CHAPTER XI

.

The German Tributary

Up to the last decade of the eighteenth century the romantic movement in Great Britain had been self-developed and independent of foreign influence, except for such stimulus as it had found, once and again, in the writings of continental scholars like Sainte Palaye and Mallet. But now the English literary current began to receive a tributary stream from abroad. A change had taken place in the attitude of the German mind which corresponds quite closely to that whose successive steps we have been following. In Germany, French classicism had got an even firmer hold than in England. It is well-known that Frederick the Great (1740-86) regarded his mother-tongue as a barbarous dialect, hardly fit for literary use. In his own writings, prose and verse, he invariably employed French; and he boasted to Gottsched that from his youth up he had not read a German book.[1]

But already before the middle of the century, and just about the time of the publication of Thomason's "Seasons," the so-called Swiss school, under the leadership of the Züricher, Johann Jacob Bodmer, had begun a national movement and an attack upon Gallic influences. Bodmer fought under Milton's banner, and in the preface to his prose translation of "Paradise Lost" (1732), he praised Shakspere as the English Sophocles. In his "Abhandlung von dem Wunderbaren" ("Treatise on the Marvelous," 1740) he asserted the claims of freedom, nature, and the inspired imagination against the rules of French critics, very much as the Wartons and Bishop Hurd did a few years later in England. _Deutscheit, Volkspoesie_, the German past, the old Teutonic hero-age, with the _Kaiserzeit_ and the Middle Ages in general, soon came into fashion. "As early as 1748 Bodmer had published specimens from the Minnesingers, in 1757 he had brought out a part of the Nibelungenlied, in 1758 and 1759 a more complete collection of the Minnesingers, and till 1781, till just before his death, he continued to produce editions of the Middle High-German poems. Another Swiss writer, Christian Heinrich Myller, a pupil of Bodmer's . . . published in 1784 and 1785 the whole of the Nibelungenlied and the most important of the chivalrous epics. Lessing, in his preface to Gleim's 'War-songs,' called attention to the Middle High German poets, of whom he continued to be throughout his life an ardent admirer. Justus Möser took great interest in the Minnesingers. About the time when 'Götz' appeared, this enthusiasm for early German poetry was at its strongest, and Bürger, Voss, Miller, and Höltz wrote Minnesongs, in which they imitated the old German lyric poets. In 1773 Gleim published 'Poems after the Minnesingers,' and in 1779 'Poems after Walther von der Vogelweide.' Some enthusiasts had already hailed the Nibelungenlied as the German Iliad, and Bürger, who vied hard with the rest, but without much success, in turning Homer into German, insisted on dressing up the Greek heroes a little in the Nibelungen style. He and a few other poets loved to give their ballads a chivalrous character. Fritz Stolberg wrote the beautiful song of a German boy, beginning, 'Mein Arm wird stark und gross mein Muth, gib, Vater, mir ein Schwert'; and the song of the old Swabian knight--'Sohn, da hast du meinen Speer; meinem Arm wird er zu schwer.' Lessing's 'Nathan,' too, appealed to this enthusiasm for the times of chivalry, and must have strengthened the feeling. An historian like the Swiss, Johannes Müller, began to show the Middle Ages in a fairer light, and even to ascribe great merits to the Papacy. But in doing so, Johannes Müller was only following in Herder's steps. Herder . . . had written against the self-conceit of his age, its pride in its enlightenment and achievements. He found in the Middle Ages the realization of his aesthetic ideas, namely, strong emotion, stirring life and action, everything guided by feeling and instinct, not by morbid thought: religious ardor and chivalrous honor, boldness in love and strong patriotic feeling."[2]

When the founders of a truly national literature in Germany cut loose from French moorings, they had an English pilot aboard; and in the translations from German romances, dramas, and ballads that were made by Scott, Coleridge, Taylor, Lewis, and others, English literature was merely taking back with usury what it had lent its younger sister. Mention has already been made of Bürger's and Herder's renderings from Percy's "Reliques,"[3] an edition of which was published at Göttingen in 1767; as well as of the strong excitement aroused in Germany by MacPherson's "Ossian."[4] This last found--besides the Viennese Denis--another translator in Fritz Stolberg, who carried his medievalism so far as to join the Roman Catholic Church in 1800. Klopstock's "Kriegslied," written as early as 1749, was in the meter of "Chevy Chase," which Klopstock knew through Addison's _Spectator_ papers. Through Mallet, the Eddaic literature made an impression in Germany as in England; and Gerstenberg's "Gedicht eines Skalden" (1766), one of the first-fruits of the German translation of the "Historire de Dannemarc," preceded by two years the publication--though not the composition--of Gray's poems from the Norse.

But the spirit which wrought most mightily upon the new German literature was Shakspere's. During the period of French culture there had been practically no knowledge of Shakspere in Germany. In 1741 Christian von Borck, Prussian ambassador to London, had translated "Julius Caesar." This was followed, a few years later, by a version of "Romeo and Juliet." In 1762-66 Wieland translated, in whole or in part, twenty-two Shakspere's plays. His translation was in prose and has been long superseded by the Tieck-Schlegel translation (1797-1801-1810). Goethe first made acquaintance with Shakspere, when a student at Leipsic, through the detached passages given in "Dodd's Beauties of Shakspere."[5] He afterward got hold of Wieland's translation, and when he went to Strassburg he fell under the influence of Herder, who inspired him with his own enthusiasm for "Ossian," and the _Volkslieder_, and led him to study Shakspere in the original.

Young Germany fastened upon and appropriated the great English dramatist with passionate conviction. He became an object of worship, an article of faith. The Shakspere _cultus_ dominated the whole _Sturm- und Drangperoide_. The stage domesticated him: the poets imitated him: the critics exalted him into the type and representative (_Urbild_) of Germanic art, as opposed to and distinguished from the art of the Latin races, founded upon a false reproduction of the antique.[6] It was a recognition of the essential kinships between the two separated branches of the great Teutonic stock. The enthusiastic young patriots of the Göttinger _Hain_,--who hated everything French and called each other by the names of ancient bards,--accustomed themselves to the use of Shaksperian phrases in conversation; and on one occasion celebrated the dramatist's birthday so uproariously that they were pounced upon by the police and spent the night in the lockup. In Goethe's circle at Strassburg, which numbered, among others, Lenz, Klinger, and H. L. Wagner, this Shakspere mania was _de rigueur_. Lenz, particularly, who translated "Love's Labour's Lost," excelled in whimsical imitations of "such conceits as clownage keeps in pay."[7] Upon his return to Frankfort, Goethe gave a feast in Shakspere's honor at his father's house (October 14, 1771), in which healths were drunk to the "Will of all Wills," and the youthful host delivered an extravagant eulogy. "The first page of Shakspere's that I read," runs a sentence of this oration, "made me his own for life, and when I was through with the first play, I stood like a man born blind, to whom sight has been given by an instant's miracle. I had a most living perception of the fact that my being had been expanded a whole infinitude. Everything was new and strange; my eyes ached with the unwonted light."[8]

Lessing, in his onslaught upon the French theater in his "Hamburgische Dramaturgie" (1767-69), maintained that there was a much closer agreement between Sophocles and Shakspere in the essentials of dramatic art than between Sophocles and Racine or Voltaire in their mechanical copies of the antique. In their own plays, Lessing, Goethe, and Schiller all took Shakspere as their model. But while beginning with imitation, they came in time to work freely in the spirit of Shakspere rather than in his manner. Thus the first draught of Goethe's "Götz von Berlichingen" conforms in all externals to the pattern of a Shaksperian "history." The unity of action went overboard along with those of time and place; the scene was shifted for a monologue of three lines or a dialogue of six; tragic and comic were interwoven; the stage was thronged with a motley variety of figures, humors, and conditions--knights, citizens, soldiers, horse-boys, peasants; there was a court-jester; songs and lyric passages were interspersed; there were puns, broad jokes, rant, Elizabethan metaphors, and swollen trunk-hose hyperboles, with innumerable Shakesperian reminiscences in detail. But the advice of Herder, to whom he sent his manuscript, and the example of Lessing, whose "Emilia Galotti" had just appeared, persuaded Goethe to recast the piece and give it a more independent form.

Scherer[9] says that the pronunciamento of the new national movement in German letters was the "small, badly printed anonymous book" entitled "Von Deutscher Art und Kunst, einige fliegende Blätter" ("Some Loose Leaves about German Style and Art"), which appeared in 1773 and contained essays by Justus Möser, who "upheld the liberty of the ancient Germans as a vanished ideal"; by Johann Gottfried Herder, who "celebrated the merits of popular song, advocated a collection of the German _Volkslieder_, extolled the greatness of Shakspere, and prophesied the advent of a German Shakspere"; and Johann Wolfgang Goethe, who praised the Strassburg Minster and Gothic architecture[10] in general, and "asserted that art, to be true, must be characteristic. The reform, or revolution, which this little volume announced was connected with hostility to France, and with a friendly attitude toward England. . . This great movement was, in fact, a revulsion from the spirit of Voltaire to that of Rousseau, from the artificiality of society to the simplicity of nature, from doubt and rationalism to feeling and faith, from _a priori_ notions[11] to history, from hard and fast aesthetic rules to the freedom of genius. Goethe's 'Götz' was the first revolutionary symptom which really attracted much attention, but the 'Fly-sheets on German Style and Art' preceded the publication of 'Götz,' as a kind of programme or manifesto." Even Wieland, the mocking and French-minded, the man of consummate talent but shallow genius, the representative of the _Aufklärung_ (_Éclaircissement_, Illumination) was carried away by this new stream of tendency, and saddled his hoppogriff for a ride _ins alte romantische Land_. He availed himself of the new "Library of Romance" which Count Tressan began publishing in France in 1775, studied Hans Sachs and Hartmann von Aue, experiments with Old German meters, and enriched his vocabulary from Old German sources. He poetized popular fairy tales, chivalry stories, and motives from the Arthurian epos, such as "Gandalin" and "Geron der Adeliche" ("Gyron le Courteois"). But his best and best-known work in this temper was "Oberon" (1780) a rich composite of materials from Chaucer, "A Midsummer Night's Dream," and the French romance of "Huon of Bordeaux."[12]

From this outline--necessarily very imperfect and largely at second hand--of the course of the German romantic movement in the eighteenth century, it will nevertheless appear that it ran parallel to the English most of the way. In both countries the reaction was against the _Aufklärung_, _i.e._, against the rationalistic, prosaic, skeptical, common-sense spirit of the age, represented in England by deistical writers like Shaftesbury, Mandeville, Bolingbroke, and Tindal in the department of religious and moral philosophy; and by writers like Addison, Swift, Prior, and Pope in polite letters; and represented most brilliantly in the literatures of Europe by Voltaire. In opposition to this spirit, an effort was now made to hark back to the ages of faith; to recover the point of view which created mythology, fairy lore, and popular superstitions; to _believe_, at all hazards, not only in God and the immortal soul of man, but in the old-time corollaries of these beliefs, in ghosts, elves, demons, and witches.

In both countries, too, the revolution, as it concerned form, was a break with French classicism and with that part of the native literature which had followed academic traditions. Here the insurrection was far more violent in Germany than in England,[13] partly because Gallic influence had tyrannized there more completely and almost to the supplanting of the vernacular by the foreign idiom, for literary uses; and partly because Germany had nothing to compare with the shining and solid achievements of the Queen Anne classics in England. It was easy for the new school of German poets and critics to brush aside _perruques_ like Opitz, Gottsched, and Gellert--authors of the fourth and fifth class. But Swift and Congreve, and Pope and Fielding, were not thus to be disposed of. We have noted the cautious, respectful manner in which such innovators as Warton and Percy ventured to question Pope's supremacy and to recommend older English poets to the attention of a polite age; and we have seen that Horace Walpole's Gothic enthusiasms were not inconsistent with literary prejudices more conservation than radical, upon the whole. In England, again, the movement began with imitations of Spenser and Milton, and, gradually only, arrived at the resuscitation of Chaucer and medieval poetry and the translation of Bardic and Scaldic remains. But in Germany there was no Elizabethan literature to mediate between the modern mind and the Middle Age, and so the Germans resorted to England and Shakspere for this.

In Germany, as in England, though for different reasons, the romantic revival did not culminate until the nineteenth century, until the appearance of the _Romantische Schule_ in the stricter sense--of Tieck, Novalis, the Schlegel brothers, Wackenroder, Fouqué, Von Arnim, Brentano, and Uhland. In England this was owing less to arrested development than to the absence of genius. There the forerunners of Scott, Coleridge, and Keats were writers of a distinctly inferior order: Akenside, Shenstone, Dyer, the Wartons, Percy, Walpole, Mrs. Radcliffe, "Monk" Lewis, the boy Chatterton. If a few rise above this level, like Thomason, Collins, and Gray, the slenderness of their performance, and the somewhat casual nature of their participation in the movement, diminish their relative importance. Gray's purely romantic work belongs to the last years of his life. Collins' derangement and early death stopped the unfolding of many buds of promise in this rarely endowed lyrist. Thomson, perhaps, came too early to reach any more advanced stage of evolution than Spenserism. In Germany, on the contrary, the pioneers were men of the highest intellectual stature, Lessing, Herder, Goethe, Schiller. But there the movement was checked for a time by counter-currents, or lost in broader tides of literary life. English romanticism was but one among many contemporary tendencies: sentimentalism, naturalism, realism. German romanticism was simply an incident of the _sturm- und Drangperiode_, which was itself but a temporary phase of the swift and many-sided unfolding of the German mind in the latter half of the last century; one element in the great intellectual ferment which threw off, among other products, the Kantian philosophy, the "Laocoön," "Faust," and "Wilhelm Meister"; Winckelmann's "Geschichte der Kunst des Alterthums" and Schiller's "Wallenstein" and "Wilhelm Tell." Men like Goethe and Schiller were too broad in their culture, too versatile in their talents, too multifarious in their mental activities and sympathies to be classified with a school. The temper which engendered "Götz" and "Die Räuber" was only a moment in the history of their _Entwickelung_; they passed on presently into other regions of thought and art.

In Goethe especially there ensued, after the time of his _Italienische Reise_, a reversion to the classic; not the exploded pseudo-classic of the eighteenth-century brand, but the true Hellenic spirit which expressed itself in such work as "Iphigenie auf Tauris," "Hermann und Dorothea," and the "Schöne Helena" and "Classische Walpurgis-Nacht" episodes in the second part of "Faust." "In his youth," says Scherer, "a love for the historical past of Germany had seized on the minds of many. Imaginative writers filled the old Teutonic forests with Bards and Druids and cherished an enthusiastic admiration for Gothic cathedrals and for the knights of the Middle Ages and of the sixteenth century. . . In Goethe's mature years, on the contrary, the interest in classical antiquity dwarfed all other aesthetic interests, and Germany and Europe were flooded by the classical fashion for which Winckelmann had given the first strong impulse. The churches became ancient temples, the mechanical arts strove after classical forms, and ladies affected the dress and manners of Greek women. The leaders of German poetry, Goethe and Schiller, both attained the summit of their art in the imitation of classical models."[14] Still the ground recovered from the Middle Age was never again entirely lost; and in spite of this classical prepossession, Goethe and Schiller, even in the last years of the century, vied with one another in the composition of romantic ballads, like the former's "Der Erlkonig," "Der Fischer," "Der Todtentanz," and "Der Zauberlehrling," and the latter's "Ritter Toggenburg," "Der Kampf mit dem Drachen," and "Der Gang nach dem Eisenhammer."

On comparing the works of a romantic temper produced in England and in Germany during the last century, one soon becomes aware that, though the original impulse was communicated from England, the continental movement had greater momentum. The _Gründlichkeit_, the depth and thoroughness of the German mind, impels it to base itself in the fine arts, as in politics and religion, on foundation principles; to construct for its practice a theoria, an _aesthetik_. In the later history of German romanticism, the medieval revival in letters and art was carried out with a philosophic consistency into other domains of thought and made accessory to reactionary statecraft and theology, to Junkerism and Catholicism. Meanwhile, though the literary movement in Germany in the eighteenth century did not quite come to a head, it was more critical, learned, and conscious of its own purposes and methods than the kindred movement in England. The English mind, in the act of creation, works practically and instinctively. It seldom seeks to bring questions of taste or art under the domain of scientific laws. During the classical period it had accepted its standards of taste from France, and when it broke away from these, it did so upon impulse and gave either no reasons, or very superficial ones, for its new departure. The elegant dissertations of Hurd and Percy, and the Wartons, seem very dilettantish when set beside the imposing systems of aesthetics propounded by Kant, Fichte, and Schelling; or beside thorough-going _Abhandlungen_ like the "Laocoön," the "Hamburgische Dramaturgie," Schiller's treatise "Ueber naïve and sentimentalische Dichtung," or the analysis of Hamlet's character in "Wilhelm Meister." There was no criticism of this kind in England before Coleridge; no Shakspere criticism, in particular, to compare with the papers on that subject by Lessing, Herder, Gerstenberg, Lenz, Goethe, and many other Germans. The only eighteenth-century Englishman who would have been capable of such was Gray. He had the requisite taste and scholarship, but even he wanted the philosophic breadth and depth for a fundamental and _eingehend_ treatment of underlying principles.

