cultural resources in henrik ibsen's early environment - Ibsen.net
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CULTURAL RESOURCES IN HENRIK IBSEN’S EARLY ENVIRONMENT.<br />
A database compiled by Philip E. Larson<br />
The materials on this website are copyrighted, and are for the use of <strong>in</strong>dividuals and<br />
educational <strong>in</strong>stitutions only. Any commercial use requires the permission of the author.<br />
The website can be used <strong>in</strong>dependently, but it also supports a book: Philip E. Larson.<br />
<strong>Ibsen</strong> <strong>in</strong> Skien and Grimstad: his education, read<strong>in</strong>g, and <strong>early</strong> works. Grimstad,<br />
Norway: <strong>Ibsen</strong>huset og Grimstad Bymuseum, 1999.<br />
1
Contents<br />
Each of the follow<strong>in</strong>g entries can be accessed easily by click<strong>in</strong>g on its head<strong>in</strong>g. A l<strong>in</strong>k<br />
will take the user to the beg<strong>in</strong>n<strong>in</strong>g of the chapter.<br />
A. INTRODUCTION .......................................................................................................... 3<br />
B. SKIEN............................................................................................................................. 4<br />
I. From Terje Christensen. Gjerpen Bygds Historie. Vol. 2: Bygdehistorie. Fra<br />
Omkr<strong>in</strong>g 1700 til 1964. Skien: Utgitt av Skien kommune, 1978. ................................. 4<br />
II. Textbooks used <strong>in</strong> Skien’s Lat<strong>in</strong> school <strong>in</strong> 1840. .................................................... 29<br />
III. The book collection of the Løvenskiold family as of 1843. ................................... 39<br />
IV. Plays advertised for performance <strong>in</strong> the newspapers of Skien between 1832 and<br />
1843, when <strong>Ibsen</strong> lived there. ........................................................................................ 96<br />
V. Erik Bøgh. A travell<strong>in</strong>g theatre company. .............................................................. 121<br />
VI. Elverhøj (“Elves’ Hill”), by Johan Ludvig Heiberg (1828). ................................ 133<br />
VII. “Donna Clara, en Natscene.” .............................................................................. 256<br />
VIII. Indqvarter<strong>in</strong>gen (“The Billett<strong>in</strong>g”), by Henrik Hertz. ........................................ 294<br />
IX. Review Articles about the Performance of Carl Petersen’s Company <strong>in</strong> Skien <strong>in</strong><br />
the Summer of 1943. From Skiensposten. ................................................................. 379<br />
X. Ferd<strong>in</strong>and and Isabella. .......................................................................................... 386<br />
C. GRIMSTAD. .............................................................................................................. 389<br />
I. A Memoir of <strong>Ibsen</strong> <strong>in</strong> Grimstad. Christopher Due’s Recollections of <strong>Ibsen</strong>’s<br />
Youthful Years. ........................................................................................................... 389<br />
II. The Grimstad Read<strong>in</strong>g Society. ............................................................................. 413<br />
III. <strong>Ibsen</strong>’s Practice Essays <strong>in</strong> Norwegian Composition. ............................................ 430<br />
IV. “Den Skand<strong>in</strong>aviske Idé” (“The Scand<strong>in</strong>avian Idea”), by Marcus J. Monrad....... 437<br />
V. Plays Advertised <strong>in</strong> Christianssand and Arendal, for performance <strong>in</strong> Sørlandet,<br />
1844-48). ..................................................................................................................... 457<br />
VI. Jørgen Moe. "Indledn<strong>in</strong>g." Saml<strong>in</strong>g af Sange, Folkeviser og Stev. Norske<br />
