To this period belong the writings of Mrs. Norton, Mrs. Blackwood, Mrs.
Crosland, Mary Howitt, and Eliza Cook.
FICTION.—Previous to the appearance of Scott's novels the department of prose writing had undergone an elevating process in the hands of Godwin, Miss Austen, Miss Porter, and Miss Edgeworth. "Waverley" appeared in 1814, and the series which followed with surprising rapidity obtained universal and unexampled popularity. The Waverley Novels are not merely love stories, but pictures of human life animated by sentiments which are cheerful and correct, and they exhibit history in a most effective light without degrading facts or falsifying them beyond the lawful stretch of poetical embellishment. These novels stand in literary value as far above all other prose works of fiction as those of Fielding stand above all others in the language except these.
The novels of Lockhart are strong in the representation of tragic passion. Wilson, in his "Lights and Shadows of Scottish Life," shows the visionary loveliness and pathos which appear in his poems, though they give no scope to those powers of sarcasm and humor which found expression elsewhere. Extremes in the tone of thought and feeling are shown in the despondent imagination of Mrs. Shelley and the coarse and shrewd humor of Galt. To this time belong Hope's "Anastasius," which unites reflectiveness with pathos, and the delightful scenes which Miss Mitford has constructed by embellishing the facts of English rural life.
Among the earlier novels of the time, those of Bulwer had more decidedly than the others the stamp of native genius. Though not always morally instructive, they have great force of serious passion, and show unusual skill of design. In some of his later works he rises into a much higher sphere of ethical contemplation. The novels of Theodore Hook, sparkling as they are, have no substance to endure long continuance, nor is there much promise of life in the showy and fluent tales of James, the sea-stories of Marryat, or the gay scenes of Lever. The novels and sketches of Mrs. Marsh and Mrs. Hall are pleasing and tasteful; Mrs. Trollope's portraits of character are rough and clever caricatures. In describing the lower departments of Irish life, Banim is the most original, Griffin weaker, and Carleton better than either. The novels of Disraeli are remarkable for their brilliant sketches of English life and their embodiment of political and social theories. Miss Martineau's stories are full of the writer's clearness and sagacity. Kingsley, the head of the Christian socialistic school, is the author of many romances, and the eloquent preacher of a more earnest and practical Christianity. The narrative sketches of Douglas Jerrold deserve a place among the speculative fictions of the day.
Charlotte Bronté (1816-1855) had consummate mastery of expression, and a perception of the depth of human nature that is only revealed through suffering experience. The works of her sister Emily show a powerful imagination, regulated by no consideration of beauty of proportion, or of artistic feeling.
Among those writers who aim at making the novel illustrate questions that agitate society most powerfully are the founders of a new school of novelists, Thackeray and Dickens (1812-1870). The former has given his pictures of society all that character they could receive from extraordinary skill of mental analysis, acute observation, and strength of sarcastic irony, but he has never been able to excite continuous and lively sympathy either by interesting incidents or by deep passion. Dickens has done more than all which Thackeray has left unattempted; while his painting of character is as vigorous and natural, his power of exciting emotion ranges with equal success from horror sometimes too intense, to melting pathos, and thence to a breadth of humor which degenerates into caricature. He cannot soar into the higher worlds of imagination, but he becomes strong, inventive, and affecting the moment his foot touches the firm ground of reality, and nowhere is he more at ease, more sharply observant, or more warmly sympathetic, than in scenes whose meanness might have disgusted, or whose moral foulness might have appalled. Of the later novelists, the names of Mrs. Craik (Miss Muloch) and Charles Reade (d. 1884) may be mentioned as having acquired a wide popularity.
HISTORY.—In history Niebuhr's masterly researches have communicated their spirit to the "Roman History" of Arnold; the history of Greece has assumed a new aspect in the hands of Thirlwall and Grote; and that of Grecian literature has been In part excellently related by Muir (d. 1860). Modern history has likewise been cultivated with great assiduity, and several works of great literary merit have appeared which are valuable as storehouses of research. Macaulay, in his great work, "The History of England," showed that history might be written as it had not been before, telling the national story with accuracy and force, making it as lively as a novel, through touches of individual interest and teaching precious truths with fascinating eloquence. Alison's "History of Europe" takes its place among the highest works of its kind. Carlyle's "History of the French Revolution" and "Life of Frederic the Great" are most picturesque, attractive, and original works. The History of the Norman Conquest of England is the most important work of Freeman. Buckle (d. 1882) in his Introduction to the projected History of Civilization in Europe reiterated the theory that all events depend upon the action of inevitable law.
CRITICISM AND REVIEWS.—In the art of criticism, Hallam's (d. 1859) "Introduction to the Literature of Europe in the Fifteenth, Sixteenth, and Seventeenth Centuries" has taken its place as a classical standard. Among the fragments of criticism, the most valuable are those of De Quincey (d. 1860). The essays of Macaulay (d. 1860) are among the most impressive of all the periodical papers of our century.
In Carlyle, a generous sentiment alternates with despondent gloom and passionate restlessness and inconsistency. But it is impossible to hear, without a deep sense of original power, the oracular voices that issue from the cell; enigmatical, like the ancient responses, and like them illuminating doubtful vaticination with flashes of wild and half poetic fantasy. His language and thoughts alike set aside hereditary rules, and are compounded of elements, English and German, and elements predominant over all, which no name would fit except that of the author.
Among numerous other writers may he mentioned the names of William and Mary Howitt, Isaac Taylor, Arthur Helps, and the brothers Hare, and in art-criticism the brilliant and paradoxical Ruskin (b. 1819) and the accomplished Mrs. Jameson (d. 1860).