Notes and References

Introduction: Political, Cultural and Literary Trends (1830-7)

1. Kathleen Tillotson, Novels of the Eighteen-Forties (Oxford University Press, 1954) p. 1. 2. Walter Allen, The English Novel (New York: Dutton, 1954) p. 162. 3. Lionel Stevenson, The English Novel: A Panorama (Boston: Houghton Mifflin, 1960) p. 229. 4. Louis Cazamian, The Social Novel in England, 1830-1850 (1903; trans. Martin Fido, London: Routledge & Kegan Paul, 1979) p. 1. 5. David Thomson, England in the Nineteenth Century (Harmondsworth: Penguin Books, 1950) p. 75. 6. Despite the relative tranquillity of the years from 1832 to 1837, reform continued, but it was primarily economic and religious. The only major political reform of this period after the passage of the First Reform Bill was the Municipal Corporations Act of 1835, which established local government by paid professionals and city councils rather than by squires and magistrates. Economic reforms became increasingly important as the working class and its advocates realized that the First Reform Bill had done nothing to alleviate the misery of the terrible living and working conditions of the poor. Appealing to the humanitarian sentiment behind the abolition of slavery in British dominions (1833), philanthropists and Evangelicals stressed the need to free the urban poor from enslavement by factory owners. The landed interests in Parliament, whose power and wealth were being continually eroded by the industrialists, were only too happy to respond by passing regulatory factory legislation. The Factory Act of 1833 prohibited the employment of children under thirteen for more than eight hours a day in all textile mills and required that these children attend school two hours a day, a requirement to be enforced by travelling inspectors. The half million workers who belonged to the Grand National Consolidated Trade Union, however, felt that Parliament was moving too slowly in improving working conditions and planned a general strike in 1834. But the plan failed and the trade union collapsed, anticipating a similar failure of the Chartist Movement in 1848, but also looking forward, however dimly, to the legal recognition of trade unions in 1871 and their subsequent success as a weapon of the working class. One economic reform measure during William's reign which actually increased the misery of the poor was the Utilitarian-sponsored New Poor Law of 1834, the inhumanity of which Dickens would dramatize in Oliver Twist. 7. Roger Fulford, Hanover to Windsor (London: Batsford, 1960) p. 40. 8. Phillip Ziegler, King William IV (London: Collins, 1971) p. 156.

139 140 The Victorian Novel before Victoria

9. Ibid., p. 73. 10. Richard Altick, The English Common Reader: A Social History of the Mass Reading Public 1800-1900 (University of Chicago Press, 1957) p. 257. 11. See George Levine's The Realistic Imagination: English Fiction from Frankenstein to Lady Chatterley (University of Chicago Press, 1981) pp. 5-15. 12. See Eric Partridge's The French Romantics' Knowledge of English Literature (Freeport, NY: Books for Libraries, 1924) p. 259. 13. Andrew Sanders, The Victon'an Histon'cal Novel, 1840-1880 (London: Macmillan, 1978) p. 1. 14. In the silver-fork novels of Bulwer and Disraeli, the authors were not so much concerned with the fashionable world as with their favourite subject of romantic alienation. The only exception is Disraeli's The Young Duke, which gives a detailed but somewhat exaggerated view of fashionable London life. 15. loan Williams, The Realist Novel in England: A Study in Development (University of Pittsburgh Press, 1974) p. 116. 16. See S. Diana Neill's A Short History of the English Novel (New York: Macmillan, 1952) p. 86. 17. Keith Hollingsworth, The Newgate Novel, 1830-1847 (Detroit: Wayne State University Press, 1963) p. 98. 18. Allan Conrad Christensen, Edward Bulwer-Lytton: The Fiction of New Regions (Athens: University of Georgia Press, 1976) p. 60. 19. Cazamian, The Social Novel in England, p. 4.

Chapter I: Frederick Marryat

1. Richard Hengist Horne, A New Spin't of the Age (Oxford University Press, 1844) p. 171. 2. Despite the general dearth of Marryat criticism, there have been a few recent studies of Marryat's fiction which will be referred to later in the essay. The most lengthy recent treatment of Marryat's life and fiction is Maurice• Paul Gautier's Captain Freden'ck Marryat: L'Homme et L'Oeuvre, Etudes Anglaises, 41 (Paris: Didier, 1973). Although Gautier's study suffers from a lack of selectivity, it is impressive in its scholarly thoroughness and valuable for the details it amasses. 3. W. Hannay, Dublin University Magazine, 47 (March 1856) 295. And Melville in Chapter 4 of Typee mentions 'some long-haired, bare-necked youths, who, forced by the united influences of Captain Marryat and hard times embarked at Nantucket for a pleasure excursion to the Pacific'. 4. Joseph Conrad, Notes on Life and Letters (New York: Doubleday, 1924) p. 53. 5. James Hannay, Comhill Magazine (February 1873) 179. 6. Michael Sadleir, Excursions in Victonim Bibliography (London: Chaundy & Cox, 1922) p. 81. 7. Cynthia Behrman, Victon'an Myths of the Sea (Athens: Ohio University Press, 1977) pp. 25-31. 8. Poetic and Dramatic Works, Cambridge Edition (New York: Houghton Mifflin, 1898) p. 28. Notes and References 141

