the mind; and all those who depend upon it as an excuse for indefinite
terms or exaggerated expressions, are at least as destitute of poetry as
of good sense.

"An analysis of the principles on which both Tragedy and Comedy are
founded, is treated in this course with much depth of philosophy. This
kind of merit is often found among the German writers; but SCHLEGEL has no
equal in the art of inspiring his own admiration; in general, be shows
himself attached to a simple taste, sometimes bordering on rusticity; but
he deviates from his usual opinions in favour of the inhabitants of the
South. Their play on words is not the object of his censure; he detests
the affectation which owes its existence to the spirit of society: but
that which is excited by the luxury of imagination pleases him, in poetry,
as the profusion of colours and perfumes would do in nature. SCHLEGEL,
after having acquired a great reputation by his translation of Shakspeare,
became also enamoured of Calderon, but with a very different sort of
attachment from that with which Shakspeare had inspired him; for while the
English author is deep and gloomy in his knowledge of the human heart, the
Spanish poet gives himself up with pleasure and delight to the beauty of
life, to the sincerity of faith, and to all the brilliancy of those
virtues which derive their colouring from the sunshine of the soul.

"I was at Vienna when W. SCHLEGEL gave his public course of Lectures. I
expected only good sense and instruction, where the object was merely to
convey information: I was astonished to hear a critic as eloquent as an
orator, and who, far from falling upon defects, which are the eternal food
of mean and little jealousy, sought only the means of reviving a creative
genius."

Thus far Madame de Stael. In taking upon me to become the interpreter of a