Page:The Harvard Classics Vol. 51; Lectures.djvu/257

Rh of personality, the subjective charm, the delicate touch, the limited range of theme and of treatment, and the ordered beauty through exclusion of all disordered moods and fiercer passions—these flow directly from the presence and dominance of the lyrical element, and these are the constant features of the Essay."

One should add, perhaps, that all three of the essay types here touched upon—the "critical," the "ethical" or "philosophic," and the "personal"—were strongly colored during the Renaissance, as they have been at intervals ever since, by the spirit of nationalism. French criticism, in the sixteenth century as in the nineteenth, is very French. English criticism, in Dryden and Arnold, is very English; the moralizing of Milton's tractates and of Samuel Johnson's "Lives of the Poets," the personal assertiveness of Thoreau's essay on "Walking," and Lowell's essay on "Democracy" bear the unmistakable accents of England and of America. Blood tells, in the essay as elsewhere.

ESSAYS AS HISTORICAL DOCUMENTS

In fact, one of the most interesting studies made available through The Harvard Classics is the survey of various national moods in successive historical periods. Take, for instance, the English essayists of the eighteenth century. Here are characteristic utterances of men so differently yet richly endowed as Addison and Swift, Steele and Defoe, Sidney and Samuel Johnson, Hume and Burke, yet the student of the eighteenth century, whether he is reading Hume or Burke on Taste, or Johnson explaining the plan of his great Dictionary, Defoe's ironical scheme for ridding the world of Dissenters, or Addison's delicately sentimental musings in Westminster Abbey, detects, beneath all the differences in style and varieties of personal opinion, the unmistakable traits of race, nation, and period. These essays are thus historical documents of high importance. One understands better, for reading them, the England of Marlborough and of Walpole, the England of the Pitts and the four Georges. Any one century, as Carlyle said long ago, is the lineal descendant of all the preceding centuries, and an intelligent reading of the English