Yet even in this critical department, German literary historians credit England with the initiative. Hettner[15] mentions three English critics, in particular, as predecessors of Herder in awakening interest in popular poetry. These were Edward Young, the author of "Night Thoughts," whose "Conjectures on Original Composition" was published in 1759: Robert Wood, whose "Essay on the Original Genius and Writings of Homer" (1768) was translated into German, French, Spanish, and Italian; and Robert Lowth, Bishop of Oxford, who was Professor of Poetry at Oxford delivered there in 1753 his "Praelectiones de Sacra Poesi Hebraeorum," translated into English and German in 1793. The significance of Young's brilliant little essay, which was in form a letter addressed to the author of "Sir Charles Grandison," lay in its assertion of the superiority of genius to learning and of the right of genius to be free from rules and authorities. It was a sort of literary declaration of independence; and it asked, in substance, the question asked in Emerson's "Nature": "Why should not we also enjoy an original relation to the universe?" Pope had said, in his "Essay on Criticism,"[16] "follow Nature," and in order to follow Nature, learn the rules and study the ancients, particularly Homer. "Nature and Homer were the same." Contrariwise, Young says: "The less we copy the renowned ancients, we shall resemble them the more. . . Learning . . . is a great lover of rules and boaster of famed examples . . . and sets rigid bounds to that liberty to which genius often owes its supreme glory. . . Born _originals_, how comes it to pass that we die _copies_?. . . Let not great examples or authorities browbeat thy reason into too great a diffidence of thyself. . . While the true genius is crossing all public roads into fresh untrodden ground; he [the imitative writer], up to the knees in antiquity, is treading the sacred footsteps of great examples with the blind veneration of a bigot saluting the sacred toe." Young asserts that Shakspere is equal in greatness to the ancients: regrets that Pope did not employ blank verse in his translation of Homer, and calls Addison's "Cato" "a piece of statuary."

Robert Wood, who visited and described the ruins of Balbec and Palmrya, took his Iliad to the Troad and read it on the spot. He sailed in the track of Menelaus and the wandering Ulysses; and his acquaintance with Eastern scenery and life helped to substitute a fresher apprehension of Homer for the somewhat conventional conception that had prevailed through the classical period. What most forcibly struck Herder and Goethe in Wood's essay was the emphasis laid upon the simple, unlettered, and even barbaric state of society in the heroic age: and upon the primitive and popular character (_Ursprünglichkeit, Volksthümlichkeit_) of the Homeric poems.[17] This view of Homer, as essentially a minstrel or ballad-maker, has been carried so far in Professor Newman's translations as to provoke remonstrance from Matthew Arnold, who insists upon Homer's "nobility" and "grand style."[18] But with whatever exaggeration it may have latterly been held, it was wholesomely corrective and stimulating when propounded in 1768.

Though the final arrival of German romanticism, in its fullness, was postponed too late to modify the English movement, before the latter had spent its first strength, yet the prelude was heard in England and found an echo there. In 1792 Walter Scott was a young lawyer at Edinburgh and had just attained his majority.

"Romance who loves to nod and sing With drowsy head and folded wing, To _him_ a painted paroquet Had been--a most familiar bird-- Taught _him_ his alphabet to say, To lisp his very earliest word."[19]

He had lain from infancy "in the lap of legends old," and was already learned in the antiquities of the Border. For years he had been making his collection of _memorabilia_; claymores, suits of mail, Jedburgh axes, border horns, etc. He had begun his annual raids into Liddesdale, in search of ballads and folk lore, and was filling notebooks with passages from the Edda, records of old Scotch law-cases, copies of early English poems, notes on the "Morte Darthur," on the second sight, on fairies and witches; extracts from Scottish chronicles, from the Books of Adjournal, from Aubrey, and old Glanvil of superstitious memory; tables of the Moeso-Gothic, Anglo-Saxon, and Runic alphabets and transcripts relating to the history of the Stuarts. In the autumn or early winter of that year, a class of six or seven young men was formed at Edinburgh for the study of German, and Scott joined it. In his own account of the matter he says that interest in German literature was first aroused in Scotland by a paper read before the Royal Society of Edinburgh in April, 1788, by Henry Mackenzie, the "Addison of the North," and author of that most sentimental fictions, "The Man of Feeling." "The literary persons of Edinburgh were then first made aware of the existence of works of genius in a language cognate with the English, and possessed of the same manly force of expressions; they learned at the same time that the taste which dictated the German compositions was of a kind as nearly allied to the English as their language; those who were from their youth accustomed to admire Shakspere and Milton became acquainted for the first time with a race of poets who had the same lofty ambition to spurn the flaming boundaries of the universe and investigate the realms of Chaos and old Night; and of dramatists who, disclaiming the pedantry of the unities, sought, at the expense of occasional improbabilities and extravagance, to present life on the stage in its scenes of wildest contrast, and in all its boundless variety of character. . . Their fictitious narratives, their ballad poetry, and other branches of their literature which are

## particularly apt to bear the stamp of the extravagant and the

supernatural, began also to occupy the attention of the British literati." Scott's German studies were much assisted by Alexander Frazer Tytler, whose version of Schiller's "Robbers" was one of the earliest English translations from the German theater.[20]

In the autumn of 1794 Miss Aikin, afterward Mrs. Barbauld, entertained a party at Dugald Stewart's by reading a translation of Bürger's ghastly ballad "Lenore." The translation was by William Taylor of Norwich; it had not yet been published, and Miss Aikin read it from a manuscript copy. Scott was not present, but his friend Mr. Cranstoun described the performance to him; and he was so much impressed by his description that he borrowed a volume of Burger's poems from his young kinswoman by marriage, Mrs. Scott of Harden, a daughter of Count Brühl of Martkirchen, formerly Saxon ambassador at London, who had a Scotchwoman for his second wife, the dowager Countess of Egremont. Scott set to work in 1795 to make a translation of the ballad for himself, and succeeded so well in pleasing his friends that he had a few copies struck off for private circulation in the spring of 1796. In the autumn of the same year he published his version under the title "William and Helen," together with "The Chase," a translation of Bürger's "Der Wilde Jäger." The two poems made a thin quarto volume. It was printed at Edinburgh, was anonymous, and was Walter Scott's first published book. Meanwhile Taylor had given his rendering to the public in the March number of the _Monthly Magazine_, introducing it with a notice of Burger's poems; and the very same year witnessed the appearance of three other translations, one by J. T. Stanley (with copperplate engravings), one by Henry James Pye, the poet laureate, and one by the Hon. William Robert Spencer,--author of "Beth Gelert." "Too Late I Stayed," etc.,--with designs by Lady Diana Beauclerc. (A copy of this last, says Allibone, in folio, on vellum, sold at Christie's in 1804 for L25 4s.) A sixth translation, by the Rev. James Beresford, who had lived some time in Berlin, came out about 1800; and Schlegel and Brandl unite in pronouncing this the most faithful, if not the best, English version of the ballad.[21]

The poem of which England had taken such manifold possession, under the varied titles "Lenore," "Leonore," "Leonora," "Lenora," "Ellenore," "Helen," etc., was indeed a noteworthy one. In the original, it remains Bürger's masterpiece, and in its various English dresses it gained perhaps as many graces as it lost. It was first printed at Göttingen in Boie's "Musen Almanach" in 1773. It was an uncanny tale of a soldier of Frederick the Great, who had perished in the Seven Years' War, and who came at midnight on a spectral steed to claim his ladylove and carry her off a thousand miles to the bridal bed. She mounts behind him and they ride through the phantasms of the night till, at cock-crow, they come to a churchyard. The charger vanishes in smoke, the lover's armor drops from him, green with the damps of the grave, revealing a skeleton within, and the maiden finds that her nuptial chamber is the charnel vault, and her bridegroom is Death. "This poem," says Scherer, "leaves on us, to some degree, the impression of an unsolved mystery; all the details are clear, but at the end we have to ask ourselves what has really happened; was it a dream of the girl, a dream in which she died, or did the ghost really appear and carry her away?"[22] The story is managed, indeed, with much of that subtle art which Coleridge used in "The Ancient Mariner" and "Christabel"; so that the boundary between the earthly and the unearthly becomes indefinite, and the doubt continually occurs whether we are listening to a veritable ghost-story, or to some finer form of allegory. "Lenore" drew for its materials upon ballad motives common to many literatures. It will be sufficient to mention "Sweet William's Ghost," as an English example of the class.

Scott's friends assured him that his translation was superior to Taylor's, and Taylor himself wrote to him: "The ghost nowhere makes his appearance so well as with you, or his exit so well as with Mr. Spencer." But Lewis was right in preferring Taylor's version, which has a wildness and quaintness not found in Scott's more literal and more polished rendering, and is wonderfully successful in catching the _Grobheit_, the rude, rough manner of popular poetry. A few stanzas from each will illustrate the difference:

[From Scott's "William and Helen."]

"Dost fear? dost fear? The moon shines clear:-- Dost fear to ride with me? Hurrah! Hurrah! the dead can ride"-- "O William, let them be!"

"See there! see there! What yonder swings And creaks 'mid whistling rain?" "Gibbet and steel, the accursed wheel; A murd'rer in his chain.

"Halloa! Thou felon, follow here: To bridal bed we ride; And thou shalt prance a fetter dance Before me and my bride."

And hurry! hurry! clash, clash, clash! The wasted form descends,[23] And fleet as wind through hazel bush The wild career attends.[23]

Tramp, tramp! along the land they rode, Splash, splash! along the sea: The scourge is red, the spur drops blood, The flashing pebbles flee.

[From Taylor's "Lenora."]

Look up, look up, an airy crewe In roundel dances reele. The moone is bryghte and blue the night, May'st dimly see them wheel.[24]

"Come to, come to, ye ghostlie crewe, Come to and follow me. And daunce for us the wedding daunce When we in bed shall be."

And brush, brush, brush, the ghostlie crew Come wheeling o'er their heads, All rustling like the withered leaves That wyde the whirlwind spreads.

Halloo! halloo! Away they goe Unheeding wet or drye, And horse and rider snort and blowe, And sparkling pebbles flye.

And all that in the moonshine lay Behynde them fled afar; And backward scudded overhead The skye and every star.

Tramp, tramp across the land they speede, Splash, splash across the sea: "Hurrah! the dead can ride apace, Dost fear to ride with me?"

It was this stanza which fascinated Scott, as repeated from memory by Mr. Cranstoun; and he retained it without much change in his version. There is no mention of the sea in Bürger, whose hero is killed in the battle of Prague and travels only by land. But Taylor nationalized and individualized the theme by making his William a knight of Richard the Lion Heart's, who had fallen in Holy Land. Scott followed him and made his a crusader in the army of Frederic Barbarossa. Bürger's poem was written in an eight-lined stanza, but Taylor and Scott both chose the common English ballad verse, with its folkloreish associations, as the best vehicle for reproducing the grewsome substance of the story; and Taylor gave an archaic cast to his diction, still further to heighten the effect. Lewis considered his version a masterpiece of translation, and, indeed, "far superior, both in spirit and in harmony, to the German." Taylor showed almost equal skill in his rendering of Bürger's next most popular ballad, "Des Pfarrer's Tochter von Taubenhain," first printed in the _Monthly Magazine_ for April, 1796, under the somewhat odd title of "The Lass of Fair Wone."

Taylor of Norwich did more than any man of his generation, by his translations and critical papers in the _Monthly Magazine_ and _Monthly Review_, to spread a knowledge of the new German literature in England. When a lad of sixteen he had been sent to study at Detmold, Westphalia, and had spent more than a year (1781-82) in Germany, calling upon Goethe at Weimar, with a letter of introduction, on his way home to England. "When his acquaintance with this literature began," wrote Lucy Aikin, "there was probably no English translation of any German author but through the medium of the French, and he is very likely to have been the first Englishman of letters to read Goethe, Wieland, Lessing, and Bürger in the originals."[25] Some years before the publication of his "Lenora" he had printed for private distribution translations of Lessing's "Nathan der Weise" (1791) and Goethe's "Iphigenie auf Tauris" (1793). In 1829-30 he gathered up his numerous contributions to periodicals and put them together in a three-volume "Historic Survey of German Poetry," which was rather roughly, though not disrespectfully, handled by Carlyle in the _Edinburgh Review_. Taylor's tastes were one-sided, not to say eccentric; he had not kept up with the later movement of German thought; his critical opinions were out of date, and his book was sadly wanting in unity and a proper perspective. Carlyle was especially scandalized by the slight space accorded to Goethe.[26] But Taylor's really brilliant talent in translation, and his important service as an introducer and interpreter of German poetry to his own countrymen, deserve always to be gratefully remembered. "You have made me hunger and thirst after German poetry," wrote Southey to him, February 24, 1799.[27]

The year 1796, then, marks the confluence of the English and German romantic movements. It seems a little strange that so healthy a genius as Walter Scott should have made his _dèbut_ in an exhibition of the horrible. Lockhart reports him, on the authority of Sir Alexander Wood, as reading his "William and Helen" over to that gentleman "in a very slow and solemn tone," and then looking at the fire in silence and presently exclaiming. "I wish to Heaven I could get a skull and two crossbones." Whereupon Sir Alexander accompanied him to the house of John Bell, surgeon, where the desired articles were obtained and mounted upon the poet's bookcase. During the next few years, Scott continued to make translations of German ballads, romances, and chivalry dramas. These remained for the present in manuscript; and some of them, indeed, such as his versions of Babo's "Otto von Wittelsbach" (1796-97) and Meier's "Wolfred von Dromberg" (1797) were never permitted to see the light. His second publication (February, 1799) was a free translation of Goethe's tragedy, "Götz von Berlichingen mit der Eisernen Hand." The original was a most influential work in Germany. It had been already twenty-six years before the public and had produced countless imitations, with some of which Scott had been busy before he encountered this, the fountain head of the whole flood of _Ritterschauspiele_.[28] Götz was an historical character, a robber knight of Franconia in the fifteenth century, who had championed the rights of the free knights to carry on private warfare and had been put under the ban of the empire for engaging in feuds. "It would be difficult," wrote Carlyle, "to name two books which have exercised a deeper influence on the subsequent literature of Europe"--than "The Sorrows of Werther" and "Gotz." "The fortune of 'Berlichingen with the Iron Hand,' though less sudden"--than Werther's--"was by no means less exalted. In his own country 'Götz,' though he now stands solitary and childless, became the parent of an innumerable progeny of chivalry plays, feudal delineations, and poetico-antiquarian performances; which, though long ago deceased, made noise enough in their day and generation; and with ourselves his influence has been perhaps still more remarkable. Sir Walter Scott's first literary enterprise was a translation of 'Götz von Berlichingen'; and if genius could be communicated, like instruction, we might call this work of Goethe's the prime cause of 'Marmion' and 'The Lady of the Lake,' with all that has since followed from the same creative hand. . . How far 'Götz von Berlichingen' actually affected Scott's literary destination, and whether without it the rhymed romances, and then the prose romances of the author of Waverly, would not have followed as they did, must remain a very obscure question; obscure and not important. Of the fact, however, there is no doubt, that these two tendencies, which may be named Götzism and Wertherism, of the former of which Scott was representative with us, have made and are still in some quarters making the tour of all Europe. In Germany, too, there was this affectionate, half-regretful looking-back into the past: Germany had its buff-belted, watch-tower period in literature, and had even got done with it before Scott began."[29]

Elsewhere Carlyle protests against the common English notion that German literature dwells "with peculiar complacency among wizards and ruined towers, with mailed knights, secret tribunals, monks, specters, and banditti. . . If any man will insist on taking Heinse's 'Ardinghello' and Miller's 'Siegwart,' the works of Veit Weber the Younger, and above all the everlasting Kotzebue,[30] as his specimens of German literature, he may establish many things. Black Forests and the glories of Lubberland, sensuality and horror, the specter nun and the charmed moonshine shall not be wanting. Boisterous outlaws also, with huge whiskers and the most cat-o'-mountain aspect; tear-stained sentimentalists, the grimmest man-haters, ghosts and the like suspicious characters will be found in abundance. We are little read in this bowl-and-dagger department; but we do understand it to have been at one time rather diligently cultivated; though at present it seems to be mostly relinquished. . . What should we think of a German critic that selected his specimens of British literature from 'The Castle Specter,' Mr. Lewis' 'Monk,' or the 'Mysteries of Udolpho,' and 'Frankenstein, or the Modern Prometheus'?. . . 'Faust,' for instance, passes with many of us for a mere tale of sorcery and art magic. It would scarcely be more unwise to consider 'Hamlet' as depending for its main interest on the ghost that walks in it."[31]

Now for the works here named, as for the whole class of melodramas and melodramatic romances which swarmed in Germany during the last quarter of the century and made their way into English theaters and circulating libraries, in the shape of translations, adaptations, imitations, two plays were remotely responsible: Goethe's "Götz" (1773), with its robber knights, secret tribunal, imperialist troopers, gypsies, and insurgent peasants; and Schiller's "Die Räuber" (1781), with its still more violent situations and more formidable _dramatis personae_. True, this spawn of the _Sturm- und Drangzeit_, with its dealings in banditti, monks, inquisitors, confessionals, torture and poison, dungeon and rack, the haunted tower, the yelling ghost, and the solitary cell, had been anticipated in England by Walpole's "Castle of Otranto" and "Mysterious Mother"; but this slender native stream was now quite overwhelmed in the turbid flood of sensational matter from the Black Forest and the Rhine. Mrs. Radcliffe herself had drunk from foreign sources. In 1794 she made the tour of the Rhine and published a narrative of her journey in the year following. The knightly river had not yet become hackneyed; Brentano had not invented nor Heine sung the seductive charms of the Lürlei; nor Byron mused upon "the castled crag of Drachenfels." The French armies were not far off, and there were alarums and excursions all along the border. But the fair traveler paused upon many a spot already sacred to legend and song: the Mouse Tower and Rolandseck and the Seven Mountains. She noted the peasants, in their picturesque costumes, carrying baskets of soil to the steep vineyard terraces: the ruined keeps of robber barons on the heights, and the dark sweep of the romantic valleys, bringing in their tributary streams from north and south.

