UNDOUBTEDLY the greatest philosophical generalization of our time is expressed in the four words, ‘The Renascence of Wonder.’ They suggest that great spiritual theory of the universe which, according to Mr. Watts-Dunton, is bound to follow the wave of materialism that set in after the publication of Darwin’s great book. This phrase, which I first became familiar with in his ‘Encyclopædia Britannica’ article on Rossetti, seems really to have been used first in ‘Aylwin.’ The story seems originally to have been called ‘The Renascence of Wonder,’ but the title was abandoned because the writer believed that an un-suggestive name, such as that of the autobiographer, was better from the practical point of view. For the knowledge of this I am indebted to Mr. Hake, who says:— “During the time that Mr. Swinburne was living in Great James Street, several of his friends had chambers in the same street, and among them were my late father, Dr. Gordon Hake—Rossetti’s friend and physician—Mr. Watts-Dunton and myself. Mr. Watts-Dunton, as is well known, was a brilliant raconteur long before he became famous as a writer. I have heard him tell scores of stories full of plot and character that have never appeared in print. On a certain occasion he was suffering from one of his periodical eye troubles that had used occasionally to embarrass him. He had just been telling Mr. Swinburne the plot of a suggested story, the motive of which was the ‘renascence of wonder in art and poetry’ depicting certain well-known characters. I offered to act as his amanuensis in writing the story, and did so, with the occasional aid of my father and brothers. The story was sent to the late F. W. Robinson, the novelist, then at the zenith of his vogue, who declared that he ‘saw a fortune in it,’ and it was he who advised the author to send it to Messrs. Hurst & Blackett. As far as I remember, the time occupied by the work was between five and six months. When a large portion of it was in type it was read by many friends,—among others by the late Madox Brown, who thought some of the portraits too close, as the characters were then all living, except one, the character who figures as Cyril. Although unpublished, it was so well known that an article upon it appeared in the ‘Liverpool Mercury.’ This was more than twenty years ago.” The important matter before us, however, is not when he first used this phrase, which has now become a sort of literary shorthand to express a wide and sweeping idea, but what it actually imports. Fortunately Mr. Watts-Dunton has quite lately given us a luminous exposition of what the words do precisely mean. Last year he wrote for that invaluable work, Chambers’s ‘Cyclopædia of English Literature,’ the Introduction to volume iii., and no one can any longer say that there is any ambiguity in this now famous phrase:—