It is by no means necessary for the admirer of Schlegel to maintain that all this eulogium of the twelfth century, or this depreciation of the times we live in, is just and well-merited. Nothing is more cheap than to praise a pretty village perched far away amid the blue skies, and to rail at the sharp edges and corners of things that fret against our ribs. Let it be admitted that there is not a little of artistical decoration, and a great deal of optical illusion, in the matter; still there is some truth, some great truth, that lay in comparative neglect till Schlegel brought it into prominency. This is genuine literary merit; it is that sort of discovery, so to speak, which makes criticism original. And it was not merely with the bringing forward of new materials, but by throwing new lights on the old, that Frederick Schlegel enriched aesthetical science. If the criticism of the nineteenth century may justly boast of a more catholic sympathy, of a wider flight, of a more comprehensive view, and more various feast than that which it superseded, it owes this, with something that belongs to the spirit of the age generally, chiefly to the special captainship of Frederick Schlegel. If the grand spirit of combination and comprehension which distinguishes the "Lectures on Ancient and Modern Literature," be that quality which mainly distinguishes the so called Romantic from the Classical school of aesthetics, then let us profess ourselves Romanticists by all means immediately; for the one seems to include the other as the genus does the species. The beauty of Frederick Schlegel is, that his romance arches over every thing like a sky, and excludes nothing; he delights indeed to override every thing despotically, with one dominant theological and ecclesiastical idea, and now and then, of course, gives rather a rough jog to whatever thing may stand in his way; but generally he seeks about with cautious, conscientious care to find room for every thing; and for a wholesale dealer in denunciation (as in some views we cannot choose but call him) is really the most kind, considerate, and charitable Aristarchus that ever wielded a pen. Hear what Varnhagen Von Ense says on this point--"The inward character of this man, the fundamental impulses of his nature, the merit or the results of his intellectual activity, have as yet found none to describe them in such a manner as he has often succeeded in describing others. It is not every body's business to attempt an anatomy and re-combination of this kind. One must have courage, coolness, profound study, wide sympathies, and a free comprehensiveness, to keep a steady footing and a clear eye in the midst of this gigantic, rolling conglomeration of contradictions, eccentricities, and singularities of all kinds. Here every sort of demon and devil, genius and ghost, Lucinde and Charlemagne, Alarcos, Maria, Plato, Spinoza and Bonald, Goethe consecrated and Goethe condemned, revolution and hierarchy, reel about