STUDENTS' HANDBOOK 
 
 OF THE FACTS OF 
 ENGLISH LITERATURE
 
 TUniform "CQitb Gbis 
 
 CENTURY READINGS 
 
 FOR A COURSE IN 
 ENGLISH LITERATURE 
 
 BY 
 
 J. W. CUNLIFFE, D.LiT. 
 
 OF COLUMBIA UNIVERSITY 
 AND 
 
 J. F. A. PYRE, PH.D. 
 KARL YOUNG, PH.D. 
 
 OF THE UNIVERSITY OF WISCONSIN 
 1143 PAGES.
 
 STUDENTS' HANDBOOK 
 
 OF THE FACTS OF 
 
 ENGLISH LITERATURE 
 
 ARRANGED IN CLASSIFIED OUTLINES 
 
 COMPILED BY 
 
 J, F. A, PYRE, PH.D. 
 
 THOMAS H. DICKINSON PH.D. 
 
 KARL YOUNG PH.D. 
 
 OF THE UNIVERSITY OF WISCONSIN 
 
 NEW YORK 
 THE CENTURY CO. 
 
 1922
 
 Copyright, 1910, by 
 THE CENTURY Co 
 
 Published, September, igio 
 
 PRINTED IN U. S. A.
 
 Stack 
 Annex 
 
 87 
 
 
 
 032. 
 
 NOTE 
 
 These Outlines are designed to reinforce a series of lectures and to present 
 in convenient form the substantial facts of the history of English literature. 
 They may be used in connection with the Century Readings for a Course in 
 English Literature issued by the same publishers. After Outline XII, unless 
 otherwise stated, all dates appended to the titles of literary works indicate 
 earliest printed publication.
 
 OUTLINES
 
 OUTLINE I 
 The Formation of the English People 
 
 I. BRITAIN AT THE TIME OF CESAR'S INVASION, 55 B. C. 
 
 1. Three Branches of the Celtic Race. 
 
 a. Britons, or Brythons, in the Southeast. 
 
 b. Gaels, or Goidels, in West and North. 
 
 c. Caledonians (and Picts?), in extreme North. 
 
 2. Celtic Contributions to English Literature. 
 
 a. To the language, only a score or two of words. 
 
 b. To English literature, many romantic stories. 
 
 (See Outlines VI and VII.) 
 
 II. ROMAN OCCUPATION. 
 
 1. Roman Invasions. 
 
 a. 55 and 54 B. C., two invasions by Caesar. 
 
 b. 43 A. D., invasion under Emperor Claudius. Under a series of gov- 
 ernors conquest completed by 82 A. D. 
 
 c. 410, Roman rule withdrawn. 
 
 2. Roman Occupation (43-410) and English Literature. 
 
 a. Language. A small number of Latin words entered the language as 
 the result of the Roman occupation. The important influx of Latin 
 words into English occurred later. 
 
 b. Literature. Contributed practically nothing to the content of Eng- 
 lish literature. 
 
 3. Withdrawal of Romans left Celts as before. 
 
 III. ANGLO-SAXON CONQUEST. 
 
 1. Invasions. 
 
 a. Jutes (Denmark) invade Southeast, 449 A. D. ( ?). 
 
 b. Saxons (Mouth of Weser) invade Southwest, c. 477. 
 
 c. Angles (Schleswig) invade East and North, 5th century. 
 
 2. Permanent Occupation of Invaders. Celts exterminated or driven to 
 West and North. 
 
 3. Anglo-Saxon Conquest and English Literature. 
 
 (See Outlines II, III, and IV.) 
 
 IV. THE ENGLISH LANGUAGE. 
 
 1. The Name. 
 
 Celts in Britain called both invaders and their language, Saxon. Writ- 
 ers soon began to call both language and people, English, possibly be' 
 cause Angles outnumbered Jutes and Saxons. 
 
 2. Periods of the English Language. 
 
 a. Anglo-Saxon, or Old English, 500-1150. (Alfred.) 
 
 b. Middle English, 1150-1500. (Chaucer.) 
 
 c. Modern English, i50O-Present. (Shakspere, Milton, Words' 
 worth.)
 
 OUTLINE II 
 Anglo-Saxon Heathen Poetry 
 
 I. RELIGION OF THE ANGLO-SAXONS. 
 
 1. Chief Gods: Woden, Thor, Tiu. 
 
 2. Worship: Sacrifice; chanting and dancing; no idolatry. 
 
 II. SOCIAL CUSTOMS OF THE ANGLO-SAXONS. 
 
 1. Court of a King. 
 
 2. Anglo-Saxon Poets : Scop ; Gleeman. 
 
 III. BEOWULF. 
 
 1. Date. Original poem probably arose in the course of the seventh cen- 
 tury. 
 
 2. Historical Basis. 
 
 About 512 A. D. Chohilaicus (Hygelac of poem), king of Geats 
 (Scandinavia), raided the Lower Rhine. In this expedition, a hero, 
 Beowulf (nephew of Hygelac) distinguished himself. 
 
 3. Mythological Basis (Doubtful). 
 
 Grendel, Grendel's Mother, Breca, and Dragon represent hostile forces 
 of nature : winter, darkness, power of the sea. Probably a god, Beowa, 
 has been confused or blended with the hero, Beowulf. 
 
 4. Process of Composition. 
 
 Chief narrative contains four stories, probably originally separate: 
 Fight with Grendel, Fight with Grendel's Mother, Beowulf's Return to 
 his Home, Fight with Dragon. By the year 700 (c.) these had prob- 
 ably been united in a form approaching that of present poem. 
 
 5. Literary Characteristics. 
 
 Repetition, swift narration, episodes, absence of simile, ' kennings,' 
 long speeches. 
 
 IV. OTHER ANGLO-SAXON HEATHEN POETRY. 
 
 1. Lyrics. 
 
 a. The Seafarer. 
 
 b. The Wanderer. 
 
 c. The Ruins. 
 
 d. The Husband's Message. 
 
 e. The Wife's Lament. 
 
 f. Dear's Lament. 
 
 g. Widsith. 
 
 2. Historical Poems. 
 
 a. The Battle of Brunanburgh (fought in 937). 
 
 b. The Battle of Maldon (fought in 991). 
 
 3. Riddles and Charms. 
 
 V. ANGLO-SAXON METRICAL FORM. 
 
 The single line is composed of two half-lines, which vary in number of 
 syllables, but which agree in having each two accents. The two half- 
 lines are bound together by alliteration of accented syllables.
 
 OUTLINE III 
 Anglo-Saxon Christian Poetry 
 
 I. INTRODUCTION OF CHRISTIANITY. 
 
 1. Roman Christianity. 
 
 King ^Ethelberht of Kent converted after the arrival of Augustine, 
 who reached England in 597 (See Bede, Ecclesiastical History, Bk. I, 
 Chap. 25). King Edwin of Northumbria converted by Paulinus, a dis- 
 ciple of Augustine, about 627. (See Bede, Bk. II, Chap. 13.) 
 
 2. Irish Christianity. 
 
 In course of /th century conversion of Northumbria, Wessex, Mercia, 
 and Essex secured by Irish missionaries. 
 
 3. Council of Whit by, 664. 
 
 Differences between Roman and Irish Christianity settled in favor oi 
 Rome. (See Bede, Bk. Ill, Chap. 25.) 
 
 II. THE C^DMONIAN POEMS. 
 
 Bede (Bk. IV, Chap. 24) recounts the inspiration and poetical activity of 
 Csedmon (fl. 670). 
 
 Junius (Librarian of the Earl of Arundel) published (1655) a MS. con- 
 taining four poetical paraphrases long ascribed to Caedmon. 
 
 1. Genesis. Paraphrase of Genesis to story of Abraham and Isaac. 
 Combination of two poems, Genesis A (lines 1-234, 852-2735) and 
 Genesis B (lines 235-851). A and B differ in style. 
 
 2. Exodus. Free paraphrase, chiefly of story of Passage of Red Sea by 
 Israelites. Style more highly colored and original than that of 
 Genesis. 
 
 3. Daniel. Free paraphrase of Book of Daniel, Chaps. I-IV. 
 
 4. Christ and Satan. Consists of three poems: Fall of the Angels, Har- 
 roii'ing of Hell, Temptation of Christ by Satan. 
 
 The only poem that can with any confidence be assigned to Caedmon is 
 the so-called Hymn of Cadmon. 
 
 III. CYNEWULF. An English ecclesiastic, perhaps a bishop, of the 8th cen- 
 tury. 
 
 1. Clirist, Advent, Ascension, Last Judgment. 
 
 2. Elcne, Legend of Helen, mother of Constantine. 
 
 3. Juliana, Legend of Saint Juliana. 
 
 4. Fates of the Apostles. 
 
 IV. SCHOOL OF CYNEWULF. 
 
 1. Phoenix. 
 
 2. Judith. 
 
 3. Andreas. 
 
 V. RELIGIOUS LYRICS. 
 
 1. Dream of the Rood. 
 
 2. Bede's Death Song.
 
 OUTLINE IV 
 Alfred the Great and Anglo-Saxon Learning 
 
 I. MONASTIC LEARNING (LATIN). 
 
 1. Aldhelm (d. 709). First great scholar in England. 
 
 2. Bede (d. 735). Greatest scholar of the Anglo-Saxon period. Lived at 
 the monastery of Jarrow, in Northumbria. Ecclesiastical History of the 
 English People (731), treats history of Britain from 55 B.C. to 731 
 A. D. 
 
 3. Alcuin (735-804). Educated at York. Especially distinguished for 
 his educational services under Charlemagne. 
 
 II. Alfred the Great (849-901; King of Wessex, 871-901). 
 
 1. Life. In his youth, visited Rome, and the Frankish court of Charles the 
 Bald. From travel and from personal relations with the Continent, Al- 
 fred gained a cosmopolitan point of view reflected laier in his adminis- 
 tration of the kingdom of Wessex. Resisted inroads of the Danes, and 
 by Treaty of Wedmore (878) forced Danes to retire north of Watling 
 Street. Took a personal part in the administration of justice. Patron- 
 ized learning; increased the number of monastery schools; secured the 
 aid of foreign scholars, of whom the most important is Asser, a Welsh 
 cleric, who wrote a Life of King Alfred, our most valuable authority 
 concerning Alfred's personality. 
 
 2. Literary work. Chiefly translation. 
 
 a. The Pastoral Care, by Pope Gregory (Pope, 590-604). A guide for 
 those in ecclesiastical authority. Alfred's own Preface indicates his 
 ideals for reviving learning in England. 
 
 b. History, by Orosius, a Spanish ecclesiastic of the 5th century. A 
 universal history, widely used. Alfred altered the original freely, 
 both by omission and by addition. Condensed seven books to six. 
 
 c. Ecclesiastical History, by Bede (see above). 
 
 d. The Consolation of Philosophy, by Boethius (d. 524?). A dialogue 
 between Boethius and Philosophy. Central doctrine is fatalism and 
 submission. Alfred translates freely, adding occasional facts, pious 
 observations, and vivid figures of speech. 
 
 e. Alfred took an active part in maintaining and perfecting the Anglo- 
 Saxon Chronicle, a desultory history of England which was continued 
 from time to time at several monasteries, and which eventually cov- 
 ered the period 60 B. C. to 1154 A. D. 
 
 3. Alfred's Contribution to English Literature. 
 
 a. Revived learning in England. Learning had declined in Northum- 
 bria, where it had first gained distinction. Largely through his per- 
 sonal effort, Alfred established a new center of learning in Wessex. 
 
 b. Revived the native language. By translating distinguished Latin 
 works into Anglo-Saxon, Alfred gave dignity to the native language, 
 and contributed much toward establishing a clear, idiomatic English 
 prose style.
 
 OUTLINE V 
 The Norman Conquest 
 
 I. ENGLISH HISTORY FROM ALFRED TO 1066. 
 
 1. Danish Rule, 1016-1042. 
 
 2. Saxons Restored. Edward the Confessor, 1042-1066. 
 
 II. ENGLISH LITERATURE FROM ALFRED (d. 901) TO 1066. 
 
 yElfric (955-0. 1025). Sermons, written to a large extent in allitera- 
 tive prose. 
 
 III. THE NORMANS BEFORE 1066. 
 
 Rollo, the Northman, settled at mouth of the Seine 902. Northmen of 
 Normandy adopted Christianity and the French language. English king, 
 Ethelred, married (1002) Emma, daughter of Richard, Duke of the 
 Normans. William, sixth Duke of Normandy (after 1035), first cousin 
 of Edward the Confessor. 
 
 IV. COMING OF THE NORMANS TO ENGLAND. 
 
 1. William's Claims Opposed to Those of Earl Harold. 
 
 2. Battle of Hastings (Senlac), 1066. 
 
 3. Political Effect. Feudalism perfected in England. 
 
 V. EFFECT UPON THE ENGLISH LANGAUGE. 
 
 i. Grammar. Accelerated dropping of inflectional endings. 
 
 (Cf. ' of,' in place of genitive case ending.) 
 2 Phraseology. Many phrases modeled on French. 
 
 (Cf 'to bear' arms, witness, etc., from French porter.) 
 3. Vocabulary. Considerable French element introduced. 
 
 VI. EFFECT UPON ENGLISH METRICAL FORM. 
 
 Resulted in a compromise between Anglo-Saxon (irregular number of 
 syllables, alliteration, accent) and French (rime, regular number of 
 syllables, accent unimportant). Result seen in Chaucer: rime in place of 
 alliteration; accent retained, but reduced to regularity. 
 
 VII. EFFECT UPON ENGLISH LITERATURE. 
 
 1. Lyric Poetry (Provenqal). 
 
 2. Tales and Fabliaux. 
 
 3. Allegory. 
 
 4. Lais. (Marie de France, early i3th century.) 
 
 5. Romances. (See Outlines VI and VII.) 
 
 II
 
 OUTLINE VI 
 The Rise and Flourishing of Romance 
 
 I. ROMANCE. 
 
 1. A romance is a fictitious story of heroic, marvelous, or supernatural 
 incidents, derived either from history or from popular tradition, and 
 written at considerable length, either in verse or in prose, by a con- 
 scious literary artist, for refined and courtly readers. Romance is to be 
 distinguished from epic, fairy tale, ballad, legend. Romances arose in 
 the I2th century, chiefly in France, where stories from the best known 
 parts of Europe and Asia were gathered and given romantic treatment. 
 From France, romances were distributed to other countries, often to 
 the countries in which the original stories had arisen. 
 
 2. Romance, the product of feudal society. 
 
 II. ENGLISH ROMANCES. In England, romances in English and romances 
 in French existed side by side. With one or two possible exceptions, Eng- 
 lish romances are derived from French romances. 
 
 1. Ultimate Sources of English Romances. 
 
 a. French material. Stories of Charlemagne, Roland, and other na- 
 tional French heroes. In France these stories (chansons de geste) 
 were originally national epics. In England the same stories became 
 pure romance. 
 
 b. Celtic material. 
 
 1. Breton lais. Short romantic tales of love, magic, and adventure. 
 Of lais the most distinguished author is Marie de France (fl. early 
 I3th century), a native of France, but a resident of England. 
 
 2. Arthurian romances. (See Outline VII.) 
 
 c. Matter from antiquity. 
 
 1. Story of Thebes. 
 
 2. Story of Troy. 
 
 3. Story of Alexander. 
 
 4. Story of yEneas. 
 
 d. English (or Scandinavian) material. Although these are, probably, 
 true Germanic stories, and although they were, probably, current first 
 in Germanic languages, the extant English romance versions have in 
 nearly all cases come through a French intermediary. 
 
 1. Horn. 
 
 2. Havelock. 
 
 3. Guy of Warwick. 
 
 4. Bevis of Hampton. 
 
 2. Literary Form. 
 
 a. Verse, couplets, stanzas, alliterative lines. 
 
 b. Plot often rambling or monotonously long. 
 
 c. Picturesque language. 
 
 d. Conventional characterization.
 
 OUTLINE VII 
 Arthurian Romance 
 
 I. THE ULTIMATE SOURCES OF ARTHURIAN ROMANCE. 
 
 1. Annals. 
 
 a. Historia Britonum (c. 800 A. D.), usually ascribed to Nennius. 
 Latin. Arthur merely a valiant leader of Britons. 
 
 b. Annales Cambrics (loth century). Latin. Arthur mentioned 
 merely as a successful leader of Britons. 
 
 2. Celtic Tales. 
 
 The Mabinogion. A I4th century compilation of Welsh tales. Of 
 these tales two are Arthurian stories of pure British origin, Kulh-wch 
 and Olwen, and The Dream of Rhonabwy, in which Arthur is a 
 fairy king, surrounded by uncouth courtiers who have magic at their 
 command. 
 
 II. DEVELOPMENT OF ARTHURIAN ROMANCE. 
 
 1. Geoffrey of Monmouth: Historia Britonum (c. 1137). Latin. Using 
 ' a very ancient book in the British tongue,' Geoffrey developed Arthur 
 into the central figure of the Historia. Brilliant king, world conqueror. 
 No Lancelot, Tristan, Holy Grail, or Round Table. 
 
 2. Metrical Chronicles, Based Ultimately upon Geoffrey's Historia. 
 
 a. Wace: Brut (1155 A. D.). French verse. 
 
 Added (i) Round Table: (2) details concerning the Passing of 
 Arthur. 
 
 b. Layamon: Brut (c. 1200). English alliterative verse. 
 
 Based upon Wace's Brut. Added (i) fairy element; (2) making 
 and properties of the Round Table. 
 
 III. ARTHURIAN ROMANCES. 
 
 1. Cycle of Merlin. A magician closely associated with Arthur. 
 
 2. Cycle of Gawain. Arthur's nephew. The most frequent single figure 
 in Arthurian romance. In early romances, Gawain is the gentleman 
 par excellence (see Sir Gazvain and the Green Knight). In later 
 stories (see Malory and Tennyson) he became 'a reckless and irrev- 
 erent knight.' 
 
 3. Cycle of Lancelot. Not connected with the original Arthurian tradi- 
 tion. Lancelot first appears as the lover of Queen Guenevere in the 
 Conte de la Charette of Chretien de Troies (fl. c. 1160). 
 
 4. Cycle of the Holy Grail. In origin, the grail probably a heathen magic 
 vessel. Original hero of the grail quest was Gawain, later superseded 
 by Perceval, and by Lancelot's son, Galahad. 
 
 5. Cycle of Tristan. Story of Tristan and Iseult not originally connected 
 with Arthurian tradition. 
 
 6. Cycle of the Death of Arthur. (See Outline XII.) 
 
 IV. Chretien de Troies. French courtly poet (fl. c. 1160). Wrote (in whole 
 or in part) six Arthurian poems; Erec and Enide, Cligcs, Conte de la 
 Charette, Yivain, Tristan, Perceval.
 
 OUTLINE VIII 
 Early Middle English Literature 
 I. ANONYMOUS LITERATURE. 
 
 1. Romances. (See Outlines VI and VII.) 
 
 2. Lais. (See Outline VI.) 
 
 3. Religious and Didactic Works. 
 
 a. Proverb poems. Proverbs of Hcndyng (c. 1300). 
 
 b. Debates. Debate of Body and Soul (c. i2Qp). 
 
 c. Sermons. 
 
 d. Legends of saints. Golden Legend (i3th century). 
 
 4. Tales. 
 
 a. Oriental tales. Dame Sirith (i3th cent.). See Chaucer's Mer- 
 chant's Tale and Manciple's Tale. 
 
 b. Fabliaux. Popular, pointed, bourgeois anecdotes. See Chaucer's 
 Miller's Tale, Reeve's Tale, Friar's Talc, and Sumnonr's Tale. 
 
 c. Pious Tales. Exempla, tales inculcating a moral or religious prin- 
 ciple ; miracula, miracles of saints. See Chaucer's Prioress's Tale. 
 
 d. Beast-fables. See Chaucer's Nun's Priest's Tale. 
 
 5. Lyrics. 
 
 a. Religious. A Good Orison of Our Lady (c. 1210). 
 
 b. Popular. Alysoun (c. 1300). 
 
 6. Allegory. Roman de la Rose (i3th century). See Chaucer (Outline 
 IX). 
 
 II. AUTHORS PRECEDING CHAUCER. 
 
 1. Layamon: Brut (c. 1200). (See Outline VII.) 
 
 2. Orm (fl. c. 1200) : Ormuliim, an unfinished series of paraphrases ol 
 the Gospels of the ecclesiastical year, with homilies. 
 
 - III. CHAUCER. (See Outlines IX and X.) 
 
 IV. CONTEMPORARIES OF CHAUCER. 
 
 1. Piers the Plowman. Long ascribed to William Langland. 
 
 An allegorical poem composed and revised at different times during the 
 period 1362-1398, probably by some five different writers. The larger 
 part of the original poem probably by a single author, whose Christian 
 name was Will, and whose surname may have been Langland or Lang- 
 ley. The poem consists of three visions : Vision of the Field Full of 
 Folk, Vision of Piers the Plowman, and Vision of Do-well, Do-bet, and 
 Do-best. Written in alliterative verse. 
 
 2. John Gower (c. 1325-1408). Friend of Chaucer. 
 
 Confessio Amantis (1386-90). A series of more than a hundred stories 
 arranged in a ' frame,' to illustrate the seven deadly sins. Simple, di- 
 rect narration. Regular, polished riming verse. Gower's Tale of 
 Florcnt, Tale of Appins and Virginia, and Tale of Constance embody 
 stories found in Chaucer's Wife of Bath's Tale, Physician's Tale, and 
 Man of Lazifs Tale respectively. 
 
 3. John Wyclif. (See Outline XXX.)
 
 OUTLINE IX 
 Chaucer: Life and Works 
 
 I. LIFE OF GEOFFREY CHAUCER (c. 1340-1400). 
 
 Born in London about 1340. Son of a vintner. 1357, attached to house- 
 hold of Edward Ill's son, Lionel. 1359, served in English army in France, 
 and taken prisoner. 1367, granted life pension for services as valet in 
 King's household. 1372-73, first diplomatic mission to Italy. 1374, held 
 office connected with customs of port of London. 1377, diplo- 
 matic missions in Flanders and France. 1378, second journey to Italy 
 in King's service. 1382, held another office connected with customs. 
 1385, member of Parliament for Kent. 1389, Clerk of King's works at 
 Westminster. 1390, Clerk of King's Works at Windsor. 1394, granted 
 an additional pension of 20 pounds a year. 1399, on accession of Henry 
 IV, Chaucer's pension again increased. 1400, Chaucer's death. 
 
