"Project Gutenberg's Halleck's New English Literature, by Reuben P. Halleck This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Halleck's New English Literature Author: Reuben P. Halleck Release Date: January 8, 2004 [EBook #10631] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK HALLECK'S NEW ENGLISH LITERATURE ***
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HALLECKS'S NEW ENGLISH LITERATURE by REUBEN POST HALLECK, M.A., LL.D. Author of "History of English Literature" and "History of American Literature" PREFACE In this _New English Literature_ the author endeavors to preserve the qualities that have caused his former _History of English Literature_ to be so widely used; namely, suggestiveness, clearness, organic unity, interest, and the power to awaken thought and to stimulate the student to further reading. The book furnishes a concise account of the history and growth of English literature from the earliest times to the present day. It lays special emphasis on literary movements, on the essential qualities that differentiate one period from another, and on the spirit that animates each age. Above all, the constant purpose has been to arouse in the student an enthusiastic desire to read the works of the authors discussed. Because of the author's belief in the guide-book function of a history of literature, he has spent much time and thought in preparing the unusually detailed _Suggested Readings_ that follow each chapter. It was necessary for several reasons to prepare a new book. Twentieth
century research has transformed the knowledge of the Elizabethan theater and has brought to light important new facts relating to the drama and to Shakespeare. The new social spirit has changed the critical viewpoint concerning authors as different as Wordsworth, Keats, Ruskin, Dickens, and Tennyson. Wordsworth's treatment of childhood, for instance, now requires an amount of space that would a short time ago have seemed disproportionate. Later Victorian writers, like Meredith, Hardy, Swinburne, and Kipling, can no longer be accorded the usual brief perfunctory treatment. Increased modern interest in contemporary life is also demanding some account of the literature already produced by the twentieth century. An entire chapter is devoted to showing how this new literature reveals the thought and ideals of this generation. Other special features of this new work are the suggestions and references for a literary trip through England, the historical introductions to the chapters, the careful treatment of the modern drama, the latest bibliography, and the new illustrations, some of which have been specially drawn for this work, while others have been taken from original paintings in the National Portrait Gallery, London, and elsewhere. The illustrations are the result of much individual research by the author during his travels in England. The greater part of this book was gradually fashioned in the classroom, during the long period that the author has taught this subject. Experience with his classes has proved to him the reasonableness of the modern demand that a textbook shall be definite and stimulating. The author desires to thank the large number of teachers who have aided him by their criticism. Miss Elizabeth Howard Spaulding and Miss Sarah E. Simons deserve special mention for valuable assistance. The entire treatment of Rudyard Kipling is the work of Miss Mary Brown Humphrey. The greater part of the chapter, _Twentieth-Century Literature_, was prepared by Miss Anna Blanche McGill. Some of the best and most difficult parts of the book were written by the author's wife. R.P.H. CONTENTS INTRODUCTION--LITERARY ENGLAND CHAPTERS: I. II. III. IV. V. VI. VII. FROM 449 A.D. TO THE NORMAN CONQUEST, 1066 FROM THE NORMAN CONQUEST, 1066, TO CHAUCER'S DEATH 1400 FROM CHAUCER'S DEATH 1400, TO THE ACCESSION OF ELIZABETH, 1558 THE AGE OF ELIZABETH 1558-1603 THE PURITAN AGE, 1603-1660 FROM THE RESTORATION, 1660, TO THE PUBLICATION OF PAMELA, 1740 THE SECOND FORTY YEARS OF THE EIGHTEENTH CENTURY, 1740-1780
