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REVIEW OUTLINE.-State some differences between the novel of the eighteenth and that of the nineteenth century. To which division does Miss Austen properly belong? Why? Give some instances of her turn for satire. For what qualities is "Pride and Prejudice" re

markable?

Narrate Scott's early life. How did his experience and surroundings equip him for his later work? What circumstances led him to attempt prose fiction? Relate the events of his later years. What qualities of romantic character did Scott possess? What elements appear in "Waverley"? Mention several of the Scotch stories which followed. For what types of character are they noteworthy? Is there any element of "realism" in these characters? What did Scott think of his descriptive powers? What use does he make of scenery? Mention some of Scott's attempts in English and European history. Wherein does his mastery of the art of historical fiction consist? Point out some effects of Scott's influence. What forces made against the continued supremacy of the historical novel?

Compare the early life of Scott with that of Dickens. Trace the effect of Dickens's training in his later work. Compare the later careers of the two novelists. What is "Pickwick Papers"? Wherein does its humor consist? On what types of character does Dickens chiefly rely? What connection had his novels with social reform? What advance do his later novels show in construction?

Compare Dickens and Thackeray in their presentation of real life. What was Thackeray's attitude toward "romantic realism" as shown in his earliest stories? What other realists began with burlesque ? Mention Thackeray's later works. Describe his character. How did this influence his books? Why is his loose structure an advantage? On what ground is the amount of the author's comment in his books to be justified? What is Thackeray's view of the world implied in the title, "Vanity Fair"? What is his view of his function as author? Contrast his treatment of good and evil characters with that of Dickens. What use did Thackeray make of history in "Vanity Fair"? What is the subject-matter of Esmond"? Discuss its style.

Under what influence did Charlotte Brontë become a writer? Explain the presence of romantic material in her novels. Contrast "Jane Eyre" with her later books. For what is her treatment of scene notable? Into what divisions does Kingsley's fiction fall? What element appears in all his novels?

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Describe George Eliot's early life, and its effect on her novels. what respect is " Adam Bede " superior to Daniel Deronda "? What is George Eliot's purpose as a moralist?

READING GUIDE. A few of the novels treated in this chapter are included in lists for college entrance-Scott's "Ivanhoe" and "Woodstock," Thackeray's "Henry Esmond," and George Eliot's "Silas Marner." These may be studied for plot and character development, with the general idea of bringing home to pupils the qualities of the novel as a literary form, and the difference between the opportunities open to the novelist and those of the dramatist. For the rest, the pupil should be encouraged to read widely, as interest prompts, in the other work of these authors. It is unnecessary to suggest any definite order, but there are a few novels which no one should omit. Scott's "Waverley," "Old Mortality," "Heart of Midlothian," "Kenilworth," "Quentin Durward," and perhaps "Redgauntlet" and "The Talisman"; Dickens's "Pickwick Papers," "David Copperfield," "Tale of Two Cities," and "Bleak House"; Thackeray's "Vanity Fair" and "The Newcomes"; George Eliot's "Adam Bede," "The Mill on the Floss," and "Middlemarch"; Charlotte Brontë's "Jane Eyre," Reade's "Cloister and the Hearth," and Kingsley's "Westward Ho," will be generally accepted as belonging in such a list.

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GEORGE III., 1760-1820 (con- WILLIAM WORDSWORTH, 1770

tinued).

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-1850. Descriptive
Sketches, 1793; Lyrical Bal-
lads, 1798; Prelude, written
1805; Poems, 1807; Excur-
sion, 1814; White Doe of
Rylstone, 1815; Duddon
Sonnets, 1819; Ecclesiasti-
cal Sonnets, 1822; Poems,
1836.
SAMUEL TAYLOR COLERIDGE,
1772-1834. Kubla Khan,
Ancient Mariner, Christa-
bel (first part), 1797-1798;
Christabel (second part),
1800; Ode to Dejection,,
1802.
ROBERT SOUTHEY, 1774-1843.
Curse of Kehama, 1810.

WALTER

SAVAGE LANDOR,
1775-1864. Gebir, 1798;|
Count Julian, 1812; Hel-
lenics, 1847; Heroic Idylls,

1863.
WALTER SCOTT, 1771-1832.
Lay of the Last Minstrel,
1805; Marmion, 1808; Lady
of the Lake, 1810.
THOMAS Moore, 1779–1852. |

ESSAYISTS, ETC.

NOVELISTS

1849. Castle Rackrent,
1800; Belinda, 1803; The
Absentee; Patronage.

JANE AUSTEN,

CHARLES LAMB, 1775-1834. MARIA EDGEWORTH, 1767-
Tales from Shakespeare,
1807; Specimens of English
Dramatic Poets, 1808; Es-
says of Elia, first series,
1823; second series, 1833. |
ROBERT SOUTHEY. Life of
Nelson, 1813.
SAMUEL TAYLOR COLERIDGE.
Biographia Litteraria, 1817.
WILLIAM

HAZLITT, 1778-
1830. Essays on the Eng-
lish Poets, 1818; English
Comic Writers, 1819; Dra-
matic Literature of the Age
of Elizabeth, 1821; Life of
Napoleon, 1830.
LEIGH

HUNT, 1784-1859.
Men, Women, and Books;
A Jar of Honey from Mt.
Hybla; Wit and Humor;
Imagination and Fancy;
Autobiography.

