rtheless, his attempt
seems worthy of preservation.

_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.

The story of the events which led to the composition of _The Gold Horns_
is told independently, by Steffens and by Oehlenschlager in their
respective Memoirs, and the two accounts tally completely. Adam Gottlob
Oehlenschlager (1779-1850), the greatest poet whom the North of Europe
has produced, had already attracted considerable renown and even profit
by his writings, which were in the classico-sentimental manner of the
late 18th century, when, in the summer of 1802, the young Norwegian
philosopher, Henrik Steffens, arrived in Copenhagen from Germany, where
he had imbibed the new romantic ideas. He began to give lectures on
aesthetics, and these awakened a turmoil of opposition. Among those who
heard him, no one was more scandalised than Oehlenschlager, then in his
twenty-third year. He was not acquainted with Steffens, but in the
course of the autumn they happened to meet at a restaurant in Copenhagen,
when they instantly experienced a violent mutual attraction. Steffens
has described how deep an impression was made upon him by the handsome
head, flashing eyes, and graceful vivacity of the poet, while
Oehlenschlager bears witness to being no less fascinated by the gravity
and enthusiasm of the philosopher. The new friends found it impossible
to part, and sixteen hours had gone by, and 3 a.m. had struck, before
Oehlenschlager could tear himself away from the company of Steffens.

He scarcely slept that night, and rose in a condition of bewilderment and
rapture. His first act, after breakfast, was to destroy a whole volume
of his own MS. poetry, which was ready for press, and for which a
publisher had promised him a handsome sum of money. His next was to sit
down and write _The Gold Horns_, a manifesto of his complete conversion
to the principles of romanticism. Later in the day he presented himself
again at Steffens' lodgings, bringing the lyric with him, "to prove," as
he says, "to Steffens that I was a poet at last beyond all doubt or
question." His new friend received him with solemn exultation. "Now you
are indeed a poet," he said, and folded him