wrong, wicked and shocking. His works of this class therefore are now the least valuable, though not the least curious, of his books.
The earliest regular life and estimate of Defoe is that of Dr Towers in the Biographia Britannica. George Chalmers’s Life, however (1786), added very considerable information. In 1830 Walter Wilson wrote the standard Life (3 vols.); it is coloured by political prejudice, but is a model of painstaking care, and by its abundant citations from works both of Defoe and of others, which are practically inaccessible to the general reader, is invaluable. In 1859 appeared a life of Defoe by William Chadwick, an extraordinary rhapsody in a style which is half Cobbett and half Carlyle, but amusing, and by no means devoid of acuteness. In 1864 the discovery of the six letters stirred up William Lee to a new investigation, and the results of this were published (London, 1869) in three large volumes. The first of these (well illustrated) contains a new life and particulars of the author’s discoveries. The second and third contain fugitive writings assigned by Lee to Defoe for the first time. For most of these, however, we have no authority but Lee’s own impressions of style, &c.; and consequently, though the best qualified judges will in most cases agree that Defoe may very likely have written them, it cannot positively be stated that he did. There is also a Life by Thomas Wright (1894). The Earlier Life and Chief Earlier Works of Defoe (1890) was included by Henry Morley in the “Carisbrooke Library.” Charles Lamb’s criticisms were made in three short pieces, two of which were written for Wilson’s book, and the third for The Reflector. The volume on Defoe (1879) in the “English Men of Letters” series is by W. Minto.
There is considerable uncertainty about many of Defoe’s writings; and even if all contested works be excluded, the number is still enormous. Besides the list in Bohn’s Lowndes, which is somewhat of an omnium gatherum, three lists drawn with more or less care were compiled in the 19th century. Wilson’s contains 210 distinct works, three or four only of which are marked as doubtful; Hazlitt’s enumerates 183 “genuine” and 52 “attributed” pieces, with notes on most of them; Lee’s extends to 254, of which 64 claim to be new additions. The reprint (3 vols.) edited for the “Pulteney Library” by Hazlitt in 1840–1843 contains a good and full life mainly derived from Wilson, the whole of the novels (including the Serious Reflections now hardly ever published with Robinson Crusoe), Jure Divino, The Use and Abuse of Marriage, and many of the more important tracts and smaller works. There is also an edition, often called Scott’s, but really edited by Sir G. C. Lewis, in twenty volumes (London, 1840–1841). This contains the Complete Tradesman, Religious Courtship, The Consolidator and other works not comprised in Hazlitt’s. Scott had previously in 1809 edited for Ballantyne some of the novels, in twelve volumes. Bohn’s “British Classics” includes the novels (except the third part of Robinson Crusoe), The History of the Devil, The Storm, and a few political pamphlets, also the undoubtedly spurious Mother Ross. In 1870 Nimmo of Edinburgh published in one volume an admirable selection from Defoe. It contains Chalmers’s Life, annotated and completed from Wilson and Lee, Robinson Crusoe, pts. i. and ii., Colonel Jack, The Cavalier, Duncan Campbell, The Plague, Everybody’s Business, Mrs Veal, The Shortest Way with Dissenters, Giving Alms no Charity, The True-Born Englishman, Hymn to the Pillory, and very copious extracts from The Complete English Tradesman. An edition of Defoe’s Romances and Narratives in sixteen volumes by G. A. Aitken came out in 1895.
If we turn to separate works, the bibliography of Defoe is practically confined (except as far as original editions are concerned) to Robinson Crusoe. Mrs Veal has been to some extent popularized by the work which it helped to sell; Religious Courtship and The Family Instructor had a vogue among the middle class until well into the 19th century, and The History of the Union was republished in 1786. But the reprints and editions of Crusoe have been innumerable; it has been often translated; and the eulogy pronounced on it by Rousseau gave it special currency in France, where imitations (or rather adaptations) have also been common.
In addition to the principal authorities already mentioned see John Forster, Historical and Biographical Essays (1858); G. Saintsbury, “Introduction” to Defoe’s Minor Novels; and valuable notes by G. A. Aitken in The Contemporary Review (February 1890), and The Athenaeum (April 30, 1889; August 31, 1890). A facsimile reprint (1883) of Robinson Crusoe has an introduction by Mr Austin Dobson. Dr Karl T. Bülbring edited two unpublished works of Defoe, The Compleat English Gentleman (London, 1890) and Of Royall Educacion (London, 1905), from British Museum Add. MS. 32,555. Further light was thrown on Defoe’s work as a political agent by the discovery (1906) of an unpublished paper of his in the British Museum by G. F. Warner. This was printed in the English Historical Review, and afterwards separately.
