to regulate their thoughts and lives by rules not traceable to first principles, but dependent upon a set of special and exceptional conditions. . . To get out of the ruts, or cast off the obsolete shackles, two methods might be adopted. The intellectual horizon might be widened by including a greater number of ages and countries; or men might try to fall back upon the thoughts and emotions common to all races, and so cast off the superficial incrustation. The first method, that of the romanticists, aims at increasing our knowledge: the second, that of the naturalistic school, at basing our philosophy on deeper principles.[5] The classic, or pseudo-classic, period of English literature lasted from the middle of the seventeenth till the end of the eighteenth century. Inasmuch as the romantic revival was a protest against this reigning mode, it becomes necessary to inquire a little more closely what we mean when we say that the time of Queen Anne and the first two Georges was our Augustan or classical age. In what sense was it classical? And was it any more classical than the time of Milton, for example, or the time of Landor? If the "Dunciad," and the "Essay on Man," are classical, what is Keats' "Hyperion"? And with what propriety can we bring under a common rubric things so far asunder as Prior's "Carmen Seculare" and Tennyson's "Ulysses," or as Gay's "Trivia" and Swinburne's "Atalanta in Calydon"? Evidently the Queen Anne writers took hold of the antique by a different side from our nineteenth-century poets. Their classicism was of a special type. It was, as has been often pointed out, more Latin than Greek, and more French than Latin.[6] It was, as has likewise been said, "a classicism in red heels and a periwig." Victor Hugo speaks of "cette poesie fardee, mouchetee, poudree, du dix-huitieme siecle, cette literature a paniers, a pompons et a falbalas."[7] The costumes of Watteau contrast with the simple folds of Greek drapery very much as the "Rape of the Lock," contrasts with the Iliad, or one of Pope's pastorals with an idyl of Theocritus. The times were artificial in poetry as in dress-- "Tea-cup times of hood and hoop, And when the patch was worn." Gentlemen wore powdered wigs instead of their own hair, and the power and the wig both got into their writing. _Perruque_ was the nickname applied to the classicists by the French romanticists of Hugo's generation, who wore their hair long and flowing--_cheveaux merovigiennes_--and affected an _outre_ freedom in the cut and color of their clothes. Similarly the Byronic collar became, all over Europe, the symbol of daring independence in matters of taste and opinion. Its careless roll, which left the throat exposed, seemed to assist the liberty of nature against cramping conventions.