Wells about 1906 began a series of studies of life of which 'The New Machiavelli' and 'Mr. Britling Sees it Through' have been the most widely read, in which the ideas of the present are embodied in the career of the individual. Besides these are Joseph Conrad, who gives a strong realistic turn to his stories of the sea and of exotic romance, and John Galsworthy, whose chief novels are ironic presentations of the conservative character of life in England. There are also many others who follow not dis similar courses, of whom the best known are Hugh Walpole, Compton Mackenzie, Ethel Sidgwick, J. D. Beresford, Gilbert Cannan, May Sinclair and Oliver Onions. A third de velopment of the century has been in the path of criticism, which at first found expression chiefly in the periodical. The magazine has been one of the most characteristic elements of 19th century literature. There were magazines in the 18th century — the Monthly Review, the Critical Review, the Gentleman's Magazine— but the chief periodical was the Addisonian es say. The Edinburgh Review (1802) and the Quarterly Review 0809) were the beginning of a new movement. Blackwood's Magazine (1817), the London Magazine (1820) and Fraser's Magazine (1$30), together with many weeklies and dailies, were the beginning of a flood of literature that is now the form most familiar to us. The influence was at first chiefly critical. Jeffrey, the first editor of the Edin burgh, with Gifford of the Quarterly, set the style of a criticism, which though often unfairly slashing and ridiculously high and mighty in tone, had merit often in expressing sincere,and definite opinions in literature and politics. A sort of gaiety and even charm was given by Wilson, who wrote under the name of Chris topher North, by Sidney Smith and Lockhart. But the most important development came in the field of the personal essay. The 'Essays of Elia' (1820) by Charles Lamb, go beyond the Addisonian essay in their unfettered expres sion of a charming personality. 'The English Opium Eater' (1821), of Thomas De Quincey, is still farther away from the 18th century in form and spirit, and so is the 'Table Talk' (1824) of Hazlitt. All these are sincere per sonal utterance, and in their sincerity and per sonality lies their strength. In the main we may call the work of these men critical, for they were all absorbed in letters, and their view of life was essentially a criticism of literature. Something more in the way of established form were the famous 'Essays' (beginning 1825) of Macaulay, the most remarkable works of their time in the power of focusing wide read ing and immense knowledge into forms of ex treme brilliancy. A striking contrast is offered by Carlyle, who began by essays of the accus tomed character, though not ordinary in style, but after some years produced
Both were historians as well as critics, and by their interest in life and sympathy with man they brought in a new and fascinatingly inter esting kind of historical writing, which the later influence of Darwinism and of science in gen eral, has done much to deaden. Hallam before them should also be mentioned and Green after them. John Ruskin began his career as critic with what seemed the impossible task of de throning false masters of painting, and estab lishing an ethical foundation for art. About 1850, having succeeded in his earlier task, he be gan a struggle against a much wider range of evil, which was not so fortunate. Matthew Arnold also understood the range of the critic as extending beyond the field of art: his views on politics and religion were an influence in the history of thought, but naturally will not last as long as his conceptions on literature. Walter Pater took even a wider view of art, being at home with painting, architecture, sculpture, as well as with literature. He represents the so called "aesthetic" position which developed from Preraphaelitism. The most noteworthy essayist of the opening century is Gilbert K. Chesterton, whose ready paradoxes cover much sound thought. In philosophy and science the century has been pre-eminent, and many great books have been produced. The last field hardly belongs to literature, although Darwin, Huxley and Tyndall were masters of style and could make the results of scientific work absorbingly interesting. More might be said of philosophy and theology, though here little has been pro duced that will last as literature, except per haps John Stuart Mill's (Logic' (1843), Cardi nal Newman's (Apologia pro Vita Sua' (1864), and parts of Spencer's (Synthetic Philosophy' (1860-1900), all of which stand as representa tive of important movements in the history of thought.
There are many histories of English litera ture. The most elaborate and authoritative is the (Cambridge History of English Literature,' the work of a great number of representative students. That of Garnett and Gosse is an interesting general account, richly illustrated by extracts and reproductions of manuscripts and prints. The three volumes on different periods by Saintsbury and Gosse cover the last four centuries in a convenient form. The work of Taine (translated by Van Laun) expresses his views of the development of literature from national life. That of Ten Brink (translated by Keneday) is unfinished, but covers the ground where German scholarship is strongest, namely, Anglo-Saxon and Middle English. Brandl in Paul's (Gnmdriss der germ. Philologie,' gives a very tun ana convenient summary. money s (English Writers' is a very full account in 10 volumes, but has not got beyond Shakespeare. The (English Men of Letters' series provides lives of the greatest authors. Ward's Poets,' and Craik's Prose,' are valu able, giving a summary of facts, a criticism by a writer of note, and a number of extracts in case of all distinguished poets and prose writers.