1812 the last of his great tragedies, Stærkodder. From 1814 to 1819 his admirers were engaged in a long and angry controversy with Baggesen, who represented the old didactic school. This contest seems to have disturbed the peace of Oehlenschläger's mind and to have undermined his genius. His talent may be said to have culminated in the cycle of verse-romances called Helge, published in 1814. The tragedy of Hagbarth og Signe, (1815), showed a distinct diminution of his powers. In 1817 he returned to Paris, and published Hroars Saga and the tragedy of Fostbrødrene. In 1818 he was again in Copenhagen, and wrote the idyll of Den lille Hyrdedreng and the Eddaic cycle called Nordens Guder. His next productions were the tragedies of Erik og Abel (1820) and Væringerne i Miklagaard (1826), and the epic of Hrolf Krake (1829). His last volumes were Tordenskjold (1833), Dronning Margrethe (1833), Sokrates (1835), Olaf den Hellige (1836), Knud den Store (1838), Dina (1842), Erik Glipping (1843), and Kiartan og Gudrun (1847). After his death his Recollections (1850) were published in two volumes. Personal life Adam Oehlenschläger married Christiane Georgine Elisabeth Heger (1782-1841) in 1810. She was the sister of Kamma Rahbek (1775–1829), the wife of Knud Lyne Rahbek (1760–1830). Oehlenschläger died 20 January 1850 and was buried in the cemetery of Frederiksberg Church. Legacy Adam Oehlenschläger was one of the principal pioneers of the romantic movement in Europe. With the exception of Ludvig Holberg (1684–1754), no Danish writer before 1870 has exercised so wide an influence. His work awoke among his countrymen an enthusiasm for the poetry and religion of their ancestors. He supplied his countrymen with romantic tragedies at a time when all eyes were turned to the stage. His plays fulfilled the stage requirements of the day, and were popular beyond all expectation. He performed to an extent that his name remains to this day synonymous with Scandinavian romance. The earliest are the best: Oehlenschlager's dramatic masterpiece being his first tragedy, Hakon Jarl. Although his inspiration came from Germany, he is not much like a German poet, except when he is consciously following Goethe; his analogy is rather to be found among English poets than his contemporaries. Honours In 1829 he was publicly laurel-crowned in Lund Cathedral as the "king of Nordic Poetry" and the "Scandinavian King of Song" by Esaias Tegnér, Bishop of the Diocese of Växjö (1782–1846). On his