Handbook of Universal Literature, From the Best and Latest Authorities Part 31

Besides satires and numerous comedies, Holberg was the author of various histories, several volumes of letters, and a book of fables.

The princ.i.p.al names which appear in Danish literature, from Holberg to Evald, are those of Stub, Sneedorf, Tullin, and Sheersen. Evald (1743- 1780) was the first who perceived the superb treasury of poetic wealth which lay in the far antiquity of Scandinavia, among the G.o.ds of the Odinic mythology, and who showed to his nation the grandeur and beauty which the national history had reserved for the true poetic souls who should dare to appropriate them. But the sound which he drew from the old heroic harp startled his contemporaries, while it did not fascinate them.

The august figures which he brought before them seemed monstrous and uncouth. Neglected in life, and doomed to an early death, the history of this poet was painfully interesting; a strangely brilliant web of mingled gold and ordinary thread--a strangely blended fabric of glory and of grief. Solitary, poor, bowed down with physical and mental suffering, from his heart's wound, as out of a dark cleft in a rock, swelled the clear stream of song. The poem of "Adam and Eve," "Rolf Krage," the first original Danish tragedy, "Balder's Death," and "The Fishermen," are his princ.i.p.al productions. "Rolf Krage" is the outpouring of a n.o.ble heart, in which the most generous and exalted sentiments revel in all the inexperience of youth. "Balder's Death" is a masterpiece of beauty, sentiment, and eloquence of diction. It is full of the pa.s.sion of an unhappy love, and thus expresses the burning emotions of the poet's own heart. The old northern G.o.ds and mythic personages are introduced, and the lyric element is blended with the dramatic. The lyrical drama of "The Fishermen" is perhaps the most perfect and powerful of all Evald's works.

The intense interest it excites testifies to the power of the writer, while the music of the versification delights the ear. His lyric of "King Christian," now the national song of Denmark, is a masterly production of its kind.

During the forty years which succeeded the death of Evald, Denmark produced a great number of poets and authors of various kinds, who advanced the fame of their country; but the chief of those who closed the eighteenth century are Baggesen (1764-1826) and Rahbek (1760-1830). Though they still wrote in the nineteenth century, they belonged in spirit essentially to the eighteenth. The life of Baggesen was a genuine romance, with all its suns.h.i.+ne and shade. He was born in poverty and obscurity, and when a child of seven years old, on one occasion, attracted the momentary attention of the young and lovely Queen Caroline, who took him in her arms and kissed him. "Still, after half a century," he writes, "glows the memory of that kiss; to all eternity I shall never forget it. From that kiss sprang the germ of my entire succeeding fate." After a long and severe struggle with poverty, he suddenly found himself the most popular poet of the country, and for a quarter of a century he was the petted favorite of the nation. Supplanted in public favor by the rising glory of Oehlenschlager, he had the misfortune to see the poetic crown of Denmark placed on the head of his rival; and the last years of his life were embittered by disappointment and care. The works of Baggesen fill twelve volumes, and consist of comic stories, numerous letters, satires and impa.s.sioned lyrics, songs and ballads, besides dramas and operas. His "Poems to Nanna," who, in the northern mythology, is the bride of Balder, are among the most beautiful in the Danish language, and no poet could have written them until he had gone through the deep and enn.o.bling baptism of suffering. In these, Nanna is the symbol of the pure and eternal principle of love, and Balder is the type of the human heart, perpetually yearning after it in sorrow, yet in hope. Nanna appears lost--departed into a higher and invisible world; and Balder, while forever seeking after her, bears with him an internal consciousness that there he shall overtake her, and possess her eternally. One of Baggesen's characteristics was the projection of great schemes, which were never accomplished. He was too fond of living in the present--in the charmed circle of admiring friends-- to achieve works otherwise within the limit of his powers. Bat with all his faults, his works will always remain brilliant and beautiful amid the literary wealth of his country.

