[264] ~Prometheus~. An unfinished drama of Goethe's, of which a fine fragment remains. PAGE 183 [265] For ~Llywarch Hen~, see Note 1, p. 180.[Transcriber's note: This is Footnote 260 in this e-text.] The present quotation is from book II of the _Red Book_. A translation of the poem differing somewhat from the one quoted by Arnold is contained in W.F. Skene's _The Four Ancient Books of Wales_, Edinburgh, 1868. [266] From _On this day I complete my thirty-sixth year_, 1824. [267] From _Euthanasia_, 1812. PAGE 184 [268] ~Manfred, Lara, Cain~. Heroes of Byron's poems so named. [269] From _Paradise Lost_, I, 105-09. PAGE 185 [270] Rhyme,--the most striking characteristic of our modern poetry as distinguished from that of the ancients, and a main source, to our poetry, of its magic and charm, of what we call its _romantic element_-- rhyme itself, all the weight of evidence tends to show, comes into our poetry from the Celts.[Arnold.] A different explanation is given by J. Schipper, _A History of English Versification_, Oxford, 1910: "End-rhyme or full-rhyme seems to have arisen independently and without historical connection in several nations.... Its adoption into all modern literature is due to the extensive use made of it in the hymns of the church." [271] Lady Guest's _Mabinogion, Math the Son of Mathonwy_, ed. 1819, III, 239. [272] _Mabinogion, Kilhwch and Olwen_, II, 275. PAGE 186 [273] _Mabinogion, Peredur the Son of Evrawc_, I, 324. [274] _Mabinogion, Geraint the Son of Erbin_, II, 112. PAGE 187 [275] ~Novalis~. The pen-name of ~Friedrich von Hardenberg~ (1772-1801), sometimes called the "Prophet of Romanticism." See Carlyle's essay on Novalis. [276] For ~Rückert~, see _Wordsworth, Selections_, Note 4, p. 224. [Transcriber's note: This is Footnote 356 in this e-text.] [277] Take the following attempt to render the natural magic supposed to pervade Tieck's poetry: "In diesen Dichtungen herrscht eine geheimnissvolle Innigkeit, ein sonderbares Einverständniss mit der Natur, besonders mit der Pflanzen-und Steinreich. Der Leser fühlt sich da wie in einem verzauberten Walde; er hört die unterirdischen Quellen melodisch rauschen; wildfremde Wunderblumen schauen ihn an mit ihren bunten sehnsüchtigen Augen; unsichtbare Lippen küssen seine Wangen mit neckender Zärtlichkeit; _hohe Pilze, wie goldne Glocken, wachsen klingend empor am Fusse der Bäume_"; and so on. Now that stroke of the _hohe Pilze_, the great funguses, would have been impossible to the tact and delicacy of a born lover of nature like the Celt; and could only have come from a German who has _hineinstudirt_ himself into natural magic. It is a crying false note, which carries us at once out of the world of nature-magic, and the breath of the woods, into the world of theatre-magic and the smell of gas and orange-peel.[Arnold.]