All the others, Keats, Shelley, Byron were dead before 1830, and the problem which might have confronted us had they lived, of adult work running counter to the tendencies and ideals of youth, does not exist for us. Keats or Shelley might have lived as long as Carlyle, with whom they were almost exactly contemporary; had they done so, the age of the Romantic Revival and the Victorian age would have been united in the lives of authors who were working in both. We should conceive that is, the whole period as one, just as we conceive of the Renaissance in England, from Surrey to Shirley, as one. As it is, we have accustomed ourselves to a strongly marked line of division. A man must be on either one side or the other; Wordsworth, though he wrote on till 1850, is on the further side, Carlyle, though he was born in the same year as Keats, on the hither side. Still the accident of length of days must not blind us to the fact that the Victorian period, though in many respects its ideals and modes of thinking differed from those of the period which preceded it, is essentially an extension of the Romantic Revival and not a fresh start. The coherent inspiration of romanticism disintegrated into separate lines of development, just as in the seventeenth century the single inspiration of the Renaissance broke into different schools. Along these separate lines represented by such men as Browning, the Pre-Raphaelites, Arnold, and Meredith, literature enriched and elaborated itself into fresh forms. None the less, every author in each of these lines of literary activity invites his readers to understand his direct relations to the romantic movement. Rossetti touches it through his original, Keats; Arnold through Goethe and Byron; Browning first through Shelley and then in item after item of his varied subject-matter.