support tendencies or emotions whose horizon is limited in time or space, those which revolve about purely local circumstances or are the result of a prevailing taste, whose nourishment and whose image are found in these circumstances, will vanish with the fashion that has called them forth. A street song, a news-paper article, a festival oration, reflect a prevailing mood which for perhaps a week has superficially occupied the population of the city, and therefore have themselves a duration of about equal length. Or, to mount to a higher level, suppose there suddenly arises in a country some subordinate proclivity, as, for instance, the fancy for playing private comedies, which became an epidemic in Germany in the time of "Wilhelm Meister," or in Denmark between 1820 and 1830. Such a tendency in itself is not wholly devoid of significance, but psychologically considered it is thoroughly superficial and does not affect the deeper life of the soul. If it be made an object of satire, as it was in Denmark, by Rosenkilde's "The Dramatic Tailor," or in "Sir Burchardt and his Family," by Henrik Hertz, those works which, without representing the epidemic from a higher point of view, merely imitate and render it laughable, will be just as short-lived as it was. Let us now take a step higher, let us turn to the works which mirror the psychological condition of an entire race, an entire period. The good-natured drinking-song poetry of the past century, and the poetry written for political occasions, are such literary productions. They are historic documents, but their life and their poetic value are in direct ratio to the depth at which they approach universal humanity, the constant in the current of history. With greater and more marked significance in this gradual ascent stand forth these works, in which a people has seen itself portrayed for a half or for a whole century, or during an entire historic period, and has recognized the likeness. Such works must of necessity depict a spiritual condition of considerable duration, which, just because it is so enduring, must have its geologic seat in the deeper strata of the soul, as otherwise it would much sooner be washed away by the waves of time. These works incorporate the ideal personality of an epoch; that is to say, the personality which floats before the people of that time as its reflection and model. It is this personality which artists and poets chisel, paint, and describe, and for which musicians and poets create. In Grecian antiquity it was the supple athlete and the eagerly-questioning youth who was athirst for knowledge; during the Middle Ages it was the knight and the monk; under Louis XIV the courtier; in the beginning of the nineteenth century it was Faust. The works which represent such forms give expression to the intellectual condition of an entire epoch, but the most important of them express still more; they mirror and embody at the same time the character of an entire people, of an entire race, an entire civilization, inasmuch as they reach the most profound, most elementary stratum of the individual human soul and of society, which concentrates and represents them in its little world. In this way, with the aid of a few names, the history of an entire literature could be written, by simply writing the history of its ideal personalities. Danish literature, during the first half of the nineteenth century, is placed, for instance, between the two types, Oehlenschläger's Aladdin and Frater Taciturnus in Kierkegaard's "Stages in the Path of Life." The former is its starting-point, the latter its perfection and conclusion. Now since the worth of these personalities, as before stated, depends upon how deeply they have their growth in the character of the people, or in human nature, it will readily be recognized that such a personality, for instance, as that of Aladdin, in order that it may be comprehended in its peculiar beauty, must be compared with the ideal personality which from the beginning of the period beamed upon us from the fancy of the Danish people. We find this personality by bringing together a large number of the oldest mythic and heroic characterizations of the people. If I were to cite a single name, I would choose that of Uffe the Bashful.[3] In virtues as well as in faults he is a colossus of a Danish hero. It can readily be perceived how great a degree of resemblance all of Oehlenschläger's best characters, his calm Thor, his nonchalant Helge, his indolent Aladdin, bear to this hero, and it will be seen during the contemplation how deeply Aladdin is rooted in the character of the people, while at the same time he is the expression of the ideal of an epoch whose duration was about fifty years. It could just as easily be rendered perceptible how Frater Taciturnus is one variety of the Faust type. Sometimes, therefore, it is possible to show how ideal personalities extend through the most divers countries and peoples, over an entire continent, leaving behind them their indelible stamp in a whole group of literary works which resemble one another as impressions of one and the same intellectual form, impressions of one and the same gigantic seal, with wafers of the most varied colors. Thus the personality that becomes most prominent in Danish literature, as "Johann, the Betrayer" (in Kierkegaard's "Either—Or") is derived from Byron's heroes, from Jean Paul's Roquairol, from Chateaubriand's René, from Goethe's Werther, and is at the same time represented in Lermontow's Petschorin ("The Hero of Our Time"). The usual billows and storms of time will not suffice to overthrow such a personality; it was the Revolution of 1848 that first succeeded in setting it aside.
Extremes meet. For the same reason that a universal spiritual malady which exercises a powerful influence over humanity will spread simultaneously through the whole of Europe, and, because of its profundity, will cause the works that were first created as its portraits to live as its monuments; for the same reason, too, those works attain general European fame and become long-lived that reflect that which is most elementary in human nature—childlike fancy and childlike emotion, and consequently summon up facts which every one has experienced (all children lock up kingdoms with a key). They depict the life which existed in the first period of the human soul, and thus reach that intellectual stratum which lies the deepest with all peoples and in all lands. This is the simple explanation of the fact that Andersen alone of all the Danish writers has attained a European, indeed, more than a European, circulation. No other explanation has reached my ears, unless it be the one that would have his renown due to his having journeyed about and provided for his own fame. Ah, if journeys would accomplish such results, the travelling stipends for artists of all kinds that must of necessity be awarded each year would in the course of time provide Denmark with a rich bloom of European celebrities, as they have already furnished poet after poet. To be sure, the poets correspond with the way in which they are made. But even the remaining, less malicious explanations that may be brought forward, as, for instance, that Andersen alone among the greater Danish authors has written in prose, and is therefore the only one whose works can be translated without effort into other languages, or that his genre is so popular, or that he is so great a genius, state either too little or too much. There is more than one genius in Danish literature who is greater than Andersen; there are many who with respect to their endowments are by no means inferior to him; but there is none whose creations are so elementary. Heiberg, as well as Andersen, possessed the courage to remodel a form of art (the vaudeville) in accordance with his own peculiarities, but he did not have the good fortune to find any one art form in which he could reveal his entire talent, combine all his gifts, as Andersen was able to do in the nursery story, nor to find materials in which interests of time and locality are of such enduring importance. His best vaudeville "The Inseparable Ones" (De Uadskillelige) would only be understood where there exists, as in the Scandinavian countries, a "Temperance Society for Happiness" (Ibsen's expression for long betrothals), at which this vaudeville aims its shafts. But as the possessor of talent should also possess courage, so the possessor of genius should also possess good fortune, and Andersen has lacked neither good fortune nor courage.
The elementary quality in Andersen's poetry insured him a circle of readers among the cultivated people of all lands. It was still more effectual in securing him one among the uncultivated people. That which is childlike is in its very essence of a popular nature, and a wide circulation corresponds with an extension downward. Because of the deep and grievous but most natural division of society into grades of culture, the influence of good literature is confined almost exclusively to one class. If in Denmark a series of literary productions like Ingemann's romances make an exception, it is chiefly because of qualities which remove them from the cultivated classes through lack of truth to nature in the character delineations and in the historic coloring. With Ingemann's romances it is the same as with Grundtvig's theories: if one would defend them, it could not be done by proving their truth, but by practically laying stress on their outward usefulness, the advantage they have been to the Danish cause, to the interests of enlightenment and piety, etc. Ingemann's romances stand, moreover, in noteworthy relation to Andersen's nursery stories. The latter are read by the younger, the former by the older children. The nursery story harmonizes with the