9. See Edward Wagenknecht's Cavalcade of the English Novel: From Elizabeth to George VI (New York: Henry Holt, 1943) p. 202. Donald Hawes, though more restrained than Ford, also believes that Marryat deserves rehabilitation, and finds 'one approach . . . suggested by his friendship with Dickens'. He explores this revealing literary connection in 'Marryat and Dickens: A Personal and Literary Relationship', Dickens Studies Annual, 2 (1972) 39-59. 10. Virginia Woolf, The Captain's Death Bed and Other Essays (New York: Harcourt, Brace, 1950) pp. 43-4. 11. We shall discuss the six sea novels Marryat wrote during William's reign: The King's Own (1830), Newton Forster; or, the Merchant Service (1832), Peter Simple (1834), Jacob Faithful (1834), Mr. Midshipman Easy and Snarleyyow; or, The Dog Fiend (1837). Such critics as Virginia Woolf and Oliver Warner have called these novels Marryat's best and most representative fiction. Most of his fiction after 1837 was written for children. 12. For the authors who dealt with naval characters before Smollett, see Harold Francis Watson's The Sailor in English Fiction and Drama 1550-1800 (Columbia University Press, 1931) pp. 70-98 and 135-61, and Charles N. Robinson's The British Tar in Fact and Fiction: The Poetry, Pathos, and Humour of the Sailor's Life (London: Harper & Brothers, 1909) pp. 185-246. 13. Robinson, The Bn"tish Tar in Fact and Fiction, p. 269. Thomas Philbrick's excellentjames Fenimore Cooper and the Development of Amen·can Sea Fiction (Harvard University Press, 1961) argues effectively that Smollett made it impossible to return to romanticized characters and settings. See pp. 4-7. 14. For example, in Roden"ck Random, Oakhum is the embodiment of brutality while in Peregn·ne Pickle Tom Pipes epitomizes fidelity to a master. Most of Smollett's other seamen can easily be categorized by humours. 15. Hannay, Comhill Magazine, p. 173. Philbrick mentions that Smollett shared the neoclassical distaste for wild, primitive aspects of nature. Storms in Smollett, for example, are chaotic rather than sublime. 16. The best discussion of the sea novels during these thirty years is in Watson, The Sailor in English Fiction and Drama, pp. 161-87. 17. As Robinson says in The Bn"tish Tar in Fact and Fiction: 'The latter half of the eighteenth century and the beginning of its successor are a rather disappointing period in the history of fiction. The full volume of the literature of the war came later' (p. 298). 18. Frederick Marryat, Newton Forster, vol. IV of The Novels of Captain Marryat, ed. R. Brimley Johnson (London: J. M. Dent) ch. 47. Since there is no standard edition of Marryat's novels and since they have been published in various editions, reference to the novels will be made by chapter numbers only. 19. Wagenknecht, Cavalcade of the English Novel, p. 54. 20. Still other sailors are characterized by their names: Peter Simple who describes himself as 'the fool of the family'; Smallbones, in Snarleyyow, who 'looked like famine's eldest child just arrived to years of discretion' or the 142 The Victorian Novel before Victoria

title character ofjacob Faithful who ultimately does prove to be more than faithful to his mentor's values. 21. Conrad has noted that Marryat's novels, 'like amphibious creatures, live on the sea and frequent the shore where they flounder deplorably' (Notes on Life and Letters, p. 54). This criticism of the land episodes is rather strong. The problem with Marryat's land passages is not so much that they 'flounder deplorably' as that they advance little, if at all, beyond Smollett. Technically and thematically, japhet in Search of a Father, Marryat's one land-locked novel of the 1830s (1836), does little more than evoke memories of Peregrine Pickle and Roderick Random. AlthoughJaphet's search for his father seems designed to tie together his various adventures, it is so perfunctorily and sporadically introduced that Japhet's adventures remain as picaresque as those of Smollett's heroes. Furthermore, many of the characters and incidents strongly resemble those of Peregrine Pickle and Roden'ck Random, most often the latter. Marryat's gypsy fortune-teller Melchior, alias Henry de Clare, calls to mind Cadwallader in Peregn'ne Pickle. And Strap in Roden"ck Random, who is both Roderick's friend and later his valet, may have provided the model for Japhet's faithful sidekick, Timoth~ Oldmixon. As in Roden'ck Random, moreover, disguises play a major role injaphet, and both novels culminate with the heroes' discoveries of their true fathers, whose wealth enables Japhet and Roderick to marry the women they love. Althoughjaphet in Search of a Father is entertaining, Marryat does nothing with character. plot or theme that Smollett had not done equally well, and Marryat lacks Smollett's brilliantly caustic wit. To stimulate fully his powers of innovation, Marryat needed the inspiration of the sea. 22. Conrad, Notes on Life and Letters, p. 53. 23. See Ernest A. Baker's The Age of Dickens and Thackeray, voi. VII of The History of the English Novel (New York: Barnes & Noble, 1936) p. 62. Ironically, The Pirate, Scott's one sea novel, had no influence on Marryat's fiction. So inept was Scott in creating believable ships or sailors that James Fenimore Cooper was prompted to write The Pilot in response to show how a sea novel should be written. Equally ironic, Snarleyyow, Marryat's one deliberate attempt at an historical novel, shows that whereas Marryat learned much about narrative technique from Scott, what he did not learn was how to create a legitimate historical novel. The historical background of the novel, the Jacobite intrigues of 1699, has only the flimsiest connections with the main plot, which deals with the conflict between Smallbones, a cabin-boy, and Lieutenant Vanslyperken and his 'dog fiend' Snarleyyow. Marryat apparently lacks Scott's interest in, or understanding of, how historical events and the individual impinge upon each other. 24. Richard Altick, Victon·an People and Ideas: A Companion for the Modern Reader of Victon·an Literature (New York: W. W. Norton, 1973) p. 5. 25. Baker, History of the English Novel, p. 64. 26. George Levine, The Emergence of Victon·an Consciousness: The Spirit of the Age (New York: Free Press, 1967) pp. 10-11. 27. Baker, History of the English Novel, p. 64. The contemporary critic Home verifies Baker's point in A New Spin't of the Age by stating: 'Formerly, a novel was a laborious pretext for saying a wonderful variety of fine silly Notes and References 143

things; now it is really a channel for conveying actual information, the direct result of observation and research put together with more or less artistic ingenuity, but always keeping in view the responsibility due to the living humanity from which it professes to be drawn' (p. 15!1). 28. Stevenson, The English Novel, p. 231. 29. Neill, A Short History of the English Novel (New York: Macmillan, 1952) p. 138. 30. See Richard D. Altick's The English Common Reader: A Social History of the Mass Reading Public 1800-1900 (University of Chicago Press, 1957) p. 274. 31. Walter Allen, The English Novel (New York: Dutton, 1954) p. 164. Gautier has an excellent section entitled 'Presence du Romancier' (pp. 423-38) which details Marryat's diverse uses of authorial intrusion and examines Marryat's manuscript of a later work. 32. 'Books in General', New Statesman (20 September 1941) p. 282. 33. The one exception is Snarleyyow in which his descriptions of oddly gratuitous brutality have led Roger Henkle to analyse the work as 'a venture, and surely a rather ingenuous one, into regions of psychic disorientation that elude precise definition and categorization'. See his Comedy and Culture: England 1820-1900 (Princeton University Press, 1980) pp. 44-7. This novel is discussed at length in the 'Historical Novel' section of Chapter 4.

