literature, will ever seriously undertake the reading of his various works without equal satisfaction and profit.

Wilson's principal coadjutor in the early days of Blackwood, and his friend of all days (though the mania for crying down not so much England as London made "Christopher North" indulge in some girds at his old comrade's editorship of the Quarterly), was a curious contrast to Wilson himself. This contrast may may have been due partly, but by no means wholly, to the fact that there was ten years between them. John Gibson Lockhart was born at Cambusnethan, where his father was minister, on 14th July 1794. Like Wilson, he was educated at Glasgow and at Oxford, where he took a first-class at a very early age, and whence he went to Germany, a completion of "study-years" which the revolutionary wars had for a long time rendered difficult, if not dangerous. On returning home he was called to the Scottish Bar, where it would seem that he might have made some figure, but for his inability to speak in public. Blackwood gave him the very opening suited to his genius; and for years he was one of its chief contributors, and perhaps the most dangerous wielder of the pretty sharp weapons in which its staff indulged. Shortly afterwards, in 1819, he published (perhaps with some slight assistance from Wilson) his first original book (he had translated Schlegel's Lectures on History earlier), Peter's Letters to his Kinsfolk. The title was a parody on Scott's account of his continental journey after Waterloo, the substance an exceedingly vivacious account of the things and men of Edinburgh at the time, something after the fashion of Humphrey Clinker. Next year, on 29th April, Lockhart married Sophia, Scott's elder daughter; and the pair lived for some years to come either in Edinburgh or at the cottage of Chiefswood, near Abbotsford, Lockhart contributing freely to Blackwood, and writing his four novels and his Spanish Ballads. At the end of 1825 or the beginning of 1826, just at the time when his father-in-law's financial troubles set in, he received the appointment of editor of the Quarterly Review in succession, though not in immediate succession, to Gifford. He then removed to London, where he continued to direct the Review, to contribute for a time to Fraser, to be a very important figure in literary and political life, and after Scott's death to write an admirable Life. Domestic troubles came rather thickly on him after Scott's death, which indeed was preceded by that of Lockhart's own eldest son, the "Hugh Littlejohn" of the Tales of a Grandfather. Mrs. Lockhart herself died in 1837. In 1843 Lockhart received the auditorship of the duchy of Lancaster, a post of some value. Ten years later, in broken health, he resigned the editorship of the Quarterly, and died towards the end of the year.

Lockhart's works, at present uncollected, and perhaps in no small proportion irrecoverable, must have been of far greater bulk than those of any one yet mentioned in this chapter except Wilson, and not inconsiderably greater than his. They are also of a remarkable variety, and of an extraordinary level of excellence in their different kinds. Lockhart was not, like Wilson, an advocate or a practitioner of very ornate or revolutionary prose. On the contrary, he both practised, preached, and most formidably defended by bitter criticism of opposite styles, a manner in prose and verse which was almost classical, or which at least admitted no further Romantic innovation than that of the Lake poets and Scott. His authorship of the savage onslaught upon Keats in Blackwood is not proven; but there is no doubt that he wrote the scarcely less ferocious, though much more discriminating and better-deserved, attack on Tennyson's early poems in the Quarterly. He was himself no mean writer of verse. His Spanish Ballads (1823), in which he had both Southey and Scott as models before him, are of great excellence; and some of his occasional pieces display not merely much humour (which nobody ever denied him), but no mean share of the feeling which is certainly not often associated with his name. But verse was only an occasional pastime with him: his vocation was to write prose, and he wrote it with admirable skill and a seldom surpassed faculty of adaptation to the particular task. It is indeed probable—and it would be no discredit to him—that his reputation with readers as opposed to students will mainly depend, as it depends at present, upon his Life of Scott. Nor would even thus his plumes be borrowed over much. For though no doubt the letters and the diary of Sir Walter himself count for much in the interest of the book, though the beauty and nobility of Scott's character, his wonderful achievements, the pathetic revolution of his fortune, form a subject not easily matched, yet to be equal to such a subject is to be in another sense on an equality with it. Admiration for the book is not chequered or tempered, as it almost necessarily must be in the case of its only possible rival, Boswell's Johnson, with more or less contempt for the author; still less is it (as some have contended that admiration for Boswell is) due to that contempt. The taste and spirit of Lockhart's book are not less admirable than the skill of its arrangement and the competency of its writing; nor would it be easily possible to find a happier adjustment in this respect in the whole annals of biography.

