Looked at from the psychological point of view, the position may be described as follows. The Danish Romantic authors have, generally speaking, been the superiors of the Germans as regards art, their inferiors as regards intellect. As a rule, every production of the German author, however small, though it be formless, weak, nay, actually a failure, yet expresses a whole philosophy of life, and that no fanciful philosophy, but one evolved and matured by personal experience, and stamped with the whole astonishingly many-sided culture which distinguishes the educated German. A poem by Novalis, a tale by Tieck or Hoffmann, or a play by Kleist, contains a poetico-philosophical theory of life; and it is the theory not only of a poet, but of a man. A tragedy by Oehlenschläger again, or a fairy tale by Andersen, or a vaudeville by Hostrup, will almost invariably be distinguished by such distinctly poetical qualities as fancy, feeling, whimsicality, gaiety, youthful freshness and aplomb, but the philosophy is too often as primitive as a child's. Heiberg is almost the only writer in whose works there is any sign of a philosophy based upon science, and acquiring ever more profundity from the experiences of life. Of real development there are often only faint traces. The youthful works of such authors as Oehlenschläger, Winther, and Andersen are as perfect as those of their maturity. Sometimes, as in the case of Oehlenschläger, advancing years produce in the talent a suspicion of corpulence, of unctuousness. Sometimes, as in the case of Paludan-Müller, the ideal grows more and more attenuated. When a change does take place, it rarely signifies that the author has gradually evolved for himself a new philosophy of life; no--after treading the narrow path of poetry for a time, he strikes into one of the two great highroads, either the road of middle-class respectability or the road of orthodox piety. The dressing-gown or the cassock--one or other of these garments almost inevitably supersedes the Spanish cloak of poetic youth. It may, then, generally speaking, be asserted that, in those cases where it is possible to compare the German Romanticists with the Danish, the former have the more original philosophy of life, and are greater as personalities, whatever they may be as poets.