Lockhart says that Scott's translations of "Götz" should have been published ten years sooner to have had its full effect. For the English public had already become sated with the melodramas and romances of Kotzebue and the other German _Kraftmänner_; and the clever parody of "The Robbers," under the title of "The Rovers," which Canning and Ellis had published in the _Anti-Jacobin_, had covered the entire species with ridicule. The vogue of this class of fiction, the chivalry romance, the feudal drama, the robber play and robber novel, the monkish tale and the ghost story (_Ritterstück, Ritteroman, Räuberstuck, Räuberroman, Klostergeschichte, Gespensterlied_) both in Germany and England, satisfied, however crudely, the longing of the time for freedom, adventure, strong action, and emotion. As Lowell said of the transcendental movement in New England, it was a breaking of windows to get at the fresh air. Laughable as many of them seem today, with their improbable plots and exaggerated characters, they met a need which had not been met either by the rationalizing wits of the Augustan age or by the romanticizing poets who followed them with their elegiac refinement, and their unimpassioned strain of reflection and description. They appeared, for the moment, to be the new avatar of the tragic muse whereof Akenside and Collins and Warton had prophesied, the answer to their demand for something wild and primitive, for the return into poetry of the _Naturton_, and the long-absent power of exciting the tragic emotions, pity and terror. This spirit infected not merely the department of the chivalry play and the Gothic romance, but prose fiction in general. It is responsible for morbid and fantastic creations like Beckford's "Vathek," Godwin's "St. Leon" and "Caleb Williams," Mrs. Shelley's "Frankenstein," Shelley's "Zastrozzi" and "St. Irvine the Rosicrucian," and the American Charles Brockden Brown's "Ormond" and "Wieland," forerunners of Hawthorne and Poe; tales of sleep-walkers and ventriloquists, of persons who are in pursuit of the _elixir vitae_, or who have committed the unpardonable sin, or who manufacture monsters in their laboratories, or who walk about in the Halls of Eblis, carrying their burning hearts in their hands.

Lockhart, however, denies that "Götz von Berlichingen" had anything in common with the absurdities which Canning made fun of in the _Anti-Jacobin_. He says that it was a "broad, bold, free, and most picturesque delineation of real characters, manners, and events." He thinks that in the robber barons of the Rhine, with "their forays upon each other's domains, the besieged castles, the plundered herds, the captive knights, the brow-beaten bishop and the baffled liege-lord," Scott found a likeness to the old life of the Scotch border, with its moss-troopers, cattle raids, and private warfare; and that, as Percy's "Reliques" prompted the "Minstrelsy of the Scottish Border," so "Götz" prompted the "Lay of the Last Minstrel" and "Marmion." He quotes the passage from "Götz" where Selbiss is borne in, wounded, by two troopers who ascend a watch-tower and describe to their leader the further progress of the battle; and he asks "who does not recognize in Goethe's drama the true original of the death scene in 'Marmion' and the storm in 'Ivanhoe'?"

A singular figure now comes upon our stage, Matthew Gregory Lewis, commonly nicknamed "Monk" Lewis, from the title of his famous romance. It is a part of the irony of things that so robust a muse as Walter Scott's should have been nursed in infancy by a little creature like Lewis. His "Monk" had been published in 1795, when the author was only twenty. In 1798 Scott's friend William Erskine meet Lewis in London. The latter was collecting materials for his "Tales of Wonder," and when Erskine showed him Scott's "William and Helen" and "The Wild Huntsman," and told him that he had other things of the kind in manuscript, Lewis begged that Scott would contribute to his collection. Erskine accordingly put him in communication with Scott, who felt highly flattered by the Monk's request, and wrote to him that his ballads were quite at his service. Lewis replied, thanking him for the offer. "A ghost or a witch," he wrote, "is a _sine qua non_ ingredient in all the dishes of which I mean to compose my hobgoblin repast." Later in the same year Lewis came to Edinburgh and was introduced to Scott, who found him an odd contrast to the grewsome horrors of his books, being a cheerful, foppish, round-faced little man, a follower of fashion and an assiduous tuft-hunter. "Mat had queerish eyes," writes his _protégé_: "they projected like those of some insects, and were flattish on the orbit. His person was extremely small and boyish--he was indeed the least man I ever saw, to be strictly well and neatly made. . . This boyishness went through life with him. He was a child and a spoiled child, but a child of high imagination; and so he wasted himself on ghost stories and German romances. He had the finest ear for rhythm I ever met with--finer than Byron's."

Byron, by the way, had always a kindly feeling for Lewis, though he laughed at him in "English Bards and Scotch Reviewers":

"O wonder-working Lewis, Monk or Bard, Who fain would'st make Parnassus a churchyard; Lo! wreaths of yew, not laurel, bind thy brow; Thy muse a sprite, Apollo's sexton thou; Whether on ancient tombs thou tak'st thy stand, By gibbering specters hailed, thy kindred band, Or tracest chaste descriptions on thy page, To please the females of our modest age-- All hail, M. P.,[32] from whose infernal brain Thin-sheeted phantoms glide, a grisly train; At whose command grim women thron in crowds, And kings of fire, of water and of clouds, With 'small gray men,' wild yagers and what not, To crown with honor thee and Walter Scott!"

In 1816, while on his way to Italy, Lewis sojourned for a space with Byron and Shelley in their Swiss retreat and set the whole company composing goblin stories. The most remarkable outcome of this queer symposium was Mrs. Shelley's abnormal romance, "Frankenstein." The signatures of Byron and Shelley are affixed, as witnesses, to a codicil to Lewis' will, which he drew at this time and dated at Maison Diodati, Geneva; a somewhat rhetorical document in which he provided for the protection of the slaves on his Jamaica plantations. It was two years after this, and on his return voyage from a visit to these West Indian estates, that Lewis died of yellow fever and was buried at sea. Byron made this note of it in his diary:

"I'd give the lands of Deloraine Dark Musgrave were alive again,"

that is,

"I would give many a sugar cane Monk Lewis were alive again."

Scott's modesty led him to depreciate his own verses as compared with Lewis', some of which he recited to Ballantyne, in 1799, speaking of their author, says Lockhart, "with rapture." But however fine an ear for rhythm Lewis may have had, his verse is for the most part execrable; and his jaunty, jiggling anapaests and pragmatic manner are ludicrously out of keeping with the horrors of his tale, increasing the air of bathos which distinguishes his poetry:

"A toad still alive in the liquor she threw, And loud shrieked the toad as in pieces it flew: And ever, the cauldron as over she bent, She muttered strange words of mysterious intent:"

or this from the same ballad:[33]

"Wild laughing, the Fiend caught the hand from the floor, Releasing the babe, kissed the wound, drank the gore; A little jet ring from her finger then drew, Thrice shrieked a loud shriek and was borne from their view."

Lewis would appear to have inherited his romantic turn from his mother, a sentimental little dame whose youthful looks caused her often to be taken for Mat's sister, and whose reading was chiefly confined to novels. The poor lady was something of a blue-stocking and aspired, herself, to literary honors. Lewis' devotion to her is very charming, and the elder-brotherly tone of his letters to her highly amusing. But he had a dislike of "female authorship": and the rumor having reached his ear that his mother had written a novel and a tragedy and was preparing to print them, he wrote to her in alarm, begging her to stay her hand. "I hold that a woman has no business to be a public character, and that, in proportion as she acquires notoriety, she loses delicacy. I always consider a female author as a sort of half-man." He was also, quite properly, shocked at some gossip which attributed "The Monk," to his mother instead of to his mother's son.

We read in the "Life and Correspondence of Matthew Gregory Lewis" (2 vols., London, 1839), that one of Mrs. Lewis' favorite books was "Glanvil on Witches." Glanvil was the seventeenth-century writer whose "Vanity of Dogmatizing,"[34] and "Sadduceismus Triumphatus" rebuked the doubter and furnished arguments for Cotton Mather's "Wonders of the Invisible World" (1693), an apology for his share in the Salem witchcraft trials; and whose description of a ghostly drum, that was heard to beat every night in a Wiltshire country house, gave Addison the hint for his comedy of "The Drummer." Young Lewis gloated with a pleasing horror over Glanvil's pages and the wonderful copperplates which embellished them; particularly the one which represents the devil beating his airy tympanum over Mr. Mompesson's house. In the ancient mansion of Stanstead Hall, belonging to a kinsman of his father, where the boy spent a part of his childhood, there was a haunted chamber known as the cedar room. "In maturer years," says his biographer, "Lewis has frequently been heard to declare that at night, when he was conducted past that gloomy chamber, on the way to his dormitory, he would cast a glance of terror over his shoulder, expecting to see the huge and strangely carved folding doors fly open and disclose some of those fearful shapes that afterward resolved themselves into the ghastly machinery of his works."

Lewis' first and most celebrated publication was "Ambrosio, or the Monk" (1795), a three-volume romance of the Gothic type, and a lineal descendant of Walpole and Mrs. Radcliffe. He began it at Oxford in 1792, describing it in a letter to his mother as "a romance in the style of 'The Castle of Otranto.'" But in the summer of the same year he went to Germany and took up his residence at Weimar, where he was introduced to Goethe and made eager acquaintance with the bizarre productions of the _Sturm- und Drangperiode_. For years Lewis was one of the most active intermediaries between the German purveyors of the terrible and the English literary market. He fed the stage with melodramas and operas, and stuffed the closet reader with ballads and prose romances.[35] Meanwhile, being at The Hague in the summer of 1794, he resumed and finished his "Monk," in ten weeks. "I was induced to go on with it," he wrote to his mother, "by reading the 'Mysteries of Udolpho,' which is, in my opinion, one of the most interesting books that has ever been published. . . When you read it, tell me whether you think there is any resemblance between the character given of Montoni . . . and my own. I confess that it struck me." This innocent vanity of fancying a likeness between Anne Radcliffe's dark-browed villain and his own cherubic personality recalls Scott's story about the picture of Lewis, by Saunders, which was handed round at Dalkeith House. "The artist had ingeniously flung a dark folding-mantle around the form, under which was half-hid a dagger, a dark lantern, or some cut-throat appurtenance; with all this, the features were preserved and ennobled. It passed from hand to hand into that of Henry, Duke of Buccleuch, who, hearing the general voice affirm that it was very like, said aloud, 'Like Mat Lewis! Why, that picture's like a man.'" "The Monk" used, and abused, the now familiar apparatus of Gothic romance. It had Spanish grandees, heroines of dazzling beauty, bravoes and forest banditti, foolish duennas and gabbling domestics, monks, nuns, inquisitors, magic mirrors, enchanted wands, midnight incantations, sorcerers, ghosts, demons; haunted chambers, wainscoated in dark oak; moonlit castles with ruined towers and ivied battlements, whose galleries rang with the shrieks and blasphemies of guilty spirits, and from whose portals issued, when the castle clock tolled one, the specter of a bleeding nun, with dagger and lamp in hand. There were poisonings, stabbings, and ministrations of sleeping potions; beauties who masqueraded as pages, and pages who masqueraded as wandering harpers; secret springs that gave admittance to winding stairs leading down into the charnel vaults of convents, where erring sisters were immured by cruel prioresses and fed on bread and water among the loathsome relics of the dead.

With all this, "The Monk" is a not wholly contemptible work. There is a certain narrative power about it which puts it much above the level of "The Castle of Otranto." And though it partakes of the stilted dialogue and false conception of character that abound in Mrs. Radcliffe's romances, it has neither the excess of scenery nor of sentiment which distinguishes that very prolix narrator. There is nothing strictly mediaeval about it. The knight in armor cuts no figure and the historical period is not precisely indicated. But the ecclesiastical features lend it a semblance of mediaevalism; and one is reminded, though but faintly, by the imprisonment of the offending sister in the sepulcher of the convent, of the scene in "Marmion" where Constance is immured in the vaults of Lindisfarne--a frank anachronism, of course, on Scott's part, since Lindisfarne had been in ruins centuries before the battle of Flodden. The motto from Horace on the title page of "The Monk" sums up its contents, and indeed the contents of most of its author's writings, prose and verse--

"Somnia, terrores magicos, miracula, sagas, Nocturnos lemures portentaque."

The hero Ambrosio is the abbot of St. Francis' Capuchin monastery in Madrid; a man of rigid austerity, whose spiritual pride makes him an easy prey to the temptations of a female demon, who leads him by degrees through a series of crimes, including incest and parricide, until he finally sells his soul to the devil to escape from the dungeons of the Inquisition and the _auto da fe_, subscribing the agreement, in approved fashion, upon a parchment scroll with an iron pen dipped in blood from his own veins. The fiend, who enters with thunder and lightning, over whose shoulders "waved two enormous sable wings," and whose hair "was supplied by living snakes," then snatches up his victim and soars with him to a peak of the Sierra Morena, where in a Salvator Rosa landscape of torrents, cliffs, caverns, and pine forests, by the light of an opera moon, and to the sound of the night wind sighing hoarsely and "the shrill cry of mountain eagles," he drops him over a precipice and makes an end of him.

A passage from the episode of Agnes de Medina, the incarcerated nun, will illustrate Lewis' wonder-working arts: "A faint glimmering of light which strained through the bars permitted me to distinguish the surrounding horrors. I was oppressed by a noisome, suffocating smell; and perceiving that the grated door was unfastened, I thought that I might possibly effect my escape. As I raised myself with this design, my hand rested upon something soft. I grasped it and advanced it toward the light. Almighty God! what was my disgust! my consternation! In spite of its putridity and the worms which preyed upon it, I perceived a corrupted human head, and recognized the features of a nun who had died some months before. . . A sepulchral lamp was suspended from the roof by an iron chain and shed a gloomy light through the dungeon. Emblems of death were seen on every side; skills, shoulder-blades, thigh-bones and other relics of mortality were scattered upon the dewy ground. . . As I shrunk from the cutting wind which howled through my subterraneous dwelling, the change seemed so striking, so abrupt, that I doubted its reality. . . Sometimes I felt the bloated toad, hideous and pampered with the poisonous vapors of the dungeon, dragging his loathsome length along my bosom; sometimes the quick, cold lizard roused me, leaving his slimy track upon my face, and entangling itself in the tresses of my wild and matted hair. Often have I, at waking, found my fingers ringed with the long worms which bred in the corrupted flesh of my infant."

