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manticism most current in England; his title was fixed largely out of tribute to Byron and "the castled crag" pictured in "Childe Harold" — "Misschien," he even muses, "stond op deze zelfde plek die sombere dichter, wiens hart een gapende wonde was". Unfortunately, however, Geel contrived to remain very much the academie lecturer and, in other respects, never freed himself from sundry grave misunderstandings over the new literary order. His incursion into the time-honoured conflict between Classical and Romantic was altogether far more tentative than it might have been; almost elementary at times, indeed, as some of his attempted definitions show. Thus, he hazards the opinion that "de mengeling van Oostersche en Westersche kleuren geeft misschien, wat men romantisch noemt," ludicrously citing as an example "de bewonderde dichtstukken van Thomas Moore".1 Again, for the historical novels of Scott he expresses the highest admiration, yet seems to regret that he "niet veel meer gezien dan het schoone Schotland"; unlike Byron who "had Europa doorkruist, en alle de denkbeelden, die het in hem opwekte, kruisten zich in zijn gemoed, en er werd een strijd en gisting in geboren, die een voorstelling geeft eener onbevredigde begeerte, van een onophoudelijk zoeken naar kalmte, die hij niet vond". 2 And the very fact that the discussion is couched in the form of a Platonic dialogue shows the author himself, despite the novel nature of his pleas, to be still working under the restraints imposed by a classical style and diction. The Romanticism he espoused was at no time more than the revolutionary individualism of Byron and the hearty and joyous familiarity of Scott with his world; and even here it rested on such decidedly frail and speculative premises that the whole movement rapidly outgrew his timidly professorial handling. So far from there being any indication, therefore, that he could ever have passed on to the more ornate

1 "Onderzoek en Phantasie; Gesprek op den Drachenfels; Het Proza, p. 138.

2 Op. cit., p. 138.