Almuedialekter. Christiania: P. T. Mall<strong>in</strong>gs Forlag, 1840. ....................................... 467<br />
VII. Translations of the Poems <strong>Ibsen</strong> Wrote <strong>in</strong> Grimstad. ......................................... 476<br />
D. BIBLIOGRAPHY OF HENRIK IBSEN, 1828-50. .................................................... 502<br />
2
A. INTRODUCTION<br />
In his <strong>early</strong> years, Henrik <strong>Ibsen</strong> lived <strong>in</strong> two small towns <strong>in</strong> southeastern Norway.<br />
He was born <strong>in</strong> 1828 <strong>in</strong> Skien, where he lived until the turn of the year 1843-44, when he<br />
was 15 years old. At that time he left his family and moved about 75 miles down the<br />
coast to Grimstad, where he lived until 1850, when he was 22 years old.<br />
The <strong>early</strong> years of a poet’s life are important for his or her education, and for<br />
establish<strong>in</strong>g the form and direction his or her talent will take. Therefore it would be<br />
valuable to know as much as possible about <strong>Ibsen</strong>’s <strong>early</strong> years, especially as regards the<br />
character and quality of his surround<strong>in</strong>gs. It is unlikely that he could have reached the<br />
heights of <strong>in</strong>tellectual and artistic achievement that he atta<strong>in</strong>ed <strong>in</strong> his maturity unless his<br />
surround<strong>in</strong>gs <strong>in</strong> his <strong>early</strong> years had offered him significant <strong>cultural</strong> <strong>resources</strong>. What were<br />
these <strong>resources</strong>?<br />
This database provides at least a partial answer to that question. It conta<strong>in</strong>s lists<br />
of plays that were performed <strong>in</strong> his area by travell<strong>in</strong>g Danish theatre companies, and lists<br />
of books that were available <strong>in</strong> collections to which he possibly, probably, or certa<strong>in</strong>ly<br />
had access. English translations of several Danish and Norwegian plays that were<br />
performed <strong>in</strong> his area are <strong>in</strong>cluded, plus a few examples of contemporary journalistic<br />
writ<strong>in</strong>g, excerpts from a history of Gjerpen parish by Terje Christiansen, and most of a<br />
memoir published <strong>in</strong> 1909 by Christopher Due, who had been a friend of <strong>Ibsen</strong>’s <strong>in</strong><br />
Grimstad. Some of <strong>Ibsen</strong>’s earliest writ<strong>in</strong>gs <strong>in</strong> poetry and prose that have never before<br />
been translated <strong>in</strong>to English are also <strong>in</strong>cluded. A bibliography of <strong>Ibsen</strong> scholarship<br />
(updated July, 1997) that covers the years 1828-1850 is also supplied.<br />
The user is <strong>in</strong>vited to read the samples provided of any or all of the files. The full<br />
contents of any file can be downloaded, either to store on disk or to pr<strong>in</strong>t. Simply click<br />
on the highlighted and underl<strong>in</strong>ed word or phrase <strong>in</strong> each title. Questions or comments<br />
may be addressed to Philip E. Larson, at pelarson@earthl<strong>in</strong>k.<strong>net</strong>.<br />
3
B. SKIEN.<br />
I. From Terje Christensen. Gjerpen Bygds Historie. Vol. 2: Bygdehistorie.<br />
Fra Omkr<strong>in</strong>g 1700 til 1964. Skien: Utgitt av Skien kommune, 1978.<br />
A Norwegian historian, Terje Christensen, wrote a three-volume history of<br />
Gjerpen parish, where <strong>Ibsen</strong> lived between the ages of 7 and 15, where he received his<br />
elementary education, and <strong>in</strong> whose Lutheran church he was confirmed. Follow<strong>in</strong>g are<br />
translations of several selections from Christensen's work:<br />
PP. 562 ff. "The preach<strong>in</strong>g of the word -- <strong>in</strong> and outside the state church."<br />
Hans Nielsen Hauge's preach<strong>in</strong>g around 1800 had a last<strong>in</strong>g effect <strong>in</strong> Gjerpen. For<br />
a few people the encounter with Hauge was decisive for their lives. The strong <strong>in</strong>ner life<br />
