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Till now, I ever saw the mother of God;
Into a union with earthly life.
speaking with dejection and doubt.)
Is nothing wanting. *
If you would show me faults.
He who can merely draw, has this and that
To say against your picture.
For example ?
Methinks too that the child's leg is too plump,
It fails in outline.
How does it strike you, the Madonna's smile ?
And the babe's smile ?
Peculiar both—but lovely!
And what amazes me is the true judgment
The greatest artist
You speak his name.
Runs round still in his head.
Offended him.-The landlord, who lives here,
To spiritual beauty.
And therein he was right;
And far above the very Sistine chapel !
You think that I am speaking
I am a member of the guild, like you.
Julio Romano ?
And you say I am a painter ?
say, that since the death of Raphael Sanzio Our Italy has had no greater painter
Than you, Anton Allegri da Correggio !
That surely is noble poetry, full of the truest feeling, the most beautiful impersonation.
The scene in which Michael Angelo returns to Correggio's hut, to make amends for his former wounding remarks, and takes his little boy Giovanni on his knee, is admirable. Weare glad to see, from Oehlenschläger's own statement, that the public, at the time Correggio appeared, were fully sensible of its exquisite beauty.
"Hakon Jarl,'” he says, “ had reawoke the feeling for the ancient North, so Correggio awoke a feeling for art, and was perhaps one of the first incentives to its zealous study in the fatherland, which has since borne such abundant fruit.”
We must now hasten more rapidly over the life of Oehlenschläger. He had reached the climax of his fame, and the numerous works which he continued to produce, even to his old age, though they added to the wonder of the prolific strength and variety of his powers, could not give greater evidence of the intensity of his genius. On his return homeward in 1810, he made a détour to visit Goethe once more in Weimar, but the great poet had just then got a fit of his Privy Councillor dignity upon him, and received Oehlenschläger coldly. Probably the old man had felt himself a little bored by Oehlenschläger's reading his manuscripts to him, a habit to which Northern authors appear addicted, and which is as useless as it is often annoying; for no author can calculate on obtaining
a faithful opinion of his work under such circumstances : the only way being to throw it into the hands of the public, where he is sure to hear sooner or later the truth. Whatever was the cause, however, Oehlenschläger was deeply wounded, and from that time he never addressed another letter to Goethe, though he continued to honour to the utmost his genius, and called his eldest son after him.
At home his reception was enthusiastic in the highest degree. “ Hakon Jarl ” had won an extraordinary popularity. It was the first delineation of the ancient pagan heroic life, founded on history, which had been brought upon the stage. The success of “Palnatoké” had been less from the cause mentioned ; but“ Axel and Valborg," a story of love from beginning to end, based on one of their most beautiful and admired “Kämpe-Viser," had more than effaced the transient effect of “ Palnatoké.” Rahbek, in a fit of vexation, had some time before thrown up his post as Professor of Esthetics in the University of Copenhagen, and this was now, at the instance of the Duke of Augustenborg, conferred on Oehlenschläger. On the 17th of May, 1810, the poet was married to his fair bethrothed, Christiana Heger, and they passed the summer at the charming seat of Christiansholm, which was placed at their service by Oehlenschläger's great patron, Count Schimmelmann.
During the next five years, Oehlenschläger wrote and published “Faruk," an opera for Weyse ; the beautiful Eastern story, “Aly and Gulhyndy;" “ Harald Hyldetand,” a collection of poems and stories ; the tragedy of “Stärkodder,” in 1811; the “Canary Bird,” “Honour Lasts Longest,
“Hugo von Rheinberg," in 1813, an excellent acting tragedy; the “ Robbers' Castle,” and " Ludlam's Cave,” a drama curiously constructed from
two English legends, 1814 ; a dramatic tale, the “ Fisherman,” “Hagbarth and Signé,” also a tragedy founded on one of the Northern most favourite ballad sagas. In 1815, he wrote “ Helge,” and “ Hroar’s Saga.'
It was on the publication of the “ Robbers' Castle” and “Ludlam's Cave,” that Baggesen commenced that furious attack upon Oehlenschläger, which he pursued during the greater part of the remainder of his life, with a bitterness which testified too plainly that mortified vanity was at the bottom of it. We have seen with what passionate emotion Baggesen responded to the honour done him by the youthful and then little known poet at Dreier's Club, on Baggesen's leaving Denmark, under circumstances of most popular dissatisfaction. When Oehlenschläger was afterwards in Paris, Baggesen called on him, and though. Oehlenschläger had then had intimation of Baggesen's incipient hostility, and received him coldly, Baggesen broke through it, with tears and embraces, exclaiming in return of Oehlenschläger's formal address of " Mr. Professor Baggesen :” “No, not so! Thou ! thou !"
, Their daily intercourse was restored, and when Oehlenschläger afterwards read his “Palnatoké” to him, he flung himself at his feet in transports of admiration.
But when this strangely excitable genius came home, and found the whole nation resounding with Oehlenschläger's praise, he seemed seized with an agony of jealousy, and began that unhappy onslaught which, alas ! is only too well known to all Danes, and which they wish it were possible to bury in eternal oblivion. The criticisms on the works of Oehlenschläger may, many of them, be seen in Baggesen's works, and though they abound with the most sparkling wit, it cannot hide the venom that exists in them. The fame of Oehlenschläger was not purchased without the usual quantity of vinegar and gall. Tieck,