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and it has not been unusual to speak of Dutch literature as an entirely negligible quantity, because the Netherlands produced no creative genius of that highest class to which Shakespeare and Cervantes belong. But geniuses of such world-wide recognition are the exception. The degree to which a country's literature is studied abroad depends not on intrinsic merit alone, but on the country's political importance and familiarity with its language. The student of Dutch literature in the seventeenth century will not find a drama comparable, strictly as drama, with that of England or France or Spain, nor an epic and narrative poetry comparable to that of Italy, and of England as represented by Milton. But he will find and enjoy a lyrical poetry of singular depth and richness, characterised by that feeling for nature which is such a striking feature of Dutch painting, by what the Dutch critic J. A. Alberdingk Thijm justly entitles "le naturel, la naïveté, la franchise, et le sentiment de la couleur qui paraissent être inhérents au caractère néerlandais." In naturalness, in the sense attached to the word when we speak of the "return to nature," feeling for external nature, interest in the life of the people, the inclination to discard convention and make poetry the simple, direct, and vibrating utterance of the poet's own emotions, Dutch poetry, taken as a whole, partly because it is