iterature, and
responsible for its sentimental excesses. Goethe mentions Ossian in
connection with Homer in _Werther_, book II, "am 12. October," and
translates several passages of considerable length toward the close of
this book.

[264] ~Prometheus~. An unfinished drama of Goethe's, of which a fine
fragment remains.

PAGE 183

[265] For ~Llywarch Hen~, see Note 1, p. 180.[Transcriber's note: This
is Footnote 260 in this e-text.] The present quotation is from book II
of the _Red Book_. A translation of the poem differing somewhat from the
one quoted by Arnold is contained in W.F. Skene's _The Four Ancient
Books of Wales_, Edinburgh, 1868.

[266] From _On this day I complete my thirty-sixth year_, 1824.

[267] From _Euthanasia_, 1812.

PAGE 184

[268] ~Manfred, Lara, Cain~. Heroes of Byron's poems so named.

[269] From _Paradise Lost_, I, 105-09.

PAGE 185

[270] Rhyme,--the most striking characteristic of our modern poetry as
distinguished from that of the ancients, and a main source, to our
poetry, of its magic and charm, of what we call its _romantic element_--
rhyme itself, all the weight of evidence tends to show, comes into our
poetry from the Celts.[Arnold.] A different explanation is given by J.
Schipper, _A History of English Versification_, Oxford, 1910: "End-rhyme
or full-rhyme seems to have arisen independently and without historical
connection in several nations.... Its adoption into all modern
literature is due to the extensive use made of it in the hymns of the
church."

[271] Lady Guest's _Mabinogion, Math the Son of Mathonwy_, ed. 1819,
III, 239.

[272] _Mabinogion, Kilhwch and Olwen_, II, 275.

PAGE 186

[273] _Mabinogion, Peredur the Son of Evrawc_, I, 324.

[274] _Mabinogion, Geraint the Son of Erbin_, II, 112.

PAGE 187

[275] ~Novalis~. The pen-name of ~Friedrich von Hardenberg~ (1772-1801),
sometimes called the "Prophet of Romanticism." See Carlyle's essay on
Novalis.

[276] For ~Rueckert~, see _Wordsworth, Selections_, Note 4, p. 224.
[Transcriber's note: This is Footnote 356 in this e-text.]

[277] Take the following attempt to render the natural magic supposed to
pervade Tieck's poetry: "In diesen Dichtungen herrscht eine
geheimnissvolle Innigkeit, ein sonderbares Einverstaendniss mit der
Natur, besonders mit der Pflanzen-und Steinreich. Der Leser fuehlt sich
da wie in einem verzauberten Walde; er hoert die unterirdischen Quellen
melodisch rauschen; wildfremde Wund