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CHAPTER XIV.

Sketch of the Origin and Progress of the English Novel.-Serious.Comic.-Romantic.

-Conclusion.

It will have been remarked, that the account of the modern French tales and novels has been much less minute than the analysis of those fictitious histories by which they were preceded. To this compression of the subject, I have been led partly by the variety, and partly by the notoriety of the more recent productions. In the early periods of literature, works of fiction were rare, and thus it was comparatively easy to enumerate and describe them. But during last century, the number of fictitious writings, both in France and England, was so great, that as full an account of them as of those which appeared in former times, would occupy many volumes. Such analysis is likewise the less

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necessary or proper, since, when works of fiction become so very numerous and varied, they cease to be characteristic of the age in which they were produced. In former periods, when readers were few, and when only one species of fiction appeared at a time, it was easy to judge what were the circumstances which gave birth to it, and to which gave birth in turn. But in later times, not only an infinite number of works, but works of different kinds, have sprung up at once; and thus were no longer expressive of the taste and feelings of the period of their composition. Above all, what renders a minute analysis unnecessary is, that the works themselves are known to most readers, and, consequently, a detailed account of them would be altogether superfluous. Abstracts may be presented on occasions where the original is little known, and abounds in long details, but they are perfectly unsuitable and improper when the whole novel is concisely and elegantly composed. In this case the value of the original consists less in the story itself than in the style and sentiments and colouring-in short, in a variety of circumstances, which in an analysis or abridgement totally evaporate and disappear.

Such views have prevented me from entering into detail concerning the French, and they apply

still more forcibly to the English novel. What could be more insufferable than an analysis of Tom Jones, and how feeble would be the idea which it would convey of the original? Accordingly I shall confine myself to a very short and general survey of the works of English fiction.

We have already seen that, during the reigns of our Henrys and Edwards, the English nation was chiefly entertained with the fables of chivalry. The French romances concerning Arthur and his knights continued to be the most popular productions during the rule of the Plantagenet monarchs. In the time of Edward IV. the fictions of chivalry were represented in an English garb in the Morte Arthure, which is a compilation from the most celebrated French romances of the Round Table; while, at the same period, the romantic inventions concerning the history of Troy and classical heroes were translated and printed by the indefatigable Caxton. Artus de la Bretagne and Huon of Bourdeaux were done into English by Lord Berners in the reign of Henry VIII., and continued, along with the Morte Arthure, to be the chief delight of our ancestors during the sway of the family of Tudor. In the age of Queen Elizabeth, the Spanish romances concerning Amadis and Palmerin were translated, and a

few imitations of the romances of chivalry were also written in English. Of this class of fiction, the "Famous, delectable, and pleasaunt Hystorie of the renowned Parismus, Prince of Bohemia," may be regarded as a representative. This work, written by Emanuel Ford, and printed 1598, was so popular in its day, that the 13th edition, in black letter, is now before me. It is principally formed on the model of the Spanish romances, particularly on Palmerin d' Oliva. .

The Ornatus and Artesia, also by Emanuel Ford, and the Pheander, or Maiden Knight, written by Henry Roberts, and printed in 1595, belong to the same class of composition. By this time, however, the genuine spirit of chivalry had evaporated, and these productions present but a female image of the doughty combats and daring adventures of Lancelot or Tristan. A new state of society and manners had sprung up, and hence the nation eagerly received those innumerable translations and imitations of the Italian tales, which, being now widely diffused by means of Paynter's Palace of Pleasure, Whetstone's Heptameron, and Grimstone's Admirable Histories, supplied to the higher class of English readers that species of entertainment which their ancestors had formerly derived from the Recuyell of the Hystoryes of

Troye and the Legends of Arthur. The exploits of chivalry-the atrocities and intrigues of the Italian tales, are now alike neglected; and while such works as those of Richardson and Fielding interpose between, they can scarcely be regarded by the present age or posterity. Yet it should not be forgotten that the images and characters of chivalry bestowed additional richness and variety on the luxuriant fancy of Spenser, while the incidents of the Italian tales supplied materials even for the inexhaustible imagination of Shakspeare, and gave birth to that peculiar turn of tragic as well as comic interest adopted by the most numerous and noble race of our dramatic poets.

While the English nation, during the reign of Queen Elizabeth, were chiefly amused with the fading remains of romances of chivalry, and the earliest imitations of Italian tales, there was invented, during the same period, a new species of novel, written in a style of bad taste and affectation, to which there had hitherto been no parallel, and of which it is to be hoped there will never be an imitation. The first work of this description was the Euphues of John Lylie, who was born in 1553 in the Wolds of Kent. At an early age he went to court, where he was patronized by Queen Elizabeth, and hoped to be preferred to the situ

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