And, in France, all these temperaments seem stationary; they neither change nor develop; they remain self-centered, and in time we become weary of seeing their pale reflections of themselves. Here, we become weary of poets who see everything in the world but themselves, and who have no personal hold upon the universe without. Between the too narrowly personal and a too generalized impersonality, there remains, in France and in England, a little exquisite work, which is poetry. Is it important, or even possible, to decide whether there is a little more of it to be found in the books of English or of French poets? PARADOXES ON POETS The great period of English poetry begins half-way through the sixteenth century, and lasts half-way into the seventeenth. In the poetry strictly of the sixteenth century, before the drama had absorbed poetry into the substance of its many energies, verse is used as speech, and becomes song by way of speech. It was the age of youth, and rejoiced, as youth does, in scarcely tried strength and in the choice of adventure. And it was an adventure to write. Soldiers and voyagers, Sidney, Raleigh, led the way as on horses and in ships. It is Raleigh, in the preface to a deeply meditated "History of the World," who speaks gallantly of "leisure to have made myself a fool in print." New worlds had been found beyond the sea, and were to be had for the finding in all the regions of the mind. There were buried worlds of the mind which had lately been dug up, lands had been newly colonized, in Italy and in France; à kind of second nature, it seemed to men in those days, which might be used not less freely than nature itself. And, just as the Renaissance in Italy was a new discovery of the mind, through a return to what had been found out in antiquity and buried during the Middle Ages, so, in England, poetry came to a consciousness of itself by way of what had already been discovered by poets like Petrarch and Ronsard, and even their later apes and mimics, Serafino or Desportes, among those spoils. Poetry had to be reawakened, and these were the messengers of dawn. Once awakened, the English tongue could but sing, for a while, to borrowed tunes; yet it sang with its own voice, and the personal accent brought a new quality into the song. Song-writers and sonnet-writers, when they happened to be poets, found out themselves by the way, and not least when they thought they were doing honor to a foreign ideal. And it was an age of music. Music, too, had come from Italy, and had found for once a home there. Music, singing and dancing made then, and then only, the "merry England" of the phrase. And the words, growing out of the same soil as the tunes, took equal root. Campion sums up for us a whole period, and the song-books have preserved for us names, but for them unknown, of perfect craftsmen in the two arts. Every man, by the mere feeling and fashion of the time, took care to write Worthy the reading and the world's delight.