 II. CHIEF POETICAL WORKS OF CHAUCER. 
 
 1. French Period (to 1373). 
 
 a. Romance of the Rose, a translation of part of Le Roman de la Rose, 
 a French allegorical poem written in the course of the I3th century. 
 Probably Chaucer wrote only the first part of the English translation. 
 
 b. Book of the Duchess (1369-70). 
 
 Written as a memorial to Lady Blanche (died Sept., 1369), wife of 
 John of Gaunt (Chaucer's patron). Shows influence of French alle- 
 gorical love poetry. 
 
 2. Italian Period (1373-1385). 
 
 a. Troilus and Criseydc (c. 1383). 
 
 Based upon Boccaccio's poem, Filostrato, from which a considerable 
 part is translated literally. 
 
 b. Parliament of Fowls (c. 1382). 
 
 Probably celebrates events of the courtship of Richard II and Anne 
 of Bohemia (daughter of Emperor Charles IV), who were married, 
 Jan., 1382. Shows both French and Italian influence. 
 
 c. House of Fame (c. 1379). 
 
 Shows influence of French love allegory, of Dante, and of Virgil. 
 
 3. English Period (1385-1400). 
 
 a. Legend of Good Women (c. 1385, and at various times). 
 
 Series of nine 'legends' (Cleopatra, Thisbe, Dido, Hypsipyle and 
 Medea, Lucretia, Ariadne, Philomela, Phyllis, Hypermnestra), in- 
 troduced by a Prologue based upon French love allegory. 
 
 b. The Canterbury Tales. (See Outline X.) 
 
 III. PROSE WORKS OF CHAUCER. 
 
 1. Translation of Boethius' Consolation of Philosophy (c. 1380). (See 
 Outline IV.) 
 
 2. A Treatise on the Astrolabe (1391). 
 
 3. Chaucer's Tale of Mclibcus. (See Outline X.) 
 
 4. Parson's Tale. (See Outline X.)
 
 OUTLINE X 
 Chaucer: The Canterbury Tales 
 
 I. PLAN OF THE CANTERBURY TALES. 
 
 1. Literary Parallels. 
 
 a. Boccaccio : Decameron. 
 
 b. John Gower: Confessio Amantis. (See Outline VIII.) 
 
 c. Giovanni Sercambi of Lucca: Novelle (c. 1375). 
 
 d. Proces of the Seven Sages. 
 
 2. About 120 Tales Proposed. 24 written (not all finished). 
 
 II. SUGGESTED TABULATION OF THE CANTERBURY TALES. 
 
 1. First Day, April 17, London to Dartford. 
 Knight. (Based upon Boccaccio's Teseide.) 
 Miller. (A fabliau.) 
 
 Reeve. (A fabliau.) 
 Cook. (Unfinished.) 
 
 2. Second Day, April 18, Dartford to Rochester. 
 
 Man of Law. (Based upon Trivet's Anglo-Norman Chronicle.) 
 
 Shipman. (A fabliau.) 
 
 Prioress. (A legend.) 
 
 Chaucer, two tales: Sir Thopas (in verse), and Talc of Mclibeus (in 
 
 prose). 
 
 Monk. (Short stories of misfortunes of famous persons.) 
 
 Nun's Priest. (A beast fable.) 
 
 3. Third Day, April 19, Rochester to Ospringe. 
 Physician. (Tale of Appius and Virginia.) 
 Pardoner. (An exemplum ) 
 
 Wife of Bath. (A fairy tale. Arthurian background.) 
 
 Friar. (A fabliau.) 
 
 Somnour. (A popular anecdote.) 
 
 Clerk. (From Petrarch's Latin rendering of a novella of Boccaccio.) 
 
 Merchant. (Tale of January and May.) 
 
 4. Fourth Day, April 20, Ospringe to Canterbury. 
 Squire. (An unfinished romance.) 
 
 Franklin (A laif) 
 
 Second Nun. (The legend of St. Cecilia.) 
 
 Canon's Yeoman. (A tale exposing alchemistic impostures.) 
 
 Manciple. (Based on Ovid's fable of Apollo and Coronis.) 
 
 Parson. (A prose sermon on the seven deadly sins.)
 
 OUTLINE XI 
 Later Middle English Literature 
 
 I. IMITATORS OF CHAUCER. 
 
 1. English. 
 
 a. John Lydgate (c. 1370-0. 1450). 
 
 1. Troy Book. Translation into English verse of Guido delle Co- 
 lonne's Latin Historia Troiana (1287). Incidental praise of 
 Chaucer. 
 
 2. Fall of Princes. Adapted into English verse from Boccaccio's 
 De Casibus Virorum Illustrium. See Chaucer's Monk's Tale. 
 
 3. Temple of Glass. See Chaucer's House of Fame. 
 
 4. Lives of Saints. 
 
 5. Story of Thebes. A continuation of Chaucer's Canterbury Talcs. 
 
 b. Thomas Occleve (c. 1368-0. 1450). 
 
 1. La Male Regie (c. 1406). A poem of penitence. 
 
 2. Regiment of Princes (1412). Advice to Prince of Wales (after- 
 ward Henry V). Contains praise of Chaucer. 
 
 2. Scottish. 
 
 a. King James I (1394-1437). 
 
 The Kingis Quair (' The King's Book,' c. 1423). In the 7-line stanza, 
 riming ababbcc, used by Chaucer in Troilus and elsewhere. Chau- 
 cerian phrases. 
 
 b. Robert Henryson (c. 1425-0. 1500). 
 
 1. Fables. 7-line stanza. 
 
 2. Testament of Cresseid. Sequel to Chaucer's Troilus and Criseyde. 
 
 c. William Dunbar (c. 1460-0. 1530). 
 
 1. Golden Targe. Contains praise of Chaucer. 
 
 2. Lament for the Makers. Places Chaucer first on the roll of Eng- 
 lish poets. 
 
 3. The Thistle and the Rose. Theme is marriage of James IV and 
 Margaret Tudor (1503). 7-line stanza. 
 
 II. THE END OF THE MIDDLE AGES. 
 
 1. Sir Thomas Malory. (See Outline XII.) 
 
 2. William Caxton (c. 1422-1491). Translator and printer. 
 
 After having engaged in trade, in translating, and in printing on Con- 
 tinent, set up his press (1476) in Westminster, near Westminster Ab- 
 bey; here he printed some 71 works. His translation of the Recueil des 
 Histoires de Troye of Raoul Lefevre, the first book printed in English, 
 appeared about 1475, at Bruges. The first dated book printed in 
 England is Dictes and Seyings of the Philosophers (i477)- 
 
 3. John Skelton (c. 1460-1529). Tutor of Henry VIII. 
 
 a. The Book of Philip Sparrow. Lament for a pet sparrow. ' Skel- 
 tonian metre ' consists of short lines, usually of three accented sylla- 
 bles, which rime in couplets, triplets, or quartets. 
 
 b. Bo^vge of Court. 7-line stanza. 
 
 c. Garland of Laurel. Allegory. Fundamental motives found in Chau- 
 cer's House of Fame and Prologue to Legend of Good Women. 
 
 4. Stephen Hawes (c. 1475-0. 1523). 
 
 a. Pastime of Pleasure. Allegorical, didactic poem. Although it is 
 written largely in 7-line stanza and contains praise of Chaucer, it is 
 not conspicuously influenced by Chaucer. 
 
 b. Example of Virtue. Allegorical, didactic poem. 
 
 23
 
 OUTLINE XII 
 Malory's Morte d'Arthur 
 
 I. SIR THOMAS MALORY (c. 1400-1471). 
 
 Malory was ' a gentleman of an ancient house, and a soldier.' A knight, 
 of Newbold Revell, Warwickshire. Served in French wars with Richard 
 Beauchamp, Earl of Warwick, who was famous as representing the 
 knightly ideal of the age. Member of parliament for Warwickshire in 
 1445. Conspicuous on the Lancastrian side in the Wars of the Roses. 
 
 II. MORTE D'ARTHUR. Published in 1485 by Caxton, who is probably re- 
 sponsible for the somewhat arbitrary divisions into books and chapters, 
 and, perhaps, for certain marks of style. 
 
 1. General Contents. 
 Books I-V, Merlin. 
 
 Books VI-VII, XI-XXI, Lancelot. 
 Books VIII-X Tristram. 
 
 2. Nature of the compilation. A compendium translated and adapted, 
 in great part, directly from French romances. The volume of the 
 sources was about ten times that of Morte d'Arthur itself. The vol- 
 ume, contradictions, and inconsistencies of the sources led to conspic- 
 uous incongruities in the compendious translation. Certain of the 
 best stories, such as Gazvain and the Green Knight, are omitted. Orig- 
 inality shown in emphasis upon Arthur as central figure. 
 
 3. Literary characteristics. 
 
 a. Looseness of plot. 
 
 b. Grammatical looseness. 
 
 c. Rapidity of narration. 
 
 d. Vividness of description. 
 
 e. Graceful and musical style. 
 
 f. Vocabulary essentially English. 
 
 III. ARTHUR ix LATER ENGLISH LITERATURE. 
 
 1. Edmund Spenser (1552-1599. See Outline XIX). 
 
 The Faery Queen (1590-1596). Prefatory letter, to Sir Walter Ral- 
 eigh, declares that the basis of the poem is ' The historye of King 
 Arthure.' Arthur's adventures are unlike those recorded in earlier 
 romances. Arthur appears infrequently, and only as a prince. The 
 first quest (Book I) most nearly resembles earlier Arthurian stories. 
 
 2. Thomas Hughes. Misfortunes of Arthur (acted before Queen Eliza- 
 beth, 1588), earliest Arthurian play in English. 
 
 3. John Milton (1608-1674. See Outline XXXIII), in two Latin works 
 speaks of his intention (never fulfilled) of writing an Arthurian epic. 
 
 4. John Dryden (1631-1700). King Arthur (acted 1691). 
 
 5. Percy: Reliques of Ancient English Poetry (1765) contains such Ar- 
 thurian pieces as Sir Lancelot du Lake, The Marriage of Sir Gawain, 
 and King Arthur's Death. 
 
 6. Alfred Tennyson (1809-1892). Idylls of the King (1842-1885). 
 
 7. Matthew Arnold (1822-1888). Tristram and Iseult (1852). 
 
 8. William Morris (1834-1896). Published in 1858 a volume containing 
 four Arthurian poems: The Defence of Guenevere, King Arthur's 
 Tomb, Sir Galahad, and The Chapel in Lyoness. 
 
 Q. Algernon Charles Swinburne (1837-1909). Tristram of Lyonesse 
 (1882) ; The Tale of Balen (1896). 
 25
 
 OUTLINE XIII 
 English and Scottish Popular Ballads 
 
 I. THE BALLAD. 
 
 A poem originating among the folk, and composed (though seldom writ- 
 ten down) by them. Contains a narrative and a musical clement; it is 
 ' a song that tells a story.' The story ib told impersonally by a narrator 
 who has no role in it, and who adds no reflections upon it. 
 
 II. CHARACTERISTICS. 
 
 1. Subject Matter. 
 
 a. Domestic relations: Willie's Lady, Clerk Saundcrs, Glasgerion, 
 Earl Crawford, Fair Annie, Kathcrine J off ray. 
 
 b. Supernatural occurrences: Tarn Lin, Kemp " Otvync, Stveet U'il- 
 liam's Ghost. 
 
 c. History: The Battle of Ottcrburn, The Hunting of the Cheviot, 
 Floddcn Field. 
 
 d. Outlawry : Adam Bell, and the ballads concerning Robin Hood. 
 
 e. Riddles, and humorous incidents: Riddles JVisely Expounded, The 
 Gardener, The Crafty Farmer. 
 
 2. Literary Characteristics. 
 
 a. Refrain. 
 
 b. Repetition. 
 
 c. Dialogue. 
 
 d. Absence of figurative language. 
 
 3. Metrical Form. Stanza and rime always present. 
 
 a. Stanza may be a mere couplet of verses of four accents: 
 
 Hunger is sharper nor a thorn 
 And shame is louder nor a horn. 
 
 b. Stanza usually consists of four lines, of which the ist and 3rd lines 
 have four accents and the 2d and 4th three accents, and of which the 
 rime-scheme is usually abcb: 
 
 Robin stode in Bernesdale, 
 And lenyd him to a tre ; 
 And bi hym stode Litell Johnn, 
 A gode yeman was he. 
 
 III. NUMBER AND CHRONOLOGY. 
 
 Of the great number of true ballads in English and Scottish only 306 
 have been preserved. Of these 306 ballads only eleven are extant in 
 MSS. older than the lyth century. Although our sources are somewhat 
 modern, the ballads themselves are in many cases very ancient.
 
 OUTLINE XIV 
 The Revival of Learning 
 
 I. HUMANISM. In literary history this term is applied definitely to that 
 part of the Renaissance movement manifested in the revived study of 
 classical antiquity, that is, to the Revival of Learning. The humanists, 
 however, did not confine their activities to pure learning. Humanism 
 began in Italy. 
 
 II. ITALIAN HUMANISTS. 
 
 1. Francis Petrarch (1304-1374). Although most famous for his ver- 
 nacular poems, wrote in classical Latin numerous works, such as: 
 in prose, De Contempt u Mundi, De Vita Sol it aria, Epistolae; in verse, 
 an epic, Africa. 
 
 2. Giovanni Boccaccio (1313-1375). Best known for his Decameron 
 and other works in the vernacular. Cultivated Latin classics, and 
 wrote Gencalogia Dcorum, De Casibus Virorum lllustnum, De Mon- 
 tibus. 
 
 3. Fifteenth Century Group. 
 
 a. Poggio Bracciolini (1380-1459). 
 
 b. Enea Silvio (1405-64; Pope Pius II, 1458-64). 
 
 c. Lorenzo de' Medici (1449-1492). 
 
 III. ENGLISH HUMANISTS. 
 
 1. Earlier English Humanists. 
 
 a. Humphrey, Duke of Gloucester (1391-1447). Youngest son of 
 Henry IV. Studied at Balliol College, Oxford. Collected books, 
 patronized learning; summoned classical scholars from Italy. 
 
 b. John Tiptoft (d. 1470). Earl of Worcester. 
 
 2. Oxford Group of Humanists. 
 
 a. William Grocyn (1446-1519). Taught Greek at Oxford. 
 
 b. Thomas Linacre (1460-1524). Taught Greek at Oxford. 
 
 c. John Colet (1466-1519). Dean of St. Paul's, London. Lectured at 
 Oxford on the Greek New Testament. 
 
 d. Desiderius Erasmus (1465-1536). Dutch humanist. Visited Eng- 
 land 1498-99, 1510-14. Best known for his Adagia and Encomium 
 Moriae. 
 
 IV. SIR THOMAS MORE. 
 
 1. Life. Born, 1478. Studied Greek and Latin under Linacre and 
 Grocyn at Oxford. Practiced law. In Parliament 1503-04. 1515, 
 ambassador to Flanders. 1516, Utopia published. Held various public 
 offices. 1521, knighted. 1523, Speaker of House of Commons. 1529, 
 succeeded Wolsey as Chancellor. 1532, opposed projected divorce of 
 Henry VIII and Catherine. Refused to take oath under the Act of 
 Supremacy and was committed to the Tower. Executed July 6, 1535. 
 
 2. English Works. 
 
 a. History of Richard III. 
 
 b. Miscellaneous Works. 
 
 3. Works in Latin. 
 
 a. Utopia, published in Latin, 1516. Translated into English by Ralph 
 Robinson, 1551. 
 
 Bk. I, direct criticism of English and European politics. 
 Bk. II, the Utopian ideal. 
 
 b. Numerous controversial works. 
 
 29
 
 OUTLINE XV 
 The Beginnings of the Renaissance 
 
 I. CLASSICAL TRANSLATIONS. 
 
 1. Virgil's ALndd, by Thomas Phaer (1558-1562). 
 
 2. Ovid's Metamorphoses, by Arthur Golding (1565-75). 
 
 3. Seneca's Tragedies, by Jasper Hey wood and others (1581). 
 
 4. Plutarch's Lives, by Sir Thomas North (1579). 
 
 II. INFLUENCE OF ITALY. 
 
 1. On Manners. The English traveler. The ideal of the courtier. 
 
 2. On Literature. Through Dante, Petrarch, Boccaccio, Ariosto. 
 
 3. The Sonnet. ' The most ingenious device for musical expression of a 
 single worthy thought/ (Morley.) Fourteen iambic pentameter lines. 
 
 a. Petrarch's Italian sonnet. Two stanzas, one of eight lines, called 
 the octave ; one of six lines, called the sestet. Riming system : 
 abbaabba cdecde. This form is now most common. 
 
 b. Surrey's English sonnet. Used by Shakspere. Three quatrains 
 and a couplet. System : abab cdcd efef gg. 
 
 III. ENGLISH RENAISSANCE POETS. 
 
 1. Sir Thomas Wyatt (i5O3?-i542). Courtier, ambassador. Introduced 
 Italian sonnet into England. Author of Certain Psalms . . . 
 dnizcn into English meter (pub. 1549) and many poems in Tottel's 
 Miscellany (1557). 
 
 2. Henry Howard, Earl of Surrey (1517-1547). Courtier and soldier. 
 Inventor of the English form of sonnet. Translated two books of 
 sEneid. 
 
 3. Thomas Sackville (1536-1608), created Lord Buckhurst, 1567, Earl of 
 Dorset, 1604. 
 
 a. Induction to A Mirror for Magistrates (1563). 
 
 b. (With Thomas Norton) Gorbodnc, Senecan tragedy in blank verse 
 (acted 1561). 
 
 4. George Gascoigne (i525?-i577). 
 
 a. The Supposes (acted 1566). Prose comedy. Translation of Ari- 
 osto's / Suppositi. 
 
 b. Jocasta (acted 1566). Tragedy. From Euripides, through Latin 
 and Italian. 
 
 c. Notes of Instruction (1575)- 
 
 d. The Posies of George Gascoigne (1575). 
 
 e. The Steel Glass (1576). 
 
 5. Tottel's Miscellany, or Songs and Sonnets. Published June, 1557, by 
 Richard Tottel. The first printed collection of lyrics in English. 
 Went through six editions. First edition contained 40 poems by 
 Wyatt, 96 by Surrey, 40 by Grimald, 95 by ' Uncertain authors.' 
 
 31
 
 OUTLINE XVI 
 Sir Philip Sidney 
 
 I. LIFE. 
 
 Born 1554. Educated at Oxford without taking his degree. Trav- 
 eling on the continent from 1572-75, he came under the intellectual influ- 
 ence of Hubert Languet, was in Paris during the massacre of St. Bar- 
 tholomew's eve, and at Venice became acquainted with Tintoretto and 
 Paolo Veronese. At Vienna studied horsemanship with John Peter 
 Pugliano. Served in diplomatic posts, and studied politics; in 1577 
 and again in 1584 was entrusted with missions on the continent. From 
 early life found increasing influence at court and among learned men. 
 In 1583 Sidney was knighted, and in the same year married Frances 
 Walsingham. In 1585 he became governor of Flushing, later was colonel 
 in the protestant war in the low countries, was mortally wounded at Zut- 
 phen, and died October 17, 1586. Among 200 elegies, Spenser's Astro- 
 phel: A Pastoral Elegy is the best. 
 
 II. SIDNEY AS A POET. 
 
 i. Astrophcl and Stella, a collection of 108 sonnets and n songs. Pub- 
 lished 1591 by Thomas Newman. Begun about 1580. Addressed to 
 Penelope Devereux, daughter of the first earl of Essex; modeled after 
 sonnets of the Earl of Surrey to Geraldine; they struck a deeper note 
 after her marriage to Lord Rich in 1581 and probably continued until 
 a little after Sidney's marriage to Frances Walsingham. 
 
 III. SIDNEY AS A WRITER OF PROSE. 
 
 1. Arcadia (1580-85; published, 1590). Highly intricate compound of 
 chivalric romance and pastoral poetry. Name derived from the Arca- 
 dia of Jacopo Sannazaro. In content Sidney was influenced by the 
 Spanish tales of chivalry of Amadis and Palmerin. The style is arti- 
 ficial, elaborate, and melodious. 
 
 2. An Apology for Poetry (1595). Written about 1580 as A Defense of 
 Poesie, in retort to Gosson's School of Abuse and Apology for the 
 School of Abuse (both 1579), in defense of poetry as a work of the 
 imagination. It is in three parts: 
 
 a. Poetry as teaching virtuous action. 
 
 b. An enumeration of the forms of poetry. 
 
 c. An estimate of English poetry of the past and present. 
 
 33
 
 OUTLINE XVII 
 The Elizabethan Lyric 
 
 1. LYRIC MISCELLANIES. 
 
 Early collections of popular lyrics, religious lyrics, spring songs, love 
 plaints, and dramatic lyrics. 
 
 1. Tottcl's Miscellany (1557). (See Outline XV.) 
 
 2. Paradise of Dainty Devices (1576), largely moral lyrics. 
 
 3. A Gorgeous Gallery of Gallant Inventions (1578). 
 
 4. A Handful of Pleasant Delights (1584). 
 
 5. The Phoenix' Nest (1593). 
 
 6. England's Helicon (1600), containing lyrics of Sidney, Spenser, Lodge, 
 Peele, Barnfield. 
 
 7. Davison's Poetical Rhapsody (1602). 
 
 II. COLLECTIONS OF LYRICS OF INDIVIDUAL POETS. 
 
 1. Barnaby Googe: Eglogs, Epytaphes and Soncttes (1563). 
 
 2. Gascoigne: A Hundred Sundry Flowers (1572). Reprinted as The 
 Posies of George Gascoigne (1575). 
 
 3. Spenser (1553-1599). 
 
 a. Shepherd's Calendar (1579). 
 
 b. Complaints (1591). 
 
 c. Daphnaida (1591). 
 
 d. Epithalamion (1595). 
 
 4. Michael Drayton (1563-1631). 
 
 a. Harmony of the Church (1591). 
 
 b. Shepherd's Garland (1593). 
 
 c. Idea (1594). 
 
 d. Poems Lyric and Pastoral (1605). 
 
 5. The Passionate Pilgrim (1599). A collection ascribed to Shakspere, 
 in which are found five of Shakspere's sonnets, and Marlowe's ' Come 
 live with me.' 
 
 III. THE SONNET SERIES. 
 
 First practised by Watson in his pedantic Hckatompathia (1582), the 
 sonnet series gained great popularity and influence. 
 
