here expressed than the profound emotion of the singer's heart and soul. From another aspect we find in the short and charming odes of Anacreon a wider and more jovial sense of enjoyment, which sports with delight on the immediate sense of enjoyment as over something to be simply accepted as it falls without troubling itself with infinite heartaches, without this overmastering of the entire life or the pious submission of a burdened, yearning, and yielding soul; in this type the point of infinite importance whether it is precisely this or that girl which you possess is as absolutely disregarded as the monkish notion that you should shun maidenhood altogether. The lofty tragedy of the ancients does not recognize the passion of love in its romantic significance. Pre-eminently in the case of both Aeschylus and Sophocles we find that it makes no pretension to contribute to the main interest of the drama. For although Antigone is the accepted lover of Haemon, and Haemon claims her before his father, nay, goes to the length of committing suicide because he is unable to deliver her, yet it is the external aspects of the case rather than the power of his own personal passion, which, we may also note, is not that of a modern lover, which he emphasizes before Creon. As a more essential type of pathos love is treated by Euripides in the "Phaedra." But here, too, it rather makes itself felt as a criminal aberration of the blood, as a passion of the senses, initiated by Aphrodite, who is desirous of slaying Hippolytus, because he refuses to sacrifice to her. In the same way we have, no doubt, in the Medicean Aphrodite a plastic figure of love, whose exquisite pose and lovely elaboration of bodily form is quite consummate; but any profound expression of soul-life such as romantic art demands is wholly absent. On the other hand, the immortality of Petrarca, although he himself treated his sonnets in the light of recreation, and it was rather through his Latin poems and other works that he appealed to posterity, is due to this very love of the fancy which, under an Italian sky, joined sisterly hands with religion in the medium of a somewhat artificial outpouring of the heart. Dante's exaltation, too, originated in his love for Beatrice, which was transfigured in his soul to the white fervour of religious ecstasy, while the courage and boldness of his genius created energetically a religious outlook on the world, in which he dared, an attempt impossible without such gifts, to constitute himself the judge of mankind, and to apportion to individuals hell, purgatory, or paradise. In contrast to an exaltation of this kind love is placed before us by Boccaccio in those romances of his, in which he brings before our eyes the morals and life of his country, partly in all its impetuosity of passion, partly, too, in the spirit of frivolity without any ethical aim whatever. In the songs of the German Minnesingers we find a type