In the early part of the nineteenth century the new light which radiated from Germany found its way into Denmark, and in no country was the result so rapid or so brilliant. There soon arose a school of poets who created for themselves a reputation in all parts of Europe that would have done honor to any age or country. A new epoch in the language began with Oehlenschlager (1779-1856), the greatest poet of Denmark, and the representative, not only of the North, but, like Scott, Byron, Goethe, and Schiller, the outgrowth of a great era as well, and the incarnation of the broader and more natural spirit of his time. In 1819 he published the "G.o.ds of the North," in which he combines all the legends of the Edda into one connected whole. He entered fully into the spirit of these grand old poems, and condensed and elaborated them into one. In the various regions of G.o.ds, giants, dwarfs, and men, in the striking variety of characters, the great and wise Odin, the mighty Thor, the good Balder, the malicious Loke, the queenly Frigga, the genial Freya, the lovely Iduna, the gentle Nanna--in all the magnificent scenery of Midgard, Asgard, and Nifelheim, with the glorious tree Yggdrasil and the rainbow bridge, the poet found inexhaustible scope for poetical embellishment, and he availed himself of it all with a genuine poet's power. The dramas of Oehlenschlager are his masterpieces, but they form only a small portion of his works. His prose stories and romances fill several volumes, and his smaller poems would of themselves have established almost a greater reputation than that of any Danish poet who went before him.

Grundtvig (b. 1783) is one of the most original and independent minds of the North. As a preacher he was fervid and eloquent; as a writer on the Scandinavian mythology and hero-life, he gave, perhaps, the truest idea of the spirit of the northern myths.

Blicher (1782-1868) was a stern realist, who made his native province of Jutland the scene of his poems and stories, which in many respects resemble those of Crabbe.

Ingemann (1789-1862) is a voluminous writer in every department of literature. His historical romances are the delight of the people, who, by their winter firesides, forget their snow-barricaded woods and mountains in listening to his pages.

Heiberg (1791-1860) as a critic ruled the Danish world of taste for many years, and by his writings did much to elevate dramatic art and public sentiment. The greatest auth.o.r.ess that Denmark has produced is the Countess Gyllenbourg (1773-1856). Her knowledge of life, sparkling wit, and faultless style, make her stories, the authors.h.i.+p of which was unknown before her death, masterpieces of their kind.

The greatest pastoral lyrist of this country is Winther (1796-1876). His descriptions of scenery and rural life have an extraordinary charm. Hertz (1796-1870) is the most cosmopolitan Danish writer of his time. Muller (1809-1876) is celebrated for his comedies, tragedies, lyrics, and satires, all of which prove the immense breadth of his compa.s.s and the inexhaustible riches of his imagination.

Hans Christian Andersen (1805-1875) is known to the English reader by his stories and legends for the young, his romances, and autobiography. He was born of humble peasants, and early attracted the attention of persons in power, who, with that liberality to youthful genius so characteristic of Denmark, enabled him to enter the university, and afterwards to travel over Europe. The "Improvisatore" is considered the best of his romances.

Three writers connect the age of romanticism with the present day,--Plong (b. 1812), a vigorous politician and poet; Goldschmidt (b. 1818), author of novels and poems in the purest Danish; Hastrup (b. 1818), the author of a series of comedies unrivaled in delicacy and wit.

Among the names distinguished in science are those of Malte Brun in geography; Rask, Grundtvig, Molbech, Warsaae, Rafn, Finn Magnusen and others in philology and literary antiquities. Of the two brothers Oersted, one, a lawyer and statesman, has done much to establish the principles of state economy, while the discoveries of the other ent.i.tle him to the highest rank in physical science.

6. SWEDISH LITERATURE.--The first independent literature of modern Scandinavia was, as we have seen, the popular songs and ballads which, during the Middle Ages, kept alive the germ of intellectual life. The effect of the Reformation was soon seen in the literature of Sweden, as of other countries. The first intellectual development displayed itself in the dramatic attempt of Messenius and his son, who changed and subst.i.tuted actual history for legendary and scriptural subjects. The genius of Sweden, however, is essentially lyrical, rather than dramatic or epic.

Stjernhjelm (1598-1672) was a writer of great merit,--the author of many dramas, lyrics, and epic and didactic poems. He so far surpa.s.sed his contemporaries that he decided the character of his country's literature for a century; but his influence was finally lost in the growing Italian and German taste. The princ.i.p.al names of this period are those of Lucidor, a wild, erratic genius; Mrs. Brenner, the first female writer of Sweden, whose numerous poems are distinguished for their neat and easy style; and Spegel (d. 1711), whose Psalms, full of the simplest beauty, give him a lasting place in the literature of the country. The literary taste of Sweden, in the seventeenth century, made great progress; native genius awoke to conscious power, and the finest productions of Europe were quoted and commented on.