But this great book ought not to obscure the other work which Lockhart has done. His biography of Burns is of remarkable merit; it may be questioned whether to this day, though it may be deficient in a few modern discoveries of fact (and these have been mostly supplied in the edition by the late Mr. Scott Douglas), it is not the best book on the subject. The taste and judgment, the clear vision and sound sense, which distinguished Lockhart, are in few places more apparent than here. His abridgment of Scott's Life of Napoleon is no ordinary abridgment, and is a work of thorough craft, if not even of art. His novels, with one exception, have ceased to be much read; and perhaps even that one can hardly be said to enjoy frequent perusal. Valerius, the first, is a classical novel, and suffers under the drawbacks which have generally attended its kind. Reginald Dalton, a novel in part of actual life at Oxford, and intended to be wholly of actual life, still shows something of the artificial handling, of the supposed necessity for adventure, which is observable in Hook and others of the time, and which has been sufficiently noticed in the last chapter. Matthew Wald, the last of the four, is both too gloomy and too extravagant: it deals with a mad hero. But Adam Blair, which was published in the same year (1821) with Valerius, is a wonderful little book. The story is not well told; but the characters and the principal situation—a violent passion entertained by a pious widowed minister for his neighbour's wife—are handled with extraordinary power. Peter's Letters, which is half a book and half journalism, may be said to be, with rare exceptions (such as an obituary article on Hook, which was reprinted from the Quarterly), the only specimen of Lockhart's miscellaneous writing that is easily accessible or authentically known. He was still but in his apprenticeship here; but his remarkable gifts are already apparent. These gifts included a faculty of sarcastic comment so formidable that it early earned him the title of "the Scorpion"; a very wide and sound knowledge of literature, old and new, English and foreign; some acquirements in art and in other matters; an excellent style, and a solid if rather strait-laced theory of criticism. Except that he was, as almost everybody was then, too much given to violent personalities in his anonymous work, he was a very great journalist indeed, and he was also a very great man of letters.

Thomas de Quincey was not of the earliest Blackwood staff (in that respect Maginn should be mentioned before him), but he was the older as well as the more important man of the two, and there is the additional reason for postponing the founder of Fraser, that this latter periodical introduced a fresh flight of birds of passage (as journalists both fortunate and unfortunate may peculiarly be called) to English literature. De Quincey was born in 1785 (the same year as his friend Wilson) at Manchester, where his father was a merchant of means. He was educated at the Grammar School of his native town, after some preliminary teaching at or near Bath, whither his mother had moved after his father's death. He did not like Manchester, and when he had nearly served his time for an exhibition to Brasenose College, Oxford, he ran away and hid himself. He went to Oxford after all, entering at Worcester, where he made a long though rather intermittent residence, but took no degree. In 1809 he took up his abode at Grasmere, married after a time, and lived there, at least as his headquarters, for more than twenty years. In 1830 he moved to Edinburgh, where, or in its neighbourhood, he resided for the rest of his long life, and where he died in December 1859. He has given various autobiographic handlings of this life—in the main it would seem quite trustworthy, but invested with an air of fantastic unreality by his manner of relation.

His life, however, and his personality, and even the whole of his voluminous published work, have in all probability taken colour in the general thought from his first literary work of any consequence, the wonderful Confessions of an English Opium Eater, which, with the Essays of Elia, were the chief flowers of the London Magazine, and appeared in that periodical during the year 1821. He had acquired this habit during his sojourn at Oxford, and it had grown upon him during his at first solitary residence at the Lakes to an enormous extent. Until he thus committed the results of his dreams, or of his fancy and literary genius working on his dreams, or of his fancy and genius by themselves, to print and paper, in his thirty-sixth year, he had been, though a great reader, hardly anything of a writer. But thenceforward, and especially after, in 1825, he had visited his Lake neighbour Wilson at Edinburgh, and had been by him introduced to Blackwood, he became a frequent contributor to different magazines, and continued to be so, writing far more even than he published, till his death. He wrote very few books, the chief being a very free translation of a German novel, forged as Scott's, and called Walladmor; a more original and stable, though not very brilliant, effort in fiction, entitled Klosterheim; and the Logic of Political Economy. Towards the end of his life he superintended an English collection—there had already been one in America—of his essays, and this has been supplemented more than once since.

