Literary Taste: How To Form It Part 2

CHAPTER VIII

SYSTEM IN HEADING

You have now definitely set sail on the sea of literature. You are afloat, and your anchor is up. I think I have given adequate warning of the dangers and disappointments which await the unwary and the sanguine. The enterprise in which you are engaged is not facile, nor is it short. I think I have sufficiently predicted that you will have your hours of woe, during which you may be inclined to send to perdition all writers, together with the inventor of printing. But if you have become really friendly with Lamb; if you know Lamb, or even half of him; if you have formed an image of him in your mind, and can, as it were, hear him brilliantly stuttering while you read his essays or letters, then certainly you are in a fit condition to proceed and you want to know in which direction you are to proceed. Yes, I have caught your terrified and protesting whisper: "I hope to heaven he isn't going to prescribe a Course of English Literature, because I feel I shall never be able to do it!" I am not. If your object in life was to be a University Extension Lecturer in English literature, then I should prescribe something drastic and desolating. But as your object, so far as I am concerned, is simply to obtain the highest and most tonic form of artistic pleasure of which you are capable, I shall not prescribe any regular course. Nay, I shall venture to dissuade you from any regular course. No man, and a.s.suredly no beginner, can possibly pursue a historical course of literature without wasting a lot of weary time in acquiring mere knowledge which will yield neither pleasure nor advantage. In the choice of reading the individual must count; caprice must count, for caprice is often the truest index to the individuality. Stand defiantly on your own feet, and do not excuse yourself to yourself. You do not exist in order to honour literature by becoming an encyclopaedia of literature. Literature exists for your service. Wherever you happen to be, that, for you, is the centre of literature.

Still, for your own sake you must confine yourself for a long time to recognised cla.s.sics, for reasons already explained. And though you should not follow a course, you must have a system or principle. Your native sagacity will tell you that caprice, left quite unfettered, will end by being quite ridiculous. The system which I recommend is embodied in this counsel: Let one thing lead to another. In the sea of literature every part communicates with every other part; there are no land-locked lakes. It was with an eye to this system that I originally recommended you to start with Lamb. Lamb, if you are his intimate, has already brought you into relations with a number of other prominent writers with whom you can in turn be intimate, and who will be particularly useful to you. Among these are Wordsworth, Coleridge, Southey, Hazlitt, and Leigh Hunt. You cannot know Lamb without knowing these men, and some of them are of the highest importance. From the circle of Lamb's own work you may go off at a tangent at various points, according to your inclination. If, for instance, you are drawn towards poetry, you cannot, in all English literature, make a better start than with Wordsworth. And Wordsworth will send you backwards to a comprehension of the poets against whose influence Wordsworth fought. When you have understood Wordsworth's and Coleridge's _Lyrical Ballads_, and Wordsworth's defence of them, you will be in a position to judge poetry in general. If, again, your mind hankers after an earlier and more romantic literature, Lamb's _Specimens of English Dramatic Poets Contemporary with Shakspere_ has already, in an enchanting fashion, piloted you into a vast gulf of "the sea which is Shakspere."

Again, in Hazlitt and Leigh Hunt you will discover essayists inferior only to Lamb himself, and critics perhaps not inferior. Hazlitt is unsurpa.s.sed as a critic. His judgments are convincing and his enthusiasm of the most catching nature. Having arrived at Hazlitt or Leigh Hunt, you can branch off once more at any one of ten thousand points into still wider circles. And thus you may continue up and down the centuries as far as you like, yea, even to Chaucer. If you chance to read Hazlitt on _Chaucer and Spenser_, you will probably put your hat on instantly and go out and buy these authors; such is his communicating fire! I need not particularise further. Commencing with Lamb, and allowing one thing to lead to another, you cannot fail to be more and more impressed by the peculiar suitability to your needs of the Lamb entourage and the Lamb period. For Lamb lived in a time of universal rebirth in English literature. Wordsworth and Coleridge were re-creating poetry; Scott was re-creating the novel; Lamb was re-creating the human doc.u.ment; and Hazlitt, Coleridge, Leigh Hunt, and others were re-creating criticism. Sparks are flying all about the place, and it will be not less than a miracle if something combustible and indestructible in you does not take fire.

