These books were severely censured by the authorities, and cost him--to the great benefit of the world--an appointment he had received of teacher in Tasmania. He resigned his fellowship and took up the profession of letters, writing much for Fraser and the Westminster, and becoming for a short period the editor of the former. His _magnum opus_ is his 'History of England from the Fall of Wolsey to the Defeat of the Spanish Armada,' in twelve volumes, from 1856 to 1870. His other principal publications are--'The English in Ireland in the Eighteenth Century' (1874); 'Caesar' (1879); 'Bunyan' (1880); 'Thomas Carlyle (first forty years of his life)' (1882); 'Life in London' (1884); 'Short Studies on Great Subjects' (1882, four series); 'The Two Chiefs of Dunboy' (1889); 'The English in the West Indies' (1889); 'The Divorce of Catharine of Aragon' (1892); 'The Life and Letters of Erasmus' (1892); 'English Seamen in the Sixteenth Century' (1892); and 'The Council of Trent.' 'Shadows of the Clouds,' 'The Nemesis of Faith,' and 'The Two Chiefs of Dunboy' are in the form of fiction; and though they--especially the last--contain some charming descriptive passages, and evince some of Froude's power of character sketching, they serve on the whole to prove that he was not a novelist. The fortunes of his group of people are of less absorbing interest to him than questions of social and racial ethics. There is nothing more annoying than to have an essayist stand behind a story-teller and interrupt him from time to time with acute philosophical comments on ultimate causes. The characters of Morty and Sylvester Sullivan are admirably contrasted Celtic types, but both they and the English Colonel Goring are a trifle stagy and stiff in their joints. The murders of the two chiefs, Morty Sullivan and Colonel Goring, are dramatically told; but Froude's deficient sense of humor, at least of that quality of humor which gives a subtle sense of congruity, results in an attempt to combine the elements of the tale and the didactic society in impossible proportions. He is an essayist and historian, not a novel-writer. Froude stands before the English-reading public prominent in three characteristics: First, as a technical prose artist, in which regard he is entitled to be classed with Ruskin, Newman, and Pater; less enthusiastic and elaborately ornamental than the first, less musically and delicately fallacious than the second, and less self-conscious and phrase-caressing than the third, but carrying a solider burden of thought than all three. Second, as a historian of the modern school, which aims by reading the original records to produce an independent view of historical periods. Third, as the most clear-sighted and broad-minded of those whose position near the centre of the Oxford movement and intimacy with the principal actors gave them an insight into its inner nature.