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.