 1. Sidney: Astrophcl and Stella (1591). 
 
 2. Samuel Daniel: Delia (1592). 
 
 3. Constable: Diana (1592). 
 
 4. Barnes: Parthcnophil and Parthcnope (1593). 
 
 5. Drayton: Idea (1594). 
 
 6 Spenser: Amoretti (1595). 
 
 7. Shakspere: Sonnets (many probably composed by 1594). 
 
 IV. LYRICS IN DRAMA AND ROMANCE. 
 
 Some of the best lyrics of the Elizabethan Age are found scattered 
 through the works of dramatists and romancers. 
 
 1. Lyly: Alexander and Campaspc (1584), 
 ' Cupid and my Campaspe played.' 
 
 2. Peele: Arraignment of Paris (1584), 
 ' Fair and fair, and twice so fair.' 
 
 3. Greene: Menaphon (1589), ' Weep not, my wanton. 
 
 4. Lodge: Rosalynde ( 1 590) ,' Love in my bosom like a bee. 
 5 Sidney: Arcadia (1590),' My true love hath my heart. 
 
 6. Others in the works of Dekker, Kyd, Nash, and Shakspere. 
 
 35
 
 OUTLINE XVIII 
 Elizabethan Prose 
 
 I. PROSE BEFORE ELIZABETH'S ACCESSION. 
 
 i. Roger Ascham (1515-1568). Educated at St. John's College, Cam- 
 bridge. Tutor to Princess Elizabeth. Latin Secretary to Queen Mary. 
 Traveled in Germany. A student and teacher of the classics. His 
 works : 
 
 a. Toxophiliis (1544). A defense of archery written in the refined 
 manner of Platonic dialogue. 
 
 b. The Schoolmaster (1570). Discusses problems of education, travel 
 and things in general. 
 
 II. NOVELISTS. 
 
 1. John Lyly (i554?-i6o6). Educated at Magdalen College, Oxford. 
 Assistant to Master of the Revels and petitioner for the Mastership. 
 Attached to household of Lord Burleigh. Courtier, dramatist (See 
 Outline XXII), novelist. 
 
 Novels. 
 
 a. Euphucs, The Anatomy of Wit (1578). 
 
 b. Engines and his England (1580). 
 
 Euphuism. A form of composition characterized by alliteration, an- 
 tithesis, word play, references an'd similes drawn from natural history 
 real and imaginary, and classical allusions. Supposed to be imitated 
 from Guevara, of Spain, but largely the outgrowth of the affectation 
 of the age. 
 
 2. Sir Philip Sidney (See Outline XVI). 
 
 3. Thomas Lodge (i558?-i625). Poet, dramatist, novelist, traveler. 
 Rosalynde: Euphues' Golden Legacy (1590). Written in the vein of 
 Euphuism. Followed closely by Shakspere in As You Like It. 
 
 4. Robert Greene (1558-1592). Dramatist, essayist, novelist, pam- 
 phleteer. Wrote much under the influence of Lyly. 
 
 a. Euphues, his Censure to Philautus (1587). 
 
 b. Pandosto, the Triumph of Time (1588). The source of Shak- 
 spere's Winter Tale. 
 
 c. Mcnaphon, or Camilla's Alarum to Slumbering Euphucs (1589). 
 
 5. Thomas Nash (1567-1601). Satirist, novelist, controversial writer. 
 The Unfortunate Traveler, or the Life of Jack Wilton (1594). Real- 
 istic fiction. 
 
 III. VOYAGES. 
 
 Richard Hakluyt (1553-1616). Geographer and compiler. The Prin- 
 cipal Navigations, Voyages, Traffics and Discoveries of the English Na- 
 tion (1589). 
 
 IV. RELIGIOUS CONTROVERSIAL PROSE. 
 
 Richard Hooker (1554-1600). English divine. Educated at Oxford. 
 Skilled in languages. Ecclesiastical Polity (1594-1618). An argument 
 against enemies of the English Church. A Latinized style, rich in images, 
 sonorous and a little artificial.
 
 OUTLINE XIX 
 Edmund Spenser: Life and Works 
 
 I. LIFE. 
 
 Edmund Spenser, elder son of John Spenser, gentleman and cloth-maker, 
 was born in East Smithfield, London, in 1552. He was educated at 
 Merchant Taylors' School and Pembroke Hall, Cambridge (M.A. 15/6). 
 Through friendship with Gabriel Harvey Spenser in 1578 became a num- 
 ber of Leicester's household and became a friend of Sir Philip Sidney. 
 In 1580 he was appointed Secretary to Arthur Grey, then recently made 
 lord deputy of Ireland. With the exception of occasional visits he re- 
 mained in Ireland until a month before his death. In 1588 Spenser re- 
 moved to Kilcolman Castle near Cork. Twice he revisited London, first 
 in 1589 to turn over to the printer the first three books of The Faery 
 Queen and again in 1596, when the next three books were completed. 
 On the first visit he remained two years and received distinguished atten- 
 tion from Queen Elizabeth. Spenser married Elizabeth Boyle in 1594. 
 In October, 1598, Spenser's castle was burned in an uprising of the natives 
 and with his family he was forced to flee to Cork. He went to London in 
 December, 1598, and died there in poverty, January 16, 1599. 
 
 II. SPENSER AS A POET. 
 
 Spenser is known as the ' poets' poet.' His poetry is characterized by 
 unusual sensuous and spiritual beauty. He was also an imitator and 
 experimenter. As a student he contributed fourteen sonnet Visions from 
 Du Bellay to The Theatre for Worldlings (1569). While in Leicester's 
 household he experimented in classical measures. The Shepherd's Calen- 
 dar and The Faery Queen show Spenser as an innovator in vocabulary 
 Eor the latter poem he invented the so-called Spenserian stanza. 
 
 III. SPENSER'S POEMS. 
 
 1. The Shepherd's Calendar (1579). In twelve pastoral eclogues g'o- 
 ri tying England and Elizabeth. In reality a poetical miscellany ol 
 fables, satires and love verses, distinguished from one another in met- 
 rical form and content. 
 
 2. Complaints (1591). A collection of minor verse published on account 
 of the success of The Faery Queen. 
 
 3. Astrophcl (1595). An elegy on Sidney. 
 
 4. Colin Clout's Come Home Again (1595), penned upon his return to 
 Ireland in 1591. 
 
 5. Amorctti and Epithalatnion (1595). The first was written before his 
 marriage; the second celebrates his marriage to Elizabeth Boyle. 
 
 6. The Faer\ Queen. First three books, 1590; 2nd three books, 1596. 
 (See Outline XX.) 
 
 7. Prothalamion (1596). 
 
 .10
 
 OUTLINE XX 
 Spenser: The Faery Queen 
 
 I. INFLUENCES ON SPENSER IN WRITING THE FAERY QUEEN. 
 
 1. The Romances of Chivalry. 
 
 a. Malory's Morte D' Arthur. 
 
 b. Amadis of Gaul, 
 
 c. Ariosto's Orlando Furioso. 
 
 d. Tasso's Jerusalem Delivered. 
 
 2. Didactic Allegories. 
 
 a. Roman de la Rose. 
 
 b. Dante's The Divine Comedy. 
 
 c. The Visions of Langland. 
 
 d. Hampole's Prick of Conscience. 
 
 c. Robert of Brunne's Handling Sin. 
 
 i. Chaucer's Parliament of Birds, etc. 
 
 g. Sackville's Induction to A Mirror for Magistrates. 
 
 3. Classical Influence of the Philosophies of Plato and Aristotle. 
 
 II. THE PLAN OF THE FAERY QUEEN. 
 
 1. The Large Structure. In Spenser's prefatory letter he indicates that 
 The Faery Queen is to be in 12 books, that Arthur is to be the central 
 figure, and that each book is to represent one of the 12 private moral 
 virtues as devised by Aristotle. Only six of the 12 books were com- 
 pleted. 
 
 Book i, Red Cross Knight: Holiness. 
 
 Book 2, Sir Guyon: Temperance. 
 
 Book 3, Britomarte: Chastity. 
 
 Book 4, Cambel and Triamond : Friendship. 
 
 Book 5, Sir Artegall : Justice. 
 
 Book 6, Calidore: Courtesy. 
 
 2. The Allegory. Spenser's allegory is involved and inconsistent. There 
 are three types: 
 
 a. Moral allegory, representing the struggles of the Virtues and Vices, 
 thinly veiled under the names of the characters. 
 
 b. Political allegory. Directed primarily to the glory of Queen Eliza- 
 beth. In this allegory Arthur stands for Leicester, Sir Satyrane 
 for Sir John Perrot, Queen Mary for Duessa. Events alluded to 
 are the St. Bartholomew's Eve massacre, the Armada, the troubles 
 in Ireland. 
 
 c. Religious allegory. Treating the contests among the English Re- 
 formed Church, The Church of England, the Roman Church, Pagan- 
 ism and Atheism. 
 
 III. THE SPENSERIAN STANZA. 
 
 Perhaps a modification of the linked quatrain stanza, used in The Shep- 
 herd's Calendar by the addition of a running Alexandrine (a line of 
 twelve syllables) after the second quatrain, (ababbcbcc.) 
 
 IV. SPENSERIAN LANGUAGE. 
 
 Spenser affected the archaic in language, pronunciation and grammar. 
 Examples: afoore, thenfthan] fondf found], prease. Plurals of nouns 
 in es : woundes, worldes : plural and infinitive in verbs in en: been, 
 doen, marchen, to looken, to keepen.
 
 OUTLINE XXI 
 The Early Drama 
 
 I. RELIGIOUS AND DIDACTIC DRAMA. 
 
 1. Church Plays (beginning in the loth century). Short dialogues in 
 Latin delivered as part of the liturgy, chiefly at Easter, Christmas and 
 Epiphany. 
 
 2. Mystery Plays (English). Substantially comprised in five cycles of 
 the I4th, 1 5th, and i6th centuries. 
 
 a. Chester Plays (25 pageants). 
 
 b. Coventry Plays (about 10 pageants; only two preserved). 
 
 c. Hegge Plays (erroneously entitled Ludus Coventria; probably acted 
 at Lincoln). 
 
 d. York Plays (48 pageants). 
 
 e. Towneley Plays (32 pageants; acted at, or near, Wakefield). 
 
 3. Moral Plays, or Moralities (i5th and i6th centuries). 
 
 Plays in which abstract qualities appear as characters. The principal 
 themes treated are the following: 
 
 a. The Debate of the Heavenly Graces (see The Castle of Persever- 
 ance). 
 
 b. The Coming of Death (see Everyman, The Castle of Perseverance, 
 The Pride of Life). 
 
 c. The Conflict of Virtues and Vices (see The Castle of Perseverance, 
 Mankind, Mundus et Infans, Nature, Wisdom, Hycke-scorner). 
 
 4. Interludes. 
 
 John Heywood (fl. 1520-35), attached to the court of Henry VIII. 
 Some of his plays are didactic and some purely farcical. 
 
 a. The Play of the Weather. 
 
 b. The Play of Love. 
 
 c. The Merry Play between Johan the Husband, Tyb his Wife, and Sir 
 John the Priest. 
 
 d. The Four PP. 
 
 e. The Merry Play between the Pardoner and the Friar, the Curate and 
 Neighbor Pratt. 
 
 II. THE TRANSITION TO THE REGULAR DRAMA. 
 
 1. Comedy. 
 
 a. Domestic comedy in verse. Gammer Gurton's Needle (1552-53). 
 
 b. Classical comedy in verse. Influence of Plautus and Terence. 
 T her sites (1537). 
 
 Ralph Roister Bolster (c. 1553). 
 Jack Juggler 0553-1558). 
 
 c. Prose comedy (See George Gascoigne, Outline XV). 
 
 2. Tragedy. Influenced by Seneca. 
 
 Gorboduc, or Ferrex and Porrex (1562), by Thomas Norton and 
 Thomas Sackville. Blank verse. 
 
 3. Historical Plays. 
 
 a. Bale: King John (before 1548). 
 
 b. The Troublesome Reign of King John (in print by 1591). 
 
 43
 
 OUTLINE XXII 
 Court and School Plays 
 
 I. DRAMATIC COMPANIES. 
 
 Until 1587, sixteenth century drama was closely connected with the 
 court, with the schools, the universities, and the Inns of Court. Early 
 actors at court were Children of the Chapel Royal and the Boys of St. 
 Paul's. Later professional companies under patronage of great nobles 
 performed at court and in public theaters. 
 
 II. EARLY PLAYHOUSES. 
 
 Up to 1576 professional performances had been held in the inn yards. 
 Public theaters were built beyond the city jurisdiction as follows: 
 
 1. The Theater, erected 1576 in Finsbury Felds by James Burbage. 
 
 2. The Curtain, built soon afterward, in the same region. 
 
 3. The Rose, erected by 1592 on the Bankside. 
 
 4. The Swan, erected by 1596 on the Bankside. 
 
 5. The Globe, erected 1599 on the Bankside. 
 
 III. COLLEGE PLAYS. 
 
 1. Latin Tragedies. 
 
 a. Richardus Tertius, by Legge (1579). 
 
 b. Dido, by Gager (1583). 
 
 2. Comedies. Largely satirical. 
 
 a. Latin. 
 Pedantius (1581). 
 
 Bellunt Grammatical (1581). 
 
 b. English. 
 
 The Pilgrimage to Parnassus (1598). 
 
 The Return from Parnassus (2 parts, 1601, 1602). 
 
 IV. JOHN LYLY AND COURT DRAMA. (See also Outline XVIII.) Lyly's 
 plays : 
 
 1. Campaspe (1584). 
 
 2. Sapho and Phao (1584). 
 
 3. Endimion (1591 ; probably acted 1586). 
 
 4. Gallathea (1592). 
 
 5. Midas (1592)- 
 
 6. Mother Bombie (1594). 
 
 7. The Woman in the Moon (1597)- 
 
 8. Love's Metamorphosis (1601). 
 
 All of these plays are in prose with occasional intermixture of lyric 
 verse, except The Woman in the Moon, which is in blank verse. All 
 are on pastoral or mythological subjects with the exception of Mother 
 Bombie. Many of them show thinly veiled political allegory appropri- 
 ate to current events. The style of all is strongly marked with Eu- 
 phuism. 
 
 45
 
 OUTLINE XXIII 
 Kyd, Marlowe, Greene, Peele 
 
 I. THOMAS KYD (1558-1595?). Son of a scrivener. Educated at Mer- 
 chant Taylors' School. In 1570 entered the service of a lord, perhaps 
 Earl of Essex. Translated (1588) The Householder's Philosophy from 
 Tasso, and Cornelia from Gamier. Introduced the popular Revenge 
 Tragedy, a type marked by strong influence from Seneca, much blood- 
 shed, usually on the stage, a revenge motive, often by the use of the 
 ghost, and by madness. 
 
 1. The Spanish Tragedy (performed about 1586). 
 
 2. The earlier Hamlet (performed about 1588). 
 
 II. CHRISTOPHER MARLOWE (1564-1593). The most considerable dramatic 
 poet before Shakspere. May have collaborated in early plays of Shak- 
 spere. Born at Canterbury ; educated at King's School, Canterbury, and 
 at Corpus Christi College, Cambridge. May have served as soldier in 
 the Low Countries. Was a free-thinker. Lived a wild life. Died as re- 
 sult of wound received in tavern affray at Deptford, June, 1593. Plays 
 (dates those of performance) : 
 
 1. Tamburlaine (parts i and 2, 1587). 
 
 2. Dr. Faust us (1588). 
 
 3. The Jew of Malta (1589). 
 
 4. Edward II (c. 1590). Chronicle play. 
 
 III. ROBERT GREENE (1558 7-1592). Born at Norwich. Educated St. John's 
 College, Cambridge. Wrote romances, lyrics, plays, and controversial 
 pamphlets. Lived an unhappy and irregular life. On his deathbed wrote 
 A Groatstvorth of W it, in which is found the first contemporary allusion 
 to Shakspere. Plays (dates those of performance) : 
 
 1. Alphonsus of Arragon (1587). 
 
 2. A Looking-Glass for London of England (written in conjunction with 
 Lodge c. 1587). 
 
 3. Orlando Funoso (1588). 
 
 4. Friar Bacon and Friar Bungay (1589). 
 
 5. James IV (1590). 
 
 6. George-a-Grecne (questionable authorship; 1590). 
 
 IV. GEORGE PEELE (1558-1597). 
 
 1. The Arraignment of Paris (1584). Poetic drama. 
 
 2. The Battle of Alcazar (c. 1594). Tragedy showing Senecan influence. 
 
 3. The Old Wives' Tale 0595)- 
 
 4. David and Bethsabe (1599). 
 
 47
 
 OUTLINE XXIV 
 Life of William Shakspere 
 
 William Shakspere was born at Stratforcl-on-Avon, and was baptized April 
 26, 1564. He was the first son and the third child of John Shakspere, a free- 
 holder, in 1568 High Bailiff of Stratford, and Mary Arden Shakspere. Shak- 
 spere probably attended the Stratford Grammar School; reminiscences of this 
 school are suspected in his early play Love's Labor's Lost. Tradition assigns 
 many vocations to Shakspere's youth ; one legend holds that he ' exercised his 
 father's trade ' of butcher. After the young Shakspere's eighth year his 
 father's affairs, which had before flourished, began to decline. 
 
 Early in life (in 1582 or early 1583) William Shakspere married Anne 
 Hathaway, a woman eight years his senior. In 1583 his first daughter was 
 born. Hamnet and Judith, twins, were born early in 1585. Well credited 
 tradition tells that about this time Shakspere was prosecuted for poaching in 
 the park of Sir Thomas Lucy at Charlecote. Allusion may be made to this 
 experience in Merry Wives of Windsor and 2 Henry IV. 
 
 Shakspere's knowledge of the stage may have begun in 1587, in which year 
 five companies of actors gave theatrical performances at Stratford. After 
 1585 nothing is heard of him until 1592, and it is supposed that he spent a 
 large portion of these seven years in theatrical apprenticeship in London. 
 He was probably attached to Burbage's house ' The Theater,' and may early 
 have joined the company of the Earl of Leicester. Shakspere acted in Jon- 
 son's Every Man in His Humor (1598) and Sejanus (1603) ; possibly also he 
 played the part of the Ghost in Hamlet and of Adam in As You Like It. 
 
 The earliest allusion to Shakspere is seen in Robert Greene's tract A Groats- 
 U'orth of Wit (1592) in the words, 'the only Shake-scene in a country' in 
 which he appears to be condemned as an adapter of other men's plays. In 
 1593 he dedicated Venus and Adonis, and in 1594 Lucrece, to the Earl of 
 Southampton. In 1598 Francis Meres in the Wit's Treasury accounts Shak- 
 spere among the English the most excellent in both comedy and tragedy. 
 Among poems Meres mentions Venus and Adonis, Lucrece, and Sonnets; among 
 comedies he mentions The Two Gentlemen of Verona, The Comedy of Errors. 
 Love's Labor's Lost, Love's Labors Won (All's Well that Ends Well}. 
 Midsummer Night's Dream, and The Merchant of Venice; among tragedies he 
 mentions Richard the Second, Richard the Third, Henry the Fourth, King 
 John, Titus Andronicus, and Romeo and Juliet. 
 
 There are other evidences of Shakspere's early success. In 1596 applica- 
 tion was made in the name of John Shakspere for the grant of a coat-of-arms. 
 In 1597 Shakspere purchased New Place, the largest house in Stratford. He 
 probably spent the last five years of his life in this house, his work as a play- 
 wright being practically complete after The Tempest fi6ii). Shakspere died 
 April 23, 1616, and was buried in Stratford. He left 350 pounds in money, 
 much real estate and personal property, a fortune in the time of Elizabeth. 
 An authentic portrait by Martin Droeshout is to be found in the First Folio 
 (1623).
 
 OUTLINE XXV 
 Sources of Shakspere's Plays 
 
 I. SHAKSPERE AND CLASSICAL AUTHORS. 
 
 1. Latin. 
 
 a. Ovid, Virgil, Seneca, probably well known in the original Latin. 
 
 b. Pliny was possibly known in Holland's translation. 
 
 c. Plautus was possibly known in the translation of the Menachmi by 
 'W. W.' 
 
 d. Many references to Latin authors in Shakspere's plays should be 
 ascribed to his use of Lyly's Latin Grammar at school. 
 
 2. Greek. 
 
 a. Plutarch's Lives was known to Shakspere in North's translation 
 ( X 579> 1 595)- Upon North's Plutarch are based entirely or in part: 
 
 Julius Cossar ; Coriolanus; Antony and Cleopatra. 
 
 b. Homer was known either in Hall's translation (1581) or Chapman's 
 (1598). 
 
 II. CONTINENTAL SOURCES. 
 
 1. Montaigne's Essays were known in Florio's translation (1603). 
 
 2. Boccaccio's Novels were known through Painter's Palace of Pleasure. 
 Upon a story in this was based All's Well that Ends Well. From Boc- 
 caccio is derived indirectly, perhaps through Holinshed and an old 
 play, the story of Cymbeline. 
 
 3. Cinthio's Hecatommithi provides the story of Othello, probably an 
 old play. 
 
 4. Jorge de Montemayor's La Diana, in translation by Bartholomew 
 Yonge (1598) provides the story of The Two Gentlemen of Verona. 
 
 III. ENGLISH SOURCES. 
 
 1. English Fiction. 
 
 a. Arthur Brooke's poem Romeus and Juliet (1562) provides the storj 
 of Romeo and Juliet. 
 
 b. Thomas Lodge's romance, Rosalynde (1590), provides story of 
 As You Like It. 
 
 c. Robert Greene's Pandosto (1588) provides story of Winter's Tale. 
 
 2. English Historical Compendiums. 
 
 Raphael Holinshed's Chronicles. Upon these are mainly based: 
 
 King Henry VI. (3 parts.) 
 
 King Richard III. 
 
 King Henry VIII. 
 
 King Henry IV. (2 parts.) 
 
 King Henry V. 
 
 3. Old English Plays. Upon these are based King John, King Lear, 
 The Taming of the Shrew, Measure for Measure, and possibly Ham- 
 let, The Merchant of Venice, Timon of Athens, and Twelfth Night.
 
 OUTLINE XXVI 
 Shakspere's Works: Poems and Comedies 
 
 I. POEMS. 
 
 . i. Venus and Adonis (printed, 1593). Based upon Ovid's Metamorphoses 
 and Lodge's S cilia's Metamorphosis (1589). Written in six line 
 stanzas. 
 