During the eighteenth century, French taste prevailed all over Europe; not only the manners, etiquette, and toilets of France were imitated, the fas.h.i.+on of its literature was also adopted. Corneille, Racine, Moliere, and Boileau stamped their peculiar philosophy of literature on the greater portion of the civilized world. Imagination was frozen by these cold, glittering models; life and originality became extinct, imitator followed upon imitator, until there was a universal dearth of soul; and men gravely a.s.serted that everything had been said and done in poetry and literature that could be said and done. What a glorious reply has since been given to this utterance of inanity and formalism, in a countless host of great and original names, all the world knows. But in no country was this Gallomania more strongly and enduringly prevalent than in Sweden. The princ.i.p.al writers of the early part of the Gallic period are Dalin, Nordenflycht, Creutz, and Gyllenborg. As a prose writer, rather than a poet, Dalin deserves remembrance. He established a periodical in imitation of the "Spectator," and through this conferred the same benefits on Swedish literature that Addison conferred on that of England,--a great improvement in style, and the origination of a national periodical literature.

Charlotte Nordenflycht (b. 1718) is called the Swedish Sappho. Her poetry is all love and sorrow, as her life was; in a better age she would have been a better poetess, for she possessed great feeling, pa.s.sion, and imagination. She exerted a wide influence on the literary life of her time, in the capital, where the coteries which sprung up about her embraced all the poets of the day. Gyllenborg and Creutz were deficient in lyric depth, and were neither of them poets of the first order.

Of the midday of the Gallic era, the king, Gustavus III. (1771-1792), Kellgren, Leopold, and Oxenstjerna are the chiefs. Gustavus was a master of rhetoric, and in all his poetical tendencies fast bound to the French system. He was, however, the true friend of literature, and did whatever lay in his power to promote it, and to honor and reward literary men. In 1786 he established the Swedish Academy, which for a long time continued to direct the public taste. As an orator, Gustavus has rarely found a rival in the annals of Sweden, and his dramas in prose possess much merit, and are still read with interest.

Kellgren (1751-1795) was the princ.i.p.al lyric poet of this period. His works betray a tendency to escape from the bondage of his age, and open a new spring-time in Swedish poetry. For his own fame, and that of his age, his early death was a serious loss. Leopold (1756-1829) continued to sway the literary sceptre, after the death of Kellgren, for the remainder of the century. He is best known by his dramas and miscellaneous poems. His plays have the faults that belong to his school, but many of his poems abound with striking thoughts, and are elastic and graceful in style. The great writer of this period, however, was Oxenstjerna (1750-1818), a descriptive poet, who, with all the faults of his age and school, displays a deep feeling for nature. His pictures of simple life, amid the fields and woods of Sweden, are full of idyllic beauty and attractive grace.

As the French taste overspread Europe at very nearly the same time, so its influence decayed and died out almost simultaneously. In France itself, long before the close of the eighteenth century, elements were at work destined to produce the most extraordinary changes in the political, social, and literary condition of the world. Even those authors who were most French were most concerned in preparing this astounding revolution.

In many countries it was not the French doctrines, but the French events, that startled, dazzled, and excited the human heart and imagination, and produced the greatest effects on literature. Those who sympathized least with French views were often most influenced by the magnificence of the scenes which swept over the face of the civilized world, and antagonism was not less potent than sympathy to arouse the energies of mind. But even before these movements had produced any marked effect, Gallic influence began to give way, and genius began freely to range the earth and choose its materials wherever G.o.d and man were to be found.

The heralds of the new era in Sweden were Bellman, Hallman, Kexel, Wallenberg, Lidner, Thorild, and Lengren. Bellman (1740-1795) is regarded by the Swedes with great enthusiasm. There is something so perfectly national in his spirit that he finds an echo of infinite delight in all Swedish hearts. Everything patriotic, connected with home life and feelings, home memories, the loves and pleasures of the past, all seem to be a.s.sociated with the songs of Bellman. Hallman, his friend, wrote comedies and farces. His characters are drawn from the baccha.n.a.lian cla.s.s described in Bellman's lyrics, but they are not sufficiently varied in their scope and sphere to create an actual Swedish drama. Kexel, the friend of the two last named, lived a gay and vagabond life, and is celebrated for his comedies. Wallenberg was a clergyman, full of the enjoyment of life, and disposed to see the most amusing side of everything. Lidner and Thorild, unlike the writers just named, were grave, pa.s.sionate, and sorrowful. Lidner was a nerve-sick, over-excited genius; but many of his inspired thoughts struck deep into the heart of the time, and Swedish literature is highly indebted to Thorild for the spirit of manly freedom and the principles of sound reasoning and taste which he introduced into it.