VIII. IX. X.
THE AGE OF ROMANTICISM, 1780-1837 THE VICTORIAN AGE, 1837-1900 TWENTIETH-CENTURY LITERATURE
SUPPLEMENTARY LIST OF AUTHORS AND THEIR CHIEF WORKS INDEX LIST OF ILLUSTRATIONS: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. Woden. Exeter Cathedral. Anglo-Saxon Gleeman. (From the tapestry designed by H.A. Bone). Facsimile of beginning of Cotton MS. of Beowulf.(British Museum). Facsimile of Beginning of Junian MS. of Caedmon. Anglo-Saxon Musicians. (From illuminated MS., British Museum). The Beginning of Alfred's Laws. (From illuminated MS., British Museum). The Death of Harold at Hastings. (From the Bayeux tapestry). What Mandeville Saw. (From Edition of 1725). John Wycliffe. (From an old print). Treuthe's Pilgryme atte Plow. (From a MS. in Trinity College, Cambridge). Gower Hearing the Confession of a Lover. (From Egerton MS., British Museum). Geoffrey Chaucer. (From an old drawing in the MS. of Occleve's Poems, British Museum). Canterbury Cathedral. Pilgrims Leaving the Tabard Inn. (From Urry's Chaucer). Facsimile of Lines Describing the Franklyn. (From the Cambridge University MS.). Franklyn, Friar, Knight, Prioress, Squire, Clerk of Oxford. (From the Ellesmere MS.). Morris Dancers. (From MS. of Chaucer's Time). Henry VIII, giving Bibles to Clergy and Laity. (From frontispiece to Coverdale Bible). Book Illustration, Early Fifteenth Century. (British Museum). Facsimile of Caxton's Advertisement of his Books. (Bodleian Library, Oxford). Malory's _Morte d'Arthur_. (From DeWorde's Edition, 1529). Early Title Page of _Robin Hood_. (Copland Edition, 1550). William Tyndale. (From an old print). Sir Thomas Wyatt. (After Holbein). Facsimile of Queen Elizabeth's Signature. Sir Philip Sidney. (After the miniature by Isaac Oliver, Windsor Castle). Francis Bacon. (From the painting by Van Somer, National Portrait Gallery). Title page of _Bacon's Essays_, 1597. John Donne. (From the painting by Jansen, South Kensington Museum). Edmund Spenser. (From a painting in Dublin Castle). Miracle Play at Coventry. (From an old print). Hell Mouth in the Old Miracle Play. From a Columbia University
34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60. 61. 62. 63. 64. 65. 66. 67. 68. 69. 70. 71. 72. 73. 74. 75. 76. 77. 78. 79. 80.
Model. Fool's Head. Air-Bag Flapper and Lath Dagger. Fool of the Old Play. Thomas Sackville. Theater in Inn Yard. (From Columbia University model). Reconstructed Globe Theater, Earl's Court, London. The Bankside and its Theaters. (From the Hollar engraving, about 1620). Contemporary Drawing of Interior of an Elizabethan Theater. Marlowe's Memorial Statue at Canterbury. William Shakespeare. (From the Chandos portrait, National Portrait Gallery). Shakespeare's Birthplace. Stratford-on-Avon. Classroom in Stratford Grammar School. Anne Hathaway's Cottage, Shottery. View of Stratford-on-Avon. Inscription over Shakespeare's Tomb. Shakespeare--The D'Avenant Bust. (Discovered in 1845). Henry Irving as Hamlet. Ellen Terry as Lady Macbeth (From the painting by Sargent). Falstaff and his Page. (From a drawing by B. Westmacott). Ben Jonson. (From the portrait by Honthorst, National Portrait Gallery). Ben Jonson's Tomb in Westminster Abbey. Francis Beaumont. John Fletcher. Cromwell Dictating Dispatches to Milton. (From the painting by Ford Maddox Brown). Thomas Fuller. Izaak Walton. Jeremy Taylor. John Bunyan. (From the painting by Sadler, National Portrait Gallery). Bedford Bridge, Showing Gates and Jail. (From an old print). Bunyan's Dream. (From Fourth Edition _Pilgrim's Progress_, 1680). Woodcut from the First Edition of Mr. Badman. Robert Herrick. John Milton. (After a drawing by W. Faithorne, at Bayfordbury). John Milton, AEt. 10. Milton's Visit to Galileo in 1638. (From the painting by T. Lessi). Facsimile of Milton's Signature. 1663. Title Page to _Comus_, 1637. Milton's Motto from _Comus_, with Autograph, 1639. Milton Dictating _Paradise Lost_ to his Daughter. (From the painting by Munkacsy). Samuel Butler. John Dryden. (From the painting by Sir Godfrey Kneller, National Portrait Gallery). Birthplace of Dryden. (From a print). Daniel Defoe. (From a print by Vandergucht). Jonathan Swift. (From the painting by C. Jervas, National Portrait Gallery). Moor Park. (From a drawing). Swift and Stella. (From the painting by Dicksee). Joseph Addison. (From the painting by Sir Godfrey Kneller, National Portrait Gallery.)
