LECTURE X
FUSION OF CLASSICAL AND ROMANTIC TRAGEDY: GOETHE'S IPHIGENIE DRAMAS OF VICTOR HUGO

DURING the generation of Goethe and that which followed, the general flow of the tide was undoubtedly away from classical ideals and towards those which we loosely distinguish as romantic. Yet at the very height of the romantic revival there was, no less undoubtedly, a return upon the classical ideals; not indeed upon the largely spurious classicism of Boileau and the Augustans, but upon the true classicism--the simplicity, the calm, the freshness--of Homer and the Greeks. This reversion to Hellenism plays a large, perhaps a determining, part in the later work of Goethe and Schiller. It makes itself felt also on the corresponding movement of French and English poetry; on the work of Collins, and, at a later period, of Shelley and Keats in the one country; on that of André Chénier, and perhaps even of Chateaubriand, in the other. There is a sense in which we may trace its influence on the

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