THOMAS MOORE. Life of
Byron, 1830.

THOMAS DE QUINCEY, 1785-
1859. Opium-Eater, 1821
-1822; Murder as One of
the Fine Arts, 1827; Re-

1775-1817.
Northanger Abbey, written
before 1797; Sense and Sen-
sibility, 1811; Pride and
Prejudice, 1813; Mansfield
Park, 1814; Emma, 1816.
WALTER SCOTT. Waverley,
1814; Guy Mannering,
1815; Old Mortality, The
Antiquary, 1816; Rob Roy,
1817; Heart of Midlothian
1818; Ivanhoe, 1819; Ken-
ilworth, 1821; Fortunes of
Nigel, 1822; Quentin Dur-
ward, 1823; The Talisman,
1826; Woodstock, 1827;
Anne of Geierstein, 1829.

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TABULAR VIEW: 1800-1837 (Continued)

tle of the Baltic; Ye Mari- WALTER
ners of England; Lochiel.
GEORGE GORDON, LORD BY-

RON, 1788-1824. Hours of
Idleness, 1807; English
Bards and Scotch Review-
ers, 1809; Childe Harold,
1812-1818; Eastern Tales,
1813-1816; Manfred, 1817;
Cain, 1821; Don Juan, 1819
-1824.
PERCY BYSSHE SHELLEY,
1792-1822. Queen Mab,
1813; Alastor, 1815; Revolt
of Islam, 1817; Prome-
theus Unbound, and The
Cenci, 1819; Witch of At-
las, 1820; Adonaïs and
Epipsychidion, 1821; Tri-
umph of Life, 1822.
JOHN KEATS, 1795-1821.
First volume, 1817; Endy-
mion, 1818; Lamia, Isa-
bella, Hyperion, Eve of St.
Agnes, and Odes, 1820.

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` TABULAR VIEW: 1837-1901

THE AGE OF VICTORIA

ALFRED TENNYSON, 1809-
1892. Poems, 1830-1832;
Poems, chiefly lyrical, 1842;
Princess, 1847; In Memo-
riam, 1850; Maud, 1855;
Enoch Arden, 1864; Idylls
of the King, 1842-1872;
Dramas, 1875-1892; Bal-]
lads, 1880; Tiresias, 1885;
Locksley Hall Sixty Years

ESSAYISTS, ETC.

NOVELISTS

THOMAS BABINGTON
MACAULAY, 1800-
1859. Essays,
1825 1844; His-
tory of England,
1849-1857.
THOMAS CARLYLE,
1795-1881. Sartor WILLIAM MAKEPEACE THACKERAY,
Resartus, 1833;|
French Revolu-
tion 1837; Char-
tism, 1839; He-
roes and Hero-
Worship, 1841;
Past and Present
1843; Cromwell,
1845; Life, of Ster-
ling, 1851; Fred-
erick the Great,
1858-1865.

BENJAMIN DISRAELI, 1804-1881. Vivian Grey,
1826; Henrietta Temple, 1837; Coningsby,
1844; Sybil, 1845; Tancred, 1847.

EDWARD BULWER-LYTTON, 1803-1873. Pel-
ham, 1828; Last Days of Pompeii, 1834;
Harold, 1848; Zanoni, 1842; The Caxtons,
1850; My Novel, 1853.

After, 1887; Demeter, 1889.
ROBERT BROWNING, 1812-
1889. Pauline, 1833; Par-
acelsus, 1835; Sordello,
1840; Pippa Passes, 1841;
Dramatic Lyrics, 1842; Blot
in the, 'Scutcheon, 1843;
Colombe's Birthday, 1844;
Dramatic Romances, 1845
Christmas Eve and Easter
Day, 1850; Men and Wom-MATTHEW
en, 1855; Dramatis Per-
sonæ, 1864; The Ring and
the Book, 1869; thirteen
later volumes, ending with
Asolando, 1889.

ARNOLD,
1888. Essays in
Criticism, 1865;
Celtic Literature,
1867; Culture and

1811

1863. Barry Lyndon, 1844; Vanity Fair,
1848; Pendennis, 1849-1850; Henry Es-
mond, 1852; The Newcomes, 1853-1855;
Essays English Humourists, 1851; The
Four Georges, 1855.

CHARLES DICKENS, 1812-1870. Pickwick Pa-
pers, 1837; Oliver Twist, 1838; Nicholas
Nickleby, 1839; Old Curiosity Shop, 1841;
Barnaby Rudge, 1841; Martin Chuzzlewit,
1844; Dombey and Son, 1848; David Cop-
perfield, 1850; Bleak House, 1853; Hard
Times, 1854; Little Dorrit, 1857; Tale of
Two Cities, 1859; Great Expectations, 1861;
Our Mutual Friend, 1865.

ANTHONY TROLLOPE, 1815-1882. The War-
den, 1855; Barchester Towers, 1857; Fram-
ley Parsonage, 1861; Last Chronicle of Bar-
set, 1867.

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