It may, indeed, fairly be doubted whether so large a collection, of miscellaneous, heterogeneous, and, to tell the truth, very unequally interesting and meritorious matter, has ever been received with greater or more lasting popular favour, a fresh edition of the fourteen or sixteen volumes of the Works having been called for on an average every decade. There have been dissidents: and recently in particular something of a set has been made against De Quincey—a set to some extent helped by the gradual addition to the Works of a great deal of unimportant matter which he had not himself cared to reproduce. This, indeed, is perhaps the greatest danger to which the periodical writer is after his death exposed, and is even the most serious drawback to periodical writing. It is impossible that any man who lives by such writing can always be at his best in form, and he will sometimes be compelled to execute what Carlyle has called "honest journey-work in default of better,"—work which, though perfectly honest and perfectly respectable, is mere journey-work, and has no claim to be disturbed from its rest when its journey is accomplished. Of this there was some even in De Quincey's own collection, and the proportion has been much increased since. Moreover, even at his very best, he was not a writer who could be trusted to keep himself at that best. His reading was enormous,—nearly as great perhaps as Southey's, though in still less popular directions,—and he would sometimes drag it in rather inappropriately. He had an unconquerable and sometimes very irritating habit of digression, of divagation, of aside. And, worst of all, his humour, which in its own peculiar vein of imaginative grotesque has seldom been surpassed, was liable constantly to degenerate into a kind of laboured trifling, inexpressibly exasperating to the nerves. He could be simply dull; and he can seldom be credited with the possession of what may be called literary tact.

Yet his merits were such as to give him no superior in his own manner among the essayists, and hardly any among the prose writers of the century. He, like Wilson, and probably before Wilson, deliberately aimed at a style of gorgeous elaboration, intended not exactly for constant use, but for use when required; and he achieved it. Certain well-known passages, as well as others which have not become hackneyed, in the Confessions of an Opium Eater, in the Autobiography, in The English Mail Coach, in Our Ladies of Sorrow, and elsewhere, are unsurpassed in English or out of it for imaginative splendour of imagery, suitably reproduced in words. Nor was this De Quincey's only, though it was his most precious gift. He had a singular, though, as has been said, a very untrustworthy faculty of humour, both grim and quaint. He was possessed of extraordinary dialectic ingenuity, a little alloyed no doubt by a tendency to wire-drawn and over subtle minuteness such as besets the born logician who is not warned of his danger either by a strong vein of common sense or by constant sojourn in the world. He could expound and describe admirably; he had a thorough grasp of the most complicated subjects when he did not allow will-o'-the-wisps to lure him into letting it go, and could narrate the most diverse kinds of action, such as the struggles of Bentley with Trinity College, the journey of the Tartars from the Ukraine to Siberia, and the fortunes of the Spanish Nun, Catalina, with singular adaptability. In his biographical articles on friends and contemporaries, which are rather numerous, he has been charged both with ill-nature and with inaccuracy. The first charge may be peremptorily dismissed, the second requires much argument and sifting in particular cases. To some who have given not a little attention to the matter it seems that De Quincey was never guilty of deliberate fabrication, and that he was not even careless in statement. But he was first of all a dreamer; and when it is true of a man that, in the words of the exquisite passage where Calderon has come at one with Shakespeare, his very dreams are a dream, it will often happen that his facts are not exactly a fact.

Nevertheless, De Quincey is a great writer and a great figure in literature, while it may plausibly be contended that journalism may make all the more boast of him in that it is probable that without it he would never have written at all. And he has one peculiarity not yet mentioned. Although his chief excellences may not be fully perceptible except to mature tastes, he is specially attractive to the young. Probably more boys have in the last forty years been brought to a love of literature proper by De Quincey than by any other writer whatever.

Of other contributors to these periodicals much might be said in larger space, as for instance of the poisoner-critic Thomas Griffiths Wainewright, the "Janus Weathercock" of the London, the original of certain well-known heroes of Bulwer and Dickens, and the object of a more than once recurrent and distinctly morbid attention from young men of letters since. Lamb, who was not given to think evil of his friends, was certainly unlucky in calling Wainewright "warm- as light-hearted"; for the man (who died a convict in Australia, though he cheated the gallows which was his due) was both an affected coxcomb and a callous scoundrel. But he was a very clever fellow, though indignant morality has sometimes endeavoured to deny this. That he anticipated by sixty years and more certain depravations in style and taste notorious in our own day is something: it is more that his achievement in gaudy writing and in the literary treatment of art was really considerable.

