But neither Fontenelle nor Wotton came into close quarters with the problem which was raised--not very clearly, it is true--by Perrault. Is there development in the various species of literature and art? Do they profit and enrich themselves by the general advance of civilisation? Perrault, as we have seen, threw out the suggestion that increased experience and psychological study enabled the moderns to penetrate more deeply into the recesses of the human soul, and therefore to bring to a higher perfection the treatment of the character, motives, and passions of men. This suggestion admits of being extended. In the Introduction to his Revolt of Islam, Shelley, describing his own intellectual and aesthetic experiences, writes: The poetry of ancient Greece and Rome, and modern Italy, and our own country, has been to me like external nature, a passion and an enjoyment.... I have considered poetry in its most comprehensive sense; and have read the poets and the historians and the metaphysicians whose writings have been accessible to me--and have looked upon the beautiful and majestic scenery of the earth--as common sources of those elements which it is the province of the Poet to embody and combine. And he appends a note: In this sense there may be such a thing as perfectibility in works of fiction, notwithstanding the concession often made by the advocates of human improvement, that perfectibility is a term applicable only to science. In other words, all the increases of human experience, from age to age, all the speculative adventures of the intellect, provide the artist, in each succeeding generation, with more abundant sources for aesthetic treatment. As years go on, life in its widest sense offers more and more materials "which it is the province of the Poet to embody and combine." This is evidently true; and would it not seem to follow that literature is not excluded from participating in the common development of civilisation? One of the latest of the champions of the Moderns, the Abbe Terrasson, maintained that "to separate the general view of the progress of the human mind in regard to natural science, and in regard to belles-lettres, would be a fitting expedient to a man who had two souls, but it is useless to him who has only one." [Footnote: Abbe Terrasson, 1670-1750. His Philosophie applicable a tons les objets de l'esprit et de la raison was issued posthumously in 1754. His Dissertation critique sur l'Iliade appeared in 1715.]He put the matter in too abstract a way to carry conviction; but the nineteenth century was to judge that he was not entirely wrong. For the question was, as we shall see, raised anew by Madame de Stael, and the theory was finally to emerge that art and literature, like laws and institutions, are an expression of society and therefore inextricably linked with the other elements of social development--a theory, it may be observed, which while it has discredited the habit of considering works of art in a