y applying still more strenuously to the particular kind
and period of such reminiscence which had been hitherto, despite the
mediaeval excursions of many from Percy to Tennyson, imperfectly
utilised. The literary practitioners of the school (with whom alone we
are concerned) were not indeed by any means purely mediaeval in their
choice of subject, in their founts of inspiration, or in their method of
treatment. English poetry has known few if any more accomplished
scholars both in the classics and in the modern languages than Mr.
Swinburne, for instance; and something similar might be said of others.
But, on the whole, the return of this school--for all new things in
literature are returns--was to a mediaevalism different from the
tentative and scrappy mediaevalism of Percy, from the genial but slightly
superficial mediaevalism of Scott, and even from the more exact but
narrow and distinctly conventionalised mediaevalism of Tennyson. They
had other appeals, but this was their chief.

It may seem that mere or main archaism is not a very charming or
powerful thing, and in weaker hands it would not have been either one or
the other; but it so happened that these hands were very strong indeed.
Mr. Rossetti had one of the most astonishing combinations ever known of
artistically separate gifts, as well as a singular blend of passion and
humour. His sister was one of the great religious poets of the world.
Mr. Swinburne has never been surpassed, if he has ever been equalled, by
any poet in any language for command of the more rushing and flowing
forms of verse. Mr. Morris has few equals in any time or country for
narrative at once decorative and musical. Moreover, though it may seem
whimsical or extravagant to say so, these poets added to the very charm
of mediaeval literature which they thus revived a subtle something which
differentiates it from--which to our perhaps blind sight seems to be
wanting in--mediaeval literature itself. It is constantly complained (and
some of those who cannot go all the way with the complainants can see
what they mean) that the graceful and labyrinthine stories, the sweet
snatches of song, the quaint drama and legend of the Middle Ages
lack--to us--life; that they are shadowy, unreal, tapestry on the wall,
not alive even as living pageants are. By the strong touch of modernness
which these poets and the best of their followers introduced into their
work, they have given the vivification required.