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 world by the rapture of a devotion at once half mystic and intensely real; instead of flexible intelligence they had religious passion; instead of the Greek's clear outlook upon the facts of humanity they had a faith which transfigured the actual world. The Greek artist, even in portraying passion, was mindful of balance, and placed certain limits upon the expression of individual character. The mediæval artist strove before all things to express the intensity of the individual soul. In poetry Dante is the great exponent of this spirit. And mediæval Catholicism deeply coloured the sentiment of all the literature known by the general name of Romantic. In Goethe's younger days the conflict between the Classical and the Romantic schools raged fiercely. The interlude of Helena, which forms the third act in the second part of Faust, was the work of his old age. Faust's nature is to be elevated and purified by developing in him the sense of beauty; Helena represents the classical, but especially the Greek, element in art and literature; and when Faust at last wins her, their union typifies the reconciliation of the Romantic with the Classical. Goethe himself dated a new life, a mental regeneration, from the time when he first seized the true spirit of the ancient masters. These are his own words, speaking of Greek art and literature:—"Clearness of vision, cheerfulness of acceptance, easy grace of expression, are the qualities which delight us; and now, when we affirm that we find all these in the genuine Grecian works, achieved in the noblest material, the