See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

ADAM GOTTLOB See also:

• ADAM GOTTLOB OHLENSCHLAGER (1779-1850)

OHLENSCHLAGER (1779-1850)  , Danish poet, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in Vesterbro, a suburb of See also:

• COPENHAGEN (Danish Kjobenhavn)

Copenhagen, on the 14th of See also:

• NOVEMBER (Lat. novem, nine)

November 1779 . His See also:

• FATHER

father, a Schleswiger by See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth, was at that See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time organist, and later became keeper, of the royal See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

palace of Frederiksberg; he was a very brisk and cheerful See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man . The poet's See also:

• MOTHER

mother, on the other See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, who was partly See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German by extraction, suffered from depressed See also:

• SPIRITS

spirits, which afterwards deepened into See also:

• MELANCHOLY (Gr. µe)tayXotia, from µEtas, black, and Xotii, bile)

melancholy madness . See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

Adam and his See also:

• SISTER

sister See also:

• SOFIA (Bulgarian Sredetz, the middle town, a name now little used)

Sofia were allowed their own way throughout their childhood, and were taught nothing, except to read and write, until their twelfth See also:

• YEAR

year . At the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of nine Adam began to make fluent verses . Three years later, while walking in Frederiksberg Gardens, he attracted the See also:

• NOTICE

notice of the poet Edvard See also:

• STORM (in O. Eng..storm, and so in Du. and Low Ger.; in O. H. Ger. and mod. Ger. Sturm; the root is probably that seen in " stir," to rouse, move, disturb, cf. Ger. storen)
• STORM, THEODOR WOLDSEN (1817-1888)

Storm, and the result of the conversation was that he received a nomination to the See also:

• COLLEGE (Collegium)

college called " Posterity's High School," an important institution of which Storm was the See also:

• PRINCIPAL

principal . Storm himself taught the class of Scandinavian See also:

• MYTHOLOGY

mythology, and thus See also:

• OHLENSCHLAGER, ADAM GOTTLOB (1779-1850)

Ohlenschlager received his earliest See also:

• BIAS
• BIAS (from the Fr. biais, of unknown origin; the derivation from Lat. bifax, two-faced, is wrong)

bias towards the poetical See also:

• RELIGION
• RELIGION, FOLKLORE, CUSTOM

religion of his ancestors . He was confirmed in 1795, and was to have been apprenticed to a tradesman in Copenhagen . To his See also:

• GREAT

great delight there was a hitch in the preliminaries, and he returned to his father's See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house . He now, in his eighteenth year, suddenly took up study with great zeal, but soon again abandoned his books for the See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage, where a small position was offered him . In 1797 he actually made his See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance on the boards in several successive parts, but soon discovered that he possessed no real histrionic See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent . The See also:

• BROTHERS, RICHARD (1757-1824)

brothers Orsted, with whom he had formed an intimacy fruitful of profit to him, persuaded him to quit the stage, and in 1800 he entered the university of Copenhagen as a student .

He was doomed, however, to disturbance in his studies, first from the See also:

• DEATH

death of his mother, next from his inveterate tendency towards See also:

• POETRY

poetry, and finally from the attack of the See also:

• ENGLISH

English upon Copenhagen in See also:

• APRIL

April 18o1, which, however, inspired a dramatic See also:

• SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

sketch (April the Second r8oz) which is the first thing of the See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind by Ohlenschlager that we possess . In the summer of 18oz, when Ohlenschlager had an old Scandinavian See also:

• ROMANCE

romance, as well as a See also:

• VOLUME

volume of lyrics, in the See also:

• PRESS (through Fr. presse from Lat. pressare, frequentative of premere, to crush, squeeze, press)

press, the See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young Norse philosopher, Henrik See also:

• STEFFENS, HENRIK (1773-1845)

Steffens, came back to Copenhagen after a See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long visit to See also:

• SCHELLING, FRIEDRICH WILHELM JOSEPH VON (1775-1854)
• SCHELLING, KAROLINE (1763-1809)

Schelling in See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany, full of new romantic ideas . His lectures at the university, in which See also:

• GOETHE, JOHANN WOLFGANG VON (1749-1832)

