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This etext was prepared by Donald Lainson,best marble runs for 3 year olds under 10 dollars [email protected] A Guide to the Best Historical Novels and Talesby Jonathan Nield "These historical novels have taught all men this truth, whichlooks like a truism, and yet was as good as unknown to writersof history and others, till so taught: that the bygone ages ofthe world were actually filled by living men, not by protocols,state-papers, controversies, and abstractions of men." —Carlyle on the Waverley novels. Contents Introduction Pre-Christian Era First Century Second Century Third Century Fourth Century Fifth Century Sixth Century Seventh Century Eighth Century Ninth Century Tenth Century Eleventh Century Twelfth Century Thirteenth Century Fourteenth Century Fifteenth Century Sixteenth Century Seventeenth Century Eighteenth Century Nineteenth Century Supplementary List (Semi-Historical) Suggested Courses of Reading (Juvenile) Bibliography INTRODUCTION.It is not proposed, in these preliminary remarks, to sketch indetail the origin and growth of the Historical Novel; this hasalready been amply done by Professor Saintsbury and others. Ishall be content to approach the subject on its general side,offering, at the same time, some critical suggestions which will, Ihope, not be without value to readers of Romance. But, first of all, I must explain how the List which follows cameto be compiled, and the object I have in offering it. For manyyears I have been an assiduous reader of novels and tales in whichthe historical element appeared, supplementing my own reading inthis direction by a careful study of all that I could find in theway of Criticism on such works and their writers. Only in this waycould I venture on a selection involving a survey of severalthousand volumes! With the above understanding, I can say that nobook has been inserted without some reason, while I have made allpossible effort to obtain accuracy of description. And this leadsme to remark, that just in this process of selection do I claimoriginality for my List. Nearly twenty years ago an excellent"Descriptive Catalogue of Historical Novels and Tales" waspublished; Mr. H. Courthope Bowen was the compiler,* and I wouldhere mention my indebtedness to him. In Mr. Bowen's list, however,one finds good and bad alike—all the works of even such moderatelyendowed writers as G. P. R. James, Ainsworth, Grant, etc., arethere set down. It seemed to me that, not only was there room fora new list of Historical Novels (Stevenson, Marion Crawford, ConanDoyle, Weyman, Mason, and a number of more or less capableromancists having come forward in the last twenty years), but,also, that more than ever was there a need for some sort of clue inthe search for such books. In the last year or two there has beenan almost alarming influx in this department of Fiction, andteachers in schools, besides readers in general, may be glad to besaved a somewhat tedious investigation. * "A Descriptive Catalogue of Historical Novels and Tales, for theuse of School Libraries and Teachers of History," compiled anddescribed by H. Courthope Bowen, M. A. (Edward Stanford, 1882.) Having thus attempted to justify the existence of my little"Guide," I pass on to deal with the subject of Historical Fictionitself. Most of us, I suppose, at one time or another haveexperienced a thrill of interest when some prominent personage,whom we knew well by repute, came before us in the flesh. Wewatched his manner, and noted all those shades of expression whichin another's countenance we should have passed by unheeded. Well,it seems to me that, parallel with this experience, is that whichwe gain, when, reading some first-rank romance, we encounter in itspages a figure with which History has made us more or lessfamiliar. And I would remark that the great masters do not, as arule, make that mistake which less skilful writers fall into—themistake of introducing well-known historical figures toofrequently. The Cromwell of "Woodstock" has an element of mysteryabout him, even while he stands out before our mental vision inbold relief. Had Scott brought him more prominently into the plot,and thus emphasized the fictional aspect of his figure, ourinterest in the story, as such, might have been sustained, but weshould have lost that atmosphere of vraisemblance which, under amore careful reserve, the hand of the master has wrought for us. But it is not only this introduction of personalities whichconstitutes a novel "historical"; the mere allusion to real events,or the introduction of dates, may give us sufficient ground foridentifying the period with which a novel deals. Of course thequestion as to whether a particular person or event is trulyhistorical, is not always an easy one to answer. By the adaptationin it of some purely mythical character or event, a novel is nomore constituted "historical" than is a Fairy-tale by theadaptation of folklore. King Arthur and Robin Hood areunhistorical, and, if I have ventured to insert in my list certaintales which deal with the latter, it is not on that account, butbecause other figures truly historical (e.g., Richard I.) appear.As there has been some dispute on this question of the HistoricalNovel proper, I offer the following definition:—A Novel isrendered Historical by the introduction of dates, personages, orevents, to which identification can be readily given. I am quiteaware that certain well-known novels which give the generalatmosphere of a period—such, for example, as Hawthorne's "ScarletLetter" and Mr. Hewlett's "Forest Lovers"—do not come within thescope of my definition; but this is just why I have added a"Supplementary List" of semi-historical tales. And, while I amalluding to this "Supplementary List," I should like to give myreason for omitting from it one remarkable book which has everyclaim to be considered representative of the mid-nineteenthcentury. Readers of "John Inglesant" may be reminded that in hisinteresting preface Mr. Shorthouse alludes to William Smith'sphilosophical novel—"Thorndale." As a picture of Thoughtdevelopments in the early Victorian period, the latter work hasspecial historical interest for the philosophical and theologicalstudent; in this respect it may be likened to Pater's "Marius theEpicurean," which vividly reproduces the Intellectual ferment of anearlier age. "Thorndale," however, is primarily didactic, and thephilosophical dialogues (interesting as these are to themetaphysician) hardly atone to the general reader for an almostentire absence of plot. The above is, doubtless, an altogetherextreme instance, but the exclusion of several other works from thecategory of Romance seems to follow on something like the samegrounds. Becker's "Charicles" and "Gallus" are little more thanschool textbooks, while, turning to a less scholarly quarter,Ainsworth's "Preston Fight," and even his better-known "GuyFawkes," may be cited as illustrating what Mr. Shorthouse meanswhen he speaks of novels "in which a small amount of fiction hasbeen introduced simply for the purpose of relating History." Inall such cases the average novel-reader feels that he has beenallured on false pretences. I am well aware that not a few of thebooks included in my List might be considered to fall under thesame ban, but I think it will be found that in most of them thereis at least a fair attempt to arouse narrative interest. Coming to the List itself, it will be noticed that I have beensomewhat sparing in the books given under the "Pre-Christian"heading. Novels dealing with these very far-off times are apt tobe unsatisfactory; the mist in which events and personages areenveloped, takes away from that appearance of reality which is thegreat charm of the historical novel. We are hardly concerned, inreading "Sarchedon" and similar books, to get away from the purelyimaginary pictures which spring from the Novelist's own brain, andthe danger is that the very elements which add to our interest inthe tale as such, will go far to mislead us in our conception ofthe period dealt with. There is none of that sense of familiaritywhich we enjoy when reading a sixteenth or seventeenth centuryromance; in the latter case, the historical background, beingeasily perceptible, merges for us with the creations of theauthor's own imagination. Where the writer of an "ancient" romancehappens to be a scholar like Ebers, we feel that—so far at leastas historical presentment goes—we cannot be far wrong, but thecombination of great scholarship and narrative capacity is, alas,too rare! I have likewise refrained from giving many tales dealing withEarly-Christian times. We are here, it must be admitted, oncontroversial ground, and under the First Century heading I haveendeavoured to insert romances of the highest quality only. Forinstance, I think that Dr. Abbott's "Philochristus" and Wallace's"Ben Hur" ought to satisfy two different types of readers. Andthis is the place, doubtless, to say that in my lists will be foundbooks of widely differing merit and aim. School teachers, andothers in like capacity, will easily discriminate between authorssuitable for juvenile or untrained tastes, and authors whose appealis specially to those of maturer thought and experience. Differingas much in method and style as in choice of period and charactertype, Thackeray's "Vanity Fair" and George Eliot's "Romola" have atleast this in common—they require a very high degree ofintelligence for their due appreciation. Who, among those of uswith any knowledge of such works, would dream of recommending themto a youthful reader fresh from the perusal of Miss Yonge's "LittleDuke," or Captain Marryatt's "Children of the New Forest"? Naturally in a list of this kind there is bound to be very greatinequality; certain periods have been wholly ignored by writers ofthe first rank, while in others we have something like an embarrasde richesse. Consequently, I have been compelled, here and there,to insert authors of only mediocre merit. In other cases, again, Ihave not hesitated to omit works by writers of acknowledgedposition when these have seemed below the author's usual standard,and where no gap had to be filled. I would instance the James II.