It was in the second half of the eighteenth century that this aesthetic[75] vocabulary—_genius_, _original_, _romantic_, ...—whose meanings had up to the present been developed largely by the English, began to make a stir on the Continent. The words were talked of in France; they were taken up by the critics, poets, and philosophers of Germany; and after much handling by men like Kant, Hegel, Schelling, Goethe, and others, the further and partly popularized meanings which they thus acquired were, in a sense, again inserted into their English forms by one or two Englishmen who, towards the close of the century, felt a strong affinity between their own impulses and the _Sturm und Drang_ which had been agitating Germany. The most influential of these was Samuel Taylor Coleridge, and just before the turn of the century there burst, with his help, upon England that strange explosion which received, naturally enough, the name of the Romantic Movement. At first it took the form of a sort of cult of the Middle Ages. _Ballad_ is another word which added several cubits to its stature by travelling in France and Germany, where it also gave birth to the musical _ballade_; and we find medieval words like _bard_, _foray_, _gramarye_[76] (and its Scotch derivative, _glamour_), and _raid_, revived by Walter Scott after having fallen out of use for two or three hundred years. _Derring-do_—another of these revivals—is interesting because it originates in a mistake made by Spenser about Chaucer. He had described how Troilus was second to nobody in “daring do that belongeth to a knight”—that is to say, “in daring to do that which belongs to a knight”—or, in Cornish idiom, “that which a knight ‘belongs to do’”. It is easy to see the nature of Spenser’s error. The mysterious substantive _derring-do_ (desperate courage), which he created and used several times, is not found again until Scott’s _Ivanhoe_. Very soon the Romantic Movement was resuscitating the Elizabethan world as well as the “Gothic”—a word, by the way, which now, for the first time in its history, began to connote approval. It was Coleridge himself who invented the word _Elizabethan_, and his magnificent lectures on Shakespeare must be very largely responsible for that renewed and deepened interest in the great dramatist in which Germany once more set us the example. It is also noteworthy that the word _fitful_, which Shakespeare had probably coined in the famous line from _Macbeth_, was never used again until the close of the eighteenth century; and another word which expired when the Elizabethan spirit expired in Milton, to be resurrected in the nineteenth century, is _faery_, with that spelling, and with the meaning, not so much of an individual sprite as of a magic realm or state of being—almost “the whole supernatural element in romance”.