One of the most interesting names of the transition period is that of Anna Maria Lengren (1754-1811). She has depicted the scenes of domestic and social life with a skill and firmness, yet a delicacy of touch that is perhaps more difficult of attainment than the broad lines of a much more ambitious style. Her scenes and personages are all types, and her heroes and heroines continually present themselves in Swedish life in perpetual and amusing reproduction. These poems will secure her a place among the cla.s.sical writers of her country.

The political revolution of 1809 secured the freedom of the press, new men arose for the new times, and a deadly war was waged between the old school and the new, until the latter triumphed. The first distinguished names of the new school are those of Franzen and Wallin. Franzen (1772-1847), a bishop, was celebrated for his lyrics of social life, and in many points resembles Wordsworth. The qualities of heart, the home affections, and the gladsome and felicitous appreciation of the beauty of life and nature found in his poems, give him his great charm. Archbishop Wallin (1779- 1839) is the great religious poet of Sweden. In his hymns there is a strength and majesty, a solemn splendor and harmony of intonation, that have no parallel in the Swedish language.

Among other writers of the time are Atterbom, Hammarskold, and Palmblad.

The works of Atterbom (b. 1790) indicate great lyrical talent, but they have an airy unreality, which disappoints the healthy appet.i.te of modern readers. Hammarskold (1785-1827) was an able critic and literary historian, though his poems are of little value. Palmblad, besides being a critic, is the author of several novels and translations from the Greek.

These three writers belonged to the Phosphoric School, so called from a periodical called "The Phosphorus," which advocated their opinions.

The most distinguished school in Swedish literature is the Gothic, which took its rise in 1811, and which, aiming at a national spirit and character, embraced in that nationality all the Gothic race as one original family, possessing the same ancestry, original religion, traditions, and even still the same spirit, predilections, and language, although broken into several dialects. This new school had truth, nature, and the spirit of the nation and the times with it, and it speedily triumphed. First in the rank of its originators may be placed Geijer (1783-1847), who was at once a poet, musician, and historian; his poems are among the most precious treasures of Swedish literature. In his "Chronicles of Sweden" he penetrates far into the mists and darkness of antiquity, and brings thence magnificent traces of men and ages that point still onward to the times and haunts of the world's youth. The work presents all that belongs to the North, its G.o.ds, its mythic doctrines, its grand traditions, its heroes, vikings, runes, and poets, carrying whole ages of history in their trains. In his hands the dry bones of history and chronology live like the actual flesh and blood of the present time. As Geijer is the first historian of Sweden, so is Tegner (1782-1848) the first poet; and in his "Frithiof's Saga" he has made the nearest approach to a successful epic writer. Although this poem has rather the character of a series of lyrical poems woven into an epic cycle, it is still a complete and great poem. It is characterized by tender, sensitive, and delicate feeling rather than by deep and overwhelming pa.s.sion. In the story he has, for the most part, adhered to the ancient Saga. Tegner is as yet only the most popular poet of Sweden; but the bold advance which he has made beyond the established models of the country shows what Swedish poets may yet accomplish by following on in the track of a higher and freer enterprise. The other most prominent poets of the new school are Stagnelius (1793-1828), who bears a strong resemblance to Sh.e.l.ley in his tendency to the mythic and speculative, and in his wonderful power of language and affluence of inspired phrase; Almquist (d. 1866), an able and varied writer, who has written with great wit, brilliancy, and power in almost every department; Vitalis (d. 1828), the author of some religious poetry; Dahlgren, an amusing author, and Fahlcrantz, who wrote "Noah's Ark," a celebrated humorous poem. Runeberg, one of the truest and greatest poets of the North, is a Finn by birth, though he writes in Swedish; with all the wild melancholy character of his country he mingles a deep feeling of its sufferings and its wrongs. His verse is solemn and strong, like the spirit of its subject. He brings before you the wild wastes and the dark woods of his native land, and its brave, simple, enduring people. You feel the wind blow fresh from the vast, dark woodlands; you follow the elk- hunters through the pine forests or along the sh.o.r.es of remote lakes; you lie in desert huts and hear the narratives of the struggles of the inhabitants with the ungenial elements, or their contentions with more ungenial men. Runeberg seizes on life wherever it presents itself in strong and touching forms,--in the beggar, the gypsy, or the malefactor,-- it is enough for him that it is human nature, doing and suffering, and in these respects he stands preeminently above all the poets of Sweden.

Besides the poets already spoken of, there are many others who cannot here be even named.

