Among historians, Mitford, Lingard, Hallam, Napier, Mackintosh, Turner, and Prescott are perhaps the best known.

As we have included the names of some of the leading American authors in those above mentioned, it may be well to add a few words on American literature.

America has so constantly followed in the footsteps of the mother country, and relied so little on her own resources, that many writers have asserted that she can lay claim to no literature of her own.

We think, however, the day may not be very far distant, when she will assert her independence in this matter, as she has already done in others, and display a decided originality of thought in literary productions. She can already boast of several eminent poets, novelists, historians, and essayists. But we cannot pretend to give catalogues of the authors of our own day.

In biography, criticism, metaphysics, divinity, science, political economy, and miscellaneous writing, the number is enormous; especially are the authors of "Travels" increased.

The school of what has been called the "Lake Poets" has made a decided change in the public appreciation of the elder and more artificial style of poetry; and this is one of the leading features of the day, that the "Lake Poets" have thus risen to their present proud pre-eminence.

Sir Walter Scott's name is certainly above that of all modern writers of fiction, and to him we owe the elevation of that branch of writing to the lofty position in which he has placed it. We hope that the " Waverley Novels " will never lose their hold on the public estimation. As regards the poetry of this age, we challenge the whole host of English writers in verse, with the exception of Milton and Shakspeare, to afford more genuine poetry than the last seventy years have produced. This may be attributed to the rise and appreciation of German literature, and the breaking down of the old conventional style of poetic diction, and the influx of original thought into the compositions of later days; for thought, and not words, are daily becoming the criterion of excellence, as well in prose as in verse. Mere style will not obtain a reader; matter and not manner being first looked to in all modern writers.

George Crabbe has produced a kind of poetry out of elements that at first sight appear very unpoetical; to him great praise is due for the originality of some of his conceptions, and the vigorous manner in which they are handled.

The poetry of Sir Walter Scott is chiefly of one class; but never were legendary lore, high-born chivalry, and romantic adventure set forth in more engaging colours. In 1805, "The Lay of the Last Minstrel" made its appearance. In 1808, "Marmion." In 1810, "The Lady of the Lake." In 1813, "Rokeby." In 1814, "The Lord of the Isles."

The world was enchanted! and held so from 1814 to 1831, by Scott's magnificent series of prose fictions. On 21st September, 1832, Sir Walter Scott breathed his last at his mansion of Abbotsford. He was certainly a giant in literature, who achieved more in the compass of thirty years, than has been done by any but a few of his predecessors. It is said that Scott retreated from poetry when the genius of Byron was fully acknowledged.

Byron, like Burns, burst upon the world in full splendour, like some dazzling meteor. His two first cantos of "Childe Harold" appeared in 1812. "I awoke one morning," said he, "and found myself famous ! It was so. A rapid succession of Eastern tales enchanted the poetic taste. These were followed by the concluding cantos of "Childe Harold"-by five cantos of "Don Juan," '—a number of Dramas-and by the concluding ten cantos of "Don Juan." Byron expired at Missolonghi, in Western Greece, on 19th April, 1824, in his thirty-seventh year. The world had never seen the same extraordinary combination of misanthropy, passionate tenderness, poetic fervour, sublime contemplation, and sarcastic wit; consequently, the "Childe Harold" has no equal-" Don Juan" no prototype or sequel. The whimsical combination of the sublime, the passionate, the tender, and the ridiculous were never before so blended in the same author. As Byron never forgot his own identity in his works, his dramas are monologues, and his apostrophes are pure soliloquies, where his own lamentations are distinctly audible. His writings are frequently tinged with a bad moral tendency, as much so as his own manners and principles were at fault, but when sufficiently

on the guard against these tendencies, the reader may luxuriate in the nobler and more transcendant qualities he possesses as a consummate poet and versifier.

Shelley died before he was thirty years of age, being drowned whilst sailing in his yacht in the bay of Spezia, near Leghorn, 8th July, 1822. Keats died still earlier, in his twentyfifth year, 27th December, 1820. What these gifted men might have produced, had their lives been spared, is not for us to say; the fragments which they have left behind them are replete with genius, though unhappily their religious opinions were perverted from the truth.

Of Wordsworth, Southey, Montgomery, Moore and Campbell, we have spoken elsewhere in high terms of praise, and this must be our apology for passing them by here, without further comment.

We have alluded before to the establishment of newspapers, in the times of Queen Elizabeth, James I., and during the Civil Wars between Charles and his Parliament.