Goethe and See also:

• SCHILLER, JOHANN CHRISTOPH FRIEDRICH VON (1759-18o5)

Schiller were for the first time revealed to the Danish public, created a great sensation . Steffens and Ohlenschlager met one See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day at Dreier's See also:

• CLUB (connected with " clump ")

Club, and after a conversation of sixteen See also:

• HOURS, CANONICAL

hours the latter went See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home, suppressed his two coming volumes, and wrote at a sitting his splendid poem Guldhornene, in a manner totally new to Danish literature . The result of his new See also:

• ENTHUSIASM

enthusiasm >peedily showed itself in a somewhat hasty volume of poems, published in 1803, now chiefly remembered as containing the lovely piece called Sanct-Hansaften-Spil . The next two years saw the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of several exquisite See also:

• WORKS

works, in particular the epic of Thors Reise til See also:

• JOTUNHEIM

Jotunheim, the charming poem in hexameters called Langelandsreisen, and the bewitching piece of fantasy Aladdin's Lampe (1805) . At the age of twenty-six Ohlenschlager was universally recognized, even by the opponents of the romantic revival. as the leading poet of See also:

• DENMARK
• DENMARK (Danmark)

Denmark . Henow collected his Poetical Writings in two volumes . He found no difficulty in obtaining a See also:

• GRANT (from A.-Fr. graunter, O. Fr. greanter for creanter, popular Lat. creantare, for credentare, to entrust, Lat. credere, to believe, trust)
• GRANT, ANNE (1755-1838)
• GRANT, CHARLES (1746-1823)
• GRANT, GEORGE MONRO (1835–1902)
• GRANT, JAMES (1822–1887)
• GRANT, JAMES AUGUSTUS (1827–1892)
• GRANT, ROBERT (1814-1892)
• GRANT, SIR ALEXANDER
• GRANT, SIR FRANCIS (1803-1878)
• GRANT, SIR JAMES HOPE (1808–1895)
• GRANT, SIR PATRICK (1804-1895)
• GRANT, U
• GRANT, ULYSSES SIMPSON (1822-1885)

grant for See also:

• FOREIGN

foreign travel from the See also:

• GOVERNMENT
• GOVERNMENT (0. Fr. governement, mod. gouvernement, O. Fr. governer, mod. gouverner, from Lat. gubernare, to steer a ship, guide, rule; cf. Gr. xv(3epvav)

government, and he See also:

• LEFT

left his native See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country for the first time, joining Steffens at See also:

• HALLE (known as HALLE-AN-DER-SAALE, t0 distinguish it from the small town of Halle in Westphalia)
• HALLE, SIR CHARLES (originally KARL HALLE) (1819-1895)

Halle in See also:

• AUGUST (originally Sextilis)

August 1805 . Here he wrote the first of his great See also:

• HISTORICAL

historical tragedies, Hakon Jarl, which be sent off to Copenhagen, and then proceeded for the See also:

• WINTER, JOHN STRANGE
• WINTER, PETER (c. 1755-1825)

winter months to See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin, where he associated with See also:

• HUMBOLDT, FRIEDRICH HEINRICH ALEXANDER, BARON
• HUMBOLDT, KARL WILHELM VON (1767-1835)

Humboldt, See also:

• FICHTE, IMMANUEL HERMANN (originally HARTMANN) VON (1797-1879)
• FICHTE, JOHANN GOTTLIEB (1762-1814)

Fichte, and the leading men of the day, and met Goethe for the first time . In the See also:

• SPRING (from " to spring," " to leap or jump up," " burst out," O. Eng., springau, a common Teut. word, cf. Ger. springer, possibly allied to Gr. QnrFpxecOac, to move rapidly)

spring of 'Sob he went on to See also:

• WEIMAR

Weimar, where he spent several months in daily intercourse with Goethe . The autumn of the same year he spent with See also:

• TIECK, JOHANN LUDWIG

Tieck in See also:

• DRESDEN

Dresden, and proceeded in See also:

• DECEMBER (Lat. decent, ten)

December to See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris .

