The last part of the eighteenth century showed a revolt against the classicists. Victory came to the new romantic school, which included authors like Wordsworth (1770-1850), Coleridge (1772-1834), Shelley (1792-1822), and Keats (1795-1821). The terms "romantic" and "imaginative" were at first in great measure synonymous. The romanticists maintained that a reality of the imagination might be as satisfying and as important as a reality of the prosaic reason, since the human mind had the power of imagining as well as of thinking. The term "Gothic" was first applied to fiction by Horace Walpole (1717-1797), who gave to his famous romance the title of "_The Castle of Otranto: A Gothic Romance_" (1764). "Gothic" is here used in the same sense as "romantic." Gothic architecture seemed highly imaginative and overwrought in comparison with the severe classic order. In attempting to avoid the old classic monotony, the Gothic school of fiction was soon noted for its lavish use of the unusual, the mysterious, and the terrible. Improbability, or the necessity for calling in the supernatural to untie some knot, did not seriously disturb this school. The standard definition of "Gothic" in fiction soon came to include an element of strangeness added to terror. When the taste for the extreme Gothic declined, there ensued a period of modified romanticism, which demanded the unusual and occasionally the impossible. This influence persisted in the fiction of the greatest writers, until the coming of the realistic school (p. 367). We are now better prepared to understand the work of Charles Brockden Brown, the first great American writer of romance, and to pass from him to Cooper, Hawthorne, and Poe. CHARLES BROCKDEN BROWN, 1771-1810 [Illustration: CHARLES BROCKDEN BROWN] Philadelphia has the honor of being the birthplace of Brown, who was the first professional man of letters in America. Franklin is a more famous writer than Brown, but, unlike Brown, he did not make literature the business of his life. Descended from ancestors who came over on the ship with William Penn, Brown at the age of ten had read, with Quaker seriousness, every book that he could find. He did not go to college, but studied law, which he soon gave up for literature as a profession. Depression from ill health and the consciousness that he would probably die young colored all his romances. He has the hero of one of his tales say, "We are exposed, in common with the rest of mankind, to innumerable casualties; but, if these be shunned, we are unalterably fated to die of consumption." In 1810, before he had reached forty, he fell a victim to that disease. Near the end of his days, he told his wife that he had not known what health was longer than a half hour at a time.