seventeenth centuries to a mysterious event called the Renaissance, is merely absurd. Modern scholars, if they are forced to find a beginning for modern literature, would prefer to date it from the wonderful outburst of vernacular poetry in the latter part of the twelfth century, and, if they must name a birthplace, would claim attention for the Court of King Henry II. In some of its aspects, the Romantic revival may be exhibited as a natural consequence of the Renaissance. Classical scholarship at first scorned the vernacular literatures, and did all its work of criticism and imitation in the Latin tongue. By degrees the lesson was widened, and applied to the modern languages. Study; imitation in Latin; extension of classical usages and principles to modern literature,--these were the regular stages in the progress of the classical influence. When the poets of France and England, to name no others, had learned as much as they were able and willing to learn from the masters of Greece and Rome, the work of the Renaissance was done. By the middle of the eighteenth century there was no notable kind of Greek or Latin literature--historical, philosophical, poetical; epic, elegy, ode, satire--which had not worthy disciples and rivals in the literatures of France and England. Nothing remained to do but to go further afield and seek for new masters. These might easily have been found among the poets and prophets of the East, and not a few notable writers of the time began to forage in that direction. But the East was too remote and strange, and its languages were too little known, for this attempt to be carried far; the imitation of Chinese and Persian models was practised chiefly by way of fantasy and joke. The study of the neglected and forgotten matter of mediaeval times, on the other hand, was undertaken by serious scholars. The progress of the mediaeval influence reproduced very exactly the successive phases of the Classical Renaissance. At first there was study; and books like Sainte Palaye's _Memoirs of Ancient Chivalry_, and Paul Henri Mallet's _Northern Antiquities_, enjoyed a European reputation. Then followed the period of forgery and imitation, the age of Ossian and Chatterton, Horace Walpole and Bishop Percy. Lastly, the poets enrolled themselves in the new school, and an original literature, suggested by the old, was created by Sir Walter Scott, Coleridge, and Keats. It was the temper of the antiquary and the sceptic, in the age of Gibbon and Hume, that begot the Romantic Revival; and the rebellion of the younger age against the spirit of the eighteenth century was the rebellion of a child against its parents.