have a clearer pattern, to become used to a definite stanza and lose oneself in the rhythm. However, Heidenstam's type of "freed verse," as the French call it, is not unsuited to his abrupt changes of thought. Heidenstam is said to resemble Byron in having a poor ear for music. Without striking the reader as either harsh or unskilful, he is certainly below the average of the best Swedish poets in melodic beauty. Not many, even of the great poets, can combine all felicities.
After our survey of Heidenstam's poetry we may naturally ask in how far his message may carry to the world at large. May not this largely patriotic master be of importance only to those of his own speech and land? To this we answer that there is nothing which Heidenstam writes for Sweden that is not almost equally applicable to any other country.
The problems he deals with, whether national or personal, are our problems. As one of the great fighting minds of this generation, he cannot fail to inspire all earnest thinkers with whom he comes in contact. Furthermore he is a great artist in presenting vivid scenes from the human drama, both subjective and objective. He boldly represents life as he knows it in the light of a militant, optimistic imagination. It can therefore hardly be doubted that, wherever his poetry can be made accessible, he will exercise a quickening and exalting influence at least equal to that of any poet now writing.
