. Killgren, and the author's portrait, after Sergel.) He is a true improvisadore, and has provided all his poems with appropriate tunes, which are extremely popular all over Sweden. The subjects of his poems are, indeed, exceedingly common, comprizing chiefly the orgies and libations, which the uncultivated classes of the inhabitants of Stockholm bring to Bacchus and the Venus vulgivage; but he knew how to attach considerable interest to these representations, by a rich poetical vein, wit and and an inexhaustible mirthful humour. Wild, bacchantic pleasure expresses itself in a pecuJiar manner, in the North: its Pindar is Bellmann. Far be it from me to arraign this truly national poet for want of decency, which he so frequently betrays, especially as Killgren has already furnished him weapons against any attack of this kind. The "Bibliothek der Schönen Wissenschaftea" acknowledges the talents of this poet in a pedantic manner, but reproaches him with an entire want of taste, and denies that his productions have any claim to the honour of being pronounced masterly compositions. Before I declare my sentiments with respect to this charge, I shall quote a passage from the preface, which that critic seems to have totally overlooked. "Pity deserves the reader, who shall judge of these works without ears and voice! but guilty of flagrant injustice is the critic, who shall attempt to judge by common rules of compositions that have not their equals, nor will ever be imitated. But these poems, unique in their kind, not founded on an elaborate plan, nor constructed verse after verse, put together and polished, but the offspring of the moment, the impetuous effusions of extasy, the children of genuine inspiration, which if I be allowed to use the expression, arose from the bosom of a fiery imagination; may these be called works, or considered as composed, and ought they to be weighed on the common ballance of the poetic art? Cool reader, do not call this an error against language, against taste-Have the feelings of the poet, the heart of a youth, love, drink, sing, and you will see the defects of these offsprings of his muse transformed into traits of genius, or you will not see them at all." It would be melancholy, indeed, if no superior object should be allowed to poetry than that of exciting and appeasing sensual desires; if the gingling of glasses, and amorous kisses alone were to be the themes of our songs; but the major part of mankind derive their greatest delight from the bottle, and the gratification of sensual desires;-when the man man of finer organs has soared to the boundless realms of fancy, where his recollection leaves him, where pleasing dreams only flutter around him, he will, at last, be drawn back within the narrow limits of reality, life will eagerly extend its thousand arms towards him and pull down into the stream of common activity and exertion, the man who languishes after ideals. In that state of mind we cannot birt derive pleasure from a poet, who opens our heart to sensations which form the delight of thousands of our brethren, and who makes us forget that we were unsuccessful in our most zealous pursuits. Who is not delighted with the expressions of unrestrained nature, though raw and wilde Who will coolly and critically reprove her for her animated effusions, and reject her heartfelt expressions? Of the unrestrained conduct, the prompt wit, and the striking thoughts of Bellmann, the Swedes relate many anecdotes, which I, however, will not repeat here, The contents of his poems are less individual than those of his epistles; but here also wine and love, and the sensual gratifications of life, constitute his chief theme, and inspire him dithyrambically. Some of his poems have, however, a different tendency. In the latter period of his life, he is said to have composed hymns, which have not, however, met with the same applause as his other compositions. Lindner has gained much love and esteem among the tender and sentimental class. Though he is not so original as Bellmann, his poems are more esteemed for being of a nobler cast, He has, indeed, been accused by some of being incorrect, but envy himself could not deny that his compositions bespeak warm feelings, a glowing imagination, and origi nality. His situation in life was not the best nor the most agreeable. He was so much addicted to the use of strong liquors, that his friends, who generously attempted to save him from poverty, were unable to protect him against the ruinous consequences of that habit. He had nearly a similar fate with Bürger. His poems had gained him the heart of a lady of a respectable family, who resolved to share the sufferings and pleasures of life with him; and Hymen seems to have favored his union more than that of our unfortunate countryman. Lindner died, if I am not mistaken, at Stockholm, in the year 1793. His poems, which had been printed before (some even repeatedly), were published by himself, at Stockholm, in two volumes, 8vo. A third volume appeared afterwards, under the title, Lidners Nyare Arbeten (Stockholm, 1793) with a preface by M. de Rosenstein. The The following are the most distinguished of his poems: The 1783, celebrating the great events and inventions of it. The Death of the Countess Spastara, an excellent lyric poem: it represents to us an unfortunate mother, who, during an earthquake at Messina, from the dangers of which she had herself been delivered, returns to the shaking house, to search after a missed child, and is buried under the ruins.Medea, an opera in three acts (but which, as far as I know, has never been brought upon the stage.) Dooms-day-several Oratorios, which he intended to form into an extensive religious work; and a number of smaller poems. His odes have strong and energetic passages, but they are not always alike. His elegies are rich and affecting. In the children of his fancy, a sweet melancholy is often observed, which has been highly interesting to the author of this essay, on reading the works of that poet some time since. His Idyls, in prose, great as is the applause with which they have been received, appear to me to be too much embellished and overloaded with ornaments, which are foreign to this kind of poetry. A national tragedy, Christina Gyllenstjerna, was likewise under his pen, but, I suppose remained unfinished. Not to become prolix, I shall confine myself to short accounts