Chapter 2: Edward Bulwer-Lytton

1. Edward Wagenknecht, Cavalcade of the English Novel: From Elizabeth to George VI (New York: Holt, 1943) p. 173. 2. Lytton, Victor A. G., Second Earl of Lytton. The Life of Edward Bulwer, First Lord Lytton, 2 vols (London: Macmillan, 1913) I, p. 82. 3. His very name offers diversity, with critics calling him 'Bulwer', 'Lytton' or 'Bulwer-Lytton' (looking him up in an index requires patience). We have chosen to call him 'Bulwer' since he was known by that name for over half of his life. 4. Edward Robert Bulwer-Lytton, First Earl of Lytton, The Life, Letters and Literary Remains of Edward Bulwer, Lord Lytton (New York: Harper, 1883) p. 39. Jerome]. McGann, in his introduction to the 1972 edition of the novel, discusses it as a bildungsroman and argues that Pelham is Bulwer's finest novel. 5. Ellen Moers, The Dandy: Brummell to Be~rbohm (New York: Viking, 1960) p. 17. 6. See Jerome H. Buckley's Season of Youth: The Bildungsroman from Dickens to Golding (Harvard University Press, 1974) where he discusses alienation as a standard component of the apprentice hero's character (pp. 6-13). 7. T. H. S. Escott, Edward Bulwer, First Baron of Knebworth (London: Routledge, 1910) p. 75. 8. Keith Hollingsworth devotes part of a chapter to Paul Cltfford (and Eugene A ram) in The Newgate Novel, 18J0-18J7 (Detroit: Wayne State University Press, 1963) pp. 65-97, arguing for its role as father of this subgenre. 144 The Victorian Novel before Victoria

Patrick Brantlinger in The Spirit of Reform: British Literature and Politics, 1832-1867 (Harvard University Press, 1977) argues more convincingly that Clifford is ultimately a very confused and flawed Newgate novel (pp. 35-8, 44-5). William Godwin and Ebenezer Elliott (the Com Law rhymer) vied for the most extravagant praise of the book: Godwin confessed that 'there are many parts of it so divinely written that my first impulse was to throw my implements of writing into the fire' and Elliott gushed, 'The meeting of Brandon and his wife is equal to anything in Dante.' See Life of Edward Bulwer, l, p. 364. 9. Edward Bulwer-Lytton, Paul Clifford, Lord Lytton Edition (Philadelphia: Lippincott, 1875-81) I, p. 124. All future quotations from the novels will be from this edition and will be cited parenthetically in the text. 10. Walter Allen quotes Thackeray's remark in The English Novel (New York: Dutton, 1955) and criticizes the novelist himself for taking over Godwin's 'latinate, abstract, chilly style which, when applied to the theme of high• minded murder, becomes highfalutin'. Donald D. Stone finds both Clifford and Aram to be examples of 'the debased romanticism in vogue in the 1830's and 1840's in which Byronic Corsairs rematerialized as noble highwaymen and tender-hearted murderers'. See his Romantic Impulse in Victorian Fiction (Harvard University Press, 1980) p. 28. 11. Michael Sadleir sees Godolphin as a typical Bulwerian prodigy 'to whom before the age of twenty life has little fresh to offer and at the age of twenty• six nothing whatsoever' and the novel in general as an imitation of Ann Radcliffe. See Bulwer: A Panorama. /. Edward and Rosina. 1803-1836 (London: Constable, 1931) pp. 287-8. 12. In a letter to Rosina in 1827 Bulwer called Scott 'the Arch Quack of tale• writing to whom I pray night and morning that I may see justice done before I die'; he had certainly mellowed five years later when, in his dedication of Eugene A ram to Scott, Bulwer described himself as 'one who to that bright and undying flame, which now streams from the grey hills of Scotland, has turned from his first childhood with a deep and interesting devotion'. See Sadleir, pp. 246-7. Edwin Eigner, in The Metaphysical Novel in England and America: Dickens, Bulwer, Hawthorne, Melville (University of California Press, 1978), draws a telling contrast between Bulwer's and Scott's historical novels: 'The past, as Bulwer treats it, is much more everyday than Scott's, while his characters are less realistic, much more abstract. His is therefore a reversal of the old Gothic process, which placed realistic characters in ideal situations' (p. 147). 13. Edgar Johnson's fine introduction to the novel (New York: Heritage Press, 1957) argues that the mounting suspense is the book's greatest achievement. Two other studies shed light on the novel's immediate rather than enduring popularity. Curtis Dahl's 'Bulwer-Lytton and the School of Catastrophe' (Philological Quarterly, 32:428-42) places the work within the context of a popular cult in art and literature from 1780 to 1850, and James C. Simmons (Nineteenth Century Fiction, 24: 103-5) discovered that Vesuvius erupted in August of 1834, one month before the novel was published. 14. The best discussion of Rienzi as a nineteenth-century idealist with a somewhat Victorian concept of politics and morality is Curtis Dahl's 'History on the Hustings: Bulwer-Lytton's Historical Novels of Politics' in Notes and References 145

From jane Austen to joseph Conrad, ed. Robert C. Rathburn and Martin Steinmann (Minneapolis: University of Minnesota Press, 1958) pp. 60-71. 15. Escott notes that these two novels 'show the same concern for the condition of England question that inspired so much of Disraeli's Coningsby in 1844, and that expressed itself in the Young England party. The early· Victorian era, as yet not over-lectured, could be impressed by the wise sayings scattered throughout this novel' (p. 243). Stone, on the other hand, does not believe the novel transcends Bulwer's ludicrous spasmodicism and finds the novel debased by: 'Iago-inspired plots, lurid mad-scenes, melodramatic deathbed tableaux, and the hint of incestuous love. Virtually everything the author had felt or experienced or read as a Romantic found its way into the Maltravers novels, and the result is an unintentional parody of the Romantic ethos, a work much admired by many Victorian readers but an instructive reminder of what George Eliot, Trollope, and Meredith had to overcome or qualify before they could achieve their own distinctive visions' (p. 39). 16. Cleveland's admonition, in particular, has strong Carlylean overtones: 'Let me see you labor and aspire- no matter what in- what to. Work, work, - that is all I ask of you!' (I, Book II, p. 137). 17. Allan Conrad Christensen, Edward Bulwer-Lytton: The Fiction of New Regions (Athens: University of Georgia Press, 1976) p. 97. 18. Stone, The Romantic Impulse in Victorian Fiction, p. 33. 19. G. K. Chesterton, The Victorian Age in Literature (University of Notre Dame Press, 1962) p. 137. 20. Ibid., pp. 136 -7. 21. Lionel Stevenson, 'Stepfathers of Victorianism', Victorian Quarterly Review, 6 (1930) 258.

