in the most feminine of languages.
Yet in the works of Fauriel, Ozanam, Ampere, and Villemain, France has given a greater impulse to the study of Dante than any other country except Germany.
Into Gthor, or he would never have put Sordello in hell and the meeting with Beatrice in paradise.
In France it was not much better (though Rivarol has said the best thing hitherto of Dante's parsimony of is simply disgusting as an ideal of art. In the last century, they set him up in Germany and in France as befitting an era of enlightenment, the light of which came too manifestly from the wrong quarhat Miss Rossetti should so localize and confine Dante's meaning as to explain them by Florence, France, and Rome.
Had he written in so narrow a sense as this, it would indeed be hard to account for n moments of heightened fantasy or enthusiasm can personify their country and speak of England, France, or America, as if they were real beings, so did Dante habitually.
As we have seen, even a si
During the period when Spenser was getting his artistic training a great change was going on in our mother-tongue, and the language of literature was disengaging itself more and more from that of ordinary talk.
The poets of Italy, Spain, and France began to rain influence and to modify and refine not only style but vocabulary.
Men were discovering new worlds in more senses than one, and the visionary finger of expectation still pointed forward.
There was, as we learn from contemporary pamting foreigners, and reigned over by kings of whom they were proud or not as the case might be, but there was no England as a separate entity from the sovereign who embodied it for the time being.
In the Elizabethan drama the words England and France are constantly used to signify the kings of those countries. But now an English people began to be dimly aware of itself.
Their having got a religion to themselves must have intensified them much as the having a god of their own did the Jews.
holy orders under the plea that he was not of age for ordination, went over to France in November, and remained during the winter at Orleans.
Here he became intimato in the training and expansion of his faculties was this period of his stay in France.
Born and reared in a country where the homely and familiar nestles confidinglside histories and tragedies, for which the hamlet supplied an ample stage.
In France he first felt the authentic beat of a nation's heart; he was a spectator at onevibrated by the orgasm of a national emotion.
He sympathized with the hopes of France and of mankind deeply, as was fitting in a young man and a poet; and if his faiof view (if change there was) certainly was complete soon after his return from France, and was perhaps due in part to the influence of Burke.
While he [Burke] fors gradually centred more and more towards him. In 1802 he made a short visit to France, in company with Miss Wordsworth, and soon after his return to England was marr
the means of acquiring it, and Milton's manner (his style was his own) was very little affected by any of the English poets, with the single exception, in his earlier poems, of George Wither.
Mr. Masson also has something to say about everybody, from Wentworth to the obscurest Brownist fanatic who was so much as heard of in England during Milton's lifetime.
If this theory of a biographer's duty should hold, our grandchildren may expect to see A Life of Thackeray, or who was who in England, France, and Germany during the first Half of the Nineteenth Century.
These digressions of Mr. Masson's from what should have been his main topic (he always seems somehow to be completing his tendency towards the suburbs of his subject), give him an uneasy feeling that he must get Milton in somehow or other at intervals, if it were only to remind the reader that he has a certain connection with the book.
He is eager even to discuss a mere hypothesis, though an untenable one, if it will only incre