5   The psychological plane of the. second Romantic phase: the complex modern mind of intellectual and imaginative curiosity - the contribution of "dreamers of daring tales" - the seminal significance of Rousseau   Looking at certain elements of the Renascence Romanticism - the curious, the audacious, the subtly sweet, the drive towards the intimately inward and strangely symbolic or at least allegoric and away from the pressure of the rational as well as the dogmatic - we might be disposed to mix up with it the Romanticism which came much later and to consider as almost its revival in a new garb that revolt against a pseudo-Classical

8   Romantic Pantheism and its philosophy - Coleridge on the Imagination -Keats on Beauty and Truth   In a general way all the great Romantics of Wordsworth's time are true to the "type of the wise" illustrated by him when he let his poem To a Skylark end as an answer in the negative to its owri opening question: Ethereal minstrel! pilgrim of the sky, Dost thou despise the earth where cares abound? C. M. Bowra1 rightly remarks: "There are perhaps poets who live entirely in dreams and hardly notice the familiar scene. But the Romantics are not of their number... We cannot complain that by their devotion to the mysteries of life the Rom

3   Romanticism and Classicism - the two phases of Roman-ticism - the psychological plane of the first phase: the Life-force of the Renaissance   When we turn to Romanticism we need to make two capital distinctions. We have not only to mark Romanticism off from Classicism. We have also to mark off two Romanticisms one from the other - and in a sense in which we do not mark off the various phases of the Classical. Differentiating Romanticism from Classicism, R. A. Scott-James1 labels as Classical the virtues and defects which go with the notions of fitness, propriety, measure, restraint, conservatism, authority, calm, experience, comeliness and in contrast he la