ry, and within a space of twenty-five years completely changed the face of English literature. Both the causes and the effects of this movement were much more than merely literary; the

to such aspects of the revival as s

similar tendency in diction. The simple, concrete phrases of daily speech had given way to stately periphrases; the rich and riotous vocabulary of earlier poetry had been replaced by one more decorous, measured, and high-sounding. A corresponding process of selection and exclusion was applied to the subject matter of poetry. Passion, lyric exaltation, delight in the concrete life of man and nature, passed out of fashion; in their stead came social satire, criticism, gene

. They were born within four years of each other, Wordsworth in 1770, Scott in 1771, Coleridge in 1772, Southey in 1774. As we look at these four men now, and estimate their worth as poets, we see that Southey drops almost out of the account, and that Wordsworth and Coleridge stand, so far as the highest qualities of poetry go, far above Scott, as, indeed, Blake and Burns do also. But the contemporary judgment upon them was directly the reverse;

e charge of "attempting to set up a new school in poetry," and he never throughout his life violated the conventions, literary or social, if he could possibly avoid doing so. This bias toward conservatism and conventionality shows itself particularly in the language of his poems. He was compelled, of course, to use much more concrete and vivid terms than the eighteenth cen

erses, that went on their way with the sharp tramp of moss-troopers, and heated the blood like a drum. The meters of Coleridge, subtle, delicate, and poignant, had been passed by wit

ear. Wordsworth's pantheism was too mystical, too delicate and intuitive, to recommend itself to any but chosen spirits; Crabbe's descriptions were too minute, Coleridge's too intense, to please. Scott was the first to paint nature with a broad, free touch, without raptures or philosophizing, but with a healthy pleasure in its obvious beauties, such as appeal to average men. His "scenery" seldom exists for its own sake, but serves, as it should, for background and setting of his story. As his readers followed the fortunes of William of Deloraine or Roderick Dhu, they traversed by sunlight and by moonlight landscapes of wild romantic charm, and felt their beauty quite naturally, as a part of the excitement of t

rests on considerations of style, it is hardly to be granted, for nothing could be farther than the hurrying torrent of Scott's verse from the "long and refluent music" of Homer. But in this other respect, that he deals in the rudimentary stuff of human character in a straightforward way, without a hint of modern complexities and super-subtleties, he is really akin

d about my poetry ... it is a hurried frankness of composition which pleases soldiers, sailors, and young people of bold and active dispositions." The poet Campbell, who was so fascinated by Scott's ballad of "Cadyow Castle" that he used to repeat it aloud on the North Bridge of Edinburgh until "the whole fraternity of coachmen knew him by tongue as he passed," characterizes the predominant charm of Scott's poetry as lying in a "strong, pithy eloquence