The existence of the Christus Redivivus of Nicholas Grimald was questioned by Herford, Literary Relations, &c., and denied by the writer of the life of Grimald in the National Dictionary of Biography. We now know, from Goedeke, Grundriss, second ed., that a copy is in the Wolfenbüttel Library. See my letter in the London Academy, February 9, 1895. Soon after the appearance of that letter I received, from Herrn Spirgatis, the well-known antiquarian-dealer in Leipsic, a friendly note, in which he called my attention to Bahlmann, Die lateinischen Dramen seit Wimpfeling's Stylpho, in which Bahlmann mentions the existence of a copy in the Berlin Royal Library.

The question is not an idle one. At least many persons of discernment have answered it in the negative, and it may be worth our while to try to find out what grounds there may be for a judgment which strikes a Frenchman as little short of stupendous. And first, when French poetry is criticized, we may be sure that popular poetry or folk song cannot be meant. Surely that country cannot be barren of folk poets which has given us such gems of folk song as Jean Renaud, and Derrière chez mon père, to mention only two of the best. France has always had plenty of popular poetry that appealed to the masses and fulfilled its function of intensifying their emotion. William's Frenchmen of Normandy rushed at their English foes with the song of Roland on their lips, and Beaumarchais' “tout fiuit par des chansons” is still true. Stand near a big factory in Paris between eleven and twelve when the workmen are having their midday meal: you will as often as not find them listening to a fiddler playing and singing a song on the latest event of public interest. To cite two cases that came under my observation, the death of Pasteur and the loss of La Bourgogne were thus commemorated.

In the domain of Spanish letters, where the earnest student of literary history still finds himself lacking many necessary tools, there is a crying need of a new and critical edition of the works, and particularly the poetical works, of the monk Luis de León. One of the greatest of the Castilian lyric poets,—and, as such, a fellow to Garcilaso de la Vega and Herrera,—one of the most eminent among the masters of flexible and harmonious Spanish prose, which flows from his pen with none of the customary turgidness, he is best represented to-day only by the meritorious but rare edition of his works published by Merino in the early years of this century, and by the unsatisfactory edition of the Biblioteca de autores españoles, Tome XXXVII, which has not made the proper use of Merino's collection.