Wainewright, however, is only "curious" in more than one sense of that term: Leigh Hunt, who, though quite incapable of poisoning anybody, had certain points in common with Wainewright on the latter's more excusable sides, and whose prose must now be treated, is distinguished. He reappears with even better right here than some others of the more important constituents of this chapter. For all his best work in prose appeared in periodicals, though it is impossible to say that all his work that appeared in periodicals was his best work. He was for fourteen years editor of, and a large contributor to, the Examiner, which he and his brother started in 1808. After his liberation from prison he not merely edited, but in the older fashion practically wrote the Reflector (1810), the Indicator (1819-21), and the Companion (1828). His rather unlucky journey to Italy was undertaken to edit the Liberal. He was one of the rare and rash men of letters who have tried to keep up a daily journal unassisted—a new Tatler, which lasted for some eighteen months (1830-32); and a little later (1834-35) he supported for full two years a similar but weekly venture, in part original, in part compiled or borrowed, called Leigh Hunt's London Journal. These were not his only ventures of the kind: he was an indefatigable contributor to periodicals conducted by others; and most of his books now known by independent titles are in fact collections of "articles"—sometimes reprinted, sometimes published for the first time.

It was impossible that such a mass of matter should be all good; and it is equally impossible to deny that the combined fact of so much production and of so little concentration argues a certain idiosyncrasy of defect. In fact the butterfly character which every unprejudiced critic of Leigh Hunt has noticed, made it impossible for him to plan or to execute any work on a great scale. He never could have troubled himself to complete missing knowledge, to fill in gaps, to co-ordinate thinking, as the literary historian, whose vocation in some respects he might seem to have possessed eminently, must do—to weave fancy into the novelist's solid texture, and not to leave it in thrums or in gossamer. But he was, though in both ways a most unequal, a delightful miscellanist and critic. In both respects it is natural, and indeed unavoidable, to compare him with Lamb and with Hazlitt, whom, however, he really preceded, forming a link between them and the eighteenth century essayists. His greater voluminousness, induced by necessity, puts him at a rather unfair disadvantage with the first; and we may perhaps never find in him those exquisite felicities which delight and justify the true "Agnist." Yet he has found some things that Lamb missed in Lamb's own subjects; and though his prejudices (of the middle-class Liberal and freethinking kind) were sometimes more damaging than any to which Lamb was exposed, he was free from the somewhat wilful eclecticism of that inimitable person. He could like nearly all things that were good—in which respect he stands above both his rivals in criticism. But he stands below them in his miscellaneous work; though here also, as in his poetry, he was a master, not a scholar. Lamb and Hazlitt improved upon him here, as Keats and Shelley improved upon him there. But what a position is it to be "improved upon" by Keats and Shelley in poetry, by Hazlitt and Lamb in prose!

Hartley Coleridge might with about equal propriety have been treated in the last chapter and in this; but the already formidable length of the catalogue of bards perhaps turns the scale in favour of placing him with other contributors to Blackwood, to which, thanks to his early friendship with Wilson, he enjoyed access, and in which he might have written much more than he did, and did actually write most of what he published himself, except the Biographia Borealis.

The life of Hartley was a strange and sad variant of his father's, though, if he lacked a good deal of S. T. C.'s genius, his character was entirely free from the baser stains which darkened that great man's weakness. Born (1796) at Clevedon, the first-fruits of the marriage of Coleridge and Sara, he was early celebrated by Wordsworth and by his father in immortal verse, and by Southey, his uncle, in charming prose, for his wonderful dreamy precocity; but he never was a great reader. Southey took care of him with the rest of the family when Coleridge disappeared into the vague; and Hartley, after schooling at Ambleside, was elected to a post-mastership at Merton College, Oxford. He missed the Newdigate thrice, and only got a second in the schools, but was more than consoled by a Fellowship at Oriel. Unfortunately Oriel was not only gaining great honour, but was very jealous of it; and the probationary Fellows were subjected to a most rigid system of observation, which seems to have gone near to espionage. If ever there was a man born to be a Fellow under the old English University scheme, that man was Hartley Coleridge; and it is extremely probable that if he had been let alone he would have produced, in one form or another, a justification of that scheme, worthy to rank with Burton's Anatomy. But he was accused of various shortcomings, of which intemperance seems to have been the most serious, though it is doubtful whether it would have sunk the beam if divers peccadilloes, political, social, and miscellaneous, had not been thrown in. Strong interest was made in favour of mercy, but the College deprived him of his Fellowship, granting him, not too consistently, a solatium of £300. This was apparently in 1820. Hartley lived for nearly thirty years longer, but his career was closed. He was, as his brother Derwent admits, one of those whom the pressure of necessity does not spur but numbs. He wrote a little for Blackwood; he took pupils unsuccessfully, and school-mastered with a little better success; and during a short time he lived with a Leeds publisher who took a fancy to him and induced him to write his only large book, the Biographia Borealis. But for the most part he abode at Grasmere, where his failing (it was not much more) of occasional intemperance was winked at by all, even by the austere Wordsworth, where he wandered about, annotated a copy of Anderson's Poets and some other books, and supported himself (with the curious Coleridgean faculty of subsisting like the bird of paradise, without either foot or foothold) till, at his mother's death, an annuity made his prospects secure. He died on 6th January 1849, a little before Wordsworth, and shortly afterwards his work was collected by his brother Derwent in seven small volumes; the Poems filling two, the Essays and Fragments two, and the Biographia Borealis three.

