“LANGUAGE is like an instrument that requires to be tuned¹ occasionally. A few times in the course of a century the literary language of a country needs to be tuned afresh; for as no generation can be satisfied to think the thoughts of the preceding one, so no group of men in the world of letters can use the language of the school that went before them.” With these words Georg Brandes begins his discussion[1] of the influence of J. P. Jacobsen. As Brandes himself was the critic who found new paths, Jacobsen was the creative artist who moulded his native language into a medium fit for modern ideas. At the time when Denmark and Norway had come to a parting of ways intellectually, and the great Norwegians were forming their own rugged² style, Jacobsen gave the Danes a language suited to their needs, subtle, pliant³, and finely modulated⁴. He found new methods of approach to truth and even a new manner of seeing nature and humanity. In an age that had wearied of generalities, he emphasized the unique and the characteristic. To a generation that had ceased to accept anything because it was accepted before, he brought the new power of scientific observation in the domain⁵ of the mind and spirit. In order to understand him it is necessary to follow the two currents, the one poetic⁶, the other scientific, that ran through his life.

[1] Det moderne Gennembruds M?nd.

Jens Peter Jacobsen was born in Jutland, in the little town of Thisted, on April 7, 1847, and was the son of a merchant in moderate circumstances. From his mother he inherited a desire to write poetry, which asserted itself while he was yet a boy. His other chief interest was botany, - vi - then a new feature of the school curriculum. He had a fervent⁷ love of all plant-life and enjoyed keenly the fairy-tales of Hans Christian⁸ Andersen, in which flowers are endowed with personality. At twenty, Jacobsen wrote in his diary that he did not know whether to choose science or poetry for his life-work, since he felt equally

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