of faith which was awakened <strong>in</strong> a few prepared the ground for religious trends which<br />
would seize many more later <strong>in</strong> the century.<br />
Those who carried the flame forward more than anyone else were Erik Eriksen<br />
and his wife Ingeborg <strong>in</strong> Bøle. Hauge had stayed at their farm when he visited the<br />
district, and he also exchanged letters with the family there. Here lay the center of the<br />
movement, which had <strong>in</strong>itially acquired its members at Uthaugen. Other friends of<br />
Hauge's were Jacob Hansen at Nærum, who was married to Ragnhild Eriksdatter Bøhle,<br />
and Lars Larsen Aabye at Meen. But there were also parish people <strong>in</strong> other parts who<br />
wanted to hear Hauge's message and were will<strong>in</strong>g to open their homes to him. After<br />
many years <strong>in</strong> prison he was feeble and broken and could not resume his earlier travell<strong>in</strong>g<br />
activity aga<strong>in</strong>. But <strong>in</strong> any case he was on a visit here as late as 1818, and held prayer<br />
4
meet<strong>in</strong>gs then <strong>in</strong> a place at Opphaugen. The occasion for the trip this time was surely of a<br />
private nature, s<strong>in</strong>ce Hauge had been married the year before to Ingeborg Maria Olsdatter 1<br />
from Bø <strong>in</strong> Gjerpen. Her parents were the tenant farmers Ole Heljesen and Marthe<br />
Østensdatter.<br />
Hauge's friends, like the master-teacher himself, were law-abid<strong>in</strong>g and pious<br />
people, who wanted to effect the transformation of the m<strong>in</strong>ds of <strong>in</strong>dividuals by the power<br />
of the word and by good example. They were far from break<strong>in</strong>g with the church, and<br />
neither Blom nor the follow<strong>in</strong>g pastors <strong>in</strong> Gjerpen appear to have had any conflict with<br />
these oldest Haugianists. They wanted to act as a leaven<strong>in</strong>g with<strong>in</strong> the exist<strong>in</strong>g church,<br />
and the "readers," as they were derisively called, had a message to those who did not feel<br />
themselves content with the preach<strong>in</strong>g and the life which the church had to offer.<br />
The rationalistic concept of Christianity and its often moraliz<strong>in</strong>g and learned<br />
preach<strong>in</strong>g style had been prevalent among pastors for a long time, and it would take time<br />
before a decisive change <strong>in</strong> this would take place. Accord<strong>in</strong>gly Edvard Munch (1813-34),<br />
who assumed the position of parish m<strong>in</strong>ister after Blom, was from the rationalistic school.<br />
However, Munch's exceptional competence, and the conscientious manner <strong>in</strong> which he<br />
took care of his parish, must have commanded respect even among those who otherwise<br />
took a critical position towards his preach<strong>in</strong>g. He was recommended as Number One for<br />
the position by the church owner, the then chief county adm<strong>in</strong>istrative officer Sever<strong>in</strong><br />
Løvenskiold, who <strong>in</strong> addition to the best marks and recommendations had his personal<br />
knowledge to depend upon. Munch had been employed for four or five years as private<br />
tutor by the county officer's father, chamberla<strong>in</strong> Sever<strong>in</strong> Løvenskiold, "and <strong>in</strong> that time<br />
1 Ingeborg Maria Olsdatter, Hauge’s second wife, baptized <strong>in</strong> Gerpen 5.4.1790, died at Tynstet 13.7.1872.<br />
5
earned the respect and devotion of my parents and myself, of which I wish to give him<br />
evidence . . .". S<strong>in</strong>ce at that time, even though he was the family provider, Munch did not<br />
have any livelihood, his gratitude for gett<strong>in</strong>g the call to Gjerpen parish was great,<br />
someth<strong>in</strong>g he gave expression to <strong>in</strong> the pastor's book: "Woe is me also, if I did not devote<br />