This last (which appeared in its second form as Lives of Northern Worthies, with some extremely interesting notes by S. T. C.) is an excellent book of its kind, and shows that under more favourable circumstances Hartley might have been a great literary historian. But it is on the whole less characteristic than the volumes of Poems and Essays. In the former Hartley has no kind of souffle (or long-breathed inspiration), nor has he those exquisite lyrical touches of his father's which put Coleridge's scanty and unequal work on a level with that of the greatest names in English poetry. But he has a singular melancholy sweetness, and a meditative grace which finds its special home in the sonnet. In the "Posthumous Sonnets" especially, the sound—not an echo of, but a true response to, Elizabethan music—is unmistakable, and that to Shakespeare ("the soul of man is larger than the sky"), that on himself ("When I survey the course that I have run"), and not a few others, rank among the very best in English. Many of the miscellaneous poems contain beautiful things. But on the whole the greatest interest of Hartley Coleridge is that he is the first and one of the best examples of a kind of poet who is sometimes contemned, who has been very frequent in this century, but who is dear to the lover of poetry, and productive of delightful things. This kind of poet is wanting, it may be, in what is briefly, if not brutally, called originality. He might not sing much if others had not sung and were not singing around him; he does not sing very much even as it is, and the notes of his song are not extraordinarily piercing or novel. But they are true, they are not copied, and the lover of poetry could not spare them.

It is improbable that Hartley Coleridge would ever have been a great poet: he might, if Fate or even if the Oriel dons had been a little kinder, have been a great critic. As it is, his essays, his introduction to Massinger and Ford, and his Marginalia, suffer on the one side from certain defects of reading; for his access to books was latterly small, and even when it had been ample, as at Oxford, in London, or at Southey's house, he confesses that he had availed himself of it but little. Hence he is often wrong, and more often incomplete, from sheer lack of information. Secondly, much of his work is mere jotting, never in the very least degree intended for publication, and sometimes explicitly corrected or retracted by later jottings of the same kind. In such a case we can rather augur of the might-have-been than pronounce on the actual. But the two volumes are full of delicate critical views on literature; and the longest series, "Ignoramus on the Fine Arts," shows how widely, with better luck and more opportunity, he might have extended his critical performances. In short, Hartley Coleridge, if a "sair sicht" to the moralist, is an interesting and far from a wholly painful one to the lover of literature, which he himself loved so much, and practised, with all his disadvantages, so successfully.

All the persons hitherto mentioned in this chapter appear by undoubted right in any history of English Literature: it may cause a little surprise to see that of Maginn figuring with them. Yet his abilities were scarcely inferior to those of any; and he was kept back from sharing their fame only by infirmities of character and by his succumbing to that fatal Bohemianism which, constantly recurring among men of letters, exercised its attractions with special force in the early days of journalism in this century. William Maginn (1793), who was the son of a schoolmaster at Cork, took a brilliant degree at Trinity College, Dublin, and for some years followed his father's profession. The establishment, however, and the style of Blackwood were an irresistible attraction to him, and he drifted to Edinburgh, wrote a great deal in the earlier and more boisterous days of Maga under the pseudonym of Ensign O'Doherty, and has, as has been said, some claims to be considered the originator of the Noctes. Then, as he had gone from Ireland to Edinburgh, he went from Edinburgh to London, and took part in divers Tory periodicals, acting as Paris correspondent for some of them till, about 1830, he started, or helped in starting, a London Blackwood in Fraser. He had now every opportunity, and he gathered round him a staff almost more brilliant than that of the Edinburgh, of the London, of the Quarterly, or of Blackwood itself. But he was equally reckless of his health and of his money. The acknowledged original of Thackeray's Captain Shandon, he was not seldom in jail; and at last, assisted by Sir Robert Peel almost too late, he died at Walton on Thames in August 1842, not yet fifty, but an utter wreck.

