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When I was honoured by the invitation to deliver this course of lectures, I did not accept without some hesitation. I am not qualified to speak with authority upon such subjects as have been treated by my predecessors—the course of political events or the growth of legal institutions. My attention has been chiefly paid to the history of literature, and it might be doubtful whether that study is properly included in the phrase 'historical.' Yet literature expresses men's thoughts and passions, which have, after all, a considerable influence upon their lives. The writer of a people's songs, as we are told, may even have a more powerful influence than the maker of their laws. He certainly reveals more directly the true springs of popular action. The truth has been admitted by many historians who are too much overwhelmed by state papers to find space for any extended application of the method. No one, I think, has shown more clearly how much light could be derived from this source than your Oxford historian J. R. Green, in some brilliant passages of his fascinating book. Moreover, if I may venture to speak of myself, my own interest in literature has always been closely connected with its philosophical and social significance. Literature may of course be studied simply for its own intrinsic merits. But it may also be regarded as one manifestation of what is called 'the spirit of the age.' I have, too, been much impressed by a further conclusion. No one doubts that the speculative movement affects the social and political—I think that less attention has been given to the reciprocal influence. The philosophy of a period is often treated as though it were the product of impartial and abstract investigation—something worked out by the great thinker in his study and developed by simple logical deductions from the positions established by his predecessors. To my mind, though I cannot now dwell upon the point, the philosophy of an age is in itself determined to a very great extent by the social position. It gives the solutions of the problems forced upon the reasoner by the practical conditions of his time. To understand why certain ideas become current, we have to consider not merely the ostensible logic but all the motives which led men to investigate the most pressing difficulties suggested by the social development. Obvious principles are always ready, like germs, to come to life when the congenial soil is provided. And what is true of the philosophy is equally, and perhaps more conspicuously, true of the artistic and literary embodiment of the dominant ideas which are correlated with the social movement.

A recognition of the general principle is implied in the change which has come over the methods of criticism. It has more and more adopted the historical attitude. Critics in an earlier day conceived their function to be judicial. They were administering a fixed code of laws applicable in all times and places. The true canons for dramatic or epic poetry, they held, had been laid down once for all by Aristotle or his commentators; and the duty of the critic was to consider whether the author had infringed or conformed to the established rules, and to pass sentence accordingly. I will not say that the modern critic has abandoned altogether that conception of his duty. He seems to me not infrequently to place himself on the judgment-seat with a touch of his old confidence, and to sentence poor authors with sufficient airs of infallibility. Sometimes, indeed, the reflection that he is representing not an invariable tradition but the last new æsthetic doctrine, seems even to give additional keenness to his opinions and to suggest no doubts of his infallibility. And yet there is a change in his position. He admits, or at any rate is logically bound to admit, the code which he administers requires modification in different times and places. The old critic spoke like the organ of an infallible Church, regarding all forms of art except his own as simply heretical. The modern critic speaks like the liberal theologian, who sees in heretical and heathen creeds an approximation to the truth, and admits that they may have a relative value, and even be the best fitted for the existing conditions. There are, undoubtedly, some principles of universal application; and the old critics often expounded them with admirable common-sense and force. But like general tenets of morality, they are apt to be commonplaces, whose specific application requires knowledge of concrete facts. When the critics assumed that the forms familiar to themselves were the only possible embodiments of those principles, and condemned all others as barbarous, they were led to pass judgments, such, for example, as Voltaire's view of Dante and Shakespeare, which strike us as strangely crude and unappreciative. The change in this, as in other departments of thought, means again that criticism, as Professor Courthope has said, must become thoroughly inductive. We must start from experience. We must begin by asking impartially what pleased men, and then inquire why it pleased them. We must not decide dogmatically that it ought to have pleased or displeased on the simple ground that it is or is not congenial to ourselves. As historical methods extend, the same change takes place in regard to political or economical or religious, as well as in regard to literary investigations. We can then become catholic enough to appreciate varying forms; and recognise that each has its own rules, right under certain conditions and appropriate within the given sphere. The great empire of literature, we may say, has many provinces. There is a 'law of nature' deducible from universal principles of reason which is applicable throughout, and enforces what may be called the cardinal virtues common to all forms of human expression. But subordinate to this, there is also a municipal law, varying in every province and determining the particular systems which are applicable to the different state of things existing in each region.