the best powers the Lord has entrusted to me to the congregation's welfare, if I did not<br />
faithfully strive to nourish and ma<strong>in</strong>ta<strong>in</strong> the great good which is found <strong>in</strong> the Gjerpen<br />
congregation, and which assuredly, next to God's assistance, can and should be attributed<br />
to my worthy chairman's straightforward and tireless endeavors." In addition to the<br />
appo<strong>in</strong>tment at Gjerpen parish, after 1827 Munch was entrusted with the deanship of<br />
Telemark and Bamble.<br />
Munch, who was deeply <strong>in</strong>volved <strong>in</strong> the educational system and achieved a great<br />
deal <strong>in</strong> this area, was also strongly taken up with the educational side of the pastoral<br />
mission. The great celebration of the 300th anniversary of the Reformation, October<br />
31st, 1817, "the happiest and most remarkable, our generation has experienced," was<br />
observed <strong>in</strong> Gjerpen by hour-long r<strong>in</strong>g<strong>in</strong>g of church bells, and by <strong>in</strong>strumental music<br />
commissioned for the occasion, and <strong>in</strong> his sermon Munch dwelt among other th<strong>in</strong>gs on<br />
the contemplation of human dest<strong>in</strong>y if Christianity had not conquered and given "the<br />
God-orda<strong>in</strong>ed word for our correction, chastisement and discipl<strong>in</strong>e <strong>in</strong> righteousness --."<br />
Both this sermon and one on Sunday, the second of November, allowed Munch to<br />
advocate "as far as possible the preservation of the memory of this important and<br />
beautiful celebration of my congregation --," and the pr<strong>in</strong>ted sermons were distributed to<br />
"good and respectable members of the congregation and to certa<strong>in</strong> of my candidates for<br />
After Hauge’s death she was married to Christen Dahler.<br />
6
confirmation who dist<strong>in</strong>guished themselves by reflection, diligence and good conduct."<br />
In 1819, when the harvest was so overwhelm<strong>in</strong>gly rich that people had difficulty f<strong>in</strong>d<strong>in</strong>g a<br />
place for the crop, Munch found a reason to hold a thanksgiv<strong>in</strong>g celebration, "and<br />
assuredly a good and useful impression was made on everybody there, s<strong>in</strong>ce almost every<br />
eye shimmered with tears." The same year the confirmation candidates from the three<br />
preced<strong>in</strong>g years and those who were <strong>in</strong>scribed <strong>in</strong> the Spr<strong>in</strong>g were called upon to take a<br />
test <strong>in</strong> knowledge of Christianity, and when the result surpassed all expectations, he felt<br />
that the Lord had blessed his work. "One of the most laborious parts of the pastor's<br />
vocation is <strong>in</strong>deed to prepare the children of the common people for confirmation. S<strong>in</strong>ce,<br />
ah, many are so terribly neglected, many if not actually neglected are still so improperly<br />
educated, so little accustomed to th<strong>in</strong>k, to understand what they read." Also at the dean's<br />
visit two years later the young people showed "beautiful proof of their knowledge of<br />
God." Munch then preached on the self-chosen text: "How shall a young person keep his<br />
path pure?" <strong>in</strong> which the ma<strong>in</strong> idea was that the best parents could do for their children<br />
was "to rear them to religion."<br />
Munch <strong>in</strong>troduced the change to the (Sunday) worship service that communion<br />
was discont<strong>in</strong>ued from July 1st to Michaelmas, and <strong>in</strong>stead he held communion most<br />
Wednesdays dur<strong>in</strong>g this period. In this way after the sermon he could "catechise" that<br />
much longer with the young people who were <strong>in</strong> the habit of attend<strong>in</strong>g <strong>in</strong> large numbers,<br />
school children as well as confirmation candidates from the two last years. "I have<br />
always derived great satisfaction from this practice, and the elders of the congregation<br />