of several other poets who wrote at that period, and who attracted some notice in their time. A clergyman, of the name of Wallenstein, if I am not mistaken, has published a humourous description of a voyage, entitled, Min son pa Galejan eller an ostindisk Resa (Stockholm, 1771;) to which, under a separate title, are affixed several remarks on a foreign voyage. Gravity, ridicule, wit, absurdities, prose, and verse, form here a motley groupe; and, as the literature of Sweden is extremely poor in productions of this kind, the few it has to shew are laid hold of with the utmost avidity, to obtain some knowledge of the manner of the nation in this branch of literature. The same author has published several other compositions, such as Susanna, a drama, &c. The late bishop of Lund, Olof Celsius, who is likewise known in Germany, as one of the first Swedish historians, has written an epic poem, Gustavus Wasa (Hjelle Dikt, uti sjue sanger, Stockholm, 1774. 4to.) This composition does not posses much poetical merit; but, as the first attempt in epics, which has appeared in Sweden, it ought not to pass unnoticed in an history of the poesy of that country. Among the works of Hans Bergeström, metropolitan of Helsinborg, who died a few years ago, are several odes, didactic and satirical poems, and a translation of Voltaire's Alzire.. Alzire. Some of his odes are above the common produc tions; and among these an ode on the prospect near Helsinborg. Baron Christopher Manderström has attempted several kinds of poetry. He was born at Stockholm, on the 13th of December, 1727; filled several important public stations; and died on the first of September, 1788. His works, distinguished by a good versification, ingenious pictures, and ease, have been published under the title of Poetiska Arbeten, Stockholm, 1794, 8vo. He has also compiled a Swedish Rhyme Lexicon (Försök til et Suensk Rim Lexicon, 1799, 8vo.) entirely after the manner of Richelet's Dictionnaire des Rimes. The preface contains several hints on Swedish prosody. Several writers, some of whom are still living, have written for the Swedish opera and the theatre; but they have, of late, ceased to publish their works. We shall only mention their names here, Jöran Rothmann, director of the college of physicians, has written something for the stage. He died in the year 1778. The late inspector of the royal cabinet of coins, Adolphus Frederic Ristell, has gained several of the academy's prizes. If I am not mistaken, he lives now in England. His works chiefly consist of odes, and translations of French operas and comedies: they have not been published together, but appeared singly, and in periodical publications. f John Magnus Muhrberg, rector at the cathedral school, at Stockholm, has furnished a translation of Racine's Athalie. There were, and are still, in Sweden, as well as every where else, though not in the same number as in other countries, poets and poetasters, who have published their works, but, notwithstanding, remained in obscurity; I have, therefore, only mentioned such names as had once been, more or less, beloved and esteemed, or are still so. I shall pass over less celebrated authors, and proceed to those Swedish poets who still attempt to warm their nation for the beautiful, and to inspire it with love of virtue. At their head stands the veteran count John Gyllenborg. In almost every kind of poetry he has made successful attempts. It is certainly a singular case, that descendants of great and eminent families so entirely renounce the claims to which they are entitled by birth and education; and prefer a retired life, devoted to the arts and sciences, to the splendid honors which they might enjoy at court, or in the public .service. The works of count Gyllenborg have partly been printed F some some years ago; for his genius unfolded his youthful pinions already in the beautiful days of the reign of king Frederic, when Louise Ulrike fostered the fine arts with maternal care. The first volume of a new amended edition has been noticed, when we mentioned count Creutz, and contains satires, epistles, odes, (one of which, on human misery, is eminently excellent) a picturesque poem, describing the seasons, in a lyric metre, particularly with respect to their changes in Sweden, and several other pieces. The second volume appeared at the same time, under the title, Sednare Vitterhetsarbeten; it contains odes on different occasions, the author's speech on his being received a member of the Vitterhet's academy, and four books (flockar) of fables, with a short essay on that kind of poetry. His theatrical pieces, composing the third volume of his works, appeared in 1797. He says himself, that the dramatical department had least influenced his inclination; that he had devoted himself to it merely at the king's desire; and, - that he had soon been relieved by authors better calculated for it, and more vigorous than himself; but these attempts are, notwithstanding this modest confession, not inferior to his other works. He has, besides, the merit of having been the first original poet in this department. The volume above mentioned contains: 1. Sweden's Festival, a lyric drama; 2. Birger Jarl, a drama; 3. Sune Jarl, or, The Death of Swerker, a tragedy, in five acts; 4. Penelope, an heroic drama, in five acts; (this piece is called an heroic drama, to distinguish it from the common dramas, whose mixture of the comical with the tragical is carefully avoided, though some scenes require a more familiar stile than what is permitted in tragedies.) 5. The New Master, a comedy, in five acts. The latter piece is the first dramatical attempt of the author, and, like the rest, in rhymed verse. As an epic poet, he has acquired considerable fame by a larger poem, entitled, Taget öfwer Bält Hjeltedikt i tol Sanger (the expedition across the Belt, an heroic poem, in twelve songs) Stockholm, 1785, The subject is the war which king Charles X. carried on against Denmark; in which he boldly caused his whole army to march across the Belt, covered with ice. To the Swedes, this subject must be highly interesting, as it records the heroism of their valiant ancestors. The author introduces allegoric beings, fighting for and against his hero, viz. the fortune of arms, justice, the demon of envy, and others. Northern deities are likewise active in developing the events, viz. Age, the god of the .1 seas, |