"The Monk" won for its author an immediate and wide celebrity, assisted no doubt by the outcry against its immorality. Lewis tried to defend himself by pleading that the outline and moral of his story were borrowed from "The History of Santon Barsisa" in the _Guardian_ (No. 148). But the voluptuous nature of some of the descriptions induced the Attorney General to enjoin the sale of the book, and Lewis bowed to public opinion so far as to suppress the objectionable passages in later editions. Lewis' melodrama "The Castle Specter" was first performed December 14, 1797, at Drury Lane, ran sixty nights and "continued popular as an acting play," says the biographer, "up to a very recent period."[36] This is strong testimony to the contemporary appetite for nightmare, for the play is a trumpery affair. Sheridan, who had a poor opinion of it, advised the dramatist to keep the specter out of the last scene. "It had been said," explains Lewis in his preface, "that if Mr. Sheridan had not advised me to content myself with a single specter, I meant to have exhibited a whole regiment of ghosts." The prologue, spoken by Mr. Wroughton, invokes "the fair enchantress, Romance":

"The moonstruck child of genius and of woe,"

who

"--Loathes the sun or blazing taper's light: The moonbeamed landscape and tempestuous night Alone she loves; and oft with glimmering lamp Near graves new opened, or midst dungeons damp, Drear forests, ruined aisles and haunted towers, Forlorn she roves and raves away the hours."

The scene of the drama is Conway Castle in Wales, where abides Earl Osmond, a feudal tyrant of the "Otranto" type, who is planning an incestuous marriage with his own niece, concerning which he thus soliloquizes: "What though she prefer a basilisk's kiss to mine? Because my short-lived joy may cause her eternal sorrow, shall I reject those pleasures sought so long, desired so earnestly? That will I not, by Heaven! Mine she is, and mine she shall be, though Reginald's bleeding ghost flit before me and thunder in my ear 'Hold! Hold!'--Peace, stormy heart, she comes." Reginald's ghost does not flit, because Reginald is still in the flesh, though not in very much flesh. He is Osmond's brother and Angela's father, and the wicked Earl thought that he had murdered him. It turns out, however, that, though left for dead, he had recovered of his hurts and has been kept unbeknown in solitary confinement, in a dungeon vault under the castle, for the somewhat long period of sixteen years. He is discovered in Act V., "emaciated, in coarse garments, his hair hanging wildly about his face, and a chain bound round his body."

Reginald's ghost does not flit, but Evelina's does. Evelina is Reginald's murdered wife, and her specter in "white and flowing garments, spotted with blood," appears to Angela in the oratory communicating with the cedar room, which is furnished with an antique bedstead and the portrait of a lady on a sliding panel. In truth, the castle is uncommonly well supplied with apparitions. Earl Herbert rides around it every night on a white horse; Lady Bertha haunts the west pinnacle of the chapel tower; and Lord Hildebrand may be seen any midnight in the great hall, playing football with his own head. So says Motley the jester, who affords the comedy element of the play, with the help of a fat friar who guzzles sack and stuffs venison pasties, and a soubrette after the "Otranto" pattern.

A few poems were scattered through the pages of "The Monk," including a ballad from the Danish, and another from the Spanish. But the most famous of these was "Alonzo the Brave and the Fair Imogene," original with Lewis, though evidently suggested by "Lenore." It tells how a lover who had gone to Palestine presented himself at the bridal feast of his faithless fair one, just as the clock struck one and the lights burned blue. At the request of the company, the strange knight raises his visor and discloses a skeleton head:

"All present then uttered a terrified shout; All turned with disgust from the scene; The worms they crept in and the worms they crept out, And sported his eyes and his temples about While the spectre addressed Imogene."

He winds his arms about her and sinks with his prey through the yawning ground; and

"At midnight four times in each year does her sprite, When mortals in slumber are bound. Arrayed in her bridal apparel of white, Appear in the hall with a skeleton knight And shriek as he whirls her around.

"While they drink out of skulls newly torn from the grave, Dancing round them pale spectres are seen. Their liquor is blood, and this horrible stave They how: 'To the health of Alonzo the Brave And his consort, the Fair Imogene!'"

Lewis' own contributions to his "Tales of Terror" and "Tales of Wonder," were of his same raw-head and bloody-bones variety. His imagination rioted in physical horrors. There are demons who gnash with iron fangs and brandish gore-fed scorpions; maidens are carried off by the Winter King, the Water King, the Cloud King, and the Sprite of the Glen; they are poisoned or otherwise done to death, and their wraiths revisit their guilty lovers in their shrouds at midnight's dark hour and imprint clammy kisses upon them with livid lips; gray friars and black canons abound; requiem and death knell sound through the gloom of the cloisters; echo roars through high Gothic arches; the anchorite mutters in his mossy cell; tapers burn dim, torches cast a red glare on vaulted roofs; the night wind blows through dark aisles; the owl hoots in the turret, and dying groans are heard in the lonely house upon the heath, where the black and tattered arras molders on the wall.

The "Tales of Wonder" included translations by Lewis from Goethe's "Fisher" and "Erl-King," and from German versions of Runic ballads in Herder's "Stimmen der Völker." Scott's "Wild Huntsman," from Bürger, was here reprinted, and he contributed, in addition, "Frederick and Alice," paraphrased from a romance-fragment in Goethe's opera "Claudina von Villa Bella"; and three striking ballads of his own, "The Fire King," a story of the Crusades, and "Glenfinlas" and "The Eve of St. John," Scottish tales of "gramarye." There were two or three old English ballads in the collection, such as "Clerk Colvin" and "Tam Lin"; a contribution from George Colman, Jr., the dramatist, and one from Scott's eccentric friend Leyden; and the volume concluded with Taylor's "Lenora."[37]

It is comical to read that the Monk gave Scott lectures in the art of versification and corrected the Scotticisms and false rhymes in his translations from Bürger; and that Scott respectfully deferred to his advice. For nothing can be in finer contrast with Lewis' penny dreadful, than the martial ring of the verse and the manly vigor of the style in Scott's part of the book. This is how Lewis writes anapaests, _e.g._:

"All shrouded she was in the garb of the tomb, Her lips they were livid, her face it was wan; A death the most horrid had rifled her bloom And each charm of beauty was faded and gone."

And this is how Scott writes them:

"He clenched his set teeth and his gauntleted hand, He stretched with one buffet that page on the sand. . . For down came the Templars like Cedron in flood, And dyed their long lances in Saracen blood."

It is no more possible to take Monk Lewis seriously than to take Horace Walpole seriously. They are both like children telling ghost-stories in the dark and trying to make themselves shudder. Lewis was even frivolous enough to compose paradies on his own ballads. A number of these _facetiae_--"The Mud King," "Giles Jollup the Grave and Brown Sally Green," etc.--diversify his "Tales of Wonder."

Scott soon found better work for his hands to do than translating German ballads and melodramas; but in later years he occasionally went back to these early sources of romantic inspiration. Thus his poem "The Noble Moringer" was taken from a "Sammlung Deutscher Volkslieder" published at Berlin in 1807 by Busching and Von der Hagen. In 1799 he had made a _rifacimento_ of a melodrama entitles "Der Heilige Vehme" in Veit Weber's "Sagen der Vorzeit." This he found among his papers thirty years after (1829) and printed in "The Keepsake," under the title of "The House of Aspen." Its most telling feature is the description of the Vehm-Gericht or Secret Tribunal, but it has little importance. In his "Historic Survey," Taylor said that "Götz von Berlichingen" was "translated into English in 1799 at Edinburgh, by Wm. Scott, Advocate; no doubt the same person who, under the poetical but assumed name of Walter, had since become the most extensively popular of the British writers"! This amazing statement is explained by a blunder on the title-page of Scott's "Götz," where the translator's name is given as _William_ Scott. But it led to a slightly acrimonious correspondence between Sir Walter and the Norwich reviewer.[38]

The tide of German romance had begun to ebb before the close of the century. It rose again a few years later, and left perhaps more lasting tokens this second time; but the ripple-marks of its first invasion are still discernible in English poetry and prose. Southey was clearly in error when he wrote to Taylor, September 5, 1798: "Coleridge's ballad, 'The Ancient Mariner' is, I think, the clumsiest attempt at German sublimity I ever saw."[39] The "Mariner" is not in the least German, and when he wrote it, Coleridge had not been in Germany and did not know the language. He had read "Die Rauber," to be sure, some years before in Tytler's translation. He was at Cambridge at the time, and one night in winter, on leaving the room of a college friend, carelessly picked up and took away with him a copy of the tragedy, the very name of which he had never heard before. "A winter midnight, the wind high and 'The Robbers' for the first time. The readers of Schiller will conceive what I felt." He recorded, in the sonnet "To Schiller" (written December, 1794, or January, 1795), the terrific impression left upon his imagination by

--"The famished father's cry From the dark dungeon of the tower time-rent,"

and wish that he might behold the bard himself, wandering at eve--

"Beneath some vast old tempest-swinging wood."

Coleridge was destined to make the standard translation of "Wallenstein"; and there are motives borrowed from "The Robbers" and "The Ghost-Seer" in his own very rubbishy dramas, "Zapolya"--of which Scott made some use in "Peveril of the Peak"--and "Osorio" (1797). The latter was rewritten as "Remorse," put on at Drury Lane January 23, 1813, and ran twenty nights. It had been rejected by Sheridan, who expressed a very proper contempt for it as an acting play. The Rev. W. L. Bowles and Byron, who had read it in manuscript and strangely overvalued it, both made interest with the manager to have it tried on the stage. "Remorse" also took some hints from Lewis' "Monk."

But Coleridge came in time to hold in low esteem, if not precisely "The Robbers" itself, yet that school of German melodrama of which it was the grand exemplar. In the twenty-third chapter of the "Biographia Literaria" (1817) he reviewed with severity the Rev. Charles Robert Maturin's tragedy "Bertram, or the Castle of St. Aldobrand,"[40] and incidentally gave the genesis of that whole theatric species "which it has been the fashion, of late years, at once to abuse and to enjoy under the name of the German Drama. Of this latter Schiller's 'Robbers' was the earliest specimen, the first-fruits of his youth. . . Only as _such_ did the maturer judgment of the author tolerate the play." Coleridge avows that "The Robbers" and its countless imitations were due to the popularity in Germany of the translations of Young's "Night Thoughts," Hervey's "Meditations," and Richardson's "Clarissa Harlowe." "Add the ruined castles, the dungeons, the trap-doors, the skeletons, the flesh-and-blood ghosts, and the perpetual moonshine of a modern author[41] (themselves the literary brood of the 'Castle of Otranto,' the translations of which, with the imitations and improvements aforesaid, were about that time beginning to make as much noise in Germany as their originals were making in England), and, as the compound of these ingredients duly mixed, you will recognize the so-called _German_ Drama," which "is English in its origin, English in its materials, and English by readoption; and till we can prove that Kotzebue, or any of the whole breed of Kotzebues, whether dramatists or romantic writers or writers of romantic dramas, were ever admitted to any other shelf in the libraries of well-educated Germans than were occupied by their originals . . . in their mother country, we should submit to carry our own brat on our own shoulders."

Germany, rather than Italy or Spain, became under these influences for a time the favored country of romance. English tale-writers chose its forests and dismantled castles as the scenes of their stories of brigandage and assassination. One of the best of a bad class of fictions, _e.g._, was Harriet Lee's "The German's Tale: Kruitzner," in the series of "Canterbury Tales" written in conjunction with her sister Sophia (1797-1805). Byron read it when he was fourteen, was profoundly impressed by it, and made it the basis of "Werner," the only drama of his which had any stage success. "Kruitzner" is conceived with some power, but monotonously and ponderously written. The historic period is the close of the Thirty Years' War. It does not depend mainly for its effect upon the time-honored "Gothic" machinery, though it makes a moderate use of the sliding panel and secret passage once again.

We are come to the gate of the new century, to the date of the "Lyrical Ballads" (1798) and within sight of the Waverly novels. Looking back over the years elapsed since Thomson put forth his "Winter," in 1726, we ask ourselves what the romantic movement in England had done for literature; if indeed that deserves to be called a "movement" which had no leader, no programme, no organ, no theory of art, and very little coherence. True, as we have learned from the critical writings of the time, the movement, such as it was, was not all unconscious of its own aims and directions. The phrase "School of Warton" implies a certain solidarity, and there was much interchange of views and some personal contact between men who were in literary sympathy; some skirmishing, too, between opposing camps. Gray, Walpole, and Mason constitute a group, encouraging each other's studies in their correspondence and occasional meetings. Shenstone was interested in Percy's ballad collections, and Gray in Warton's "History of English Poetry." Akenside read Dyer's "Fleece," and Gray read Beattie's "Minstrel" in MS. The Wartons were friends of Collins; Collins a friend and neighbor of Thomson; and Thomson a frequent visitor at Hagley and the Leasowes. Chatterton sought to put Rowley under Walpole's protection, and had his verses examined by Mason and Gray. Still, upon the whole, the English romanticists had little community; they worked individually and were scattered and isolated as to their residence, occupations, and social affiliation. It does not appear that Gray ever met Collins, or the Wartons, or Shenstone or Akenside; nor that MacPherson, Clara Reeve, Mrs. Radcliffe, and Chatterton ever saw each other or any of those first mentioned. There was none of that united purpose and that eager partisanship which distinguished the Parisian _cénacle Romantische Schule_ whose members have been so brilliantly sketched by Heine.

But call it a movement, or simply a drift, a trend; what had it done for literature? In the way of stimulus and preparation, a good deal. It had relaxed the classical bandages, widened the range of sympathy, roused a curiosity as to novel and diverse forms of art, and brought the literary mind into a receptive, expectant attitude favorable to original creative

## activity. There never was a generation more romantic in temper than that

which stepped upon the stage at the close of the eighteenth century: a generation fed upon "Ossian" and Rousseau and "The Sorrows of Werther" and Percy's "Reliques" and Mrs. Radcliffe's romances. Again, in the department of literary and antiquarian scholarship much had been accomplished. Books like Tyrwhitt's "Chaucer" and Warton's "History of English Poetry" had a real importance, while the collection and preservation of old English poetry, before it was too late, by scholars like Percy, Ritson, Ellis, and others was a pious labor.

But if we inquire what positive additions had been made to the modern literature of England, the reply is disappointing. No one will maintain that the Rowley poems, "Caractacus," "The Monk," "The Grave of King Arthur," "The Friar of Orders Gray," "The Castle of Otranto," and "The Mysteries of Udolpho" are things of permanent value: or even that "The Bard," "The Castle of Indolence," and the "Poems of Ossian" take rank with the work done in the same spirit by Coleridge, Scott, Keats, Rossetti, and William Morris. The two leading British poets of the _fin du siècle_, Cowper and Burns, were not among the romanticists. It was left for the nineteenth century to perform the work of which the eighteenth only prophesied.

[1] Scherer's "History of German Literature," Conybeare's Translation, Vol. II, p. 26.

[2] Scherer, Vol. II. pp. 123-24.

[3] See _ante_, pp. 300-301.

[4] See _ante_, pp. 337-38.

[5] "The Beauties of Shakspere. Regularly selected from each Play. With a general index. Digesting them under proper heads." By the Rev. Wm. Dodd, 1752.

[6] "Es war nicht blos die Tiefe der Poesie, welche sie zu Shakespeare zog, es war ebenso sehr das sichere Gefühl, das hier germanische Art und Kunst sei."--_Hettner's Geschichte der deutschen Literatur_, 3.3.1. s. 51. "Ist zu sagen, dass die Abwendung von den Franzosen zu den stammverwandten Engländern . . . in ihrem geschichtlichen Ursprung und Wachsthum wesentlich die Auflehnung des erstarkten germanischen Volksnaturells gegen die erdrückende Uebermacht der romanischen Formenwelt war," etc.--_Ibid._ s. 47. See also, ss. 389-95, for a review of the interpretation of the great Shaksperian roles by German actors like Schröder and Fleck.

[7] "Wir hören einen Nachklang jener fröhlichen Unterhaltungen, in denen die Freunde sich ganz und gar in Shakepear'schen Wendungen und Wortwitzen ergingen, in seiner Uebersetzung von Shakespeare's 'Love's Labour's Lost'"--_Hettner_, s. 244.

[8] See the whole oration (in Hettner, s. 120,) which gives a most vivid expression of the impact of Shakspere upon the newly aroused mind of Germany.

[9] "German Literature," Vol. II. pp. 82-83

[10] "Unter allen Menschen des Achtzehnten Jahrhunderts war Geothe wieder der Erste, weicher die lang verachtete Herrlichkeit der gothischen Baukunst empfand und erfasste."--_Hettner_, 3.3.1., s. 120.

[11] _Construirtes Ideal_.

[12] Scherer, II. 129-31. "Oberon" was englished by William Sotheby in 1798.

