inferior in scientific knowledge, which has a clear and fixed notion of its work and destiny. That many of these signs are themselves more and more ominously showing in our young men, from the fine gentleman who rides in Rotten Row to the boy-mechanic who listens enraptured to Mr. Holyoake’s exposures of the absurdity of all human things save Mr. Holyoake’s self, is a fact which presses itself most on those who have watched this age most carefully, and who (rightly or wrongly) attribute much of this miserable temper to the way in which history has been written among us for the last hundred years. Whether or not Mr. Froude would agree with these notions, he is more or less responsible for them; for they have been suggested by his ‘History of England from the Fall of Wolsey to the Death of Elizabeth.’ It was impossible to read the book without feeling the contrast between its tone and that of every other account of the times which one had ever seen. Mr. Froude seems to have set to work upon the principle, too much ignored in judging of the past, that the historian’s success must depend on his dramatic faculty; and not merely on that constructive element of the faculty in which Mr. Macaulay shows such astonishing power, but on that higher and deeper critical element which ought to precede the constructive process, and without which the constructive element will merely enable a writer, as was once bitterly but truly said, ‘to produce the greatest possible misrepresentation with the least possible distortion of fact.’ That deeper dramatic faculty, the critical, is not logical merely, but moral, and depends on the moral health, the wideness and heartiness of his moral sympathies, by which he can put himself—as Mr. Froude has attempted to do, and as we think successfully—into the place of each and every character, and not merely feel for them, but feel with them. He does not merely describe their actions from the outside, attributing them arbitrarily to motives which are pretty sure to be the lowest possible, because it is easier to conceive a low motive than a lofty one, and to call a man a villain than to unravel patiently the tangled web of good and evil of which his thoughts are composed. He has attempted to conceive of his characters as he would if they had been his own contemporaries and equals, acting, speaking in his company; and he has therefore thought himself bound to act toward them by those rules of charity and courtesy, common alike to Christian morals, English law, and decent society; namely, to hold every man innocent till he is proved guilty; where a doubt exists, to give the prisoner at the bar the benefit of it; not to excite the minds of the public against him by those insinuative or vituperative epithets, which are but adders and scorpions; and, on the whole, to believe that a man’s death and burial is not the least reason for ceasing to behave to him like a gentleman and a Christian.