I have only one cautionary word to utter. You may be saying to yourself: "So long as I stick to cla.s.sics I cannot go wrong." You can go wrong. You can, while reading naught but very fine stuff, commit the grave error of reading too much of one kind of stuff. Now there are two kinds, and only two kinds. These two kinds are not prose and poetry, nor are they divided the one from the other by any differences of form or of subject. They are the inspiring kind and the informing kind. No other genuine division exists in literature. Emerson, I think, first clearly stated it. His terms were the literature of "power" and the literature of "knowledge." In nearly all great literature the two qualities are to be found in company, but one usually predominates over the other. An example of the exclusively inspiring kind is Coleridge's _Kubla Khan_. I cannot recall any first-cla.s.s example of the purely informing kind. The nearest approach to it that I can name is Spencer's _First Principles_, which, however, is at least once highly inspiring. An example in which the inspiring quality predominates is _Ivanhoe_; and an example in which the informing quality predominates is Hazlitt's essays on Shakespeare's characters. You must avoid giving undue preference to the kind in which the inspiring quality predominates or to the kind in which the informing quality predominates. Too much of the one is enervating; too much of the other is desiccating. If you stick exclusively to the one you may become a mere debauchee of the emotions; if you stick exclusively to the other you may cease to live in any full sense. I do not say that you should hold the balance exactly even between the two kinds. Your taste will come into the scale. What I say is that neither kind must be neglected.

Lamb is an instance of a great writer whom anybody can understand and whom a majority of those who interest themselves in literature can more or less appreciate. He makes no excessive demand either on the intellect or on the faculty of sympathetic emotion. On both sides of Lamb, however, there lie literatures more difficult, more recondite.

The "knowledge" side need not detain us here; it can be mastered by concentration and perseverance. But the "power" side, which comprises the supreme productions of genius, demands special consideration.

You may have arrived at the point of keenly enjoying Lamb and yet be entirely unable to "see anything in" such writings as _Kubla Khan_ or Milton's _Comus_; and as for _Hamlet_ you may see nothing in it but a sanguinary tale "full of quotations." Nevertheless it is the supreme productions which are capable of yielding the supreme pleasures, and which _will_ yield the supreme pleasures when the pa.s.s-key to them has been acquired. This pa.s.s-key is a comprehension of the nature of poetry.

CHAPTER IX

VERSE

There is a word, a "name of fear," which rouses terror in the heart of the vast educated majority of the English-speaking race. The most valiant will fly at the mere utterance of that word. The most broad-minded will put their backs up against it. The most rash will not dare to affront it. I myself have seen it empty buildings that had been full; and I know that it will scatter a crowd more quickly than a hose-pipe, hornets, or the rumour of plague. Even to murmur it is to incur solitude, probably disdain, and possibly starvation, as historical examples show. That word is "poetry."

The profound objection of the average man to poetry can scarcely be exaggerated. And when I say the average man, I do not mean the "average sensual man"--any man who gets on to the top of the omnibus; I mean the average lettered man, the average man who does care a little for books and enjoys reading, and knows the cla.s.sics by name and the popular writers by having read them. I am convinced that not one man in ten who reads, reads poetry--at any rate, knowingly. I am convinced, further, that not one man in ten who goes so far as knowingly to _buy_ poetry ever reads it. You will find everywhere men who read very widely in prose, but who will say quite callously, "No, I never read poetry." If the sales of modern poetry, distinctly labelled as such, were to cease entirely to-morrow not a publisher would fail; scarcely a publisher would be affected; and not a poet would die--for I do not believe that a single modern English poet is living to-day on the current proceeds of his verse. For a country which possesses the greatest poetical literature in the world this condition of affairs is at least odd. What makes it odder is that, occasionally, very occasionally, the average lettered man will have a fit of idolatry for a fine poet, buying his books in tens of thousands, and bestowing upon him immense riches. As with Tennyson.

And what makes it odder still is that, after all, the average lettered man does not truly dislike poetry; he only dislikes it when it takes a certain form. He will read poetry and enjoy it, provided he is not aware that it is poetry. Poetry can exist authentically either in prose or in verse. Give him poetry concealed in prose and there is a chance that, taken off his guard, he will appreciate it. But show him a page of verse, and he will be ready to send for a policeman. The reason of this is that, though poetry may come to pa.s.s either in prose or in verse, it does actually happen far more frequently in verse than in prose; nearly all the very greatest poetry is in verse; verse is identified with the very greatest poetry, and the very greatest poetry can only be understood and savoured by people who have put themselves through a considerable mental discipline. To others it is an exasperating weariness. Hence chiefly the fearful prejudice of the average lettered man against the mere form of verse.