[13] "Vor den classischen Dichtarten fängt mich bald an zu ekeln," wrote Bürger in 1775. "Charakteristiken": von Erich Schmidt (Berlin, 1886) s. 205. "O, das verwünschte Wort: Klassisch!" exclaims Herder. "Dieses Wort war es, das alle wahre Bildung nach den Alten als noch lebenden Mustern verdrangte. . . Dies Wort hat manches Genie unter einen Schutt von Worten vergraben. . . Es hat dem Vaterland blühende Fruchtbäume entzogen!"--_Hettner_ 3.3.1. s. 50.

[14] "German Literature," Vol. II. p. 230.

[15] "Literaturegeschichte," 3.3.1. s. 30-31.

[16] See _ante_, p. 48.

[17] "Our polite neighbors the French seem to be most offended at certain pictures of primitive simplicity, so unlike those refined modes of modern life in which they have taken the lead; and to this we may partly impute the rough treatment which our poet received from them"--_Essay on Homer_ (Dublin Edition, 1776), p. 127.

[18] See Francis W. Newman's "Iliad" (1856) and Arnold's "Lectures on Translating Homer" (1861).

[19] "Romance," Edgar Poe.

[20] "Lockhart's Life of Scott," Vol. I. p. 163.

[21] For full titles and descriptions of these translations, as well as for the influence of Bürger's poems in England, see Alois Brandl: "Lenore in England," in "Charakteristiken," by Erich Schmidt (Berlin, 1886) ss. 244-48. Taylor said in 1830 that no German poem had been so often translated: "eight different versions are lying on my table and I have read others." He claimed his to be the earliest, as written in 1790, though not printed till 1796. "Lenore" won at once the honors of parody--surest proof of popularity. Brandl mentions two--"Miss Kitty," Edinburgh, 1797, and "The Hussar of Magdeburg, or the Midnight Phaeton," Edinburgh, 1800, and quotes Mathias' satirical description of the piece ("Pursuits of Literature," 1794-97) as "diablerie tudesque" and a "'Blue Beard' story for the nursery." The bibliographies mention a new translation in 1846 by Julia M. Cameron, with illustrations by Maclise; and I find a notice in Allibone of "The Ballad of Lenore: a Variorum Monograph," 4to, containing thirty metrical versions in English, announced as about to be published at Philadelphia in 1866 by Charles Lukens. _Quaere_ whether this be the same as Henry Clay Lukens ("Erratic Enrico"), who published "Lean 'Nora" (Philadelphia, 1870; New York, 1878), a title suggestive of a humorous intention, but a book which I have not seen.

[22] "History of German Literature," Vol. II. p. 123.

[23] These are book phrases, not true ballad diction.

[24] _Cf_. The "Ancient Mariner":

"The feast is set, the guests are met, May'st hear the merry din."

[25] "Memoir of Wm. Taylor of Norwich," by J. W. Robberds (1843), Vol. II. p. 573.

[26] For Taylor's opinion of Carlyle's papers on Goethe in the _Foreign Review_, see "Historic Survey," Vol. III. pp. 378-79.

[27] "Memoir of Taylor," Vol. I. p. 255.

[28] Among the most notable of these was "Maler" (Friedrich) Müller's "Golo und Genoveva" (written 1781; published 1811); Count Törring's "Agnes Bernauerin" (1780); and Jacob Meyer's "Sturm von Borberg" (1778), and "Fust von Stromberg" (1782). Several of these were very successful on the stage.

[29] "Essay on Walter Scott."

[30] Kotzebue's "The Stranger" ("Menschenhass und Reue") still keeps the English stage. Sheridan's "Pizarro"--a version of Katzebue's "Spaniards in Peru"-was long a favorite; and "Monk" Lewis made another translation of the same in 1799, entitled "Rolla," which, however, was never acted.

[31] "State of German Literature."

[32] Lewis sat in Parliament for Hindon, Wilts, succeeding Beckford of "Vathek" and Fonthill Abbey fame.

[33] "The Grim White Woman," in "Tales of Wonder."

[34] Matthew Arnold's lovely "Scholar Gypsy" was suggested by a passage in this.

[35] The following is a list of his principal translations: "The Minister" (1797), from Schiller's "Kabale and Liebe"; played at Covent Garden in 1803, as "The Harper's Daughter." "Rolla" (1799), from Kotzebue's "Spaniards in Peru." "Adelmorn, or the Outlaw" (1800), played at Drury Lane, 1801. "Tales of Terror" (1801) and "Tales of Wonder" (1801). (There seems to be some doubt as to the existence of the alleged Kelso editions of these in 1799 and 1800, respectively. See article on Lewis in the "Dict. Nat. Biog.") "The Bravo of Venice" (1804), a prose romance, dramatized and played at Covent Garden, as "Rugantino," in 1805. "Feudal Tyrants" (1807), a four-volume romance. "Romantic Tales" (1808), 4 vols. From German and French.

[36] The printed play had reached its eleventh edition in 1803.

[37] The "Tales of Terror," and "Tales of Wonder" are reprinted in a single volume of "Morley's Universal Library," 1887.

[38] See "Memoir of Wm. Taylor," Vol. II. Pp. 533-38.

[39] "Memoir of Taylor," Vol. I. p. 223.

[40] This was one of the latest successes of the kind. It was played at Drury Lane in 1816 for twenty-two nights, bringing the author 1000 pounds, and the printed play reached the seventh edition within the year. Among Maturin's other works were "The Fatal Revenge" (1807), "Manuel" (Drury Lane, 1817) "Fredolfo" (Covent Garden, 1817), and his once famous romance, "Melmoth the Wanderer" (1820), see _ante_, p. 249.

[41] Mrs. Radcliffe.

BIBLIOGRAPHY

[This bibliography is intended to give practical aid to any reader who may wish to follow up the history of the subject for himself. It by no means includes all the books and authors referred to in the text; still less, all that have been read or consulted in the preparation of the work.]

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Dennis, John. "Essay on Shakspere." London, 1712. Dodsley, Robert. "A Collection of Poems by Several Hands." London, 1766-68. 6 vols. Dodsley, Robert. "A Select Collection of Old Plays." Hazlitt's 4th ed. London, 1874-76. 15 vols. Dryden, John. Works. Saintsbury-Scott ed. Edinburgh, 1882-93. 18 vols. Dyer, John. Poetical Works. Gilfillan's ed. Edinburgh, 1858.

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INDEX.

Abhandlung von dem Wunderbaren, 374 Abuse of Traveling, The, 84, 89 Account of the English Dramatic Poets, An, 69 Account of the Greatest English Poets, An, 80 Account of Wm. Canynge's Feast, 344, 355 Adams, Jean, 95 Addison, Joseph, 35, 37, 40-42, 45, 46, 49-52, 55-57, 80, 120, 126, 139, 141, 148, 152, 178, 179, 181, 210, 218, 219, 223, 226-28, 283-85, 377, 382, 388, 408 Adelmorn, 409 Adonais, 98, 370 Adventurer, The, 207 Adventures of a Star, 353 Aella, 344, 346, 349, 363-65, 367 Aeneid, The, 56, 328 Aesop's Fables, 84 Agamemnon, 75 Agnes Bernauerin, 399 Aiken, Lucy, 391, 397 Akenside, Mark, 52, 75, 84, 85, 91, 102, 106, 124, 136, 139-42, 145, 157, 159, 168, 215, 228, 235, 403, 422, 423 Albion's Triumph, 85 Alfieri, Vittorio, 3 Alley, The, 80 Allibone's Dictionary of Authors, 392, 393 Alonzo the Brave, 415 Alps, The, 182 Ambrosio, see the Monk. Amherst, Alicia, 119, 123 Amis et Amile, 64 Ancient Armor, 189 Ancient Lays, 326 Ancient Mariner, The, 18, 262, 269, 299, 369, 394, 419 Ancient Songs, 293 Anecdotes of Painting, 230, 351 Annus Mirabilis, 137 Another Original Canto, 84 Anti-Jacobin, The, 402, 403 Antiquities of Scotland, 187 Apology for Smectymnuus, 146 Apuleius, Lucius, 16, 220 Arcadia, The Countess of Pembroke's, 239 Archimage, 84 Architectura Gothica, 181 Ardinghello, 400 Argenis, 241, 242 Argument against Abolishing Christianity, 42 Ariosto, Lodovico, 25, 100, 219, 222, 225, 226 Aristotle, 19, 38, 51, 55, 274, 276 Arme Heinrich, Der, 64 Armstrong, Jno., 106, 124 Arnold's Chronicle, 274 Arnold, Matthew, 71, 173, 315, 389, 408 Ars Poetica, 47 Art of Preserving Health, 124 Art Poétique, L', 47 Aspects of Poetry, 315 Atalanta in Calydon, 35 Athalie, 217 Atlantic Monthly, The, 11 Aucassin et Nicolete, 64, 189, 221 Austen, Jane, 263 Aytoun, Wm. E., 269

Babes in the Wood, see Children in the Wood. Babo, Joseph M., 398 Bacon, Francis, 8, 120 Bagehot, Walter, 17 Bailey's Dictionary, 360 Ballads that Illustrate Shakspere, 284 Ballantyne's Novelist's Library, 249 Balzac, Honoré de, 249 Banks of Yarrow, The, 274 Bannatyne, Geo., 284 Banville, Théodore F. de, 373 Baour-Lormian, P. M. F. L., 337 Barbauld, Anna L., 391 Barclay, Jno., 241 Bard, The, 173, 193, 194, 196, 424 Barrett, Wm., 348, 354, 364, 367 Bartholin, Thos., 191, 196 Battle of Hastings, The, 345, 346, 348, 364, 365 Battle of Otterburn, The, 278 Bayly, T. H., 254 Beattie, Jas., 85, 97, 166, l86, 242, 245-47, 251, 302-05, 422 Beaumont and Fletcher, 284 Beauties of Shakspere, The, 377 Beckford, Wm., 403, 405 Bedingfield, Thos., 85, 97, 215 Bell, Edward, 340, 342 Bell of Arragon, The, 172 Belle Dame sans Merci, La, 299 Bell's Fugitive Poetry, 159, 161 Bentham, Jas, 180 Beowulf, 25, 318 Beresford, Jas., 391 Berkeley, Geo., 31 Bernart de Ventadour, 64 Bertram, 420 Both Gélert, 391 Biographia Literaria, 59, 420 Black-eyed Susan, 57, 273 Blacklock, Thos., 85, 333 Blair, Hugh, 309, 313, 320. 335 Blair, Robert, 163, 164, 251 Blake, Wm., 28, 164, 365, 366, 372 Blenheim, 104 Boccaccio, Giovanni, 28, 29, 49 Bodmer, J. J., 374, 375 Boiardo, M. M., 25, 100 Boileau-Despreaux, N., 35, 38, 47, 49, 65, 212, 214, 226, 227 Bolingbroke, Henry St. John, Viscount, 41, 135, 382 Bonny Earl of Murray, The, 300 Bonny George Campbell, 275 Borck, C. von, 377 Bossuet, J. B., 38 Boswell, Jas., 94, 105, 139, 150, 174, 288, 312, 320, 355 Botanic Garden, The, 99 Bouhours, Dominique, 49, 227 Bowles, W. L., 420 Boy and the Mantle, The, 300 Boyesen, H. H., 23 Braes of Yarrow, The, 61, 297 Brandl, Alois, 391-93 Bravo of Venice, The, 409 Brentano, Clemens, 384, 402 Bristowe Tragedy, The, 346, 349, 366, 370 Brockes, B. H., 106 Brown, "Capability," 124, 130 Brown, Chas. B., 403 Brown Robyn's Confession, 278 Browne, Sir Thos., 40, 66 Browne, Wm., 79 Browning, Robert, 43 Brunetière, Ferdinand, 2, 5, 11, 14 Bryant, Jacob, 356 Brydges, Saml. Egerton, 336 Buchanan, Robt., 272 Bürger, G. A., 279, 289, 301, 375, 376, 382, 389-97, 416, 417 Burney, Francis, 252 Burning Babe, The, 41 Burns, Robt., 57, 95. 112, 187, 334, 360, 424 Burton, J. H., 178 Burton, Robt., 162 Byron, Geo. Gordon, Lord, 5, 16, 24, 36, 49, 78, 98, 107, 135, 181, 222, 229, 238, 250, 255, 262, 328-30, 333, 353, 362, 370, 402, 405, 406, 420, 421

Calderon de la Barca, Pedro, 25 Caleb Williams, 403 Calverley. C. S., 270 Cambridge, R. O., 84, 89, 92, 98, 151, 228, 229 Cameron, Ewen, 335 Cameron, Julia M., 393 Campbell, Thos., 142, 143 Campbell, J. F., 314, 322, 323, 325, 327 Canning, Geo., 402, 403 Canterbury Tales (Chaucer), 27, 63, 358, 359 Canterbury Tales (Lee), 421 Caractacus, 190, 194, 195, 306, 424 Carádoc, 195 Carew, Thos., 66 Carey, Henry, 57 Caric-thura, 334 Carle of Carlisle, The, 293 Carlyle, Thos., 317, 330, 334, 397-400 Carmen Seculare, 35 Carter, Jno., 189 Carthon, 311, 333, 335 Castle of Indolence, the, 75, 85, 92-94, 97, 104, 114, 165, 219, 424 Castle of Otranto, The, 188, 211, 215, 223, 129, 231, 236-43, 247, 249, 253, 255, 340, 346, 362, 367, 401, 409, 411, 414, 415, 421, 424 Castle Spectre, The, 401, 413-15 Castles of Athlin and Dunbayne, The, 250, 258, 261 Cath-Loda, 334 Catalogue of Royal and Noble Authors, 230 Cato, 51, 218, 388 Celtic Literature (Sullivan), 315, 325 Celtic Literature, on the Study of (Arnold), 315 Cerdick, 329 Cervantes Saavedra, Miguel de, 244 Cesarotti, M., 321, 337 Champion of Virtue, The, 241-43 Chanson de Roland, The, 27, 64 Chappell, Wm., 270 Charakteristiken, 382, 391 Chase, The (Scott), 391 Chase, The (Somerville), 124 Chateaubriand, F. A. de., 255, 332, 333 Chatterton (Jones and Herman), 373 Chatterton (Masson), 362 Chatterton (Vigny), 372, 373 Chatterton, Thos., 152, 188, 211, 235, 245, 294, 317, 328, 339-73, 384, 422, 423 Chaucer, Geoffrey, 27, 28, 30, 63, 66, 69, 108, 154, 188, 199, 212, 213, 244, 266, 272, 279, 280, 294, 301, 304, 322, 342, 358-60, 363, 371, 382, 383, 433 Chesterfield, Philip Dormer Stanhope, Earl of, 40, 50, 137 Chevy Chase, 274, 283-86, 300, 346, 377 Child, F. J., 267, 284 Child Maurice, 292 Child of Elle, The, 289, 290, 301 Child Waters, 281, 295, 298, 301 Childe Harold, 98, 250, 333, 334, 364 Children in the Wood, The, 273, 283, 285, 288, 302 Choice of Hercules, The, 85 Chrestien de Troyes, 27 Christabel, 363, 369, 394 Christian Ballads, 165 Christ's Kirk o' the Green, 66 Churchill, Chas., 353 Cibber, Colley, 74, 176 Cid, The, 298 City of Dreadful Night, The, 162 Clarissa Harlowe, 352, 421 Classic and Romantic, 11 Classiques et Romantiques, 2 Classische Walpurgisnacht, 385 Claudina von Villa Bella, 417 Clerk, Archibald, 313, 320, 321, 323, 324 Clerk Colvin, 279, 417 Clerkes Tale, The, 280, 281 Coleridge, S. T., 59, 66, 73, 108, 110, 161, 188, 262, 265, 269, 299, 328, 363, 366, 368, 369, 372, 376, 387, 388, 394, 419-21, 424 Colin's Mistakes, 84 Collins, Wm., 25, 75, 104, 110, 112, 114, 118, 129, 136, 142, 151, 155, 156, 158, 163, 165, 166, 168-72, 175, 184, 186, 193, 197, 215, 251, 279, 281, 384, 403, 422, 423 Collection of Old Ballads, A., 284 Colman, Geo., Jr., 176, 254, 417 Colvin, Sidney, 16-18 Companion to the Oxford Guide Book, 202 Complaint of Ninathoma, The, 328 Complete Art of Poetry, The, 69, 72 Comus, 16, 144, 149, 150, 215 Conan, 195 Concubine, The, 85, 95 Conjectures on Original Composition, 387 Conquest of Granada, The, 44 Contemplation, 297 Cooper's Hill, 39 Coriolanus, 72, 74 Corneille, Pierre, 38, 65, 67 Corsair, The, 334 Cottle, Joseph, 350, 358, 368 Count of Narbonne, The, 240 Country Walk, The, 142 Cowley, Abraham, 37, 38, 53, 66, 79, 120, 228 Cowper, Wm., 53, 57, 103, 108, 110, 112, 115, 424 Coxe, A. C., 165 Crabbe, Geo., 103 Crashaw, Richard, 41 Croft. Herbert, 367, 368 Croma, 336 Cromwell, 19, 35 Croxall, Saml., 84 Crusade, The, 199 Cumberland, Richard, 74, 177 Cumnor Hall, 94 Cyder, 104, 124