have always been present at it with noticeable participation."<br />
7
One matter which naturally was much on Munch's m<strong>in</strong>d was the effort to<br />
dissem<strong>in</strong>ate the Bible to as many people as possible. The activity acquired an organized<br />
form with the found<strong>in</strong>g of the Bible Society <strong>in</strong> 1816. Under a central committee <strong>in</strong><br />
Christiania branches were established around <strong>in</strong> the country, <strong>in</strong>clud<strong>in</strong>g <strong>in</strong> Bratsberg, with<br />
the purpose of collect<strong>in</strong>g money for the purchase of Bibles which were then distributed to<br />
the poor. The bus<strong>in</strong>ess for a time had good success <strong>in</strong> Gjerpen, but Munch compla<strong>in</strong>ed<br />
that the zeal for this good purpose had dim<strong>in</strong>ished <strong>in</strong> the latter part of his tenure, and that<br />
many had resigned from the local branch. The contributions for 1830 were not sent <strong>in</strong><br />
until 1833 (the sum was 16 specie-dollars 3 ort 2 ), and the New Testaments they had<br />
received for the amount were distributed free to the poor, as well as to the confirmation<br />
candidates who had dist<strong>in</strong>guished themselves by diligence and good behavior. Before he<br />
left Gjerpen, Munch recommended most warmly "this concern to my successor's care and<br />
attention."<br />
At the end of his 21-year tenure Munch made up a k<strong>in</strong>d of balance sheet for the<br />
parish <strong>in</strong>cumbent. There is much to be happy about, but there are also a good many<br />
problems. Not the least of these perta<strong>in</strong>s to the dense buildup of population near Skien<br />
and Porsgrunn, where the population is less homogeneous and stable and the total number<br />
of poor people is large, and furthermore that the towns do not exert the most beneficial<br />
<strong>in</strong>fluence with respect to morality. Munch also had much to object to <strong>in</strong> the<br />
congregation's behavior dur<strong>in</strong>g the worship service. For a long time after his appo<strong>in</strong>tment<br />
he had to put up with people stand<strong>in</strong>g outside the church long after the start of the<br />
worship service "<strong>in</strong> order to talk and make deals with each other about all k<strong>in</strong>ds of<br />
2 A spesiedaler was worth about a dollar; an ort was 1/5 of a spesiedaler.<br />
8
th<strong>in</strong>gs;" <strong>in</strong> church one could often hear whisper<strong>in</strong>g, yes even "audible talk<strong>in</strong>g" dur<strong>in</strong>g the<br />
sermon, and as soon as it was over both young and old streamed out, so that few or none<br />
rema<strong>in</strong>ed for "the collection at the end of the mass." All this got better <strong>in</strong> Munch's time,<br />
but he compla<strong>in</strong>s that there cont<strong>in</strong>ue to be many people who leave the church before the<br />
worship service is f<strong>in</strong>ished; some do not even wait until the m<strong>in</strong>ister has read the<br />
benediction from the altar.<br />
In the pastor's book we f<strong>in</strong>d some confidences by Munch with reference to his<br />
leav<strong>in</strong>g his "beloved Gjerpen." It is with a bleed<strong>in</strong>g heart that he applies for a transfer,<br />
but hard necessity compels him. The bad times have reduced the <strong>in</strong>cumbent's <strong>in</strong>come to<br />
an unsettl<strong>in</strong>g degree, at the same time as his family has gotten bigger. He now has a wife<br />
and not fewer than ten children to support, of which three sons are at the university and<br />
one at Skien's Lat<strong>in</strong> school. He <strong>in</strong>dicates his efforts not to s<strong>in</strong>k <strong>in</strong>to debt, accord<strong>in</strong>gly he<br />
has roomers liv<strong>in</strong>g <strong>in</strong> the parish house "for tra<strong>in</strong><strong>in</strong>g, pr<strong>in</strong>cipally foreigners," but despite all<br />
