of Dumas; and Miss Austen is the mother. Lord Lytton and Mr. Disraeli had, especially at first, a tinge of Byronism, later developing on their own lines: Mr. Disraeli’s political; Lord Lytton’s multifarious, including the line of modern mysticism, now often worked. Scott lived to be interested in Lytton, and might have seen (though probably he did not see them) the little-noted beginnings of Browning and Tennyson, about 1830. What he did see, and admire, was the performance of Cooper, with whom actual and living American fiction may perhaps be said to take its rise. In England, Cooper was regarded as the Scott of America; and it is to be regretted that Lockhart did not excise a splenetic personal reference to Cooper in Sir Walter’s _Journal_. He was old, tired, and fatigued with the pressure of society in Paris when he wrote. Cooper had the genius to appropriate the unworked fields of American patriotic seafaring life, and of the manners of the Red Man; he is “Cooper of the wood and wave.” Eagerly were his works read by boys, when Thackeray was a boy, and when I was a boy. Never shall his readers forget the “Long Carabine,” to whom Thackeray was devoted, and Uncas, and Chingachgook. “Still we love the Delaware, And still we hate the Mingos.” Doubtless Cooper’s Indians are not “realistically” treated, though there is infinitely more of truth in his dignified hunters and warriors than people conversant only with the Red Man of to-day are ready to believe. But Cooper, probably, does not live with the immortality of his first renowned successor, Hawthorne, who, for secure perfection of form, is to modern fiction what Keats is to modern poetry. Like Scott, Hawthorne is the unforced fruit of his ancestry and the society into which he was born—a Puritan, not a Cavalier artist, with a background of austere faith and of old superstition, differentiated from that of the Covenanters by the shadow of deep forests and of struggles with the Indians and the wild things of the woods. These had passed into mellow memories, as, for Scott, had passed the age of witches, fairies, reivers, and claymores. Entirely, in the _Scarlet Letter_, as by way of hereditary influence in the _House of Seven Gables_, Hawthorne reproduced what was old, making it poetically enduring. _His Mosses from an Old Manse_, and other brief tales set the fashion, except by Poe, long unfollowed, of the _conte_. Neither author has been excelled in his own portion of this field. Hawthorne’s haunted consciences, Poe’s treasure tale, his detective stories, and his tales of terror remain unequalled, though so profusely imitated. This epoch, say from 1830 to 1855, was a kind of classical interspace in the literature of the century. France, preoccupied by war in the first thirty years of the age, now awoke to her own famous romantic era, with Hugo, Dumas, Musset, Gautier, George Sand, Sainte-Beuve, Mérimée—names of the highest.