positive legacy to literature. Nor in any series of comedies in existence is decency so rarely sacrificed to a desire for popularity or a false sense of wit.
Holberg founded no school of immediate imitators, but his stimulating influence was rapid and general. After the great conflagration, the university of Copenhagen was reopened in 1742, and under the auspices of the historian Gram, who founded the Society of Sciences, it recommended an active intellectual life. In 1744 Langebek founded the Society for the Improvement of the Danish Language, which opened the field of philology. In jurisprudence Andreas Höier represented the new impulse, and in zoology Erik Pontoppidan, the younger. This last name represents a life-long activity in many branches of literature. From Holberg's college of Sorö, two learned professors, Sneedorff and Kraft, disseminated the seeds of a wider culture. All these men were aided by the generous and enlightened patronage of Frederick V. A little later on, the German poet Klopstock settled in Copenhagen, bringing with him the prestige of his great reputation, and he had a strong influence in Germanizing Denmark. He founded, however, the Society for the Fine Arts, and had it richly endowed. The first prize offered was won by C. B. Tullin (1728-1765) for his beautiful poem of May-day. Tullin, a Norwegian by birth, represents the first accession of a study of external nature in Danish poetry; he was an ardent disciple of the English poet Thomson. Ambrosius Stub (1707-1758) was a lyrist of great sweetness, born before his due time, whose poems, not published till 1782, belong to a later age than their author.
The Lyrical Revival.—Between 1742 and 1749, that is to say, at the very climax of the personal activity of Holberg, eight poets were born, who were destined to enrich the language with its first group of lyrical blossoms. Of these the two eldest, Wessel and Ewald, were men of extraordinary genius, and destined to fascinate the attention of posterity, not only by the brilliance of their productions, but by the suffering and brevity of their lives. Joannes Ewald (1743-1781) was not only the greatest Danish lyrist of the 18th century, but he had few rivals in the whole of Europe. As a dramatist, pure and simple, his bird-like instinct of song carried him too often into a sphere too exalted for the stage; but he has written nothing that is not stamped with the exquisite quality of distinction. In The Fishers, which contains the Danish national song, Kong Kristian stod, the lyrical element is most full and charming; in Rolf Krage, and Haider's Death, Ewald was the first to foresee the revival of a taste for Scandinavian history and mythology; The Brutal Clappers, a polemical drama, shows that he also possessed a keen sense of humour. Wessel (1742-1785) excited even greater hopes in his contemporaries, but left less that is immortal behind him. After the death of Holberg, the affectation of Gallicism had reappeared in Denmark; and the tragedies of Voltaire, with their stilted rhetoric, were the most popular dramas of the day. Nordahl Brun (1745-1816), a young writer who did better things later on, gave the finishing touch to the exotic absurdity by bringing out a wretched piece called Zarina, which was hailed by the press as the first original Danish tragedy, although Ewald's exquisite Rolf Krage, which truly merited that title, had appeared two years before. Wessel, who up to that time had only been known as the president of a club of wits, immediately wrote Love without Stockings, in which a plot of the most abject triviality is worked out in strict accordance with the rules of French tragedy, and in most pompous and pathetic Alexandrines. The effect of this piece was magical; the Royal Theatre ejected its cuckoo-brood of French plays, and even the Italian opera. It was now essential that every performance should be national, and in the Danish language. To supply the place of the opera, native musicians, and especially Hartmann, set the dramas of Ewald and others, and thus the Danish school of music originated. Of the other poets of the revival the most important were born in Norway. Nordahl Brun, Claus Frimann (1746-1829), Claus Fasting (1746-1791), C. H. Pram (1756-1821), and Edvard Storm (1749-1794) were associates and mainly fellow-students at Copenhagen, where they introduced a style peculiar to themselves, and distinct from that of the true Danes. Their lyrics celebrated the mountains and rivers of the magnificent country they had left; and, while introducing images and scenery unfamiliar to the inhabitants of the monotonous Denmark, they enriched the language with new words and phrases. This group of writers are now claimed by the Norwegians as the founders of a Norwegian literature; but their true place is certainly among the Danes, to whom they primarily appealed. They added nothing to the development of the drama, except in the person of N. K. Bredal (1733-1778), who became director of the Royal Danish Theatre, and the writer of some mediocre plays.
To the same period belong a few prose writers of eminence. Werner Abrahamson (1744-1812) was the first aesthetic critic Denmark produced. Johan Clemens Tode (1736-1806) was eminent in many branches of science, but especially as a medical writer. Ove Malling (1748-1829) was an untiring collector of historical data, which he annotated in a lively style. Two historians of more definite claim on our attention are Peter Frederik Suhm (1728-98) and Ove Guldberg (1731-1808). In theology Bastholm (1740-1819) and Balle (1744-1816) demand a reference. But the only really great prose-writer of the period was the Norwegian Niels Treschow (1751-1833), whose philosophical works are composed in an admirably lucid style, and are distinguished for their depth and originality.
The poetical revival sunk in the next generation to a more mechanical level. The number of writers of some talent was very great, but genius was wanting. Two intimate friends, Rein (1760-1821) and Zetlitz (1761-1821), attempted, with indifferent success, to continue the tradition of the Norwegian group. Thomas Thaarup (1749-1821) was a fluent and eloquent writer of occasional poems. The early death of Ole Samsöe (1759-1796) prevented the development of a dramatic talent that gave rare promise. But while poetry languished, prose, for the first time, began to flourish in Denmark. Knud Lyne Rahbek (1760-1830) was a pleasing novelist, a dramatist of some merit, a pathetic elegist, and a witty song-writer; he was also a man full of the literary instinct, and through a long life he never ceased to busy himself with editing the works of the older poets, and spreading among the people a knowledge of Danish literature. Peter Andreas Heiberg (1758-1841) is best known as the husband and the father of two of the greatest Danish writers, but he was himself a political and aesthetic critic of note. He was exiled from Denmark in company with Malte Conrad Brun (1775-1826), who settled in Paris, and attained a world-wide reputation as a geographer. O. C. Olufsen (1764-1827) was a writer on geography, zoology, and political economy Rasmus Nyrup (1759-1829) expended an immense energy in the compilation of admirable works on the history of language and literature. From 1778 to his death he exercised a great power in the statistical and critical departments of letters. The best historian of this period, however, was Engelstoft (1774-1850), and the most brilliant theologian Bishop Mynster (1775-1854). In the annals of modern science Hans Christian Oersted (1777-1851) is a name universally honoured. He explained his inventions and described his discoveries in language so lucid and so char-