81. Birthplace of Addison. 82. Richard Steele. 83. Sir Roger de Coverley in Church. (From a drawing by B. Westmacott). 84. Alexander Pope. (From the portrait by William Hoare). 85. Pope's Villa at Twickenham. (From an old print). 86. Rape of the Lock. (From a drawing by B. Westmacott). 87. Alexander Pope. (From a contemporary portrait). 88. Horace Walpole. 89. Thomas Gray. 90. Stoke Poges Churchyard. 91. A Blind Beggar Robbed of his Drink. (From a British Museum MS.) 92. Samuel Richardson. (From an original drawing). 93. Henry Fielding. (From the drawing by Hogarth). 94. Laurence Sterne. 95. Uncle Toby and Corporal Trim. (From a drawing by B. Westmacott). 96. Tobias Smollett. 97. Edward Gibbon. (From the painting by Sir Joshua Reynolds). 98. Edmund Burke. (From the painting by Sir Joshua Reynolds, National Portrait Gallery). 99. Oliver Goldsmith. (From the painting by Sir Joshua Reynolds, National Portrait Gallery). 100. Goldsmith and Dr. Johnson. (From a drawing by B. Westmacott). 101. Goldsmith's Lodgings, Canonbury Tower, London. 102. Dr. Primrose and his Family. (From a drawing by G. Patrick Nelson). 103. Samuel Johnson. (From the painting by Sir Joshua Reynolds). 104. Samuel Johnson's Birthplace. (From an old print). 105. James Boswell. 106. Cheshire Cheese Inn To-day. 107. Robert Southey. 108. Charles Lamb. (From a drawing by Maclise). 109. Bo-Bo and Roast Pig. (From a drawing by B. Westmacott). 110. William Cowper. (From the portrait by Sir Thomas Lawrence). 111. Cowper's cottage at Weston. 112. John Gilpin's Ride. (From a drawing by R. Caldecott). 113. Robert Burns. (From the painting by Nasmyth National Portrait Gallery). 114. Birthplace of Burns. 115. Burns and Highland Mary. (From the painting by James Archer). 116. Sir Walter Scott. (From the painting by William Nicholson). 117. Abbotsford, Home of Sir Walter Scott. 118. Scott's Grave in Dryburgh Abbey. 119. Loch Katrine and Ellen's Isle. 120. Walter Scott. (From a life sketch by Maclise). 121. Scott's Desk and "Elbow Chair" at Abbotsford. 122. Jane Austen. (From an original family portrait). 123. Jane Austen's Desk. 124. William Wordsworth. (From the portrait by B.R. Haydon). 125. Boy of Winander. (From the painting by H.O. Walker, Congressional Library). 126. Wordsworth's Home at Grasmere--Dove Cottage. 127. Grasmere Lake. 128. William Wordsworth. (From a sketch in _Fraser's Magazine_). 129. Rydal Mount near Ambleside. 130. Samuel Taylor Coleridge. (From a pencil sketch by C.R. Leslie). 131. Coleridge's Cottage at Nether-Stowey. 132. Coleridge as a Young Man. (From a sketch made in Germany).
133. 134. 135. 136. 137. 138. 139. 140. 141. 142. 143. 144. 145. 146. 147. 148. 149. 150. 151. 152. 153. 154. 155. 156. 157. 158. 159. 160. 161. 162. 163. 164. 165. 166. 167. 168. 169. 170. 171. 172. 173. 174. 175. 176. 177.
