have read, however, a number of Tieck’s “Maerchen” and of Fouque’s romances; Novalis’ “Hymns to the Night” and “Heinrich von Ofterdingen”; A. W. Schlegel’s “Lectures on Dramatic Literature” and F. Schlegel’s “Lucinde”; all of Uhland’s ballads and most of Heine’s writings in verse and prose; a large part of “Des Knaben Wunderhorn,” and the selections from Achim von Arnim, Clemens Brentano, and Joseph Goerres contained in Koch’s “Deutsche National Litteratur,” 146 Band (Stuttgart, 1891).  These last include Brentano’s “Die Erfindung des Rosenkranzes,” “Kasperl und Annerl,” “Gockel und Hinkerl,” etc., and Arnim’s “Kronenwaechter,” a scene from “Die Paepstin Johanna,” etc.  I have, of course, read Madame de Stael’s “L’Allemagne”; all of Carlyle’s papers on German literature, with his translations; the Grimm fairy tales and the like.

[2] “Gedanken ueber die Nachahmung der Griechischen Werke in der Malerei und Bildhauerkunst,” 1755.  “Geschichte der Kunst des Alterthums,” 1764.

[3] “Laocoon,” 1766.

[4] See vol. i., chap. xi.; and particularly pp. 383-87.

[5] See vol. i., pp. 422-23.

[6] Novalis’ and Wackenroder’s remains were edited by Tieck and F. Schlegel.  Arnim married Brentano’s sister Bettina—­Goethe’s Bettina.

[7] E.g., Tieck’s “Der Gestiefelte Kater,” against Nicolai and the Aufklarung.

[8] As to the much-discussed romantic irony, the theory of which played a part in the German movement corresponding somewhat to Hugo’s doctrine of the grotesque, it seems to have made no impression in England.  I can discover no mention of it in Coleridge.  Carlyle, in the first of his two essays on Richter (1827), expressly distinguishes true humour from irony, which he describes as a faculty of caricature, consisting “chiefly in a certain superficial distortion or reversal of objects”—­the method of Swift or Voltaire.  That is, Carlyle uses irony in the common English sense; the Socratic irony, the irony of the “Modest Proposal.”  The earliest attempt that I have encountered to interpret to the English public what Tieck and the Schlegels meant by “irony” is an article in Blackwood’s for September, 1835, on “The Modern German School of Irony”; but its analysis is not very eingehend.

[9] An English translation was published in this country in 1882.  See also H. H. Boyesen’s “Essays on German Literature” (1892) for three papers on the “Romantic School in Germany.”

[10] Gentz, “The German Burke,” translated the “Reflections on the Revolution in France” into German in 1796.

[11] See also in the same tract, Burke’s tribute to the value of hereditary nobility, and remember that these were the words of a Whig statesman.

[12] Dream books, medicine books, riddle books, almanacs, craftsmen’s proverbs, fabulous travels, prophecies, legends, romances and the like, hawked about at fairs.