-William III. period. Here Stanley Weyman and "Edna Lyall" mighthave been represented, but, there being no dearth of good novelsdealing with both the above reigns, I did not deem it advisable tocall in these popular writers at the point which has been verygenerally considered their lowest. I mention this to show thatomissions do not necessarily mean ignorance, though, in coveringsuch an immense ground, I cannot doubt that romances worthy of aplace in my list have been overlooked. I think many will be surprised to find how large a proportion of "The Last Days of Pompeii," "The Gladiators," "Hypatia," "Harold," Hitherto allusion has been mainly in the direction of modernauthors, and I would now say a word or two in regard to those of anearlier period who are also represented. Defoe, Fielding,Richardson, Goldsmith, Smollett, Frances Burney, Samuel Lover, JohnGalt, Maria Edgeworth, Susan Ferrier, William Godwin, Mary Shelley,Fennimore Cooper, J. G. Lockhart, Leigh Hunt, Thos. Moore, HarrietMartineau, J. L. Motley, Horace Smith, Charles Lever, MeadowsTaylor, and Wm. Carleton,—these (in greater or less degree)notable names were bound to have a place; and, coming to lessdistinguished writers, I may mention the brothers Banim, GeraldGriffin, Mrs. S. C. Hall, Lady Morgan, the sisters Porter, W. G.Simms, George Croly, Albert Smith, G. R. Gleig, W. H. Maxwell, SirArthur Helps, Eliot Warburton, Lewis Wingfield, Thomas Miller, C.Macfarlane, Grace Aguilar, Anne Manning, and Emma Robinson (authorof "Whitefriars"). To G. P. R. James, Harrison Ainsworth, andJames Grant I have previously alluded. It has been my endeavour tochoose the best examples of all the above-named novelists—a taskrendered specially difficult in some cases by the fact of immenseliterary output. Doubtless not a few of the works so chosen areopen to criticism, but they will at least serve to illustratecertain stages in the growth of Historical Romance. With theexclusion of Mrs. Radcliffe, Mrs. Marsh, Mrs. Gore, LadyBlessington, Lady Fullerton, Mrs. Bray, and Mrs. Child, few will, Iimagine, find fault; but writers like Miss Tucker (A. L. O. E.) andMiss Emily Holt still find so many readers in juvenile quarters,that it has required a certain amount of courage to place them alsoon my Index Expurgatorius! Turning once again to writers of thesterner sex, I have ruled out C. R. Maturin, G. W. M. Reynolds, andPierce Egan, Junr.; and (quitting the "sensational" for the "mildlyentertaining") out of the Rev. J. M. Neale's many historical talesI have selected only one—"Theodora Phranza," which, besides beingwell written, has the merit of dealing with a somewhat neglectedperiod. Stories possessing a background of History are to be foundin "Tales from Blackwood," as also in "Wilson's Tales of theBorders," but their extremely slight character seemed scarcely tojustify insertion; while not even the high literary positionattained by him on other grounds reconciled me to either of AllanCunningham's novels—"Sir Michael Scott" and "Paul Jones." Of the Foreign novelists appearing in my list, several have beenalready named, but Marchese D'Azeglio, F. D. Guerrazzi, CesareCantu, "W. Alexis" (G. Haring), H. Laube, Louise Mulbach (Klara M.Mundt), Nicolas Josika, Viktor Rydberg, Hendrik Conscience, XavierB. Saintine, Amedee Achard, and "Erckmann-Chatrian" here call fornotice as not coming under strictly Contemporary classification. Iwould forestall the criticism that two writers have been passedover whose fame is greater than any of those just mentioned, viz.:"Stendhal" (Henri Beyle) and Alphonse Daudet. Beyle's "LaChartreuse de Parme," though containing the oft-praised account ofWaterloo, is far more Psychological than Historical; and Daudet's"Robert Helmont," while it depicts (under Diary form) certainaspects of the Franco-German War, has hardly any plot runningthrough it. As the Waterloo and Franco-German War periods wereamply illustrated in numerous other novels of more assuredsuitability, I had the less hesitation in deciding against the twoworks just named. In the selections from Foreign HistoricalFiction nothing more has been attempted than to include the leadingexamples; most of these, it will be found, have been translatedinto English. Before leaving the subject of older writers, it may be mentionedthat not a few of the works chosen to represent them are, at themoment, out of print. To anyone objecting that something ought tohave been done to indicate this in each separate case, I would urgethat the "out of print" line can never be drawn with precision inview of constant reprints as well as of further extinctions. Perhaps this introduction may be most fitly concluded by somethingin the nature of apology for Historical Romance itself. Not onlyhas fault been found with the deficiencies of unskilled authors inthat department, but the question has been asked by one or twocritics of standing—What right has the Historical Novel to existat all? More often than not, it is pointed out, the Romancistgives us a mass of inaccuracies, which, while they mislead theignorant (i.e., the majority?), are an unpardonable offence to thehistorically-minded reader. Moreover, the writer of such Fiction,though he be a Thackeray or a Scott, cannot surmount barriers whichare not merely hard to scale, but absolutely impassable. Thespirit of a period is like the selfhood of a human being—somethingthat cannot be handed on; try as we may, it is impossible for us tobreathe the atmosphere of a bygone time, since all those thousand-and-one details which went to the building up of both individualand general experience, can never be reproduced. We consider (say)the Eighteenth Century from the purely Historical standpoint, and,while we do so, are under no delusion as to our limitations; weknow that a few of the leading personages and events have beenbrought before us in a more or less disjointed fashion, and areperfectly aware that there is room for much discrepancy between thepictures so presented to us (be it with immense skill) and theactual facts as they took place in such and such a year. But, goeson the objector, in the case of a Historical Romance we allowourselves to be hoodwinked, for, under the influence of a pseudo-historic security, we seem to watch the real sequence of events inso far as these affect the characters in whom we are interested.How we seem to live in those early years of the Eighteenth Century,as we follow Henry Esmond from point to point, and yet, in truth,we are breathing not the atmosphere of Addison and Steele, but theatmosphere created by the brilliant Nineteenth Century Novelist,partly out of his erudite conception of a former period, and partlyout of the emotions and thoughts engendered by that veryenvironment which was his own, and from which he could not escape! Well, to all such criticisms it seems to me there are amplerejoinders. In the first place it must be remembered that Historyitself possesses interest for us more as the unfolding of certainmoral and mental developments than as the mere enumeration offacts. Of course, I am aware that the ideal of the Historian isTruth utterly regardless of prejudice and inclination, but, as withall other human ideals, this one is never fully realised, and thereis ever that discrepancy between Fact and its Narration to which Ijust now alluded. This being so, I would ask—Is not the writer ofFiction justified in emphasising those elements of History whichhave a bearing on life and character in general? There is,doubtless, a wise and an unwise method of procedure. One novelist,in the very effort to be accurate, produces a work which—beingneither History nor Fiction—is simply dull; while another, who hasgauged the true relation between fact and imagination, knows betterthan to bring into prominence that which should remain only as abackground. After all, there are certain root motives andprinciples which, though they vary indefinitely in theirapplication, underlie Human Conduct, and are common to all agesalike. Given a fairly accurate knowledge as regards the generalhistory of any period, combined with some investigation into itsspecial manners and customs, there is no reason why a trulyimaginative novelist should not produce a work at once satisfyingto romantic and historical instincts. Again, if it be true that the novelist cannot reproduce the farpast in any strict sense, it is also true that neither can he soreproduce the life and events of yesterday. That power ofimaginative memory, which all exercise in daily experience, may beheld in very different degrees, but its enjoyment is not dependenton accuracy of representation—for, were this so, none of us wouldpossess it. In an analogous manner the writer of Romance may bemore or less adequately equipped on the side of History pure andsimple, but he need not wait for that which will never come—thepower of reproducing in toto a past age. If, in reading whatpurports to be no more than a Novel, the struggle betweenChristianity and Paganism (for example), or the unbounded egotismof Napoleon, be brought more vividly before our minds—and this maybe done by suggestion as well as by exact relation, then, I wouldmaintain, we are to some extent educated historically, using theword in a large though perfectly legitimate sense. I recently read a work which here presents itself as admirablyillustrating my meaning. In her too