 2. The Rape of Lucrece (printed, 1594). Based upon Ovid, Chaucer, and 
 Samuel Daniel's Complaint of Rosamond (1592). Written in rime 
 royal and like Venus and Adonis dedicated to the Earl of Southampton. 
 
 \ 3. Sonnets. Of these 154 are extant outside the plays. The majority 
 were probably written in 1593 and 1594. They were printed surrep- 
 titiously by Thomas Thorpe in 1609. 
 
 4. A Passionate Pilgrim (printed, 1599). A collection containing five of 
 Shakspere's sonnets. 
 
 5. The Phoenix and the Turtle (printed, 1601). A collection containing 
 13 four line stanzas said to be by Shakspere. 
 
 6. A Lover's Complaint. Printed with the sonnets, 1609. 
 
 II. COMEDIES. 
 
 1. Early Comedy. Shakspere's craftsman period. Plays marked by arti- 
 fice, mistaken identity, much rime and verbal conceit. 
 
 a. Love's Labor's Lost (written, c. 1591). 
 
 b. The Comedy of Errors (written, c. 1591). 
 
 c. The Two Gentlemen of Verona (written, c. 1591). 
 
 d. A Midsummer Night's Dream (written, c. 1595). 
 
 2. The Middle Period of Comedy. 
 
 The Merchant of Venice (acted, c. 1596). 
 
 3. Shakspere's Maturity in Comedy. 
 
 a. A rough and boisterous type verging on farce. Not in his best 
 style. 
 
 The Taming of the Shrew (written, c. 1596). 
 The Merry Wives of Windsor (acted, c. 1598). 
 
 b. An idyllic comedy of refined emotion. 
 Much Ado About Nothing (acted, 1599). 
 As You Like It (acted, 1599). 
 
 Twelfth Night, or What You WHl (acted, 1599). 
 
 c. The comedy of sober thought, of irony and disillusion. 
 All's Well That Ends Well (written, c. 1602). 
 Troilus and Cressida (written, 1603). 
 
 Measure for Measure (acted, 1604). 
 
 4. The Final Period, marking the last stage of Shakspere's dramatic 
 evolution. Romantic comedy of philosophy and reconciliation. 
 
 a. Pericles, Prince of Tyre (printed, 1608). 
 
 b. Cymbeline (acted, 1610-11). 
 
 c. The Winter's Tale (acted, 1611). 
 
 d. The Tempest (written, 1611). 
 
 S3
 
 OUTLINE XXVII 
 Shakspere's Works: Histories and Tragedies 
 
 I. HISTORIES. 
 
 1. Pseudo-Shaksperean. 
 
 Henry VI. Part I (acted, 1592). An early type of the plays of blood 
 and bombast. Barely touched by Shakspere. Compare with Titus and 
 Andronicns under Tragedies. 
 
 2. The Marlowe-Shakspere Group. 
 
 Showing the influence of Marlowe in substance, structure, and style. 
 Marlowe was probably chiefly concerned in the first two, the third 
 was written by Shakspere in Marlowe's manner. 
 
 a. The Second Part of Henry the Sixth (acted, 1592). 
 
 b. The Third Part of Henry the Sixth (acted, 1592). 
 
 c. Richard III (1593). 
 
 3. Histories of the Middle Period. Shakspere's assumption of an indi- 
 vidual method. All save the first have an admixture of comedy (cf. 
 comedy of this period, Outline XXVI), and the last three belong to 
 the Falstaff group (cf. Merry Wives of Windsor). 
 
 a. King John (adapted, 1594). 
 
 b. Richard II (printed, 1597). 
 
 c. The First Part of Henry the Fourth (written, 1597). 
 
 d. The Second Part of Henry the Fourth- (written, 1597). 
 
 e. Henry the Fifth (acted, 1599). 
 
 II. TRAGEDIES. 
 
 1. Pseudo-Shaksperean Tragedy: play of revenge and blood. Only par- 
 tially by Shakspere. 
 
 Titus Andronicus (acted, 1594). 
 
 2. Early Tragedy. Tragedy of youthful passion, (cf. Shakspere's early 
 poems.) Romeo and Juliet (written, 1591). 
 
 3. Tragedy of Maturity of Method. Separated from Romeo and Juliet 
 by almost entire history group and most of the comedies. The trag- 
 edy of thought. 
 
 a. Julius Cesar (acted, 1601). 
 
 b. Hamlet (acted, 1602). 
 
 4. The Last Phase of Tragedy. Tragedy of personal flaw or fault in 
 character: ambition, ingratitude, lust, etc. 
 
 a. Othello, The Moor of Venice (acted, 1604). 
 
 b. King Lear (acted, 1606). 
 
 c. Macbeth (written, 1606). 
 
 d. Timon of Athens (written, c. 1607). 
 
 e. Antony and Cleopatra (written, 1608). 
 
 f. Coriolanus (written, c. 1609). 
 
 55
 
 OUTLINE XXVIII 
 Jonson and Chapman 
 
 I. BEN JONSON. 
 
 1. Life. Ben Jonson was born in 1572. He was educated in Westmin- 
 ster School, was a brick-layer, soldier in the Low Countries and actor. 
 He began writing for the stage about 1595, and was himself an actor, 
 possibly in the pseudo-Kydean play Jeronimo. Killed a performer in 
 a duel, was imprisoned and released through ' benefit of clergy.' At- 
 tacked Marston and Dekker, brother dramatists, in Cynthia's Revels 
 and The Poetaster. Was attacked in turn in Dekker's Satiromastix. 
 With Chapman and Marston offended King James by reflections 
 on the Scottish nation in Eastward Hoe. Regained favor and was 
 appointed laureate. In later life Jonson knew many vicissitudes of 
 fortune. Died August 6, 1637. Buried in Poets' Corner, Westminster 
 Abbey. 
 
 2. Characteristics as a Dramatist. Jonson announced in his first play, 
 Every Man in his Humor, his purpose to revolutionize dramatic art. 
 Repudiates the dramatic ideas of Shakspere. Bases his plays upon an 
 elaboration of eccentric character and on classical rather than romantic 
 idea. Plays marked by great learning, satire, warfare on pretenders, 
 and lack of action. Wrote some fifty plays, mostly masques and in- 
 terludes. 
 
 3. Jonson's Works. 
 
 a. Comedy of Humors. 
 
 Every Man in His Humor (1598). 
 Every Man out of His Humor (1599). 
 
 b. Realistic Comedy. 
 
 Volpone (1606); Epicoene (1609); The Alchemist (1610) ; Bartholo- 
 mew Fair (1614). 
 
 c. Classical Tragedy. 
 
 Sejanus (1603); Catiline (1611). 
 
 d. Pastoral Drama: The Sad Shepherd (1634). 
 
 e. Masque: The Masque of Queens (1609) ; The Golden Age Restored 
 (1615) ; Oberon (1611). 
 
 II. GEORGE CHAPMAN (1559-1634). Translator of Homer. Friend of Spen- 
 ser, Jonson, and Shakspere. Undramatic but weird and poetic. 
 
 1. Comedies. 
 
 a. The Blind Beggar of Alexandria (1598). 
 
 b. All Fools (1605). 
 
 c. Monsieur D' Olive (1605). 
 
 d. Eastward Hoe (1605). With Jonson and Marston. 
 
 e. The Gentleman Usher (1606). 
 
 2. Tragedies. 
 
 a. Bussy D'Ambois (1607). 
 
 b. The Revenge of Bussy D'Ambois (1613). 
 
 c. The Conspiracy of Charles Duke of Byron (1608). 
 
 d. The Tragedy of Charles Duke of Byron (1608). 
 
 57
 
 OUTLINE XXIX 
 The Drama to the Closing of the Theatres 
 
 I. JOHN WEBSTER. Life obscure. Unmatched outside of Shakspere in pa- 
 thos and tragic intensity. 
 
 1. The White Devil (1608 acted). 
 
 2. The Duchess of Main (acted, 1616). 
 
 3. Appius and Virginia (acted, 1639). 
 
 II. THOMAS MIDDLETON (i57O?-i627). 
 
 1. The Changeling (with Rowley) (acted, 1623). 
 
 2. The Spanish Gypsy (acted, 1623). 
 
 3. Women beware Women (1657). 
 
 III. THOMAS DEKKER (1570-1639?). A prolific and realistic playwright. 
 
 1. The Shoemaker's Holiday (1600). 
 
 2. Old Fortunatus (1600). 
 
 3. Satiromastix (1602). Directed against Jonson. 
 
 IV. BEAUMONT AND FLETCHER. 
 
 1. Francis Beaumont (1584-1616). Son of a judge. Studied at Oxford 
 and for law. Friend of Jonson and member of the Mermaid Tavern 
 group. 
 
 2. John Fletcher (1579-1625). Son of an ecclesiastic. Educated at 
 Cambridge. Had share with Shakspere in Henry VIII and Tit'o 
 Noble Kinsmen. Died of plague. Between Beaumont and Fletcher 
 there were composed 52 plays, a masque, and minor poems. It is now 
 almost impossible to allocate authorship. 
 
 Plays by Beaumont and Fletcher: 
 
 a. Philaster (acted, 1608). 
 
 b. The Maid's Tragedy (acted, 1609). 
 
 c. The Knight of the Burning Pestle (acted, 1610-11). 
 
 d. A King and No King (licensed, 1611). 
 
 V. JOHN FORD (1586-1640). 
 
 1. The Witch of Edmonton (1621). With Dekker. 
 
 2. The Broken Heart (1633). Last great romantic tragedy before 1642. 
 
 VI. DOMESTIC TRAGEDY. A realistic tragedy based on contemporary crime 
 or sensational event. 
 
 1. Thomas Hey wood : A Woman Killed With Kindness (acted, 1603). 
 
 2. Anonymous: Arden of Fcvcrsham (1592); A Warning for Fair 
 Women (1598): A Yorkshire Tragedy (1605). 
 
 VII. OTHER PLAYS. Marston : Antonio's Revenge (1602); Chettle: Trag- 
 edy of Hoffman (1631); Massinger: A New Way to Pay Old Debts 
 (1633).
 
 OUTLINE XXX 
 The English Bible 
 
 I. TRANSLATIONS BEFORE MODERN TIMES. 
 
 1. Bede in old age translated St. John. 
 
 2. Aldhelm made a version of the Psalter. 
 
 3. King Alfred translated the Four Evangelists. 
 
 4. ^Elfric translated the first seven books of the Old Testament. 
 
 All of these were paraphrases from the Vulgate, the Latin version of 
 Scriptures made by St. Jerome at close of 4th century. 
 
 II. TRANSLATIONS OF MODERN TIMES. 
 
 1. John Wyclif (1324-1384). 'The last of the Schoolmen and first of the 
 Reformers. 
 
 Wyclif was assisted by: 
 
 a. Nicholas of Hereford who translated the first part to the third book 
 of Baruch ; 
 
 b. John Purvey, Wyclif's curate, who, in 1388, revised the translation. 
 Many marks of Wyclif's bible remain in the translated Bible of to- 
 day. 
 
 2. William Tyndale (1484-1536). 'He was singularly addicted to the 
 study of the Scriptures.' (Foxe.) 
 
 a. In 1526 issued from Germany a translation of the New Testament. 
 
 b. In 1530 issued translation of the Pentateuch. 
 
 c. In 1531 issued translation of Book of Jonah. 
 
 The nature of Tyndale's work is indicated by the fact that the King 
 James' Version includes what is practically a modernization of Tyn- 
 dale's New Testament. 
 Revisions of Tyndale's Bible occur under the names of : 
 
 a. Matthew's Bible, by John Rogers (1537) ; 
 
 b. The Great Bible, prepared by Cranmer (1539) ; 
 
 c. Richard Taverner's Bible (based on Matthew, 1539). 
 
 3. Miles Coverdale published in 1535 the first English version of the whole 
 Bible. 
 
 4. Other Translations. 
 
 The Geneva Bible (1557), The Bishop's Bible (1568), and The Douay 
 Bible (1582-1610) have secondary literary value. 
 
 5. The King James Bible, undertaken in 1604 and published in 1611, an 
 original work of great scholarship, has held its place as one of the 
 finest products of English literature. 
 
 61
 
 OUTLINE XXXI 
 Seventeenth Century Prose 
 
 I. SCIENTIFIC PROSE. 
 
 1. Francis Bacon (1561-1626). Son of Nicholas Bacon. His character : 
 intellectual predominating over the moral. Anti-Aristotelian philoso- 
 pher. He places observation and experiment in place of speculation. 
 His projected reconstruction of the sciences, of the arts, and of human 
 knowledge. Prose works: 
 
 a. Essays (1597; 1612; 1625). Shrewd, terse, politic, devoid of sen- 
 timent. 
 
 b. The Advancement of Learning (1605). Represents a summary of 
 the world's knowledge. 
 
 c. Novum Organum (1620). Represents Bacon's scientific inductive 
 method. 
 
 2. Thomas Browne (1605-1682). Prose marked by learning, eloquence, 
 
 and rhythm, 
 a. Religio Medici (1642); b. Urn Burial (1658). 
 
 3. Robert Burton (1577-1640). 
 
 Anatomy of Melancholy (1621). Encyclopaedic learning, conceits, 
 fancy in the garb of science. 
 
 II. PROBLEMS OF GOVERNMENT AND EDUCATION. Treated in a heavy and 
 scientific manner. Some controversial, as related to the political activi- 
 ties of the times. 
 
 1. Thomas Hobbes (1588-1679). 
 
 a. DC Corpore Politico (1650). 
 
 b. Leviathan (1651). Defense of pure monarchy. 
 
 2. John Milton (1608-1674). (See Outline XXXIII.) 
 
 3. John Locke (1632-1704): Essay concerning Human Understanding 
 (1690). 
 
 III. CHARACTER WRITING. 
 
 1. Joseph Hall (1574-1656): Characters of Virtues and Vices (1608). 
 
 2. Thomas Overbury (1581-1613): Characters (1614). 
 
 3. John Earle (1601-1665): Microcosmographie (1628). 
 
 IV. THEOLOGICAL WRITERS. 
 
 1. Jeremy Taylor (1613-1667). 
 
 a. The Liberty of Prophesying (1647). 
 
 b. Hol\ Living (1650) ; Holy Dying (1651). 
 
 2. Thomas Fuller (1608-1661). 
 
 a. The Holy State (1642). 
 
 b. H'ortliies of England (1662). 
 
 3. John Bunyan. (See Outline XXXVII.) 
 
 V. PASTORAL PROSE. 
 
 i. Izaak Walton (1593-1683): The Complcat Angler (1653). 
 
 VI. CRITICISM. John Dryden. (See Outline XXXVI.) 
 
 Samuel Pepys (1633-1703) : Diary (1660-69; deciphered and published, 
 1828). 
 
 John Evelyn (1620-1706): Diary (1641-1706; printed, 1818). 
 63
 
 OUTLINE XXXII 
 Seventeenth Century Poetry 
 
 I. THE METAPHYSICAL IMPULSE. John Donne (1573-1631) influenced all 
 other poets of the century. Poetry marked by subtlety of thought, rich- 
 ness in scientific and philosophical conceits, fantastic expressions, and 
 far-fetched analogies and metaphors. 
 
 II. THE CAVALIER LYRISTS. Influenced by the lyrics of Ben Jonson, their 
 poems marked by facility and finish, grace and melody. 
 
 1. Thomas Carew (1598-1639). 
 
 2. Richard Lovelace (1618-1658). 
 
 3. Sir John Suckling (1609-1641). 
 
 III. THE PASTORAL POETS. Expressing a sincere feeling for nature in the 
 conventional formulas of the pastoral tradition of Spenser. 
 
 1. William Browne (1590-1645). 
 
 a. Britannia's Pastorals (1613-16). 
 
 b. Shepherd's Pipe (1614). 
 
 2. George Wither (1588-1667). 
 Fair Virtue (1622). 
 
 3. Phineas Fletcher (1582-1650). 
 The Purple Island (1633). 
 
 IV. DEVOTIONAL POETS. Marked by the aristocratic ease of the Cavalier 
 poets, and by the conceits of the metaphysical order of poetry. 
 
 1. The Pastoral Group. 
 
 a. Robert Herrick (1591-1674). 
 Hesperides (1648). 
 
 Noble Numbers (1648). 
 
 b. Andrew Marvell (1621-1678). 
 
 2. The Religious Group. 
 
 a. Giles Fletcher, the younger (1588-1623). 
 
 Christ's Victory and Triumph (1610). 
 ' b. George Herbert (1593-1633). 
 
 c. Richard Crashaw (1613-1650?). 
 
 d. Henry Vaughan (1622-1695). 
 
 e. Milton (see Outline XXXIII). 
 
 V. THE CLASSICAL REACTION. 
 
 1. Edmund Waller (1606-1687). 
 
 a. Poems (1645, 1664). 
 
 b. Divine Love (1685). 
 
 2. Sir John Denham (1615-1669). 
 Cooper's Hill (1642). 
 
 3. Abraham Cowley (1618-1667). 
 The Mistress (1647). 
 
 Also writer of plays and of a biblical epic, Davideis (1656). 
 
 VI. SATIRE. 
 
 1. Samuel Butler (1612-1680). Hudibras (1663, 1664, 1678). 
 
 2. Dryden (see Outline XXXVI). 
 
 65
 
 OUTLINE XXXIII 
 Milton: Life and Works 
 
 I. LIFE OF JOHN MILTON. Born in London, December 9, 1608. After at- 
 tending St. Paul's School, London, went to Christ's College, Cambridge 
 (1625-29). Revoked his intention of taking holy orders, and gave him- 
 self up to literature. 1632-38, in studious retirement at Horton. Read 
 classical authors and frequently visited London to take lessons in math- 
 ematics and music. 1638-39, traveled on the Continent, chiefly in Italy, 
 where he was received as a distinguished man of letters. Upon his re- 
 turn to England he settled in London as a writer and private tutor. In 
 1643 married Mary Powell. Published numerous tracts on political, social, 
 and religious subjects. 1649-60, Latin Secretary to the Council of State 
 under the Commonwealth. By 1653 had become totally blind. At the 
 Restoration (1660) was under arrest for a time. From 1660 until his 
 death (1674) lived in literary retirement in London. 
 
 II. WORKS. 
 
 1. Early Poems. 
 
 a. On the Morning of Christ's Nativity (written, 1629). 
 
 b. Sonnet on His being Arrived at the Age of Twenty-three (written 
 1631). 
 
 c. Arcades (c. 1630-3). 
 
 d. L 'Allegro (written, 1634). 
 
 e. // Penscroso (written,. 1634). 
 
 f. Comus (acted at Ludlow Castle, 1634). 
 
 g. Lycidas (elegy on the death of Edward King, drowned 1637). 
 
 2. Prose. 
 
 a. An Apology for Smectymnuus (1642). An argument against episco- 
 pacy, in support of those writers who, under the name ' Smectym- 
 nuus,' had replied to Bishop Hall's Humble Remonstrance (1641). 
 
 b. The Doctrine and Discipline of Divorce (1643). A defense of di- 
 vorce, written as the result of his unhappy marriage (1643) with 
 Mary Powell. 
 
 c. Areopagitica: A Speech for the Liberty of Unlicensed Printing 
 (1644). 
 
 d. Tractate on Education (1644). 
 
 e. The Tenure of Kings and Magistrates (1649). Expounds the right 
 of a people to resist the oppression of a monarch. 
 
 f. Eikonoklastes (1649). Directed against Eikon Basilikc, a glorifica- 
 tion of Charles I that had appeared immediately after his execution 
 (1649). 
 
 3. Later Poems. 
 
 a. Sonnets. 
 
 b. Paradise Lost (1667, 1674). (See Outline XXXIV.) 
 
 c. Paradise Regained (1671). 
 
 d. Samson Agonist cs (1671).
 
 OUTLINE XXXIV 
 Milton: Paradise Lost 
 
 I. PUBLICATION. 
 
 Published, 1667, in 10 Books. Second edition, 1674, in 12 Books. (Bks 
 vii and x of 1st edition divided into 2 books each.) 
 
 II. POSSIBLE SOURCES. 
 
 Andreini : Adamo (1613). Scriptural drama in Italian recounting many 
 
 of the Scriptural occurrences recounted in Paradise Lost. 
 
 Vondel : Lucifer (1654). Tragedy in Dutch recounting the rebellion of 
 
 the angels. 
 
 Grotius: Adamus Exul (1601), in Latin. 
 
 A large number of poems on kindred subjects were published during the 
 
 ist half of I7th century, especially in Italian. 
 
 III. GENESIS OF THE POEM. 
 
 By 1642 Milton had made several outlines for a poem, in the form of a 
 Greek tragedy, on the subject of the Fall of Man. After having been 
 laid aside for a term of years, the work was resumed about 1658, in the 
 form of an epic. (Milton had become blind about 1653). The poem 
 was substantially complete about 1663. 
 
 IV. COSMOGRAPHY. 
 
 The astronomical system represented in the poem is not our present 
 Copernican system, but the older Ptolemaic system. According to the 
 Ptolemaic system the earth is the fixed center of the universe, and the ap- 
 parent motions of the other celestial bodies are caused by the real revolu- 
 tions of successive heavens, or spheres, enclosing the central earth at 
 different distances. 
 
 V. ARGUMENT. 
 
 Book I. Hell. The Fallen Angels. 
 
 Book II. The Consultation in Hell. Satan's Departure for the Earth. 
 Book III. Heaven. Satan is seen flying towards the Earth. The Con- 
 sultation in Heaven. 
 
 Book IV. The Garden of Eden. The Arrival of Satan. 
 Book V. ' God to render man inexcusable sends Raphael to admonish 
 him.' 
 
 Book VI. Raphael's account of the battle in Heaven. Triumph of the 
 Messiah and Expulsion of Satan. 
 Book VII. Raphael's account of the Creation. 
 
 Book VIII. Raphael and Adam discuss the Cosmogony. Adam relates 
 what he remembers since his own creation. 
 Book IX. The Temptation and Fall. 
 
 Book X. The Judgment of God. The Triumph of Satan. The Re- 
 morse of Adam and Eve. 
 
 Book XL God sends Michael to expel them from Eden. He prophesies 
 the History of Man till the Flood. 
 
 Book XII. Michael continues the History of Man to the second Advent. 
 The Expulsion from Paradise.
 