his efforts and the utmost thrift <strong>in</strong> order to get by, he had steadily greater economic<br />
difficulties. In his new appo<strong>in</strong>tment as dean and parish pastor <strong>in</strong> Christiania Munch could<br />
look forward to a brighter future.<br />
Munch's successor, Frederik Rode (1834-54) was born <strong>in</strong> Copenhagen <strong>in</strong> 1800,<br />
but came to Norway as a young child. Rode experienced the harshest circumstances<br />
which the country then could offer a young pastor, s<strong>in</strong>ce before his arrival <strong>in</strong> Gjerpen he<br />
had lived for six years <strong>in</strong> F<strong>in</strong>nmark and had had responsibility for several of the different<br />
widely scattered parishes there. It was therefore not a spoiled Copenhagener that the<br />
people of the parish got as pastor. With authority and strength Rode took hold of all the<br />
duties for which a priest then had responsibility. Not least he <strong>in</strong>vested a large effort <strong>in</strong> the<br />
9
educational system. Still more remarkable, perhaps, is his contribution <strong>in</strong> agriculture:<br />
even if he was a town-boy, he was to become a pioneer <strong>in</strong> the parish, and as an <strong>in</strong>sightful<br />
and practical farmer he has scarcely had his equal among any of Gjerpen's pastors.<br />
With Rode rationalism is on its way out, and an authentic Lutheran preach<strong>in</strong>g was<br />
heard aga<strong>in</strong> from the pulpit. His position was far from the austerity of pietism, however,<br />
and his often unorthodox positions offended many <strong>in</strong> the congregation. It is said that one<br />
Sunday he stood <strong>in</strong> the pulpit and thanked God for the year's rich crop. "The best we can<br />
do now is to go home and see to gett<strong>in</strong>g it <strong>in</strong>to the house," he added. And when he came<br />
home from church he actually gave the people his orders to cart <strong>in</strong> the gra<strong>in</strong>.<br />
Of literary works from Rode's hand two editions of Luther's catechism can be<br />
mentioned, and his Impressions from F<strong>in</strong>nmark," which was published <strong>in</strong> 1842. He was<br />
soon well-known for his unusual competence. From 1843 on he was entrusted with the<br />
deanship, and when he left Gjerpen, it was to take over the deanship and parish m<strong>in</strong>ister<br />
appo<strong>in</strong>tment <strong>in</strong> Christiania, the same that Munch had earlier had. Already while he was<br />
<strong>in</strong> Gjerpen Rode had received several votes for the open bishopric <strong>in</strong> Tromsø, but he<br />
decl<strong>in</strong>ed these, just as when later he was elected bishop <strong>in</strong> Bergen.<br />
The last years <strong>in</strong> Gjerpen were a difficult time for Rode on account of religious<br />
strife and unrest which broke out <strong>in</strong> his district. From the pulpit he had advised aga<strong>in</strong>st<br />
the oncom<strong>in</strong>g sectarianism as the beg<strong>in</strong>n<strong>in</strong>g of dissension and fanaticism. In reprisal he<br />
was ridiculed and condemned by his most extreme opponents as a heretic, and what was<br />
even worse, a heathen m<strong>in</strong>ister. He even got a personal communication with a summons<br />
to be converted and become receptive to the true Christianity. More and more people<br />
sought their edification elsewhere than <strong>in</strong> Gjerpen church, and the same day as Rode,<br />
10
deeply moved, bid farewell to the congregation to which he had been m<strong>in</strong>ister for 20<br />
years, the ardent separatists flocked by headed for their meet<strong>in</strong>g place <strong>in</strong> Skien. At the<br />
departure itself many followed Rode from the parish to Lillegården <strong>in</strong> Eidanger. Among<br />
those who wanted to pay their respects to the pastor were several of the members of the<br />
town board, and accord<strong>in</strong>g to the report <strong>in</strong> the Correspondent, Mayor Borchsenius<br />
