[8] "Racine et Shakespeare, Études en Romantisme" (1823), p. 32, ed. of Michel Lévy Frères, 1954. Such would also seem to be the view maintained by M. Émile Deschanel, whose book "Le Romantisme des Classiques" (Paris, 1883) is reviewed by M. Brunetière in an article already several times quoted. "Tous les classiques," according to M. Deschanel—at least, so says his reviewer—"ont jadis commencé par être des romantiques." And again: "Un romantique seraut tout simplement un classique en route pour parvenir; et, réciproquement, un classique ne serait de plus qu'un romantique arrivé."
[9] "Classic and Romantic," Vol. LVII.
[10] See Schiller's "Ueber naive and sentimentalische Dichtung."
[11] Le mot de romantisme, après cinquante ans et plus de discussions passionnées, ne laisse pas d'être encore aujourd'hui bien vague et bien flottant.—Brunetière, ibid.
[12] Ce qui constitue proprement un classique, c'est l'équilibre en lui de toutes les facultés qui concourent à la perfection de l'oeuvre d'art.—Brunetière, ibid.
[13] "Vorlesungen über dramatische Kunst und Litteratur."
[14] Far to the west the long, long vale withdrawn,
Where twilight loves to linger for a while.
—Beattie's "Minstrel."
[15] The modernness of this "latest born of the myths" resides partly in its spiritual, almost Christian conception of love, partly in its allegorical theme, the soul's attainment of immortality through love. The Catholic idea of penance is suggested, too, in Psyche's "wandering labors long." This apologue has been a favorite with platonizing poets, like Spenser and Milton. See "The Faïrie Queene," book iii. canto vi. stanza 1., and "Comus," lines 1002-11
[16] "Selections from Walter Savage Landor," Preface, p. vii.
[17] See also Walter Bagehot's essay on "Pure, Ornate, and Grotesque Art," "Literary Studies, Works" (Hartford, 1889), Vol I. p. 200.