This form of literature has increased more than any we can mention, and is now exercising a most powerful influence over the minds of all classes of the community.

In addition to newspapers we may notice reviews and magazines, as the growth of this period.

The Edinburgh Review, was commenced in October, 1802, to support Whig principles. The Quarterly Review, started in 1809, to represent Conservative opinions, and since these an infinite number of reviews and magazines have been published periodically, and are now occupying the attention, not only of the first writers, but readers of the day.

Here, then, is a prominent feature of our times, and we might almost imagine that newspapers and magazines were finally destined to swallow up all the rest of our literature. We have also a number of cheap reprints of standard works, perpetually issuing from the press, together with original articles of great merit. Among these series, we may mention "Constable's Miscellany," the "Family Library," and "Lardner's Cyclopædia,' now concluded; also the " Edinburgh Cabinet Library,"." The Library of Entertaining Knowledge," "Chambers' Edinburgh Journal," ," "Miscellany," and "Tracts ;" "The Penny Maga

zine," ," "The Penny Cyclopædia," "Knight's Weekly Volume," "Smith's Standard Library," "The Home and Colonial Library,” &c.

The establishment of Literary and Scientific Institutions, has greatly extended, in our days, the means by which knowledge is acquired, by giving birth to popular lectures.

In every branch of science, the greatest activity prevails, and perhaps we may safely conjecture, that more will be achieved in the way of scientific discovery, than in fresh works of a purely literary character.

Every species of poetical composition has been attempted with striking success.

The epic, the dramatic, the lyric, the didactic, the descriptive, the allegorical, the pastoral, the humorous, the sentimental, the satiric form of composition have all been carried almost to perfection, consequently the difficulty of finding new images and new themes becomes daily greater.

With regard to the epic form, it has been said, that history does not afford a new theme for an epic poem, but of this we are not so sure.

As regards the prospects of the English acted drama, if we may hazard a conjecture, we think them very poor, but as regards the written drama we think otherwise.

To those who derive as much, if not more, pleasure, in reading in their closets or at their fire sides, compositions in the dramatic form, to witnessing their scenic representation, this will not be a matter of serious regret. We feel little doubt, then, that the English written drama will long survive the acted drama, in the same way as the ballad-form of poetry has survived the age in which it was invariably coupled with music.

The art of versifying is now so generally known, that a piece of nearly faultless composition ceases to astonish us. We meet with such in almost all our magazines. The same remarks apply, in degree, to prose writings. What form of composition is there, that has not been carried to great perfection? What then, it may be asked, remains for a future age to achieve? In fact, what are the prospects of English Literature? We would reply, that in this sifting age, when the spirit of enquiry

is every where abroad, when the hieroglyphics of Egypt no longer remain a mystery, the minute examination of facts, of causes and effects, the analysis of matter and of mind, afford, together with scientific enquiry of every description, a still increasing field for diligent labour. In addition to this, until we have brought the literature of all civilized nations, past and present, to our own doors, we need not stand idle; and from these elements, and more than all, from the depths of the human mind, may still be drawn, by real genius, fresh triumphs of literary achievement.

Let us then, no longer, suppose that British Literature has no prospect of advancement. Rather let us be willing to believe, that the noble models we already possess in every variety of style and composition, are as incontestible proofs of what may be done, as, of what has been done; and as each successive age progresses in the great march of intellectual culture and social refinement, there will assuredly arise, according to the wants and capacity of that age, minds of gigantic growth, capable of giving to our literature still more imperishable relics of heaven-born genius.

Having said thus much on the rise, growth, maturity, and prospects of English Literature, we would conclude by a few general observations particularly addressed to the members of Literary and Scientific Institutions.

In the remarks which we are about to make, we are desirous not to speak with disparagement of the advantages generally attendant on high birth, and a systematic education-but, rather to encourage those, whose lot has been otherwise cast, in the pursuit of knowledge under difficulties.

Let no man think that obscure birth or poverty are insuperable barriers to knowledge and fame. In all ages of the world, history tells us the reverse. We may remember, that among the ancients, Æsop, Terence, and Epictetus were slaves-Protagoras was a common porter, and Cleanthes a pugilist. Again, in modern times, Ben Jonson was a bricklayer-Isaac Walton was a draper-Inigo Jones was the son of a cloth dresserLinnæus was apprenticed to a shoemaker-the classic Winckleman's father was of the same trade-De Foe was a horse dealer, and afterwards a brick-maker-Dollond was a weaver-Sir