The literary sceptre of Stjernhjelm as dictator in the republic of letters passed later into the hands of Olof von Dalin (1708-63) who in his literary style and ambitions might be compared with the English rationalist Pope. He began his career by editing a periodical The Swedish Argus which was modeled after Addison's Spectator, and developed later into an excellent prose writer and brilliant satirist. His 'Saga om Hasten' ((tale of the horse) is still enjoyable as a specimen of rationalistic wit and allegory. While Dalin leaned at first on English models, the literary taste of the age continued on the whole to be French, first in the manner of Voltaire as in the case of the 'dioscuri* Creutz and Gyllenborg, or of Kell gren and Leopold, later in the manner of Rousseau whose theories were introduced into Sweden by Thomas Thorild. Among the literary productions of this school deserve special mentioning Creutz' 'Ads and Camilla,' a charming idyl in the style of Gessner, Kell gren's (Nya Skapesen' (the new creation), and Wallenberg's novel 'Min Son pi Galejen' (my son on the galley), a great favorite to this day on account of its splendid humor. King Gustavus III (1771-92), nephew of Frederick the Great and one of the most gifted niters of his age, did not only further the arts and sciences in the most generous way, but wrote several patriotic plays of considerable merit. Among Gustavus' immediate friends who at tained temporary fame are Count Ehrensvard, Count Oxenstjerna, Bengt Lidner, the poet of sentiment and passion, G. Adlerbeth, author of 'Ingjaldlracla,) the most famous Swedish tragedy of this age. The revolutionary pathos of Thomas Thorild inaugurates the new emotionalism in Sweden which worshipped at the shine of Rousseau, Klopstock and Ossian. Before entering upon this new phase a word ought to be said atput the most unique lyric poet of this century who is still dear to the hearts of his countrymen: Karl M. Bellman (1740-95). He belongs with Robert Burns, or the French vagabond Villon to the class of literary bohemians who seem to be entirely free from the shackles of school or convention, who. appeal to us more like voices of nature or Immediate transcripts of the life around them. Bellman's best-known poems, among them those dramatic sketches of tavern life, are contained in the collection: Fredman's epistles. They seem more like free improvisa tions than finished works of art, but it is this wonderful freshness and bold impressionistic manner which fascinates the modern reader as much as their original audience.
The transition from the older 18th century formalism to• the Romantic age in Sweden presents quite a dramatic spectacle. The first writers who showed a more adventurous spirit, were Franzen and Wallin, the latter still known as the editor of the Swedish psalm-book and as the author of a glowing ode addressed to George Washington. After the revolution of 1809 the Swedish Academy ceased to be arbiter of public taste, and soon the leading writers of the Romantic movement in Germany were eagerly studied and imitated. Two parties fortned and carried on a lively feud for a num ber of years: the Phosphorists, so called after their periodical 'Phosphorus,' were more in terested in the speculative elements of German mysticism, as represented by Schelling or Novalis, the Gothicists wished to strengthen national ideals and to. revive the old sagas and
ballads of the romantic Middle Ages. The head of the first group was Peter Atterbom (died in 1855), whose phosphorescent visions recall somewhat the ethereal. transcendent style of Shelley or Keats. Other members were Nyberg, Dahlgren and Stagnelius, a mystic and seer, reminding of Blake. The leading minds of the Gothicists were Erik Geijer, equally great as poet and historian, Per Ling who tried to revive the old saga style, and his much greater follower Esaias Tegner, author of the Frithjofs Saga, Sweden's national epic. Somewhat independent of either school remained Karl Nicander who selected chiefly Italian subjects and themes for his poetry, Chr. Fahlcrantz, still quoted as a humorist, and Johan L. Almquist (1793-1866), an erratic genius who combined exquisite delicacy of senti ment (as in his collection of lyrics: Tornrosens bok) with an extravagant, even lawless imagination ,and quite heterodox views on love and marriage.
The chief by-product of the Romantic move ment, the historical novel, flourished in Sweden perhaps even better than in England or Ger many. Gumilius, Crusenstolpe, Ridderstad, Sparre and many others have contributed to this genre. The Finlander Topelius' so called 'Surgeon's Stories' which cover nearly two centuries of Swedish history, were widely read in this country at one time, but slumber now peacefully on the shelves of our libraries side by side with Rydberg's famous novel 'The Last Athenian,' and with Frederika Bremer's once so popular stories and sketches of Swedish home life. The last-named writer ap pears already quite emancipated from Romantic doctrines and points toward the coming age of Realism. Swedish literature, as may have been noticed, is immensely rich in the field of lyric poetry, whereas the realistic novel of the Dickens or Eliot type is rather poorly repre sented. Fr. Cederborgh, Karl Wetterberg, August Blanche, Sofie von Knorring and a few others present various aspects of Swedish life and society in their novels. The realistic note which had already been heard in the poems of Anna Lenngren (died 1817), becomes more and more prominent, and is reinforced by humor and satire in the songs of W. von Braun, Wennerberg, Sturzenbecker, and the witty im provisations of Johan Wadman. But all these minor talents disappear by the side of the greatest poetic realist of his age: Johan L. Runeberg, the pride of Finland. His chief work is a collection of patriotic poems and ballads: 'Ensign Stals Tales,' which were in spired by the second Finnish War in 1809, and are rightly considered the most beautiful trib ute that has ever been paid, to the patriotic enthusiasm of a small nation. The idyls (Elk hunters' and 'Hanna' show the influence of Goethe's epic style and, with a large number of exquisite lyrics, give evidence of Runeberg's remarkable power to invest the simplest and most primitive aspects of life with genuine pathos and poetic dignity. He deserves to be classed in this respect with poets of the rank of Goethe or Wordsworth. Runeberg taught for many years in Borga, Finland, and died in 1877.