in which it has been carried out are worthy of the deservedly high reputation of both of these literary partners. Mr. Gardiner contributes an admirable essay or study on English history, which, though, owing to the limits imposed by space, somewhat sketchy, is full of brilliant generalizations and is extremely suggestive. The leading idea is the continuity of English history from the English invasion to the present day; and this is worked out in a series of terse paragraphs compressed into two hundred pages. Mr. Gardiner tells us that his essay is meant to supply students who, having been through the ordinary course, desire to devote themselves to some special period of English history, with an outline to enable them to grasp the importance of their special period as a single scene in the great historical drama. But others also will derive great profit from its perusal. Mr. Bass Mullinger gives us, in another two hundred pages, what it is no exaggeration to call the most exhaustive and accurate account of the original authorities for English history, from Cæsar and Gildas to the present day, which has as yet been given to the world. The publications of the historical and antiquarian societies, of the Record Commissioners, and of the Master of the Rolls, all find a place in this valuable précis, which includes all the latest works-even Prof. Burrows's edition of the Puritan Visitation of the University of Oxford in 1647-58, just issued by the Camden Society. Of course for complete accounts of the writers up to 1327 we must still go to Sir T. Duffus Hardy's Descriptive Catalogue, but Mr. Mullinger's work, taken in connexion with Mr. James Gairdner's Early Chronicles of England (S.P.C.K.), will satisfy all but the most enthusiastic historical students. Mr. Mullinger gives very full references to the best editions, but in speaking of the continental chronicles he sometimes refers us to Migne's collection, which is cumbrous and rarely accessible, and sometimes (e.g. Geoffrey Gaimar) gives no references at all. In the case of the Emma Encomium (p. 247) the handy edition reprinted from Pertz's Monumenta Germania Historica is far more convenient than Migne's edition. But this is hypercriticism, and we conclude by assuring our readers that it is not often that a work of such sterling merit in its department is published, and that the two authors are to be congratulated most heartily on the excellence of their joint venture, which we trust will meet with the success it most thoroughly deserves.

tained a serviceable sketch of the life of Edward Alleyn. The Dulwich manuscripts have become unfortunately notorious on account of certain forgeries which have been inserted among them. They have almost all reference to the history of the theatre. At the time of their first detection great indignation was naturally expressed, and the fires of controversy crackled fiercely. Mr. Warner was not in any way mixed up with this painful conflict-in fact, it would seem that he can barely remember it, and can therefore have no inclination to view the papers before him through a coloured medium. He is unhesitatingly of opinion that the suspected manuscripts are modern fabrications or old documents that have been tampered with. The notes concerning the court rolls of the manor of Dulwich are of much value. To those who take an intelligent interest in the lives of the folk of earlier days they may perhaps prove well-nigh the most attractive part of the book. The list of personal names he has extracted therefrom is especially curious. Mr. Warner speaks of duds as a cant word. If he means by this that it is an importation from Ireland or America, or a conscious manufacture of our own lower class, we must call his conclusion in question. It occurs in the Promptorium Parvulorum, where it is the text for a serviceable note. There is evidence of its being used to indicate things belonging to a church clock as early as 1501 (see Athenæum, Feb. 8, 1868, p. 222), and Sir Walter Scott permits King James to use it in The Fortunes of Nigel (chap. v.). A place at Stourbridge where linen cloth was sold is or was called the Duddery.

THE manuscripts in Dulwich College have long been known, and are of especial interest for all those who are anxious to recover all that can be known as to the history of the English stage. Hitherto they have not been accessible in an orderly manner, and there has been no sufficient clue to their contents. This is now furnished, and the reader will have no more difficulty in finding what he requires than he has when working in the British Museum. The excellence of a catalogue depends on the measure of its accuracy. This we cannot test absolutely without working among the papers our selves, but there are indications, which a student of manuscripts cannot overlook, which indicate pretty clearly when a cataloguer has done his work well and when he has been careless. The present volume shows every sign that the utmost caution has been used, and we feel no doubt whatever that it will prove a thoroughly serviceable key to this interesting collection. The volume contains more than its title promises. We have a most carefully written and elaborate introduction, extending over more than fifty pages, in which is con

Songs of a Worker. By Arthur O'Shaughnessy. (Chatto & Windus.) THE last words of one we loved, however trivial they may have been, linger in the memory. A singer whose songs have soothed us, although personally unknown, becomes dear to us. We know that there are many who will treasure this little volume for reasons apart from anything it contains. It is, like all the rest of O'Shaughnessy's work, quite able to stand on its own merits; but we cannot but believe that had its author lived to see it through the press it would have contained touches which are now wanting. There is hardly a stanza in it that is not poetry, and some-"Thoughts in Marble" and "Colibri," for instance-are verse of a very high order of merit. But, taken as a whole, we cannot say that it equals Music and Moonlight, a volume which all those who know how to distinguish between poetry and the cunThere is but little sensuousness in these Songs of a Worker, and what there is to be found is pure as marble. Thoughtless critics of Mr. O'Shaughnessy's earlier verses accused him of using form and colour as no rightminded man would use them in verse any more than in painting or sculpture. It is hard to excuse such purblind want of discernment. There are, it is still needful to tell all such people, two kinds of sensuousness: that in which, it has been aptly said, "the soul squats down in the flesh, like a tinker drunk in a ditch," and that in which the artist's delight is shown in the mystic glory and beauty of all that comes from God. To the latter of these classes O'Shaughnessy belonged. That he should ever have been classed with the former shows that we have among us some who have but ill learned the very easy lesson that any man of science could teach them, that things which to the unobservant are not very unlike, nay, sometimes even identical, are often understood to be, by those who know their natures, as diverse from each other as food and poison. Almost in every herb plot you will find fool's-parsley growing as a weed in close proximity to its useful namesake, but he is a fool

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