Here he resided eighteen months and wrote his three famous masterpieces, Baidur See also:

• BIN

bin Gode (18o8), Palnatoke (1809), and Axel og Valborg (181o) . In 'See also:

• JULY

July 18o8 he left Paris and spent the autumn and winter in See also:

• SWITZERLAND

Switzerland as the See also:

• GUEST (a word common to Teutonic languages; cf. Ger. Gast, and Swed. gust; cognate with Lat. hostis, originally a stranger, hence enemy; cf. " host " )
• GUEST, EDWIN (1800–188o)

guest of Madame de See also:

• STAEL, MADAME DE

Stael-See also:

• HOLSTEIN
• HOLSTEIN, FRIEDRICH VON (1837–1909)

Holstein at Coppet, in the midst of her circle of wits . In the spring of 1809 Ohlenschlager went to See also:

• ROME
• ROME (Roma)

Rome to visit See also:

• THORWALDSEN, BERTEL (1770.1844)

Thorwaldsen, and in his house wrote his tragedy of See also:

• CORREGGIO
• CORREGGIO, or COREGGIO

Correggio . He hurriedly returned to Denmark in the spring of 181o, partly to take the See also:

• CHAIR (in. Mid. Eng. chcere, through O. Fr. chaire or chaiere, from Lat. cathedra, later caledra, Gr. xaOi3pa, seat, cf. "cathedral"; the modern Fr. form chaise, a chair, has been adopted in English with a particular meaning as a form of carriage; chaire

chair of See also:

• AESTHETICS

aesthetics at the university of Copenhagen, partly to marry the sister-in-See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law of Rahbek, to whom he had been long betrothed . His first course of lectures dealt with his Danish predecessor See also:

• EWALD, GEORG HEINRICH AUGUST VON (1803-1875)
• EWALD, JOHANNES (1743-1781)

Ewald, the second with Schiller . From this time forward his See also:

• LITERARY

literary activity became very great; in 1811 he published the See also:

• ORIENTAL

Oriental See also:

• TALE (O.Eng. talu, number, account, story; the word is common to many Teutonic languages; cf. Ger. Zahl, number, Erzahlung, narrative, Du. taal, speech, language)

tale of See also:

• ALI

Ali og Gulhyndi, and in 1812 the last of his great tragedies, Staerkodder . From 1814 to 1819 he, or rather his admirers, were engaged in a long and angry controversy with See also:

• BAGGESEN, JENS IMMANUEL (1764-1826)

Baggesen, who represented the old didactic school . This contest seems to have disturbed the See also:

• PEACE
• PEACE, BREACH OF THE

peace of Ohlenschlager's mind, and to have undermined his See also:

• GENIUS (from Lat. genere, gignere)

genius . His talent may be said to have culminated in the glorious See also:

• CYCLE
• CYCLE (Gr. KUK)^os, a circle)

cycle of See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse-romances called Helge, published in 1814 . The tragedy of Hagbarth og\Signe, 1815, showed a distinct falling-off in See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style . In 1817 he went back to Paris, and published Hroars See also:

• SAGA (literally a story committed to writing)

Saga and the tragedy of Fostbrodrene . In 1818 he was again in Copenhagen, and wrote the idyll of Den See also:

• LILLE

lille Hyrdedreng and the Eddaic cycle called Nordens Guder .

His next productions were the tragedies of Erik og See also:

• ABEL (better ABELL), THOMAS (d. 1540)
• ABEL (Hebrew for breath)
• ABEL, KARL FRIEDRICH (1725-1787)
• ABEL, NIELS HENRIK (1802-1829)
• ABEL, SIR FREDERICK AUGUSTUS, BART

Abel (1820) and Vaeringerne i Miklagaard (1826), and the epic of Hrolf Krake (1829) . It was in the last-mentioned year that, being in See also:

• SWEDEN
• SWEDEN [Sverige]
• SWEDEN, NORWAY AND

Sweden, Ohlenschlager was publicly crowned with See also:

• LAUREL

laurel in front of the high See also:

• ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

altar in See also:

• LUND
• LUND, TROELS FREDERIK (1840- )

Lund See also:

• CATHEDRAL

cathedral by See also:

• BISHOP (A.S. bisceop, from Lat. episcopus, Gr. irio-Korros, " overlooker " or " overseer ")
• BISHOP, ISABELLA (1832-1904)
• BISHOP, SIR HENRY ROWLEY (1786-1855)

Bishop Esaias See also:

• TEGNER, ESAIAS (1782-1846)

Tegner, as the " Scandinavian See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King of See also:

• SONG

Song." His last volumes were See also:

• TORDENSKJOLD, PEDER (1691-1720)

Tordenskjold (1833), Dronning Margrethe (1833), Sokrates (1835), See also:

• OLAF
• OLAF (II.)
• OLAF, or ANLAF (d. 981)

Olaf den Hellige (1836), Knud den See also:

• STORE (from O. Fr. estor or estoire, Late Lat. staurum or instaurum, stock, provisions, supply, from the late use of instaurare, to provide, properly to construct, renew, restore)

Store (1838), Dina (1842), Erik Clipping (1843), and Kiartan og See also:

• GUDRUN (KUDRUN)

Gudrun (1847) . On his seventieth birthday, 14th November 1849, a public festival was arranged in his See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

honour, and he was decorated by the king of Denmark under circumstances of great pomp . He died on the zoth of See also:

• JANUARY

January 185o, and was buried in the See also:

• CEMETERY (Gr. Korrsnri7pwv, from Hoiµav, to sleep)

cemetery of Frederiksberg . Immediately after his death his Recollections were published in two volumes . With the exception of See also:

• HOLBERG, LUDVIG HOLBERG, BARON (1684-1754)

Holberg, there has been no Danish writer who has exercised so wide an See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence as Ohlenschlager . His great See also:

• WORK

work was to awaken in the breasts of his countrymen an enthusiasm for the poetry and religion of their ancestors, and this he performed to so See also:

• COMPLETE

complete an extent that his name remains to this day synonymous with Scandinavian romance . He supplied his countrymen with romantic tragedies at the very moment when all eyes were turned to the stage, and when the old-fashioned pieces were See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt to be inadequate . His plays, partly, no doubt, in consequence of his own See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early familiarity with acting, fulfilled the stage requirements of the day, and were popular beyond all expectation . The earliest are the best—Ohlenschlager's dramatic masterpiece being, without doubt his first tragedy, Hakon Jarl . In his poems and plays alike his style is limpid, elevated, profuse; his See also:

• FLIGHT

flight is sustained at a high See also:

• PITCH
• PITCH, MUSICAL

pitch without visible excitement . His fluent tenderness and romantic zest have been the secrets of his extreme popularity .

Although his See also:

• INSPIRATION (Lat. inspirare, breathe upon or into)

inspiration came from Germany, he is not much like a German poet, except when he is consciously following Goethe; his See also:

• ANALOGY (Gr. avaXo-yLa, proportion)

analogy is much rather to be found among the English poets XX. a his contemporaries . His See also:

• MISSION

mission towards antiquity reminds us of See also:

• SCOTT, ALEXANDER (fl. 1550)
• SCOTT, DAVID (18o6-1849)
• SCOTT, MICHAEL (1789-1835)
• SCOTT, ROBERT (1811-1887)
• SCOTT, SIR GEORGE GILBERT (1811-1878)
• SCOTT, SIR WALTER, BART
• SCOTT, WILLIAM BELL (1811-1890)
• SCOTT, WINFIELD (1786-1866)

Scott, but he is, as a poet, a better artist than Scott; he has sometimes touches of exquisite diction and of over-wrought sensibility which recall See also:

• COLERIDGE, HARTLEY (1796-1849)
• COLERIDGE, JOHN DUKE COLERIDGE, 1ST BARON
• COLERIDGE, SAMUEL TAYLOR (1772-1834)
• COLERIDGE, SARA (1802–1852)
• COLERIDGE, SIR JOHN TAYLOR (1790-1876)

Coleridge to us . In his wide ambition and profuseness he possessed some characteristics of See also:

• SOUTHEY, ROBERT (1774-1843)

Southey, although his style has far more vitality . With all his faults he was a very great writer, and one of the principal • pioneers of the romantic See also:

• MOVEMENT

movement in See also:

• EUROPE

Europe . (E .