This method, again, when carried out, implies the necessary connection between the social and literary departments of history. The adequate criticism must be rooted in history. In some sense I am ready to admit that all criticism is a nuisance and a parasitic growth upon literature. The most fruitful reading is that in which we are submitting to a teacher and asking no questions as to the secret of his influence. Bunyan had no knowledge of the 'higher criticism'; he read into the Bible a great many dogmas which were not there, and accepted rather questionable historical data. But perhaps he felt some essential characteristics of the book more thoroughly than far more cultivated people. No critic can instil into a reader that spontaneous sympathy with the thoughts and emotions incarnated in the great masterpieces without which all reading is cold and valueless. In spite of all differences of dialect and costume, the great men can place themselves in spiritual contact with men of most distant races and periods. Art, we are told, is immortal. In other words, is unprogressive. The great imaginative creations have not been superseded. We go to the last new authorities for our science and our history, but the essential thoughts and emotions of human beings were incarnated long ago with unsurpassable clearness. When FitzGerald published his Omar Khayyäm, readers were surprised to find that an ancient Persian had given utterance to thoughts which we considered to be characteristic of our own day. They had no call to be surprised. The writer of the Book of Job had long before given the most forcible expression to thought which still moves our deepest feelings; and Greek poets had created unsurpassable utterance for moods common to all men in all ages.

'Still green with bays each ancient altar stands

Above the reach of sacrilegious hands,'

as Pope puts it; and when one remembers how through all the centuries the masters of thought and expression have appealed to men who knew nothing of criticism, higher or lower, one is tempted to doubt whether the critic be not an altogether superfluous phenomenon.

