h he has at heart; and he apparently
takes a curb bit between his teeth in the presence of the Kremlin of
Moscow and the palaces of St. Petersburg, in order to restrain mere
pictorial expression.

Having violated chronology in speaking of these two works out of their
order, I shall have to leap back over a score of years and contemplate
once more the young doctor of philosophy who returned to Copenhagen in
1872 and began a course of trial lectures at the University on modern
literature. The lecturer here flies his agnostic colors from beginning
to end. He treats "The Romantic School in Germany" as Voltaire treated
Rousseau--with sovereign wit, superior intelligence, but scant sympathy.
At the same time he penetrates to the fountains of life which infused
strength into the movement. He accounts for romanticism as the chairman
of a committee _de lunatico inquirendo_ might account for a case of
religious mania.

The second and third courses of lectures (printed, like the first, and
translated into German by Strodtmann) dealt with "The Literature of the
French Emigres" and "The Reaction in France." Here the critic is less
unsympathetic, not because he regards the mental attitude of the
fugitives from the Revolution with approbation, but because he has an
intellectual bias in favor of everything French. Besides having a
certain constitutional sympathy with the clearness and vigor of style
and thought which distinguish the French, Dr. Brandes is so largely
indebted to French science, philosophy, and art that it would be strange
if he did not betray an occasional _soupcon_ of partisanship. His
treatment of Chateaubriand, Benjamin Constant, Madame de Stael, Oberman,
Madame de Kruedener, and all the queer saints and scribbling sinners of
that period is as entertaining as it is instructive. It gives one the
spiritual complexion of the period in clear lines and vivid colors,
which can never be forgotten. Nearly all that makes France France is to
be found in these volumes--its wit, its frivolity, its bright daylight
sense, contrasting so strikingly with the moonshiny mysticism of German
romanticism. And yet France has its romanticism too, which finds vent in
a supercredulous religiosity, in a pictorial sentimentalized
Christianity, such as we encounter in Chateaubriand's "Genie du
Christianisme" and "Les Martyrs." It is with literary phenomena of this
order that "The Reaction in France" particularly deals.

The fourth course of