------------------------------------------------------------------------ Transcriber’s Note: This version of the text cannot represent certain typographical effects. Italics are delimited with the ‘_’ character as _italic_. Footnotes have been moved to follow the paragraphs in which they are referenced. This text includes both the ten essays in the ‘First Series’ and the nine essays of the ‘Second Series’. The Table of Contents numbers them consectively from I. to XIX. However the essay headings for the second series retain their original numbering from I. to IX. There is no distinguishing separation between the two series, save by that. The headings have been retained as printed. Minor errors, attributable to the printer, have been corrected. Please see the transcriber’s note at the end of this text for details regarding the handling of any textual issues encountered during its preparation. [Illustration: MATTHEW ARNOLD.] ESSAYS IN CRITICISM ======================================================================== By MATTHEW ARNOLD ------------------------------------------------------------------------- Author of “MEROPE: A TRAGEDY,” “THE POPULAR EDUCATION OF FRANCE,” “CULTURE AND ANARCHY,” “POEMS,” etc., etc. [leaf] [leaf] [leaf] [leaf] [Illustration] _FIRST AND SECOND SERIES COMPLETE_ ======================================================================== A. L. BURT, PUBLISHER, 52-58 DUANE STREET, NEW YORK [leaf] [leaf] [leaf] [leaf] ------------------------------------------------------------------------ PREFACE. (1865,) Several of the Essays which are here collected and reprinted had the good or the bad fortune to be much criticized at the time of their first appearance. I am not now going to inflict upon the reader a reply to those criticisms; for one or two explanations which are desirable, I shall elsewhere, perhaps, be able some day to find an opportunity; but, indeed, it is not in my nature,—some of my critics would rather say, not in my power,—to dispute on behalf of any opinion, even my own, very obstinately. To try and approach truth on one side after another, not to strive or cry, nor to persist in pressing forward, on any one side, with violence and self-will,—it is only thus, it seems to me, that mortals may hope to gain any vision of the mysterious Goddess, whom we shall never see except in outline, but only thus even in outline. He who will do nothing but fight impetuously towards her on his own, one, favorite, particular line, is inevitably destined to run his head into the folds of the black robe in which she is wrapped.