copy of _The Brother Avenged and Other Ballads_ in the Library
of the British Museum. The Press-mark is C. 44. d. 38.

[Picture: Manuscript of Grasach Abo]

(59) [THE GOLD HORNS: 1913]

The Gold Horns / Translated by / George Borrow / from the Danish of /
Adam Gottlob Oehlenschlager / Edited / with an Introduction by / Edmund
Gosse, C.B. / London: / Printed for Private Circulation / 1913.

Collation:--Square demy octavo, pp. 25; consisting of: Half-title (with
blank reverse) pp. 1-2; Title-page, as above (with a note regarding the
American copyright upon the centre of the reverse) pp. 3-4;
_Introduction_ pp. 5-9; and Text of _The Gold Horns_, the Danish and
English texts facing each other upon opposite pages, pp. 10-25. The
reverse of p. 25 is blank. There are head-lines throughout, each recto
being headed _The Gold Horns_, and each verso _Guldhornene_. The book is
completed by a leaf, with blank reverse, and with the following imprint
upon its recto: "_London_: / _Printed for Thomas J. Wise_, _Hampstead_,
_N.W._ / _Edition limited to Thirty Copies_." The signatures are A (a
half-sheet of four leaves), B (a quarter-sheet of two leaves), and C (a
full sheet of eight leaves), each inset within the other.

Issued in bright green paper wrappers, with untrimmed edges, and with the
title-page reproduced upon the front. The leaves measure 8.5 x 6.875
inches.

Thirty Copies only were printed.

Although the poem was not printed until 1913, it is quite evident that
the translation was made by Borrow in or about the year 1826. The paper
upon which the Manuscript is written is watermarked with the date 1824,
whilst the handwriting coincides with that of several of the pieces
included in the _Romantic Ballads of_ 1826. "There can be little doubt,"
writes Mr. Gosse, "that Borrow intended _The Gold Horns_ for that volume,
and rejected it at last. He was conscious, perhaps, that his hand had
lacked the skill needful to reproduce a lyric the melody of which would
have taxed the powers of Coleridge or of Shelley."

"_The Gold Horns_ marks one of the most important stages in the
history of Scandinavian literature. It is the earliest, and the
freshest, specimen of the Romantic Revival in its definite form. In
this way, it takes in Danish poetry a place analogous to that taken
by _The Ancient Mariner_ in English poetry. . . .

"Oehlenschlager has explained what it was th