popular song, blooms in full splendour and fragrance throughout these years in England and Holland, blossoms even in Germany despite adverse circumstances, and in Italy puts forth late flowers, somewhat waxy and gaudy but not without charm. The songs of Jonson and Carew, of Milton's Comus and Herrick's Hesperides, are not less beautiful than anything of the kind which the sixteenth century produced in France or England, and no whit less redolent of the Renaissance worship of beauty. The poetry of Holland is, as has been seen, above all things a lyrical poetry. In drama and epic, Holland, even in this "Helden-periode," achieved little of enduring value, but the harvest of lyric poetry which she brought forth is rich indeed, and in nothing more surprising than in the range and variety of its metres. It is difficult to do justice to it in this respect without appearing to exaggerate, which, in dealing with Dutch literature, I have been specially anxious to avoid. Some indication of its range has been given in the opening chapters, from the playful
"Tesselschaedtje
Kameraedtje"
of Huyghens, to the roll of Vondel's
"Wie is het, die zoo hoogh gezeten,
Zoo diep in 't grondelooze licht;"
but it must be remembered, that the long Alexandrine itself is used by Vondel with a wonderful lyrical effect. There are lines in his pæans and
