The historical records and traditions of Denmark, as well as the modern productions of Danish genius, are almost equally unknown to the general reader is England. While German, Swedish, and Italian works of any recognised merit, readily find translators, and the ancient ballads of Spain have received their English dress from an able and poetic pen, it appears somewhat singular that so little notice has hitherto been bestowed on the literature of a country, whose rich historical recollections are so closely interwoven with those of Anglo-Saxon England.

Though but little known in other lands, the ancient traditional lore of Scandinavia is nevertheless the source from which some of the most distinguished Danish writers of the present day, have selected their happiest themes, and drawn their brightest inspiration. The influence of the Saga, or traditional romance of Scandinavia, and of the "Kjoempe VisÉ," or heroic ballad, is peculiarly apparent in the works of M. Ingemann.

The close adherence to historic outline--the development of character by action and dialogue--the delineation of scenery by brief though vivid sketches, in preference to elaborate description, are characteristics of Saga romance which M. Ingemann has been eminently successful in imparting to his own delineations of the chivalrous age of Denmark.

The Kjoempe VisÉ, or heroic ballads which succeeded to the Saga in the North, and bear the impress of a kindred spirit, contain a store of historic tradition, and poetic incident, equally valuable to the antiquary who delights to trace the customs and manners of a remote age, and to the poet who seeks his inspiration from the historic muse of his Fatherland.

These vivid and truthful records of the middle ages of Denmark are to the modern writer of romance, what the oral traditions of the heroic age were to the chronicler of the Saga. They relate not only the exploits of northern warriors in their own, and in distant lands, but are also especially interesting, from the light they throw on the personal history of Denmark's most chivalrous monarchs. Their joys and sorrows, their sterner passions and gentler affections, are described by the national minstrel in a strain of simple and touching earnestness, which wins the full sympathy of the reader. This power of delineating human passion lends a charm even to some ballads, handing down the wildest superstitions of a superstitious age. In Germany the Danish ballads are known through the translations of Professor Grimm, who has entered with the enthusiasm both of an antiquary and a poet, into the spirit of Scandinavian lore. In the preface to his version of the "Kjoempe VisÉ," M. Grimm dwells with peculiar pleasure on those ballads which have not only supplied M. Ingemann with much of the incident, but have also suggested the individual colouring of the historic portraits of "Eric and the Outlaws." All the prominent characters introduced into this romance from King Eric himself, down to Morten the cook, are historical, and enacted scarcely less romantic parts in the drama of real life, than those assigned them by M. Ingemann.

The struggle with papal authority--the encroachments of the Hanse towns--and the invidious attempts of the "Leccarii," (the socialists of the 13th century) were important features of that interesting period which this work is designed to illustrate.

The translator is aware of the difficulty of attracting attention to a romance drawn from Danish history; the work also makes its appearance without any of those adventitious advantages which sometimes ensure a favourable introduction to the public--it is translated by an unknown pen--is unaided by patronage of any kind--and has solely its own merits to rely on for success. It would afford no slight gratification to the translator were these to be appreciated by the reading public of a nation, which not only in its early history, is closely connected with Denmark, but which has inherited from Scandinavian ancestors, that indomitable spirit which rendered them in olden time masters of the seas.