E N G E N G 435 the lips of nature s poet-priest, into verse of wondrous melody. When the period of inspiration was past, he quietly conformed to the religion and politics of his neigh bours, and wrote much in support of them ; but these later works are pitched in a lower key. Since the death of Scott, the power of literature, com bined with journalism, has been continually on the rise. The novelists, while describing, have modified cur social customs ; the essayists have been instrumental in bringing about political reforms ; the poets have stirred, generally to thoughts and desires of change, the impressible hearts of the young. The power of art over the human mind, and its influence in determining the aspects of life, have been, in all English-speaking countries, declining, while that of literature has been advancing. Whether this particular distribution of the master-influences that affect mankind will continue to prevail, or whether art is destined to regain among us a portion of its early power, and the sway of literature to be correspondingly restricted, is a question which the future must decide. See Hallam s Introduction to the Literature of Europe; Warton s History of English Poetry; Morley s English Writers; Groin s Bibliothck der Angel-sachsischen Poesie; the Benedictine Iliatoire Litteraire dc la France, with its continuations ; Prof. Ward s His tory of Dramatic Literature ; Collier s History of English Dramatic Poetry; Knight s SJiakspere:. a Bioyrar,hy; Spenee s Anecdotes; Coleridge s Literary Remains. (T. A.) INDEX TO ENGLISH LITEKATURE. Adamnan, 405. Addison, Joseph, 425, 427 ^Elfric, 406. Alcuin, 406. Aldhelm, St, 403. Alexandras, The, 407. Alfred, King, 404. Alliterative metre,404,412. Alliterative poets, 411. Andreas, 404. Anselra, St, 409. Arthurian romance, 407 Ascham, Roger, 415, 417. Bacon, Sir Francis, 422. Bacon, Roger, 409. Barrow, Dr Isaac, 424. Beaumont and Fletcher, 421. Beda, the Venerable, 405. Venn, Aphra, 424. Benoit de Ste More, 407. Beowulf, 403. Berkeley, Bishop, 428. Boniface, St, 403. Bunyan, John, 424. Burke, Edmund, 433. Burns, Robert, 429. ; Butler, Bishop, 431. Butler, Samuel, 424. Vyrou, Lord, 433. Ctedmon, 405. Caxton, William, 413. Chateaubriand, 433. Chaucer, Geoffrey, 411, 412. Churchill, Charles, 429. Cibber, Colley, 424. Colet, Dean, 414. Comedy, English, rise of. 416. Congreve, William, 425. Cowley, Abraham, 418. Cowper, William, 429. Cranmer, Thomas, 417. Crist, 404. Cynewulf, 403. Danes, ravages of the, 404. Defoe, Daniel, 425-428. Deists, English, 427. Denham, Sir John, 424. Dear s Complaint, 403. Dryden, John, 423, 424, 425. Dunbar, William, 415. Dunstan, St, 405. Durham Gospels, 406. Edinburgh Review. 434. Elene, 404. Elizabethan drama, 419. Elizabethan literature,41S. English language, ascen dency of the, 409. Erasmus, 414. Euphuism, 421. Evrard s Disticlia, 407. Exeter Codex, 406. Fiction, works of, 421, 42S, 429, 430. Fielding, Ileury, 430. Fisher, Bishop, 414. Florence of Worcester, 409. Fortescue, Sir John, 416. Gaimar, Geoffrey, 407. Geoffrey of Monmouth,407. Gibbon, Edward, 431. Gildas, 407. Godric, St, hymn of, 408. Goldsmith, Oliver, 4. 9, 431. Gower, John, 412. Greek, revival of the study of, 414. Grocyn, William, 414. Grosseteste, Robert, 410. Guthlac, St, 404. Hartley, David, 432. Havelok, romance of, 410. Hawes, Stephen, 415. Heywood, John, 419. Higden, Ranulf, 409. Hobbes, Thomas, 422. Hooker, Richard, 421. Hume, David, 431, 432. Huntingdon, Henry of, 409. Hutcheson, Francis, 431. Hypocrite, The, 424. lona, influence of, 405. James I. of Scotland, 413. Jewel, Bishop, 417. John of Salisbury, 409. Johnson, Dr Samuel, 428. Jonson, Ben, 421. Juliana, 404. Kant, Immanuel, 432. King Horn, romance of, 410. Lancelot, romance of, 408. Langland, William, 411. Langtoft, Peter, 410. Latimer, Hugh, 417. Layamon, 408. Leviathan, The, 422. Lilye, William, 414. Linacre, Thomas, 414. Lindisfarne, destruction of, 406. Locke, John, 424, 425, 431 Lombard, Peter, 409 Lydgate, John, 412. Lyly, John, 421. Lyndsay, Sir David, 421. Mabinogion, The, 408. Malmesbury, William of, 409. Malory, Sir Thomas, 408. Manning, Robert, 410. Map, Walter, 408. Marlowe, Christopher, 418, 419. Milton, John, 425. Miracle plays, 416. Moral plays, 416. More, Sir Thomas, 414, 416, 417. Nennius, 407. Northumbria, literary de velopment in, 405. Ormin, 410. Paris, Matthew, 409. Pecock, Reginald. 