The critic, however, has become a necessity; and has, I fancy, his justification in his own sphere. Every great writer may be regarded in various aspects. He is, of course, an individual, and the critic may endeavour to give a psychological analysis of him; and to describe his intellectual and moral constitution and detect the secrets of his permanent influence without reference to the particular time and place of his appearance. That is an interesting problem when the materials are accessible. But every man is also an organ of the society in which he has been brought up. The material upon which he works is the whole complex of conceptions, religious, imaginative and ethical, which forms his mental atmosphere. That suggests problems for the historian of philosophy. He is also dependent upon what in modern phrase we call his 'environment'—the social structure of which he forms a part, and which gives a special direction to his passions and aspirations. That suggests problems for the historian of political and social institutions. Fully to appreciate any great writer, therefore, it is necessary to distinguish between the characteristics due to the individual with certain idiosyncrasies and the characteristics due to his special modification by the existing stage of social and intellectual development. In the earliest period the discrimination is impossible. Nobody, I suppose, not even if he be Provost of Oriel, can tell us much of the personal characteristics of the author—if there was an author—of the Iliad. He must remain for us a typical Greek of the heroic age; though even so, the attempt to realise the corresponding state of society may be of high value to an appreciation of the poetry. In later times we suffer from the opposite difficulty. Our descendants will be able to see the general characteristics of the Victorian age better than we, who unconsciously accept our own peculiarities, like the air we breathe, as mere matters of course. Meanwhile a Tennyson and a Browning strike us less as the organs of a society than by the idiosyncrasies which belong to them as individuals. But in the normal case, the relation of the two studies is obvious. Dante, for example, is profoundly interesting to the psychologist, considered simply as a human being. We are then interested by the astonishing imaginative intensity and intellectual power and the vivid personality of the man who still lives for us as he lived in the Italy of six centuries ago. But as all competent critics tell us, the Divina Commedia also reveals in the completest way the essential spirit of the Middle Ages. The two studies reciprocally enlighten each other. We know Dante and understand his position the more thoroughly as we know better the history of the political and ecclesiastical struggles in which he took part, and the philosophical doctrines which he accepted and interpreted; and conversely, we understand the period the better when we see how its beliefs and passions affected a man of abnormal genius and marked idiosyncrasy of character. The historical revelation is the more complete, precisely because Dante was not a commonplace or average person but a man of unique force, mental and moral. The remark may suggest what is the special value of the literary criticism or its bearing upon history. We may learn from many sources what was the current mythology of the day; and how ordinary people believed in devils and in a material hell lying just beneath our feet. The vision probably strikes us as repulsive and simply preposterous. If we proceed to ask what it meant and why it had so powerful a hold upon the men of the day, we may perhaps be innocent enough to apply to the accepted philosophers, especially to Aquinas, whose thoughts had been so thoroughly assimilated by the poet. No doubt that may suggest very interesting inquiries for the metaphysician; but we should find not only that the philosophy is very tough and very obsolete, and therefore very wearisome for any but the strongest intellectual appetites, but also that it does not really answer our question. The philosopher does not give us the reasons which determine men to believe, but the official justification of their beliefs which has been elaborated by the most acute and laborious dialecticians. The inquiry shows how a philosophical system can be hooked on to an imaginative conception of the universe; but it does not give the cause of the belief, only the way in which it can be more or less favourably combined with abstract logical principles. The great poet unconsciously reveals something more than the metaphysician. His poetry does not decay with the philosophy which it took for granted. We do not ask whether his reasoning be sound or false, but whether the vision be sublime or repulsive. It may be a little of both; but at any rate it is undeniably fascinating. That, I take it, is because the imagery which he creates may still be a symbol of thoughts and emotions which are as interesting now as they were six hundred years ago. This man of first-rate power shows us, therefore, what was the real charm of the accepted beliefs for him, and less consciously for others. He had no doubt that their truth could be proved by syllogising: but they really laid so powerful a grasp upon him because they could be made to express the hopes and fears, the loves and hatreds, the moral and political convictions which were dearest to him. When we see how the system could be turned to account by the most powerful imagination, we can understand better what it really meant for the commonplace and ignorant monks who accepted it as a mere matter of course. We begin to see what were the great forces really at work below the surface; and the issues which were being blindly worked out by the dumb agents who were quite unable to recognise their nature. If, in short, we wish to discover the secret of the great ecclesiastical and political struggles of the day, we should turn, not to the men in whose minds beliefs lie inert and instinctive, nor to the ostensible dialectics of the ostensible apologists and assailants, but to the great poet who shows how they were associated with the strongest passions and the most vehement convictions.

We may hold that the historian should confine himself to giving a record of the objective facts, which can be fully given in dates, statistics, and phenomena seen from outside. But if we allow ourselves to contemplate a philosophical history, which shall deal with the causes of events and aim at exhibiting the evolution of human society—and perhaps I ought to apologise for even suggesting that such an ideal could ever be realised—we should also see that the history of literature would be a subordinate element of the whole structure. The political, social, ecclesiastical, and economical factors, and their complex actions and reactions, would all have to be taken into account, the literary historian would be concerned with the ideas which find utterance through the poet and philosopher, and with the constitution of the class which at any time forms the literary organ of the society. The critic who deals with the individual work would find such knowledge necessary to a full appreciation of his subject; and, conversely, the appreciation would in some degree help the labourer in other departments of history to understand the nature of the forces which are governing the social development. However far we may be from such a consummation, and reluctant to indulge in the magniloquent language which it suggests, I imagine that a literary history is so far satisfactory as it takes the facts into consideration and regards literature, in the perhaps too pretentious phrase, as a particular function of the whole social organism. But I gladly descend from such lofty speculations to come to a few relevant details; and especially, to notice some of the obvious limitations which have in any case to be accepted.