little known "Adventures of aGoldsmith" Miss M. H. Bourchier has contrived to bring forciblybefore us the period when Napoleon, fast approaching the zenith ofhis power, was known in France as the "First Consul." The "man ofdestiny" himself—appearing on the scene for little more than abrief moment—can in no sense be described as one of the book'scharacters, and yet the whole plot is so skilfully contrived as tohinge on his personality. We are made to feel the dominatinginfluence of that powerful will upon the fears and hopes of a timebrimming over with revolutionary movement. Whether the Chouanrevolt is in this particular story accurately depicted for us inall its phases, or whether the motives which impelled certainpublic characters are therein interpreted aright—both in regard tothese and other points there may be room for doubt, but at leastthe general forces of the period are placed before us in such a wayas to drive home the conviction that, be the historicalinaccuracies of detail what they may in the eyes of this or thatspecialist, the picture as a whole is one which, while it rivetsour attention as lovers of romance, does no injury to the strictestHistoric sense. I know well that numerous novels might be cited which, besidesabounding in anachronisms, are harmful in that they present us witha misleading conception of some personality or period; moreover, Iacknowledge that this defect is by no means confined to romances ofan inferior literary order. That Cromwell has been unreasonablyvilified, and Mary Queen of Scots misconceived as a saintly martyr—how often are these charges brought against not a few of ourleading exponents of Historical Fiction. Let this be fullygranted, it remains to ask—To whom were our novelists originallyindebted for these misconceptions? Were not the historians of anearlier generation responsible for these wrong judgments? True,the real Science of History—the sifting of evidence, and thediscovery and unravelling of ancient documents—may be described asan essentially modern attainment, so it would be unreasonable toblame our older historians for errors which it was largely, if notwholly, beyond their power to overcome. And it is just here that Iwould emphasise my defence of the Romancist. If Historiansthemselves have differed (and still differ)! may it not be pleadedon behalf of the Historical Novelist that he also must be judgedaccording to the possibilities of his time? For, while he may havetoo readily adopted false conceptions in the past, there is nonecessity why, in the future, he also—profiting by the growth ofCritical investigation—should not have due regard, in the workingout of his Historical background, for all the latest "results."And, I would further add, even though it be true that Scott andothers have misled us in certain directions, this does not preventour acknowledgment that, given their aspect of a particular period,it was only fitting that the scheme of their novels should be inharmony with it. If "Bloody Mary" was a cruel hypocrite, then ourreading of her period will be influenced by that real (or supposed)fact; but, if further investigation reverses this severe judgmenton the woman herself, then, in Heaven's name, let us mould ourgeneral conception afresh. The fountains of Romance show no signof running dry, and, though we may look in vain at the moment for agenius of the very highest type, the Future has possibilitieswithin it which the greatest literary pessimist among us cannotwholly deny. If, then, fault can be found with the olderRomancists for the spreading here and there of false historicalnotions, let us look to future workers in the same sphere foradjustment. I believe, however, that one notable critic haspronounced the mischief already done to be quite irreparable,seeing that the only "History" at all widely spread is that derivedfrom those very romances in which errors are so interwoven with thesentimental interest of the plot itself that readers inevitably"hug their delusions!" But I think that this danger need not becontemplated seriously. The Historical Novel exists primarily asFiction, and, even though in our waking moments we may be persuadedof the unreality of that "dream" which a Scott or a Dumas hasproduced for us, we shall still be able to place ourselves againand again under the spell of their delightful influence. Moreover,while admitting Dumas' carelessness of exact detail, it wouldhardly be contended by the most sceptical that his works (stillless those of Scott) are without any background of Historicsuggestiveness. Scott, indeed, shows signs of having possessedsomething of that "detachment" which is one important qualificationin the Historian proper; there is a fairness and prevision in hishistorical judgments which we look for in vain when reading theworks of his contemporaries. And, having thus touched on what I believe to be the true relationbetween Romance and History, I may note, as a last word, the use ofthe Historical Tale to those who have the training of young folk.That "desire to know," which is an essential for all true learning,is sometimes best fostered by methods outside the ordinary Schoolroutine. Thus, as regards History, where the text-book fails inarousing interest, the tale may succeed, and, once the spirit ofinquiry has been stimulated, half the battle is gained. In sayingthis I am far from wishing to imply that the reading of romancescan ever take the place of genuine historical study. I know wellthat such a book as Green's "Short History of the English People"may prove to some more fascinating than any novel. There are,however, cases in which recourse may be had to a high-class work offiction for the attainment of a truer historic sense; while, takenonly as supplement to more strictly Academic reading, such a workmay prove to have its uses. Considerable discrimination isrequired—as I have already hinted—in the choice of suitablebooks, and, as a help in this direction, I have made out (vide"Suggested courses of Reading" at the end of this volume) twospecial lists for Boys and Girls respectively, which will, I trust,be found useful. If, besides being of help to teachers, myrecommendations should lead in any degree to further appreciationof the great masters of Romance, the labour (by no meansinconsiderable) expended on this little compilation will be amplyrewarded. J. N.January, 1902. NOTE—the order in which the books are placed is, on the whole,according to the periods dealt with; occasionally the groupingdecided on has prevented absolute correctness in this respect. PRE-CHRISTIAN ERA.SARCHEDON — G. J. Whyte Melville UARDA — Georg Ebers (trans.) ZOROASTER — F. Marion Crawford AN EGYPTIAN PRINCESS — Georg Ebers (trans.) THE FALL OF ATHENS — A. J. Church A YOUNG MACEDONIAN — A. J. Church SALAMMBO — Gustave Flaubert (trans.) THE LION'S BROOD — Duffield Osborne LORDS OF THE WORLD — A. J. Church THE SISTERS — Georg Ehers (trans.) THE HAMMER — A. J. Church and R. Seeley DEBORAH — J. M. Ludlow HELON'S PILGRIMAGE TO JERUSALEM — F. Strauss (trans.) PRUSIAS — Ernst Eckstein (trans.) TWO THOUSAND YEARS AGO — A. J. Church WOE TO THE CONQUERED — Alfred Clark A FRIEND OF CAESAR — W. S. Davis CLEOPATRA — Georg Ebers (trans.) FIRST CENTURY A.D.NEAERA — John W. Graham PHILOCHRISTUS — Anonymous BEN HUR — Lew Wallace TARRY THOU TILL I COME (Salathiel) — G. Croly AS OTHERS SAW HIM — Anonymous BERIC THE BRITON — G. A. Henty ONESIMUS— Anonymous QUO VADIS? — H. Sienkiewicz (trans.) NERO — Ernst Eckstein (trans.) THE BURNING OF ROME — A. J. Church ACTE — Hugh Westbury DARKNESS AND DAWN — Dean Farrar THE LAST DAYS OF POMPEII — Lytton THE GLADIATORS — G. J. Whyte Melville DOMITIA — S. Baring-Gould MASTERS OF THE WORLD — Mary A. M. Hoppus QUINTUS CLAUDIUS — Ernst Eckstein (trans.) SECOND CENTURY.VALERIUS — J. G. Lockhart TO THE LIONS — A. J. Church ANTINOUS — George Taylor (trans.) MARIUS THE EPICUREAN — W. Pater THIRD CENTURY.PER ASPERA — Georg Ebers (trans.) PERPETUA — S. Baring-Gould THE CAMP ON THE SEVERN — A. D. Crake THE VILLA OF CLAUDIUS — E. L. Cutts CALLISTA — J. H. Newman *THE EPICUREAN — Thomas Moore * This tale, it must be admitted, is given a place mainly onaccount of its literary interest; as a historical romance it hasbeen very severely criticised. AURELIAN — W. Ware THE LAST DAYS AND FALL OF PALMYRA (ZENOBIA) — W. Ware FOURTH CENTURY.HOMO SUM — Georg Ebers (trans.) *OUR FOREFATHERS (Die Ahnen) — Gustav Freytag (trans.) * The collective title of a series in which the history of a familyis made to illustrate successive stages of German Civilisation.The English translation does not extend beyond the first twostories, dealing with the years 357 and 724 respectively; theremaining four stories (published by Hirzel of Leipsic, 1874-80)depict German life in 1226, 1519, 1647, and 1805. THE LAST ATHENIAN — V. Rydberg (trans.) *THE DEATH OF THE GODS — D. Merejkowski (trans.) * No. 1 of the trilogy "Christ and Anti-Christ." JETTA — George Taylor (trans.) SERAPIS — Georg Ebers (trans.) A DUKE OF BRITAIN — Sir Herbert Maxwell FIFTH CENTURY.GATHERING CLOUDS — Dean Farrar CONQUERING AND TO CONQUER — Mrs. Charles FABIOLA — Cardinal Wiseman HYPATIA — Charles Kingsley THE COUNT OF THE SAXON SHORE — A. J. Church ATTILA — G. P. R. James FELICITAS — Felix Dahn (trans.) SIXTH CENTURY.BUILDERS Of THE WASTE — Thorpe Forrest A STRUGGLE FOR ROME — Felix Dahn (trans.) ANTONINA — Wilkie Collins HAVELOK THE DANE — C. W. Whistler SHAVEN CROWN — M. Bramston SEVENTH CENTURY.THE SON OF AELLA — Gertrude Hollis CAEDWALLA — F. Cowper THE BRIDE OF THE NILE — Georg Ebers (trans.) *EIGHTH CENTURY.