411,413. Philosophical radicals, 434. Players, account of, 419. Pope, Alexander, 42C, 427, 428. Priestley, Dr Jos., 432. Printing, invention of, 413. Prynne, William, 421. Reid, Dr Thomas, 432. Richardson, Samuel, 430. Robert of Gloucester, 410. Robertson, Dr William,431. Roland, Chanson de, 407. Romances, English, 410. Round Table, legend of the, 407. Sackville, Thomas, 416. Saint Graal, legend of the, 408. Saxon Chronicle, the, 406, 408. Scott, Sir Walter, 433, 434. Selling, William, 414. Shaftesbury, Lord, 427. Shakespeare, William, his poems. 418; his plays, 420. Shelley, Percy B., 433. Sheridan, Richard B., 429, 431. Sidney, Sir Philip, 417, 421. Skelton, John, 415, 410. Smith, Adam, 429. Smollett, Tobias, 431. Southwell, Robert, 418. Spectator, The, 427. Spenser, Edmund, 418. Stage, the early, 420. Steele, Richard, 427. Sterne, Lawrence, 431. Stewart, Dr Dugald, 432. Surrey, Earl of-, 415. Swift, Dean, 42G. Taylor, Jeremy, 421. Tragedy, English, rise of, 416. Translators, under Eliza beth, 415, Traveller, The, 404. Triads, The, 408. Tristan, romance -of, 408. Trivet, Nicholas, 409. Turoldus, 407. Tyndale, William, 417. Udall, Nicholas, 416. Vercelli Codex, the, 406. Wace, Robert, 407. Walden, Thomas. 410. Waller, Edmund, 418. Warham, Archbishop, 414. Welsh poetry of the 12th century, 408. Wessex, literary develop ment in, 403-5. Wickiiffe, John, 410, 411. Wordsworth, William, 433, 434. Young, Edward, 429. ENGRAVING. The verb engrave is an old French word adopted by the English language, in which it bears at the present day but one signification, that of marking by incision. In old English the word was used in other senses, with which we need not now trouble the reader, and the verb engraver in modern French, used for a boat when she runs her keel into the beach or for a cart when its wheels stick in the mud of a road or the sand of a river, is a different word, being derived from greve, the sands of sea or river, which comes from the Provengal grava, the bed of a torrent, and is nearly related to the English gravel. Our English verb to engrave belongs to a large family of words in many Western languages, the Anglo-Saxon form grafan being remarkable for its similarity to the Greek ypd(^(.Lv. LittrtS affirms that the Latin words scribere and scrobs are also etymologically related to the verb graver, aud it is evident that there is a close connection between scrobs, a furrow, and the hollow cuttings produced by an engraver with his tools. The grave in which the dead are buried is also connected with these words both by its meaning and its etymology. The idea of a furrow or cutting is essential to engraving, much more essential than any artistic idea. The rudest mark which is cut into the substance of anything is really an engraving, whilst the most admirable drawing which does not cut into the surface is not engraving at all. When Old Mortality deepened the inscriptions on the tombstones of the Covenanters he was strictly doing engraver s work, though of a coarse kind. In like manner the peoples of remote antiquity who chiselled their writing and drawing on slabs of stone, were in the strictest sense engravers, though the connection between their rude performance and the refined workman ship which is bestowed on a modern vignette may not at first sight be very obvious. On the other hand, a lithograph is not an engraving, neither is a photograph, nor a photographic autotype ; but the applications of photography which are known as heliogravure and photogravure are really engraving, because in these processes the surface of the metal plate is eaten into or lowered. For the same reason etching may be correctly included under the generic term engraving, and an etcher is called in French a graveur a Veaufortc, an engraver by means of acid. Engraving may then be defined as writing or drawing in Delini- which the marks are produced by removing a portion of tion. the substance on which the writing or drawing is made, instead of by simply staining or discolouring it as ink aud lead pencil do, or covering it with an opaque or transparent pigment as in oil-painting. The idea of multiplication by printing, or by casting (as in seal engraving), is a mere accidental suggestion and no(
an essential part of the art. Engraving preceded printing,