This medley of styles was adopted in Denmark. It was well suited to the subject of Oehlenschläger's _St. Hans Aßen Spil_ and fairly so to that of his _Aladdin_; sometimes it produced very unsuccessful results, as in the case of Hauch's _Hamadryaden_. So great is Tieck's formlessness, so impossible is it to him (in his Romantic period) to condense, that he is inefficient even in pure lyric poetry. He may talk much of music and of the music of words, but he is wanting in the gift of rhythm; he does not seem to have had a correct ear. A. W. Schlegel was infinitely Tieck's superior in this respect, as is proved by his admirable translations of the songs in _As You Like It_. But of Tieck and most of the Romanticists it is true that, in spite of all their talk of melodious style, they themselves were only melodious when they reverted to those southern measures, to the exact rules of which they were obliged to conform. They filled in the framework of sonnet and canzonet as ladies fill in with embroidery an outline designed upon canvas, crowding in rhymes in such superabundance that the meaning was often swamped by them. Tieck writes in _Magelone_:-- "Errungen, Bezwungen Von Lieb ist das Glück, Verschwunden Die Stunden, Sie fliehen zurück; Und selige Lust Sie stillet, Erfüllet Die trunkene, wonneklopfende Brust." In Baggesen's _Faust_ we find the following rather overdone parody of this Romantic jingle:-- "Mit Ahnsinn Wahnsinn, lächelndweinend, Einend-- Mit Schiefe, Tiefe, dunkelmeinend, Scheinend-- Der Enge Läng' entflammt in weiten Breiten, Muss licht der Dichter durch die Zeiten gleiten."