* The second tale in Freytag's "Our Forefathers" (vide Fourth THE INVASION — G. Griffin NINTH CENTURY.A THANE OF WESSEX — C. W. Whistler THE WOOING OF OSYTH — Kate T. Sizer *THE KING'S SONS — G. Manville Fenn * A very slight but charming story of Alfred's boyhood, speciallysuited for the very young. IN AELFRED'S DAYS and UNDER THE BLACK RAVEN — Paul Creswick GOD SAVE KING ALFRED — E. Gilliat THE DRAGON AND THE RAVEN — G. A. Henty KING ALFRED'S VIKING — C. W. Whistler A HERO KING — Eliza F. Pollard TWIXT DAYDAWN AND LIGHT — Gordon Stables A LION OF WESSEX — Tom Bevan TENTH CENTURY.THE LITTLE DUKE — Charlotte M. Yonge EKKEHARD — Scheffel (trans.) EDWY THE FAIR — A. D. Crake THE VIKINGS OF THE BALTIC — G. W. Dasent ELEVENTH CENTURY.OLAF THE GLORIOUS — Robert Leighton THE FALL OF ASGARD — Julian Corbett KING OLAF'S KINSMAN — C. W. Whistler WULFRIC THE WEAPON THANE — C. W. Whistler ALFGAR THE DANE — A. D. Crake EDWARD THE EXILE — Mary Davidson HAROLD — Lytton WILLIAM THE CONQUEROR — Sir Charles Napier THE CAMP OF REFUGE — C. Macfarlane HEREWARD THE WAKE — Charles Kingsley THE RIVAL HEIRS — A. D. Crake WULF THE SAXON — G. A. Henty RUFUS, OR THE RED KING — Anonymous IN THE DAYS OF ST. ANSELM — Gertrude Hollis COUNT ROBERT OF PARIS — Scott GOD WILLS IT — W. S. Davis TWELFTH CENTURY.PABO THE PRIEST — S. Baring-Gould A LEGEND OF READING ABBEY — C. Macfarlane THE KNIGHT OF THE GOLDEN CHAIN — R. D. Chetwode VIA CRUCIS — F. Marion Crawford THE BETROTHED — Scott FOREST OUTLAWS — E. Gilliat IN HIS NAME — E. E. Hale THE TALISMAN — Scott IVANHOE — Scott RICHARD YEA-AND-NAY — Maurice Hewlett MAID MARIAN — Thomas Love Peacock THE BLUE BANNER — Leon Cahun (trans.) THIRTEENTH CENTURY.ROYSTON GOWER — Thomas Miller RUNNYMEDE AND LINCOLN FAIR — J. G. Edgar WALDEMAR — B. S. Ingemann (trans.) THE MOST FAMOUS LOBA — N. K. Blissett PHILIP AUGUSTUS — G. P. R. James LA BATTAGLIA DI BENEVENTO — F. D. Guerrazzi THE COUNTESS TEKLA and THE STRONG ARM — Robert Barr 'NEATH THE HOOF OF THE TARTAR; OR, THE SCOURGE OF GOD — A CLERK OF OXFORD — E. Everett Green HOW I WON MY SPURS — J. G. Edgar A STOUT ENGLISH BOWMAN — E. Pickering THE ROBBER BARON OF BEDFORD CASTLE — A. J. Foster and E. C. THE THIRSTY SWORD — Robert Leighton THE PRINCE AND THE PAGE — Charlotte M. Yonge THE KING'S REEVE — E. Gilliat THE LORD OF DYNEOVER — E. Everett Green FOURTEENTH CENTURY.THE SCOTTISH CHIEFS — Jane Porter IN FREEDOM'S CAUSE — G. A. Henty CASTLE DANGEROUS — Scott THE DAYS OF BRUCE — G. Aguilar THE CHEVALIER OF THE SPLENDID CREST — Sir Herbert Maxwell THE WHISTLING MAID — E. Rhys MARCO VISCONTI — T. Grossi (trans.) MARGHERITA PUSTERLA — Cesare Cantu RIENZI — Lytton IN THE SHADOW OF THE CROWN — M. Bidder *THE COUNTESS ALYS (in "New Canterbury Tales") — Maurice Hewlett * Mr. Hewlett's volume ought not to be described (I have seen it soin one quarter) as dealing with the time of Henry VI. The "tales"are supposed to be told in 1450 by Pilgrims on their way toCanterbury. THE WHITE COMPANY — Conan Doyle ST. GEORGE FOR ENGLAND — G. A. Henty CRECY AND POICTIERS — J. G. Edgar THE LANCES OF LYNWOOD — Charlotte M. Yonge GOD, THE KING, MY BROTHER — Mary F. Nixon Roulet GOD SAVE ENGLAND — F. Breton IN THE DAYS OF CHIVALRY — E. Everett Green JOHN STANDISH — E. Gilliat ROBERT ANNYS, POOR PRIEST — Annie N. Meyer THE BANNER OF ST. GEORGE — M. Bramston A MARCH ON LONDON — G. A. Henty OTTERBOURNE — Anonymous KATE CAMERON OF BRUX — J. E. Muddock THE LION OF FLANDERS — Hendrik Conscience (trans.) THE LION OF ST. MARK — G. A. Henty KNIGHTS OF THE CROSS — H. Sienkiewicz (trans.) FIFTEENTH CENTURY.PERSONAL RECOLLECTIONS OF JOAN OF ARC, BY THE SIEUR LOUIS DE CONTE A NOBLE PURPOSE NOBLY WON — Miss Manning A MONK OF FIFE — A. Lang THE CAGED LION — Charlotte M. Yonge THE FAIR MAID OF PERTH — Scott OLD MARGARET — Henry Kingsley THE GLEAMING DAWN — C. Baker ISABELLA ORSINI — F. D. Guerrazzi BOTH SIDES OF THE BORDER — G. A. Henty IN THE DAYS OF PRINCE HAL — H. Elrington A CHAMPION OF THE FAITH — J. M. Callwell AGINCOURT — G. P. R. James AT AGINCOURT — G. A. Henty BY WEEPING CROSS — Lady Laura Ridding NOEMI — S. Baring Gould THE CAPTAIN OF THE GUARD — James Grant BLACK DOUGLAS — S. R. Crockett THE CARDINAL'S PAGE — C. Baker THE PRINCE OF INDIA — Lew Wallace THEODORA PHRANZA — J. M. Neale TWO PENNILESS PRINCESSES — Charlotte M. Yonge THE LAST OF THE BARONS — Lytton THE BLACK ARROW — R. L. Stevenson GRISLY GRISSELL — Charlotte M. Yonge IN THE WARS OF THE ROSES — E. Everett Green HOW DICKON CAME BY HIS NAME (in "The Deserter and other Stories") — WHERE AVON INTO SEVERN FLOWS (in "The Deserter and other Stories") — THE CHANTREY PRIEST OF BARNET — A. J. Church THE WOODMAN — G. P. R. James RED ROSE AND WHITE — Alfred Armitage PERKIN WARBECK — Mary Shelley THE HEIR OF HASCOMBE HALL — E. Everett Green THE CAPTAIN OF THE WIGHT — F. Cowper WILD HUMPHRY KYNASTON — H. Hudson THE YELLOW FRIGATE — James Grant MARY OF BURGUNDY — G. P. R. James THE DOVE IN THE EAGLES NEST — Charlotte M. Yonge THE BURGOMASTER OF BERLIN — Wilibald Alexis (trans.) QUENTIN DURWARD — Scott ANNE OF GRIERSTEIN — Scott MARIETTA — F. Marion Crawford DESIDERIO — Edmund G. Gardner ROMOLA — George Eliot NOTRE DAME — Victor Hugo (trans.) THE CLOISTER AND THE HEARTH — Charles Reade THE RESURRECTION OF THE GODS — D. Merejkowski (trans) THE VALE OF CEDARS — Grace Aguilar THE BLACK DISC — Albert Lee LEILA — Lytton WESTWARD WITH COLUMBUS — Gordon Stables THE GOD SEEKER — P. Rosegger (trans.) LITTLE NOVELS OF ITALY — Maurice Hewlett SIXTEENTH CENTURY.THE HONOUR OF SAVELLI — Levett Yeats THE CHALLENGE OF BARLETTA — M. D'Azeglio (trans.) THE MAID OF FLORENCE; OR, NICCOLO DE' LAPI — M. D'Azeglio (trans.) TRUE HEART — F. Breton IN THE BLUE PIKE — Georg Ebers (trans.) CHRONICLES OF THE SCHONBERG COTTA FAMILY — Mrs. Charles BARBARA BLOMBERG — Georg Ebers. (trans.) LICHTENSTEIN — Hauff (trans.) IN THE OLDEN TIME — Miss Roberts THE BRAES Of YARROW — C. Gibbon IN THE KING'S FAVOR — J. E. Muddock MARY OF LORRAINE — James Grant THE SHROUDED FACE — Owen Rhoscomyl BY RIGHT OF CONQUEST — G. A. Henty THE FAIR GOD — Lew Wallace MONTEZUMA'S DAUGHTER — H. Rider Haggard THE INCA'S RANSOM — Albert Lee THE HOUSEHOLD OF SIR THOMAS MORE — Miss Manning HENRY VIII. AND HIS COURT; OR, CATHERINE PARR — Louise Muhlbach (trans.) WINDSOR CASTLE — Harrison Ainsworth DEFENDER OF THE FAITH — Frank Mathew MY FRIEND ANNE — Jessie Armstrong THE ARMOURER'S 'PRENTICES — Charlotte M. Yonge THE HOUSE OF THE WIZARD — M. Imlay Taylor WHEN KNIGHTHOOD WAS IN FLOWER — E. Caskoden THE WHITE QUEEN — Russell Garnier FRESTON TOWER — R. Cobbold WESTMINSTER ABBEY — Author of "Whitefriars" LIKE A RASEN FIDDLER — Mary E. Shipley UNDER BAYARD'S BANNER — Henry Frith THE TWO DIANAS — Dumas (translation) JOHN OF STRATHBOURNE — R. D. Chetwode MARGUERITE DE ROBERVAL — T. G. Marquis A WARD OF THE KING — Katherine S. Macquoid ST. LEON — William Godwin THE BRIGAND — G. P. R. James ASCANIO — Dumas (translation) THE PAGE OF THE DUKE OF SAVOY — Dumas (translation) ROYAL FAVOUR — A. S. C. Wallis (translation) THE PRINCE AND THE PAUPER — Mark Twain THE MAID OF LONDON BRIDGE — S. Gibney THE COLLOQUIES OF EDWARD OSBORNE — Miss Manning SEETHING DAYS — Caroline C. Holroyd THE TOWER OF LONDON — Harrison Ainsworth THE ROYAL SISTERS — Frank Mathew LEST WE FORGET — Joseph Hocking THE STORY OF FRANCIS CLUDDE — Stanley Weyman THE SCARLET JUDGES — E. F. Pollard MY LADY OF ORANGE — H. C. Bailey BY PIKE AND DYKE — G. A. Henty BY ENGLAND'S AID — G. A. Henty LYSBETH — H. Rider Haggard TRUE TO THE PRINCE — Gertrude Bell IN TROUBLED TIMES — A. S. C. Wallis (translation) THE MASTER BEGGARS — L. Cope Cornford *LUDOVIC AND GERTRUDE — Hendrik Conscience (translation) * Told from the Roman Catholic standpoint. THE BEGGARS — J. B. de Liefde FOR FAITH AND FATHERLAND — M. Bramston SHUT IN — E. Everett Green THE SPANISH BROTHERS — Anonymous IN FAIR GRANADA — E. Everett Green IN THE PALACE OF THE KING — F. Marion Crawford THE TRAITOR'S WAY — S. Levett Yeats ABOUT CATHERINE DE MEDICI — Balzac (translation) KLYTIA — George Taylor (trans.) FOR THE RELIGION and A MAN OF HIS AGE — Hamilton Drummond MARGUERITE DE VALOIS — Dumas (translation) A CHRONICLE OF THE REIGN OF CHARLES IX. — Prosper Merimee (trans.) THE HOUSE OF THE WOLF — Stanley Weyman COUNT HANNIBAL — Stanley Weyman THE CHAPLET OF PEARLS — Charlotte M. Yonge AN ENEMY TO THE KING — R. N. Stephens A GENTLEMAN OF FRANCE — Stanley Weyman THE KING'S HENCHMAN and UNDER THE SPELL OF THE FLEUR DE LIS — THE HELMET OF NAVARRE — Bertha Runkle THE KING'S PAWN — Hamilton Drummond CHEVALIER D'AURIAC — Levett Yeats FROM THE MEMOIRS OF A MINISTER OF FRANCE — Stanley Weyman LA DAME DE MONSOREAU — Dumas (translation) THE FORTY FIVE — Dumas (translation) BEATRICE CENCI — F. D. Guerrazzi (translation) THE TERRIBLE CZAR — Count A. K. Tolstoy (translation) A BOYAR OF THE TERRIBLE — F. Whishaw UNDER THE SOUTHERN CROSS — Anonymous THE FLAMINGO FEATHER — K. Munro THE MONASTERY — Scott THE ABBOT — Scott THE QUEEN'S MARIES — G. J. Whyte Melville UNKNOWN TO HISTORY — Charlotte M. Yonge MARY HAMILTON — Lord Ernest Hamilton ONE QUEEN TRIUMPHANT — Frank Mathew MAGDALEN HEPBURN — Mrs. Oliphant KENILWORTH — Scott WESTWARD HO! — Charles Kingsley FOR GOD AND GOLD — Julian Corbett BY STROKE OF SWORD — A. Balfour SONS OF ADVERSITY — L. Cope Cornford A GENTLEMAN PLAYER — R. N. Stephens SIR LUDAR — T. Baines Reed MAELCHO — Emily Lawless GUAVAS THE TINNER — S. Baring-Gould THE WHITE KING OF MANOA — Joseph Hatton PENSHURST CASTLE — Emma Marshall MASTER SKYLARK — John Bennett THE OUTLAWS OF THE MARCHES — Lord Ernest Hamilton THE FLIGHT OF THE EAGLE — Standish O'Grady WITH ESSEX IN IRELAND — Emily Lawless SEVENTEENTH CENTURY.THE FORTUNES OF NIGEL — Scott *THE LANCASHIRE WITCHES — Harrison Ainsworth * Ainsworth's two novels, "Guy Fawkes" and "The Star Chamber," alsodeal with James I., but they are distinctly inferior in literaryworkmanship. THE BLACK TOR — G. Manville Fenn IN THE DAYS OF KING JAMES — S. H. Burchell ROMANCE OF THE LADY ARBELL — Alastor Graeme JUDITH SHAKESPEARE — William