What a totally different species of composition was the "Vicar" to the tale of "Rasselas," published by his friend Dr. Samuel Johnson (b. 1709; d. 1784), the great lexicographer, seven years before! This was conceived in the romantic and allegoric spirit of the time—"The Ten Days of Seged," "The Vision of Mirza," and the like. It was laid in the south, but amid Eastern manners, and didactic in spirit and ornate in style. It was measured, and graceful, and dull—too scholastic to seize on the heart and the imagination. On a nature like Goldsmith's it could make no impression, and therefore leave no trace. The one was like a scene amid palm trees, and fountains, and sporting gazelles; the other like a genuine English common, on which robust children were tumbling and shouting, amid blooming gorse, near the sunny brook, with the lark carolling above them. There is no country in Europe, scarcely in the world, where letters are known, which has not its translation of the "Vicar of Wakefield." Even in England, "Rasselas" is almost forgotten.

Now followed a period in which many works were produced which were extremely popular in their day, but of which few now retain public appreciation. Amongst these none reached the same estimation as "Henry, Earl of Moreland: or, The Fool of Quality," by Henry Brooke. It was designed to show the folly and the artificial morale of the age, by presenting Henry as the model of direct and natural sentiments, for the indulgence of which he was thought a fool by the fashionable world. The early part of the work is admirable, and the boyhood of Henry is the obvious prototype of Day's "History of Sandford and Merton;" but as it advances it becomes utterly extravagant. Miss Frances Brooke, too, was the author of "Julia Mandeville" and other novels. Mrs. Charlotte Smith, long remembered for her harmonious sonnets, was the author of numerous novels, as "The Old Manor House," "Celestina," "Marchmont," etc.; there were also Mrs. Hannah More with her "Cœlebs in Search of a Wife;" Mrs. Hamilton with her "Agrippina;" Bage with his "Hermstrong: or, Man as he is Not;" "Monk" Lewis with his "Tales of Wonder" and his "Monk;" and Horace Walpole with his melodramatic romance of "The Castle of Otranto." But far beyond Walpole rose Mrs. Ann Radcliffe, the very queen of horror and wonder, in her strange, exciting tales of "The Sicilian Romance," "The Romance of the Forest," "The Mysteries of Udolpho," "The Italian," etc. No writer ever carried the powers of mystery, wonder, and suspense, to the same height, or so bewitched her age by them.

Far greater, however, as the wielder of human sympathies by the recital of wrongs and oppression, was William Godwin in his "Caleb Williams" and "St. Leon." "Caleb Williams" is a model for narrative: lively, clear, simple yet strong, moving in a rapid career—in fine contrast to the slow, wire-drawn progress of the later three-volume novel—till it winds up in an intensity of sensation. Then came Miss Burney, better known as Madame D'Arblay, with her "Evelina," "Cecilia," and "Camilla," returning again to the details of social life. Afterwards came Dr. John Moore with "Zeluco," etc.; Mrs. Inchbald with her charming "Simple Story;" Mrs. Opie with "The Father and Daughter" in 1801, followed by various other novels; and in the same year Miss Edgeworth commenced her splendid career with "Belinda," and in the next year "Castle Rackrent." To this period also belongs Lady Morgan with her "Wild Irish Girl," though she continued to live and write long after this reign.

Amongst the novelists of the later period of the reign we may name Horace Smith, author of "Brambletye House," etc.; Leigh Hunt, the poet, author of "Sir Ralph Esher;" Peacock, author of "Headlong Hall;" Beckford, author of the wild Eastern tale of "Vathek;" Hamilton, author of "Cyril Thornton," etc.; Maturin, author of "Melmoth the Wanderer," etc.; Mrs. Brunton, author of "Discipline," "Self-Control," etc.; and Miss Ferrier, author of "Marriage" and other novels of a high order. Jane Austen (b. 1775; d. 1817), author of "Pride and Prejudice," "Mansfield Park," "Sense and Sensibility," etc., all distinguished by the nicest sense of character, was far above any of these, and ranks with the foremost of our writers of fiction.

But far above all rose, at this period, the already popular romantic poet, Walter Scott. Before him, in Scotland, Henry Mackenzie had occupied for a long time the foreground as a writer of fiction, in "The Man of Feeling," "Julia de Roubigné," etc., but in a very different class of invention. As Walter Scott (b. 1771; d. 1832) had opened up the romance of the Scottish Highlands in his poems, so he now burst forth, on the same ground, in historic romance, with a vigour, splendour, and wonderful fertility of imagination and resource of knowledge which far exceeded everything in the history of literature since the days of Shakespeare. We need not attempt to characterise the voluminous series of what are called the "Waverley Novels," which, in their ample range, occupied almost every country of Europe and every climate, from the bleak rocks of Orkney to the glowing plains of Syria and India; they are familiar to all readers, and closed this period with a splendour from the mingled blaze of invention, poetry, and science, which no succeeding age is likely to surpass.

In history, as in fiction, a new school of writers arose during this period, at the head of which stood Hume, Robertson, and Gibbon. David Hume (b. 1711; d. 1776) had already acquired a great reputation by his "Philosophical Essays concerning the Human Understanding," his "Inquiry into the Principles of Morals," and his "Natural History of Religion." In these metaphysical works he had indulged his extreme sceptical tendency, and in the "Essay on Miracles" believed that he had exploded the Christian religion. His works on this subject did not, at first, gain much attention; but in a while were seized on by the deistical and atheistical philosophers in Britain and on the Continent, and have furnished them with their principal weapons. The first two volumes of history met for a time with the same cold reception as his metaphysics. He commenced with that favourite period with historians—the reigns of James I. and Charles I.—because then began the great struggle for the destruction of the Constitution, followed by the still more interesting epoch of its battle for and triumph over its enemies. Hume had all the Tory prejudices of the Scottish Jacobite, and the reigns of James I. and Charles I. were extremely to his taste, but as little to that of the English public. Hence the dead silence with which it was received. But when there had been time to read the second volume, containing the Commonwealth and the reigns of Charles II. and James II., the storm broke out. In these he had run counter to all the received political ideas of the age. But this excitement raised both volumes into notice, and he then went back, and, in 1759, published two more volumes, containing the reigns of the Tudors; and, going back again, in 1762 he completed his history by bringing it down from the invasion of Julius Cæsar to the accession of Henry VII. It was afterwards, as has been mentioned, continued by Smollett.

DR. JOHNSON READING THE MANUSCRIPT OF THE "VICAR OF WAKEFIELD." (See p. [174].)

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The history of Hume was much over-estimated in his own time, in spite of the despotic notions which abound in it. It was held up as a marvel of eloquence and acuteness. But after times always correct the enthusiasm of contemporaries, and Hume's history has been found not in every case trustworthy. When we now, indeed, take up Hume, we are surprised to find it a very plain, clear narrative of events, with many oversights and perversions, and nothing more. We wonder where are the transcendent beauties which threw our readers of the eighteenth century into raptures for which language scarcely gave expression. Whoever will read the correspondence of contemporaries with Hume, will find him eulogised rather as a demi-god than a man, and his works described in extravagant strains of praise.