 OUTLINE XXXV 
 The Restoration Drama 
 
 I. THE FIRST RESTORATION PLAY. 
 
 Jacobean drama had come to an end in 1642. In 1656 Sir William 
 D'Avenant (1605-1668) a Royalist and the poet laureate erected a private 
 stage and produced thereon 7 lie Siege of Rhodes. In this entertainment 
 dramatic machinery was for the first time introduced from France. In 
 1660 D'Avenant and Killegrew secured a patent for the first Restoration 
 playhouse. On this stage, music, scenery and the curtain were used as on 
 the modern stage. 
 
 II. HEROIC PLAYS. A type of play specifically defended by Dryden and prac- 
 tised by him from 1664-1678. It is characterized by bombast and written 
 in rimed couplets. 
 
 1. Roger Boyle, Earl of Orrery (1621-1679). 
 Mustapha, the Son of Solyman the Magnificent (1665). 
 
 2. Dryden (see Outline XXXVI). 
 
 a. The Indian Emperor (1665). 
 
 b. Almanzor and AlmaJiide, or the Conquest of Granada (1670). 
 
 3. Nathaniel Lee (i653?-i692). 
 Nero, Emperor of Rome (1675). 
 
 4. Thomas Otway (1652-1685). 
 Don Carlos (1675). 
 
 III. TRAGEDY. 
 
 1. Thomas Otway. 
 
 a. The Orphan (1680). 
 
 b. Venice Preserved (1682). 'The best tragedy since Shakspere.' 
 
 2. Dryden. 
 
 All for Love, or The World Well Lost (1678). 
 
 3. Nicholas Rowe (1673-1718). 
 
 Jane Shore (1714); Lady Jane Gray (1715). 
 
 IV. THE COMEDY OF MANNERS. Prose comedies characterized by the ex- 
 treme of French influence, particularly from Moliere. The plays are 
 witty, worldly and licentious. They are also keenly observant of con- 
 temporary manners, and precise in diction and structure. 
 
 1. Sir George Etherege (i634?-i6gi). 
 
 a. The Comical Revenge (1664). 
 
 b. The Man of Mode (1676). 
 
 2. Sir Charles Sedley (1639-1701). 
 The Mulberry Garden (1668). 
 
 3. William Wycherly (1640-1715). 
 
 a. The Country Wife (acted, 1673). 
 
 b. The Plain Dealer (acted, 1674). 
 
 4. William Congreve (1670-1729). 
 
 a. Love for Love (1695). 
 
 b. The Way of the World (i/oo). 
 
 5. Sir John Vanbrugh (1664-1726). 
 
 a. The Relapse (1697). 
 
 b. The Provoked Wife (1698). 
 
 6. George Farquhar (1678-1707). 
 The Beaux' Stratagem (1707).
 
 OUTLINE XXXVI 
 Dryden: Life and Works 
 
 I. LIFE OF JOHN DRYDEN. Born at Aldwinkle All Saints, Northampton- 
 shire, August 9 (?), 1631. Attended Westminster School, London. 
 Graduated at Trinity College, Cambridge, 1654. Originally a Parliamen- 
 tarian, became later a Royalist. Poet Laureate, 1670-88. Converted to 
 Roman Catholicism, 1686. Died in London, May i, 1700. 
 
 II. POEMS. 
 
 1. Early Occasional Poems. 
 
 a. Heroic Stanzas on the Death of Cromwell (1658). 
 
 b. Astraa Redux (1660). 
 
 c. Annus Mirabilis (1667). 
 
 2. Controversial Poems. Established the closed couplet as the standard 
 verse-form for satiric and didactic poetry. 
 
 a. Absalom and Achitophel (1681). 
 
 b. The Medal (1682). 
 
 c. MacFlccknoe(i6&2). 
 
 d. Rcligio Laid (1682). 
 
 e. The Hind and the Panther (1687). 
 
 3. Lyrics. 
 
 a. Song for St. Cecilia's Day (1687). 
 
 b. Alexander's Feast (1697). 
 
 4. Translation. 
 
 JEneid of Virgil (1697). 
 
 III. DRAMATIC WORKS. 
 
 1. Heroic Plays. 
 
 a. The Indian Emperor (1665). 
 
 b. Tyrannic Love, or the Royal Martyr (1669). 
 
 c. Alamanzor and Almahide, or the Conquest of Granada (1670- 
 1672). 
 
 d. Aurcngzebe (1675). 
 
 2. Comedies. 
 
 a. The Wild Gallant (1662-63). 
 
 b. The Rival Ladies (1664). 
 
 c. Sir Martin Mar-All (1667). 
 
 d. Marriage a la Mode (1672). 
 
 3. Tragedies. 
 
 a. All for Love (1678). 
 
 b. Don Sebastian (1690). 
 
 IV. PROSE. 
 
 1. Essay of Dramatic Poesy (1668). 
 
 2. Essay on Heroic Plays (1672).
 
 OUTLINE XXXVII 
 John Bunyan 
 
 I. LIFE. Born Elstow, near Bedford, 1628. Son of a tinker. At seventeen 
 drafted into the Parliamentary army. Early reading, Plain Man's Path- 
 way to Heaven and Practice of Piety. Married, 1649. Joined Christian 
 Fellowship, incorrectly called Baptist, 1653. Began preaching, 16^5. A 
 ' prisoner for conscience's sake ' in Bedford Jail, 1660-1672. Became 
 licensed preacher under Declaration of Indulgence. Upon withdrawal 
 of his license, served six months in jail, 1675, during which time he 
 wrote the first part of Pilgrim's Progress. Died, 1688. 
 
 II. BUNYAN'S WORKS. Composed some sixty books. 
 
 1. Some Gospel Truths Opened (1656). His first book, against the 
 Quakers. 
 
 2. The Holy City, Resurrection of the Dead, and Grace Abounding, all 
 written during twelve years' incarceration. Grace Abounding is an 
 autobiography. 
 
 3. Pilgrim's Progress (ist part, 1678; 2d part, 1684). 
 
 4. The Holy War (1682). 
 
 III. LITERARY ANTECEDENTS OF PILGRIM'S PROGRESS. 
 
 1. The Dream Allegory. 
 
 a. Langland : Piers Plowman, (See Outline VIII.) 
 
 b. Spenser: The Faery Queen. (See Outline XX.) 
 
 2. The Pilgrimage Allegory. 
 
 a. Guillaume de Guileville (fl. c. 1360. Paris) : Le Pelerinage de 
 I'Homme. 
 
 b. Lydgate: The Pilgrimage of the Life of Man (1426?). English 
 version of the preceding. 
 
 c. Geiler von Kaiserberg: Christliche Pilgerschaft sum Ezvigen Voter- 
 land (1512). 
 
 3. Moral Allegory. 
 
 Richard Bernard: The Isle of Man (1627). 
 
 4. Moral Homily. 
 
 Arthur Dent: The Plain Man's Pathway to Heaven (c. 1590). 
 
 IV. CHARACTERISTICS OF PILGRIM'S PROGRESS. 
 
 Style based on that of the Bible and Fox's Book of Martyrs studied in 
 Bedford Jail. Pure and homely English. Words of two syllables. 
 Allegory transparent in the names of the characters. Many characteris- 
 tics of the novel. Human interest. Realistic treatment. Clear charac- 
 terization. English atmosphere and scenery.
 
 OUTLINE XXXVIII 
 Defoe and the Beginnings of Journalism 
 
 I. LIFE OF DANIEL DEFOE. Born in London, i66i(?). Received a good 
 education in a dissenting academy at Newington Green. Although 
 trained for the dissenting ministry, he entered mercantile business. 
 Wrote numerous tracts on political subjects. Defended character and 
 policies of King William (See The Trucborn Englishman). As a result 
 of his pamphlet, The Shortest Way with the Dissenters, was imprisoned, 
 1703. Later took an active part in politics, and served the govern- 
 ment several times as secret agent. Began novel-writing late in life with 
 Robinson Crusoe (1719). Died, 1731. 
 
 II. WORKS OF DEFOE. 
 
 1. Pamphlets. Of the large number of occasional pamphlets the follow- 
 ing are examples: 
 
 a. The Occasional Conformity of Dissenters (1698). 
 
 b. The Shortest Way with the Dissenters (1702). 
 
 c. Reasons against the Succession of the House of Hanover (1713). 
 
 2. Periodical Writing. 
 
 a. A Review of the Affairs of France (1704-13). 
 
 Appeared at first once, later twice, and finally thrice a week. An im- 
 aginary ' Scandal Club ' contributed to its pages. Written entirely by 
 Defoe. A landmark in English periodical literature. Helped to 
 suggest The Taller and The Spectator. (See Outline XL.) 
 
 b. Other periodicals and newspapers. 
 
 During the periods indicated Defoe was in some way connected 
 with the following: Mercurius Politicus (1716-20) ; The Whitehall 
 Evening Post (1718-20); The Daily Post (1719-25); Applebee's 
 Journal (1720-26). 
 
 3. Novels. 
 
 a. Robinson Crusoe (1719-20). 
 
 b. Captain Singleton (1720). 
 
 c. Moll Flanders (1722). 
 
 d. Colonel Jack (1722). 
 
 e. Jonathan Wild (1725). 
 
 III. JOURNALISM BEFORE AND AFTER DEFOE. 
 
 1. Distribution of News. 
 
 a. The Weekly News (1622-41). 
 
 b. The Intelligencer (begun, 1663). Edited by Roger L'Estrange. 
 
 c. The London Gazette (1666 to present time). 
 
 d. The Daily Courant (begun, 1702). The first English daily paper. 
 
 2. Editorial Commentary and Criticism. 
 
 a. The Toiler (1709^11). (See Outline XL.) 
 
 b. The Spectator (1711-12, 1714). (See Outline XL.) 
 
 77
 
 OUTLINE XXXIX 
 
 Jonathan Swift 
 
 I. LIFE. Born Hoey's Court, Dublin, 1667. At Kilkenny Grammar School, 
 1674-82. B.A., ' by special grace,' Trinity College, Dublin, 1686. Pro- 
 tege of Sir William Temple, at Moor Park, 1688-99. Took orders, 1695. 
 Laracor, 1700. Active in controversy and political intrigue. Intimate 
 with Tory ministers, 1710-14. Edited Examiner, 171011. Disappointed 
 of a bishopric, accepted Deanery of St. Patrick's, Dublin, 1713. Death 
 of Queen Anne and Fall of Tory Party, 1714. From this time, resided 
 mainly in Ireland. Last years excessively melancholy, especially after 
 the death of 'Stella' (Esther Johnson), 1728. Became violently insane, 
 1741. Died 1745, leaving his fortune to found a lunatic asylum in Dublin. 
 
 II. WRITINGS. 
 
 1. Poems. Chiefly mocking and satiric in tone. 
 
 a. Miscellanies (1711). 
 
 b. Cadcnus and Vanessa (written, 1713). 
 
 c. On The Death of Dr. Swift (1731). 
 
 2. Controversial Papers. 
 
 a. The Battle of the Books (1704, written, 1698). 
 
 b. The Tale of a Tub (1704, written, 1696-8). 
 
 c. Contents and Dissensions in Athens and Rome '(1701}. 
 
 d. Sentiments of a Church of England Man (1708). 
 
 e. Argument against Abolishing Christianity (1708). 
 
 f. The Conduct of the Allies (1711). 
 
 g. The Public Spirit _of the Whigs (1714). 
 
 Letters of M. B. Drapicr (1724). 
 i. A Modest Proposal for Preventing the Children of Poor People from 
 being a Burden to their Parents (1729). 
 
 3. Prose Miscellanies. 
 
 a. Meditation upon a Broomstick (1704). 
 
 b. Predictions of Isaac Bickerstaff (1708). 
 
 c. Account of Partridge's Death (1708). 
 
 d. Polite Conversation (1738). 
 
 e. Directions for Servants (written before 1738). 
 
 4. Journal to Stella (written, 1710-13). 
 
 5. Travels of Lemuel Gulliver (1726). 
 
 6. The History of the Four Last Years of Queen Anne (1758). 
 
 III. SIGNIFICANCE. Swift's language is studiously plain; but a savage irony 
 underlies his apparent directness and simplicity, and his criticism is at 
 once penetrating and destructive. He preceded, and his writings and 
 conversation powerfully influenced the chief wits of the Queen Anne 
 period and after. The periodicals of Addison and Steele, Pope's satires, 
 and later, Fielding's novels, show this influence in various ways.
 
 OUTLINE XL 
 The Periodical Essay 
 
 I. FORERUNNERS. 
 
 1. Essayists: Bacon, Abraham Cowley, Dryden, Sir William Temple. 
 (See Outline XXXI.) 
 
 2. Character Writers: Sir Thomas Overbury (1581-1613) ; John Earle, 
 Bishop of Salisbury (d. 1665). (See Outline XXXI.) 
 
 3. Journalists and Pamphleteers: Sir Roger L'Estrange (1616-1704). 
 (See Outline XXXVIII.) 
 
 4. Swift's Bickerstaff Papers. (See Outline XXXIX.) Daniel Defoe. 
 (See Outline XXXVIII.) 
 
 II. SIR RICHARD STEELE. 
 
 1. Life. Born, Dublin, 1672. Charterhouse School. Christ Church, Ox- 
 ford. Joined Life Guards, 1695, and rose to a captaincy. Began writ- 
 ing for the theater in 1701. Member of the ' Kit-Cat Club.' Ap- 
 pointed Gazetteer, 1707. Successively managed some eight periodi- 
 cals, including The Taller, 1709, and The Spectator, 1711-14. Twice 
 married. Ejected from House of Commons, 1714. In 1715, became 
 Supervisor of Drury Lane Theater; again elected Member of Parlia- 
 ment ; knighted by George I. Badly in debt, retired to Wales, and 
 there died, 1729. 
 
 2. Writings. 
 
 a. The Christian Hero (1701). A religious manual. 
 
 b. Plays: The Funeral, or Grief a la Mode (acted, 1702) ; The Lying 
 Lover (acted, 1703) ; The Tender Husband (acted, 1705) ; The Con- 
 scious Lovers (acted, 1722). 
 
 c. Periodicals and Pamphlets (1709-22). 
 
 III. JOSEPH ADDISOX. 
 
 1. Life. Born, Lichfield, 1672. Charterhouse School. Queen's College, 
 Oxford. Fellow at Magdalen to 1699. Pensioned. Traveled. Lon- 
 don. Intimate with Swift and Steele, about 1705. Contributed to 
 The Tatler and The Spectator, 1709-14. Secretary for Ireland, 1714. 
 The Freeholder, 1715. Commissioner for Trade and the Colonies, 
 1716. Married to Countess of Warwick. Rupture with Steele caused 
 by political differences. Secretary of State, 1717. Retired with a 
 pension, 1718. Died, 1719. 
 
 2. Writings. 
 
 a. Poems. The Campaign (1704) made his political fortune. 
 
 b. Plays: Rosamond (acted, 1706); Cato (acted, 1713); political in- 
 terest gave it a long run; The Drummer (acted, 1715). 
 
 c. Periodicals and pamphlets (1694-1719). 
 
 IV. CO-OPERATIVE PERIODICALS OF ADDISON AND STEELE. 
 
 1. The Tatler (1709-11). 
 
 2. The Spectator < 1711-12, and 1714), embracing The DeCoverley 
 Papers. 
 
 3. The Guardian (1713). 
 
 81
 
 OUTLINE XLI 
 Alexander Pope 
 
 I. LIFE. Born Lombard Street, London, 1688, of Catholic parents. Pre- 
 cocious; privately educated. Claimed to have written his Pastorals, 
 3704. Friendship and quarrel with Wycherley, 1705-10. Most produc- 
 tive member of the Scriblerus Club, founded by Swift to chastise poetasters 
 and hack-writers. Prologue to Cato, 1713. Rupture with Addison, 1715. 
 With proceeds of Homer translations purchased Twickenham, 1717. 
 Pope quarreled with John Dennis, the critic; Edward Curll, the pub- 
 lisher; Theobald, the editor of Shakspere; Colley Cibber, the actor. All 
 these, with many others, figure in The Dunciad. His friendship with 
 Lady Mary Wortley Montagu ended in a feud. Friendships which re- 
 mained more or less intact were those with Swift, Arbuthnot, Gay, 
 Bolingbroke, Warburton, and Martha Blount. Died, 1744. 
 
 II. POEMS. 
 
 1. Imaginative and elegiac. 
 
 a. Pastorals (1709). 
 
 b. The Messiah (1712). 
 
 c. The Rape of the Lock (1712-14). 
 
 d. Windsor Forest (1713). 
 
 e. Elegy to the Memory of an Unfortunate Lady (1717). 
 
 f. Epistle from Eloisa to Abclard (1717). 
 
 2. Didactic. 
 
 a. Essay on Criticism (1711). 
 
 b. Essay on Man (1732-34). 
 
 c. Moral Essays (W-ZS)- 
 
 3. Satiric. 
 
 a. The Dunciad (1728, 1729, 1742, 1743). 
 
 b. Imitations of Horace (1733-37). 
 
 c. Epistle to Arbuthnot (1735). 
 
 d. Contributions to the Grub Street Journal (1730-37). 
 
 4. Translations. 
 
 a. Statius' Thebais, Book I (1712). 
 
 b. The Iliad (1715-18). 
 
 c. The Odyssey (1725-26). 
 =5. Adaptations. 
 
 a. The Wife of Bath (Adapted from Chaucer, 1714). 
 
 b. The Satires of Dr. Donne Versified (1735). 
 
 III. EDITORIAL WORK. 
 
 Edition of Shakspere (1725). 
 
 IV. CORRESPONDENCE. 
 
 Pope's letters, prefaces, notes and dedications were elaborately mysti- 
 fying and disingenuous. He plotted for the publication of his letters 
 and then abused his friends and publishers for the result.
 
 OUTLINE XLII 
 The Eighteenth Century Novel 
 
 I. PROSE FORERUNNERS ALLIED TO THE NOVEL. 
 
 1. Records of Fact. 
 
 a. Diaries. Samuel Pepys. John Evelyn. 
 
 b. Biography. 
 
 c. Chronicles of adventures. 
 
 2. Romances. 
 
 3. Realistic Fictions. 
 
 a. The DeCoverley Papers. (See Outline XL.) 
 
 b. Defoe's narratives. (See Outline XXXVIII.) 
 
 c. Gulliver's Travels. (See Outline XXXIX.) 
 
 4. Influential Narratives by Foreign Authors. 
 
 a. Cervantes: Don Quixote. 
 
 b. Le Sage: Gil Bias. 
 
 II. CHIEF NOVELISTS. 
 
 1. Samuel Richardson (1689-1761). 
 
 a. Pamela, or Virtue Rewarded (1740). 
 
 b. Clarissa Marlowe (1748). 
 
 c. Sir Charles Grandison (1753). 
 
 2. Henry Fielding (1707-54). 
 
 a. Plays. 
 
 Tom Thumb, the Great (1730). 
 Don Quixote in England (1734). 
 The Intriguing Chambermaid (1734). 
 The Historical Register (1737). 
 
 b. Novels. 
 
 The Adventures of Joseph Andrews (1742). 
 Jonathan Wild the Great (1743). 
 The History of Tom Jones (1749). 
 Amelia (1751). 
 
 3. Tobias Smollett (1721-1771). 
 
 a. The Adventures of Roderick Random (1748). 
 
 b. The Adventures of Peregrine Pickle (1751). 
 
 c. The Adventures of Ferdinand, Count Fathom (1753). 
 
 d. The Adventures of Sir Launcelot Greaves (1762). 
 
 e. The Expedition of Humphrey Clinker (1771). 
 
 4. Laurence Sterne (1713-68). 
 
 a. The Life and Opinions of Tristram Shandy (1750-67). 
 
 b. Sentimental Journey through France and Italy (1768). 
 
 III. MINOR FICTION OF THE PERIOD. 
 
 1. David Simple (1742), by Sarah Fielding. (Novel.) 
 
 2. Chrysal, or the Adventures of a Guinea (1760), by Charles Tohnstone 
 (Satiric tale.) 
 
 3. Rasselas (1759), by Samuel Johnson. (Didactic romance.) 
 
 4. The Castle of Otranto (1764), by Horace Walpole. (Gothic ro- 
 mance.) 
 
 5. The Vicar of Wakcfield (1766), by Oliver Goldsmith. (Novel.) 
 
 6. The Man of Feeling (1771), by Henry Mackenzie. (Sentimental ro- 
 mance.) 
 
 85
 
 OUTLINE XLIII 
 Johnson and Boswell 
 
 I. SAMUEL JOHNSON (1709-84). 
 
 1. Life. Born, Lichfield. Studied at Lichfield Grammar School and in 
 his father's bookstore. Entered Pembroke College, Oxford, 1728, re- 
 maining fourteen months. Schoolmaster and hack-writer for many 
 years. Married Mrs. Porter, who was twenty-one years his senior. 
 With David Garrick, went to seek his fortune in London, 1737. Pub- 
 lished his Dictionary, 1755. Pensioned by George III, 1762. Met Bos- 
 well, 1763. The Club formed, 1764. Intimate with the Thrales (1764- 
 80). With Boswell toured the Hebrides, 1773. 
 
 2. Literary Activity. 
 
 a. Poems. 
 London (1738). 
 
 The Vanity of Human Wishes (1749). 
 Irene, a tragedy (acted, 1749). 
 
 b. Early hack work. 
 
 Translation of Lobo's Voyage to Abyssinia (1735). 
 Parliamentary Debates (1740-43). 
 
 c. Lexicography. 
 
 Plan of a Dictionary (1747). 
 
 Dictionary of the English Language (1755). 
 
 d. Periodicals. 
 
 The Rambler (1750-52). 
 The Idler (1759-60). 
 
 e. Rasselas (1759). A didactic romance. 
 
 f. Biographies, critiques, etc. 
 Life of Savage (1744). 
 Edition of Shakspere (1759). 
 Lives of the Poets (1779-81). 
 
 g. Miscellaneous and occasional papers. 
 Letter to Lord Chesterfield (1755). 
 Detection of the Cock Lane Ghost (1763). 
 Taxation No Tyranny (1775). 
 
 Journey to the Western Islands (1775). 
 
 3. Conversation. 
 
 Preserved ' in an authentic and lively manner ' in Boswell's Life. 
 
