earn that the line

"For o'er the Southern moors
I have a home for thee"

read in the original draught "Over the bleak Dartmoor," etc. Dartmoor
was in sight of Teignmouth where Keats once spent two months; but he
cancelled the local allusion in obedience to a correct instinct.

[39] "Ode to a Nightingale,"

[40] "The Liberal Movement in English Literature," London, 1885, p. 181.

[41] "Studies and Appreciations." Lewis G. Gates. New York, 1890, p. 17.

[42] See vol. i., p. 371, and for Cumberland's poem, on the same
superstition, _ibid._, 177.

CHAPTER IV.

The Romantic School in Germany.[1]

Cross-fertilization, at least in these modern eras, is as necessary in
the life of a literature as in that of an animal or a plant. English
romanticism, though it started independently, did not remain an isolated
phenomenon; it was related to the general literary movement in Europe.
Even Italy had its romantic movement; Manzoni began, like Walter Scott,
by translating Buerger's "Lenore" and "Wild Huntsman", and afterwards,
like Schlegel in Germany and Hugo in France, attacked the classical
entrenchments in his "Discourse of the Three Unities." It is no part of
our undertaking to write the history of the romantic schools in Germany
and France. But in each of those countries the movement had points of
likeness and unlikeness which shed light upon our own; and an outline
sketch of the German and French schools will help the reader better to
understand both what English romanticism was, and what it was not.

In Germany, as in England, during the eighteenth century, the history of
romanticism is a history of arrested development. Romanticism existed in
solution, but was not precipitated and crystallised until the closing
years of the period. The current set flowing by Buerger's ballads and
Goethe's "Goetz," was met and checked by a counter-current, the new
enthusiasm for the antique promoted by Winckelmann's[2] works on classic
art, by the neo-paganism of Goethe's later writings, and by the influence
of Lessing's[3] clear, rationalising, and thoroughly Protestant spirit.[4]

We may note, at the outset, the main features in which the German
romanticism differed from the English. First, then, it was more
definitely a _movement_. It was organised, self-conscious, and critical.
Indeed, it was in criticism and not in creative literature that its
highest successes were won. Coleridge, Scott, and Keats,