Dacier, Anne L., 49 Dalrymple, Sir David, 291, 306, 336 Danmarks Gamie Folkeviser, 266 Dante Alighieri, 22, 28, 29, 64, 235 Darke Ladye, The, 369 Darthula, 314, 335 Darwin, Erasmus, 99 Davenant, Wm., 67, 74, 137, 226 David Balfour, 258 Davies, John, 137 De Anglorum Gentis Origine, 192 De Causis Contemnendae Mortis, 191 De Imitatione Christi, 64 Dean of Lismore's Book, The, 314 Death of Calmar and Orla, The, 328 Death of Cuthullen, The, 335 Death of Hoel, The, 195 Death of Mr. Pope, 85 Defence of Poesy, 72, 274 Defence of the Epilogue to the Conquest of Granada, 71 De Foe, Daniel, 40 Demonology and Witchcraft, 42, 189 Demosthenes, 3 Deirdrè, 314 Denham, Sir Jno., 39 Denis, Michael, 337, 377 Dennis, Jno., 49, 62, 69, 72, 74, 285 Descent of Odin, The, 191, 192, 220 Deschanel, Émile, 2 Description of the Leasowes, 133, 139 Descriptive Poem, A, 185 Deserted Farm-house, The, 177 Deserted Village, The, 91, 207 Deutscher Art und Kunst, Einige Fliegende Blätter, von, 380, 381 Dictionary of French Antiquities, 221 Dictionary of National Biography, 359 Dies Irae, 64 Dirge in Cymbeline, The, 75, 163 Dissertatio de Bardis, 195 Dissertation on Fable and Romance, 242, 245-47 Dissertation on the Authenticity of Ossian, 320 Divine Comedy, The, 27 Divine Emblems, 164 Dobson, Austin, 272 Dobson, Susannah,221 Dodd, Wm., 377 Doddington, Geo. Bubb, 111 Dodsley, Jas., 349 Dodsley, Robert, 84, 85, 132, 133, 135, 139, 209 Dodsley's Miscellany, 137, 159, 165 Don Juan, 5, 49 Donne, Jno., 28, 37, 66 Dorset, Chas. Sackville, Earl of, 283 Douglas, 170, 276, 308 Dream, A, 85 Dream of Gerontius, The, 41 Drummer, The, 408 Dryden, Jno., 27, 41, 44, 49, 50-53, 62, 63, 66-68, 70, 71, 74, 79, 80, 104, 137, 148, 149, 177, 192, 209, 210, 212, 213, 216, 265, 283 Dugdale, Wm., 198 Dunciad, The, 34, 56 Dürer, Albrecht, 162 D'Urfey, Thos., 74 Dyer, Jno., 75, 102, 103, 106, 119, 124, 142-45, 168, 215, 422

Early English Metrical Romances, 301 Eastlake, Sir Chas., 54, 55, 199, 231-33 Ecclesiastical Sonnets, 145 Edda, The, 64, 190, 196, 220, 313, 390 Edinburgh Review, The, 350, 397 Education, 85, 89, 90, 126 Education of Achilles, The, 85, 97 Edward, 274, 300 Edwards, Thos., 53, 89, 161 Effusions of Sensibility, 250 Eighteenth Century Literature (Gosse), 84, 104, 106, 163, l69, 362 Elegant Extracts, 211 Elegies (Shenstone's), 137, 138 Elegy on the Death of Prince Frederick, 85 Elegy to Thyrza, 135 Elegy Written in a Churchyard in South Wales, 176 Elegy Written in a Country Churchyard, 103, 137, 157, 163, 167, 173-77, 204 Elinoure and Juga, 346, 352, 354 Ellis, Geo., 188, 301, 402, 423 Elstob, Elizabeth, 192 Emerson, R, W., 66, 388 Emilia Galotti, 380 Endymion, 370 English and Scottish Popular Ballads, The, 267 English Bards and Scotch Reviewers, 405 English Garden, The, 123-27, 151 English Literature in the Eighteenth Century (Perry), 7, 163, 307, 211, 337 English Metamorphosis, 364, 365 English Romantic Movement, The (Phelps), 84, 85, l97, 283, 297, 329 English Women of Letters, 249, 262 Enid, 281 Enquiry into the Authenticity of the Rowley Poems, 359 Enquiry into the Present State of Polite Learning, 208 Enthusiast, The, 151-53, 160 Epigoniad, the, 89 Epistle of Eloisa to Abelard, 56, 157, 163, 218, 220 Epistle to Augustus, 66, 69, 72, 115 Epistle to Mathew, 370 Epistle to Sacheverel, 80 Epistle to the Earl of Burlington, 120, 129 Epitaphium Damonis, 146 Epithalamium, 84 Erl-King, The, 386, 416 Erskine, Wm., 203, 404 Essay of Dramatic Poesy, 68, 70 Essay on Ancient and Modern Learning, 69 Essay on Criticism, 47, 50, 388 Essay on Gothic Architecture, 180 Essay on Gray (Lowell), 209 Essay on Homer, 387, 389 Essay on Man, 34, 41, 113, 175 Essay on Poetry, 47 Essay on Pope (Lowell), 60, 169, 173 Essay on Pope (Warton), 97, 118, 149, 160, 163, 185, 193, 206, 212-20, 224 Essay on Satire, 47, 80 Essay on Scott, 400 Essay on Shakspere, 69, 72 Essay on the Ancient Minstrels, 245, 293, 302 Essay on the Rowley Poems, 359 Essay on Truth, 303 Essays on German Literature, 23 Essays on Men and Manners, 127 Essays on Poetry and Poets, 363 Ethelgar, 328 Etherege, Geo., 38 Evans, Evan, 195 Eve of St. Agnes, The, 98, 257, 363 Eve of St. John, The, 417 Eve of St. Mark, The, 177, 371 Evelina, 243, 252 Evelyn, Jno., 7 Evergreen, The, 284, 286 Excellente Ballade of Charitie, An, 366 Excursion, The (Mallet), 134 Excursion, The (Wordsworth), 304

Fables, (Aesop), 84 Fables (Dryden), 63 Faërie Queene, The, 16, 37, 66, 77-101, 154, 215, 225, 365 Fair Annie, 281, 295 Fair Circassian, The, 84 Fair Eleanor, 367 Fair Janet, 268 Fair Margaret and Sweet William, 268, 279, 283, 286, 300 Farewell Hymn to the Country, A, 85 Fatal Revenge, The, 249, 420 Fatal Sisters, The, 191 Faust, 27, 141, 384, 385, 401 Fergusson, Jas., 233 Feudal Tyrants, 409 Fichte, J. G., 387 Fielding, Henry, 26, 40, 76, 383 Filicaja, Vincenzio, 49 Fingal, 309, 311, 313, 317, 322, 324, 335, 336, 338 Fire King, The, 417 First Impressions of England, 109, 133 Fischer, Der, 386 Fisher, The, 416 Five English Poets, 372 Five Pieces of Runic Poetry, 190 Flaming Heart, The, 41 Fleece, The, 124, 144, 145, 422 Fleshly School of Poets, The, 272 Fletcher, Giles, 78 Fletcher, Jno., 25, 51, 79, 117, 162, 210 Fletcher, Phineas, 78 Ford, Jno., 241 Foreign Review, The, 398 Forsaken Bride, The, 280 Fouqué, F. de la M., 4, 26, 384 Fragments of Ancient Poetry, 306, 307, 309, 311, 323, 326, 328, 336 Frankenstein, 401, 403, 406 Frederick and Alice, 416 Frederick, Prince of Wales, 84, 137 Fredolfo, 420 Freneau, Philip, 177 Friar of Orders Grey, The, 298, 301, 424 Froissart, Jean, 27, 64, 236 From Shakspere to Pope, 39, 60 Frühling, Der, 106 Fuller, Thos., 28 Furnivall, F. J.,292 Fust von Stromberg, 399

Gammer Gurton's Needle, 293 Gandalin, 381 Gang nach dem Eisenhammer, Der, 386 "Garlands," The, 284 Garrick, David, 162, 209, 287 Gaston de Blondville, 250, 259-62 Gates, L. E., 41, 44 Gautier, Théophile, 372, 423 Gay Goshawk, The, 279 Gay, Jno., 35, 57, 273 Gebir, 18, 245 Gedicht eines Skalden, 190, 377 Génie du Christianisme, Le, 332 Gentle Shepherd, The, 79 Georgics, The, 111 German's Tale, The, 421 Geron der Adeliche, 381 Gerstenberg, H. W. von, 190, 377, 387 Geschichte der Deutschen Literatur (Hettner) 300, 378, 387 Geschichte der Kunst des Alterthums, 384 Ghost-Seer, The, 419 Gierusalemme Liberata, 214, 225 Gilderoy, 283 Gildon, Chas., 49, 62, 69, 72 Giles Jollop, 418 Gil Maurice, 276 Gilpin, Wm., 185 Glanvil, Joseph, 390, 408 Gleim, J. W. L., 375 Glenfinlas, 417 Goddwyn, 344, 363-65 Godred Crovan, 329 Godwin, Wm., 403 Goethe, Johann Wolfgang, 3, 4, 11, 31, 141, 252, 255, 275, 330, 334, 377-81, 384-87, 389, 397-99, 404, 409, 416, 417 "Göttinger Hain," The, 378 Gotz von Berlichingen, 334, 375, 380, 381, 385, 398-404, 418 Golden Ass, The, 16 Golden Treasury, The, 57, 277 Golo und Genoveva, 399 Goldsmith, Oliver, 76, 91, 112, 113, 162, 177, 186, 207-11, 287, 354 Gondibert, 137 Gorthmund, 329 Gosse, Edmund, 39, 53, 60, 84, 103, 106, 163, 169, 192, 272, 362 Gottfried of Strassburg, 3, 64 Gottsched, J. C., 374, 383 Gower, Jno., 266, 272 Grainger, James, 124, 287 Granville, Geo., 47 Grave, The, 104, 163, 164, 175 Grave of King Arthur, The, 199-201, 424 Graves, Richard, 130-33, 137 Gray, Thos., 25, 32, 52, 53, 75, 89, 103, 117-19, 123, 136, 137, 139, 145, 151, 155, 157-60, 163, 164, 166-69, 172-85, 190-206, 199, 201, 204, 206, 209, 211, 215, 2l6, 2l8, 220, 221, 229, 235, 238, 251, 276, 286, 302, 306-08, 336, 352, 356, 362, 377, 384, 387, 422, 423 Green, Matthew, 136 Grene Knight, The, 293 Grim White Woman, The, 407 Grongar Hill, 104, 119, 142, 143, 145 Grose, Francis, 187 Grounds of Criticism in Tragedy, The, 71 Grundtvig, Svend, 266 Guardian, The, 120, 126, 413 Guest, Lady Charlotte, 189 Gulliver's Travels, 26 Gummere, F. B., 276 Gwin, King of Norway, 367

Hagley, 108, 109, 122, 127, 131, 133, 136, 183, 303, 422 Hales, J. W., 289, 290 Hallam, Henry, 189 Hamburgische Dramaturgie, 379, 387 Hamilton, Wm., 61, 279 Hamlet, 387, 401 Hammond, Jas., 137 Hardyknut, 286 Harper's Daughters, The, 409 Hartmann von Aue, 64, 381 Harvey, Geo., 336 Hawthorne, Nathaniel, 403 Haystack in the Flood, The, 299, 363 Hayward, A., 234 Hazlitt, Wm., 161, 254 Hazlitt, W. C., 205 Hearne, Thos., 201 Hedge, F. H., 11, 14, 16 Heilas, The, 329 Heilige Vehm, Der, 418 Heine, Heinrich, 2, 24, 330, 409, 423 Heir of Lynne, The, 290 Helen of Kirkconnell, 274 Heliodorus, 244 Hellenics, 3 Henriade, The, 50, 214, 216, 217 Henry and Emma, 295, 296 Herbert, Geo., 28, 66, 228 Herd, David, 299 Herder, J. G. von, 274, 300, 301, 337, 376, 378, 380, 384, 387, 389, 416 Hermann und Dorothea, 4, 385 Hermit of Warkworth, The, 186, 289, 294, 298 Hermit, The (Beattie), 186, 305 Hermit, The (Goldsmith), 113, 186 Hermit, The (Parnell), 186 Herrick, Robert, 66 Hervarer Saga, The, 192 Hervey, Jas., 421 Hettner, H. J. T., 378, 379, 38l, 383, 387 Hicks, Geo., 192, 193 Hill, Aaron, 217 Hind and the Panther, The, 41 Histoire de Dannemarc, 190, 221, 377 Histoire des Troubadours, 221, 222 Histoire du Romantisme, 372 Historical Anecdotes of Heraldry, and Chivalry, 221 Historic Doubts, 230 Historic Survey of German Poetry, 397, 398, 418 Historic of Peyncteynge in England, 351 History of Architecture, 233 History of Bristol, 348, 364 History of Charoba, Queen of Egypt, 245 History of England (Hume), 100 History of English Literature (Taine), 316 History of English Poetry (Warton), 36, 205, 206, 211, 245, 260, 359, 422, 423 History of English Thought in the Eighteenth Century, 32, 41 History of Gardening, 119, 123 History of German Literature (Scherer), 374, 380, 382, 385, 394 History of Opinion on the Writings of Shakspere, 74 History of Santon Barsisa, 413 History of the Gothic Revival, 54, 55, 231 Hobbes, Thos., 226 Hölty, L. H. C., 375 Hole, R., 336 Home, Jno., 132, 170, 276, 308, 309 Homer, 3, 25, 35, 37, 50, 55, 100, 110, 215, 222-24, 271, 284, 285, 310, 313, 318, 330, 335, 376, 387-89 Homes of the Poets, 133, 364 Horace, 38, 47, 55, 72, 156, 223, 285, 411 Houghton, J. Monckton Milnes, Lord, 370 Hours in a Library, 235 Hours of Idleness, 329 House of Aspen, The, 418 House of Superstition, The, 85 "How Sleep the Brave," 168 Howitt, Wm., 133, 134, 364 Hugo, Victor Marie, 3, 19, 35, 36, 77, 115, 209 Hume, Robert, 100, 303, 308 Hunting of the Cheviot, The, 274, 278.295 Huon of Bordeaux, 382 Hurd, Richard, 221-26, 245, 246, 375, 387 Hussar of Magdeburg, The, 393 Hymn (Thomson), 106 Hymn to Adversity, 167, 173 Hymn to Divine Love, 85 Hymn to May, 85 Hymn to the Supreme Being, 85 Hypenon, 35

Idler, The, 207 Idyls of the King, The, 146 Il Bellicoso, 153 Il Pacifico, 153, 154 Il Penseroso, 104, 115, 142, 147, 149, 150, 154, 162, 170, 175, 334 Iliad, The, 16, 36, 56, 58, 214, 269, 313, 338, 388, 389 Imaginary Conversations, 18, 43 Immortality, 85 Indian Burying Ground, The, 177 Indian Emperor, The, 44 Ingelow, Jean, 270 Inscription for a Grotto, 136 Institution of the Order of the Garter, 159, 193, 194 Introduction to the Lusiad, 85 Iphigenie auf Tauris, 3, 385, 397 Ireland, Wm. H., 77, 294 Irene, 51 Isis, 176 Italian, The, 250, 252, 263 Italienische Reise, 385 Ivanhoe, 4, 23, 188, 237, 262, 404

Jamieson, Robert, 292 Jane Shore, 286 January and May, 63 Jemmy Dawson, 273 Jephson, Robert, 240 Jew's Daughter, The, 300 Jock o' Hazeldean, 269, 277, 363 Johnnie Armstrong, 274, 278, 283 Johnnie Cock, 279, 280 Johnson, Saml., 37, 40, 50, 51, 53, 54, 56, 59, 66, 68, 70, 71, 89, 90, 94, 97, 99, 104, 105, 113, 131, 132, 136-39, 144, 145, 150, 151, 172-75, 177, 179, 186, 196-98, 207, 224, 243, 274, 285, 287-89, 295, 302, 303, 312, 313, 320, 328, 354, 355 Joinville, Jean Sire de, 27, 64 Jones, Inigo, 121, 230 Jonson, Ben, 25, 50, 71, 79, 97, 210, 285 Jordan, The, 85 Journal in the Lakes, 183, 184 Journey through Holland, 257 Joyce, R. D., 314 Julius Caesar, 377 Junius, Letters of, 353