And in the first place, when we try to be philosophical, we have a difficulty which besets us in political history. How much influence is to be attributed to the individual? Carlyle used to tell us in my youth that everything was due to the hero; that the whole course of human history depended upon your Cromwell or Frederick. Our scientific teachers are inclined to reply that no single person had much importance, and that an ideal history could omit all names of individuals. If, for example, Napoleon had been killed at the siege of Toulon, the only difference would have been that the dictator would have been called say Moreau. Possibly, but I cannot see that we can argue in the same way in literature. I see no reason to suppose that if Shakespeare had died prematurely, anybody else would have written Hamlet. There was, it is true, a butcher's boy at Stratford, who was thought by his townsmen to have been as clever a fellow as Shakespeare. We shall never know what we have lost by his premature death, and we certainly cannot argue that if Shakespeare had died, the butcher would have lived. It makes one tremble, says an ingenious critic, to reflect that Shakespeare and Cervantes were both liable to the measles at the same time. As we know they escaped, we need not make ourselves unhappy about the might-have-been; but the remark suggests how much the literary glory of any period depends upon one or two great names. Omit Cervantes and Shakespeare and Molière from Spanish, English, and French literature, and what a collapse of glory would follow! Had Shakespeare died, it is conceivable perhaps that some of the hyperboles which have been lavished upon him would have been bestowed on Marlowe and Ben Jonson. But, on the whole, I fancy that the minor lights of the Elizabethan drama have owed more to their contemporary than he owed to them; and that, if this central sun had been extinguished, the whole galaxy would have remained in comparative obscurity. Now, as we are utterly unable to say what are the conditions which produce a genius, or to point to any automatic machinery which could replace him in case of accident, we must agree that this is an element in the problem which is altogether beyond scientific investigation. The literary historian must be content with a humble position. Still, the Elizabethan stage would have existed had Shakespeare never written; and, moreover, its main outline would have been the same. If any man ever imitated and gave full utterance to the characteristic ideas of his contemporaries it was certainly Shakespeare; and nobody ever accepted more thoroughly the form of art which they worked out. So far, therefore, as the general conditions of the time led to the elaboration of this particular genus, we may study them independently and assign certain general causes. What Shakespeare did was to show more fully the way in which that form could be turned to account; and, without him, it would have been a far less interesting phenomenon. Even the greatest man has to live in his own century. The deepest thinker is not really—though we often use the phrase—in advance of his day so much as in the line along which advance takes place. The greatest poet does not write for a future generation in the sense of not writing for his own; it is only that in giving the fullest utterance to its thoughts and showing the deepest insight into their significance, he is therefore the most perfect type of its general mental attitude, and his work is an embodiment of the thoughts which are common to men of all generations.

When the critic began to perceive that many forms of art might be equally legitimate under different conditions, his first proceeding was to classify them in different schools. English poets, for example, were arranged by Pope and Gray as followers of Chaucer, Spenser, Donne, Dryden, and so forth; and, in later days, we have such literary genera as are indicated by the names classic and romantic or realist and idealist, covering characteristic tendencies of the various historical groups. The fact that literary productions fall into schools is of course obvious, and suggests the problem as to the cause of their rise and decline. Bagehot treats the question in his Physics and Politics. Why, he asks, did there arise a special literary school in the reign of Queen Anne—'a marked variety of human expression, producing what was then written and peculiar to it'? Some eminent writer, he replies, gets a start by a style congenial to the minds around him. Steele, a rough, vigorous, forward man, struck out the periodical essay; Addison, a wise, meditative man, improved and carried it to perfection. An unconscious mimicry is always producing countless echoes of an original writer. That, I take it, is undeniably true. Nobody can doubt that all authors are in some degree echoes, and that a vast majority are never anything else. But it does not answer why a particular form should be fruitful of echoes or, in Bagehot's words, be 'more congenial to the minds around.' Why did the Spectator suit one generation and the Rambler its successors? Are we incapable of giving any answer? Are changes in literary fashions enveloped in the same inscrutable mystery as changes in ladies' dresses? It is, and no doubt always will be, impossible to say why at one period garments should spread over a hoop and at another cling to the limbs. Is it equally impossible to say why the fashion of Pope should have been succeeded by the fashion of Wordsworth and Coleridge? If we were prepared to admit the doctrine of which I have spoken—the supreme importance of the individual—that would of course be all that could be said. Shakespeare's successors are explained as imitators of Shakespeare, and Shakespeare is explained by his 'genius' or, in other words, is inexplicable. If, on the other hand, Shakespeare's originality, whatever it may have been, was shown by his power of interpreting the thoughts of his own age, then we can learn something from studying the social and intellectual position of his contemporaries. Though the individual remains inexplicable, the general characteristics of the school to which he belongs may be tolerably intelligible; and some explanation is in fact suggested by such epithets, for example, as romantic and classical. For, whatever precisely they mean—and I confess to my mind the question of what they mean is often a very difficult one—they imply some general tendency which cannot be attributed to individual influence. When we endeavour to approach this problem of the rise and fall of literary schools, we see that it is a case of a phenomenon which is very often noticed and which we are more ready to explain in proportion to the share of youthful audacity which we are fortunate enough to possess.