The formation of literary taste cannot be completed until that prejudice has been conquered. My very difficult task is to suggest a method of conquering it. I address myself exclusively to the large cla.s.s of people who, if they are honest, will declare that, while they enjoy novels, essays, and history, they cannot "stand" verse. The case is extremely delicate, like all nervous cases. It is useless to employ the arts of reasoning, for the matter has got beyond logic; it is instinctive. Perfectly futile to a.s.sure you that verse will yield a higher percentage of pleasure than prose! You will reply: "We believe you, but that doesn't help us." Therefore I shall not argue. I shall venture to prescribe a curative treatment (doctors do not argue); and I beg you to follow it exactly, keeping your nerve and your calm. Loss of self-control might lead to panic, and panic would be fatal.

First: Forget as completely as you can all your present notions about the nature of verse and poetry. Take a sponge and wipe the slate of your mind. In particular, do not hara.s.s yourself by thoughts of metre and verse forms. Second: Read William Hazlitt's essay "On Poetry in General." This essay is the first in the book ent.i.tled _Lectures on the English Poets_. It can be bought in various forms. I think the cheapest satisfactory edition is in Routledge's "New Universal Library" (price 1s. net). I might have composed an essay of my own on the real harmless nature of poetry in general, but it could only have been an echo and a deterioration of Hazlitt's. He has put the truth about poetry in a way as interesting, clear, and rea.s.suring as anyone is ever likely to put it. I do not expect, however, that you will instantly gather the full message and enthusiasm of the essay. It will probably seem to you not to "hang together." Still, it will leave bright bits of ideas in your mind. Third: After a week's interval read the essay again. On a second perusal it will appear more persuasive to you.

Fourth: Open the Bible and read the fortieth chapter of Isaiah. It is the chapter which begins, "Comfort ye, comfort ye, my people," and ends, "They shall run and not be weary, and they shall walk and not faint." This chapter will doubtless be more or less familiar to you.

It cannot fail (whatever your particular _ism_) to impress you, to generate in your mind sensations which you recognise to be of a lofty and unusual order, and which you will admit to be pleasurable. You will probably agree that the result of reading this chapter (even if your particular _ism_ is opposed to its authority) is finer than the result of reading a short story in a magazine or even an essay by Charles Lamb. Now the pleasurable sensations induced by the fortieth chapter of Isaiah are among the sensations usually induced by high-cla.s.s poetry. The writer of it was a very great poet, and what he wrote is a very great poem. Fifth: After having read it, go back to Hazlitt, and see if you can find anything in Hazlitt's lecture which throws light on the psychology of your own emotions upon reading Isaiah.

Sixth: The next step is into unmistakable verse. It is to read one of Wordsworth's short narrative poems, _The Brothers_. There are editions of Wordsworth at a shilling, but I should advise the "Golden Treasury"

Wordsworth (2s. 6d. net), because it contains the famous essay by Matthew Arnold, who made the selection. I want you to read this poem aloud. You will probably have to hide yourself somewhere in order to do so, for, of course, you would not, as yet, care to be overheard spouting poetry. Be good enough to forget that _The Brothers_ is poetry. _The Brothers_ is a short story, with a plain, clear plot.

Read it as such. Read it simply for the story. It is very important at this critical stage that you should not embarra.s.s your mind with preoccupations as to the _form_ in which Wordsworth has told his story. Wordsworth's object was to tell a story as well as he could: just that. In reading aloud do not pay any more attention to the metre than you feel naturally inclined to pay. After a few lines the metre will present itself to you. Do not worry as to what kind of metre it is. When you have finished the perusal, examine your sensations....

Your sensations after reading this poem, and perhaps one or two other narrative poems of Wordsworth, such as _Michael_, will be different from the sensations produced in you by reading an ordinary, or even a very extraordinary, short story in prose. They may not be so sharp, so clear and piquant, but they will probably be, in their mysteriousness and their vagueness, more impressive. I do not say that they will be diverting. I do not go so far as to say that they will strike you as pleasing sensations. (Be it remembered that I am addressing myself to an imaginary tyro in poetry.) I would qualify them as being "disturbing." Well, to disturb the spirit is one of the greatest aims of art. And a disturbance of spirit is one of the finest pleasures that a highly-organised man can enjoy. But this truth can only be really learnt by the repet.i.tions of experience. As an aid to the more exhaustive examination of your feelings under Wordsworth, in order that you may better understand what he was trying to effect in you, and the means which he employed, I must direct you to Wordsworth himself. Wordsworth, in addition to being a poet, was unsurpa.s.sed as a critic of poetry. What Hazlitt does for poetry in the way of creating enthusiasm Wordsworth does in the way of philosophic explanation. And Wordsworth's explanations of the theory and practice of poetry are written for the plain man. They pa.s.s the comprehension of n.o.body, and their direct, una.s.suming, and calm simplicity is extremely persuasive.