If the literature of Sweden is almost wholly modern, its romance literature is especially so. Cederborg was not unlike d.i.c.kens in his peculiar walk and character, and in all his burlesque there is something kind, amiable, and excellent. He was followed by many others, who displayed much talent, correct sketching of costumes and manners, and touches of true descriptive nature.

But an auth.o.r.ess now appeared who was to create a new era in Swedish novel-writing, and to connect the literary name and interests of Sweden more intimately with the whole civilized world. In 1828, Fredrika Bremer (1802-1865) published her first works, which were soon followed by others, all of which attracted immediate attention. Later they were made known to the English and American public through the admirable translations of Mrs.

Howitt, and now they are as familiar as "Robinson Crusoe," or the "Vicar of Wakefield," wherever the English language is spoken. Wherever these works have been known they have awakened a more genial judgment of life, a better view of the world and its destinies, a deeper trust in Providence, and a persuasion that to enjoy existence truly ourselves is to spread that enjoyment around us to our fellow-men, and especially by the daily evidences of good-will, affection, cheerfulness, and graceful attention to the feelings of others, which, in the social and domestic circle, are so small in their appearance, but immense in their consequences. As a teacher of this quiet, smiling, but deeply penetrating philosophy of life, no writer has yet arisen superior to Fredrika Bremer, while she has all the time not even professed to teach, but only to entertain.

The success of Miss Bremer's writings produced two contemporaneous female novelists of no ordinary merit--the Baroness Knorring (d. 1833) and Emily Carlon (b. 1833). The works of the former are distinguished by a brilliant wit and an extraordinary power of painting life and pa.s.sion, while a kind and amiable feeling pervades those of the latter. Among the later novelists of Sweden are many names distinguished in other departments of literature.

In conclusion, there are in Sweden hosts of able authors in whose hands all sciences, history, philology, antiquities, theology, every branch of natural and moral philosophy and miscellaneous literature have been elaborated with a talent and industry of which any nation might be proud.

Among the names of a world-wide fame are those, of Swedenborg (1688-1772), not more remarkable for his peculiar religious ideas than for his profound and varied acquirements in science; Linnaeus (1707-1778), the founder of the established system of botany; and Scheele (1742-1786), eminent in chemistry.

If the literature of Scandinavia continues to develop during the present century with the strength and rapidity it has manifested during the last, it will present to the mind of the English race rich sources of enjoyment of a more congenial spirit than that of any other part of the European continent; and the more this literature Is cultivated the more it will be perceived that we are less an Anglo-Saxon than a Scandinavian race.

The last few years in Sweden have been a period of political rather than literary activity, yielding comparatively few works of high aesthetic value, Rydborg, a statesman and metaphysician, has produced a powerful work of fiction, "The Last Athenian," and other works of minor importance have been produced in various departments of literature.

LITERATURE OF NORWAY.--Norway cannot be said to have had a literature distinct from the Danish until after its union with Sweden in 1814. The period from that time to the present has been one of great literary activity in all departments, and many distinguished names might be mentioned, among them that of Bjornson (b. 1832), whose tales have been extensively translated. Jonas Lie who enjoys a wide popularity, Camilla Collett, and Magdalene Th.o.r.esen are also favorite writers. Wergeland and Welhaven were two distinguished poets of the first half of the century.

Kielland is an able novelist of the realistic school, and Professor Boyesen is well known in the United States for his tales and poems in English. Henrick Ibsen is the most distinguished dramatic writer of Norway and belongs to the realistic school. Among other writers of the present time are Borjesson whose "Eric XIV." is a masterpiece of Swedish drama; Tekla Knos, a poetess whose claims have been sanctioned by the Academy; and Claude Gerard (_nom de plume_), very popular as a novelist. Charles XV. and Oscar II. are poets of merit.

GERMAN LITERATURE.

INTRODUCTION.--1. German Literature and its Divisions.--2. The Mythology.

--3. The Language.

PERIOD FIRST.--1. Early Literature; Translation of the Bible by Ulphilas; the Hildebrand Lied.--2. The Age of Charlemagne; his Successors; the Ludwig's Lied; Roswitha; the Lombard Cycle.--3. The Suabian Age; the Crusades; the Minnesingers; the Romances of Chivalry; the Heldenbuch; the Nibelungen Lied.--4. The Fourteenth and Fifteenth Centuries; the Mastersingers; Satires and Fables; Mysteries and Dramatic Representations; the Mystics; the Universities; the Invention of Printing.

PERIOD SECOND.--From 1517 to 1700.--1. The Lutheran Period: Luther, Melanchthon.--2. Manuel, Zwingle, Fischart, Franck, Arnd, Boehm.--3.