Lord Byron. (From a portrait by Kramer). Byron at Seventeen. (From a painting). Newstead Abbey, Byron's Home. Castle of Chillon. Byron's Home at Pisa. Percy Bysshe Shelley. (From the portrait by Amelia Curran, National Portrait Gallery). Shelley's Birthplace, Field Place. Grave of Shelley, Protestant Cemetery, Rome. Facsimile of Stanza from _To a Skylark_. John Keats. (From the painting by Hilton, National Portrait Gallery). Keats's Home, Wentworth Place. Grave of Keats, Rome. Facsimile of Original MS. of _Endymion_. Endymion. (From the painting by H.O. Walker, Congressional Library). Thomas de Quincy. (From the painting by Sir J.W. Gordon, National Portrait Gallery). Room in Dove Cottage. Charles Darwin. John Tyndall. Thomas Huxley. (From the painting by John Collier, National Portrait Gallery). Dante Gabriel Rossetti. (From the drawing by himself, National Portrait Gallery). Thomas Babington Macaulay. (From the painting by Sir. F. Grant, National Portrait Gallery). Cardinal Newman. (From the painting by Emmeline Deane). Thomas Carlyle. (From the painting by James McNeill Whistler). Craigenputtock. Mrs. Carlyle. (From a miniature portrait). John Ruskin. (From a photograph). Charles Dickens. (From a photograph taken in America, 1868). Dicken's Home, Gads Hill. Facsimile of MS. of _A Christmas Carol_. William Makepeace Thackeray. (From the painting by Samuel Laurence, National Portrait Gallery). Caricature of Thackeray by Himself. Thackeray's Home where _Vanity Fair_ was Written. George Eliot. (From a drawing by Sir F.W. Burton, National Portrait Gallery). George Eliot's Birthplace. Robert Louis Stevenson. (From a photograph). Stevenson as a Boy. Edinburgh Memorial of Robert Louis Stevenson. (By St. Gaudens). George Meredith. (From the painting by G.F. Watts, National Portrait Gallery). Thomas Hardy. (From the painting by Winifred Thompson). Max Gate. (The Home of Hardy). Matthew Arnold. (From the painting by G.F. Watts, National Portrait Gallery). Robert Browning. (From the painting by G.F. Watts, National Portrait Gallery). Elizabeth Barrett Browning. (From the painting by Field Talfourd, National Portrait Gallery). Facsimile of MS. from _Pippa Passes_. Alfred Tennyson. (From a photograph by Mayall).
178. Farringford. 179. Facsimile of MS. of _Crossing the Bar_. 180. Algernon Charles Swinburne. (From the painting by Dante Gabriel Rossetti). 181. Rudyard Kipling. (From the painting by John Collier). 182. Mowgli and his Brothers. (From _The Jungle Book_). 183. The Cat That Walked. (From Kipling's drawing for _Just-So Stories_). 184. Joseph Conrad. 185. Arnold Bennett. 186. John Galsworthy. 187. Herbert George Wells. 188. William Butler Yeats. 189. John Masefield. 190. Alfred Noyes. 191. Henry Arthur Jones. 192. Arthur Wing Pinero. 193. George Bernard Shaw. (From the bust by Rodin). 194. James Matthew Barrie. 195. Stephen Phillips. 196. Lady Gregory. 197. John Synge. [Illustration: LITERARY MAP OF ENGLAND] [Illustration: LITERARY MAP OF ENGLAND] NEW ENGLISH LITERATURE INTRODUCTION LITERARY ENGLAND Some knowledge of the homes and haunts of English authors is necessary for an understanding of their work. We feel in much closer touch with Shakespeare after merely reading about Stratford-on-Avon; but we seem to share his experiences when we actually walk from Stratford-on-Avon to Shottery and Warwick. The scenery and life of the Lake Country are reflected in Wordsworth's poetry. Ayr and the surrounding country throw a flood of light on the work of Burns. The streets of London are a commentary on the novels of Dickens. A journey to Canterbury aids us in recreating the life of Chaucer's Pilgrims. Much may be learned from a study of literary England. Whether one does or does not travel, such study is necessary. Those who hope at some time to visit England should acquire in advance as much knowledge as possible about the literary associations of the places to be visited; for when the opportunity for the trip finally comes, there is usually insufficient time for such preparation as will enable the traveler to derive the greatest enjoyment from a visit to the literary centers in which Great Britain abounds. Whenever an author is studied, his birthplace should be located on the literary map. Baedeker's _Great Britain_ will be indispensable in making an itinerary. The _Reference List for Literary England_ is sufficiently comprehensive to enable any one to plan an enjoyable literary pilgrimage through Great Britain and to learn the most important facts about the places connected with English authors.