The collections of Maginn's work are anything but exhaustive, and the work itself suffers from all the drawbacks, probable if not inevitable, of work written in the intervals of carouse, at the last moment, for ephemeral purposes. Yet it is instinct with a perhaps brighter genius than the more accomplished productions of some much more famous men. The Homeric Ballads, though they have been praised by some, are nearly worthless; and the longer attempts in fiction are not happy. But Maginn's shorter stories in Blackwood, especially the inimitable "Story without a Tail," are charming; his more serious critical work, especially that on Shakespeare, displays a remarkable combination of wide reading, critical acumen, and sound sense; and his miscellanies in prose and verse, especially the latter, are characterised by a mixture of fantastic humour, adaptive wit, and rare but real pathos and melody, which is the best note of the specially Irish mode. It must be said, however, that Maginn is chiefly important to the literary historian as the captain of a band of distinguished persons, and as in a way the link between the journalism of the first and the journalism of the second third of the century. A famous plate by Maclise, entitled "The Fraserians," contains, seated round abundant bottles, with Maginn as president, portraits (in order by "the way of the sun," and omitting minor personages) of Irving, Gleig the Chaplain-General, Sir Egerton Brydges, Allan Cunningham, Carlyle, Count D'Orsay, Brewster, Theodore Hook, Lockhart, Crofton Croker of the Irish Fairy Tales, Jerdan, Dunlop of the "History of Fiction," Gait, Hogg, Coleridge, Harrison Ainsworth, Thackeray, Southey, and Barry Cornwall. It is improbable that all these contributed at one time, and tolerably certain that some of them were very sparing and infrequent contributors at any time, but the important point is the juxtaposition of the generation which was departing and the generation which was coming on—of Southey with Thackeray and of Coleridge with Carlyle. Yet it will be noticed (and the point is of some importance) that these new-comers are, at least the best of them, much less merely periodical writers than those who came immediately before them. In part no doubt this was accident; in part it was due to the greater prominence which novels and serial works of other kinds were beginning to assume; in part it may be to the fact that the great increase in the number of magazines and newspapers had lowered their individual dignity and perhaps their profitableness. But it is certain that of the list just mentioned, Thackeray and Carlyle, of the contemporary new generation of the Edinburgh Macaulay, of the nascent Westminster Mill, and others, were not, like Jeffrey, like Sydney Smith, like Wilson, and like De Quincey, content to write articles. They aspired to write, and they did write, books; and, that being so, they will all be treated in chapters other than the present, appropriated to the kinds in which their chief books were designed.

The name of John Sterling is that of a man who, with no great literary claims of his own, managed to connect it durably and in a double fashion with literature, first as the subject of an immortal biography by Carlyle, secondly as the name-giver of the famous Sterling Club, which about 1838, and hardly numbering more members than the century did years, included a surprising proportion of the most rising men of letters of the day, while all but a very few of its members were of literary mark. John Sterling himself was the son of a rather eccentric father, Edward Sterling, who, after trying soldiering with no great, and farming with decidedly ill, success, turned to journalism and succeeded brilliantly on the Times. His son was born in the Isle of Bute on 20th July 1806, was educated, first privately, then at Glasgow, and when about nineteen went to Trinity College, Cambridge, where he fell in with a famous and brilliant set. He migrated from Trinity College to Trinity Hall, took no degree, wrote a little for the then young Athenæum, was engaged in a romantic and in all ways rather unfortunate business of encouraging a rebellion in Spain, but married instead of taking active part in it, and went to the West Indies. When he came home he, it is said under Coleridgean influence, took orders, but soon developed heterodox views and gave up active duty. He lived, though under sentence of death by consumption, till 1843, spending much time abroad, but writing a little, chiefly for periodicals.