Chapter 3: Benjamin Disraeli

1. Donald Stone, The Romantic Impulse in Victorian Fiction (Harvard University Press, 1980) pp. 80-1. John Holloway's The Victorian Sage: Studies in Argument (London: Archon, 1962) devotes a chapter to Disraeli (pp. 86-110) and analyses briefly most of Disraeli's novels from the 1830s. 2. Especially notorious for his dazzling 'plumage', Disraeli played the dandy's role with elan. Upon hearing of the death of George IV, the king under whom dandyism had flourished, Disraeli wrote to his father, 'I have heard of the King's death, which is the destruction of my dress waistcoats. I truly grieve.' Quoted in William Flavelle Monypenny and George Earle Buckle's The Life of Benjamin Disraeli, 6 vols (London: Murray, 1910-1920) I, p. 146. 3. Morris E. Speare, The Political Novel: Its Development in England and Amen·ca (New York: Oxford University Press, 1924) p. 62. 4. See Charles C. Nickerson's 'Vivian Grey and Dorian Gray', in Times Literary Supplement (14 August 1969). 5. Susanne Howe, Wilhelm Meister and His English Kinsmen (Columbia University Press, 1930) p. 184. 6. Muriel Masefield, Peacocks and Pn'mroses: A Survey of Disraeli's Novels (London: Bles, 1953; rpt Millwood, NY: Kraus, 1973) pp. 22-40 passim. 146 The Victorian Novel before Victoria

Besides recording a romanticized version of his past life in Vivian Grey, Disraeli also projected into it what he called 'my active and real ambition'. 7. Gladstone dismissed Vivian Grey as 'the first quarter extremely clever, the rest trash'. See Masefield, Peacocks and Pn"mroses, p. 44. 8. Disraeli also wrote Ixion in Heaven and The Infernal Mam·age during this period (both were written between 1832 and 1834 for Colburn's New Monthly Magazine), but they are too brief to be considered as novels and are actually in the style of Lucianic satires or fables. 9. Bernard R. Jerman, The Young Disraeli (Princeton University Press, 1960) p. 96. Of Disraeli's first four novels, The Young Duke is the only one excluded from Disraeli's 'secret history of my feelings'. 10. Bradenham Edition of the Novels and Tales of Benjamin Disraeli, 12 vols (London: Davies, 1926-7) p. 95. All future citations will be to this edition and will be given in the text. 11. See Monypenny and Buckle, Life of Disraeli, l, p. 194. Apparently the epithet did little to impress the British readership of 1832, for sales of the novel netted Disraeli only £56. 12. The other major transposition of autobiographical incident is the writing and critical reception of Vivian Grey, which in Contanni Flemzng becomes the writing and reception of Manstezn. The initial public outrage at the discovery of its author recalls the uproar over the discovery that Disraeli, an upstart nobody, had written Vivian Grey. But the later reversal of critical opinion about Manstezn is mere wish-fulfilment on Disraeli's part. So, too, are Contarini's political triumphs, for Disraeli had not yet won a seat in Parliament, much less a cabinet post. 13. In his essay on Disraeli for Mznor Bn"tish Novelists, ed. Charles Alva Hoyt (Carbondale: Southern Illinois University Press, 1967) Bernard McCabe accurately states: 'Somewhere behind these mannered attitudes there no doubt lies a real impulse toward a search for intense experience in the subjective world of emotion and fancy that the great Romantic poets explore. But the trouble with the romanticizing in Disraeli is that in the process his emotion quickly becomes commonplace, his fancy cheap' (p. 81). 14. 'She Walks in Beauty', the only one of the Hebrew Melodies still commonly anthologized, misrepresents the true nature of the collection. Although atypical of the strains of Hebrew Melodies which shape Alroy, 'She Walks in Beauty' is parodied, perhaps unintentionally, in the novel. See James D. Merritt's note on 'Disraeli as a Byronic Poet' in Victon(m Poetry, 3 (Spring 1965) 138-9. 15. Leslie Marchand, Byron's Poetry (Harvard University Press, 1968) p. 134. 16. Bernard McCabe, Mznor Bn"tish Novelists, p. 84. 17. Richard A. Levine, Benjamin Disraeli (New York: Twayne, 1968) p. 51. 18. SeeR. W. Stewart's Disraeli's Novels Reviewed, 1826-1968 (Methuen, NJ: Scarecrow, 1975) p. 146. 19. The most thorough discussion of Shelley's influence on Henn"etta Temple is Richard Garnett's essay on 'Shelley and Lord Beaconsfield' in Essays of an Ex-Libranan (London: Heinemann, 1901). 20. Harold Bloom believes that Epipsychidion 'is the poem by Shelley in which the confrontation of a Thou in one human being by the I in another and the relational event which ensues from such a confrontation are most clearly set Notes and References 147

fonh as poetic subject and theme'. Both subject and theme in the first half of Henn"etta Temple are identical to what Bloom describes. See Bloom's Shelley's Mythmaking (Yale University Press, 1959) p. 207. 21. See Garnett, Essays of an Ex-Libranan, pp. 105-13. For a survey of Shelley's reputation during William's reign, see Sylvia Norman's The Flight of the Skylark: The Development of Shelley's Reputation (Norman: University of Oklahoma Press, 1954) pp. 83-133; for Byron's reputation during this same period, see Samuel C. Chew's Byron in England: His Fame and After-Fame (New York: Russell, 1965) pp. 220-63. 22. Gordon Hall Gerould, The Patterns of English and American Fiction (Boston: Little, Brown, 1942) p. 325.

Chapter 4: Subgenres of the Novel from 1830 to 1837

1. See Ernest A. Baker's 'The Age of Dickens and Thackeray', vol. VII of The History of the English Novel (New York: Barnes & Noble, 1936) pp. 62-4. 2. Avrom Fleishman, The English Histon·cal Novel (Baltimore: Johns Hopkins Press, 1971) pp. 23, 28. 3. Scott wrote two novels, Count Robert of Paris and Castle Dangerous, between 1830 and 1832, but they represent a decline in his innovative powers rather than an advance. Indeed, his last major novel was Redgauntlet, published in 1824. Because by 1830 he was more of an institution than an inspiration, we have not treated his two novels of the 1830s in this chapter. 4. George Henry Lewes, Westminster Review, 45 (1846) 35. 5. Frederick Marryat, Snarleyyow; or, The Dog-Fiend, vol. XII of The Novels of Captain Marryat, ed. R. Brimley Johnson (London: J. M. Dent, 1923) ch. 1. Since there is no standard edition of Marryat's novels and since they have been published in various editions, references to the novel will be made by chapter numbers only. All future citations to Snarleyyow will be given in the text. 6. Georg Lukacs, The Historical Novel, trans. Hannah and Stanley Mitchell (Harmondsworth: Penguin Books, 1969) p. 32. 7. Fleishman, The English Histon"cal Novel, p. 26. 8. See William Flavelle Monypenny and George Earle Buckle's The Life of BenJamin Disraeli, 6 vols (London: Murray, 1910-1920) I, p. 212. 9. See Chapter 3, p. 79. 10. Fleishman, The English Histon·cal Novel, p. 26. 11. The other two, Paul Chfford and Eugene Aram, are loosely classified as Newgate novels because the protagonist in each is a criminal. But Paul Clifford, which narrates the career of a fictional highwayman in the 1770s is a roman cl these which in the reformist spirit of the 1830s attacks the contemporary penal systems and legal codes and in the satiric spirit of The Beggar's Opera caricatures Bulwer's near-contemporaries, George IV and his ministers, as a band of highwaymen set back in the 1770s. Eugene A ram, on the other hand, is a psychological study of an actual eighteenth-century upright scholar who killed a scoundrel with the Utilitarian justification that his ill-gotten fortune would aid research beneficial to all mankind. Secondarily, Bulwer's concern here is again contemporary- an attack on 148 The Victorian Novel before Victoria

