[9] “Classic and Romantic,” Vol.  LVII.

[10] See Schiller’s “Ueber naive and sentimentalische Dichtung.”

[11] Le mot de romantisme, apres cinquante ans et plus de discussions passionnees, ne laisse pas d’etre encore aujourd’hui bien vague et bien flottant.—­Brunetiere, ibid.

[12] Ce qui constitue proprement un classique, c’est l’equilibre en lui de toutes les facultes qui concourent a la perfection de l’oeuvre d’art.—­Brunetiere, ibid.

[13] “Vorlesungen ueber dramatische Kunst und Litteratur.”

[14] Far to the west the long, long vale withdrawn,
    Where twilight loves to linger for a while.
       —­Beattie’s “Minstrel."

[15] The modernness of this “latest born of the myths” resides partly in its spiritual, almost Christian conception of love, partly in its allegorical theme, the soul’s attainment of immortality through love.  The Catholic idea of penance is suggested, too, in Psyche’s “wandering labors long.”  This apologue has been a favorite with platonizing poets, like Spenser and Milton.  See “The Fairie Queene,” book iii. canto vi. stanza 1., and “Comus,” lines 1002-11

[16] “Selections from Walter Savage Landor,” Preface, p. vii.

[17] See also Walter Bagehot’s essay on “Pure, Ornate, and Grotesque Art,” “Literary Studies, Works” (Hartford, 1889), Vol I. p. 200.

[18] Lettres de Dupuis et Cotonet (1836), “Oeuvres Completes” (Charpentier edition, 1881), Tome IX. p. 194.

[19] Preface to Victor Hugo’s “Cromwell,” dated October, 1827.  The play was printed, but not acted, in 1828.

[20] In modern times romanticism, typifying a permanent tendency of the human mind, has been placed in opposition to what is called realism. . . [But] there is, as it appears to us, but one fundamental note which all romanticism . . . has in common, and that is a deep disgust with the world as it is and a desire to depict in literature something that is claimed to be nobler and better.—­Essays on German Literature, by H. H. Boyesen, pp. 358 and 356.

CHAPTER II.

The Augustans

The Romantic Movement in England was a part of the general European reaction against the spirit of the eighteenth century.  This began somewhat earlier in England than in Germany, and very much earlier than in France, where literacy conservatism went strangely hand in hand with political radicalism.  In England the reaction was at first gradual, timid, and unconscious.  It did not reach importance until the seventh decade of the century, and culminated only in the early years of the nineteenth century.  The medieval revival was only an incident—­though a leading incident—­of this movement; but it is the side of it with which the present work will mainly deal.  Thus I shall have a great deal to say about Scott; very little about Byron, intensely romantic as he was in many meanings of the word.  This will not preclude me from glancing occasionally at other elements besides medievalism which enter into the concept of the term “romantic.”