Black THE LOST TREASURE OF TREVLYN — E. Everett Green *STANDISH OF STANDISH — J. G. Austin * This is the first of a series of tales dealing with EarlyAmerican history by the same author, viz.:—"Betty Alden" (sequelto above); "A Nameless Nobleman" (half-century later than "Standishof Standish"), with its sequel, "Dr. Le Baron and his Daughters"(all published by Houghton, Mifflin, & Co.) SOLDIER RIGDALE — B. M. Dix LONGFEATHER THE PEACEMAKER — Kirk Monroe BY ORDER OF THE COMPANY (TO HAVE AND TO HOLD) — Mary Johnston MERRY-MOUNT — J. L. Motley MISTRESS BRENT — Lucy M. Thruston ANTONIA — Jessie Van Zile Belden THE DUKE'S SERVANTS — S. H. Burchell IN HIGH PLACES — Miss Braddon WHITEHALL — Anonymous MEMOIRS OF A CAVALIER — Defoe THE CAVALIERS — S. R. Keightley WHEN CHARLES I. WAS KING — J. S. Fletcher HOLMEY HOUSE — G. J. Whyte Melville THE SPLENDID SPUR — "Q" WITH THE KING AT OXFORD — A. J. Church MISTRESS SPITFIRE — J. S. Fletcher CROMWELL'S OWN — A. Paterson ST. GEORGE AND ST. MICHAEL — George Macdonald HUGH GWYETH — B. M. Dix MIRIAM CROMWELL — Dora McChesney THE CHILDREN OF NEW FOREST — Marryatt *FOR KING AND KENT — Col. Colomb * This book well represents the extreme Royalist point of view. TO RIGHT THE WRONG — Edna Lyall IN SPITE OF ALL — Edna Lyall JOHN INGLESANT — J. H. Shorthouse UNDER SALISBURY SPIRE — Emma Marshall A HAUNT OF ANCIENT PEACE — Emma Marshall THE MAIDEN AND MARRIED LIFE OF MARY POWELL — Miss Manning OLD BLACKFRIARS — Beatrice Marshall THE THREE MUSKETEERS — Dumas (translation) UNDER THE RED ROBE — Stanley Weyman THE MAN IN BLACK — Stanley Weyman CINQ MARS — A. de Vigny (trans.) RICHELIEU — G. P. R. James CAPTAIN FRACASSE — Theophile Gautier (translation) A DAUGHTER OF FRANCE — Eliza Pollard *THE BETROTHED LOVERS — Manzoni (translation) * Also published by George Bell & Sons (Bohn's Series) under thetitle "The Betrothed." I adopt the fuller title to preventconfusion with Scott's romance. RUPERT BY THE GRACE OF GOD — Dora McChesney STRAY PEARLS — Charlotte M. Yonge THE LION OF THE NORTH — G. A. Henty A BRAVE RESOLVE — J. B. de Liefde BARON AND SQUIRE — Noeldechen (translated by Mrs. Pereira) WON BY THE SWORD — G. A. Henty MY LADY ROTHA — Stanley Weyman RED AXE — S. R. Crockett *THE KING'S RING — Zacharias Topelius (translation) * The first of a series covering the 17th and 18th Centuries.Under the general title of "The Surgeon's Stories," the remainingvolumes were published by Messrs. Jansen & Co., of Chicago (1883-4); one of these appears in my list later on. DER DEUTSCHE KRIEG (Collective Title of Series) — Heinrich Laube PHILLIP ROLLO — James Grant TWENTY YEARS AFTER — Dumas (translation) THE WAR OF WOMEN — Dumas (translation) MARIE DE MANCINI — Madame Sophie Gay (translation) THE SILVER CROSS — S. R. Keightley HENRY MASTERTON — G. P. R. James PRETTY MICHAL — M. Jokai (translation) WITH FIRE AND SWORD — H. Sienkiewicz (translation) THE DELUGE — H. Sienkiewicz (translation) PAN MICHAEL — H. Sienkiewicz (translation) JOHN SPLENDID — Neil Munro THE LEGEND OF MONTROSE — Scott JOURNAL OF THE LADY BEATRIX GRAHAM — Mrs. Fowler Smith THE ANGEL OF THE COVENANT — J. Maclaren Cobban KATHLEEN CLARE — Dora McChesney JOHN MARMADUKE — S. H. Church IN THE KING'S SERVICE — F. S. Brereton ETHNE — Mrs. Field HARRY OGILVIE — James Grant THE WHITE KING'S DAUGHTER — Emma Marshall IN COLSTON'S DAYS — Emma Marshall WOODSTOCK — Scott CAPTAIN JACOBUS — L. Cope Cornford AFTER WORCESTER — E. Everett Green ON BOTH SIDES OF THE SEA — Mrs. Charles THE MAKING OF CHRISTOPHER FERRINGHAM — B. M. Dix *DEBORAH'S DIARY — Miss Manning * Sequel to "The Maiden and Married Life of Mary Powell." ADAM HEPBURN'S VOW — Annie S. Swan FRIEND OLIVIA — Amelia E. Barr THE SHADOW OF A CRIME — Hall Caine A GALLANT QUAKER — Mrs. M. H. Roberton THE ROMANCE OF DOLLARD — Mrs. Catherwood TARA — Meadows Taylor BRAMBLETYE HOUSE — Horace Smith GOD SAVE THE KING — Ronald Macdonald PEVERIL OF THE PEAK — Scott LONDON PRIDE — Miss Braddon DANIEL HERRICK — S. H. Burchell I LIVED AS I LISTED — Arthur L. Maitland THE PURITAN'S WIFE — Max Pemberton WHITEFRIARS — Anonymous THE ROBBER — G. P. R. James SILAS VERNEY — E. Pickering CHERRY AND VIOLET — Miss Manning HISTORY OF THE PLAGUE — Defoe OLD ST. PAULS — Harrison Ainsworth THE DAGGER AND THE CROSS — J. Hatton TRAITOR OR PATRIOT? — Mary C. Rowsell SIMON DALE — Anthony Hope NELL GWYNN, COMEDIAN — Frankfort Moore IN THE GOLDEN DAYS — Edna Lyall SIR RALPH ESHER — Leigh Hunt MARY HOLLIS — H. J. Schimmel (translation) OLD MORTALITY — Scott THE MEN OF THE MOSS HAGS — S. R. Crockett JOHN BURNET OF BARNS — J. Buchan WINCHESTER MEADS — Emma Marshall IN THE EAST COUNTRY WITH SIR THOMAS BROWNE — Emma Marshall IN WESTMINSTER CHOIR — Emma Marshall THE CARVED CARTOON — Austin Clare SPINOZA — Auerbach (trans.) 'MIDST THE WILD CARPATHIANS — M. Jokai (trans.) THE BLACK TULIP — Dumas (trans.) THE VICOMTE DE BRAGELONNE — Dumas (trans.) BELLE ROSE — Amedee Achard IN THE DAY OF ADVERSITY — J. Bloundelle Burton *THE SCOURGE OF GOD — J. Bloundelle Burton * Intentionally placed with the Louis XIV. romances. It should,however, be noted that the events of the story are supposed tohappen in the first years of the Eighteenth Century (the CevennesRevolt). THE REFUGEES — Conan Doyle THE BLACK WOLF'S BREED — H. Dickson CAPTAIN SATAN — Louis Gallet (trans.) THE KING'S SIGNET — Eliza Pollard THE MARCHIONESS OF BRINVILLIERS — Albert Smith THE GOLDEN FLEECE — Amedee Achard(trans.) HIS COUNTERPART — Russell M. Garnier THE CLASH OF ARMS — J. Bloundelle Burton UNCROWNING A KING — E. S. Ellis THE OLD DOMINION (PRISONERS OF HOPE) — Mary Johnston VIVIAN OF VIRGINIA — Hulbert Fuller THE HEART'S HIGHWAY — Mary E. Wilkins A REPUTED CHANGELING — Charlotte M. Yonge THE REBEL — H. B. Marriott Watson LORNA DOONE — R. D. Blackmore FOR FAITH AND FREEDOM — Walter Besant MICAH CLARKE — Conan Doyle IN TAUNTON TOWN — E. Everett Green THE BLUE FLAG — Max Hillary URITH — S. Baring-Gould DEB CLAVEL — M. E. Palgrave DUKE OF MONMOUTH — Gerald Griffin IN THE SERVICE OF RACHEL LADY RUSSELL — Emma Marshall THE STANDARD BEARER — S. R. Crockett THE COURTSHIP OF MORICE BUCKLER — A. E. W. Mason THE SWORD OF THE KING — Ronald Macdonald THE OUTLAW — Mrs. Hall THE LIFEGUARDSMAN — H. J. Schimmel (translation) THE SCOTTISH CAVALIER — James Grant RINGAN GILHAIZE — J. Galt LOCHINVAR — S. R. Crockett MISTRESS DOROTHY MARVIN — J. C. Snaith BLUE PAVILIONS — "Q" KENSINGTON PALACE — Emma Marshall MY MISTRESS THE QUEEN — M. A. Paull BY THE NORTH SEA — Emma Marshall A MAN'S FOES — E. H. Strain THE CRIMSON SIGN — S. R. Keightley IN THE WAKE OF KING JAMES — Standish O'Grady THE BOYNE WATER — J. Banim THE MAC MAHON — Owen Blayney REDMOND COUNT O'HANLON — W. Carleton THE BRIDE OF LAMMERMOOR — Scott ON THE RED STAIRCASE — M. Imlay Taylor THE LION CUB — F. Whishaw THE ROAD TO FRONTENAC — S. Merwin THE TRAIL OF THE SWORD — Gilbert Parker THE YOUNG PIONEERS — E. Everett Green THE BEGUM'S DAUGHTER — E. L. Bynner IN FURTHEST IND — Sydney C. Grier DARIEN — Eliot Warburton MAZEPPA — F. Whishaw MONSIEUR MARTIN — W. Carey A LADY OF QUALITY — F. Hodgson Burnett HIS GRACE OF OSMONDE — F. Hodgson Burnett A SET OF ROGUES — Frank Barrett EIGHTEENTH CENTURY.THE PIRATE — Scott ESMOND — Thackeray DEVEREUX — Lytton ST. JAMES'S — Harrison Ainsworth THE OLD CHELSEA BUN HOUSE — Miss Manning ACROSS THE SALT SEAS — J. Bloundelle Burton THE QUEEN'S SERF — Elsa d'Esterre Keeling MOHAWKS — Miss Braddon IN KING'S HOUSES — Julia C. R. Dorr THE BRAVEST OF THE BRAVE — G. A. Henty THE CORNET OF HORSE — G. A. Henty IN THE IRISH BRIGADE — G. A. Henty TOM TUFTON'S TRAVELS and TOM TUFTON'S TOLL — E. Everett Green ESTHER VANHOMRIGH — Margaret L. Woods THE BLACK DWARF — Scott AN IMPERIAL LOVER — M. Imlay Taylor BORIS THE BEAR-HUNTER and A LOST ARMY — F. Whishaw CAPTAIN SINGLETON — Defoe FOR THE KING — C. Gibbon THE HERITAGE OF LANGDALE — Mrs. Alexander PARSON KELLY — A. E. W. Mason and A. Lang DUANCE PENDRAY — G. Norway MONSIEUR BEAUCAIRE — Booth Tarkington THE RAIDERS and THE DARK O' THE MOON — S. R. Crockett ROB ROY — Scott DOROTHY FORSTER — Walter Besant A DAUGHTER OF STRIFE — J. H. Findlater A LOYAL LITTLE MAID — S. Tytler TO ARMS! — A. Balfour *CLEMENTINA — A. E. W. Mason * Decidedly superior to the same Author's "Lawrence Clavering"(also Jacobite period). A JACOBITE EXILE — G. A. Henty TIMES OF CHARLES XII. — Z. Topelius (trans.) LE CHEVALIER D'HARMENTHAL — Dumas (translation) THE REGENT'S DAUGHTER — Dumas (translation) THE YEMASSEE — W. G. Simms FREE TO SERVE — E. Rayner AUDREY — Mary Johnston HALIL THE PEDLAR — M. Jokai (trans.) THE MISER'S DAUGHTER — Harrison Ainsworth THE WORLD WENT VERY WELL THEN — Walter Besant HEART OF MIDLOTHIAN — Scott WILLOWDENE WILL — Halliwell Sutcliffe THE GIPSY — G. P. R. James NED LEGER — G. Manville Fenn RODERICK RANDOM — Smollett TREASURE TROVE — S. Lover WHERE HONOUR LEADS — Marian Francis THE HOUSE DIVIDED — H. B. Marriott Watson LADY GRIZEL — Lewis Wingfield FOR THE WHITE ROSE OF ARNO — Owen Rhoscomyl WAVERLEY — Scott MISTRESS NANCY MOLESWORTH — Joseph Hocking THE FORTUNES OF CLAUDE — Edgar Pickering A LOST LADY OF OLD YEARS — J. Buchan DENOUNCED — J. Bloundelle Burton RICROFT OF WITHENS — Halliwell Sutcliffe THE MASTER OF BALLANTRAE — R. L. Stevenson AN EXILED SCOT — H. A. Bryden SIR SERGEANT — W. L. Watson KIDNAPPED — R. L. Stevenson CATRIONA — R. L. Stevenson THE SHOES OF FORTUNE — Neil Munro THE BIRTHRIGHT — Joseph Hocking HUMPHREY CLINKER — Smollett THE CHAPLAIN OF THE FLEET — W. Besant and J. Rice MOONFLEET — J. Meade Falkner THE MASTER OF THE MUSICIANS — Emma Marshall PEG WOFFINGTON — Charles Reade THE JESSAMY BRIDE — F. Frankfort Moore MEMOIRS OF BARRY LYNDON — Thackeray THE BATH COMEDY — Agnes & Egerton Castle THE DUTCHMAN'S FIRESIDE — J. K. Paulding IN OLD NEW YORK — Wilson Barrett and E. Barron AGNES SURRIAGE — Edwin