the amoral Utilitarian formula for evaluating any action, since the consequences of any given action cannot be accurately predicted. Aram is almost the only historical character in the novel; and like Paul Clifford's, his story bears no unique relationship to the historical era in which he lived. There is a discussion of both novels in Chapter 2 as they relate to the maturing of Bulwer's writing career. 12. Bulwer actually uses the names of real citizens of Pompeii which he found on record when he visited the site shortly before writing the novel. He invented the personalities, however, much as Edgar Lee Masters did in Spoon River Anthology. 13. Andrew Sanders, The Victonan Historical Novel, 1840-1880 (London: Macmillan, 1978) pp. 49-50. 14. In Edward Bulwer-Lytton: The Fictions of New Regions (Athens: University of Georgia Press, 1976) Allan C. Christensen analyses this important essay by Bulwer, 'On Art in Fiction'. See pp. 15-18. 15. Edward Bulwer·Lytton, Rienzi, Lord Lytton edn (Philadelphia: Lippincott, 1875-1881) 1, p. 43. 16. Georgej. Worth states in WilliamHarrisonAinsworth(NewYork: Twayne, 1972) that Scott liked the work (p. 18); but Sanders (The Victonan Histon'cal Novel) says that Scott's journal 'reveals how widely Ainsworth missed the mark' (pp. 33-4). 17. Ainsworth's relationship to Scott is best expressed in the following remark by Sanders: 'Scott was perhaps fortunate not to have lived to witness Ainsworth's later popular success and esteem' (p. 34). 18. See Lionel Stevenson's The English Novel: A Panorama (Boston: Houghton Mifflin, 1960) p. 237. 19. William Harrison Ainsworth, Cn'chton (London: Routledge & Sons, 1880) p. 104. All future citations will be to this edition. 20. Because James's novels are so formulaic, we have singled out three representative works from this period: one English (Damley, or The Field of the Cloth of Gold, 1830); one continental (Mary of Burgundy, or the Revolt of Ghent, 1833); and one from a much earlier historical period (Attila, or the Huns, 1837). The other novels written at this time would have worked equally well in providing examples of the same thematic concerns and stylistic techniques. 21. G. P. R. James, Attila, or the Huns (London: Sims and M'Intyre, 1852) p. 217. All future citations will be to this edition. 22. The Works of William Makepeace Thackeray (London: Smith, Elder, 1879) XV, p. 47. 23. Ibid., XIV, p. 67. 24. Lady Blessington quotes Madame de Stael in The Victims of Society (1837), which can be found in The Works of Lady Blessington, 2 vols (Philadelphia: Carey and Hart, 1838; rpt New York: Woman of Letters, AMS Reprint Series, 1975) I, p. 164. All future citations to Blessington's novels will be to this edition. 25. The best survey of silver·fork fiction is still Matthew Whiting Rosa's The Silver-Fork School: Novels of Fashion Preceding 'Vanity Fair' (Columbia University Press, 1936). Those fashionable novels dealing primarily with the dandy are analysed in Ellen Moers, The Dandy: Brummell to Beerbohm Notes and References 149

(New York: Viking, 1960). Vineta Colby's Yesterday's Woman: Domestic Realism in the English Novel (Princeton University Press, 1974) contains an excellent chapter on Mrs Gore. 26. George Levine, The Realistic Imagination: English Fiction from Frankenstein to Lady Chatterley (University of Chicago Press, 1981) p. 23. 27. Ellen Moers, The Dandy, devotes a chapter each to Disraeli and Bulwer. Thomas Henry Lister, the other male novelist of the silver-fork school, published only one novel during William's reign -Arlington - and Lister was not nearly as influential a fashionable novelist as either Bulwer or Disraeli. 28. Two other novels by Mrs Gore published during this period were not fashionable: Mrs Armytage, or, Female Domination (1836) and The Hamiltons (1831 ), which is partly disqualified as a silver-fork novel because of its characters' excessive interest in politics. Also disqualified is Lady Blessington's The Repealers (1833) which deals with the subject of Irish Absentees. 29. Rosa, The Silver-Fork School, p. 158. 30. Charles Dickens, Nicholas Nickleby, ch. 28. 31. The Works of Lady Blessington, I, p. 8. 32. Mothers and Daughters: A Tale of the Year 1830, 3 vols (London: Colburn and Bentley, 1831) II, p. 6. 33. The Diary of a Desenuyee (Philadelphia; Carey and Hart, 1836) p. 19. 34. Michael Sadleir, The Strange Life of Lady Blessington (New York: Farrar, Straus, 1947) p. 198. 35. Essays of George Eliot, ed. Thomas Priney (Columbia University Press, 1963) pp. 303-4. 36. Charles Dickens, The Last of the Great Men (New York: Press of the Reader's Club, 1942) p. 64. 37. Women as They Are; or, The Manners of the Day, 3 vols (London: Colburn and Bentley, 1830) II, p. 84. George IV said that this novel was the best bred and most amusing novel published in his remembrance; as Matthew Rosa points out: 'By 1830 George was a dying man' (Silver-Fork School, p. 123). 38. See Lionel Stevenson's The English Novel: A Panorama (Boston: Houghton Mifflin, 1960) p. 223; also Colby's Yesterday's Woman, pp. 53-4. 39. Levine, The Realistic Imagination, p. 21. 40. When Disraeli's father first heard of The Young Duke he exclaimed: 'What does Ben know of dukes?' Quoted in William F. Monypenny and George E. Buckle's The Life of Benjamin Disraeli, Earl of Beaconsfield (London: Macmillan, 1929) I, p. 132. 41. See Bulwer's England and the English, ed. Standish Meacham; Classics of Historical Literature, ed. John Clive (University of Chicago Press, 1970) Book IV, ch. 2. 42. Colby, Yesterday's Woman, p. 53. 43. Sandra M. Gilbert and Susan Gubar, The Madwoman in the Attic: The Woman Wn'ter and the Nineteenth-Century Literary Imagination (Yale University Press, 1979) p. 29. 44. Pin-Money: A Novel (London: Routledge, 1854) p. 209. 45. See Sadleir, The Strange Life of Lady Blessington, p. 118. 46. loan Williams, The Realist Novel in England: A Study in Development 150 The Victorian Novel before Victoria

