eading up to
its climax. It does not make mood--it has mood.

The brothers Jacob and Wilhelm Grimm are the products of Romantic
scholarship; they represent the highest type of scholarly attainment
and of scholarly personality. They are always thought of together, for
they shared all possessions alike and were not drawn apart by the fact
that William married and Jacob remained a bachelor. Their fidelity to
each other is touching, and no more lovable story is told than that
of Jacob's breaking down in a lecture and crying, "My brother is so
sick!"

Jacob (1785-1863) was the philologist, the inductive gatherer of
scientific material, the close logical deducer of facts. He "presented
Germany with its mythology, with its history of legal antiquities,
with its grammar and its history of language." He is the author of
Grimm's law of consonant permutation which laid the foundations of
modern philological science and is the founder of philological science
in general.

Wilhelm (1786-1859), no less exact a scientist, was more a Romantic
nature, with a greater power of synthesis under poetic stress. The
two brothers began their collecting activities under the influence
of Arnim, and their work with folk-tales in prose corresponds to _The
Boy's Magic Horn_ in verse. It was Wilhelm who gave Grimms' _Fairy
Tales_ their artistic form. He remolded, joined, separated--in
fact, wrought the crude materials into such shape that this work has
penetrated into every land and has become a household word for young
and old. The various early editions show the progress in the method
of Wilhelm. The first edition (1812) reproduces more exactly what the
brothers heard; the later ones show that Wilhelm consciously attempted
to give artistic form to the tales. That his method was justified
the history of the stories proves; they are not only material for
ethnological study, but are dear to all hearts. The stories have the
genuine folk-tone; they are true products of the folk-imagination,
with all the logic of that imagination. All phases of life are touched
and the interest never flags. The spirit of nature has been kept.

The Romanticists were not successful in the drama. Kleist, the
greatest dramatist of the period, was not primarily a Romantic
poet. The Schlegels wrote frosty plays and Tieck attempted dramatic
production. It was left for the most bizarre of the Romantic group to
write the play of greatest power in it and to set a dramatic fash