nd representative eulogist and
exponent, is conspicuous. It is from foreign and almost hostile
sources that we must expect help. The State is to resume, or to
initiate, its guidance of a very large part, if not of the whole, of
the matters which popular thought, Liberal and Conservative alike,
then assigned to individual action or private combination. We have not
yet Barbarians, Philistines, and Populace labelled with their tickets
and furnished with their descriptions; but the three classes are
already sharply separated in Mr Arnold's mind, and we can see that
only in the Philistine who burns Dagon, and accepts circumcision and
culture fully, is there to be any salvation. The anti-clerical and
anti-theological animus is already strong; the attitude _dantis jura
Catonis_ is arranged; the _jura_ themselves, if not actually
graven and tabulated, can be seen coming with very little difficulty.
Above all, the singing-robes are pretty clearly laid aside; the
Scholar-Gipsy exercises no further spell; we have turned to prose and
(as we can best manage it) sense.

But _A French Eton_ is perhaps most interesting for its style. In
this respect it marks a stage, and a distinct one, between the
_Preface_ of 1853 and the later and better known works. More of a
_concio ad vulgus_ than the former, it shows a pretty obvious
endeavour to soften and popularise, without unduly vulgarising, the
academic tone of the earlier work. And it does not yet display those
"mincing graces" which were sometimes attributed (according to a very
friendly and most competent critic, "harshly, but justly") to the
later. The mannerisms, indeed, like the dogmatisms, are pretty clearly
imminent. Slightly exotic vocabulary--"habitude" "repartition," for
"habit," "distribution"--makes its appearance. That abhorrence of the
conjunction, which made Mr Arnold later give us rows of adjectives and
substantives, with never an "and" to string them together, is here.
But no one of these tricks, nor any other, is present in excess: there
is nothing that can justly be called falsetto; and in especial, though
some names of merely ephemeral interest are in evidence--Baines,
Roebuck, Miall, &c., Mr Arnold's well-known substitutes for Cleon and
Cinesias--there is nothing like the torrent of personal allusion in
_Friendship's Garland_. "Bottles" and his company are not yet
with us; the dose of _persiflage_ is rigorously kept down; the
author has not reached the stage when he