(University of Pittsburgh Press, 1974) p. x. See also Levine, The Realistic Imagination, p. 15. 47. Gilbert and Gubar, The Madwoman in the Attic, p. 28. 48. Levine, The Realistic Imagination, p. 134. 49. Although most of Marryat's novels are distinct in subject matter from those of Hook and Surtees because they deal with life aboard ship, one of them - Japhet in Search of a Father (1836)- is thoroughly landlocked and has as its hero an apothecary's apprentice. 50. For the best discussion of Dickens's debt to earlier humourists, see Lionel Stevenson's The English Novel: A Panorama (Boston: Houghton Mifflin, 1960) pp. 219-30. 51. Theodore Hook, Gilbert Gurney (Paris: Baudry's European Library, 1836) pp. 4-5. All future citations will be to this edition and will be given in the text. 52. See George Orwell's Dickens, Dali and Others: Studies in Popular Culture (New York: Reyna! and Hitchcock, 1946) pp. 60-71. 53. Bonnie Rayford Neumann, Robert Smith Surtees (Boston: Twayne, 1978) p. 48. 54. Anonymqus, New Monthly Magazine, 48 (1836) 234. 55. Robert Smith Surtees,Jorrocks'sJaunts and Jollities (London: Ackermann, 1843) p. 162. 56. Theodore Hook, Maxwell (London: Bentley, 1849) p. 117. All future citations will be to this edition and will be given in the text. 57. Theodore Hook, The Parson's Daughter, 3 vols (London: Bentley, 1833) III, p. 127. 58. See Max Keith Sutton's "'Inverse Sublimity" in Victorian Humor', in Victorian Studies, 10 (December 1966) 177-92. 59. In Dickens: From Pickwick to Dombey, Steven Marcus briefly discusses Jorroclu's Jaunts and Jollities and find Jorrocks a much coarser and more masculine figure than Pickwick. See pp. 24-7. 60. Charles Dickens, The Posthumous Papers of the Pickwick Club (London: Oxford University Press, 1948) p. 308. Page references for all future quotations will refer to this edition and will be given in the text. 61. G. K. Chesterton, Charles Dickens: The Last of the Great Men (New York: Press of the Reader's Club, 1942) p. 72. Index

Adelaide, wife of William IV, 4-5 Alice, 40, 53, 54, 57-8, 145 n.15 Ainsworth, William Harrison, 12, 'The Art of Fiction', 93, 148 n.14 18, 79, 88, 96-100, 106, 137 bildungsroman hero, 40-2, 46, 49, Cn'chton, 96, 98, 148 n.19 51, 53 debt to Bulwer, 97 Byronic hero, 40-2, 44-5, 53, 55, debt to Scott, 97, 148 n. 16 and 17 56-7 Gothicism, 12 Carlylean hero, 42, 46, 51, 58 Guy Fawkes, 96 Devereux, 10, 41 historical fiction, 87-8, 96-100, The Disowned, 10, 41 106 debt to Scott, 93-6 Jack Sheppard, 96 England and the English, 149 n.18 Newgate novel, 16 Ernest Maltravers, 40, 53-8, 60, Old Saint Paul's, 96 145 n.15 and 16 realism, 97, 98-100 Eugene Aram, 16, 42, 44-6, romanticism, 97-8, 100 48-9, 55, 144 n.12, 147 n.ll Rookwood, 16, 96-8, 100, 137 Falkland, 10, 40 Sir John Chiverton, 96 Godolphin, 46-8, 49, 53, 54-5, The Tower of London, 96 57, 59, 107-8, 144 n.ll Arnold, Matthew historical novel, 11-12, 41, 49-50, 'Stanzas from the Grande 53-4, 87. 90, 92-6, 106, 144 Chartreuse', 46 n.12 Aston, J. P., 96 influence on later Victorian Austen, Jane, 30, 59 novelists, 135-6 Italy, 1833 visit to, 49 Balzac, Honore de, 9 The Last Days of Pompeii, 11, Les C houans, 8 49--51, 54, 87, 92-6, 144 Beowulf, 27 n.13, 148 n.12 Blessington, Marguerite, Countess of, marriage, 41 13, 18, 108-19 and Newgate novel, 15-16, 42-3, Cecil, 109 44, 143-4 n.8 Cecil, A Peer, 109 Paul Clifford, 16, 40, 42-4, 49, silver-fork novel, 13 55, 58, 97, 143-4 n.8, 147-8 The Two Friends, 109, 110, 116 n.11 Victims of Society, 109, 111-12, pedantry, 94-5 115, 116 Pelham, 10, 40-1, 106 Bronte, Charlotte, 59 political ambition, 41 jane Eyre, 59 realism, 55-6, 94-5 Bronte, Emily, 59 reform spirit, 42-4, 48, 51-3 Wuthen·ng Heights, 59, 85 Regency spirit, 40-1, 43, 49, Bulwer, Edward, Lord Lytton, 17, 55-6, 107 39-60, 120, 135, 136-7 Rienzi, 12, 50-3, 54, 87, 92-6,