Poetry, Satire, and Demonology; Paracelsus and Agrippa; the Thirty Years'

War.--4. The Seventeenth Century: Opitz, Leibnitz, Puffendorf, Kepler, Wolf, Thomasius, Gerhard; Silesian Schools; Hoffmannswaldau, Lohenstein.

PERIOD THIRD.--1. The Swiss and Saxon Schools: Gottsched, Bodmer, Rabener, Gellert, Kastner, and others.--2. Klopstock, Lessing, Wieland, and Herder.

--3. Goethe and Schiller.--4. The Gottingen School: Voss, s...o...b..rg, Claudius, Burger, and others.--5. The Romantic School: the Schlegels, Novalis; Tieck, Korner, Arndt, Uhland, Heine, and others.--6. The Drama: Goethe and Schiller; the _Power Men_; Mullner, Werner, Howald, and Grillparzer.--7. Philosophy: Kant, Fichte, Sch.e.l.ling, Hegel, Schopenhauer, and Hartmann; Science: Liebig, Du Bois-Raymond, Virchow, Helmholst, Haeckel.--8. Miscellaneous Writings.

INTRODUCTION.

1. GERMAN LITERATURE AND ITS DIVISIONS.--Central Europe, from the Adriatic to the Baltic, is occupied by a people who, however politically divided as respects language and race, form but one nation. The name _Germans_ is that given to them by the Romans; the appellation which they apply to themselves is _Deutsch_, a term derived from _Teutones_, by which they were generally known, as also by the term Goths, in the early history of Europe.

In glancing at the various phases of German literature, we see the bards at first uttering in primitive strains their war songs and traditions. The introduction of Christianity brought with it the cultivation of the cla.s.sic languages, although the people had no part in this learned literature, which was confined to the monasteries and schools. In the twelfth and thirteenth centuries, letters, so long monopolized by the clergy, pa.s.sed from their hands to those of the princes and n.o.bles; and in the next century the songs of the minnesingers gave way to the pedantic craft of the mastersingers.

A great intellectual regeneration followed the Reformation, but it was of brief duration. With the death of Luther and Melanchthon the lofty spirit of reform degenerated into scholasticism, and the scholars were as exclusive in their dispensation of intellectual light as the clergy had been at an earlier period. While the priests, the minstrels, and the bookmen had each enlarged the avenues to knowledge, they were still closed and locked to the ma.s.ses of the people; and so they remained, until philosophy arose to break down all barriers and to throw open to humanity at large the whole domain of knowledge and literature.

In the midst of the convulsions which marked the close of the eighteenth century, the leading minds of Germany sought a solution of the great problems of civilization in the abysses of philosophy. Kant and his compeers gave an electric impulse to the German mind, the effects of which were manifest in the men who soon arose to apply the new discoveries of philosophy to literature. In Lessing, Herder, Goethe, and Schiller, the clergy, the minstrels, and the bookmen were each represented, but philosophy had breathed into them an all-embracing, cosmical spirit of humanity, and under their influence German literature soon lost its exclusive and sectional character, and became cosmopolitan and universal.

The long cycle of literary experiments, however, is not yet completed.

Since the philosophers have accomplished their mission by establis.h.i.+ng principles, and the poets have made themselves intelligible to the ma.s.ses, the German mind has entered upon the exploration of all spheres of learning, and is making new and great advances in the solution of the problems of humanity. The most eminent scholars, no longer pursuing their studies as a matter of art or taste, are inspired by the n.o.ble desire of diffusing knowledge and benefiting their fellow-beings; and to grapple with the laws of nature, and to secure those conditions best adapted to the highest human welfare, are their leading aims. The German explorers of the universe have created a new school of natural philosophers; German historians are sifting the records of the past and bringing forth great political, social, and scientific revelations. In geography, ethnology, philology, and in all branches of science, men of powerful minds are at work, carrying the same enthusiasm into the world of fact that the poets have shown in the fairy-land of the imagination. To these earnest questioners, these untiring explorers, nature is reluctantly unveiling her mysteries, and history is giving up the buried secrets of the ages. The lyre of the bard may be silent for a time, but this mighty struggle with the forces of nature and with the obscurities of the past will at last inspire a new race of poets and open a new vein of poetry, far more rich than the world of fancy has ever afforded. Science, regarded from this lofty point of view, will gradually a.s.sume epic proportions, and other and more powerful Schillers and Goethes will arise to ill.u.s.trate its achievements.