Widely different as these three men are in almost everything, they have this in common, that they have deeply breathed the air of the nineteenth century; and they all show more or less the influence of Brandes. That this influence has been direct and personal seems probable from the relation which they have sustained to the revolutionary critics. Of this I am, however, by no means sure. Mr. Jacobsen, who was by profession a botanist, and translated Darwin into Danish, no doubt came by his "advanced views" at first hand. In the case of Schandorph it is more difficult to judge. He is an excellent linguist, and may have had access to the same sources from which Brandes drew his strength. Drachmann is so vacillating in his tendencies that he refuses to be permanently classified in any school of art or thought. Of the three, Schandorph seems altogether the maturest mind and furnishes the most finished and satisfactory work. In his novel "Without a Centre" (_Uden Midtpunkt_) the reader feels himself at once face to face with an interesting and considerable personality. He has that sense of surprise and delighted expectation which only the masters of fiction are apt to evoke. It is a story of a Danish national type--the conversational artist. In no country in the world is there such a conversational fury as in Denmark. A people has, of course, to do something with its surplus energy; and as political opposition is sure to prove futile, there is nothing left to do but to talk--not only politics, but art, poetry, religion, in fact, everything under the sun. At the time, however, when Albrecht, the hero of "Without a Centre," plied his nimble tongue, the country had a more liberal Government, and criticism of the Ministry was not yet high treason. But centuries of repression and the practical exclusion of the bourgeoisie from public life were undoubtedly the fundamental causes of this abnormal conversational activity. There is something soft and emotional in the character of the Danes, which distinguishes them from their Norwegian and Swedish kinsmen--an easily flowing lyrical vein, which imparts a winning warmth and cordiality to their demeanor. Socially they are the most charming people in the world. Also in this respect Albrecht is typical, and the songs in which he gives vent to his lyrical moods have such a rapturous melody that they keep humming in the brain long after the reader has closed the book. It almost follows as a psychological necessity that a man so richly endowed with the gift of speech is feeble and halting in action. Like Tourgueneff's "Rudin," who suffered from the same malady, he gains by the brilliancy and novelty of his speech the love of a noble young girl, who, taking his phrases at their face value, believes his heart to be as heroic as his tongue. Like him, too, he fails in the critical moment; nay, restrained by petty scruples, he even stays away from the rendezvous, and by his cowardice