Periodical writing grew in this reign into a leading organ of opinion and intelligence. The two chief periodicals, according to our present idea of them, were the Gentleman's Magazine and the Monthly Review. These were both started prior to the accession of George III. The Gentleman's Magazine was started by Cave, the publisher, in 1731; and the Monthly Review commenced in 1749. The former was a depository of a great variety of matters, antiquarian, topographical, critical, and miscellaneous, and has retained that character to the present hour. The Monthly Review was exclusively devoted to criticism. But in the early portion of the reign a periodical literature of a totally different character prevailed—the periodical essayist—formed on the model of the Spectator, Guardian, and Tatler of a prior period. Chief amongst these figured Ambrose Philips's Freethinker; the Museum, supported by Walpole, the Wartons, Akenside, etc.; the Rambler, by Dr. Johnson; the Adventurer, by Hawkesworth; the World, in which wrote chiefly aristocrats, as Lords Lyttelton, Chesterfield, Bath, Cork, Horace Walpole, etc.; the Connoisseur, chiefly supplied by George Colman and Bonnel Thornton; the Old Maid, conducted by Mrs. Frances Brooke; the Idler, by Johnson; the Babbler, by Hugh Kelly; the Citizen of the World, by Goldsmith; the Mirror, chiefly written by Mackenzie, the author of the "Man of Feeling;" and the Lounger, also chiefly conducted by Mackenzie. This class of productions, appearing each once or twice a week, afforded the public the amusement and instruction now furnished by the daily newspapers, weekly reviews, and monthly magazines. Towards the end of the reign arose a new species of review, the object of which was, under the guise of literature, to serve opposing parties in politics. The first of these was the Edinburgh Review, the organ of the Whigs, started in 1802, in which Brougham, Jeffrey, and Sydney Smith were the chief writers. This, professing to be liberal, launched forth the most illiberal criticisms imaginable. There was scarcely a great poet of the time—Wordsworth, Coleridge, Southey, Byron, James Montgomery, Leigh Hunt, Shelley, Keats—whom it did not, but vainly, endeavour to crush. To combat the influence of this Whig organ, in 1809 came forth the Quarterly Review, the great organ of the Tories, to which Scott, Southey, Wilson Croker, Gifford, etc., were the chief contributors. In 1817 this was followed by another Conservative journal, not quarterly, but monthly in its issue, conducted chiefly by Professor Wilson and Lockhart, namely, Blackwood's Magazine, in which the monthly magazines of to-day find their prototype, but with a more decided political bias than these generally possess.

In the department of the Drama the fertility was immense. Tragedy, comedy, and farce maintained a swelling stream during the whole reign. In the earlier portion of it the chief writers of this class were Goldsmith, Garrick, Foote, Macklin, Murphy, Cumberland, Colman the elder, Mrs. Cowley, and Sheridan. Several of these dramatists—as Garrick, Macklin, and Foote—were, at the same time, actors. The most eminent of them as writers were Goldsmith, Sheridan, and Colman. Horace Walpole wrote the "Mysterious Mother," a tragedy, which, however, was never acted; Goldsmith his two comedies, "The Good-Natured Man" and "She Stoops to Conquer," which were extremely popular; Garrick, the farces of "The Lying Valet" and "Miss in her Teens." He was said also to have been a partner with Colman in writing "The Clandestine Marriage;" but Colman denied this, saying that Garrick wrote the first two acts, and brought them to him, desiring him to put them together, and that he did put them together, for he put them together into the fire, and re-wrote the whole. Another farce, "High Life below Stairs," attributed to Garrick, was, it seems, written by the Rev. James Townley, assisted by Dr. Hoadly, the author of "The Suspicious Husband." Garrick was the great actor of his time, but, as a dramatic writer, his merit is insignificant. Foote was the chief writer of the comic before Colman. His productions amount to upwards of twenty, the most of them farces; and amongst them are "The Minor," "The Liar," and "The Mayor of Garrat." Foote was the wit and punster of the age. His satiric keenness was the terror of his time, and he dared to think of trying it even on the great essayist, Dr. Johnson, by introducing him upon the stage; but Johnson sent him word that he would be in one of the stage-boxes with a good, knotty cudgel, and Foote thought it best to let him alone.