151 152 Index

Bulwer, Edward - continued Crane, Stephen 97, 148 n.l5 'The Open Boat', 28 romanticism, 10, 12, 39-60, 94-6, 107-8, 136, 140 n.l4 Defoe, Daniel, 22 and silver·fork fiction, 13, 107-8, Robinson Crusoe, 21 113, 140 n.l4 Dickens, Charles, 9, 14, 17, 18, 137 social conscience (in novels), 40, David Copperfield, 64, 65 41-9, 50-3, 54-5, 56, 58, and earlier fiction, 17, 135, 150 60, 108, 136, 145 n.l5 n.50 social criticism, 16 humour, 121, 128-9, 130-4 style, 58-60 and Marryat, 10 1830s novels, 42-60 and Newgate novel, 16 1840s novels, 40-2 Nicholas Nickleby ('Lady Victorianism, 44-5, 50-1, 53, Flabella'), 107, 109-10, 112 55-6, 58 Oliver Twist, 16, 96, 139 n.6 Bury, Lady Charlotte, 109 Pickwick Papers, I, 15, 16-17, Butler, Samuel, 21 128-9, 130-4, 137 Byron, Lord (George Gordon), 59 plot, 130-1 biography in Venetia, 84-6 realism, 15 Childe Harold's Pilgrimage, 64, 71 romanticism, 16-17 Donjuan, 66-8, 71 serial publication, 16-17 Hebrew Melodies, 76-7 Sketches by Boz, 130-1, 133 humour, 14 A Tale of Two Cities, 12 influence on Disraeli, 61, 62, 63, Disraeli, Benjamin, 10, 17, 61-86, 65-8, 71, 76-7. 78, 83-6 135-8 Manfred, 71 autobiography in fiction, 64-6, 75-6 Carlyle, Thomas, 34, 47, 70 bildungsroman, 62, 69, 71-2 criticism of Bulwer, 41 Byronic influence, 61-8, 71, The French Revolution, 38 76-7. 78, 84-6 and Marryat, 38 Coningsby, 61, 124-5, 145 n.l5 natural supernaturalism, 57 Contan'ni Fleming, 62, 71-7, 78, Sartor Resartus, 13, 39, 49, 58, 80-1, 146 n.11 and 12 107 dandy, portrayal of, 10, 62-3, 67, Coleridge, Samuel Taylor 69, 83 on Marryat, 19 debt to Scott, 92 'The Rime of the Ancient financial crisis, 80 Mariner', 28 Henn'etta Temple, 80-4, 85 comic novel, 10, 14, 17, 119-34 and historical fiction, 11, 78, 79, humour, 121, 129-30 87. 91-3, 106 plot, 130-1 The Infernal Marn'age, 146 n.8 realism, 14-15, 121-4, 129 influence on later Victorian Conrad, Joseph, 19, 27, 35, 37, 142 novelists, 135-6 n.22 irony and satire, 66-7, 76, 83-4 on Marryat, 140 n.4, 142 n.21 Ixion in Heaven, 146 n.8 'The Secret Sharer', 37 mysticism, 78 contemporary life, novels of, 12-13 politics, 62-5, 69-70, 72-3, 86, Cooper, James Fenimore, 27 136, 146n.l2 The Pilot, 142 n.23 realism, 61, 70-1, 83, 106 Index 153

Disraeli - continued influence on age, 6 Regency spirit, 62 satirized in Paul Clifford, 16, 106 romanticism, 10, 61-86, 136 Gladstone, William Ewart Shelleyan influence, 61, 79-86 on Vivian Grey, 146 n. 7 silver-fork fiction, 13, 67-8, Godwin, William (on Paul Clifford), 107-8, 140 n.14, 149 n.40 143-4 n.8 social conscience, 61, 63, 68-71, Goethe, 10, 41 108 bildungsroman, 41 Sybil, 61, 81 influence on Bulwer, 41 Tancred, 61 Wilhelm Meister, 41 1820s novels, 62 Gore, Catherine, 13-14, 18, 108-19 on Utilitarianism, 70 The Diary of a Desenuyee, 109, Venetia, 83-6 110, 116-17 Victorianism, 86 The Hamiltons, 149 n.28 Vivian Grey, 10, 61-5, 71-2, 78, influence on Dickens, 14 80-1, 83, 106, 145-6 n.6 Mothers and Daughters, 108, 110, and 7, 146 n.12 113, 114 The Wondrous Tale of Alroy, Mrs Armitage, 149 n.28 11, 76-81, 84, 91-3, 101 Pin-Money, 108-9, 111, 115-17 The Young Duke, 62, 65-71, 83, silver-fork novels, 13 86, 107-8, 112-13, 146 n.9 Women as TheyAre,108,111, Young England Movement, 70, 117 91, 137 Grey, Charles, Second Earl of, 2, 4 Young England trilogy, 61, 77 Dumas, Alexander, pere, 8-9 Hardy, Thomas, 27 historical novels, 8 historical novels, 6, 7, 10, 11, 17, 29-30, 87-106, 120, 135-8 Egan, Pierce and chivalry, 11 -13 influence on comic novel, 14 decline of, 87-8, 100, 105-6 Tom-and-Jerry series, 7, 14 popularity, 87-8, 100 Eliot, George (Marianne Evans), 60, and realism, 12, 88, 105-6 145 n.15 and romanticism, 12-13, 88, 'Silly Novels By Lady Novelists', 105-6 111 Honan, Park, 40 Evangelicalism, 4 Hook, Theodore, 14, 17, 120-8, 130, 131-2, 133 Falcieri, Tita, 85 Ga1bert Gurney, 120-1, 123, 127, Flaubert, 9 128, 130, 132 French literature, 7-8, 10 humour, 126-9, 130, 131 historical romances, 8 jack Brag, 123, 128-9, 131 realism, 9 Maxwell, 123, 125-6 French Revolution of 1798, 2, 8 The Parson's Daughter, 125-7 French Revolution of 1848, 8 realism, 14, 121-5, 130 French Romantic movement, 8 romanticism, 126 Sayings and Doings, 122 Gaskell, Elizabeth Cleghorn, 21 silver-fork fiction, 124-5 George IV, 4, 7, 14, 145 n.2 Hugo, Victor, 8-9 death of, 2 humour, 129 James, G.P.R., 11, 18, 79, 88, 90, 154 Index