In every form of artistic production, in painting and architecture, for example, schools arise; each of which seems to embody some kind of principle, and develops and afterwards decays, according to some mysterious law. It may resemble the animal species which is, somehow or other, developed and then stamped out in the struggle of existence by the growth of a form more appropriate to the new order. The epic poem, shall we say? is like the 'monstrous efts,' as Tennyson unkindly calls them, which were no doubt very estimable creatures in their day, but have somehow been unable to adapt themselves to recent geological epochs. Why men could build cathedrals in the Middle Ages, and why their power was lost instead of steadily developing like the art of engineering, is a problem which has occupied many writers, and of which I shall not attempt to offer a solution. That is the difference between artistic and scientific progress. A truth once discovered remains true and may form the nucleus of an independently interesting body of truths. But a special form of art flourishes only during a limited period, and when it decays and is succeeded by others, we cannot say that there is necessarily progress, only that for some reason or other the environment has become uncongenial. It is, of course, tempting to infer from the decay of an art that there must be a corresponding decay in the vitality and morality of the race. Ruskin, for example, always assumed in his most brilliant and incisive, but not very conclusive, arguments that men ceased to paint good pictures simply because they ceased to be good men. He did not proceed to prove that the moral decline really took place, and still less to show why it took place. But, without attacking these large problems, I shall be content to say that I do not see that any such sweeping conclusions can be made as to the kind of changes in literary forms with which we shall be concerned. That there is a close relation between the literature and the general social condition of a nation is my own contention. But the relation is hardly of this simple kind. Nations, it seems to me, have got on remarkably well, and made not only material but political and moral progress in the periods when they have written few books, and those bad ones; and, conversely, have produced some admirable literature while they were developing some very ugly tendencies. To say the truth, literature seems to me to be a kind of by-product. It occupies far too small a part in the whole activity of a nation, even of its intellectual activity, to serve as a complete indication of the many forces which are at work, or as an adequate moral barometer of the general moral state. The attempt to establish such a condition too closely, seems to me to lead to a good many very edifying but not the less fallacious conclusions.