DEGAS, HILAIRE GERMAIN EDGARD (1834– ), French painter, was born in Paris on the 19th of July 1834. Entering in 1855 the École des Beaux Arts, he early developed independence of artistic outlook, studying under Lamothe. He first exhibited in the Salon of 1865, contributing a “War in the middle ages,” a work executed in pastel. To this medium he was ever faithful, using it for some of his best work. In 1866 his “Steeplechase” revealed him as a painter of the racecourse and of all the most modern aspects of life and of Parisian society, treated in an extremely original manner. He subsequently exhibited in 1867 “Family Portraits,” and in 1868 a portrait of a dancer in the “Ballet of La Source.” In 1869 and 1870 he restricted himself to portraits; but thenceforward he abandoned the Salons and attached himself to the Impressionists. With Manet and Monet he took the lead of the new school at its first exhibition in 1874, and repeatedly contributed to these exhibitions (in 1876, 1878, 1879 and 1880). In 1868 he had shown his first study of a dancer, and in numerous pastels he proclaimed himself the painter of the ballet, representing its figurantes in every attitude with more constant aim at truth than grace. Several of his works may be seen at the Luxembourg Gallery, to which they were bequeathed, among a collection of impressionist pictures, by M. Caillebotte. In 1880 Degas showed his powers of observation in a set of “Portraits of Criminals,” and he attempted modelling in a “Dancer,” in wax. He afterwards returned to his studies of the sporting world, exhibiting in December 1884 at the Petit Gallery two views of “Races” which had a great success, proving the increasing vogue of the artist among collectors. He is ranked with Manet as the leader of the “impressionist school.” At the eighth Impressionist Exhibition, in 1886, Degas continued his realistic studies of modern life, showing drawings of the nude, of workwomen, and of jockeys. Besides his pastels and his paintings of genre and portraits—among these, several likenesses of Manet—Degas also handled his favourite subjects in etching and in aquatint; and executed several lithographs of “Singers at Cafés-concert,” of “Ballet-girls,” and indeed of every possible subject of night-life and incidents behind the scenes. His work is to be seen not only at the Luxembourg but in many of the great private collections in Paris, in England and America. In the Centenary Exhibition of 1900 he exhibited “The Interior of a Cotton-Broker’s Office at New Orleans” (belonging to the Museum at Pau) and “The Rehearsal.”
See also G. Moore, “Degas, the Painter of Modern Life,” Magazine of Art (1890); J. K. Huysmans, Certains (Paris, 1889); G. Geffroy, La Vie Artistique (3e Série, Paris, 1894).
DE GEER, LOUIS GERHARD, Baron (1818–1896), Swedish statesman and writer, was born on the 18th of July 1818 at Finspång castle. He adopted the legal profession, and in 1855 became president of the Göta Hofret, or lord justice of one of the Swedish supreme courts. From the 7th of April 1858 to the 3rd of June 1870 he was minister of justice. As a member of the Upper House he took part in all the Swedish Riksdags from 1851 onwards, though he seldom spoke. From 1867 to 1878 he was the member for Stockholm in the first chamber, and introduced and passed many useful reformatory statutes; but his greatest achievement, as a statesman, was the reform of the Swedish representative system, whereby he substituted a bi-cameral elective parliament, on modern lines, for the existing cumbersome representation by estates, a survival from the later middle ages. This great measure was accepted by the Riksdag in December 1865, and received the royal sanction on the 22nd of June 1866. For some time after this De Geer was the most popular man in Sweden. He retired from the ministry in 1870, but took office again, as minister of justice, in 1875. In 1876 he became minister of state, which position he retained till April 1880, when the failure of his repeated efforts to settle the armaments’ question again induced him to resign. From 1881 to 1888 he was chancellor of the universities of Upsala and Lund. Besides several novels and aesthetic essays, De Geer has written a few political memoirs of supreme merit both as to style and matter, the most notable of which are: Minnesteckning öfver A. J. v. Höpken (Stockholm, 1881); Minnesteckning öfver Hans Järta (Stockholm, 1874); Minnesteckning öfver B. B. von Platen (Stockholm, 1886); and his own Minnen (Stockholm, 1892), an autobiography, invaluable as a historical document, in which the political experience and the matured judgments of
