In 1855 he became a preacher. Since that time he has but seldom been heard from and then always in simple lyric poems, yet these always contain the same freshness of thought and forms, and the same genial warmth of feeling and sentiment as his earlier productions.[1]
Christian Richardt (born 1831) has written a number of excellent poems that show strong and deep feeling. The form of his verses is frequently very original, but always exceedingly elegant. When he abandons the lyrical field, as for instance in his fairy tale "Tornerose," and the biblical poem of Judith, he assumes a task beyond his strength, though he has given many proofs of his poetical powers in these works. His recently published lyrical drama "Drot og Marsk," (King—Erik Slipping—and Marshal—Stig) is an exception. In this drama he had a fine opportunity of displaying his great talents, and he has succeeded in imparting to the varying mood a splendid and characteristic expression.[2]
Hans Wilhelm Kaalund (born 1818) published in 1858 a collection of poems under the title "Et Foraar" (a spring), which was very well received. It is not very comprehensive, but what it contains is full of grace and harmony. His poems are excellent, and so are his animal fables, for which he seems to be endowed with exceptionally fine talents, while he at the same time knows how to paint scenes from human life in a no less attractive form. Before the above volume of poems appeared, he had repeatedly tried his hand in various kinds of poetical composition, but without success. His epic "Kong Halfdan den Stærke," as well as his dramatic work "Valkyrien Göndul," betrayed an utter lack of self-criticism. It is all the more surprising that Kaalund is the author of the excellent play "Fulvia," recently published, the plot of which is laid in the times of the early Christians. In a
