ly of thorough knowledge and sympathy.
But German scholarship and constructive criticism, through Witte, Kopisch, Wegele, Ruth, and others, have been of pre-eminent service in deepening the understanding and facilitating the study of the poet.
In Ean and poem continue not only to be misunderstood popularly, but also by such as should know better.
Witte, Wegele, and Ruth in German, and Ozanam in French, have rendered ignorance of Dante inexcusable among men of culture. That those who confineild of clerks.
See Wegele, ubi supra, p. 174, et seq. The best analysis of Dante's opinions we have ever met with is Emil Ruth's Studien fiber Dante Alighieri, Tubingen, 1853.
Unhappily it wants an index, and accordingly loses a great part of itefulness for those not already familiar with the subject.
Nor are its references sufficiently exact.
We always respect Dr. Ruth's opinions, if we do not wholly accept them, for they are all the results of original and assiduous study. Whatever poet
By and by the powerful impress of Burns is seen both in the topics of his verse and the form of his expression.
But whatever their ultimate effect upon his style, certain it is that his juvenile poems were clothed in the conventional habit of the eighteenth century.
The first verses from which he remembered to have received great pleasure were Miss Carter's Poem on spring, a poem in the six-line stanza which he was particularly fond of and had composed much in,— for example, Ruth.
This is noteworthy, for Wordsworth's lyric range, especially so far as tune is concerned, was always narrow.
His sense of melody was painfully dull, and some of his lighter effusions, as he would have called them, are almost ludicrously wanting in grace of movement.
We cannot expect in a modern poet the thrush-like improvisation, the impulsively bewitching cadences, that charm us in our Elizabethan drama and whose last warble died with Herrick; but Shelley, Tennyson, and Browning have s