may have had in making Byron the hero of "Young Germany" we have no means of determining, but his works were vital in the new age there, and still his hold seems greater on the Germans, if we may judge by the test of translations and biography, than it is elsewhere on the Continent. Heine was more than touched by him, though he was far from being his duplicate, and could see the humorous side of those young Parisians—Musset the foremost—who were melancholy in the full glow of first manhood, and went about in despair dining sumptuously every day. One pities Musset, for Byron was, as much as another man can be, the secret of his fate. Lamartine caught only the sentimentality of Byron, but Musset assimilated his darker spirit, his recklessness, and license, and skepticism, and transmuted his very coarseness into a Parisian vulgarity. Stendhal and Sainte-Beuve paid tribute to him; and, to cut the subject short, Mazzini thanked him in the name of Italy, in Spain Espronceda drew his inspiration from him, and Castelar, in the later time, eulogized him for his liberating influences in the peninsula with Spanish amplitude of phrase. Karl Elze thinks that the Russian poet,
