A History of English Literature

triumph of Pseudo-classicism, as a reassertion of those instincts in human
nature which Pseudo-classicism disregarded, took the form of a distinct
Romantic Revival. Beginning just about as Pope's reputation was reaching
its climax, and gathering momentum throughout the greater part of the
eighteenth century, this movement eventually gained a predominance as
complete as that which Pseudo-classicism had enjoyed, and became the chief
force, not only in England but in all Western Europe, in the literature of
the whole nineteenth century. The impulse was not confined to literature,
but permeated all the life of the time. In the sphere of religion,
especially, the second decade of the eighteenth century saw the awakening
of the English church from lethargy by the great revival of John and
Charles Wesley, whence, quite contrary to their original intention, sprang
the Methodist denomination. In political life the French Revolution was a
result of the same set of influences. Romanticism showed itself partly in
the supremacy of the Sentimental Comedy and in the great share taken by
Sentimentalism in the development of the novel, of both of which we shall
speak hereafter; but its fullest and most steadily progressive
manifestation was in non-dramatic poetry. Its main traits as they appear in
the eighteenth century are as clearly marked as the contrasting ones of
Pseudo-classicism, and we can enumerate them distinctly, though it must of
course be understood that they appear in different authors in very
different degrees and combinations.
1. There is, among the Romanticists, a general breaking away not only from
the definite pseudo-classical principles, but from the whole idea of
submission to fixed authority. Instead there is a spirit of independence
and revolt, an insistence on the value of originality and the right of the
individual to express himself in his own fashion. 2. There is a strong
reassertion of the value of emotion, imagination, and enthusiasm. This
naturally involves some reaction against the pseudo-classic, and also the
true classic, regard for finished form. 3. There is a renewal of genuine
appreciation and love for external Nature, not least for her large and
great aspects, such as mountains and the sea. The contrast between the
pseudo-classical and the romantic attitude in this respect is clearly
illustrated, as has often been pointed out, by the difference between the
impressions recorded by Addison and by the poet Gray in the presence of the
Alps. Addison, discussing what he saw in Switzerland, gives most of his
attention to the people and politics. One journey he describes as 'very
troublesome,' adding: 'You can't imagine how I am pleased with the sight of
a plain.' In the mountains he is conscious chiefly of difficulty and
danger, and the nearest approach to admiration which he indicates is 'an
agreeable kind of horror.' Gray, on the other hand, speaks of the Grande
Chartreuse as 'one of the most solemn, the most romantic, and the most
astonishing scenes.... I do not remember to have gone ten paces without an
exclamation that there was no restraining. Not a precipice, not a torrent,
nor a cliff, but is pregnant with religion and poetry.' 4. The same
passionate appreciation extends with the Romanticists to all full and rich
beauty and everything grand and heroic. 5. This is naturally connected also
with a love for the remote, the strange, and the unusual, for mystery, the
supernatural, and everything that creates wonder. Especially, there is a
great revival of interest in the Middle Ages, whose life seemed to the men
of the eighteenth century, and indeed to a large extent really was,
picturesque and by comparison varied and adventurous. In the eighteenth
century this particular revival was called 'Gothic,' a name which the
Pseudo-classicists, using it as a synonym for 'barbarous,' had applied to
the Middle Ages and all their works, on the mistaken supposition that all
the barbarians who overthrew the Roman Empire and founded the medieval
states were Goths. 6. In contrast to the pseudo-classical preference for
abstractions, there is, among the Romanticists, a devotion to concrete