Kabale mid Liebe, 409 Kalewala, The, 313 Kampf mit dem Drachen, Der, 386 Kant, Immanuel, 31, 387 Katharine Janfarie, 277 Kavanagh, Julia, 249, 262 Keate, Geo., 182 Keats. Jno., 18, 35, 94, 107, 169, 177, 257, 263, 265, 353, 362, 363, 370-72, 434 Keepsake, The, 418 Kemp Owen, 279 Kenilworth, 94, 260 Kenrick, 329 Kent, Wm., 129, 135, 152 Kersey's Dictionary, 360, 361 King Arthur's Death, 278 King Estmere, 279, 300 King John and the Abbot, 301 Kinmont Willie, 278 Kittridge, G. L., 191, 192 Kleist, E. C. von, 106 Klinger, F. M., 379 Klopstock, P. G., 338, 377 Knight, Chas., 74 Knight of the Burning Pestle, The, 284 Knox, V., 211, 212, 228 Knythinga Saga, The, 196 Kotzebue, A. F. F. von, 400, 409, 421 Kriegslied, 377 Kruitzner, 421, 423

La Bruyère, Jean de, 138 La Calprenède, G. de C. Chevalier de, 6 Lachin Y Gair, 329 Lady Anne Bothwell's Lament, 283 Lady of the Lake, The, 96, 299, 399 La Fontaine, Jean de, 38 Laing, Malcolm, 318, 320, 329 L'Allegro, 104, 129, 142, 144, 147, 149, 150, 154, 158, 170 Lamartine, A. M. L. de, 176 Lamb, Chas., 28, 161, 199 Land of Liberty, 85 Land of the Muses, The, 85 Landor, W. S., 3, 18, 34, 42, 136, 245, 293 Lang, Andrew, 272 Langbaine, Gerard, 49, 62, 69, 71 Langley, Batty, 54, 121, 233 Lansdowne, Geo. Granville, Earl of, 47, 74 Laocoön, 384, 387 Lass of Fair Wone, The, 397 Lay of the Last Minstrel, The, 165, 191, 336, 404 Lays of Ancient Rome, 269, 298 Lays of the Scottish Cavaliers, 269 Leabhar na Feinne, 314, 323 Lear, 217 Leasowes, The, 127, 130-37, 139, 152, 183, 213, 422 Le Bossu, René, 49 Lectures on Translating Homer, 389 Legend of Sir Guy, 278 Legenda Aurea, 3 Lee, Harriet and Sophia, 421 Le Lac, 176 Leiand, Thos., 244, 247 Leland's Collectanea, 260 Lenora, 391-97, 415, 417 Lenox, Charlotte, 70 Lenz, J. M. R., 379, 387 Leonidas, 337 Lessing, G. E., 56, 300, 375, 376, 379, 380, 384, 387, 397 Letourneur, Pierre, 337 Letter from Italy, 57, 218 Letter to Master Canynge, 344 Letters on Chivalry and Romance, 221-26, 245 Letters to Shenstone, Lady Luxborough's, 135, 229 Lettres de Dupuis et Cotonet, 18-22 Lewis, M. G., 249, 252, 262, 376, 394, 396, 400, 401, 404-18, 420 Leyden, Jno., 417 Library of Romance, 381 Life of Lyttelton (Phillimore), 74, 108 Lines on Observing a Blossom, 368 Lines Written at Tintern Abbey, 140 Literary Movement in France, The, 35, 44, 61 Literatura Runica, 191 Little Musgrave and Lady Barnard, 283 Lives of the English Poets (Winstanley), 69 Lives of the Novelists (Scott), 262 Lives of the Poets (Johnson), 51, 68, 90, 97, 105, 114, 131, 139, 150, 172, 196, 286 Lloyd, Robert, 85, 91, 98, 151, 176 Lockhart, J. G., 298, 391, 398, 402, 403, 406 Longfellow, H. W., 198, 199, 269 Longinus, 38 Longsword, Earl of Salisbury, 244, 247, 248 Lord Lovel, 268 Lord Randall, 275 Lord Thomas and Fair Annet, 268 Lotus Eaters, The, 18, 92 Love and Madness, 368 Love's Labour's Lost, 379 Lowell, J. R., 27, 59, 114, 139, 144, 169, 173, 206, 209, 403 Lowth, Robert, 85, 387 Lürlei, Die, 402 Lukens, Chas., 393 Lusiad, The, 85, 94 Lycidas, 37, 115, 145, 149, 150, l54, 192 Lydgate, Jno., 206, 266, 344, 359 Lyrical Ballads, 58, 109, 112, 160, 183, 218, 288, 299, 316, 422 Lytel Geste of Robyn Hode, The, 274 Lyttelton, Geo. Lord, 90, 91, 95, 108, 111, 121, 127, 131, 132, 135-37, 303

Mabinogion, The, 189 Macaulay, T. B., 69, 238, 269, 272, 298 Macbeth, 223 McClintock, W. D., 102 Mackenzie, Henry, 252, 390 Mackenzie. Jno., 321 McLauchlan, Thos., 314 Macmillan's Magazine, 326 McNeil, Archibald, 326 MacPherson, Jas., 24, 195, 294, 302, 306-38, 377, 423 Madden, Sir Frederick, 292 Malherbe, François de, 38 Mallet, David, 75, 105, 106, 124, 235, 283, 286 Mallet, P. H., 190, 191, 196, 221, 374, 377 Malone, Edmond, 32, 356, 362 Malory, Sir Thos., 27 Manfred, 334 Man of Feeling, The, 352, 390 Mansus, 146 Manuel, 420 Map, Walter, 27 Marbie Faun, The, 23 Mariner's Wife, The, 95 Marlowe, Christopher, 66 Marmion, 203, 234, 258, 336, 399, 404, 411 Marriage of Frederick, 84 Marriage of Gawaine, The, 278 Mary Hamilton, 280 Mason, Wm., 85, 91, 123-27, 129, 151, 153-55, 160, 165, 167, 176, 180, 183, 190, 194-96, 211, 213, 215, 221, 251, 276, 306, 307, 337, 352, 422, 423 Masson, David, 148, 362 Mather, Cotton, 408 Mathias, Thos. J., 393 Maturin, Chas. Robert, 249, 420 Meditations (Harvey), 421 Melmoth the Wanderer, 249, 420 Mémoires sur l'ancienne Chevalerie, 221, 222 Memoirs of a Sad Dog, 353 Mendez, Moses, 85, 91, 159 Menschenhass und Reue, 400

Merchant of Venice, The, 372 Meyrick, Sir Saml. R., 189 Michael, 4 Mickle, Wm. J., 85, 94-96 Middle Ages, The (Hallam) 189 Midsummer Night's Dream, A, 76, 235, 382 Miller and the King's Daughter, The, 283 Miller, Johann M., 375, 400 Miller, Hugh, 108, 109, 130, 133, 136 Milles, Jeremiah, 356, 361 Milnes, R. Monckton, 370 Milton, Jno., 16, 34, 37, 40, 52, 53, 55, 56, 63, 66, 69,78, 79, 94, 104, 110, 111, 115, 129, 140, 142, 144, 146-62, 170,

173, 193, 199, 212, 213, 215, 216, 218, 219, 222, 225, 244, 265, 283, 297, 318, 371, 374, 391 Miltonic Imitations in Dodsley, List of, 159-61 Minister, The, 409 Minnesingers, The, 375 Minot, Lawrence, 293 Minstrel, The, 85, 97, 345, 302-05, 422. Minstrelsy, Ancient and Modern, 270 Minstrelsy of the Scottish Border, 262, 267, 377, 299, 404. Mirror, The, 85 Miscellany Poems (Dryden), 192, 283 Miss Kitty, 393 Modern Painters, 26, 34 Möser, Justus, 375, 380 Molière, J. B. P., 38 Monasticon, Anglicanum, 198 Monk, The, 249, 262, 263, 401, 404, 407-13, 420, 424 Monody on the Death of Chatterton, 368 Monody Written near Stratford-upon-Avon, 201 Monologue, A, 176 Montagu, Elizabeth R., 303, 337 Monthly Magazine, The, 391, 392 Monthly Review, The, 397 Moral Essays, 220 More, Hannah, 151 Morning, 85 Morris, Wm., 191, 203, 424 Morte Artus, 64, 390 Motherwell, Wm., 270, 299 Mud King, The, 418 Mütler, Friedrich, 399 Müller, Johannes, 376 Mulgrave, Jno. Sheffield, Earl of, 47, 63 Murdoch, Patrick, 105 Musaeus, 85, 153-55 Musen Almanach, 393 Musset, Alfred de, 18-22 Myller, C. H., 375 Mysterious Mother, The, 237, 238, 241, 251, 253, 401, 409 Mysteries of Udolpho, The, 250, 252-55, 262, 263, 401, 424

Nares' and Halliwell's Glossary, 189 Nathan der Weise, 376, 397 Nativity, The, 85 Nature, 388 Nature of Poetry, The, 162 New Canto of Spenser's Fairy Queen, A, 84, 85 Newman, F. W., 389 Newman, J. H., 41 New Memoirs of Milton, 149 New Principles of Gardening, 121 Nibelungen Lied, The, 25, 64, 313, 375, 376 Nichols' Anecdotes, 192 Night Piece on Death, 61, 177 Night Thoughts, 104, 163, l75, 387, 421 Noble Moringer, The, 418 Nocturnal Reverie, 57, 61 Noel, Roden. 363 Nonnë Prestës Tale, The, 28 Northanger Abbey, 263, 264 Northern Antiquities, 190 Northumberland Betrayed by Douglas, 278 Nosce Teipsum, 137 Not-brown Maid, The, 274, 295, 296, 300, 302 Notes and Illustrations to Ossian, 318 Notes on the Authenticity of Ossian's Poems, 326 Nôtre Dame de Paris, 3 Nouvelle Héloise, La, 31 Novalis, 384

Oberon, 382 Observations on English Meter, 206 Observations on Modern Gardening (Whately), 123 Observations on The Faëry Queene, 99-101, 204, 213, 223 Observations on The Scenery of Great Britain, 185 Observations upon the Poems of Thomas Rowley, 356 Odes, (Akenside's), 142 Odes, (Collins'), 142, 155, 156 Odes, (Gray's), 362 Odes, (J. Warton's), 142, 155, 156 Odes, For the New Year, 199. On a Distant Prospect of Eton College, 167, 173, 216. On His Majesty's Birthday, 199. On the Approach of Summer, 158. On the Death of Thomson, 163, 165, 194. On the First of April, 158. On the Installation of the Duke of Grafton, 159. On the Morning of Christ's Nativity, 147, 149, 150, 156. On the Passions, 166, 169, 175. On the Spring, 167, 173. On the Superstitions of the Scottish Highlands, 25, 114, 170-72. Sent to Mr. Upton, 201. To a Grecian Urn, 18. To a Nightingale (Keats) 18. To an Aeolus Harp, 165. To Curio, 85. To Evening (Collins), 156, 165, 168. To Evening (Warton), 165. To Fear, 156. To Freedom, 363. To Liberty, 194. To Oblivion, 176. To Obscurity, 176. To Peace, 305. To Pyrrha, 156. To Simplicity, 156. To Solitude, 165. To the Hon. Charles Townsend, 84. To the Marquis of Tavistock, 84. To the Nightingale (Warton), 165. To the Queen, 84. Written at Vale Royal Abbey, 204 Odyssey, The, 16, 269 Oedipus Rex, 3, 19, 241 Of Heroic Virtue, 192, 197 Of Poetry, 192 Old English Ballads, 276 Old English Baron, The, 241-43, 249 Oldmixon, Jno., 62 Old Plays (Dodsley) 209

Olive, The, 84 On King Arthur's Round Table, 201 On Modern Gardening (Walpole), 123, 130 On Myself, 79 On Our Lady's Church, 344 On the Prevailing Taste for the Old English Poets, 211 On the River Duddon, 162 On Witches (Glanvil), 408 Opie, Amelia, 252 Orcades, 191 Origin of Romantic Fiction, The, 205 Original Canto of Spenser, An, 84 Ormond, 403 Osorio, 420 Ossian (MacPherson's), 25, 117, 178, 195, 235, 245, 256, 302, 306-38, 355, 356, 377, 378, 423, 424 Ossian, Poems of, in the Original Gaelic (Clerk), 313 Ossian, Poems of, in the Original Gaelic (In Gillie's Collection), 326 Ossian, Poems of, in the Original Gaelic (Highland Society's Text), 321, 324, 326 Ossian, Poems of, in the Original Gaelic (In Stewart's Collection), 326 Othello, 372 Otto von Wittelsbach, 398 Otway, Thos., 74, 210 Ovid, 25 Oxford Sausage, The, 199

Pain and Patience, 84 Palamon and Arcite, 28, 215 Palgrave. F. T., 57, 277 Pamela, 252 Paradise Lost, 50, 52, 55-57, 104, 110, 129, 145, 147, 148, 151, 217, 375 Paradise Regained, 147, 148 Parliament of Sprites, The, 344, 365 Parnell, Thos., 58, 61, 177, 186, 210 Parzival, 64 Pastoral Ballad, A., 138 Pastoral in the Manner of Spenser, A., 85 Pastoral Ode, A., 133 Pastorals (Philips'), 80 Pastorals (Pope's), 57, 112, 193, 215, 216 Pater, Walter, 7, 8, 16 Paul and Virginia, 22, 112 Pearch's Collection, 159, i82, 185 Peck, F., 149 Pellissier, George, 35, 44, 61, 65 Pepys, Saml., 283, 291 Percy Folio MS., The, 288, 290-93 Percy, Thos., 186, 196, 212, 235, 246, 272, 284, 306, 319, 326, 383, 387, 422. See also Reliques. Perigrine Pickle, 139 Perle, The, 189 Perry, T. S., 7, 163, 176, 211, 212, 251, 337 Persiles and Sigismonda, 244 Peter Bell, 299 Petrarca, Francesco, 29 Peveril of the Peak, 420 Pfarrers Tochter, Des, 396 Phelps, W. L., 84, 85, 191, 197, 283, 297, 329 Philander, 85 Philantheus, 85 Philips, Ambrose, 80, 102, 284 Philips, Edward, 67, 80 Philips, Jno., 104, 124 Phillimore's Life of Lyttelton, 74, 108 Phoenix, The, 241 Pieces of Ancient Popular Poetry, 293 Pilgrim's Progress, The, 5 Pindar, 35, 54, 89 Pitt, Christopher, 85 Pitt, Wm., 90, 132, 133 Pizarro, 400 Plato, 42, 47 Pleasures of Hope, The, 142, 143 Pleasures of Imagination, The, 124, 139-42, 157 Pleasures of Melancholy, The, 142, 156-58, 160, 161, 194 Pleasures of Memory, The, 142 Poe, Edgar A., 202, 356, 390, 403 Poem in Praise of Blank Verse, 217 Poems after the Minnesingers, 375 Poems after Walther von der Vogelweide, 375 Pope, Alexander, 33, 36, 39, 41, 47, 50-54, 56-59, 61, 63, 65, 66, 69, 72, 75, 77-79, 92, 93, 99, 102, 105, 108, 111-13, 115, 120, 121, 126, 129, 136, 149, 150, 154, 157, 159, 162, 163, 193, 210, 212-20, 228, 235, 265, 382, 383, 388 Popular Ballads and Songs (Jamieson), 292 Popular Tales of the West Highlands, 322, 323, 325 Porter, Jane, 252, 371 Portuguese Letters, The, 22 Praelectiones de Sacra Poesi Hebraeorum, 387 Preface to Johnson's Shakspere, 70 Preface to Pope's Shakspere, 72 Prelude, The, 304 Price, Richard, 205 Prior, Matthew, 35, 57, 63, 84, 159, 291, 295, 296, 382 Prioresse Tale, The, 279, 342 Progress of Envy, The, 85, 91 Progress of Poesy, The, 173 Progress of Romance, The, 243-45 Prologue at the Opening of Drury Lane, 59, 70 Proud Maisie, 277 Psalm XLII., 84 Psyche,85 Pugin, A. N. W., 234 Pure, Ornate and Grotesque Art, 17 Pursuits of Literature, 393 Pye, H. J., 392

