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The Atheneum says:-" Poole is not unknown to the world of letters, for his person and character are graphically described by De Quincey in his paper on To SIAM and MALAYA in the DUKE Coleridge; he appears as a frequent correspondent of SUTHERLAND'S YACHT "Sans Peur." By Mrs. FLORENCE SECOND EDITION, now ready, in 2 vols demy 8vo with Illustrations by REMINISCENCES of J. L. TOOLE, the COMEDIAN. Related by HIMSELF and Chronicled by JOSEPH "People are going about laughing-all business is suspended-chuck- "The work will, of course, be read by everybody interested in the stage, and every play-goer will desire to include it among his literary treasures."-Globe. NEW BOOK ON SPORT. Now ready, in 1 vol. demy 8vo. with 12 Full-Page Illustrations, 12s. JUNGLES: Scenes of Sport in the Lews and India. By Captain J. T. It is not too much to say that the character of SCOTTISH MOORS and INDIAN MISS PRICE'S NEW NOVEL. J. CURTIS (SHIRLEY SMITH), Author of 'The Favourite of VIOLET VYVIAN, M.F.H. By May CROMMELIN, Author of 'Queenie,' and J. MORAY BROWN, "Among the many excellent specimens of that essentially British RED TOWERS. By Eleanor C. Price, RESTITUTION. By Anne Beale, Author of Alexia,' &c. 3 vols. Author of Fay Arlington,' 'The Pennant Family,' &c. 3 vols. MISTRESS BEATRICE COPE; or, Passages in the Life of a Jacobite's Daughter. By M. E. LE CLERC. "A simple. natural, credible romance, charged with the colour of the in the memoirs of Sir Humphry Davy and of Southey; there is much about him in Cottle's Olla Podrida,' and in all works dealing with the life of Coleridge; and Coleridge himself-whose friendship. Mrs. Sandford tells, was the chief treasure, as it was also the most remarkable experience of Poole's life-felicitously sketched him in his book on Church and State.'...... His character was, of course, largely influenced and developed by intercourse with the eminent men who were his friends, but it is sufficiently clear that an account of Poole would have been acceptable even if he had never had any friends more eminent than himself...... All the virtues, faults, and foibles that went to make up a notable man are drawn with extraordinary skill and fidelity in this admirable biography." The Saturday Review says:-" He had a distinct individuality of his own-one, indeed, of the most marked kind; and this Mrs. Sandford has brought out with great skill, and apparently with close fidelity. It cannot be said of him that he was merely the friend of his friends, to be known through his associates. He had a rough force of character and a strong sense, which attracted him to men of greater genuis and weaker will.......Mrs. Sandford's description forms a graphic outward portraiture of a man to whose noble mental and moral qualities nearly every page of these volumes witnesses. The book is a worthy memorial of a genuine English worthy." The Spectator says:-"Never were men more curiously unlike in character and temper than Coleridge and Poole. What Coleridge was, we know; how lofty in his ideal, how weak and irresolute in action. Thomas Poole, on the other hand, has been nothing more than a name to most readers, and to many who know Coleridge not even that; but we see him here one of the most genuine of men, practical, vigorous, determined, a successful trades man (this was what he always called himself), an active promoter of such good works as benefit societies and the like, knowing exactly what he wanted, and seldom failing to get it...... This Somer set tanner was a man of culture, who, with but small "The author of 'Alexia' has charm, ease, and lightness of manner, and her latest novel, 'Red Towers,' is more than well planned, well told, and well sustained. The truth is that, of DORINDA: a Novel. By the Countess advantages in his boyhood, had laboriously educated its kind, 'Red Towers' could not easily have been better, and that its author deserves to of MUNSTER. 3 vols. "We shall await with pleasant expectation further contributions to contemporary fictional literature from the unquestionably clever author of Dorinda."-Daily Telegraph. rank with the best of our younger drawing- THROUGH the LONG NIGHT. By room novelists." - Athenœum. THAT UNFORTUNATE MARRIAGE. By FRANCIS ELEANOR "One rises from the book with the feeling that one hardly cares what it has been about in the delight of having formed a new and interesting circle of acquaintances whose counterparts we know exist in the world around us."-Academy. "A story that is pleasing to moral sentiment as well as lively in style, brisk in movement, and full of animation in the play of characters, with a spice of satirical humour."