Wordsworth's chief essays in throwing light on himself are the "Advertis.e.m.e.nt," "Preface," and "Appendix" to _Lyrical Ballads_; the letters to Lady Beaumont and "the Friend" and the "Preface" to the Poems dated 1815. All this matter is strangely interesting and of immense educational value. It is the first-cla.s.s expert talking at ease about his subject. The essays relating to _Lyrical Ballads_ will be the most useful for you. You will discover these precious doc.u.ments in a volume ent.i.tled _Wordsworth's Literary Criticism_ (published by Henry Frowde, 2s. 6d.), edited by that distinguished Wordsworthian Mr. Nowell C. Smith. It is essential that the student of poetry should become possessed, honestly or dishonestly, either of this volume or of the matter which it contains. There is, by the way, a volume of Wordsworth's prose in the Scott Library (1s.). Those who have not read Wordsworth on poetry can have no idea of the nave charm and the helpful radiance of his expounding. I feel that I cannot too strongly press Wordsworth's criticism upon you.

Between Wordsworth and Hazlitt you will learn all that it behoves you to know of the nature, the aims, and the results of poetry. It is no part of my scheme to dot the "i's" and cross the "t's" of Wordsworth and Hazlitt. I best fulfil my purpose in urgently referring you to them. I have only a single point of my own to make--a psychological detail. One of the main obstacles to the cultivation of poetry in the average sensible man is an absurdly inflated notion of the ridiculous.

At the bottom of that man's mind is the idea that poetry is "silly."

He also finds it exaggerated and artificial; but these two accusations against poetry can be satisfactorily answered. The charge of silliness, of being ridiculous, however, cannot be refuted by argument. There is no logical answer to a guffaw. This sense of the ridiculous is merely a bad, infantile habit, in itself grotesquely ridiculous. You may see it particularly in the theatre. Not the greatest dramatist, not the greatest composer, not the greatest actor can prevent an audience from laughing uproariously at a tragic moment if a cat walks across the stage. But why ruin the scene by laughter?

Simply because the majority of any audience is artistically childish.

This sense of the ridiculous can only be crushed by the exercise of moral force. It can only be cowed. If you are inclined to laugh when a poet expresses himself more powerfully than you express yourself, when a poet talks about feelings which are not usually mentioned in daily papers, when a poet uses words and images which lie outside your vocabulary and range of thought, then you had better take yourself in hand. You have to decide whether you will be on the side of the angels or on the side of the nincomp.o.o.ps. There is no surer sign of imperfect development than the impulse to sn.i.g.g.e.r at what is unusual, nave, or exuberant. And if you choose to do so, you can detect the cat walking across the stage in the sublimest pa.s.sages of literature. But more advanced souls will grieve for you.

The study of Wordsworth's criticism makes the seventh step in my course of treatment. The eighth is to return to those poems of Wordsworth's which you have already perused, and read them again in the full light of the author's defence and explanation. Read as much Wordsworth as you find you can a.s.similate, but do not attempt either of his long poems. The time, however, is now come for a long poem.

I began by advising narrative poetry for the neophyte, and I shall persevere with the prescription. I mean narrative poetry in the restricted sense; for epic poetry is narrative. _Paradise Lost_ is narrative; so is _The Prelude_. I suggest neither of these great works. My choice falls on Elizabeth Browning's _Aurora Leigh_. If you once work yourself "into" this poem, interesting yourself primarily (as with Wordsworth) in the events of the story, and not allowing yourself to be obsessed by the fact that what you are reading is "poetry"--if you do this, you are not likely to leave it unfinished.