James, G.P.R. -continued japhet in Search of a Father, 121, 100-6, 120, 137 142 n.21, 150 n.49 Attila, 101-2, 104-6, 148 n.20 karactonyms, 141-2 n.20 Darnley, 102, 103, 148 n.20 The King's Own, 25, 28, 31 Gothicism, 12 Mr Midshipman Easy, 24, 25, 28, historical fiction, 88, 90, 100-6 32, 36-8 Mary of Burgundy, 102-3, 105, Newton Forster, 23, 28, 33 148 n.20 nostalgia, 34-5 parodied by Thackeray, 101, 103 Peter Simple, 24-5, 29, 31, 141-2 realism, lack of, 101-2, 105 n.30 Richelieu, 100 popularity, 19, 20 romanticism, 100-5 realism, 24-6, 27, 30-2, 35-6, 88 style, 103-4 reform, spirit of, 34 Joyce, James romanticism, 26-7, 35, 88, 136 A Portrait of the Artist as a Royal Navy, pride in, 23-4, 26-7, Young Man, 64-5 29 sailors, portrayal of, 23-7 Keats, John, 7 Scott's influence on, 21, 88-91, 142 n.23 Lamartine, Alphonse Marie Louis de sea, portrayal of, 26-9 Prat de, 8 Smollett, influence of, 23-6, 28, liberalism, 2-3 31, 142 n.21 Whig peers, creation of, 4 Snarleyyow; or, The Dog Fiend, Lister, Thomas Henry 11' 12, 27-8, 29, 32, 88-91' Arlington, 149 n.27 101, 142 n.23, 143 n.33, 147 literary market, 4-6, 31-2 n.5 Cadell, Tom, 5 social interdependence, portrayal circulating libraries, 5 of, 34-5 Colburn and Bentley, 5-6 style, 36-7 middle-class readers, 106 Melville, Herman, 27 Waverley novels, Author's Edition, on Marryat, 38 5 Meredith, George, 21 Macaulay, Thomas Babbington, 19 Marryat, Frederick, 17, 19-38, 61, Napoleon, 2, 23 87' 88-91' 92, 106, 135-6 wars with, 8 bildungsroman, 136 Navy, Royal, 20-1, 23 and the British navy, 11 Nelson, Viscount Horatio, 23 caricatures, 24-5 Newgate novel, 15-16, 96-7, 137, and children's literature, 19-20 143-4 n.8 digressions, 32-3 Frank Mildmay, 10 Peacock, Thomas Love, 7, 59 heroism, portrayal of, 26, 27, 34-5, 37, 88 realism, 5-6, 9-10, 13, 30-1, 60, historical fiction, 11, 87, 88-91, 105-6, 106-7' 112, 118, 142-3 92, 142 n.24 n.27 humour, 90-1, 136 comic fiction, 106 influence on Victorian novelists, domestic fiction, 100 135 historical fiction, 88, 100-1 Jacob Faithful, 24, 31, 35, 141-2 novels of contemporary life, 5-6 n.20 and romanticism, 10-11 Index 155

realism - continued influence on Bulwer, 41, 49-50, silver-fork fiction, 106, 112-19, 144 n.12 148-9 n.25 and 26 influence on fiction of the 1830s, triumph of, 10-11 11 reform, spirit of, 2-3, 13-14, 33, 42, influence on Marryat, 9-10, 21, 87, 108, 136-7, 139 n.6, 143-4 29-31, 33 n.8, 147-8 n.11 The Pirate, 142 n.23 Chartist Movement, 33 popularity, 11 legislation: abolition of slavery, realism, 12, 30, 60, 88, 105 33; Catholic Emancipation Redgauntlet, 147 n.2 Act, 2; Factory Act of 1833, romanticism, 11, 30, 87-9, 144 33, 139 n.6; Municipal n.10 Corporations Act, 33, 139 style, 59 n.6; New Poor Law of 1834, Waverley novels, 11 33, 139 n.6; Reform Bill, 'The Seafarer', 27 2-4, 33, 87; Tithe Shelley, Percy Bysshe, 9 Commutation Act, 33 biography in Venetia, 84-6 political, 2 death of, 7 Radicals, 2-3 influence on Disraeli, 61, 79-84 repeal of Test Acts, 2 Sidney, Sir Philip, 21 trade unions, 139 n.6 silver-fork novel, 6-7, 9, 10, 13-14, Regency, 9-10, 41-3, 129-30 17, 106-19, 120-1, 124, 149 humour, 14 n.37 literature of the 1820s, 6-7 characterization, 111-12 literature of the 1930s, influence decline, 106 on, 13, 15 popularity, 106 romanticism, 6, 7, 9-10, 38, 144 realism of, 13-14, 112-19 n.10 romanticism of, 13-14, 112 alienation, 9-10 social conscience in, 116-18 in comic fiction, 106 style, 109-11 in fiction, 12-13, 17 Smollett, Tobias, 17, 20, 21-3, 27, in historical fiction, 105-6 35, 37, 141 n.13 and 15 reaction against, 7 influence on Marryat, 23-6, 28, in Regency literature, 7 31, 142 n.21 Rousseau, Jean Jacques, 8 Peregn·ne Pickle, 22, 141 n.l4, in silver-fork fiction, 106 142 n.21 transition to realism, 9 realism, 21-2 Ruskin, John, 19 Roden·ck Random, 21-2, 37, 141 n.14, 142 n.21 Sand, George (Lucile-Aurore Dupin), satire, 22 9 de Stael, Madame (Baronne Anne Scott, Walter, 6, 8-9, 17-18, 135-8 Louise Germaine Necker de authorial presence, 33 Stael-Holstein), 106 Castle Dangerous, 147 n.2 Stendhal (pseud. Marie Henri Beyle), and chivalry, 29, 30 9 Count Robert of Paris, 147 n.2 Surtees, Robert S., 14, 18, 121-2, historical fiction, 7, 29-31, 87-9, 124, 128-30, 132, 133 92-3, 95-8, 99, 101-3, 105, humour, 128-30, 133 141 n.16 and 17 jorrocks'sjaunts and jollities, 14, inclusiveness, 31-2 121-2, 128-30, 132, 150 156 Index

Surtees, R.S. - continued realism, I37-8 n.59 romanticism, I35-8 influence on Dickens, I4 Tillotson, Kathleen, I, I39 n.I realism, I4, I2I, I24, I30 Trafalgar, 23 Swift, Jonathan, 22 Trollope, Anthony, I45 n.I5 Gulliver's Travels, 2I and Bulwer, 60 Palliser novels, I3, IOS Tennyson, Lord Alfred Twain, Mark (pseud. Samuel L. 'The Fleet', 20 Clemens) 'Morte d'Arthur', I02 on Scott, 30 'The Palace of Art', 58, 75 Thackeray, William Makepeace, IS, Utilitarians, 34, 77 112, 118 Barbazure, I03 Victoria, 4-6, I35 TheBookofSnobs,IOI, I05,117, reign of, 53-5 I23 de Vigny, Martin, 9 Bulwer, parody of in Fraser's, 39 Cinq-Mars, 8 criticism of Eugene A ram, 45 criticism of Pelham, 4I Ward, Robert Plumer Henry Esmond, I2 silver-fork fiction, 67 Marryat, enjoyment of, I9 Tremaine, 7, I 06 Novels by Eminent Hands, IOI, Wilde, Oscar, 63 I07 William, IV, I-3 Pendennis, 125 influence on literature, 4-5 silver-fork fiction, 14 reign of, 3-4, I7-I8, 2I, 3I, 38, Vanity Fair, I4, 27, 68, I07, 115, 42, 87-8, I06-7, IOS, I35-8 118-I9 role in reform, 4 Thirties novels, 30-I, 135-8 Wordsworth, William influence on later Victorian The Prelude, 64 fiction, I35-8