L. Bynner FAIRFAX — J. E. Cooke WITH CLIVE IN INDIA — G. A. Henty RALPH DANIELL — Meadows Taylor LIKE ANOTHER HELEN — Sydney C. Grier IVAN DE BIRON — Sir Arthur Helps THE KING'S "BLUE BOYS" — Sheila E. Braine THE CITIZEN OF PRAGUE — C. L. A. Paalzow (translation) CONSUELO and THE COUNTESS OF RUDOLSTADT — George Sand (trans.) *FREDERICK THE GREAT AND HIS FAMILY — Louise Muhlbach * One of L. Muhlbach's several romances dealing with this period. GAVIN HAMILTON — M. E. Seawell WITH FREDERICK THE GREAT — G. A. Henty A FALLEN STAR — C. Lowe AMYOT BROUGH — E. Vincent Briton THE FORGE IN THE FOREST — C. D. G. Roberts A SISTER TO EVANGELINE — C. D. G. Roberts AT WAR WITH PONTIAC — Kirk Munroe THE SEATS OF THE MIGHTY — Gilbert Parker THE LAST OF THE MOHICANS — Fennimore Cooper THE STORY OF OLD FORT LOUDON — C. E. Craddock FORTUNE'S MY FOE — J. Bloundelle Burton THE VIRGINIANS — Thackeray THE GOLDEN DOG — William Kirby OLYMPE DE CLEVES — Dumas (translation) THE HOUSE OF DE MAILLY — Margaret H. Potter THE LITTLE HUGUENOT — Max Pemberton THE LAST RECRUIT OF CLARE'S — S. R. Keightley THE FAVOR OF PRINCES — Mark L. Luthur MEMOIRS OF A PHYSICIAN — Dumas (translation) THE QUEEN'S NECKLACE — Dumas (translation) THE COUNTESS EVE — J. H. Shorthouse IN EXITU ISRAEL — S. Baring-Gould THE KING WITH TWO FACES — M. E. Coleridge MANY WAYS OF LOVE — F. Whishaw A FORBIDDEN NAME — F. Whishaw THE TURKISH AUTOMATON — Sheila E. Braine THE PRIDE OF JENNICO — Agnes & Egerton Castle REDGAUNTLET — Scott GUY MANNERING — Scott KATERFELTO — G. J. Whyte-Melville THE ORANGE GIRL — Walter Besant *THE ROCK OF THE LION — M. E. Seawell * Deals with the Siege of Gibraltar, 1779-1783. BARNABY RUDGE — Dickens THE MAID OF SKER — R. D. Blackmore MISS ANGEL — Miss Thackeray THE FATAL GIFT — F. Frankfort Moore A NEST OF LINNETS — F. Frankfort Moore THE SURGEON'S DAUGHTER — Scott THE CASTLE INN — Stanley Weyman THE TONE KING — Heribert Rau (trans.) THE VIRGINIA COMEDIANS — J. E. Cooke ALICE OF OLD VINCENNES — Maurice Thompson THE GREEN MOUNTAIN BOYS — Daniel P. Thompson *LIONEL LINCOLN — Fennimore Cooper * "Lionel Lincoln" treats of Boston in the time of Bunker Hill(1775); "The Spy" of Hudson River district 1782); and "The Pilot"of Paul Jones (1779). THE SPY — Fennimore Cooper THE PILOT — Fennimore Cooper RICHARD CARVEL — Winston Churchill HUGH WYNNE — S. Weir Mitchell A GREAT TREASON — Mary A. M. Hoppus A SOLDIER OF VIRGINIA — Burton Eghert Stevenson PHILIP WINWOOD — R. N. Stephens LOVE LIKE A GIPSY — Bernard Capes JANICE MEREDITH — P. L. Ford THE TORY LOVER — Sarah Orne Jewett CARDIGAN — R. W. Chambers *THE FORAYERS and EUTAW — W. G. Simms * The two last of a series covering the American War period. HORSE-SHOE ROBINSON — J. P. Kennedy THE DUKE OF STOCKBRIDGE — E. Bellamy ANGE PITOU — Dumas (translation) LA COMTESSE DE CHARNY — Dumas (translation) CHEVALIER DE MAISON ROUGE — Dumas (translation) *THE STORY OF A PEASANT — Erckmann-Chatrian (translation) * Collective title of the four tales—"The States-General" (1789), THE REDS OF THE MIDI — Felix Gras (translation) THE TERROR — Felix Gras (translation) THE WHITE TERROR — Felix Gras (translation) A TALE OF TWO CITIES — Dickens L'AN '93 — Victor Hugo (trans.) MY LADY MARCIA — Eliza F. Pollard THE ATELIER DU LYS — Miss Roberts ON THE EDGE OF THE STORM — Miss Roberts CITOYENNE JACQUELINE — S. Tytler LA VENDEE — Anthony Trollope THE RED COCKADE — Stanley Weyman MADEMOISELLE MATHILDE — Henry Kingsley THE ADVENTURES OF FRANCOIS FOUNDER — S. Weir Mitchell *A STORM-RENT SKY — M. Betham Edwards * This striking tale deals with Danton's career. In "A Romance ofDijon" (Black) and "The Dream-Charlotte" (Black) Miss BethamEdwards has depicted earlier phases of the Revolution; the last-named novel takes us away from the Capital, to show us how theforces of the time affected the simple folk of Normandy. THE ADVENTURES OF THE COMTE DE LA MUETTE — Bernard Capes OUR LADY OF DARKNESS — Bernard Capes THE RED SHIRTS — Paul Gaulot. (trans.) A GIRL OF THE MULTITUDE — Anonymous THE LITTLE SAINT OF GOD — Lady F. Cunningham ST. KATHERINE'S BY THE TOWER — Walter Besant AT THE SIGN OF THE GUILLOTINE — Harold Spender THE PARSON'S DAUGHTER — Emma Marshall THE MAID OF MAIDEN LANE — Amelia E. Barr ARTHUR MERVYN — Charles Brocden Brown ROPES OF SAND — R. E. Francillon A BUSINESS IN GREAT WATERS — Julian Corbett THE WHITES AND THE BLUES — Dumas (translation) THE CHOIR INVISIBLE — James Lane Allen THE MILLS OF GOD — Elinor Macartney Lane THE KING'S OWN — Marryatt ADMIRAL — Douglas Sladen THE BATTLE OF THE STRONG — Gilbert Parker IN PRESS-GANG DAYS — E. Pickering THE ANTIQUARY — Scott THE KING'S DEPUTY — H. A. Hinkson RORY O'MORE — S. Lover KATHLEEN MAVOURNEEN — Randal McDonnell TWO CHIEFS OF DUNBOY — J. A. Froude THE REBELS — M. McD. Bodkin UP FOR THE GREEN — H. A. Hinkson THE CROPPY — John and Michael Banim THE INIMITABLE MRS. MASSINGHAM — Herbert Compton THE COMPANIONS OF JEHU — Dumas (translation) THE MINISTER'S WOOING — Mrs. Beecher Stowe LITTLE JARVIS — M. E. Seawell THE HUNGARIAN BROTHERS — A. M. Porter NINETEENTH CENTURY (EARLY AND MID)THE CHOUANS — Balzac (translation) RODNEY STONE — Conan Doyle THE LORDS OF STROGUE — Lewis Wingfield SWALLOW BARN — J. P. Kennedy BLENNERHASSETT — C. F. Pidgin A SON OF THE REVOLUTION — Elbridge S. Brooks THE MAN WITHOUT A COUNTRY — E. E. Hale AT THE POINT OF THE BAYONET — G. A. Henty THE HOUR AND THE MAN — Harriet Martineau THE ADVENTURES OF A GOLDSMITH — M. H. Bourchier PICCIOLA — X. B. Saintine (trans.) A BOY OF THE FIRST EMPIRE — Elbridge S. Brooks WHEN GEORGE III. WAS KING — A. Sagon SPRINGHAVEN — R. D. Blackmore *TRAFALGAR — B. Perez Galdos (trans.) * One of the series (20 vols.), "Episodios Nacionales," dealingwith the Spanish War of Independence. AFLOAT WITH NELSON — Charles H. Eden RUHE IST DIE ERSTE BURGERFLICHT and ISEGRIMM — Wilibald Alexis RAFAEL — Ernest Daudet (trans.) TOM BURKE Of "OURS" — Charles Lever THE AIDE-DE-CAMP — James Grant CHARLES O'MALLEY — Charles Lever ALICE LORRAINE — R. D. Blackmore THE ROMANCE OF WAR — James Grant WITH MOORE AT CORUNNA and UNDER WELLINGTON'S COMMAND — G. A. Henty THE SUBALTERN — G. R. Gleig THE BIVOUAC — W. H. Maxwell SONS OF THE SWORD — Margaret L. Woods WITH THE RED EAGLE — W. Westall A RED BRIDAL — W. Westall WAR AND PEACE — Tolstoy (translation) KENNETH — Charlotte M. Yonge THROUGH RUSSIAN SNOWS — G. A. Henty SHIRLEY — Charlotte Bronte FOREST FOLK — James Prior AN OCEAN FREE LANCE — Clark Russell ST. RONAN'S WELL — Scott D'RI AND I. — Irving Bacheller THE BIG BROTHER — G. C. Eggleston IN THE YEAR '13 — Fritz Renter (trans.) UNCLE BERNAC — Conan Doyle EXPLOITS OF BRIGADIER GERARD — Conan Doyle THE SHADOW OF THE SWORD — R. Buchanan GRANTLEY FENTON — M. M. Blake VENGEANCE IS MINE — A. Balfour FACE TO FACE WITH NAPOLEON and IN THE YEAR OF WATERLOO — O. V. Caine ONE OF THE 28th. — G. A. Henty THE BLOCKADE — Erckmann-Chatrian (translation) *THE CONSCRIPT and WATERLOO — Erckmann-Chatrian (translation) * These two books depict the period September, 1812-July, 1815. STORIES OF WATERLOO — W. H. Maxwell THE GREAT SHADOW — Conan Doyle ST. IVES — R. L. Stevenson CHEAP JACK ZITA — S. Baring-Gould LES MISERABLES — Victor Hugo (trans.) LAZARRE — Mrs. Catherwood THE NAMELESS CASTLE — M. Jokai (trans.) LORDS OF THE NORTH — Agnes C. Laut THE REVOLUTION IN TANNER'S LANE — Mark Rutherford THE MANCHESTER MAN — Mrs. G. L. Banks VANITY FAIR — Thackeray MIS'ESS JOY — John Le Breton YEOMAN FLEETWOOD — M. E. Francis (Mrs. Blundell) A LADY OF THE REGENCY — Mrs. Stepney Rawson TAKEN FROM THE ENEMY — Henry Newbolt ROYAL GEORGIE — S. Baring-Gould THE VINTAGE and CAPSINA — E. F. Benson BLACK PROPHET — W. Carleton THE WHITEBOY — Mrs. S. C. Hall HUNGARIAN NABOB — M. Jokai (translation) THE GREEN BOOK — M. Jokai (translation) THADDEUS OF WARSAW — Jane Porter THE FIERY DAWN — M. E. Coleridge THE SHE WOLVES OF MACHECOUL — Dumas (translation) THE FIREBRAND — S. R. Crockett IN KEDAR'S TENTS — H. S. Merriman FOR THE RIGHT — Karl Emil Franzos (translation) MIDDLEMARCH — George Eliot FELIX HOLT — George Eliot UNDER THE MENDIPS — Emma Marshall TREWERN — R. M. Thomas SWALLOW — H. Rider Haggard JOHN CHARITY — H. A. Vachell ALTON LOCKE — Charles Kingsley SYBIL — Disraeli TO HERAT AND CABUL — G. A. Henty CASTLE RICHMOND — Anthony Trollope CASTLE DALY — Miss Keary MONONIA — Justin McCarthy ISHMAEL — Miss Braddon JOURNEYMAN LOVE — Mrs. Stepney Rawson MADEMOISELLE MORI — Miss Roberts *DR. ANTONIO — G. D. Ruffini * A remarkable example of a foreigner's mastery of our language.Ruffini, the illustrious Italian patriot, wrote this novel after asojourn of some years in England. VITTORIA — George Meredith FOR FREEDOM — Tighe Hopkins OUT WITH GARIBALDI — G. A. Henty DEBIT AND CREDIT — Freytag (translation) THE BARON'S SONS — M. Jokai (translation) MANASSEH — M. Jokai (translation) RAVENSHOE — Henry Kingsley *SEVASTOPOL — Tolstoy (translatton) * This powerful sketch can hardly be described as "romance," but Ifelt that my Crimean section would be incomplete without it. THE INTERPRETER — G. J. Whyte Melville BY CELIA'S ARBOUR — W. Besant and J. Rice A GALLANT GRENADIER — Captain Brereton SEETA — Meadows Taylor THE DILEMMA — Sir George Chesny ON THE FACE OF THE WATERS — Mrs. F. A. Steel FLOTSAM — H. Seton Merriman FOR THE OLD FLAG — Clive Robert Fenn JENETHA'S VENTURE — Colonel Harcourt EBEN HOLDEN — Irving bacheller THE CRISIS — Winston Churchill THE RED BADGE OF COURAGE — Stephen Crane WITH LEE IN VIRGINIA — G. A. Henty THE DESERTER, and A DAY IN THE WILDERNESS (In "The Deserter and THE COPPERHEAD AND OTHER TALES — Harold Frederic WHO GOES THERE? and FRIEND WITH THE COUNTERSIGN — B. K. Benson THE CAVALIER — George W. Cable HENRY BOURLAND — Albert Elmer Hancock *RED ROCK — T. Nelson Page * Depicts the Reconstruction period in the Southern States justafter