And before you reach the end you will have encountered _en route_ pretty nearly all the moods of poetry that exist: tragic, humorous, ironic, elegiac, lyric--everything. You will have a comprehensive acquaintance with a poet's mind. I guarantee that you will come safely through if you treat the work as a novel. For a novel it effectively is, and a better one than any written by Charlotte Bronte or George Eliot. In reading, it would be well to mark, or take note of, the pa.s.sages which give you the most pleasure, and then to compare these pa.s.sages with the pa.s.sages selected for praise by some authoritative critic. _Aurora Leigh_ can be got in the "Temple Cla.s.sics" (1s. 6d.), or in the "Canterbury Poets" (1s.). The indispensable biographical information about Mrs. Browning can be obtained from Mr. J.H. Ingram's short Life of her in the "Eminent Women" Series (1s. 6d.), or from _Robert Browning_, by William Sharp ("Great Writers" Series, 1s.).

This accomplished, you may begin to choose your poets. Going back to Hazlitt, you will see that he deals with, among others, Chaucer, Spenser, Shakespeare, Milton, Dryden, Pope, Chatterton, Burns, and the Lake School. You might select one of these, and read under his guidance. Said Wordsworth: "I was impressed by the conviction that there were four English poets whom I must have continually before me as examples--Chaucer, Shakespeare, Spenser, and Milton." (A word to the wise!) Wordsworth makes a fifth to these four. Concurrently with the careful, enthusiastic study of one of the undisputed cla.s.sics, modern verse should be read. (I beg you to accept the following statement: that if the study of cla.s.sical poetry inspires you with a distaste for modern poetry, then there is something seriously wrong in the method of your development.) You may at this stage (and not before) commence an inquiry into questions of rhythm, verse-structure, and rhyme. There is, I believe, no good, concise, cheap handbook to English prosody; yet such a manual is greatly needed. The only one with which I am acquainted is Tom Hood the younger's _Rules of Rhyme: A Guide to English Versification_. Again, the introduction to Walker's _Rhyming Dictionary_ gives a fairly clear elementary account of the subject. Ruskin also has written an excellent essay on verse-rhythms.

With a manual in front of you, you can acquire in a couple of hours a knowledge of the formal principles in which the music of English verse is rooted. The business is trifling. But the business of appreciating the inmost spirit of the greatest verse is tremendous and lifelong. It is not something that can be "got up."

CHAPTER X

BROAD COUNSELS

I have now set down what appear to me to be the necessary considerations, recommendations, exhortations, and dehortations in aid of this delicate and arduous enterprise of forming the literary taste.

I have dealt with the theory of literature, with the psychology of the author, and--quite as important--with the psychology of the reader.

I have tried to explain the author to the reader and the reader to himself. To go into further detail would be to exceed my original intention, with no hope of ever bringing the constantly-enlarging scheme to a logical conclusion. My aim is not to provide a map, but a compa.s.s--two very different instruments. In the way of general advice it remains for me only to put before you three counsels which apply more broadly than any I have yet offered to the business of reading.

You have within yourself a touchstone by which finally you can, and you must, test every book that your brain is capable of comprehending.

Does the book seem to you to be sincere and true? If it does, then you need not worry about your immediate feelings, or the possible future consequences of the book. You will ultimately like the book, and you will be justified in liking it. Honesty, in literature as in life, is the quality that counts first and counts last. But beware of your immediate feelings. Truth is not always pleasant. The first glimpse of truth is, indeed, usually so disconcerting as to be positively unpleasant, and our impulse is to tell it to go away, for we will have no truck with it. If a book arouses your genuine contempt, you may dismiss it from your mind. Take heed, however, lest you confuse contempt with anger. If a book really moves you to anger, the chances are that it is a good book. Most good books have begun by causing anger which disguised itself as contempt. Demanding honesty from your authors, you must see that you render it yourself. And to be honest with oneself is not so simple as it appears. One's sensations and one's sentiments must be examined with detachment. When you have violently flung down a book, listen whether you can hear a faint voice saying within you: "It's true, though!" And if you catch the whisper, better yield to it as quickly as you can. For sooner or later the voice will win. Similarly, when you are hugging a book, keep your ear c.o.c.ked for the secret warning: "Yes, but it isn't true." For bad books, by flattering you, by caressing, by appealing to the weak or the base in you, will often persuade you what fine and splendid books they are. (Of course, I use the word "true" in a wide and essential significance. I do not necessarily mean true to literal fact; I mean true to the plane of experience in which the book moves. The truthfulness of _Ivanhoe_, for example, cannot be estimated by the same standards as the truthfulness of Stubbs's _Const.i.tutional History_.) In reading a book, a sincere questioning of oneself, "Is it true?" and a loyal abiding by the answer, will help more surely than any other process of ratiocination to form the taste. I will not a.s.sert that this question and answer are all-sufficient. A true book is not always great. But a great book is never untrue.