The succession of literary species implies that some are always passing into the stage of 'survivals': and the most obvious course is to endeavour to associate them with the general philosophical movement. That suggests one obvious explanation of many literary developments. The great thriving times of literature have occurred when new intellectual horizons seemed to be suddenly opening upon the human intelligence; as when Bacon was taking his Pisgah sight of the promised land of science, and Shakespeare and Spenser were making new conquests in the world of the poetic imagination. A great intellectual shock was stimulating the parallel, though independent, outbursts of activity. The remark may suggest one reason for the decline as well as for the rise of the new genus. If, on the one hand, the man of genius is especially sensitive to the new ideas which are stirring the world, it is also necessary that he should be in sympathy with his hearers—that he should talk the language which they understand, and adopt the traditions, conventions, and symbols with which they are already more or less familiar. A generally accepted tradition is as essential as the impulse which comes from the influx of new ideas. But the happy balance which enables the new wine to be put into the old bottles is precarious and transitory. The new ideas as they develop may become paralysing to the imagery which they began by utilising. The legends of chivalry which Spenser turned to account became ridiculous in the next generation, and the mythology of Milton's great poem was incredible or revolting to his successors. The machinery, in the old phrase, of a poet becomes obsolete, though when he used it, it had vitality enough to be a vehicle for his ideas. The imitative tendency described by Bagehot clearly tends to preserve the old, as much as to facilitate the adoption of a new form. In fact, to create a really original and new form seems to exceed the power of any individual, and the greatest men must desire to speak to their own contemporaries. It is only by degrees that the inadequacy of the traditional form makes itself felt, and its successor has to be worked out by a series of tentative experiments. When a new style has established itself its representatives hold that the orthodoxy of the previous period was a gross superstition: and those who were condemned as heretics were really prophets of the true faith, not yet revealed. However that may be, I am content at present to say that in fact the development of new literary types is discontinuous, and implies a compromise between the two conditions which in literature correspond to conservatism and radicalism. The conservative work is apt to become a mere survival: while the radical may include much that has the crudity of an imperfect application of new principles. Another point may be briefly indicated. The growth of new forms is obviously connected not only with the intellectual development but with the social and political state of the nation, and there comes into close connection with other departments of history. Authors, so far as I have noticed, generally write with a view to being read. Moreover, the reading class is at most times a very small part of the population. A philosopher, I take it, might think himself unusually popular if his name were known to a hundredth part of the population. But even poets and novelists might sometimes be surprised if they could realise the small impression they make upon the mass of the population. There is, you know, a story of how Thackeray, when at the height of his reputation he stood for Oxford, found that his name was unknown even to highly respectable constituents. The author of Vanity Fair they observed, was named John Bunyan. At the present day the number of readers has, I presume, enormously increased; but authors who can reach the lower strata of the great lower pyramid, which widens so rapidly at its base, are few indeed. The characteristics of a literature correspond to the national characteristics, as embodied in the characteristics of a very small minority of the nation. Two centuries ago the reading part of the nation was mainly confined to London and to certain classes of society. The most important changes which have taken place have been closely connected with the social changes which have entirely altered the limits of the reading class; and with the changes of belief which have been cause and effect of the most conspicuous political changes. That is too obvious to require any further exposition. Briefly, in talking of literary changes, considered as implied in the whole social development, I shall have, first, to take note of the main intellectual characteristics of the period; and secondly, what changes took place in the audience to which men of letters addressed themselves, and how the gradual extension of the reading class affected the development of the literature addressed to them.

I hope and believe that I have said nothing original. I have certainly only been attempting to express the views which are accepted, in their general outline at least, by historians, whether of the political or literary kind. They have often been applied very forcibly to the various literary developments, and, by way of preface to my own special topic, I will venture to recall one chapter of literary history which may serve to illustrate what I have already said, and which has a bearing upon what I shall have to say hereafter.

One of the topics upon which the newer methods of criticism first displayed their power was the school of the Elizabethan dramatists. Many of the earlier critics wrote like lovers or enthusiasts who exalted the merits of some of the old playwrights beyond our sober judgments, and were inclined to ignore the merits of other forms of the art. But we have come to recognise that the Elizabethans had their faults, and that the best apology for their weaknesses as well as the best explanation of their merits was to be found in a clearer appreciation of the whole conditions. It is impossible of course to overlook the connection between that great outburst of literary activity and the general movement of the time; of the period when many impulses were breaking up the old intellectual stagnation, and when the national spirit which took the great Queen for its representative was finding leaders in the Burleighs and Raleighs and Drakes. The connection is emphasised by the singular brevity of the literary efflorescence. Marlowe's Tamburlaine heralded its approach on the eve of the Spanish Armada: Shakespeare, to whom the lead speedily fell, had shown his highest power in Henry IV. and Hamlet before the accession of James I.: his great tragedies Othello, Macbeth and Lear were produced in the next two or three years; and by that time, Ben Jonson had done his best work. When Shakespeare retired in 1611, Chapman and Webster, two of the most brilliant of his rivals, had also done their best; and Fletcher inherited the dramatic throne. On his death in 1625, Massinger and Ford and other minor luminaries were still at work; but the great period had passed. It had begun with the repulse of the Armada and culminated some fifteen years later. If in some minor respects there may afterwards have been an advance, the spontaneous vigour had declined and deliberate attempts to be striking had taken the place of the old audacity. There can be no more remarkable instance of a curious phenomenon, of a volcanic outburst of literary energy which begins and reaches its highest intensity while a man is passing from youth to middle age, and then begins to decay and exhaust itself within a generation.