the War. AN EMPEROR'S DOOM — Herbert Hayens LAY DOWN YOUR ARMS — Baroness von Suttner (translation) FOR SCEPTRE AND CROWN — G. Samarow (trans.) THE MEMBER FOR PARIS — E. C. Grenville Murray HISTOIRE DU PLEBISCITE — Erckmann-Chatrian LORRAINE — Robert W. Chambers VALENTIN — Henry Kingsley THE ISLE OF UNREST — H. S. Merriman THE GARDEN OF SWORDS — Max Pemberton ASHES OF EMPIRE — Robert W. Chambers THE DOWNFALL — E. Zola (translation) *UNE EPOQUE — Paul et Victor Margueritte * Collective title of the 4 novels—"Le Desastre" (Metz, 1870), THE PARISIANS — Lytton THE RED REPUBLIC — Robert W. Chambers THE VELVET GLOVE — H. S. Merriman * SUPPLEMENTARY LIST OF NOTABLE NOVELS,Which, while not strictly "Historical," in some way representbygone periods. * Nothing like exhaustiveness is claimed for this "SupplementaryList;" the method of study therein indicated might be indefinitelyextended, but the few works given form an almost necessarystarting-point. A less restricted list would, of course, includethe Semi-Historic examples of such Foreign authors as Madame deStael, Balzac, Spielhagen, &c. The purport of this book beingprimarily in the direction of Historical Romance proper, I haveconfined my attention here to a few works on the borderland of myIntroductory definition. THE FOREST LOVERS — Maurice Hewlett THE SCARLET LETTER — Nathaniel Hawthorne CASTLE RACKRENT — Maria Edgeworth TREASURE ISLAND — R. L. Stevenson TOM JONES — Fielding CLARISSA HARLOWE — Richardson THE VICAR OF WAKEFIELD — Goldsmith ANNALS OF THE PARISH — John Galt EVELINA — Frances Burney PRIDE AND PREJUDICE — Jane Austen ADAM BEDE — George Eliot DESTINY — Susan E. Ferrier TRAITS AND STORIES OF THE IRISH PEASANTRY — William Carleton O'DONNEL — Lady Morgan THE GRANDISSIMES — G. W. Cable PENDENNIS and THE NEWCOMES — Thackeray CRANFORD — Mrs. Gaskell PERLYCROSS — R. D. Blackmore THE BLITHEDALE ROMANCE — Nathaniel Hawthorne THE TRAGIC COMEDIANS — George Meredith UNCLE TOM'S CABIN — Mrs. H. Beecher-Stowe A KENTUCKY CARDINAL AND AFTERMATH — James Lane Allen BARCHESTER TOWERS — Anthony Trollope SUNNINGWELL — F. Warre Cornish BEAUCHAMP'S CAREER — George Meredith MARY BARTON — Mrs. Gaskell SUGGESTED COURSES OF READING—JUVENILE.As likely to assist Parents and Teachers, I propose to give twolists (covering English History from the Norman Conquest) for Boysand Girls respectively; but a passing allusion may, first of all,be made to tales dealing with more ancient periods. For theillustration of Greek and Roman History, those books of ProfessorA. J. Church which are entered in my Pre-Christian section may besafely recommended; while the pictures of First Century life givenin Wallace's "Ben Hur," Lytton's "Last Days of Pompeii," and WhyteMelville's "The Gladiators" are, perhaps, as likely to interest anintelligent boy or girl in the "teen" stage as any similarproductions that could be mentioned. Turning to the Early Historyof our own isle, I would specially mention Mr. Henty's "Beric theBriton"; the "Aescendune" series of tales ("Edwy the Fair," "Alfgarthe Dane," and "The Rival Heirs") by the late Rev. A. D. Crake; Mr.C. W. Whistler's "Havelok the Dane," "A Thane of Wessex," &c.; andthe various books chosen to represent Alfred and his times. In preparing the following lists, I have had in view, for the mostpart, the average Juvenile taste; doubtless many of the moreadvanced works might be offered in special cases, but, in regard tothat, the Parent or Teacher can alone judge. Some of the talesentered in (I.) reappear in (II.), but a comparison will discloseimportant differences. A reference to the General List will, inmost cases, reveal a more exact specification; for the sake ofconvenience, the tales are here grouped according to Reigns only. Of the romances dealing with American and Foreign History to befound in the foregoing pages, many are suitable for young readers;but the sequence not being very close (for any lengthy period atleast), separate lists would appear superfluous. Such writers (tomention only a few) as Fennimore Cooper, Mrs. J. G. Austin, G. C.Eggleston, Kirk Munroe, and Elbridge S. Brooks, may be particularlyrecommended for American History; while Scott, Dumas, Charlotte M.Yonge, Miss Roberts (author of "Mademoiselle Mori"), and G. A.Henty, have all illustrated—in more or less adequate fashion—thecourse of events in Foreign Countries. The novels of Dumas are notinfrequently considered somewhat "strong meat," but his " She-Wolves of Machecoul" and "Black Tulip" may be safely placed in anyhands. ENGLISH HISTORY SINCE THE CONQUEST (Boys). HAROLD — Lytton THE CAMP OF REFUGE — C. Macfarlane HEREWARD THE WAKE — Charles Kingsley WULF THE SAXON — G. A. Henty IN THE DAYS OF ST. ANSELM — G. Hollis COUNT ROBERT OF PARIS — Scott *PABO THE PRIEST — S. Baring-Gould * This, the only substantial tale dealing directly with the reignof Henry I., is hardly suitable for very young folk, but it willinterest those with older tastes. THE LEGEND OF READING ABBEY — C. Macfarlane THE KNIGHT OF THE GOLDEN CHAIN — R. D. Chetwode THE BETROTHED — Scott FOREST OUTLAWS — E. Gilliat THE TALISMAN — Scott IVANHOE — Scott RUNNYMEDE AND LINCOLN FAIR — J. G. Edgar A STOUT ENGLISH BOWMAN — E. Pickering HOW I WON MY SPURS — J. G. Edgar THE KING'S REEVE — E. Gilliat IN FREEDOM'S CAUSE — G. A. Henty THE CHEVALIER OF THE SPLENDID CREST — Sir Herbert Maxwell THE WHITE COMPANY — Conan Doyle THE LANCES OF LYNWOOD — Charlotte M. Yonge CRECY AND POICTIERS — J. G. Edgar ST. GEORGE FOR ENGLAND — G. A. Henty JOHN STANDISH — E. Gilliat A MARCH ON LONDON — G. A. Henty BOTH SIDES OF THE BORDER — G. A. Henty IN THE DAYS OF PRINCE HAL — H. Elrington AT AGINCOURT — G. A. Henty AGINCOURT — G. P. R. James THE LAST OF THE BARONS — Lytton THE BLACK ARROW — R. L. Stevenson THE CHANTRY PRIEST OF BARNET — A. J. Church HOW DICKON CAME BY HIS NAME and WHERE AVON INTO SEVERN FLOWS — RED ROSE AND WHITE — A. Armitage THE WOODMAN — G. P. R. James THE HEIR OF HASCOMBE HALL — E. Everett Green THE CAPTAIN OF THE WIGHT — F. Cowper WINDSOR CASTLE — Harrison Ainsworth THE ARMOURER'S 'PRENTICES — Charlotte M. Yonge THE PRINCE AND THE PAUPER — Mark Twain THE COLLOQUIES OF EDWARD OSBORNE — A. Manning THE TOWER OF LONDON — Harrison Ainsworth SEETHING DAYS — Caroline C. Holroyd KENILWORTH — Scott WESTWARD HO! — Charles Kingsley MASTER SKYLARK — J. Bennett SIR LUDAR — T. Baines Reed THE FORTUNES OF NIGEL — Scott THE LANCASHIRE WITCHES — Harrison Ainsworth THE BLACK TOR — G. Manville Fenn HOLMBY HOUSE — Whyte Melville THE SPLENDID SPUR — "Q" WITH THE KING AT OXFORD — A. J. Church WHEN CHARLES I. WAS KING — J. S. Fletcher HUGH GWYETH — B. M. Dix JOHN MARMADUKE — S. H. Church WOODSTOCK — Scott CAPTAIN JACOBUS — L. Cope Cornford OLD ST. PAUL'S — Harrison Ainsworth WHITEFRIARS — Anonymous TRAITOR OR PATRIOT? — M. C. Rowsell SILAS VERNEY — Edgar Pickering OLD MORTALITY — Scott LORNA DOONE — R. D. Blackmore MICAH CLARKE — Conan Doyle FOR FAITH AND FREEDOM — Walter Besant THE COURTSHIP OF MORICE BUCKLER — A. E. W. Mason BLUE PAVILIONS — "Q" A MAN'S FOES — E. H. Strain ST. JAMES'S — Harrison Ainsworth THE CORNET OF HORSE — G. A. Henty THE BRAVEST OF THE BRAVE — G. A. Henty TOM TUFTON'S TRAVELS and TOM TUFTON'S TOLL — E. Everett Green ROB ROY — Scott DOROTHY FORSTER — W. Besant THE MISER'S DAUGHTER — Harrison Ainsworth WAVERLEY — Scott NED LEGER — G. Manville Fenn THE FORTUNES OF CLAUDE — E. Pickering THE MASTER OF BALLANTRAE — R. L. Stevenson KIDNAPPED — R. L. Stevenson CATRIONA — R. L. Stevenson BARNABY RUDGE — Charles Dickens IN PRESS-GANG DAYS — E. Pickering AT THE POINT OF THE BAYONET — G. A. Henty WHEN GEORGE III. WAS KING — A. Sagon AFLOAT WITH NELSON — Chas. H. Eden THE ROMANCE OF WAR — James Grant WITH MOORE AT CORUNNA and UNDER WELLINGTON'S COMMAND — G. A. Henty GRANTLEY FENTON — M. M. Blake FACE TO FACE WITH NAPOLEON and IN THE YEAR OF WATERLOO — O. V. Caine ONE OF THE 28TH — G. A. Henty A GALLANT GRENADIER — Captain Brereton FOR THE OLD FLAG — C. R. Fenn ENGLISH HISTORY SINCE THE CONQUEST (GIRLS).HAROLD — Lytton THE CAMP OF REFUGE — C. Macfarlane IN THE DAYS OF ST. ANSELM — G. Hollis COUNT ROBERT OF PARIS — Scott *PABO THE PRIEST — S. Baring-Gould * This, the only substantial tale dealing directly with the reignof Henry I., is hardly suitable for very young folk, but it willinterest those with older tastes. THE LEGEND OF READING ABBEY — C. Macfarlane THE BETROTHED — Scott FOREST OUTLAWS — E. Gilliat THE TALISMAN — Scott IVANHOE — Scott RUNNYMEDE AND LINCOLN FAIR — J. G. Edgar A CLERK OF OXFORD — E. Everett Green THE ROBBER BARON OF BEDFORD CASTLE — A. J. Foster and E. C. THE PRINCE AND THE PAGE — Charlotte M. Yonge THE KING'S REEVE — E. Gilliat THE LORD OF DYNEOVER — E. Everett Green THE SCOTTISH CHIEFS — Jane Porter THE DAYS OF BRUCE — Grace Aguilar GOD, THE KING, MY BROTHER — Mary F. Nixon Roulet THE LANCES OF LYNWOOD — Charlotte M. Yonge IN THE DAYS OF CHIVALRY — E. Everett Green ROBERT ANNYS, POOR PRIEST — Annie N. Meyer THE BANNER OF ST. GEORGE — M. Bramston BOTH SIDES OF THE BORDER — G. A. Henty IN THE DAYS OF PRINCE HAL — H. Elrington A CHAMPION OF THE FAITH — J. M Callwell AGINCOURT — G. P. R. James TWO PENNILESS PRINCESSES — Charlotte M. Yonge THE LAST OF THE BARONS — Lytton GRISLY GRISSELL — Charlotte M. Yonge IN THE WARS OF THE ROSES — E. Everett Green RED ROSE AND WHITE — A. Armitage THE WOODMAN — G. P. R. James THE HEIR OF HASCOMBE HALL — E. Everett Green THE HOUSEHOLD OF SIR THOMAS MORE — A. Manning MY FRIEND ANNE — Jessie Armstrong THE ARMOURER'S PRENTICES — Charlotte M. Yonge THE PRINCE AND THE PAUPER — Mark Twain THE MAID OF LONDON BRIDGE — S. Gibney THE COLLOQUIES OF EDWARD OSBORNE — A. Manning SEETHING DAYS — Caroline C. Holroyd KENILWORTH — Scott WESTWARD HO! — Charles Kingsley UNKNOWN TO HISTORY — Charlotte M. Yonge PENSHURST CASTLE — Emma Marshall MASTER