 II. JAMES BOSWELL (1740-95). 
 
 1. Life. Son of a Scotch laird of Auchinleck, Ayrshire. Educated for 
 the law at Edinburgh and Glasgow. Called to the English bar. 1786. 
 An assiduous admirer of great men, Rousseau, Paoli. Attached him- 
 self to Johnson, 1763. Admitted to the Literary Club, on Johnson's 
 motion, 1773. 
 
 2. Writings. 
 
 a. Journal of a Tour to the Hebrides -with Dr. Johnson (1785). 
 
 b. Life of Samuel Johnson, LL.D. (1791).
 
 OUTLINE XLIV 
 Dr. Johnson's Circle 
 
 I. DAVID GARRICK (1717-79). Foremost actor of the time. Manager of 
 Drury Lane Theater. Author of many clever farces, comedies, pro- 
 logues and adaptations. Johnson said of his death, that it had ' eclipsed 
 the gaiety of nations.' 
 
 II. SIR JOSHUA REYNOLDS (1723-92). Portrait-painter of first rank. His 
 character and judgment were highly respected. Goldsmith dedicated to 
 him The Deserted Village, and Boswell the Life of Johnson. Johnson 
 declared him ' the most invulnerable man he knew.' First President of 
 the Royal Academy, 1768. Author of Discourses on painting. 
 
 III. OLIVER GOLDSMITH (1728-74). 
 
 1. Life. Born Pallas, County Longford, Ireland. Entered Trinity Col- 
 lege, Dublin, 1744. Rejected for holy orders, tried law and then medi- 
 cine. At twenty-six tramped the continent practically without funds. 
 From about 1757, lived in London on proceeds of his writing. His 
 Latin epitaph in Westminster Abbey, by Johnson, declares : ' There 
 was scarcely a species of writing which he did not touch, and he 
 touched none that he did not adorn it.' 
 
 2. Works. 
 
 a. Citizen of the World (1760-61). 
 
 b. The Traveler (1764; begun 1757). 
 
 c. The Deserted Village (1770). 
 
 d. The Vicar of Wakeficld (1766). 
 
 e. The Good Matured Man (1768). 
 
 f. She Stoops to Conquer (1773). 
 
 IV. EDMUND BURKE (1729-97). 
 
 1. Life. Born in Dublin. Studied at Trinity College and, later, read 
 law at the Middle Temple, London. Editor of Dodsley's Annual Reg- 
 ister, 1759. First Speech in Parliament, 1766. Purchased ' Gregories,' 
 1769. Visit to France, 1773. Fall of the Whigs, 1783. Impeachment 
 of Hastings, 1786. Retirement from Parliament and death of Rich- 
 ard Burke, 1794. 
 
 2. Works. 
 
 Vindication of Natural Society (1756) ; Our Ideas of the Sublime and 
 Beautiful (1756); Thoughts on the Present Discontents (1770); 
 Speech on American Taxation (1774); Speech for Conciliation with 
 the Colonies (1775") ; Reflections on the Revolution in France (1790) ; 
 Letters on a Regicide Peace (1796-7). 
 
 V. EDWARD GIBBON (1737-94). 
 
 1. Life. Born, Putney, Surrey, 1737. Westminster School, 1749. Mag- 
 dalen College, Oxford, 1752. Removed and placed in the household 
 of M. Pavilliard, a Calvinist minister at Lausanne, Switzerland, 1753. 
 Here, he became a sound scholar. Visit to Italy and conception of 
 Decline and Fall, 1764. Settled in London, 1772. Joined the Literary 
 Club, 1774. Lausanne, 178^-93. Died in London. 
 
 2. Works. 
 
 Essai sur I' etude de la Litterature (1761) ; The History of the Decline 
 and Fall of the Roman Empire, Vol. I (1776) ; Vols. II and III ( 1781) ; 
 Vols. IV, V, and VI (1788); Memoirs of his Life and Writings
 
 OUTLINE XLV 
 The Beginnings of Romanticism 
 
 I. THE REACTION. 
 
 1. Subject Matter. 
 
 a. Nature and primitive life. 
 
 b. The past. The remote. The unfamiliar. Particular interest in the 
 Middle Ages. 
 
 2. Style. Diffuseness, freedom, simplicity, archaism. 
 
 3. Verse Form. 
 
 a. Miltonic blank verse. Octosyllabics. Sonnet. 
 
 b. The Spenserian stanza. 
 
 c. The ballad. 
 
 d. Variety of rhythm and melody. 
 
 4. Temper. 
 
 Subjectivity, individualism, spontaneity, melancholy, mystery, sensi- 
 bility, wonder. 
 
 [I. EARLY REACTIONARIES. 
 
 1. James Thomson (1700-48). Scotch. Settled in London, 1725. 
 
 a. The Seasons (1726-30). 
 
 b. The Castle of Indolence (1748). Partly written by 1733. Best of the 
 imitations of Spenser. 
 
 c. Liberty (1734-36). 
 
 d. Several tragedies, of slighter interest. 
 
 2. Edward Young (1681-1765). Lay fellow of All Souls, Oxford. Took 
 holy orders when advanced in years, 1728. His tragedy, Busiris, 1719, 
 succeeded on the stage. The Complaint, or Night Thoughts on Life, 
 Death and Immortality, 1742-45. 
 
 3. Robert Blair (1699-1746). Scotch minister. The Grave, 1743. 
 
 4. John Dyer (1700 7-1758) . Welshman. Grongar Hill, 1726. The Ruins 
 of Rome, 1740. The Fleece, 1757. 
 
 5. William Shcnstone (1714-64). 'The bard of the Leasowes.' The 
 Schoolmistress, 1742. 
 
 6. William Collins (1721-59). Born, Chichester. Educated at Winches 
 ter and at Magdalen College, Oxford. Scholarly. Friend of Thom- 
 son and Joseph and Thomas Warton. Mental decline began, 1749. Be- 
 came insane in 1754. 
 
 a. Persian Eclogues (1742). 
 
 b. Odes on Several Subjects (1746). 
 
 c. Ode on the Death of Thomson (1748). 
 
 d. Ode on the Popular Superstitions of the Scottish Highlands (1788).
 
 OUTLINE XLVI 
 The Revival of the Past 
 
 I. THOMAS GRAY (1716-1771). 
 
 1. Life. Born Cornhill, London. Eton, 1727. Peterhouse, Cambridge, 
 1734-38. Continent, with Walpole, 1739-41. Stoke Poges, 1741- 
 2. Life spent chiefly in study at Cambridge, Peterhouse, 1742-- 
 56, Pembroke Hall, 1756-71. L.L.B., 1744. Refused Laureateship, 
 1757. Appointed Professor of Modern History, 1768. Numerous 
 tours including Scotland, Wales, English Lakes, and the Wye, 1762-70. 
 
 2. Publications. 
 
 a. Ode on a Distant Prospect of Eton College (1747). 
 
 b. Ode on the Spring (1748). 
 
 c. Elegy in a Country Churchyard (1751). 
 
 d. Six Poems by T. Gray (1753). 
 
 e. Pindaric Odes (1757). 
 
 f. Poems (1768). 
 
 g. Memoirs of the Life and Writings of Gray, with his Poems 
 (Mason; 1775). 
 
 II. HORACE WALPOLE (1717-1797). Son of Sir Robert \Valpole. Compan- 
 ion of Gray at Eton and Oxford and on his early travels. Made his 
 house at Strawberry Hill, ' a little Gothic castle,' 1747. Published The 
 Castle of Otranto, 1764; The Mysterious Mother, 1768. Earl of Oxford, 
 1791. 
 
 III. RICHARD HURD (1720-1808). Fellow of Emmanuel College, Cambridge. 
 Bishop of Lichfield and Coventry, 1774; of Worcester, 1781. Letters 
 on Chivalry and Romance, 1762. 
 
 IV. THOMAS WARTON (1728-90). Entered Trinity College, Oxford, 1744. 
 Fellow, 1751-90. Professor of Poetry, 1757-67. Enthusiastic antiqua- 
 rian and editor. Wrote and published considerable verse. Observations 
 on Spenser's Faery Queen, 1754. History of English Poetry, 1774-81. 
 Helped expose Chatterton forgeries, 1782. Poet-laureate, 1785-90. 
 
 V. THOMAS PERCY (1729-1811). M.A., Christ Church, Oxford, 1753. 
 Bishop of Dromore, 1782. Edited Reliques of Ancient English Poetry, 
 1765. (See Outline XIII.) Northern Antiquities, 1770. 
 
 VI. JAMES MACPHERSON (1736-96). Scotchman. Educated at Aberdeen 
 and Edinburgh. Published Fragments of Ancient Poetry collected in the 
 Highlands, 1760; Fingal, 1762; Temora, 1763; all alleged translations 
 from the Gaelic of Ossian. 
 
 VII. THOMAS CHATTERTON (1752-1770). Born and lived at Bristol. First 
 verses, 1762. First publications, 1763. Pretended to have discovered 
 poems of Thomas Rowley among documents of St. Mary Redcliffe 
 Church. 1765. Went to London, 1770. Poisoned himself with arsenic, 
 1770. Editions of 'Rowley' poems, 1777 and 1782. included Bristowe 
 Tragcdie ; ALlla, a Tragical Entcrlude ; Goddivyn, a Tragcdie ; Balade of 
 Charitie; Battle of Hastings.
 
 OUTLINE XLVII 
 
 The Progress of Naturalism 
 
 I. WILLIAM COWPER (1731-1800). 
 
 1. Life. Born, Great Berkhampstead. Suffered from brutal treatment 
 at private school, 1737-8. Attended Westminster School, 1741-49. 
 Articled to a London solicitor, 1750-52. First signs of melancholia. 
 Called to the bar, 1754. Violently insane, 1763-5. Entered Unwin 
 family, 1765. Occupied with parochial work and devotions. Re- 
 moved with Mrs. Unwin to Olney, 1767. Second attack of insanity, 
 1773. Began literary work, 1777-80. Friendship with Lady Austen. 
 Ended through Mrs. Unwin's jealousy, 1784. Third attack of insan- 
 ity, 1787. Never wholly recovered. 
 
 2. Publications. 
 
 a. Poems. 
 
 Olney Hymns (with Newton, 1779). 
 Table Talk (1782). 
 The Task (and other poems, 1785) 
 Translation of Homer (1791). 
 
 b. Letters (1824). 
 
 II. GEORGE CRABBE (1754-1832). 
 
 1. Life. Born, Aldborough, Suffolk. Largely self-educated. Studied 
 
 medicine, surgery, botany. Practised surgery until 1780. Tried lit- 
 erary work in London. On Burke's advice went into holy orders. 
 Held various livings, and was never again in want. 
 
 2. Poems: The Candidate (1780); The Village (1783); The Newspaper 
 (1785); The Parish Register (1807); The Borough (1810); Tales in 
 Verse (1812) ; Talcs of the Hall (1819). 
 
 III. WILLIAM BLAKE (1757-1827). 
 
 1. Life. London. Began study of drawing, 1767. Apprenticed to 
 James Basire, an engraver, 1771-78. First exhibited at Royal Acad- 
 emy, 1780. Literary period, 1783-1804. Engravings for Young's 
 Night Thoughts, 1797. Residence at Felpham, 1800-03. Engravings 
 for Hayley's Life of Cowper, 1803. Tried for sedition, 1804. De- 
 signs for Blair's The Grave, 1808. The Canterbury Pilgrims, 1817. 
 ' Inventions' to the Book of Job, 1825. Designs to Dante, 1824-27. 
 
 2. Examples of Literary Work. (All of these, except the first, were en- 
 graved upon plates and embellished with designs by himself.) 
 
 a. Poems. 
 
 Poetical Sketches (1783). 
 Songs of Innocence (1789). 
 Songs of Experience (1794). 
 
 b. Prophetic Books: The Book of Thel (1789); The Marriage of 
 Heaven and Hell (1790) ; America, A Prophecy (1793) ; Jerusalem 
 (1804) ; Milton (1804). 
 
 95
 
 OUTLINE XLVIII 
 Robert Burns 
 
 I. LIFE. Born near Kirk Alloway, Ayrshire, 1759. Educated by his father. 
 Youth spent in labor on various Ayrshire farms. Mount Oliphant, 1766- 
 77. Lochlea, 1777-84. Tried flax-dressing at Irvine, 1781. His habits 
 became convivial and lawless and his opinions unorthodox. Father died, 
 1784. With his brother Gilbert, managed Mossgiel farm, 1784-86. Re- 
 solved to leave Scotland for Jamaica. To defray passage published first 
 edition of Poems, 1786. Success led him to remain and bring out a second 
 edition. Edinburgh, winters of 1786-87 and 1787-88. Highland tour, 
 summer of 1786. Realized five hundred pounds for copyright of his 
 poems. Married Jean Armour and took farm at Ellisland, near Dumfries, 
 1788. Took post in the excise, 1789. Gave up farm and removed to 
 Dumfries, 1791. Health and reputation injured by loose habits. Nearly 
 lost position in excise because of revolutionary sympathies. 
 
 II. CHIEF PUBLICATIONS. 
 
 1. Poems, chiefly in the Scottish Dialect (Kilmarnock, 1786). 
 Among the poems in this edition are: 
 
 The Tii'a Dogs. 
 
 Scotch Drink. 
 
 The Holy Fair. 
 
 Address to the Deil. 
 
 Poor Mailie. 
 
 Hallowe'en. 
 
 The Cotter's Saturday Night. 
 
 To a Mouse. 
 
 To a Mountain Daisy. 
 
 Man ivas Made to Mourn. 
 
 Several of the Epistles. 
 
 Songs (only three or four). 
 
 2. The Same. Second (first Edinburgh) Edition (1787). 
 
 Poems added in this edition were: Death and Doctor Hornbook, The 
 Brigs of Ayr, A Winter Night, Address to the Unco Guid, To a Haggis, 
 John Barleycorn, My Nanie, O, Green Grow the Rashes, O, etc. 
 
 3. The Same. London (1787). 
 
 4. A two volume edition (Edinburgh and London, 1793). Among twenty 
 new pieces were Tarn O'Shantcr and On Seeing a Wounded Hare. 
 
 5. 184 Songs in The Scots Musical Museum (1787-1803). 
 
 6. The Jolly Beggars and other suppressed poems (Glasgow, 1799). 
 
 7. Songs in Select Collection of Original Scottish Airs (1801-02). 
 
 97
 
 OUTLINE XLIX 
 William Wordsworth 
 
 I. LIFE. Born, Cockermouth, Cumberland, 1770. Hawkshead Grammar 
 School. B.A. St. John's College, Cambridge, 1791. Traveled in France, 
 1791-92. Settled with his sister Dorothy at Racedown, Dorsetshire, 1794. 
 Intimacy with Coleridge, 1797. Same year, removed to Alfoxden. Ger- 
 many, 1798-99. Settled in the Lake Country, Dove Cottage, Townend, 
 Grasmere, 1799. Marriage, 1802. Rydal Mount, Windermere, 1813. 
 Distributor of stamps for Westmoreland, 1813. Pensioned, 1842. Poet 
 Laureate, 1843. Died, 1850. 
 
 II. CHIEF PUBLICATIONS. 
 
 1. Descriptive Sketches (1793). 
 
 2. Lyrical Ballads (with Coleridge, 1798). 
 
 3. Poems (1807). 
 
 4. The Excursion (1814). 
 
 5. Collected Edition (6 vols.), 1836. 
 
 6. The Prelude (posthumous, 1850). 
 
 7. The Recluse (posthumous, if 
 
 III. CLASSIFIED EXAMPLES OF WORDSWORTH'S POETRY. (The dates are those 
 of composition.) 
 
 1. Meditative and Didactic Poems. 
 
 a. Tintcrn Abbey (1798). 
 
 b. Parts of Wordsworth's projected masterpiece. 
 The Prelude (1799-1805). 
 
 The Recluse (fragment, 1805). 
 The Excursion (1813). 
 
 2. Pastorals. 
 
 a. Michael (1800). 
 
 b. The Ruined Cottage (1796?. Incorporated into The Excursion}. 
 
 3. Odes. 
 
 a. Intimations of Immortality (1803-06). 
 
 b. Ode to Duty (1805). 
 
 4. Characteristic Lyrics. 
 
 a. We arc Seven (1798). 
 
 b. The Solitary Reaper (1803). 
 
 c. Yarrow Unvisited (1803). 
 
 d. / wandered lonely as a cloud (1804). 
 
 e. To a Cuckoo (1804). 
 
 f. The Primrose of the Rock (1831). 
 =5. Classical Studies. 
 
 a. Laodamia (1814), 
 
 b. Dion (1814). 
 6. Sonnets. 
 
 a. Personal and occasional. 
 
 b. Political and patriotic. 
 
 IV. WORDSWORTH'S THEORY OF POETRY. Fully stated in his preface to Lyrical 
 Ballads (2nd ed., 1800). 
 
 oo
 
 OUTLINE L 
 Samuel Taylor Coleridge 
 
 I. LIFE. Born, 1772, Ottery St. Mary, Devonshire. Christ's Hospital, 
 1782-90. Enter Jesus College, Cambridge, 1791. London, 1793. Four 
 months with Fifteenth Light Dragoons, 1793-94. Met Southey at 
 Oxford, 1794. Pantisocracy. Married Sara Fricker, Bristol, 1795. First 
 volume of poems, Bristol, 1796. Lecturing. The Watchman. Nether 
 Stowey and Wordsworth, 1797. Chief poetic period, 1797-1802. Ger- 
 many, 1798-99. The Morning Post. Greta Hall, Keswick, 1800. The 
 Kendal Black Drop, 1801. Malta, 1804-06. Opium in the ascendant, 
 1806-16. Found asylum with James Gillman, Highgate, 1816. Death, 
 1834. 
 
 II. POETRY. Classified Examples. (The dates are those of composition.) 
 
 1. Poems, supernatural or mystical. 
 
 a. The Ancient Mariner (1797). 
 
 b. Christabcl (1797, 1800). 
 
 c. Kitbla Khan (1797). 
 
 2. Meditative Poems. 
 
 a. In Blank Verse. 
 Religions Musings (1794). 
 Frost at Midnight (1798). 
 
 b. Confessional Pieces. 
 Dejection, an Ode (1802). 
 
 To William Wordsworth (1806?). 
 
 c. Political. 
 
 Ode to the Departing Year (1796). 
 France, an Ode (1798). 
 
 d. Sonnets (chiefly early). 
 
 3. Love Poems. 
 
 a. Love (1797-98)- 
 
 b. Lcii'ti, or the Circassian Love-Chant (1797-98). 
 
 4. Dramas. 
 
 a. The Fall of Robespierre (with Southey, 1794). 
 
 b. IVallenstcin (translated from Schiller, 1800). 
 
 c. Remorse (acted, 1813). 
 
 d. Zapolya (published, 1817). 
 
 III. PROSE. (Dates are those of publication.) 
 
 1. Journalism. 
 
 a. The Watchman (1796). 
 
 b. The Friend (1809-10). 
 
 c. The Morning Post (articles, 1799-1800). 
 
 d. The Courier (articles, 1811-12). 
 
 2. Lay Sermons. Political and Religious. 
 
 a. The Statesman's Manual (1816). 
 
 b. Aids to Reflection (1825). 
 
 3. Literary Criticism. 
 
 a. Biographia Literaria (1817). 
 
 b. Shakspcre, etc. (lectures, 1807-08, 1811-12, 1818). 
 
 4. Prose Fantasy. 
 
 The Wanderings of Cain (written, 1798)
 
 OUTLINE LI 
 Scott and Romantic Fiction 
 
 I. FORERUNNERS. 
 
 1. Horace Walpole (1717-1797), The Castle of Otranto (1764). 
 
 2. Clara Reeve (1725-1803), The Old English Baron (1777). 
 
 3. Anne Radcliffe (1764-1823), The Mysteries of Udolpho (1794). 
 
 4. M. G. ('Monk') Lewis ('1775-1818), Ambrosius, or The Monk (1795) 
 
 II. SIR WALTER SCOTT. 
 
 1. Life. Born, Edinburgh, 1771. Educated at the High School and Col- 
 lege. Called to the bar, 1792. Contributed to Lewis's Tales of Terror, 
 1799. Published Border Minstrelsy, 1802. Sheriff of Selkirkshire, 1804. 
 Moved to Ashestiel. Removed to Abbotsford, 1814. Period of poetical 
 activity, 1805-13. First novel, Waverley, 1814. Created baronet, 1820. 
 Failure of the Ballantynes, 1826. Death, 1832. 
 
 2. Translations, Critical and Antiquarian Works: Translation of Goethe's 
 Goctz von Berlichingen (1799); Minstrelsy of the Scottish Border 
 (1802) ; Edition of Dryden (1808) ; Edition of Swift (1814) ; Life of 
 Napoleon (1827). 
 
 3. Poems: The Lay of the Last Minstrel (1805) ; Marmion (1808) ; The 
 Lady of the Lake (1810) ; Don Roderick (1811) ; The Bridal of Trier- 
 main (1813) ; Rokcby (1813) ; The Lord of the Isles (1815) ; Harold, 
 the Dauntless (1817). 
 
 4. Novels in Order of Publication, with Period of the Action. 
 
 Waverley 1814, period of George II. 
 
 Guy Mannering ^15, George II and III. 
 
 The Antiquary 1816, George III. 
 
 The Black Dwarf 1816, Anne. 
 
 Old Mortality 1816, Charles II and after. 
 
 Rob Roy 1818, George I. 
 
 The Heart of Midlothian 1818, George II. 
 
 The Bride of Lammermoor 1819, William III. 
 
 A Legend of Montrose 1819, Charles I. 
 
 Ivanhoc 1820, Richard I. 
 
 The Monastery 1820, Elizabeth. 
 
 The Abbot 1820, Elizabeth. 
 
 Kenilworth 1821, Elizabeth. 
 
 The Pirate 1822, (c) William III. 
 
 The Fortunes of Nigel 1822, James I. 
 
 Pevcril of the Peak 1823, Charles II. 
 
 Quentin Durivard 1823, Edward IV. 
 
 St. Ronan's Well 1824, George III. 
 
 Redgauntlct 1824, Early George III. 
 
 The Betrothed 1825, Henry II. 
 
 The Talisman 1825, Richard I. 
 
 Woodstock 1826, Commonwealth. 
 
 The Two Drovers 1827, Early George III. 
 
 The Highland Widow 1827, George II. 
 
 The Surgeon's Daughter 1827, George II and III. 
 
 The Fair Maid of Perth 1828, Henry IV. 
 
 Anne of Geierstein 1829, Edward IV. 
 