-Graphic. Mrs. E. LYNN LINTON, Author of 'Patricia Kemball,' 'Paston "It was scarcely necessary to sign 'Through the Long Night, for the The TRACK of the STORM: a Novel. By DORA RUSSELL, Author of 'Footprints in the Snow,' 'The "In her latest work, 'The Track of the Storm, Dora Russell has pro- HURST & BLACKETT'S himself, who loved knowledge and books, and had some literary power, and who, above all, had a large receptive faculty that made him understand his great friend." The Guardian says : - " Mrs. Sandford has produced a picture of a group of remarkable men, as well of provincial life in England during very stirring times that is of permanent value. And yet with a true regard to the symmetry of her subject, Mrs. Sandford has contrived to make the personality of Thomas Poole the main thread of her narrative. No more interesting picture has ever been drawn by a biographer's hand than this......country gentleman, impatient of contradiction and heedless of his opponent's feelings, but generous, wise, and far seeing, full of affection for his kinsfolk and his servants, and of untiring energy in every good work." The Rev. Canon AINGER, writing in Macmillan's clearly knows and loves the country she describes, an she has the art of making her readers know and love it too. And though some among these readers may have heard for the first time through this very book of the noble and public-spirited tanner of Nether Stowey, they will soon find themselves as much interested in the joys and sorrows of the Poole family as if they had known them from child. hood. And for the future Nether Stowey will be hardly less celebrated for having produced Thomas Poole than for having, during two eventful vears, given shelter to Samuel Taylor Coleridge, and drawn to its neighbourhood William and Dorothy Words worth......It would be quite a mistake to infer that Tom Poole gives these volumes only his name. He forms their leading interest from first to last. Around him the poets, scientists, economists natur ally group themselves as they did in real life. He is far too distinguished a man to be dismissed parenthetically or at the end of a review. He must be studied, as he deserves, apart." MACMILLAN & Co. London. A History of Eighteenth Century Literature (1660-1780). By Edmund Gosse, M.A. (Macmillan & Co.) IT is to be wished that Fielding in his 'Journey from this World to the Next' had told us something more of the feelings with which the literary spirits in the Elysian fields regard the opinions of their successors on earth. We learn casually that Homer was gratified by Pope's translation of his Iliad, and that Shakspeare showed some surprise at the issue of so many editions of his plays; but there is little to show how far the departed authors respect the judgments of modern commentators. Would the shades of the eighteenth century writers be willing to accept the symmetrical positions in groups and periods assigned to them by a modern critie? Would Waller's head be a little turned by learning that during a hundred and fifty years he beat the measure for the poets and poetasters who followed in his wake? These reflections are suggested by Mr. Gosse's new work, of which the title is given above. The poetry of the earlier periods included in this volume has already been discussed by Mr. Gosse in the lectures From Shakespeare to Pope, of which Waller was the hero. On the present occasion he repeats and emphasizes his contention that Waller, "the coryphæus of this long procession of the commonplace," was the restorer of Chaucer's couplet; but we cannot return to the discussion of this theory. It was pointed out in our review of Mr. Gosse's former work that some of Waller's contemporaries were already masters of the distich, and the fact, moreover, that Waller's poetry was polished and regular has been always well known. There is no need, therefore, again to attack the idea that Waller's poems contain "the key to the prosody of the eighteenth century," and we shall be better employed in trying to give some idea of the scope of this entertaining volume. Mr. Gosse has divided the literature of the hundred and twenty years (1660-1780) which succeeded the Restoration into three equal periods. "Each of these," he tells his readers, " is dominated by one figure of far greater intellectual prestige than any other of the same period. No one will question that the first of these is the generation of Dryden nor the last that of Johnson. It may not perhaps be quite so readily conceded that the age of Anne lay under the tyranny of Swift. It will, however, be found, I think, upon close examination that neither Pope nor Addison has an equal claim to be considered the centre of the action or the hero of the story." The supreme influence of Dryden over his contemporaries and the generation which immediately succeeded him is incontestable, but Johnson's supremacy was of a different nature. During his lifetime he occupied a position of eminence, yet he was rather the supreme judge than the lawgiver of the literary commonwealth. The most famous writers of his epoch were Hume, Burke, Gibbon, Goldsmith, and Richard Brinsley Sheridan, all with the exception of Hume much younger than Johnson; but in none of their works, with the exception of Goldsmith's poetry, are any traces to be found of Johnson's influence; and this fact shows that Mr. Gosse's asser tion needs modification. It is not easy to name the dominating figure of the literature associated with the age of Queen Anne. Addison was the undisputed chief of the little senate to which he gave laws; the throne of poetry was occupied by Pope, whose influence gradually extended far beyond his own