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ive writer and preferred to be called a "skjald" instead of a poet. The distinction is significant but somewhat difficult to define. As Grundtvig himself understood the term, the "skjald", besides being a poet, must also be a seer, a man able to envision and express what was still hidden to the common mortal. "The skjald is," he says, "the chosen lookout of life who must reveal from his mountain what he sees at life's deep fountain. When gripped by his vision," he says further, the skjald is "neither quiescent nor lifeless but, on the contrary, lifted up into an exceptional state of sensitiveness in which he sees and feels things with peculiar vividness and power. I know of nothing in this material world to which the skjald may more fittingly be likened than a tuned harp with the wind playing upon it." A skjald in Grundtvig's conception was thus a man endowed with the gift of receiving direct impressions of life and things, of perceiving especially the deeper and more fundamental truths of existence intuitively instead of intellectually. Such perceptions, he admitted, might lack the apparent clarity of reasoned conclusions, but would approach nearer to the truth. For life must be understood from within, must be spiritually discerned. It could never be comprehended by mere intellect or catalogued by supposed science. He knew, however, that his work was frequently criticized for its ambiguity and lack of consistency. But he claimed that these defects were unavoidable consequences of his way of writing. He had to write what he saw and could not be expected to express that clearly which he himself saw only dimly. "I naturally desire to please my readers," he wrote to Ingemann, "but when I write as my intuition dictates, it works well; ideas and images come to me without effort, and I fly lightly as the gazelle from crag to crag, whereas if I warn myself that there must be a limit to everything and that I must restrain myself and write sensibly, I am stopped right there. And I have thus to choose between writing as the spirit moves me, or not writing at all." This statement, although it casts a revealing light both upon his genius and its evident limitations, is no doubt extreme. However much Grundtvig may have depended on his momentary inspiration for the poetical development of his ideas, his fundamental views on life were exceptionally clear and comprehensive. He knew what he believed regarding the essential veritie
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