Macklin was the author of "The Man of the World," a most successful comedy, as well as others of much merit. He remained on the stage till he was a hundred years old, and lived to a hundred and seven. George Colman had distinguished himself by the translation of Terence's plays and Horace's "Art of Poetry" before he commenced as a dramatist. His vein was comic, and his comedies and farces amount to nearly thirty, the best being "The Clandestine Marriage," already mentioned, "Polly Honeycomb," and "The Jealous Wife." Arthur Murphy was a native of Cork, and was brought up a merchant, but his bent was to the drama, and he quitted his business and went to London, where he wrote two successful farces, "The Apprentice" and "The Upholsterer." He next wrote "The Orphan of China," a tragedy. He then studied for the bar, but had not much practice, and returned to writing for the stage. "The Grecian Daughter," "All in the Wrong," "The Way to keep Him," and "The Citizen," were very successful, and raised him to wealth and distinction. Not satisfied with being a popular writer, he desired to act as well as write, like Garrick and Macklin, but failed. Besides his dramatic productions, he translated Tacitus and Sallust, and wrote the life of Garrick. Richard Cumberland, also an Irishman, was a very voluminous as well as miscellaneous writer. His comedy of "The West Indian" made him at once popular, and he wrote a great number of productions for the stage, amongst the best of which were "The Fashionable Lover," "The Jew," "The Wheel of Fortune," etc. He was employed by Government as an envoy to Lisbon and Madrid, and by it refused the payment of his expenses. This reduced him to sell his hereditary property, but he retired to Tunbridge Wells, and continued to write plays, novels, essays, criticisms, etc., till nearly eighty years of age.

There was a number of lady dramatists of this period. Mrs. Cowley wrote "The Runaway," "The Belle's Stratagem," "More Ways than One," etc.; Mrs. Brooke, Miss Marshall, Mrs. Lennox, and Miss Sophia Lee, all wrote successful plays; Mrs. Sheridan, the author of the Eastern story, "Nourjahad," was the writer of the successful comedies of "The Discovery" and "The Dupe." But the chief dramatist of this period was Richard Brinsley Sheridan, her son (b. 1751; d. 1816). He was equally distinguished as a politician, an orator, and a critic. Like Murphy, Macklin, and Cumberland, he was an Irishman. His dramas placed him at the head of all the writers for the stage of his time. They abounded with humour, wit, the smartest action, and knowledge of life and human nature. His splendid comedy of "The Rivals," written when he was not twenty-five, did not at first augur much success; but "The Duenna," which appeared the same year, carried with it at once the highest public favour; and his "School for Scandal," acted in 1777, raised his reputation to the utmost. He also wrote the farces of "The Critic," "The Trip to Scarborough," and "St. Patrick's Day." All these were issued before 1780, and after that he was too much involved in political affairs to renew this style of writing. Amongst his other labours for the theatre was the adaptation of "Pizarro," one of Kotzebue's numerous plays. Sheridan first appeared before the world as the translator of "Aristænetus."

DAVID GARRICK AS RICHARD III. (After Hogarth.)

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Comedy and farce occupied the middle portion of the reign, but neither of them rose to the height of Sheridan. In tragedy, Murphy's "Arminius," Godwin's "Antonio," and Madame D'Arblay's "Edwy and Elgiva," were the best. Amongst the comedies, Holcroft's "Road to Ruin," Morton's "Speed the Plough," Mrs. Inchbald's "Wives as they Were, and Maids as they Are," and Colman's "Sylvester Daggerwood," were the most popular.

In the latest period scarcely any acting dramas were produced. Amongst the unacted tragedies, or such as were acted with no great success—being better fitted for private study—were Coleridge's "Remorse" and "Zapolya;" Shelley's "Prometheus Unbound" and "The Cenci;" Byron's "Cain," "Manfred," "Sardanapalus," etc.; Maturin's "Bertram," "Manuel," and "Fredolpho;" Joanna Baillie's "Plays on the Passions," "The Family Legend"—the last acted with some success at Edinburgh, through the influence of Sir Walter Scott, in 1810—Charles Lamb's "John Woodvill," Milman's "Fazio," and Walter Savage Landor's "Count Julian," "Andrea of Hungary," "Giovanni of Naples," "Fra Rupert," "The Siege of Ancona," etc., all masterly dramas, constituting a blaze of dramatic genius which, had it been adapted to the stage, would have given it a new grandeur at the close of this reign.

The new spring in poetry broke forth as brilliantly in this reign as that in prose. In the earlier portion of it, indeed, this was not so visible. The school of Pope seemed still to retain its influence. This school had produced a host of imitators, but little real genius since Pope's time. Almost the only exception to this mediocrity was Collins, whose odes were full of fire and genius. He died just before this period, and Gray, Shenstone, and Goldsmith opened it with many of the exterior characteristics of that school. But, in truth, notwithstanding the mere fashion of their compositions, there were in them unmistakable evidences of new life. Shenstone was the least vigorous and original of the three, but his "Schoolmistress" possessed a natural charm that still gains it admirers. He belongs, however, rather to the past period than this, for he died but three years after the accession of George III., and had ceased to write some time before. Gray's "Elegy in a Country Churchyard" showed that he had deep feeling and a nice observation of nature; and his "Long Story" that he possessed real humour—a quality abounding in his prose, but, except in this piece, little visible in his poetry. His odes are extremely vigorous, but somewhat formal. His "Bard," his "Ode on Eton College," and his "Fatal Sisters," are all full of beauty, but somewhat stilted. In the "Fatal Sisters" he introduced a subject from the "Scandinavian Edda" to the English reader, but in a most un-Scandinavian dress.