its most gaudy splendor and a wealth of gorgeous images. But his dramatical works, "Torkel Knutson," "Erik XIV," and others were received with the greatest favor, as they well deserved, since they are the best that Sweden has produced in this branch of literature. The Swedish drama is wanting in a vigorously sustained action, and from this reproach even Beskow is not free, though his plays are exceedingly interesting as historical pictures. As secretary of the Academy, there devolved on him the duty of writing necrologies of the deceased members of the Academy, and thus we have from his pen a great number of "Minnestekningar," which are most elegant and masterly delineations of character. His biographies of Charles XII and Gustav III are also marked by the same excellence of style, though neither the latter nor his "Minnesteckningar" bear the test of strict historical criticism.[1]
In Karl August Nicander (1799-1839), though he belonged to the national school, the romantic element of the Phosphorists was prominent, and he particularly showed a dreamy longing for the South. His talent as a poet was not very great or it did not attain its complete development, for like his friend Vitalis he was involved in a constant struggle with want and misery, and was finally snatched away by an early death. His first more ambitious work, the dramatic poem, "Runesvärdet," in which he depicts the conflict between heathenism and Christianity, at once made him very popular, a popularity which was increased by the "Hesperiden," a collection of poems and tales, and by "Minder fra Syden" (Reminscences from a journey to Italy). Upon the whole those of his poems, the materials of which have been taken from Italy, such as "Tassos död" and "Koning Enzio," are the most successful. His last great work, "Lejonet i Örkenen" (the lion in the wilderness), an enthusiastic homage to
- ↑ B. v. Beskow's dramatiska Studier, I-II, Stockholm, 1836-38. Minnesbilder, I-II, Stockholm, 1860-66. Om Gustav III såsom konning och menniska, Stockholm, 1860.