A popular view used to throw the responsibility upon the wicked Puritans who used their power to close the theatres. We entered the 'prison-house' of Puritanism says Matthew Arnold, I think, and stayed there for a couple of centuries. If so, the gaolers must have had some difficulty, for the Puritan (in the narrower sense, of course) has always been in a small and unpopular minority. But it is also plain that the decay had begun when the Puritan was the victim instead of the inflictor of persecution. When we note the synchronism between the political and the literary movement our conception of the true nature of the change has to be modified. The accession of James marks the time at which the struggle between the court and the popular party was beginning to develop itself: when the monarchy and its adherents cease to represent the strongest current of national feeling, and the bulk of the most vigorous and progressive classes have become alienated and are developing the conditions and passions which produced the civil war. The genuine Puritans are still an exception; they only form the left wing, the most thorough-going opponents of the court-policy; and their triumph afterwards is only due to the causes which in a revolution give the advantage to the uncompromising partisans, though their special creed is always regarded with aversion by a majority. But for the time, they are the van of the party which, for whatever reason, is gathering strength and embodying the main political and ecclesiastical impulses of the time. The stage, again, had been from the first essentially aristocratic: it depended upon the court and the nobility and their adherents, and was hostile both to the Puritans and to the whole class in which the Puritan found a congenial element. So long, as in Elizabeth's time, as the class which supported the stage also represented the strongest aspirations of the period, and a marked national sentiment, the drama could embody a marked national sentiment. When the unity was broken up and the court is opposed to the strongest current of political sentiment, the players still adhere to their patron. The drama comes to represent a tone of thought, a social stratum, which, instead of leading, is getting more and more opposed to the great bulk of the most vigorous elements of the society. The stage is ceasing to be a truly national organ, and begins to suit itself to the tastes of the unprincipled and servile courtiers, who, if they are not more immoral than their predecessors, are without the old heroic touch which ennobled even the audacious and unscrupulous adventurers of the Armada period. That is to say, the change is beginning which became palpable in the Restoration time, when the stage became simply the melancholy dependent upon the court of Charles II., and faithfully reflected the peculiar morality of the small circle over which it presided. Without taking into account this process by which the organ of the nation gradually became transformed into the organ of the class which was entirely alienated from the general body of the nation, it is, I think, impossible to understand clearly the transformation of the drama. It illustrates the necessity of accounting for the literary movement, not only by intellectual and general causes, but by noting how special social developments radically alter the relation of any particular literary genus to the general national movement. I shall soon have to refer to the case again.

I have now only to say briefly what I propose to attempt in these lectures. The literary history, as I conceive it, is an account of one strand, so to speak, in a very complex tissue: it is connected with the intellectual and social development; it represents movements of thought which may sometimes check and be sometimes propitious to the existing forms of art; it is the utterance of a class which may represent, or fail to represent, the main national movement; it is affected more or less directly by all manner of religious, political, social, and economical changes; and it is dependent upon the occurrence of individual genius for which we cannot even profess to account. I propose to take the history of English literature in the eighteenth century. I do not aim at originality: I take for granted the ordinary critical judgments upon the great writers of whom so much has been said by judges certainly more competent than myself, and shall recall the same facts both of ordinary history and of the history of thought. What I hope is, that by bringing familiar facts together I may be able to bring out the nature of the connection between them; and, little as I can say that will be at all new, to illustrate one point of view, which, as I believe, it is desirable that literary histories should take into account more distinctly than they have generally done.