still be proud of this daughter, who played no small part in developing the whole modern novel of manners.

Susan Edmonstone Ferrier (1782-1854) was the least important of the three. A personal friend of Scott's, she rather shared than was indebted

Miss Ferrier. to his inspiration. Her three novels, Marriage (1818), The Inheritance (1824), and Destiny (1831), might so far as dates go belong to Scott's school. But dates mislead, as in Miss Austen's case; Marriage was on the stocks before Waverley appeared, and Miss Ferrier distinctly "drank in her own glass." Her style is lively, but her field narrow. There is more tendency to caricature, less verisimilitude, than with Scott. Her plots are little to boast of; she excels rather in dialogue and character-sketches. Her Scots gentlewomen of the old school are vividly drawn, if with too free a brush; they stand out from the page as though painted by Wilkie. Perhaps, however, her chief value is making a foil to Scott, illustrating the conditions which lay to his hand. Had he been other than he was, his books might have been on the scale of Miss Ferrier's.

Apart from this trio, it should be remembered that though Fanny Burney (1752-1840), William Other con- Godwin (1756-1836), and Mrs Radcliffe temporaries. (1764-1823) still lived and published, their novels belong to a period quite before ours. The two Miss Porters, Jane (1776-1850) and Anna Maria (1780-1832), both wrote on steadily, but never came near the success which had attended the former's Thaddeus of Warsaw (1803) and Scottish Chiefs (1810)

Mrs Brunton (1778-1818) may be called a more amateur Miss Ferrier, partly anticipating and partly contemporary with Scott. Her first novel, Self-control, appeared in 1810; Discipline (1814), with its Highland pictures, was actually being written when Waverley took the world by storm. During the rest of her short life she refrained from publication. Lady Morgan (1780-1859) did nothing after 1810 so good as the Wild Irish Girl (1801). None of these writers, therefore, can be thought of for a moment as competitors with or rivals of Scott.

More capable of such emulation, and better entitled than even Scott to be called the father of the "Scottish novel," was John Galt (1779-1839).

Galt. His racy descriptions of Scots lower-class life, and phonographic accuracy in reproducing its dialect, have never been surpassed. The Ayrshire Legatees (1820) and Annals of the Parish (1821) first revealed his power; the latter is said to have been begun in 1813. To these followed rapidly in the same vein Sir Andrew Wylie, The Entail, The Steamboat, The Provost; while Ringan Gilhaize, The Omen, and others were historical stories of a different class, and decidedly less successful. After this he went to Canada on business, and though he lived for ten years after his return produced little of importance. 1821 to 1826 saw his best work done, and the best of it stands very high. It may be doubted if Galt has ever had full justice done him, as the originator of what is now opprobriously called the "Kailyard School." But his significance belongs to "another

story" than ours. It is sufficient here to note him as contemporary with Scott, and, though eight years younger, independent of origin, though later no doubt influenced by his example.

Galt left no school, his most notable follower being David Macbeth Moir (1798-1851), poet and proseImmediate writer, the "Delta" of Blackwood's Magafollowers. zine, in whose pages appeared Mansie Wauch (completed in book form, 1828), Moir's best work, and worthy of Galt. Otherwise the novel of provincialism and dialect was for long little worked. Scott had started the historical novel on new lines, and fashion followed his lead. Yet it was curiously long before any worthy successor appeared. It seems as if the completeness of his success daunted rivalry. Avowed imitations, and even suppositious Waverley novels, were not wanting, of interest only to the curious student. But direct descendant, rightful heir of Scott's throne, there came none. It was different abroad. Dumas and Victor Hugo and Manzoni take up Scott's inheritance, wield his magic wand with original strength. At home, English literature was in the dulness of a transition period, in prose fiction as in verse. Some names, however, deserve passing note.

Horace Smith, Morier, Peacock, Hook, Michael Scott, and Marryat were all slightly junior to Galt. They developed the novel sometimes on independent lines, more often with specialism only of place and circumstance. Hook's lively but now scarcely readable volumes gave more hints than is commonly

acknowledged to both Dickens and Thackeray. Morier's Hajji Baba (1824), Scott's Tom Cringle's Log (1829-33), and the best of Marryat's stories—such as Peter Simple (1833) and Midshipman Easy (1834)— are classics in their way, and to Marryat in particular belongs the credit of making sea-life real, a task only essayed before in some sketches by Smollett. Peacock cultivated a field of his own. The four early novels— Headlong Hall (1816), Nightmare Abbey (1818), Maid Marian (1822), and Crotchet Castle (1831),1—with the much later Gryll Grange (1860), constitute a genre of their own, but had little effect on the literary current of his time. Side by side with these, Lady Blessington and Mrs Gore wrote "society novels" of limited scope, and Charles Robert Maturin continued the "tale of terror," of which Mrs Shelley's Frankenstein (1816), however, forms a more striking if solitary example. The mine of Irish story was worked energetically by Crofton Croker, Banim, Carleton, and Lover, developing on tolerably similar lines Miss Edgeworth's original suggestion. And The Subaltern (1825) of George Robert Gleig, a tale of the Peninsular War, is noteworthy as an early instance of the novel of military adventure.

All the writers that have been named hitherto were born in the Eighteenth Century. Their intellectual Influences other growth was therefore to some extent synchronous with the movement which forms our subject. It is different with the next generation.

than fiction.

1 Melincourt (1817) and The Misfortunes of Elphin (1829) stand somewhat apart from these.

Taking the year 1825 as the earliest date by which a writer born in the present Century could have attained full development, it is clear that he or she came to maturity in a world where the Romantic Triumph was already fully achieved. To such it was no longer a revolutionary movement but an accepted creed; questioning and reaction naturally followed. Before, therefore, going on to the great names that come later, it may be well to ask what other influences, outside of pure fiction, went to the completing of this triumph, and to the perfecting of English prose. However mighty and far-reaching Scott's work, it did not stand by any means alone. In pure fiction he was master, but in mixed letters other remarkable forces combined to operate.

concern.

Journals.

With journalism proper we have only limited Yet it should be remembered that Coleridge, Campbell, and others worked for newspapers, as Southey for magazines. Literature began to invade the news-letter. A development which has only culminated in recent days-if it have indeed reached its climax-was already making its humble start. But it is to the monthly magazine rather than the daily newspaper that we must look for literary inspiration during this period. The older magazines had been mere reviews. Even early numbers of the Edinburgh Review (founded 1802) and Quarterly Review (1809) were but faintly superior to the Monthly Magazine and Critical Review of older days. It is not till Blackwood's Magazine made its