Christianity, which had largely impregnated the old romanticism
with its visions of a posthumous world, was fated to be driven
from its sphere by the new romanticism, which hungered after
fresh theories of existence. The old sources of the supernatural
were exhausted. The machinery seemed worn out. Men craved
for something new. Hence, " Faust " and " Manfred " became
the exponents of a school, which left the soul to construct out
of the ruins of the past, by its own unaided intuitions, a new
scheme of the supernatural entirely subversive of the modern
framework of society. In despotic countries, the war against
existing faiths and established modes of government, could only
be carried on by an onslaught upon the literary outworks in
which those forms of faith and government found expression.
In this manner, the romanticism of the poet became not unfre-
quently a cloak for *he disguise of the revolutionist. The new
romanticism thus assumed a form in direct conflict with its
former principles. The old romanticism was credulous, sub-
missive, and devout. The new is sceptical, rebellious, and



78 ESTIMATE OF MODERN ENGLISH POETS.
profane. The modern offshoot has nothing in common with
its parent except irregularity of lineaments and unproportional
forms, while the animating spirit within is one of startling
paradox, of withering satire, and of an unbridled license sub-
versive of all authority. The old romanticism was lifted into
the ascendant by the quiet revolution of events. The new
romanticism seeks to enthrone itself by force and violence.
