But as if to make amends for its long lack of appreciation of the Devil’s literary possibilities, France, in the beginning of the nineteenth century, brought about a distinct reaction in his favour. The sympathy extended by that country of revolutionary progress to all victims and to all rebels, whether individuals or classes or nations, could not well be denied to the celestial outlaw. The fighters for political, social, intellectual, and emotional liberty on earth, could not withhold their admiration from the angel who demanded freedom of thought and independence of action in heaven. The rebel of the Empyrean was hailed as the first martyr in the cause of liberty, and his rehabilitation in heaven was demanded by the rebels on earth. Satan became the symbol of the restless, hapless nineteenth century. Through his mouth that age uttered its protest against the monarchs of heaven and earth. The Romantic generation of 1830 thought the world more than ever out of joint, and who was better fitted than the Devil to express their dissatisfaction with the celestial government of terrestrial affairs? Satan is the eternal Malcontent. To Hamlet, Denmark seemed gloomy; to Satan, the whole world appears dark. The admiration of the Romanticists for Satan was mixed with pity and sympathy--so much his melancholy endeared him to their sympathies, so kindred it seemed to their human weakness. The Romanticists felt a deep admiration for solitary grandeur. This “knight of the doleful countenance,” laden with a curse and drawing misfortune in his train, was the ideal Romantic hero. Was he not indeed the original _beau ténébreux_? Thus Satan became the typical figure of that period and its poetry. It has been well remarked that if Satan had not existed, the Romanticists would have invented him. The Devil’s influence on the Romantic School was so strong and so sustained that soon it was named after him. The terms Romantic and Satanic came to be wellnigh synonymous. The interest which the French Romanticists showed in the Devil, moreover, passed beyond the boundaries of France and the limits of the nineteenth century. The Symbolists, for whom the mysteries of Erebus had a potent attraction, were simply obsessed by Satan. But even the Naturalists, who certainly were not haunted by phantoms, often succumbed to his charms. Foreign writers turning for inspiration to France, where the literature of the last century reached its highest perfection, were also caught in the French enthusiasm for the Devil.