This historic book may have numerous typos, missing text or index. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. 1919. Not illustrated. Excerpt: ... strictly to polite literature are often rilled with scientific, geographical, and linguistic erudition--much of it introduced for effect--or serve as vehicles for his conception of life. Notwithstanding the variety in what came from his pen, Almquist created some real works of art, and despite the broad scope of his interests, his learning has something more than the superficiality of the dilettant. In a clever, humorous satire, written in 1814, Almquist began to show the underlying tendencies of his nature. Other works from early manhood comprise sagas, legends, and philosophical articles, which glorify natural scenery and a Rousseauan life or advocate a passive relation with God and a closer identification with the Absolute or, 'as Almquist called it," the whole." His first important product is Amorina, a long, fantastic piece in dramatic form, a Neo-Romantic arabesque, raised to the highest power, with all the ardor and imagery of a youthful poet's imagination, and permeated with all the liberal and esthetic principles of its author. It was ready for the press in 1822, but did not appear until 1839, the same year as Sara Videbeck. Most of Almquist's works were published in a collection of fourteen volumes, called Tornrosens Bok [The Book of the Briar Rose), which began to appear in 1832. This series was designed to give a complete picture of life, with both thorns and roses, as the name implies, as well as a comprehensive idea of human thought, literature, and knowledge. In the author's mind, the colossal undertaking formed an organic unity and was intended to be a universal work of encyclopedic aim. Almquist worked long and seriously in formulating his plans; many of the productions incorporated in the final series were probably written during the twenties. A...