Among travellers who were not scholars, David Livingstone deserves mention for the greatness of his African discoveries, and McClintock as the chief in his time of Arctic explorers. But in the literary sense both were far surpassed by George Borrow, an author very hard to classify, but whom some would be disposed, for more reasons than one, to rank among the writers of fiction. Borrow did write stories, _Lavengro_ (1851), and its sequel, _The Romany Rye_ (1857), where facts of his own life are bewilderingly mingled with fiction; while it is strongly suspected that there is no small element of romance in the books of travel on which his fame chiefly rests. He had a remarkable gift for languages. Among other little-known tongues, he studied the Gipsy speech, and published a volume on _The Gipsies in Spain_ (1841), and a word-book of the English Gipsy dialect. His best book however is _The Bible in Spain_ (1843), an exceedingly readable account of his travels as colporteur in that country. Whether it be trustworthy as a record of facts or not, _The Bible in Spain_ has at least induced some whose whole interest was in tracts and colportage to read a piece of good literature, and has delighted with entertaining adventures others who looked for nothing better than an enlarged specimen of the tract kind. CHAPTER X. POETRY FROM 1850 TO 1870: THE INTELLECTUAL MOVEMENT. We have already seen that traces of change in the spirit of poetry manifest themselves soon after the opening of the present period. They appear in the works of men like Bailey and Sir Henry Taylor, and they grow steadily stronger in the successive volumes of Tennyson. We have also seen that a spirit cognate to this manifests itself in other departments of literature as well. It attains its full growth, especially in poetry and art, about the middle of the century; and so marked is the difference from the previous four-and-twenty years that it has been called the English Renaissance. The name is too ambitious and grandiloquent, yet if we do not press it unduly it will be useful in reminding us that literature had in nearly all departments come to be dominated by new ideals. Nowhere do we see them more conspicuous than in poetry. Their influence is visible in the rise of new schools; first, the 'Spasmodic School,' stronger in passion than in intellect, and greater in promise than in performance; and secondly, the Pre-Raphaelites, who were primarily artists, but who were also men of letters. The first article of their creed was to be true to nature; but they were far from being realists as the word is now commonly understood. More important than either of these were those whose task may be described as that of wedding intellect to imagination. They were not a new school, for their leaders, Browning and Tennyson, had been active all through the first part of the period. But their power and their influence had now grown to maturity; both in their choice of subject and in their