 Count Robert of Paris 1831, William Rufus. 
 
 Castle Dangerous 1831, Edward I. 
 
 103
 
 OUTLINE LII 
 Lord Byron 
 
 I. LIFE. George Noel Gordon, fifth Lord Byron of Xewstead, born, 1788. 
 Holies Street, London. Succeeded to peerage when ten years of age. 
 Inherited pride and sensitiveness were aggravated in boyhood by ill dis- 
 cipline on the part of his mother, and by lameness and poverty. Harrow 
 School. Trinity College, Cambridge, 1805-08. Traveled in Spain, 
 Greece, and the Levant, 1809-11. Married, 1815. Public indignation at 
 his separation a year later induced him to leave England permanently. 
 In Switzerland, met and associated with Shelley, who was also an exile. 
 Italy, 1816-23. Venice, 1816-19. Ravenna, 1819-21, Pisa, 1821-22. 
 Countess Teresa Guiccioli, 1819. Renewed intimacy with Shelley, 1819- 
 22. Organized military expedition to Greece, 1823. Died of fever at 
 Missolonghi, April 19, 1824. 
 
 II. CHIEF POEMS CLASSIFIED BY PERIODS. 
 
 1. Juvenile Period (1807-12). 
 
 a. Hours of Idleness (1807). 
 
 b. English Bards and Scotch Reviewers (1809). 
 
 c. Childe Harold (Cantos I and II, 1812). 
 
 2. Period of Metrical Romances (1813-16). 
 
 a. The Giaour (May, 1813). 
 
 b. The Bride of Abydos (Dec., 1813). 
 
 c. The Corsair (Jan., 1814). 
 
 d. Lara (Aug., 1814). 
 
 e. Hebrew Melodies (1815). 
 
 f. The Siege of Corinth (Jan., 1816). 
 
 g. Parisina (Jan., 1816). 
 
 3. Mature Romantic Period (1816-18). 
 
 a. Childe Harold (Canto III, 1816; Canto IV, 1818). 
 
 b. The Prisoner of Chilian (1816). 
 
 c. The Dream (1816). 
 
 d. Stanzas to Augusta (1816). 
 
 e. Manfred (1817). 
 
 f. Lament for Tasso (1817). 
 
 4. Satiric and Dramatic Period (1819-23). 
 
 a. Serio-comic narrative. 
 
 Bcppo (1817) ; Don Juan (1819; 1821-23) ! The Island (1822). 
 
 b. Satire. 
 
 The Vision of Judgment (1821). 
 The Age of Bronze (1822). 
 
 c. Tragic drama. 
 
 Marino Faliero (1820); Sardanafalus (1821); The Two Foscan 
 (1821); The Deformed Transformed (1821). 
 
 d. Mysteries. 
 
 Heaven and Earth (1821); Cain (1822). 
 
 ill. PROSE. 
 
 1. Letters and Journals. 
 
 2. Controversial Papers. 
 
 105
 
 OUTLINE LIII 
 Percy Bysshe Shelley 
 
 I. LIFE. Born, Field Place, Sussex, 1792. Eton, 1804-10. Entered Uni- 
 versity College, Oxford, April, 1810. Expelled, March, 1811. Married 
 to Harriet Westbrook, at Edinburgh, August, same year. Met Southey. 
 Opened correspondence with William Godwin. Brief visit to Ireland, 
 Wales, 1812-13. Estrangement from Harriet. Separation, May, 1814. 
 Flight to France, with Mary Godwin, July, same year. With Byron in 
 Switzerland, 1816. Suicide of Harriet, 1816. Harriet's children removed 
 from his authority by judgment in Chancery, 1817. Final farewell to 
 England, 1818. Italy, 1818-22. Naples and Venice, 1818-19; Rome, 
 1819-20; Pisa, 1820-22. Drowned in the Bay of Lerici, July 8, 1822. 
 
 II. CLASSIFIED EXAMPLES OF SHELLEY'S POETRY. (The dates are those of 
 composition.) 
 
 1. Early Poems (1813-17). 
 
 a. Queen Mob (1813). 
 
 b. Alastor (1815). 
 
 c. The Revolt of Islam (1817). 
 
 2. Lyrical Dramas of Philosophical Intent. 
 
 a. Prometheus Unbound (1819). 
 
 b. Hellas (1821). 
 
 3. Drama. 
 
 a. The Cenci (1819). 
 
 b. Charles the First (1822), fragment. 
 
 4. Satire. 
 
 a. Peter Bell the Third (1819). 
 
 b. Swellfoot the Tyrant (1820). 
 
 5. Lyrics. Hymn to Intellectual Beauty (1816) ; Ode to the West Wind 
 (1819); Ode to Liberty (1820); The Sensitive Plant (1820); The 
 Cloud (1820); To a Skylark (1820); To Night (1821); Triumph of 
 Life (1822), unfinished. 
 
 6. Poems Inspired by Persons. 
 
 a. Julian and Ma'ddalo (1818, Byron). 
 
 b. Letter to Maria Gisborne (1820). 
 
 c. Epipsychidion (1821, Emilia Viviani). 
 
 d. Adonais (1821, Keats). 
 
 e. With a Guitar, to Jane (1822, Mrs. Williams). 
 
 III. PROSE. (The dates are those of publication). 
 
 1. Romances. 
 
 a. Zastrozzi (1810). 
 
 b. St. Irvyne ; or the Rosicrucian (1811). 
 
 2. Tracts. 
 
 a. An Address to the Irish People (1812). 
 
 b. A Refutation of Deism (1814). 
 
 3. Essays. 
 
 A Defense of Poesy (1840). 
 
 4. Letters (1840, 1845, l &5> etc.). 
 
 107
 
 OUTLINE LIV 
 John Keats 
 
 I. LIFE. Born, London, 1795, at the Swan and Hoop stables in Moorfields. 
 Attended a good school at Enfield and became intimate with Charles Cow- 
 den Clarke, son of the master. Apprenticed to a surgeon, 1810. Studied 
 surgery in London hospitals, 1814-17. Performed a few operations and 
 abandoned surgery for literature. First appearance in print a sonnet in 
 Leigh Hunt's Examiner, May, 1816. Through Hunt met Shelley, Haydon 
 the painter, and later, Wordsworth. Settled, 1817, with his brothers in 
 Hampstead. Health began to fail. Made numerous short tours. Nursed 
 his brother Tom through last illness, autumn of 1818. Engagement to 
 Fanny Brawne, 1819. Suffered first hemorrhage, Feb. 3, 1820. Sailed 
 with Joseph Severn for Italy, September, 1820. Died, Rome, Feb. 23, 1821, 
 aged 25 years, 4 months. 
 
 II. CHIEF POEMS. 
 
 1. Poems by John Keats (1817). Shelley assisted in preparing this vol- 
 ume for the press. Among the contents were Imitation of Spenser (w. 
 1812 or 1813) ; Sleep and Poetry (pronounced by Hunt the best poem in 
 the volume) ; On first looking into Chapman's Homer (w. 1815; printed 
 in Hunt's Examiner, Dec., 1816). 
 
 2. Endymion (1818). 
 
 Written summer of 1817. Sneeringly reviewed in Blackwood's Maga- 
 zine and Quarterly Review. 
 
 3. Lamia, Isabella, The Eve of St. Agnes, and Other Poems (1820). 
 Praised in Edinburgh Review. 
 
 Besides pieces named in the title contained : 
 
 Ode to a Nightingale. 
 
 Ode on a Grecian Urn. 
 
 Ode to Psyche. 
 
 Fancy. 
 
 Ode ('Bards of passion'). 
 
 Lines on the Mermaid Tavern. 
 
 Robin Hood. 
 
 To Autumn. 
 
 Ode on Melancholy. 
 
 Hyperion. 
 
 4. Posthumous and Fugitive Poems. 
 
 a. On Seeing the Elgin Marbles (w. 1817). 
 
 b. Stanzas ('In a drear-nighted December'; w. 1818). 
 
 c. La Belle Dame Sans Merci (w. 1819). 
 
 d. Last Poem. (' Bright Star, would I were steadfast as thou art'; w. 
 Sept., 1820.) 
 
 109
 
 OUTLINE LV 
 Southey and Landor 
 
 I. ROBERT SOUTHEY. 
 
 1. Life. Born, Bristol, 1774. Early given to reading and versifying. 
 1778-92, Westminster School. 1792-94, Balliol College, Oxford. In 
 
 1794 rnet Coleridge, who assisted in forming the socialistic scheme called 
 ' pantisocracy.' 1795-96, 1800, visits to Lisbon gave impetus to much 
 future writing. Wrote extensively for Morning Post. 1803, settled at 
 Greta Hall, Keswick, where he wrote his most important works. As- 
 sisted by an annuity from his friend Wynn. 1807, government pension 
 of 160 pounds. 1813, Poet Laureate. 1809-39, contributed extensively 
 to Quarterly Review. 1820, degree D.C.L., Oxford. Southey 's mind 
 weakened some time before his death in 1843. 
 
 2. Works. 
 
 a. Poetry. 
 
 Joan of Arc (1796). 
 
 Thalaba the Destroyer (1801). 
 
 Madoc (1805). 
 
 Curse of Kehama (1810). 
 
 Roderick, the Last of the Goths (1814). 
 
 Vision of Judgment (1821). 
 
 b. Prose. 
 
 History of Brazil (1810-19). 
 
 Life of Nelson (1813). 
 
 Life of Wesley (1820). 
 
 History of the Peninsular War (1823-32). 
 
 The Doctor (1834-37). 
 
 Translations. 
 
 Amadis of Gaul (1803) ; Palmerin of England (1807) ; Cid (1808). 
 
 II. WALTER SAVAGE LANDOR. 
 
 1. Life. Born, 1775; son of a physician. At Rugby distinguished for bad 
 temper. 1793, entered Trinity College, Oxford; 1794, rusticated. 
 Wrote in retirement in Wales. 1808, joined a military expedition to 
 Spain. 1815-35, lived in Italy. Quarrels with his wife. 1835, re- 
 turned to England ; 1838-57, resided at Bath ; quarrels, scandal, and a 
 law-suit. Mind weakened. 1857, returned to Italy. Died, Florence, 
 1864. 
 
 2. Works. 
 
 a. Chief poems. 
 Gebir (1798). 
 
 Count Julian, a Tragedy (1812). 
 Numerous poems in Latin. 
 
 b. Prose. 
 
 Imaginary Conversations (1824, 1828, 1829. Additional Conversa- 
 tions in 1846, 1853). 
 
 Citation and Examination of William Shakespeare (1834). 
 Pericles and Aspasia (1836). 
 Pentameron ( 1837) . 
 Last Fruit off an Old Tree (1853).
 
 OUTLINE LVI 
 Early Nineteenth Century Essayists 
 
 I. CHARLES LAMB. 
 
 1. Life. Born, London, 1775. 1782-89, in school at Christ's Hospital, 
 where he formed a lasting friendship with Coleridge. Humble clerk- 
 ship in South Sea House released, in 1792, for a clerkship in India 
 House, which he held until he retired on a pension in 1825. Died, 
 
 1834- 
 
 2. Chief Writings. 
 
 a. Tales from Shakespeare (1807). Mostly by Lamb's sister, Mary. 
 Lamb contributed tragedies. 
 
 b. Specimens of the English Dramatic Poets (1808). 
 
 c. Essays of Elia (1823). 
 
 d. Last Essays of Elia (1833). 
 
 II. WILLIAM HAZLITT. 
 
 1. Life. Born, Maidstone, 1778; son of a Unitarian minister. 1798, 
 stimulated by meeting Coleridge. 1802, worked at painting, in Paris. 
 1803, began literary career with essay Principles of Human Action. 
 1812, settled in London; regular work for the press. Essays and lec- 
 tures published and delivered in various places and forms during last 
 twenty years of his life. Died 1830. 
 
 2. Chief Writings. 
 
 Principles of Human Action (1803) ; Characters of Shakespeare's 
 Plays (1817) ; Lectures on the English Poets (1818) ; Lectures on the 
 English Comic Writers (1819); Lectures on the Dramatic Literature 
 of the Reign of Elizabeth (1821) ; The Spirit of the Age (1825) ; The 
 Plain Speaker (1826). 
 
 III. THOMAS DE QUINCEY. 
 
 1. Life. Born, Manchester, 1785; son of a merchant. 1803, went to Ox- 
 ford, where he neglected studies, and began to take opium. Lived in 
 Lake District. Knew Wordsworth, Coleridge, and Southey. Moved 
 to London. Contributed to periodicals : London Magazine, Black- 
 food's, and T ait's Edinburgh Magazine. 1828, moved to Edinburgh. 
 Died, Edinburgh, 1859. 
 
 2. Chief Writings. 
 
 a. Confessions of an English Opium Eater (1821). 
 
 b. Murder as One of the Fine Arts (1827). 
 
 c. Klosterhcim (1832). 
 
 d. Logic of Political Economy (1844). 
 
 IV. LEIGH HUNT. 
 
 1. Life. Born. London, 1784. Educated at Christ's Hospital. 1808, 
 joined his brother in establishing a newspaper, The Examiner, and 
 lived by literature the rest of his life. 1813-15, imprisoned for libel- 
 ing the Prince Regent. In prison, he wrote his principal poem. The 
 Story of Rimini. 1822-23, with Byron in Italy edited a quarterly, The 
 Liberal. Contributed voluminously to periodicals. 1847, pension of 
 200 pounds from the Crown. Died. 1859. 
 
 2. Chief Writings. Prose: Lord Byron and Some of his Contemporaries 
 (1828); Imagination and Fancy (1844): Wit and Humor (1846): 
 Men, Women, and Books (1847) ; A Jar of Honey from Mount Hybla 
 (1847) ; Autobiography (1850). Poetry: Story of Rimini (1816). 
 
 "3
 
 OUTLINE LVII 
 Thomas Carlyle 
 
 I. LIFE. Born at Ecclefechan, Dumfriesshire, Scotland, 1795. Annan Acad- 
 emy, 1805. University of Edinburgh, 1809. Teacher at Annan, 1814. 
 Kirkcaldy, 1816. Read law, 1819. Tutor to Charles Buller, 1822-4. Lon- 
 don Magazine, 1823-4. Married to Jane Welsh, 1826. Contributed to 
 Edinburgh Review, 1827-32. Craigenputtock, 1828-1834. Resided in Lon- 
 don at Cheyne Row, Chelsea, from 1834. Manuscript of French Revolu- 
 tion destroyed by fire, 1835. Public lectures, London, 1837-1840. Trav- 
 eled in Germany, 1852 and 1858. Occupied with his ' Frederick/ 1851-65. 
 Elected Rector of Edinburgh University, 1865. Death of Jane Welsh 
 Carlyle, 1866. Received Prussian order of merit, 1874. Refused to ac- 
 cept pension, 1874. Died, 1881. 
 
 II. \Vorks. 
 
 1. Translations. 
 
 a. Wilhelm Meister (1824). 
 
 b. German Romance, 4 vols. (1827). 
 
 2. Literary and Biographical Essays. 
 
 a. /. P. F. Richter (Edinburgh' Review, 1827). 
 
 b. State of German Literature (Edinburgh Review, 1827). 
 
 c. Burns (Edinburgh Review, 1828). 
 
 d. Voltaire (Foreign Review, 1829). 
 
 e. Croker's Boswell's Johnson (Eraser's Magazine, 1832). 
 
 3. Biography. 
 
 a. Life of Schiller (London Magazine, 1820-24). 
 
 b. Life and Letters of Oliver Cromwell (1845). 
 
 c. Life of John Sterling (1851). 
 
 4. History. 
 
 a. Tlie French Revolution (1837). 
 
 b. History of Friedrich II, Vols. I & II (1858); Vol. Ill (1862); 
 Vol. IV (1864) ; Vols. V & VI (1865). 
 
 5. Distinctive philosophical and social prophecy. 
 
 a. Signs of the Times (Edinburgh Review, 1829). 
 
 b. Characteristics (Edinburgh Review, 1831). 
 
 c. Sartor Resartus (Eraser's Magazine 1833-34) ; American Edition 
 (1835); English Edition (1838). 
 
 d. Chartism (1839). 
 
 e. Heroes and Hero-Worship (1841). 
 
 f. Past and Present (1843). 
 
 g. Latter Day Pamphlets (1850).
 
 OUTLINE LVIII 
 Thomas Babington Macaulay 
 
 I. LIFE. Born, Rothley Temple, Leicestershire, Oct. 25, 1800; son of a 
 merchant and philanthropist. Desire for knowledge and tenacity of mem- 
 ory conspicuous in infancy. At age of seven wrote a compendium of 
 universal history and three cantos of a long poem. 1818, went to Trinity 
 College, Cambridge; won several prizes in literature; in 1824 became a 
 fellow. 1826, began an indifferent practice of law. 1825-45, a prolific 
 contributor to the Edinburgh Review. 1830, entered Parliament. 1834- 
 38, in India as legal adviser to the Supreme Council of India. 1839, again 
 in Parliament; 1840, Secretary for War; 1846, Paymaster-general of the 
 Forces. 1845-60, engaged on his History of England, and in contributing 
 articles to Encyclopedia Britannica. 1857, raised to peerage as Baron 
 Macaulay of Rothley. Honored by English and Continental learned So- 
 cieties. Died, Dec. 28, 1859. Buried in Poets' Corner, Westminster 
 Abbey. 
 
 II. WORKS. 
 
 1. Essays: classified examples. All the essays below were contributed to 
 the Edinburgh Review. 
 
 a. English history. 
 Hallam (Sept., 1828). 
 
 John Hampden (Dec., 1831). 
 
 Burleigh and His Times (April, 1832). 
 
 Horace Walpole (Oct., 1833). 
 
 William Pitt, Earl of Chatham (Jan., 1834). 
 
 Lord Clive (Jan., 1840). 
 
 Warren Hastings (Oct., 1841). 
 
 b. Foreign History. 
 Machiavclli (Mar., 1827). 
 Mirabcau (July, 1832). 
 Von Ranke (Oct., 1840). 
 Frederic the Great (April, 1842). 
 
 c. Controversial. 
 
 Mill on Government (Mar., 1829). 
 Southey's Colloquies (Jan., 1830). 
 Saddler's Lazv of Population (July, 1830). 
 Gladstone on Church and State (April, 1839). 
 
 d. Literary criticism and miscellaneous. 
 Milton (Aug., 1825). 
 
 John Dryden (Jan., 1828). 
 
 Moore's Life of Byron (June, 1830). 
 
 John B uny an (Dec., 1830). 
 
 Samuel Johnson (Sept., 1831). 
 
 Lord Bacon (July, 1837). 
 
 Leigh Hunt (Jan., 1841). 
 
 Life and Writings of Addison (July, 1843). 
 
 2. History of England from the Accession of James II. (Vols. I and 
 II, 1848; Vols. Ill and IV, 1855 ; Vol. V, 1861.) 
 
 3. Verse. 
 
 a. Lays of Ancient Rome (1842). 
 
 b. Ivry and the Armada (1848).
 
 OUTLINE LIX 
 John Henry Newman 
 
 I. LIFE. Born 1801, in City of London. Trinity College, Oxford, 1817. 
 Scholarship, 1818. B.A., 1820. Fellow of Oriel, 1822. Vicar of St. 
 Mary's, 1828. University Sermons produced strong impression. Visited 
 Italy, 1832. On his return his sermons at St. Mary's and the Tracts for 
 the Times began the Oxford Movement. Movement joined by Pusey, 
 1835. Tract XC, 1841, stating position of the high church party on the 
 thirty-nine articles, aroused violent opposition. Went into retirement at 
 Littlemore, 1842. Resigned St. Mary's, 1843. After three years of 
 prayer and fasting, joined Roman Church, 1845. Ordained priest, 1846. 
 Rector of Dublin University, 1854-8. Controversy with Charles Kings- 
 ley, 1864. Created Cardinal, 1879. Died, 1890. 
 
 II. PROSE WORKS. 
 
 1. History. 
 
 a. The Arians of the Fourth Century (1833). 
 
 b. The Church of the Fathers (in the British Magazine, 1833-35). 
 
 2. Fiction. 
 
 a. Loss and Gain (1848). 
 
 b. Callista (1852). 
 
 3. Doctrine. 
 
 a. Tracts for the Times (1833-41). Twenty-nine of these, including 
 Tracts I and XC, were by Newman. 
 
 b. The Prophetical Office of the Church (1837). Re-issued with refu- 
 tations under title, The Via Media (1877). 
 
 c. Lectures on Justification (1838). 
 
 d. On Ecclesiastical Miracles (1842). 
 
 e. The Development of Christian Doctrine (1846). 
 
 f. Grammar of Assent (1870). 
 
 4. Education. 
 
 The Idea of a University (1852). 
 
 5. Controversy. 
 
 a. The Present Position of Catholics (1851). 
 
 b. Apologia pro Vita Sua (1864). 
 
 6. Devotion. (Newman's poems and a large number of his sermons have 
 this character.) 
 
 Prayers and Meditations (1893). 
 
 III. POEMS. 
 
 1. L\ra Apostolica (Contributed by Newman, Tohn Keble, Hurrell 
 Froude, Isaac Williams, and others to the British Magazine, 1833-36. 
 Collected, 1836. Re-issued, 1879). 
 
 2. Other Publications. 
 
 a. Verses on Various Occasions (1834, 1868). 
 
 b. Verses on Religious Subjects (1853). 
 
 c. The Dream of Gcrontius (1866). 
 
 119
 
 OUTLINE LX 
 Alfred Tennyson 
 
 I. LIFE. Born at Somersby Rectory, Lincolnshire, 1809. Louth Grammar 
 School. Entered Trinity College, Cambridge, 1828. Won Newdigate 
 prize with the poem T imbue too, 1829. Traveled with Arthur Hallam in 
 the Pyrenees, and on the Rhine in 1832. Death of Hallam, 1833. Period 
 of solitude and work, 1833-42. Pensioned, 1845. Succeeded Wordsworth 
 as Poet Laureate, 1850. Married, 1850. Bought Farringford, Isle of 
 Wight, 1853. D.C.L. Oxford, 1855. Honorary Fellow, Trinity, Camb., 
 1859. Began new home at Aldworth, near Haslemere, 1868. Raised to 
 peerage, 1884. Died, 1892. 
 
