In Jacobsen's third book, "Niels Lyhne," we have again the story of a Danish Rudin--a nature with a multitude of scattered aspirations, squandering itself in brilliant talk and fantastic yearnings. It is the same coquetting with the "advanced" ideas of the age, the same lack of mental stamina, the same wretched surrender and failure. It is the complexion of a period which the author is here attempting to give, and he takes pains to emphasize its typical character. One is almost tempted to believe that Shakespeare, by a gift of happy divination, made his Prince of Denmark conform to this national type, though in his day it could not have been half as pronounced as it is now. Whether the Dane of the sixteenth century was yet the eloquent mollusk which we are perpetually encountering in modern Danish fiction is a question which, at this distance, it is hard to decide. The type, of course, is universal, and is to be found in all countries. Only in the English race, on both sides of the Atlantic, it is comparatively rare. That a vigorous race like the Danish, confined, as it is in modern times, within a narrow arena of action (and forbidden to do anything on that), should have developed it to a rare perfection seems, as I have already remarked, almost a psychological necessity. Holger Drachmann, in his capacity of lyrist, has also a strain of the Hamlet nature; although, in the case of a poet, whose verses are in themselves deeds, the assertion contains no reproach. I am not even sure that the Protean quality of Drachmann's verse--its frequent voicing of naturally conflicting tendencies--need be a matter of reproach. A poet has the right to sing in any key in which he can sing well; and Drachmann sings, as a rule, exceedingly well. But, like most people with a fine voice, he is tempted to sing too much; and it thus happens that verses of slipshod and hasty workmanship are to be found in his volumes. In his first book of "Poems" he was a free oppositional lance, who carried on a melodious warfare against antiquated institutions and opinions, and gave a thrust here and a thrust there in behalf of socialists, communists, and all sorts of irregular characters. Since that time his radical, revolutionary sympathies have had time to cool, and in each succeeding volume he has appeared more sedate, conservative, _bourgeois_.[25] In a later volume of poems this transformation is half symbolically indicated in the title, "Tempered Melodies." Nor is it to be denied that his melodies have gained in beauty by this process of tempering. There is a wider range of feeling, greater charm of expression, and a deeper resonance. Half a dozen volumes of verse which he has published since ("Songs of the Ocean," "Venezia," "Vines and Roses," "Youth in Verse and Song," "Peder Tordenskjold," "Deep Chords") are of very unequal worth, but establish beyond question their author's right to be named among the few genuine poets of the latter half of the