country; nevertheless Mr. Gosse is, to some extent, right in naming Swift as the most important man of letters of his time, though his power was felt rather than acknowledged, and was not so great during his lifetime as in after days. The first three chapters of Mr. Gosse's work are devoted respectively to the poets, the dramatists, and the prose writers of the Restoration. Mr. Gosse considers that during this period non-dramatic poetry would have been almost extinct if it had not been for John Dryden, "the greatest poet in English literature between Milton and Wordsworth." Yet, notwithstanding his admiration of Dryden, Mr. Gosse denies him the power of observation, and considers him, moreover, to be a sort of literary opportunist. He followed, we are told, but never led public opinion. He adopted the distich, which had been brought into fashion by Waller, and made it an instrument "on which to play the boldest music." His famous satires were only written because the public had become interested in that class of poetry; his translations were intended to gratify the general desire of the public to know something of the classic poets; and his Pindaric odes were an imitation of Cowley. It is difficult, without a good deal of reservation, to accept these propositions, which do not quite harmonize with the opinion previously expressed of Dryden's high intellectual prestige. Indeed, Mr. Gosse's theories must not always be taken too seriously. The chapter on the Restoration dramatists is excellent, and we have never seen a better account of this attractive subject. Mr. Gosse divides these writers into three groups, of which the first includes Dryden, who wrote for the stage at intervals during the whole of this period (1660-1700); Shadwell; Etheredge, who introduced modern comedy into England; and Sedley. The central group includes Wycherley, Otway, and Lee, with the subsidiary figures of Mrs. Behn, Crown (with his one good play, 'Sir Courtly Nice,' and many dull ones), and Buckingham, the author of 'The Rehearsal. After an interval of twenty years appeared the Orange dramatists, of whom the most important are Congreve, Cibber, Vanbrugh, and Farquhar. Though the Restoration drama is connected with so many brilliant names, and the era was certainly the most flourishing of the modern English stage, Mr. Gosse only selects two writers-Congreve and Otway-to place in the first rank. From a purely literary point of view this may be correct, yet the chief object of a play is to be acted, and not to be read. A playwright whose pieces are not adapted to the stage is somewhat like an author who writes for posterity. We are touched by the tenderness and pathos of Otway's plays, but it is difficult to imagine that they would produce a powerful effect on an audience. In his own days they were not successful, and Otway's death from starvation is one of the saddest incidents in literature. Even Congreve, notwithstanding his wit and the unrivalled skill of his dialogue, excels in literary rather than in dramatic craft. Mr. Gosse himself confesses that occasionally "his [Congreve's] action is left to wait, cap in hand, on the leisure of his dialogue, and when former is resumed, the poet has often the air of forgetting whither he intended to proceed with it. His plots are difficult to recollect, and not always very natural in their development." These are assuredly grave defects in a playwright, and it is precisely in these points where Congreve is weak that Farquhar, who doesnot possess Congreve's claim to high literary distinction, is at his best. The action of his plays is never arrested, the thread of his plot is never lost, the stage is always full of bustle and gaiety, and the interest of the audience is never allowed to flag from the rise till the fall of the curtain. As acting plays, it appears to us that Farquhar's last two pieces, The Recruiting Officer' and the Beaux' Stratagem,' the latter written on his death-bed, have never been surpassed in modern comedy. Itiscurious to note how little, in point of quantity, was produced by the best writers of this school, and how early their genius seemed to be exhausted. Etheredge, Wycherley, Congreve, and Farquhar brought out not more than twenty plays between them, and had all left off writing for the theatre in the prime of manhood, though their lives, except Farquhar's, were prolonged beyond middle age, and Wycherley survived the close of his dramatic career nearly forty years. If the dramatists of the Restoration were singularly brilliant, the prose writers of that period, with one conspicuous exception, left little that is now much remembered. The Pilgrim's Progress, Mr. Gosse tells us, was from the first received with enthusiasm, and is now more widely read than when Bunyan summoned up courage to give it to the public against the urgent advice of his friends. It is scarcely possible to omit a mention of Locke's 'Essay on the Human Understanding'; but this famous work, "particularly unengaging in its style and delivery," is really little known except to students of philosophy, while thousands peruse with delight a very different work of the same period, Pepys's 'Diary,' " unrivalled as a |