The third period was one of regeneration and lasted until the appearance of Mickiewicz in 1822. In politics, Karwicki, Leszczynski and Jablonowski advocated a much more sober attitude than had existed in the time of politi cal anarchy, and their view had much to do with reshaping Polish literature. Konarski (1700-1773) did probably more than anyone else to bring reason back to literature, and much was done to improve and settle the literary norm. Among the grammarians must be men tioned Kopczynski (1735-1817) and Mrozinski (1784-1839), while Linde (1771-1847) produced his enormous Polish dictionary in six volumes, the forerunner of Grimm's German dictionary and still the object of admiration of philologists.
We get now for the first time historians, as against the chroniclers of the previous period. Lojko (1717-79) wrote three volumes of 'Polish and Lithuanian Institutions> and a large number of historical essays. Albertrandi (1731-1808), an Italian by birth, wrote much on Wladyslaw Jagiello, the Casimirs, and Polish history in general. Naruszewicz's (1733-96) 'History of the Polish People' was a model for many historical writers. Other historians were Waga Bandtke (1768-1835), Golebiowski (1773-1849), and documents were collected and discussed by Kitowicz, Wybicki, Niemcewicz, Kozmian, Kilinski and others. Mention must also be made of the political writers of the Four Years' Diet, Kollatay (1750-1812), Staszyc (1755 1826). Nor was there any lack of orators, in whom Poland had before abounded. We have Soltyk, Count Casimir Sapieha, Count Adam Czartoryski, Matuszewicz and the preachers Lachowski and Woronicz. The arts flourished, and in 1816 Czerwinski was able to write 'A History of Polish Civilization and Learning from the Tenth to the End of the Seventeenth Century.' We have also the literary historians Chronunski (1759-1810), Ossolinski (1748 1826), Bentkowski (1781-1852), Count Osinski (1770-1842).
The first poet of this period is Trembecki (1725-1812), who stood under the influence of Voltaire, and was interested in poetry just for poetry's sake. Wegierski (1755-1787) imitated Boileau and other foreign authors in his love lyrics. Krasicki (1735-1801) wrote mostly in a satirical vein. He gained his first reputation by his (Fables,' wrote a (MouseicP and similar. poems, several prose tales, and translated Os sian, Lucian and Plutarch. Naruszewicz, who has already been mentioned as a historian, wrote fables, satires, idyls and odes, translated Tacitus and composed two tragedies, "Guido) and 'Tancred.' Karpinski (1741-1825), a court poet, wrote pseudo-classic idyls and religious songs of a more substantial value. Kniaznin (1750•1807), too, wrote to please the courtiers, but his 'Centennial Celebration of the Victory at Vienna) has more real worth. He translated Lafontaine, Ossian, Anacreon, wrote idyls in the style of the German Gessner, and a num ber of historical dramas. A more sterling poet
was Woronicz (1757-1829), whose larger works, 'Lech,' (The Wislica Diet) were never finished, and whose to God) is the only one that has escaped oblivion. Niem cewicz (1757-1841) wrote a large number of dramas, among which the comedy, 'The Am bassador's Return,' is probably the best. He lived a long in America, where he had come to join Kosciuszko. After his re turn to Poland he wrote some historical poems and devoted himself to historical studies, 'The Reign of Sigismund III,) moirs of Ancient Poland) and others. He also wrote his own memoirs and a number of novels, among which (Jan of Teczyn) is prob ably the best. With him begins the Polish novel. Other poets of this period are Koz mian, Godebski, Keklewski, Morawski. The number of dramatic writers during this time is very great. The mediocre attempts of Prin cess Radziwill (+1753) and Bogomolec (1720 90) were soon followed by the successful adaptations from Beaumarchais and Moliere, by Zablocki (1750-1821), who satirized the negative sides of Polish society. Boguslawski (1760-1829) began his dramatic career by trans lating for the stage; then he became the founder and manager of the Warsaw Theatre, when he wrote his best original drama, 'The Cracovians and the Mountaineers,) in which he introduced folksongs. Other dramatists were Wezyk, Felinski, Dmuszewski, Prince Czartoryski.
The Romanticism of the West naturally af fected Polish literature as well. As in Ger many, so in Poland, collections of folksongs ap peared in the beginning of the 19th century, such as by Zaleski, Wojcticici, Pauli and a little later, the monumental collection in dozens of volumes by Kolberg. With the growth of the new movement the pseudo-classicism which had prevailed heretofore came to an abrupt end. Brodzinski (1791-1835) stirred up a discussion in 1818 by his review of 'Classicism,> and him self set the example for a new movement by his heartfelt lyrics and still more with his lectures on esthetics, which he began in 1822. He is chiefly remembered for his idyl (Wies law,) in which he introduced scenes from peasant life, and is considered as the forerunner of the great Mickiewicz. The romanticism brought to the front the writers of the Ukraine, the last stronghold of a romantic past, such as Makzeski ( 1792-1826), Goszczynski, Zaleski, Padura, Grabowski, Groza. Malczeski (1792 1826) wrote an epic, 'Maria, a Ukrainian Story' ; Goszczynski (1803-76) is best remem bered by his poem, 'Saint John's Feast,) which deals with the life of the Tatra mountaineers, and a number of ballads; many of Zaleski's (1802-86) lyrical poems have been set to music. These poets were far surpassed by the Lithuan ian Adam Micldewicz (1798-1855).