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 but not in harmony with the mind of its ancient people:

The most gifted Englishmen of that period who were really in sympathy with the old Greek genius had no influence in England. Shelley, as might have been expected, was keenly alive to the beauty of Greek literature; he translated Plato's Symposium and a blending of Plato with Dante may be felt in his Epipsychidion; though, when he followed the outlines of Greek form, as in the Prometheus Unbound and the Adonais, he wholly transmuted the spirit of his models. Keats, again, was in much a Greek by instinct, though his style was usually less classical than romantic. Walter Savage Landor, born seventeen years before Shelley and twenty before Keats, continued to be active long after those short lives were closed; in his exquisite prose he is a conscious artist, working in the spirit of the classical masters. But these men, and such as these, appealed in their own day only to a few. In the earlier part of this century there arose no new popular force in English literature tending to diffuse a recognition of those merits and charms which belong to the classical ideal. Take, for instance, two great writers who present a sufficiently strong contrast to each other, Carlyle and Macaulay; Carlyle, both in cast of thought and in form, is anti-classical; while Macaulay, with his intimate knowledge of the classics, his ardent love of them,