our facilities are by no means adequate, the scanty intercourse between England and the northern countries rendering a Swedish, Danish, or Icelandic book a literary curiosity amongst us. The work which we have selected for the present occasion, contains the literary relics of a Swedish author, who is considered by his countrymen to have been the first of the bright geniuses of his time. The reign of Gustavus the Third, that in which Kellgren flourished,-resembled in more points than one the far-famed siècle de Louis Quatorze. Both kings stamped their personal character on that of the times in which they lived-both were alike vain, ambitious, haughty, and luxurious; prompted to great exertions by national feeling and love of glory-both were generous, but unprincipled; amiable, but of fatal influence on the morals of their country; and, finally, both were equally zealous patrons and promoters of the arts and sciences, thus contributing to a new era in the literary history of the people whom they governed. In this last respect, however, Gustavus had the advantage, he himself being a productive labourer in the field of literature; and, though with smaller means than those possessed by the rich and powerful King of France, he effected a comparatively greater revolution in the taste and culture of his time. Gustavus could not only reward literary merit, but he could appreciate it rightly; and, whatever faults the historian may have cause to find with the general character of this monarch, it would be an injustice to deny that, more than any prince mentioned in history, he sought and cultivated the acquaintance of enlightened men, and from the recesses of obscurity led genius forth into the light, even within the encircling splendour of the throne. He made it his pride to nurture the germs of talent, which must, probably, have been stifled but for such fostering and paternal care. Amongst those whom he favoured with his personal esteem and friendship, we may particularly mention Bellman, a poetical genius of so extraordinary a kind, that we know of none in the history of any nation to whom he can be compared, and Kellgren, whose works form the subject of our present consideration. Even the adherents of the Romantic school in Sweden, which has waged unceasing war against the French school patronized by Gustavus, admit the claims of Kellgren as an original and talented writer; and we think that, without overrating his merits, he may be pronounced a distinguished ornament of the classical literature of his country. In the course of his private life nothing occurs to call for observation, if we except the close intimacy between the sove reign and himself, which, considering the humble station of the poet, must be considered as a circumstance equally creditable to both. Kellgren was descended from that honourable class of the community, which constitutes an essential part of the Swedish nation, and has produced so many great and eminent men. In Sweden it is nothing uncommon to find the son of a peasant filling the highest offices in the State-and the Church is almost exclusively supplied by these important elements of the truly national character. The grandfather of Kellgren was a peasant, and his name, as is often the case in Sweden, derived from the small spot of land which he cultivated. This was a farm held of a captain in the army, and called Kelltorp, in the parish of Kellby, from which possession Kellgren's father took his name*. He was curate at Floby, in the province of West Gothland, where the poet was born in 1751. Until his tenth year he remained under the care of his father, who early formed him to studious and contemplative habits, to which indeed he was naturally disposed; and at this early age his proficiency in general studies enabled him to leave the paternal roof for the College at Skara, the principal town in his province. Here it was that he laid the sure foundation of his classical knowledge; and here his taste for polite literature was formed and matured by reading the works of the Danish poet, Holberg, who seems to have given him that turn for satirical writing by which he afterwards became so conspicuous. In 1768 he left college for the university of Abo, in the province of Finland, where he remained during nine years devoted to uninterrupted study. In 1772 he took the degree of Bachelor of Arts, and two years after became Magister Docens of the University. Wishing for a wider sphere of exertion, he removed to Stockholm in 1777, and there became tutor to two young noblemen, sons of Count Meyerfeld. Frequent were his early excursions in the field of poetic enterprise; but, from an excessive scrupulosity, he destroyed nearly all his earlier writings, and thus the public are deprived of the means of comparing the first fruits of his genius with the more mature productions of his later years-a comparison always so interesting in the history of literary men. The poem, which first established his fame as a satirist, was called Mina Löjen (my jokes); and shortly after its publication, he, in conjunction with Carl Lengrèn, edited a weekly journal, entitled the Stockholms