ABSTRACT
in the interchange of literary wares between England and Germany during the last years of the eighteenth century, it is observable that the English romantics went no further back than to their own contemporaries for their knowledge of the Deutsche Vergangenheit. They translated or imitated robber tragedies, chivalry tales, and ghost ballads from the modern restorers of the Teutonic Mittelalter; but they made no draughts upon the original storehouse of German mediasval poetry. There was no such reciprocity as yet between England and tbe Latin countries. French romanticism dates, at the earliest, from Chateaubriand’s “Génie du Christianisme” (1802), and hardly made itself felt as a definite force, even in France, before Victor Hugo’s “Cromwell” (1828). But in the first quarter of the nineteenth century, Italy, Spain, and France began to contribute material to the English movement in the shape of translations like Cary’s “Divine Comedy” (1814); Lockhart’s “Spanish Ballads” (1824); Southey’s “Amadis of Gaul” (1803), “Palmerin of England” (1807), and “The Chronicle of the Cid” (1808); and Rose’s* “Partenopex of Blois” (1807). By far the most influential of these was Cary’s “Dante.”