SKYLARK — J. Bennett THE FORTUNES OF NIGEL — Scott THE LOST TREASURE OF TREVLYN — E. Everett Green HOLMBY HOUSE — Whyte Melville MIRIAM CROMWELL — Dora McChesney TO RIGHT THE WRONG — Edna Lyall IN SPITE OF ALL — Edna Lyall UNDER SALISBURY SPIRE — Emma Marshall A HAUNT OF ANCIENT PEACE — Emma Marshall ETHNE — Mrs. Field WOODSTOCK — Scott ON BOTH SIDES OF THE SEA — Mrs. Charles AFTER WORCESTER — E. Everett Green IN THE GOLDEN DAYS — Edna Lyall CHERRY AND VIOLET — A. Manning TRAITOR OR PATRIOT? — M. C. Rowsell THE CARVED CARTOON — Austin Clare OLD MORTALITY — Scott WINCHESTER MEADS — Emma Marshall LORNA DOONE — R. D. Blackmore IN THE SERVICE OF RACHEL, LADY RUSSELL — Emma Marshall IN TAUNTON TOWN — E. Everett Green A REPUTED CHANGELING — Charlotte M. Yonge DEB CLAVEL — M. E. Palgrave MY MISTRESS THE QUEEN — M. A. Paull KENSINGTON PALACE — Emma Marshall BY THE NORTH SEA — Emma Marshall A MAN'S FOES — E. H. Strain THE OLD CHELSEA BUN HOUSE — A. Manning THE CORNET OF HORSE — G. A. Henty TOM TUFTON'S TRAVELS and TOM TUFTON'S TOLLS — E. Everett Green DOROTHY FORSTER — W. Besant DUANCE PENDRAY — G. Norway A LOYAL LITTLE MAID — S. Tytler WAVERLEY — Scott MISTRESS NANCY MOLESWORTH — Joseph Hocking THE MASTER OF BALLANTRAE — R. L. Stevenson KIDNAPPED — R. L. Stevenson CATRIONA — R. L. Stevenson THE CHAPLAIN OF THE FLEET — W. Besant AMYOT BROUGH — E. Vincent Briton BARNABY RUDGE — Dickens MISS ANGEL — Miss Thackeray THE MAID OF SKER — R. D. Blackmore ALICE LORRAINE — R. D. Blackmore THE PARSON'S DAUGHTER — Emma Marshall FACE TO FACE WITH NAPOLEON and IN THE YEAR OF WATERLOO — O. V. Caine UNDER THE MENDIPS — Emma Marshall CASTLE DALY — Miss Keary In connection with this subject of Juvenile Literature, I would BIBLIOGRAPHYAlthough I have adopted the heading "Bibliography," it should beunderstood that, in offering the subjoined list, I do not claim forit absolute comprehensiveness. There are, of course, almostinnumerable Biographies, Literary Studies, Histories of Literatureand Fiction, &c., in which indirect references to our subject maybe traced. Moreover, in preparing this little volume, it has beenfound necessary to consult largely "The Dictionary of NationalBiography," the Enyclopaedias (especially Chambers', 1901), andother Standard Works of the Dictionary type. I confine myselfbelow to noteworthy writings which deal directly with the subjectof Historical Romance. Article on Historical Romance in The Quarterly Review. Vol. XXXV.,page 518. (March, 1827.) Article on historical Romance ("Sir Walter Scott and hisImitators") in Fraser's Magazine. Vol. V., pages 6 (Part I.) and207 (Part II.). (February and March, 1832.) Article on "The Picturesque Style of Historical Romance" in Article on "Historical Romance in Italy," by G. W. Greene, in the Article on Historical Romance in Blackwood's Magazine. Vol. LVIII.,page 341. (September, 1845.) Article on Historical Romance, by G. H. Lewes, in The Westminster Article on "History in Fiction," in The Dublin Review. Vol. XLV.,page 328. (December, 1858.) Lecture III. ("Scott and his Influence") in David Masson's "British Article on "Historical Novels," by H. James, jun., in The Nation. Article on Historical Romance in The Argosy. Vol. XVII., page 364. Chapter X. ("The Waverley Novels"), in R. H. Hutton's "Sir WalterScott." (Macmillan's English Men of Letters Series, 1878.)The Essay on "The Waverley Novels," in Vol. II. of Walter Bagehot's "A Descriptive Catalogue of Historical Novels and Tales. For theuse of School Libraries and Teachers of History. Enlarged from theList in the 'Journal of Education,' March, 1882." Compiled anddescribed by H. Courthope Bowen, M.A. (Edward Stanford, 1882.) The section on "The Historical Novel," in Bayard Tuckerman's The Chapter on "Courses of Reading in History," in James Baldwin's The list of Historical Novels given in W. F. Allen's "The Reader'sGuide to English History. With Supplement, extending the plan toother countries and periods." (Ginn & Co., 1888.) [A useful, but very unequal list.] The partially-selective list of Historical Novels in "A Guide Bookto Books," by E. B. Sargant and B. Whishaw. (H. Frowde, 1891.) The essay on "Sir Walter Scott," in Vol. I. of Leslie Stephen's"Hours in a Library." (Smith, Elder, & Co., 1892. New edition,with additions.) [Mr. Leslie Stephen is one of the most formidable critics with whomthe lover of Historical Romance has to deal. That which it ispossible to say against such fiction is said more forcibly by him,perhaps, than by anyone else.] The series of articles dealing with "History in Fiction," &c., by Article "The Historical Novel," by Prof. A. J. Church, in Atalantafor April, 1893. The useful and partially-selective lists of Historical Tales given The short selective list of Historical Tales given in the appendixto John Fiske's "History of the United States for Schools." (JamesClarke & Co., 1894.) Article on "The Historical Novel as illustrated by Sir Walter The essay on "The Historical Novel" in W. P. James's "RomanticProfessions and other papers." (Elkin Mathews and John Lane,1894.) [A re-print, in somewhat revised form, of the suggestive articleappearing in Macmillan's Magazine, November, 1887.] Chapter X. ("Sir Walter Scott") in Prof. Raleigh's "The EnglishNovel." (John Murray, 1894.)Chapters X., XI., and XII. in Prof. Saintsbury's "Essays in English [Originally appeared in Macmillan's Magazine, August, September,and October, 1894. A contribution to the subject of quiteexceptional brilliance and value.] "A Descriptive List of Novels and Tales dealing with the History of The Section headed "Historical Tales" in "Guide to the Study ofAmerican History," by E. Channing and A. B. Hart. (Ginn and Co.,1896.) A Letter on "Historical Novels, Past and Present," by "Mazarin," in Article on "The Indian Mutiny in Fiction," in Blackwood's Magazine, Article on "The Importance of Illustrating New England History by aseries of Romances," by Rufus Choate, in The New England Magazine,November, 1897. Paper read before the College of Preceptors, on "The Use ofHistorical Romances in the Teaching of History," by R. F. Charlesin The Educational Times, November, 1897. Article on "The American Historical Novel," by Paul Lester Ford, in [In this article a definition of the "Historical Novel" at variancewith my own, has been suggested. In spite of Mr. Fords argument, Iam still of opinion that the line of demarcation between theHistorical Novel proper and the Novel of Character or Adventure canbe more clearly drawn than he allows. I was careful, when dealingwith this question in my Introduction, to avoid making the test oneof actual historical accuracy, but there are, I have implied,certain readily-verifiable personages and events which form a basisamply sufficient for purposes of distinction. The pirates of"Treasure Island" are taken (as Mr. Ford says) from actual figuresof the Eighteenth Century, but under my definition Stevenson'snovel is not thereby constituted "historical" in the strict sense.] Article on "The Neo-Romantic Novel," by G. R. Carpenter, in The Article on "Historical Novels Past and Present," by Harold [An admirably-written, stimulating article.) List of Historical Novels, &c., illustrating the Period 1066 to1815, in the volume "Work and Play in Girls' Schools," by DorotheaBeale, Lucy H. M. Soulsby, and Jane Frances Dove (Longmans, 1898). "Le Roman Historique l'Epoque Romantique," by Louis Maigron [Contains a fine tribute to Scott, and much interesting matter.] Chapters III. and IV. of "The Development of the English Novel," by [A very full treatment. In the Appendix are some useful lists ofthe earlier Historical Novels.] Article on "Three American Historical Romances," by W. E. Simonds,in The Atlantic Monthly, March, 1900. Article on "The Reading of Historical Novels and the Study of Chapter III. ("The Historical Novel"), in F. H. Stoddard's "TheEvolution of the English Novel" (Macmillan, 1900).[A highly important contribution.] The two sections on Historical Fiction, relating to Greece and Romerespectively, in Arthur L. Goodrich's "Topics of Greek and RomanHistory" (Macmillan, 1900). [For those requiring a fuller list of Greek and Roman tales thanthat given in my pages, the above will be found useful.] Article on "Historical Novels and their uses in teaching," by C. S. [An exceptionally good article. The writer states his case clearlyand forcibly, and his argument is all the more convincing by reasonof its moderation.] Article on "The New Historical Romances," by W. D. Howells, in The The Essay on "The Historical Novel" in Prof. J. Brander Matthews' [Originally appeared in The Forum, September, 1897. Representsthat School of Criticism which is most adverse to HistoricalRomance. Some of the Professor's remarks convey the impressionthat he disbelieves in ANY reconstruction of the Past; such anattitude is, surely, unfavourable to History itself, which isalways more than any mere statement of "facts."] The List of Historical Novels in Mudie's Library Catalogue (The New [Non-selective, but useful more especially on account of its The list of Historical Tales given in J. S. Lindsey's "Certificate "History of English Romanticism in the Nineteenth Century," by [Contains some valuable direct criticism. See especially Chapter The "Dedicatory Epistle" in Scott's "Ivanhoe." The very brief but exceedingly suggestive opening section in The Preface to Scheffel's "Ekkehard." NOTE.Some of the American Public Libraries (notably Boston) have issueduseful Lists of Historical Novels. Two works—announced for a considerable time—I should have beenglad to consult; these are Mr. P. L. Ford's "The AmericanHistorical Novel" (Macmillan), and Mr. E. A. Baker's "Guide toFiction" (Sonnensehein). The last-named volume will, I understand,contain a section devoted to Historical Romance. |