 II. CHIEF PUBLICATIONS. 
 
 1. Poems. 
 
 a. Poems by Two Brothers (1827). 
 
 b. Poems, Chiefly Lyrical (1830). Among the contents of this volume 
 were, Claribel, Lilian, Isabel, Mariana, Recollections of the Arabian 
 Nights, Ode to Memory, and The Poet. 
 
 c. Poems (1832-33). Included The Lady of Shalott, Mariana in the 
 South, The Miller's Daughter, Ocnone, The Sisters, The Palace of 
 Art, The May Queen, The Lotos Eaters, A Dream of Fair Women, 
 etc. 
 
 d. Poems (2 vols., 1842). Volume I consisted of poems from the pre- 
 ceding collections, many of them greatly altered and improved. In 
 the second volume first appeared Morte d' Arthur, Dora, The Gar- 
 dener's Daughter, The Talking Oak, Love and Duty, Ulysses, Locks- 
 ley Hall, Godiva, The Two Voices, Sir Galahad, The Vision of Sin, 
 ' Break, break, break' etc. 
 
 e. The Princess (1847). Intercalary songs added to third edition 
 (1850). 
 
 f. In Mcmoriam (1850). 
 
 g. Maud and Other Poems (1855). 
 
 h. Idylls of the King. (1859, Enid, Vivien, Elaine, Guinevere) ; (1869, 
 The Coming of Arthur, The Holy Grail, Pcllcas and Etarre, The 
 Passing of Arthur} ; (1871, The Last Tournament) ; (1872, Gareth 
 and Lynette) ; (1885, Balin and Balan). 
 
 i. Enoch Arden (1864). 
 
 j. Ballads and Other Poems (1880). 
 
 k. Tiresias and Other Poems (1885). 
 
 1. Locksley Hall Sixty Years After (1886). 
 
 m.Demcter and Other Poems (1889). 
 
 2. Plays: Queen Mary (1875); Harold (1876); The Cup (1884); The 
 Falcon (1884) ; Becket (1884) ; The Promise of May (1886) ; The For- 
 esters (1892).
 
 OUTLINE LXI 
 Robert Browning 
 
 I. LIFE. Born, Camberwell near London, 1812. Education, mostly private, 
 included besides literature, ' music, singing, dancing, riding, boxing, and 
 fencing.' Studied Greek at London University, 1829-30. In 1834, visited 
 Russia and Italy. Attention of \Yords\vorth, Carlyle and other men of 
 letters favorably attracted by Paracelsus, 1835. Macready produced Straf- 
 ford, 1837, and A Blot in the 'Scutcheon, 1843. Visited Italy, 1838. Mar- 
 ried Elizabeth Barrett, 1846. Resided chiefly in Italy until her death, 1861. 
 Chief residence, London, 1861-88. Italian visits, 1878, 1888. Died, Ven- 
 ice, 1889. 
 
 II. CHIEF PUBLICATIONS. 
 
 1. Early Poems: Pauline (1833); Paracelsus (1835); Sordcllo (1840). 
 
 2. Dramas (except the first and last, printed in a series entitled Bells and 
 Pomegranates, 1841-46): Straff ord (1837); Pippa Passes (1841); 
 King Victor and King Charles (1842); The Return of the Druses 
 (1843) ; A Blot in the 'Scutcheon (1843) 5 Colombe's Birthday (1844) ; 
 Lnria (1846) ; A Soul's Tragedy (1846) ; In a Balcony (1853). 
 
 3. Collections of Lyrics, Dramatic Monologues, etc. 
 
 a. Dramatic Lyrics (III of Bells and Pomegranates, 1842). 
 
 b. Dramatic Romances and Lyrics (VII of Bells and Pomegranates, 
 
 1845)- 
 
 c. Men and Women (1855). Included Pictor Ignotus, Fra Lippo Lippi, 
 Andrea del Sarto, The Bisliop Orders iiis Tomb, Bishop Blougram's 
 Apology, etc. 
 
 d. Dramatis Persona (1864). Included James Lee's Wife, Abt Vogler, 
 Rabbi ben Ezra, Mr. Sludge the Medium, A Death in the Desert, 
 Caliban upon Sctebos, etc. 
 
 e. Pacchiarotto and Other Poems (1876). 
 
 f. Dramatic Idylls (1879 and 1880). 
 
 g. Jocoseria (1883). 
 
 h. Fcrishtah's Fancies (1884). 
 
 i. Parleyings with Certain People of Importance in Their Day (1887). 
 
 j. Asolando (1889). 
 
 4. Religious Poems: Christmas Eve and Easter Day (1850) ; La, Saisiaz 
 (1878). 
 
 5. Novelistic Poems and Extended Monologues. 
 
 a. The Ring and the Book (1868-69). An Italian murder case retold 
 from twelve points of view. 
 
 b. Prince Holicnsticl-Schzi'angau (1871). 
 
 c. Fifine at the Fair (1872). 
 
 d. Red Cotton Night Cap Country (1873). 
 
 e. The Inn Album (1875). 
 
 6. Adaptations from the Greek. 
 
 a. Balaustion's Adventure, including a Transcript from Euripides 
 (1871). 
 
 b. Aristophanes' Apology, including a Transcript from Euripides, Being 
 The Last Adventure of Balaustion (1875). 
 
 c. Agamemnon (translation from JEschylus, 1877). 
 
 123
 
 OUTLINE LXII 
 Early Nineteenth Century Novel (exclusive of Scott) 
 
 I. THE NOVEL, the dominant form of literature in the nineteenth century, 
 surpasses other forms in abundance, and at least equals them in originality 
 and significance. With the exception of Scott (Outline LI) its prevail- 
 ing tone was realistic rather than romantic, and it treated contemporary 
 events rather than those of the distant past. 
 
 II. JANE AUSTEN (1775-1817). 
 
 1. Life. Youngest of seven children. Excellently educated in youth. 
 Lived a placid life in increasing ill-health at Bath and Southampton. 
 She invests the commonplace details of domestic life with the charm 
 of an easy humor. 
 
 2. Novels. 
 
 a. Sense and Sensibility (1811). 
 
 b. Pride and Prejudice (1813). 
 
 c. Mansfield Park (1814). 
 
 d. Emma (1816). 
 
 e. Northanger Abbey (written, 1798; pub., 1817). 
 
 f. Persuasion (1818). 
 
 III. CHARLES DICKENS (1812-1870). 
 
 1. Life. Early life spent in poverty. His own youthful story closely 
 suggested in David Copperfield. Achieved success in fiction at age of 
 24. The most popular English novelist. The zeal of the social re- 
 former combined with abounding humor and sentiment. 
 
 2. Novels. 
 
 a. Oliver Twist (1837-38). 
 
 b. Nicholas Nickleby (1838-39). 
 
 c. Barnaby Rudge (1841). 
 
 d. Dombey and Son (1846-48). 
 
 e. David Copperfield (1849-50). 
 
 f. Bleak House (1852-53). 
 
 g. A Tale of Two Cities (1859). 
 
 IV. WILLIAM MAKEPEACE THACKERAY (1811-1863). 
 
 1. Life. Born in India; educated at Cambridge. Studied drawing and 
 law. For many years a random contributor to Fraser's and Punch. 
 Reputation established upon publication of Vanity Fair. A keen ob- 
 server and sympathetic though satirical interpreter, 
 
 2. Novels. 
 
 a. Barry Lyndon (1844). 
 
 b. Vanity Fair (1847-48). 
 
 c. Pendennis (1849-50). 
 
 d. Henry Esmond (1852). 
 
 e. The Newcomes (1854-55). 
 
 V. OTHER SIGNIFICANT NOVELISTS. 
 
 1. Edward Bulwer-Lytton : Rienzi (1835). The Caxtons (1848-9). 
 
 2. Benjamin Disraeli: Coningsby (1844). 
 
 3. Charlotte Bronte: Jane Eyre (1847). 
 
 4. Emily Bronte: Withering Heights (1847). 
 
 5. Elizabeth Gaskell: Mary Barton (1848): Cranford (1853)*-" 
 
 6. Charles Kingsley: Alton Locke (1849) ; Westward Ho (1855). 
 
 125
 
 OUTLINE LXIII 
 Later Nineteenth Century Novel 
 
 I. THE NOVEL AT THE END OF THE CENTURY was marked by an almost com- 
 plete subsidence of the romantic impulse, and by an emphasis of ethical, 
 psychological, and social problems. 
 
 II. GEORGE ELIOT (pen name for Mary Ann Evans). 
 
 1. Life. Born, 1819. The inaugurator of a new movement in English 
 Novel. Early youth reflected in Adam Bcde and The Mill on the 
 Floss. First interests were in German philosophy and theology. As- 
 sistant editor of the Westminster Magazine. She portrays the inner 
 lives of thoughtful people. Died, 1874. 
 
 2. Novels. 
 
 a. Adam Bede (1859). 
 
 b. The Mill on the Floss (1860). 
 
 c. Silas Marncr (1861). 
 
 d. Romola (1863). 
 
 e. Felix Holt, the Radical (1866). 
 
 f. Middlcmarch (1871-2). 
 
 g. Daniel Deronda (1876). 
 
 III. ANTHONY TROLLOPE (1815-1882). Through life had a post in British 
 Post-Office. Wrote about fifty novels, of which the best are the Bar- 
 chester series. His art displays health, shrewdness, and extraordinary 
 mechanical knack. Representative novels. The Warden (1855) ; Bar- 
 chester Toilers (1857) ; Framley Parsonage (1861) ; The Last Chronicle 
 of Barsct (1867). 
 
 IV. ROBERT Louis STEVENSON (1850-1894). An indefatigable student of lit- 
 erary models, and the best representative of the free romantic method. 
 Chief novels: Treasure Island (1883) ; Kidnapped (1886) ; The Master 
 of Ballantrae (1889). 
 
 V. GEORGE MEREDITH (1828-1909). The exponent of the comic spirit as a 
 theory of art. Chief novels: The Ordeal of Richard Fcvercl (1859); 
 The Adventures of Harry Richmond (1871); Beanchamp's Career 
 (1875); The Egoist (1879); Diana of the Crossways (1885); The 
 Amazing Marriage (1895). 
 
 VI. THOMAS HARDY (born, 1840). The portrayer of Wessex peasant life. 
 A Pair of Blue Eyes (1873); Far from the Madding Crowd (1874): 
 The Return of the Native (1878) ; Tess of the Durbervilles (1891) ; Jude 
 the Obscure (1895). 
 
 VII. OTHER NOVELISTS are Charles Reade (1814-1884), William Wilkie Col- 
 lins (1824-1889), Richard Doddridge Blackmore (1825-1900), William 
 
 Dean Howells (1837 ). Henry James (1843 ) George Gissing 
 
 (1857-1903). Among short story writers are Bret Harte (1839-1902) 
 and Rudyard Kipling (1865 ). 
 
 127
 
 OUTLINE LXIV 
 John Ruskin 
 
 I. LIFE. Born, London, 1819, of Scotch parents. Extraordinarily preco- 
 cious. Wrote poetry at seven; began publishing articles, at fifteen. 
 Early study various and enthusiastic, but desultory. Christ Church, Ox- 
 ford, 1837. Won Newdigate Prize. B.A., 1842. Traveled much in the 
 Alps and Italy, studying nature and art. Chief residences, Herne Hill, 
 1823-43; Denmark Hill, 1843-72; Brantwood, 1872-1900. Married, 1848, 
 First appearance as lecturer, Edinburgh, 1853. Took charge of drawing 
 classes at Working Men's College, 1854-58. Inherited from his father, 
 1864, 157,000 pounds, practically all of which was eventually spent in 
 gifts and social experiments. Helped found St. George's Company, 1871. 
 Slade professor of Art at Oxford, 1870-79, and 1883-4, publishing eight 
 volumes of lectures. Attacks of brain fever in and after 1878. After 
 1879, lived in retirement at Brantwood, in the English Lake Country. 
 Died, January, 1900. 
 
 II. WORKS. 
 
 1. Primarily Esthetic. 
 
 a. Modem Painters, Vol. I (1843) ; Vol. II (1846) ; Vols. Ill and IV 
 (1856); Vol. V (1860). 
 
 b. Seven Lamps of Architecture (1849): Sacrifice, Truth, Power, 
 Beauty, Life, Memory, Obedience. 
 
 c. Pre-Raphaelitism (1851). 
 
 d. Stones of Venice, Vol. I (1851) ; Vols. II and III (1853). Vol. II, 
 Chap. 6, On the Nature of Gothic, reprinted by Furnivall for the 
 Working Men's College (1854) ; reprinted by William Morris (1892). 
 
 2. Primarily Ethical. 
 
 a. Notes on the Construction of Sheepfolds (1851). 
 
 b. Lectures on the Political Economy of Art (1857). 
 
 c. Four essays on the first principles of Political Economy (Cornhill 
 Magazine, 1860) ; reprinted as Unto this Last (1862). 
 
 d. Essays in Political Economy (Fraser's Magazine, 1862-3) ; reprinted 
 as Munera Pulvcris. 
 
 e. Sesame and Lilies (1865). Collected lectures. 
 
 f. Ethics of the Dust (1866). Collected lectures. 
 
 g. Crown of Wild Olive (1866). Collected lectures. 
 
 h. Time and Tide by Weare and Tyne (1867); twenty-five letters to 
 newspapers. 
 
 i. Fors Clavigera (1871-78). A series of monthly letters ' to the work- 
 men and laborers of Great Britain'; contains much autobiographic 
 material. Chiefly a statement of Ruskin's dreams of social reor- 
 ganization. 
 
 3. Autobiographical. 
 Praeterita (begun, 1885). 
 
 129
 
 OUTLINE LXV 
 Matthew Arnold 
 
 I. LIFE. Eldest son of Dr. Thomas Arnold, famous headmaster of Rugby. 
 Born, Laleham, near Staines, 1822. Rugby, 1837-41. Gained a scholar- 
 ship at Balliol College, Oxford. Won Newdigate prize, 1843. Fellow of 
 Oriel College, 1845. Private Secretary to Marquis of Lansdowne, 1847. 
 Became Inspector of Schools, 1851, and married. Professor of Poetry at 
 Oxtord, 1857-67. Lectured in America, 1883-4 and 1886. Died at Liver- 
 pool, 1888. 
 
 II. WORKS. 
 
 1. Poems. 
 
 a. The Strayed Reveller and Other Poems (1849). 
 
 b. Empedocles on Etna and Other Poems (1852). 
 
 c. Poems (1853). Included Sohrab and Rustum, and The Scholar 
 Gipsy. 
 
 d. Mcrope (1858). 
 
 e. New Poems (1867). Included Thyrsis and A Southern Night. 
 
 f. Poems (1869). Collective edition, first to include Rugby Chapel. 
 Re-issued with slight additions (1877; 1885). 
 
 2. Prose. 
 
 a. Literary Criticism. 
 
 On Translating Homer (1861). 
 
 Essays in Criticism (First Series, 1865). Included The Function of 
 
 Criticism at the Present Time ; The Literary Influence of Academies; 
 
 Heine; Joubcrt; Marcus Aurclius; Pagan and Medieval Religious 
 
 Sentiment, etc 
 
 The Study of Celtic Literature (1867). 
 
 Essays in Criticism (Second Series, 1888). Included The Study of 
 
 Poetry; Milton; Gray; Keats; Wordsworth; Byron; Shelley; Tolstoi; 
 
 A mid. 
 
 b. Criticism of Intellectual and Social Conditions. 
 Schools and Universities on the Continent (1868). 
 Culture and Anarchy (1869). 
 
 Friendship's Garland (1871). 
 
 Mixed Essays (1879). Literary essays, in part. 
 
 Irish Essays (1882). 
 
 Discourses in America (1885). 
 
 c. Theological Criticism. 
 
 St. Paul and Protestantism (1870). 
 
 Literature and Dogma (1873). 
 
 God and the Bible (1875). 
 
 Last Essays on Church and Religion (1877). 
 
 131
 
 OUTLINE LXVI 
 Rossetti and Morris 
 
 I. DANTE GABRIEL ROSSETTI. 
 
 1. Life. Born, London, 1828; son of a scholar and poet. Began original 
 writing at age of six. Educated at King's College, London. Studied 
 drawing and painting. After having done considerable literary work, 
 joined Ford Madox Brown, Holman Hunt, Millais, and others in forming 
 the Pre-Raphaelite school of painting. Financial aid from Ruskin. Met 
 Edward Burne-Jones, Swinburne, and William Morris. Wrote and painted 
 prolifically. Formed chloral habit. Died, London, 1882. Unique in ob- 
 taining equal celebrity as poet and as painter. 
 
 2. Chief publications. 
 
 a. Early Italian Poets (1861), reprinted as Dante and his Circle (1874). 
 Translations of sonnets and of other short poems by Dante, Guido 
 Cavalcanti. Cino da Pistoia, and others. 
 
 b. Poems (1870). Contains: (i) such poems as The Blessed Damozel, 
 Staff and Serif). The Portrait, A Last Confession; (2) numerous 
 sonnets, many of which were later incorporated into The House of 
 Life (1881). 
 
 c. Ballads and Sonnets (1881). Contains: (i) ballads, Rose Mary, 
 The White Ship, The King's Tragedy; (2) lyrics, Sootlisay, 
 Chimes, Parted Presence, Possession; (3) sonnets. 
 
 d. Hand and Soul. Published in The Germ, 1850. The only imagina- 
 tive work in prose that Rossetti completed. 
 
 II. WILLIAM MORRIS 
 
 1. Life. Born near London, 1834. Educated at Marlborough School and 
 Exeter College, Oxford. Wide reading. Enthusiasm for Carlyle, Rus- 
 kin, and Kingsley. 1854-55, two visits to France. Worked at architec- 
 ture and painting. With Rossetti, Burne-Jones, and others, established 
 (1861) a firm for designing and manufacturing furniture and household 
 decorations. 1890, founded Kelmscott Press, at Hammersmith. Wrote 
 voluminously. 1885, became an active socialist, delivering lectures and 
 contributing to The Commonweal. Died, 1896. 
 
 2. \Vorks. 
 
 a. Chief original poetical works. 
 
 Sir Galahad, a Christmas Mystery (1858). 
 
 The Defence of Guenevere, and Other Poems (1858). 
 
 The Life and Death of Jason (1867). 
 
 The Earthly Paradise (1868-70). 
 
 Love is Enough (1872). 
 
 Sigurd the Volsung and the Fall of the Niblitngs (1876). 
 
 b. Romances: in prose, or in prose and verse. 
 
 A Dream of John Ball and a King's Lesson (1888). 
 
 A Tale of the House of the Wolfings (1889). 
 
 The Roots of. the Mountains (1890). 
 
 The Story of the Glittering Plain (1891). 
 
 News from Nowhere (1891) 
 
 The Well at the World's End (1896). 
 
 c. Translations. 
 
 Grettis Saga (1869) ; Volsunga Saga (1870) ; The JEncids of Virgil 
 (1876) ; The Odyssey of Homer (1887). 
 
 133
 
 OUTLINE LXVII 
 Algernon Charles Swinburne 
 
 I. LIFE. Born, London, April, 1837 ; son of Admiral Charles Henry Swin- 
 burne. Spent five years at Eton College. 1856-60, Balliol College, Ox- 
 ford. Left without a degree. At the university distinguished himself in 
 Latin, Greek, French, and Italian; contributed to Undergraduate Papers; 
 began friendships with William Morris, Dante Gabriel Rossetti, and 
 Edward Burne-jones. Traveled on Continent, visiting Landor in Flor- 
 ence. Poems and Ballads (1866) aroused violent adverse criticism of 
 moralists, to whom Swinburne replied in Notes on Poems and Reviews 
 (1866). Lived quietly in London, writing vigorously. Intimate with 
 Theodore Watts-Dunton, with whom he took up residence at Putney 
 Hill, in 1879. After thirty years of retirement and voluminous writing 
 here, he died, April 10, 1909. 
 
 II. WORKS. 
 
 1. Chief poetical publications. 
 
 The Queen-Mother and Rosamond (1860); Atalanta in Calydon 
 (1865); Chastclard: a Tragedy (1865); Poems and Ballads (1866); 
 Songs before Sunrise (1871) ; Bothivcll: a Tragedy (1874) ; Songs of 
 Two Nations (1875); Erechtheus (1876); Poems and Ballads. Sec- 
 ond Series (1878) ; Studies in Song (1880) ; Songs of the Springtides 
 (1880) ; Mary Stuart: a Tragedy (1881) ; Tristram of L\onesse, and 
 Other Poems (1882) ; A Century of Rondels (1883) ; Marino Faliero: 
 a Tragedy (1885); Gathered Songs (1887); Locrine: a Tragedy 
 (1887); Poems and Ballads. Third Series (1889); The Sisters: a 
 Tragedy (1892); Astrophel and Other Poems (1894); The Talc of 
 Balen (1896) ; Rosamund, Queen of the Lombards (1899) ; A Channel 
 Passage, and Other Poems (1904) ; The Duke of Gandia (1908). 
 
 2. Critical Writings in Prose. 
 
 William Blake: a Critical Essay (1868); George Chapman (187=;); 
 Essays and Studies (1875) : A Study of Shakespeare (1880) ; A Study 
 of Victor Hugo (1886) ; Miscellanies (1886) ; A Study of Ben Jonson 
 (1889) ; The Age of Shakespeare (1908). 
 
 III. A CLASSIFICATION OF CHARACTERISTIC POEMS. 
 
 1. Tragedies on Greek Models. 
 
 Atalanta in Calydon (1865) ; Erechtheus (1876). 
 
 2. Tragedies in the Elizabethan Manner. 
 
 The Queen-Mother (1860); Rosamond (1860); Chastclard (1865); 
 Bothii-ell (1874) ; Mary Stuart (1881) ; Marino Faliero (1885). 
 
 3. Medieval Studies. 
 
 Masque of Queen Bersabe (1866); A Christmas Carol (1866); St. 
 Dorothy (1866). 
 
 4. Classical and Hebrew Lyrical Themes. 
 
 Phffdra (1866); At Elcusis (1866); Hymn to Proserpine (1866): 
 Hesperia (1866) ; Anactoria (1866) ; Aholibah (1866). 
 
 5. Odes. 
 
 Athens: An Ode (1882) ; The Armada (1889). 
 
 6. Poems Dealing With Nature. 
 
 Thalassins (1880); On the Cliffs (1880); The Garden of Cymodoce 
 (1880). 
 
 7. Narratives. Tristram of Lyonesse (1882) ; Talc of Balen (1896). 
 
 8. Poems of Passion. Laus Veneris (1866): Faustinc (1866). 
 
 135
 
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