Courier, a paper which still exists, though only as a memento of the vanished genius which once * Torp, in Swedish, signifies cottage; By, village, and Gren, branch. inspired inspired its pages. In the time of Kellgren, this journal had a very considerable influence on Swedish literature, in his treatment of which the poet followed, though with greater energy and skill, in the path which Dahlin had trod before him. These exertions of Kellgren could not fail to attract the notice of a monarch like Gustavus, so attentive to every manifestation of genius amongst his subjects, and being anxious to secure such eminent talents to the exclusive service of the Muses, he appointed Kellgren his private secretary, and by considerable pensions established him in an easy independence. What Kellgren seems to have valued more than all other marks of the royal favour, was the undeviating and intimate friendship with which he was honoured by the king, but which endangered his originality as a poet, since it is evident that his dramas in particular were formed after the models prescribed by Gustavus. The king, who was passionately fond of the stage, for which indeed he himself wrote, suggested, as is well known, the plan of Kellgren's three principal dramatic pieces, Gustaf Wasa, Christine, and Gustaf Adolf und Ebba Brahe. On the establishment of the Swedish academy, Kellgren was appointed a member, as a special mark of his sovereign's favour, and became by ballot the first director of that institution. His exertions for the promotion of critical taste among his countrymen continued unabated till his death, which happened in 1795. The most eloquent tribute which his friends could pay to departed genius is expressed on a medal which was struck to his memory. It is simple as he to whom it was dedicated. On the one side is the bust of the poet-on the reverse the following inscription:-Poeta, Philosopho, Civi, Amico, Lugentes Amici.— M.DCC.XCV. All who are acquainted with the history of Swedish literature must agree as to one point-that Kellgren was as a critic firm and impartial, which qualities, if accompanied by eminent talent, cannot fail of having a powerful influence on the literature of a country. In this respect, Kellgren stands foremost amongst his many distinguished contemporaries; and the journal which he edited was the most effective instrument in the formation of critical taste. But while admitting this, we by no means subscribe to the justness of all his decisions. We think him too often unhappily fettered by his partiality for the French classics of the reign of Louis XIV. Boileau was his literary idol, and in worshipping whom his own clear judgment and natural taste were often confused and perverted. As a poet, Kellgren displays more the keen perception and power of representing the incidents of common life, than the lofty lofty soaring of a fanciful imagination. In him we find no bursts of passion, no eccentric wanderings in the wild and flowery ways of fancy, but the calm pursuance of a smooth, undeviating path. As a dramatist, he must have been totally deficient in power, unless this were neutralized by the influence of his royal patron and fellow-labourer. We cannot agree with his professed admirers in their eulogium of Gustaf Wasa-a composition which the author, though why we know not, calls a lyrical tragedy. There is not a single tragical feature throughout the piece. It may be more properly termed a dramatized triumphal song; and its enthusiastic reception by the Swedish public is to be attributed to the event commemorated, and to the style of representation on the Swedish stage, which is always on a scale of magnificence more suited to the celebration of a great national triumph, than to the performance of an insignificant drama. Kellgren's other dramatic pieces are all modelled after the French, and no way suited to the grave and noble Swedish character. In his lyrical works, the poet has much higher claims on our attention. He is distinguished by playfulness and simplicity, and represents his ideas clearly and distinctly; and though they be not very exalted, they are embodied with the skill of a perfect artist. By the following translation of one of his lyrical pieces, our readers may perceive that Kellgren was not incapable of the loftier kind of poetry; though, at the same time, we must confess that this is, perhaps, his highest effort. TIIE NEW CREATION, OR FANCY'S WORLD. Thou who didst heav'nly forms pourtray Of bliss and beauty's charm to me, I saw thee once-and from that day Dead to my view did Nature lie, And to my feelings deeply dead- And Beauty rose and smiled around! Then Then felt my soul her heav'nly birth, And in the rocks their tow'ring height: And tenderness in cooling streams; And bashfulness in Dian's beams. To point the lightning Hatred sped, And Courage quell'd the raging storm; The cedar rear'd its lofty head, The flow'r unclosed its beauteous form. O living sense of all things dear! "Tis she, within my soul, who, fair, Stamps bliss on all the things that be, Thou, who didst heav'nly forms pourtray All things thy borrow'd features bear, Thy |