The chief characteristic of Sterling in life and thought appears to have been a vacillating impulsiveness, while in letters his production, small in bulk, is anything but strong in substance or form. But, like some other men who do not, in the common phrase, "do much," he seems to have been singularly effectual as a centre of literary friendship and following. The Sterling Club included not merely Tennyson, John Stuart Mill, Carlyle, Allan Cunningham, Lord Houghton, Sir Francis Palgrave, Bishop Thirlwall, who all receive separate notice elsewhere, but others who, being of less general fame, may best be noticed together here. There were the scholars Blakesley, Worsley, and Hepworth Thompson (afterwards Master of Trinity); H. N. Coleridge, the poet's nephew, son-in-law, and editor; Sir Francis Doyle, afterwards Professor of Poetry at Oxford, the author of some interesting reminiscences in prose, and in verse of some of the best songs and poems on military subjects to be found in the language, such as "The Loss of the Birkenhead," the "Private of the Buffs," and above all the noble and consummate "Red Thread of Honour"; Sir Edmund Head, Fellow of Merton and Governor-General of Canada, and a writer on art (not to be confounded with his namesake Sir Francis, the agreeable miscellanist, reviewer, and travel writer, who was also a baronet and also connected with Canada, where he was Governor of the Upper Province at the time of the Rebellion of 1835). There was Sir George Cornewall Lewis, a keen scholar and a fastidious writer, whose somewhat short life (1806-63) was chiefly occupied by politics; for he was a Poor-Law Commissioner, a Member of Parliament, and a holder of numerous offices up to those of Chancellor of the Exchequer and Secretary of State. Lewis, who edited the Edinburgh for a short time, wrote no very long work, but many on a great variety of subjects, the chief perhaps being On the Influence of Authority in Matters of Opinion, 1850 (a book interesting to contrast with one by a living statesman forty-five years later), the Inquiry into the Credibility of the Ancient Roman History (1855), and later treatises on The Government of Dependencies and the Best Form of Government. He was also an exact verbal scholar, was, despite the addiction to "dry" subjects which this list may seem to show, the author of not a few jeux d'esprit, and was famous for his conversational sayings, the most hackneyed of which is probably "Life would be tolerable if it were not for its amusements."

But even this did not exhaust the Sterling Club. There was another scholar, Malden, who should have been mentioned with the group above; the second Sir Frederick Pollock, who wrote too little but left an excellent translation of Dante, besides some reminiscences and other work; Philip Pusey, elder brother of the theologian, and a man of remarkable ability; James Spedding, who devoted almost the whole of his literary life to the study, championship, and editing of Bacon, but left other essays and reviews of great merit; Twisleton, who undertook with singular patience and shrewdness the solution of literary and historical problems like the Junius question and that of the African martyrs; and lastly George Stovin Venables, who for some five and thirty years was the main pillar in political writing of the Saturday Review, was a parliamentary lawyer of great diligence and success, and combined a singularly exact and wide knowledge of books and men in politics and literature with a keen judgment, an admirably forcible if somewhat mannered style, a disposition far more kindly than the world was apt to credit him with, and a famous power of conversation. All these men, almost without exception, were more or less contributors to periodicals; and it may certainly be said that, but for periodicals, it is rather unlikely that some of them would have contributed to literature at all.

Not as a member of the Sterling Club, but as the intimate friend of all its greatest members, as a contributor, though a rather unfrequent one, to papers, and as a writer of singular and extraordinary quality but difficult to class under a more precise head, may be noticed Edward FitzGerald, who, long a recluse, unstintedly admired by his friends but quite unknown to the public, became famous late in life by his translation of Omar Khayyám, and familiar somewhat after his death through the publication of his charming letters by Mr. Aldis Wright. He was born on 31st March 1809, near Woodbridge in Suffolk, the neighbourhood which was his headquarters for almost his entire life, till his death on a visit to a grandson of the poet Crabbe at Merton in Norfolk, 14th June 1883. He went to school at Bury, and thence to Cambridge, where he laid the foundation of his acquaintance with the famous Trinity set of 1825-30. But on taking his degree in the last named year and leaving college, he took to no profession, but entered on the life of reading, thinking, gardening, and boating, which he pursued for more than half a century. Besides his Trinity contemporaries, from Tennyson and Thackeray downwards, he had Carlyle for an intimate friend, and he married the daughter of Bernard Barton, the poet-Quaker and friend of Lamb. He published nothing till the second half of the century had opened, when Euphranor, written long before at Cambridge, or with reference to it, appeared. Then he learnt Spanish, and first showed his extraordinary faculty of translation by Englishing divers dramas of Calderon. Spanish gave way to Persian, and after some exercises elsewhere the famous version, paraphrase, or whatever it is to be called, of the Rubaiyat of Omar Khayyám appeared in 1859, to be much altered in subsequent editions.

