CONTENTS OF No. 344. ABT. I.-1. Goethe: Sämmtliche Werke. Berlin, 1873. 2. F. Schiller: Briefwechsel mit Goethe. Stuttgart, Page 3. Th. Gautier: Euvres Complètes. Paris, 1882 - 273 And other Works. II.-1. Rosmersholm. A Drama in Four Acts. By Henrik- 2. Hedda Gabler. A Drama in Four Acts. By Henrik 3. Ibsen's Prose Dramas. Edited by William Archer. And other Works. III.-1. Aristotle on the Constitution of Athens. Edited by -- - 305 2. Hermathena: A Series of Papers on Literature, Science, and Philosophy. No. XVII. Dublin, 1891 320 IV. Fortification: its past Achievements, present Development, and future Progress. By Major G. Sydenham Clarke, C.M.G., Royal Engineers. London, 1890 - 351 V.-An Act to amend Title 60, Chapter 3, of the Revised Statutes of the United States relating to Copyrights 380 VI.-1. Suggestions for the Extension of the University— submitted to the Rev. the Vice-Chancellor. Wm. Sewell, B.D., Sub-Rector and Senior Tutor of Exeter Coll. Oxford, 1850. By 2. A Suggestion for supplying the Literary, Scientific, By 399 ART. VII.-1. The Buke of John Maundeuill, being the Travels of Sir John Mandeville, Knight, 1322-1356. A hitherto unpublished English Version from the unique copy in the British Museum. Edited, together with the French text, notes, and an introduction, by George F. Warner. Printed for the Roxburghe Club. Westminster, 1889. 2. A Thousand Miles on an Elephant in the Shan States. By Holt S. Hallett. Edinburgh and London, 1890 VIII.—The Bishop of Lincoln's Case. A Report of the Proceedings in the Court of the Archbishop of Canterbury. By E. S. Roscoe. London, 1891 IX.-A Plea for Liberty. An Argument against Socialism and Socialistic Legislation, consisting of an Introduction by Herbert Spencer and Essays by various Writers. Edited by Thomas Mackay, Author of "The English Poor.' London, 1891 X.-1. Proceedings of the Royal Colonial Institute. Vols. 1-21. London, 1869-1890. 2. Canada: Statistical Year Book of Canada for 1889. Government of Canada, Ottawa, 1890 Page 431 - 451 489 - 517 And other Works. 6 NOTE ON ART. VII. IN THE QUARTERLY REVIEW,' No. 343. In an article on the Education Question which appeared in our last number, we said, in commenting on Mr. Morley's speech in the House of Commons: The Jews were no doubt named in the hope of hiding the bid for the Roman Catholics, for out of London we imagine they have no schools.' In the Government Returns Jewish schools are included under the heading British, Undenominational, and other Schools:' we had therefore no authority to which to turn for the number of schools belonging to that religious body, and so spoke in the indefinite manner just quoted. A correspondent at Birmingham sends us word that the Jews have a school in that town in which more than 400 children are being taught; that in Manchester the Jews' school teaches from 1200 to 1500 children, and in Liverpool over 400 children, and that there is scarcely a town of any size where there are not Jewish children supported by the love and faith of the people.' We regret that we were not aware of this when the article was written, as it helps to sustain our contention in favour of denominational schools, and we gladly insert this correction. THE QUARTERLY REVIEW. RT. I-1. Goethe: Sämmtliche Werke. Berlin, 1873. 2. F. Schiller: Briefwechsel mit Goethe. Stuttgart, 1881, 3. Th. Gautier: Euvres Complètes. Paris, 1882. 4. Leconte de Lisle: Euvres. Paris, 1874, &c. 5. Th. de Banville: Euvres. Paris, 1873. 6. C. Baudelaire: Euvres. Paris, 1885. 7. J. Richepin: Euvres. Paris, 1890. 8. W. H. Pater: Essays on the Renaissance: Marius the Epicurean. London, 1873, &c. 9. J. A. Symonds: The Renaissance in Italy. London, 1877. YOETHE, in the Venetian Epigrams,' has depicted with Tenthusiasm the Bacchanalian revelry, or dance, not of ath, but of life, which took his fancy on the sepulchral urns the Greeks and Romans. The marble, he says, becomes ving and musical. Dancing fauns, birds on the wing or quetting with golden fruits, Love with kindled torch, and the tyrs blowing their wild sylvan music; a chorus of lovely gures circling hand in hand about the monument, wherein ught save dead ashes recalls the memory of suffering and ss: in such forms was the high Pagan wisdom revealed to m, which overcomes death with the exuberance of eternal iture, all rhythm and harmonious evolution, a great unceasing stival of flowers and lights and easy sensuous love. It is a cture worthy of Titian, though the lines were drawn in a ood which no Italian artist would wholly comprehend. For e imagined victory of life over death in the very stillness of e tomb breathes an air of defiance, familiar to Goethe in his bung days, and reminding us more of him who stole its secrets om Heaven and felt the vulture at his heart, than of the naïve enetian, taught by instinct to paint, but hardly to philophize. The Northern poet is intoxicated with the hues, at Vol. 172.