afterwards worked. In January 1711 the _Tatler_ came to an end, and was almost immediately followed by the _Spectator_, and in 1713 by the _Guardian_. These three newspapers are storehouses of admirable and typical essays, the majority of them written by Steele and Addison, who are the most celebrated eighteenth-century essayists in England. Later in the century, after the publication of other less successful experiments, appeared Fielding's essays in the _Covent Garden Journal_ (1752) and Johnson's in the _Rambler_ (1750), the _Adventurer_ (1752) and the _Idler_ (1759). There followed a great number of polite journals, in which the essay was treated as "the bow of Ulysses in which it was the fashion for men of rank and genius to try their strength." Goldsmith reached a higher level than the Chesterfields and Bonnel Thorntons had dreamed of, in the delicious sections of his _Citizen of the World_ (1760). After Goldsmith, the eighteenth-century essay declined into tamer hands, and passed into final feebleness with the pedantic Richard Cumberland and the sentimental Henry Mackenzie. The _corpus_ of eighteenth-century essayists is extremely voluminous, and their reprinted works fill some fifty volumes. There is, however, a great sameness about all but the very best of them, and in no case do they surpass Addison in freshness, or have they ventured to modify the form he adopted for his lucubrations. What has survived of them all is the lightest portion, but it should not be forgotten that a very large section of the essays of that age were deliberately didactic and "moral." A great revival of the essay took place during the first quarter of the nineteenth century, and foremost in the history of this movement must always be placed the name of Charles Lamb. He perceived that the real business of the essay, as Montaigne had conceived it, was to be largely personal. The famous _Essays of Elia_ began to appear in the _London Magazine_ for August 1820, and proceeded at fairly regular intervals until December 1822; early in 1823 the first series of them were collected in a volume. The peculiarity of Lamb's style as an essayist was that he threw off the Addisonian and still more the Johnsonian tradition, which had become a burden that crushed the life out of each conventional essay, and that he boldly went back to the rich verbiage and brilliant imagery of the seventeenth century for his inspiration. It is true that Lamb had great ductility of style, and that, when he pleases, he can write so like Steele that Steele himself might scarcely know the difference, yet in his freer flights we are conscious of more exalted masters, of Milton, Thomas Browne and Jeremy Taylor. He succeeded, moreover, in reaching a poignant note of personal feeling, such as none of his predecessors had ever aimed at; the essays called "Dream Children" and "Blakesmoor" are examples of this, and they display a degree of harmony and perfection in the writing of the pure