Arnold is not at all the classicism of the eighteenth century;
Thackeray's realism is not the realism of Fielding. It is what it is,
partly just because Walter Scott had written his Waverley Novels in the
mean while. Apart from the works for which it is directly responsible,
the romantic movement had enriched the blood of the literature, and its
results are seen even in writings hostile to the romantic principles. As
to the absolute value of the great romantic output of the nineteenth
century, it may be at once acknowledged that, as "human documents," books
which reflect contemporary life have a superior importance to the
creations of the modern imagination, playing freely over times and places
distant, and attractive through their distance; over ancient Greece or
the Orient or the Middle Age. But that a very beautiful and quite
legitimate product of literary art may spring from this contact of the
present with the past, it is hoped that our history may have shown.

[1] See vol. i., pp. 31-32.

[2] "Apologia pro Vita Sua," p. 139.

[3] "It would require the . . . magic pen of Sir Walter to catalogue and
to picture . . . that most miserable procession" ("Callista: a Sketch of
the Third Century," 1855; chapter, "Christianos ad Leones"). It is
curious to compare this tale of the early martyrs, Newman's solitary
essay in historical romance, with "Hypatia." It has the intellectual
refinement of everything that came from its author's pen; and it has
strong passages like the one describing the invasion of the locusts.
But, upon the whole, Newman was as inferior to Kingsley as a novelist as
he was superior to him in the dialectics of controversy.

[4] See the entire section "Selections from Newman," by Lewis G. Gates,
New York, 1895. Introduction, pp. xlvi-lix.

[5] "Essays Critical and Historical" (1846).

[6] "Reminiscences," Thomas Mozley, Boston, 1882.

[7] "Life and Letters of Dean Church," London, 1894.

[8] "Recollections of Aubrey de Vere," London, 1897.

[9] "Idea of a University" (1853). See also in "Parochial and Plain
Sermons" the discourse on "The Danger of Accomplishments," and that on
"The Gospel Palaces." In the latter he writes, speaking of the
cathedrals: "Unhappy they who, while they have eyes to admire, admire
them only for their beauty's sake; . . . who regard them as works of art,
not fruits of grace."

[10] Cardinal Wiseman had a decided preference for Renaissance over
Gothic, and t