My second counsel is: In your reading you must have in view some definite aim--some aim other than the wish to derive pleasure. I conceive that to give pleasure is the highest end of any work of art, because the pleasure procured from any art is tonic, and transforms the life into which it enters. But the maximum of pleasure can only be obtained by regular effort, and regular effort implies the organisation of that effort. Open-air walking is a glorious exercise; it is the walking itself which is glorious. Nevertheless, when setting out for walking exercise, the sane man generally has a subsidiary aim in view. He says to himself either that he will reach a given point, or that he will progress at a given speed for a given distance, or that he will remain on his feet for a given time. He organises his effort, partly in order that he may combine some other advantage with the advantage of walking, but princ.i.p.ally in order to be sure that the effort shall be an adequate effort. The same with reading. Your paramount aim in poring over literature is to enjoy, but you will not fully achieve that aim unless you have also a subsidiary aim which necessitates the measurement of your energy. Your subsidiary aim may be aesthetic, moral, political, religious, scientific, erudite; you may devote yourself to a man, a topic, an epoch, a nation, a branch of literature, an idea--you have the widest lat.i.tude in the choice of an objective; but a definite objective you must have. In my earlier remarks as to method in reading, I advocated, without insisting on, regular hours for study. But I both advocate and insist on the fixing of a date for the accomplishment of an allotted task. As an instance, it is not enough to say: "I will inform myself completely as to the Lake School." It is necessary to say: "I will inform myself completely as to the Lake School before I am a year older." Without this precautionary steeling of the resolution the risk of a humiliating collapse into futility is enormously magnified.

My third counsel is: Buy a library. It is obvious that you cannot read unless you have books. I began by urging the constant purchase of books--any books of approved quality, without reference to their immediate bearing upon your particular case. The moment has now come to inform you plainly that a bookman is, amongst other things, a man who possesses many books. A man who does not possess many books is not a bookman. For years literary authorities have been favouring the literary public with wondrously selected lists of "the best books"--the best novels, the best histories, the best poems, the best works of philosophy--or the hundred best or the fifty best of all sorts. The fatal disadvantage of such lists is that they leave out large quant.i.ties of literature which is admittedly first-cla.s.s. The bookman cannot content himself with a selected library. He wants, as a minimum, a library reasonably complete in all departments. With such a basis acquired, he can afterwards wander into those special byways of book-buying which happen to suit his special predilections. Every Englishman who is interested in any branch of his native literature, and who respects himself, ought to own a comprehensive and inclusive library of English literature, in comely and adequate editions. You may suppose that this counsel is a counsel of perfection. It is not. Mark Pattison laid down a rule that he who desired the name of book-lover must spend five per cent. of his income on books. The proposal does not seem extravagant, but even on a smaller percentage than five the average reader of these pages may become the owner, in a comparatively short s.p.a.ce of time, of a reasonably complete English library, by which I mean a library containing the complete works of the supreme geniuses, representative important works of all the first-cla.s.s men in all departments, and specimen works of all the men of the second rank whose reputation is really a living reputation to-day. The scheme for a library, which I now present, begins before Chaucer and ends with George Gissing, and I am fairly sure that the majority of people will be startled at the total inexpensiveness of it. So far as I am aware, no such scheme has ever been printed before.

CHAPTER XI

AN ENGLISH LIBRARY: PERIOD I

[For much counsel and correction in the matter of editions and prices I am indebted to my old and valued friend, Charles Young, head of the firm of Lamley & Co., booksellers, South Kensington.]

For the purposes of book-buying, I divide English literature, not strictly into historical epochs, but into three periods which, while scarcely arbitrary from the historical point of view, have nevertheless been calculated according to the s.p.a.ce which they will occupy on the shelves and to the demands which they will make on the purse:

I. From the beginning to John Dryden, or roughly, to the end of the seventeenth century.

II. From William Congreve to Jane Austen, or roughly, the eighteenth century.

III. From Sir Walter Scott to the last deceased author who is recognised as a cla.s.sic, or roughly, the nineteenth century.

Period III. will bulk the largest and cost the most; not necessarily because it contains more absolutely great books than the other periods (though in my opinion it _does_), but because it is nearest to us, and therefore fullest of interest for us.