The simpler delight afforded us by such a charming book as Frederick Locker’s “Confidences,” which is not confidential at all; or by John Murray’s well-bred “Memoirs of a Publisher”; or by Lord Broughton’s “Recollections of a Long Life,” is easy to estimate. We could ill spare Lord Broughton’s volumes, both because he tells us things we do not learn elsewhere, and because of his illuminating common sense. The world of authorship has of late years so occupied itself with Lord Byron that we wince at the sound of his name. But if we really want to know him, we must still turn to Broughton for the knowledge. The account of Byron’s wedding in the “Recollections” is as unforgettable as the account of Byron’s funeral in Moore’s diffuse and rambling “Memoirs.” It is in such narratives that the eye-witness eclipses, and must forever eclipse, the most acute and penetrating investigator. Biographers cannot stand as Broughton stood at the door of Seaham, when the ill-mated couple drove away to certain misery: “I felt as if I had buried a friend.” Historians cannot stand as John Evelyn stood on the Strand, when the second Charles entered London: “I beheld him and blessed God!” Or at Gravesend, seven years later, when the Dutch fleet lay at the mouth of the Thames: “A dreadful spectacle as ever Englishmen saw, and a dishonour never to be wiped off!” Ever since that most readable book, “An Apology for the Life of Mr. Colley Cibber, Comedian,” was given to the English world, actors and playwrights have been indefatigable autobiographers. They may write about themselves alone, as did Macready, or about themselves and the world, after the fashion of Frances Kemble. They may be amusing, like Ellen Terry, or discursive, like Augustus Thomas, or casual, like John Drew. But they fall into line, and tell us what dramas they wrote, what companies they managed, what parts they played, and when and where they played them, together with any scraps of theatrical gossip they may be fortunate enough to recollect. All, at least, except the once celebrated Mrs. Inchbald. She recollected so much that the publisher, Phillips, offered her a thousand pounds for her manuscript; and her confessor, a wise and nameless Catholic priest, persuaded her to burn it unread. Yet there are people so perversely minded as to disapprove of auricular confession. The golden age of the autobiographer has come, perhaps to stay. Mr. Howells, observant and sympathetic, welcomed its dawning, and the fullness of its promise. He was of the opinion that this form of composition represented “the supreme Christian contribution to literature”; and, while admitting that there were bad as well as good specimens of the art, he stoutly maintained that one more autobiography, however indifferent, was better than one less--a disputable point.