"These fictions coinciding with the reigning manners, and perpetually kept up and improved in the tales of troubadours and minstrels, seem to have centred about the eleventh century in the ideal histories of Turpin and Geoffrey of Monmouth, which record the suppositious achievements of Charlemagne and King Arthur, where they formed the groundwork of that species of narrative called romance. And from these beginnings or causes, afterwards enlarged and enriched by kindred fancies fetched from the crusades, that singular and capricious mode of imagination arose, which at length composed the marvellous machineries of the more sublime Italian poets, and of their disciple Spenser." The theory which traces romantic fiction to the Arabs is but partially true. The entire literature of that age was monstrous, full of the most absurd and extravagant fancies. History was fabulous; poetry mendacious and philosophy erroneous. Theology abounded in pious frauds. Monks and minstrels vied with each other in the invention of lying legends to adorn the lives of heroes and saints. All classes of the community shared in the general delusion, and the supernatural seemed more credible than the natural. In tracing the progress of learning, in England, I propose, during the remainder of the present paper to discuss one inconsiderable yet _important_ element of modern civilization, which is often entirely overlooked. I refer to "Lyric Poetry." The lyre is one of the oldest of musical instruments. Its invention is ascribed to a god. Its Saxon name is harp. It was the favorite instrument of the ancient Hebrews, as well as of the Greeks. The Saxons, Britons and Danes regarded it with veneration, and protected by legal enactments those who played upon it. Their persons were esteemed inviolable and secured from injuries by heavy penalities. By the laws of Wales, slaves were forbidden to practice upon it; and no creditor could seize the harp of his debtor. That minstrels were a privileged class is manifested from king Alfred's penetrating the Danish camp (878) disguised as a harper. Sixty years after a Danish king visited King Athelstan's camp in the same disguise. It was also said of Aldhelm, one of the leading scholars of the eighth century: "He was an excellent harper, a most eloquent Saxon and Latin poet, a most expert chanter, or a singer, a doctor egregius, and admirably versed in scriptures and liberal sciences." The minstrel was a regular and stated officer of the Anglo-Saxon kings. Poetry is always the earliest form of literature; song the earliest form of poetry. The Muse adapts her lessons to the nation's infancy and adds the charm of melody to verse. No nation is destitute of lyric poetry. Even the North American Indians have their war songs, though their individual worship of their gods has prevented the creation of any national poetry for associated worship. The Scandinavians have but one term for the poet and the singer. The