FitzGerald's works in the collected edition of 1889 fill three pretty stout volumes, to which a considerable number of letters (he was first of all and almost solely a letter-writer and translator) have been added. In his prose (no disrespect being intended to Euphranor, a dialogue Berkeleian in form and of great beauty, and other things) he interests us doubly as a character and as a critic, for the letters contain much criticism. Personally FitzGerald was a man of rather few and not obtrusive, but deep and warm sympathies, slow to make new friends but intensely tenacious of and affectionate towards the old, with a very strong distaste for crowds and general society, and undoubtedly somewhat of what the French call a maniaque, that is to say, a slightly hypochondriac crotcheteer. These characteristics, which make him interesting as a man, are still more interestingly reflected in his criticism, which is often one-sided and unjust, sometimes crotchety (as when he would not admit that even his beloved Alfred Tennyson had ever been at his best since the collection of 1842), but often also wonderfully delicate and true.

As a translator he stands almost alone, his peculiar virtue, noticeable alike in his versions from the Spanish and Greek, being so capitally and once for all illustrated in that of Omar Khayyám that in narrow space it is not necessary to go beyond this. From the purist and pedantic point of view FitzGerald, no doubt, is wildly unfaithful. He scarcely ever renders word for word, and will insert, omit, alter, with perfect freedom; yet the total effect is reproduced as perhaps no other translator has ever reproduced it. Whether his version of the Rubaiyat, with its sensuous fatalism, its ridicule of asceticism and renunciation, and its bewildering kaleidoscope of mysticism that becomes materialist and materialism that becomes mystical, has not indirectly had influences, practical and literary, the results of which would have been more abhorrent to FitzGerald than to almost any one else, may be suggested. But the beauty of the poem as a poem is unmistakable and altogether astounding. The melancholy richness of the rolling quatrain with its unicorn rhymes, the quaint mixture of farce and solemnity, passion and playfulness, the abundance of the imagery, the power of the thought, the seduction of the rhetoric, make the poem actually, though not original or English, one of the greatest of English poems.

Of the periodical too, if not entirely, was Richard Harris Barham, "Thomas Ingoldsby," the author of the most popular book of light verse that ever issued from the press. His one novel, My Cousin Nicholas, was written for Blackwood; the immortal Ingoldsby Legends appeared in Bentley and Colburn. Born at Canterbury in 1788, of a family possessed of landed property, though not of much, and educated at St. Paul's School and Brasenose College, Barham took orders, and, working with thorough conscience as a clergyman, despite his light literature, became a minor canon in St. Paul's Cathedral. He died in 1845. Hardly any book is more widely known than the collected Ingoldsby Legends, which originally appeared in the last eight years of their author's life. Very recently they have met with a little priggish depreciation, the natural and indeed inevitable result, first of a certain change in speech and manners, and then of their long and vast popularity. Nor would any one contend that they are exactly great literature. But for inexhaustible fun that never gets flat and scarcely ever simply uproarious, for a facility and felicity in rhyme and rhythm which is almost miraculous, and for a blending of the grotesque and the terrible which, if less fine than Praed's or Hood's, is only inferior to theirs—no one competent to judge and enjoy will ever go to Barham in vain.

The same difficulty which beset us at the end of the last chapter recurs here, the difficulty arising from the existence of large numbers of persons of the third or lower ranks whose inclusion may be desired or their exclusion resented. At the head, or near it, of this class stand such figures as that of Douglas Jerrold, a sort of very inferior Hook on the other side of politics, with a dash (also very inferior) of Hood, whose Mrs. Caudle's Curtain Lectures and similar things were very popular at and a little before the middle of the century, but whose permanent literary value is of the smallest, if indeed it can be said to exist. But of these—not a few of them more worthy if less prominent in their day than Jerrold—there could be no end; and there would be little profit in trying to reach any. The successful "contributor," by the laws of the case, climbs on the shoulders of his less successful mates even more than elsewhere; and the very impetus which lands him on the height rejects them into the depths.

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