-No. 344. T once once glowing and lustrous, which burn for him on the thousand wings and shine out of the eyes innumerable, of that mysterious Nature at whose shrine he worships. But elsewhere in Faust,' for example, he has struck a deeper chord, as when he murmurs, "What a Vision! but, alas, a Vision only!' The intoxication and the awakening, the defiance which modulates into despair, and the despair which would fain lose itself in a never-ending whirl of passion,-these are notes of a significant and widelyextended movement in our time, which has been called the New Paganism. It began a good hundred years ago, when the public order of Europe established at the Peace of Westphalia was breaking into fragments, and the revolt against Puritan ideals was every day enlarging its bounds. Hume had dethroned Calvin; Voltaire shook his cap and bells over the dark pages of Pascal. Religion, no longer hoping and fearing as in the presence of an everlasting Hell or Heaven, had become for 'beautiful souls' a diary in which they set down their pious sentiments, not a pilgrimage through the Valley of the Shadow, where Apollyon came out flaming amid doleful voices. The Deity was asleep, or woke only to shower His benevolence on creation. The prophet whom he had visibly anointed was Jean Jacques; and Jean Jacques, like Wieland, threw a grace not its own, of the sweet morning air and woodland dreaming, over adulterous passion, encounters of the moment, and lyric licentiousness. The art of landscape poetry was born anew. Three famous pilgrimsWinckelmann, Lessing, and Goethe-journeyed to Rome, not as great lords did, to walk round St. Peter's and praise the Apollo Belvedere, but to evoke with the aid of its statues, pictures, and ruins, beheld under a canopy of bluest ether, the vision of the world long past. There, in the Villa Albani, Winckelmann, struck with a marble blindness to modern things, recovered that inward sight on which the Antinous and the Ludovisi Bacchus were to shine once more. Lessing, a Roman born out of due time, saw the Laocoon face to face, and with strong sense, more fortunate as he was more manly than Sadoleto, wrote the admirable volume which is now so little read, chiefly because its teaching has passed into commonplace. Goethe, a universal genius, but in character at this time Euripidean, transformed his Iphigenie' from prose to an exquisitely simple and stately verse, in which the antique marble blushes, one might say, with a faint rose colour. His 'Roman Elegies,' 'Venetian Epigrams,' 'Alexis and Dora'—not to speak of 'Hermann und Dorothea,' in which an idyllic though sentimental freshness reminds us of Theocritus, while so unlike him in the prevailing ethos ethos-were striking restorations of a lost sense, and essays towards building up the templa serena which an iconoclast Puritanism had burnt and ravaged. They foreshadowed the change which would pass over the European spirit not many years later, the consummation upon which poets and learned men alike were bent. Winckelmann is the great forerunner of that change-himself, it has been happily said, 'like a relic of classical antiquity laid open by accident to our alien modern atmosphere.' He was not precisely a teacher of commanding power. But as a temperament, a palimpsest inscribed with rude German characters, beneath which lay decipherable the fragments of a tragedy by one of the softer poets, such as Agathon, he excited Goethe's admiration, and revealed to his contemporaries the charm of those deathless writers whom an age of pedantry had degraded and misunderstood. Now, as Schiller sings, 'Never alone appear the Immortals;' and in the train of a critic who did nothing less than create an original taste and a corresponding organ for the literature of Hellas, making it a commentary upon the sculpture which filled the museums of the Vatican and the Capitol, came the famous Teutonic masters from whom our century has learned to read its classics aright. Ruhnken, illustrious in Latin as in Greek; Wolf, the old man eloquent, who, if he dissolved the nebula called Homer into a galaxy of stars, was so enamoured of the volumes in the study of which he lived and died, as boldly to style them sempiterna solatia generis humani'; and even Heyne, reflecting in his commonplace mirror the light he gained from Winckelmann,—were pioneers in a way which has since been made plain, but which was then a track in the wilderness. They produced no immediate or general effect; neither had they a share, like the men of the Italian Renaissance, in that creative instinct which they analysed, and the works of which they rescued from corrupt manuscripts. Comprehension, not imitation, was their aim. They were scholars, not poets. In the sanctuary of Apollo they served but to draw water from the fountain and to keep the sacred lamps trimmed. In them was no inspiration; yet, without them, who shall say that a second Renaissance would have come to pass? They were the dusty lexicons from which Herder, Schiller, Goethe, the historians and singers, drew that knowledge of the letter, which, had it failed them, we cannot suppose that the light of antique beauty would have dawned again. For the eighteenth century was given over to elegant dissipation, and had not an atom of respect |