The following suggestions from the author's experience are intended to serve merely as an illustration of how to begin an itinerary. The majority of east-bound steamships call at Plymouth, a good place to disembark for a literary trip. From Plymouth, the traveler may go to Exeter (a quaint old town with a fine cathedral, the home of _Exeter Book_,) thence by rail to Camelford in Cornwall and by coach four miles to the fascinating Tintagel (King Arthur), where, as Tennyson says in his _Idylls of the King_:-"All down the thundering shores of Bude and Bos, There came a day as still as heaven, and then They found a naked child upon the sands Of dark Tintagil by the Cornish sea, And that was Arthur." Next, the traveler may go by coach to Bude (of which Tennyson remarked, "I hear that there are larger waves at Bude than at any other place. I must go thither and be alone with God") and to unique Clovelly and Bideford (Kingsley), by rail to Ilfracombe, by coach to Lynton (Lorna Doone), and the adjacent Lynmouth (where Shelley passed some of his happiest days and alarmed the authorities by setting afloat bottles containing his _Declaration of Rights_), by coach to Minehead, by rail to Watchet, driving past Alfoxden (Wordsworth) to Nether-Stowey (Coleridge) and the Quantock Hills, by motor and rail to Glastonbury (Isle of Avalon, burial place of King Arthur and Queen Guinevere), by rail to Wells (cathedral), to Bath (many literary associations), to Bristol (Chatterton, Southey), to Gloucester (fine cathedral, tomb of Edward II), and to Ross, the starting point for a remarkable all day's row down the river Wye to Tintern Abbey (Wordsworth), stopping for dinner at Monmouth (Geoffrey of Monmouth). After a start similar to the foregoing, the traveler should begin to make an itinerary of his own. He will enjoy a trip more if he has a share in planning it. From Tintern Abbey he might proceed, for instance, to Stratford-on-Avon (Shakespeare); then to Warwick, Kenilworth, and the George Eliot Country in North Warwickshire and Staffordshire. Far natural beauty, there is nothing in England that is more delightful than a coaching trip through Wordsworth's Lake Country (Cumberland and Westmoreland). From there it is not far to the Carlyle Country (Ecclefechan, Craigenputtock), to the Burns Country (Dumfries, Ayr), and to the Scott Country (Loch Katrine, The Trossachs, Edinburgh, and Abbotsford). In Edinburgh, William Sharp's statement about Stevenson should be remembered, "One can, in a word, outline Stevenson's own country as all the region that on a clear day one may in the heart of Edinburgh descry from the Castle walls." If the traveler lands at Southampton, he is on the eastern edge of Thomas Hardy's Wessex, Dorchester in Dorsetshire being the center. The Jane Austen Country (Steventon, Chawton) is in Hampshire. To the east, in Surrey, is Burford Bridge near Dorking, where Keats wrote part of his _Endymion_, where George Meredith had his summer home, and where "the country of his poetry" is located. In London, it is a pleasure to trace some of the greatest literary associations in the world. We may stand at the corner of Monkwell and
Silver streets, on the site of a building in which Shakespeare wrote some of his greatest plays. Milton lived in the vicinity and is buried not far distant in St. Giles Church. In Westminster Abbey we find the graves of many of the greatest authors, from Chaucer to Tennyson. London is not only Dickens Land and Thackeray Land, but also the "Land" of many other writers. We may still eat in the Old Cheshire Cheese, where Johnson and Goldsmith dined. Those interested in literary England ought to include the cathedral towns in their itinerary, so that they may vis..."
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