Quarles, Francis, 164

Racine, J. B., 38, 44, 65, 379 Radcliffe, Anne, 232, 237, 249-64, 402, 408, 409, 411, 421, 423 Rambler, The, 97, 287, 288, 353 Ramsay, Allan, 61, 79, 284, 286, 297, 300 Rape of the Lock, The, 36, 220 Rapin, René, 49 Rasselas, 186 Räuber, Die. See Robbers. Reeve, Clara, 241-45, 247, 249-64, 423 Regnier, Mathurin, 38 Reliques of Ancient English Poetry, 139, 188, 190, 206, 209, 211, 223, 265, 274, 278, 287-302, 317, 346, 362, 369, 376, 423 Remorse, 420 Report of the Committee of the Highland Society on Ossian, 319 Resolution and Independence, 339 Retirement, 305 Revenge, The, 353 Revival of Ballad Poetry in the Eighteenth Century, 290 Revolt of Islam, The, 5 Reynolds, Sir Joshua, 202, 303 Richardson, Saml., 31, 32, 40, 76, 252, 421 Riddles Wisely Expounded, 270 Ridley, G., 85 Rime of Sir Thopas, The, 28 Rising in the North, The, 278 Ritson, Joseph, 188, 205, 246, 287, 290, 293, 294, 301, 423 Ritter Toggenburg, 386 Robbers, The, 385, 391, 402, 417, 418, 420 Robin Hood and the Monk, 273, 278, 283 Robin Hood and the Old Man, 292 Robin Hood and the Potter, 273 Robin Hood Ballads, The, 281-83, 301 Robin Hood (Ritson's), 292 Robinson Crusoe, 5, 26 Rogers, Saml., 142, 181 Rokeby, 277 Rolla, 400, 409 Rolls of St. Bartholomew's Priory, The, 358 Roman de la Rose, The, 37, 64 Romance, 390 Romance of the Forest, The, 250, 253, 255, 256 Romancero, The, 64 Romantic and Classical in English Literature, The, 102 Romantic Tales, 409 Romanticism (Pater), 7 Romantische Schule, Die, 2, 423 Romaunt of the Rose, The, 27 Romaunte of the Cnyghte, The, 348 Romeo and Juliet, 377 Ronsard, Pierre de, 22 Roscommon, W. Dillon, Earl of, 47 Ross, Thos., 321, 333 Rossetti, D. G., 4, 270, 272, 367, 372, 424 Roundabout Papers, 252 Rousseau, Jean Jacques, 31, 112, 252, 330, 381, 423 Rovers, The, 402 Rowe, Nicholas, 210, 219, 286 Rowley Poems, The, 211, 339-67, 424 Rudiments of Anglo-Saxon Grammar, 192 Rugantino, 409 Ruins of Netley Abbey, The, 182 Ruins of Rome, The, 144, 145 Ruskin, Jno., 26, 34, 102, 255 Rymer, Thos., 49, 62, 70 Reyse of Peyncteynge yn Englande, The, 349

Sachs, Hans, 381 Sadduceismus Triumphatus, 408 Sagen der Vorzeit, 418 Sängers Fluch, Der, 275 Saint Alban's Abbey, 262 Sainte-Beuve, C. A, 56 Sainte Palaye, J. B. de la C., 221, 222, 374 St. Irvine the Rosicrucian, 403 Saint Lambert, C. F., 106 St. Leon, 403 St. Pierre, J. H. B. de, 112 Saintsbury, Geo., 111, 131 Saisons, Les, 106 Sally in our Alley, 57 Salvator Rosa, 255 Sammlung Deutscher Volkslieder, 418 Samson Agonistes, 148, 184 "Saturday Papers," Addison's, 148 Schelling, F. W. J. von, 387 Scherer, Wilhelm, 300, 374, 376, 380, 382, 394 Schiller, J. C. F. von, 11, 76, 379, 384-87, 391, 401, 409, 419, 420 Schlegel, A. W. von, 14, 73, 301, 377, 384, 392 Schmidt, Erich, 382, 392 Schöne Helena, Die, 385 Scholar Gypsy, The, 408 Schoolmistress, The, 84, 91, 92, 97, 104, 130, 136, 138, 362 Schopenhauer, Arthur, 119 Scott, Sir Walter, 3, 16, 24, 26, 27, 42, 94, 96, 139, 187-89, 191, 200, 203, 223, 232, 234, 238, 248, 249, 258, 260, 262, 267, 269, 277, 298-301, 333, 334, 344, 350, 358, 359, 376, 389-96, 398-400, 402, 404-06, 410, 411, 416-18, 420, 424 Scottish Songs (Ritson's), 293 Scribleriad, The, 228, 229 Scudéry, Madeleine de, 6 Sean Dàna, 326 Seasons, The (Mendez), 85 Seasons, The (Thomson), 52, 75, 79, 103, 105-20, 124, 170, 152, 305, 374 Selden, John, 283 Selections from Gray (Phelps), 191 Selections from Newman (Gates), 41, 44 Seven Champions of Christendom, The, 37 Shadwell, Thos., 74 Shaftesbury, Anthony Ashley Cooper, Earl of, 41, 62, 226, 382 Shairp, J. C., 315 Shakspere Alterations, List of, 74 Shakspere Editions, List of, 74

Shakspere Illustrated, 70 Shakspere, Wm., 18, 25, 40, 50, 51, 63, 68-78, 89, 111, 117, 140, 170, 171, 198, 208-10, 213, 216-19, 225, 237, 298, 362, 375, 377-80, 383, 391 Shelley, Mary, 403, 406 Shelley, P. B., 5, 43, 107, 241, 362, 370, 372, 403, 406 Shenstone, Wm., 75, 84, 91, 97, 98, 102, 103, 110, 127, 130-39, 151, 152, 159, 162, 168, 184, 186, 215, 229, 273, 287, 422, 423 Shepherd's Calendar, The, 154 Sheridan, R. B., 76, 162, 400, 413, 420 Sheridan, Thos., 74 Sheringham, Robert, 192 Sicilian Romance, The, 250, 253 Sidney, Sir Philip, 25, 71, 72, 239, 274 Siegwart, 400 Sigurd the Volsung, 191 Sim, Jno., 94 Sinclair, Archibald, 325 Sinclair. Sir Jno., 321

Sir Cauline, 289, 200, 298 Sir Charles Grandison, 388 Sir Hugh, 279 Sir Lancelot du Lake, 278 Sir Patrick Spens, 300 Sister Helen, 363 Sisters, The, 270 Six Bards of Ossian Versified, The, 336 Skeat, W. W., 340, 355, 358-61, 364 Skene, W. F., 314, 323 Sketches of Eminent Statesmen, 234 Smart, Christopher, 85 Smith, Adam, 105 Smollett, Tobias, 76, 139 Solitary Reaper, The, 115 Somerville, Wm., 106, 124, 135 Song of Harold the Valiant, 196 Song of Ragner Lodbrog, 197 Song to Aella, 355 Songs of Selma, The, 331 Sonnet to Chatterton, 370 Sonnet to Mr. Gray, 201 Sonnet to Schiller, 419 Sonnet to the River Lodon, 161 Sophocles, 3, 19, 241, 379 Sophonisba, 75 Sorrows of Werther, The, 31, 330-32, 399, 423 Sotheby, Wm., 382 Southey, Robert, 206, 299, 350, 355, 358, 368, 398, 419 Southwell, Robert, 41 Spaniards in Peru, The, 400, 409 Specimens of Ancient Sculpture, 189 Specimens of Early English Poets, 301 Specimens of the Welsh Bards, 195 Spectator, The, 35, 37, 42, 49, 51, 55, 62, 120, 126, 139, 141, 148, 178, 227, 284, 353, 377 Speght's Chaucer, 360 Spence, Joseph, 132 Spencer, W. R., 392, 394 Spenser, Edmund, 16, 25, 33, 37, 63, 68, 69, 77-101, 129, 151, 154, 157, 159, 163, 170, 198, 199, 212, 213, 216, 219, 222, 224-26, 235, 244, 265, 279, 304, 359, 371 Spleen, The, 104, 136 Splendid Shilling, The, 104 Squire of Dames, The, 85, 91 Stanley, J. T., 392 State of German Literature, The, 401 Stedman, E. C., 162 Steevens, Geo., 32 Stello, 372 Stephen, Leslie, 32-34, 40, 102, 234, 237, 327 Sterne, Lawrence, 31, 32, 252 Stevenson, R, L., 258 Stillingfleet, Benjamin, 53, 161 Stimmen der Völker, 300, 337, 416 Stolberg, Friedrich Leopold, Count, 376, 377 Storie of William Canynge, The, 355 Stranger, The, 400 Stratton Water, 299 Strawberry Hill, 173, 179, 229, 230, 232, 234, 236, 340 Sturm von Borberg, 399 Suckling, Sir Jno., 57 Sugar Cane, The, 124 Sullivan, Wm. R., 314, 325 Sweet William's Ghost, 279, 280, 295, 300, 394 Swift, Jonathan, 40, 42, 162, 382 Swinburne, A. C., 35, 168 Syr Gawaine, 293 Syr Martyn, 95, 96 System of Runic Mythology, 191

Taine, H. A., 302, 316 Tale of a Tub, 42 Tales of Terror, 409, 417 Tales of Wonder, 404, 409, 416-18 Talisman, The, 188 Tam Lin, 268, 279, 295, 417 Tam o'Shanter, 187, 360 Tannhäuser, 268 Tasso, Torquato, 25, 49, 50, 170, 319, 222-26 Tate, Nahum, 74 Tatler, The, 62 Taylor, Jeremy, 40 Taylor, Wm., 376, 391-98, 417-18 Tea Table Miscellany, The, 284, 297 Temora, 309, 313, 314, 316, 321, 323, 338 Tempest, The, 70, 76, 171, 215 Temple, Sir Wm., 69, 120, 192, 197 Tennyson, Alfred, 18, 27, 35, 92, 93, 146, 200, 270, 28l Thackeray, W. M., 56, 80, 252, 254 Thaddeus of Warsaw, 243, 252 Thales, 85 Theagenes and Chariclea, 244 Theatrum Poetarum, 67, 81 Theocritus, 36 Thesaurus (Hicks'), 192, 193 Thomas à Kempis, 64 Thomas Rymer, 268 Thompson, Wm., 84 Thomson, Jas., 52, 74, 75, 79, 84, 85, 92-95, 97, 98, 102-19, 124, 133-36, 142, 151, 157, 159, 168, 184, 198, 215, 235, 251, 302, 303, 305, 374, 384, 422 Thomson, Jas. (2d), 162 Thoreau, H. D., 107 Tieck, Ludwig, 22, 377, 384 To Country Gentlemen of England, 85 Todtentanz, Der, 386 To Helen, 202 To Melancholy, 251 Tom Jones, 186, 263 Tom Thumb, 285 "Too Late I Stayed," 392 Torfaeus Thormodus, 191 To the Nightingale (Lady Winchelsea), 61 To the Nightingale (Mrs. Radcliffe), 251 To the Nightingale. See Odes. To the River Otter, 161 Tournament, The, 348, 365 Town and Country Magazine, The, 346, 352 Tragedies of the Last Age Considered, The, 70 Tressan, L. E. de L., Comte de, 381 Triumph of Isis, The, 199 Triumph of Melancholy, The, 305 Triumphs of Owen, The, 195 Tristan und Isolde, 3, 64 Trivia, 35 Troilus and Cresseide, 28 True Principles of Gothic Architecture, 234 Turk and Gawin, The, 293 Twa Corbies, The, 275 Two Sisters, The, 270, 279 Tyrwhitt, Thos., 63, 188, 211, 213, 246, 30l, 355-57, 359, 423 Tytler, Sir A. F., 391, 419

Ueber naive und sentimentalische Dichtung, 11, 387 Ueber Ossian und die Lieder alter Völker, 338 Uhland, Ludwig, 384 Ulysses, 18, 35 Unconnected Thoughts on Gardening, 127, 132 Universal Prayer, The, 41 Unnatural Flights in Poetry, 47 Upton, John, 85 Uz, J. P., 106

Vanity of Dogmatizing, The, 408 Vathek, 403, 405 Vergil, 25, 37, 49, 50, 55, 110, 223, 285, 335 Verses to Sir Joshua Reynolds, 202 Verses Written in 1748, 133 Vicar of Wakefield, The, 209 Vigny, Alfred Victor, Comte de, 372, 373 Villehardouin, Geoffrey de, 27, 64 Villon, Francois, 64, 216 Vindication (Tyrwhitt's), 359 Virtuoso, The, 84, 91, 141, 228 Vision, The (Burns), 334 Vision, The (Croxall), 84 Vision of Patience, The, 84 Vision of Solomon, The, 84 Voltaire, F. M. A. de, 214, 216, 237, 379, 381, 382 Von Arnim, Achim (L. J.), 384 Voragine, Jacobus de, 3 Vorlesungen über dramatische Kunst und Literatur, 14 Voss, J. H., 375

Wackenroder, W. H., 384 Wagner, H. L., 379 Waking of Angantyr, The, 192 Wallenstein, 385, 419 Waller, Edmund, 38, 39, 52, 53, 80, 216 Walpole, Horace, 32, 89, 120, 122, 129, 130, 135, 145, 159, 166, 173, 178, 179, 181, 229-43, 249-55, 258, 286, 306, 336, 337, 349-52, 354, 383, 401, 408, 417, 422 Walsh, Wm., 50, 53 Walther von der Vogelweide, 64 "Waly, Waly," 374, 300 Wanton Wife of Bath, The, 301 Warburton, Wm., 237 Wardlaw, Lady, 286 Ward's English Poets, 53, 111, 131, 169, 364 Warton, Joseph, 32, 75, 118, 142, 149, 151-53, 155, 156, l60, 163, 168, 171, 185, 193, 197-99, 206, 207, 212-20, 223, 226, 262, 302, 355, 375, 383, 387, 422, 423 Warton, Thos., Jr., 32, 36, 53, 75, 84, 85, 99-101, 150, 151, 156-58, 161, 163, 168, 171, 194, 197-207, 211, 213, 221, 224, 226, 245, 251, 260, 291, 293, 294, 302, 356, 359, 375, 387, 403, 422, 423 Warton, Thos., Sr., 85, 197 Waverley Novels, The, 188, 258, 262, 400, 422 Way, G. L., 301 Weber's Metrical Romances, 188 Weber, Veit, 400, 418 Webster, Jno., 66 Werner, 421 Wesley, Jno., 31 West, Gilbert, 84, 85, 89-91, 98, 126, 133, 151, 160, 193, 194 Whately, Thos., 122 Whistle, The, 334 White Doe of Rylstone, The, 184 Whitefield, Geo., 31 Whitehead, Wm., 84, 197 Whittington and his Cat, 273 Wieland, 403 Wieland, C. M., 106, 377, 378, 381, 397 Wife of Usher's Well, The, 269, 279 Wilde Jäger, Der, 391 Wild Huntsman, The, 404, 416 Wilkie, Wm., 85 Wilhelm Meister, 384, 387 Wilhelm Tell, 385 William and Helen, 391, 398, 404 Willie Drowned in Yarrow, 170 Willie's Lady, 279 Wilson's Life of Chatterton, 368 Winchelsea, Anne Finch, Countess of, 57, 61 Winckelmann, J. J., 384, 385 Windsor Forest, 57, 58, 2l5, 220 Winstanley, William, 62, 69 Winter, 103-106, 142, 422 Wither, Geo., 57 Wodrow, Jno., 334, 335 Wolfram von Eschenbach, 64 Wolfred von Dromberg, 398 Wonders of the Invisible World, 408 Wood, Anthony, 291 Wood, Robert, 387-89 Worde, Wynkyn de, 274 Wordsworth, Wm., 4, 5, 43, 58, 103, 107, 109, 112, 115, 135, 143-45, 160, 162, 183, 184, 218, 220, 288-90, 298, 299, 304, 316, 326, 328, 339, 344 Worm, Ole, 191, 193 Wreck of the Hesperus, The, 269 Wren, Sir Christopher, 121, 230 Written at an Inn at Henley, 138 Written at Stonhenge, 201 Written in Dugdale's Monasticon, 198

Yarrow Revisited, 344 Yarrow Unvisited, 298 Young, Edward, 56, 149, 163, 213, 387, 388, 421 Young Hunting, 279 Young Lochinvar, 277 Young Waters, 300

Zapolya, 420 Zastrozzi, 403 Zauberlehrling, Der, 386 Zauberring, Der, 4