thanked him <strong>in</strong> a few heartfelt words "for what he had been and done for Gjerpen for 20<br />
years, and how with moved hearts everyone bids him and his family a last farewell."<br />
Pastor Rode was not less moved when he answered this farewell greet<strong>in</strong>g. He<br />
remembered that he had not always stood <strong>in</strong> such a friendly relationship to the town as<br />
now; he ascribed the former opposition from the town board ma<strong>in</strong>ly to youthful zeal and<br />
too little understand<strong>in</strong>g and thoughtfulness on both sides. Later, however, there had<br />
arisen a more real and significant opposition between the pastor and one part of the<br />
congregation. But he did not see these discords as dangerous, either; it was his conviction<br />
that with God's help they would lead to someth<strong>in</strong>g positive, even if one must anticipate<br />
that the period of unrest could be long and entail many bitter experiences.<br />
As <strong>early</strong> as around 1840 a stronger religious activity can be traced <strong>in</strong> the district.<br />
We have mentioned <strong>in</strong> another connection how an organization was launched for the<br />
cause of temperance <strong>in</strong> 1839, when the pa<strong>in</strong>ter Fredrik T. Knudsen from Lista visited<br />
Skien together with his son Hans Christian Knudsen. The father had been strongly seized<br />
by the cause of missions at a time when it was still scarcely known <strong>in</strong> Norway, and the<br />
son had recently returned home from the Rhe<strong>in</strong> Missions Institute. Dur<strong>in</strong>g his stay <strong>in</strong><br />
Germany he got the idea to found a Norwegian missions society, and a year later he<br />
himself went out as the first Norwegian missionary of recent times. They were received<br />
11
with warmth, not least among Hauge's friends, accord<strong>in</strong>gly <strong>in</strong> Gjerpen they visited both<br />
Erik Bøhle and Lars Aabye. Dean Bull <strong>in</strong> Skien promised to write about the mission <strong>in</strong><br />
the newspaper and collect subscribers to a society. The first one here <strong>in</strong> the district was<br />
founded <strong>in</strong> 1844 at the home of the newly awakened Hans Mikkelsen at Klosteror<strong>in</strong>den <strong>in</strong><br />
Solum. In addition to this parish the missions society <strong>in</strong>cluded Gjerpen, Skien and<br />
Porsgrunn. Among the members of the first board was the well-known Christen Eriksen<br />
from Gjerpen, teacher at the work<strong>in</strong>g-class school (almueskole) <strong>in</strong> Skien.<br />
The same year that the missions society was founded, construction was also<br />
started on the children's home "Hans Cappelen's Memorial," which for a long time <strong>in</strong>to<br />
the future was one of the most-used meet<strong>in</strong>g places for missions societies, the temperance<br />
cause, etc. The founders were Hans Mikkelsen and his wife Anne Marie Johnsdatter.<br />
The restra<strong>in</strong>ts that were placed on layman-preach<strong>in</strong>g and "devotional prayer meet<strong>in</strong>gs"<br />
were removed by the annullment of konventikkelplakaten 3 <strong>in</strong> 1842, someth<strong>in</strong>g which<br />
together with the new "Dissenter Law" of 1845 contributed to the circumstance that<br />
religious activity assumed freer forms. One of the preachers who left traces of himself <strong>in</strong><br />
this time was Hauge's collaborator and follower, Anders Nielsen Haave, who <strong>in</strong> 1845 and<br />
several times later visited the district, and it is said that he awakened Christian life<br />
everywhere he went. Soon, however, an awaken<strong>in</strong>g far more <strong>in</strong>tense and more extensive<br />
would make its entry <strong>in</strong>to the district. The <strong>in</strong>stigator was the Skien priest Gustav Adolph<br />
Lammers, and it was the movement he set <strong>in</strong> motion which created the opposition<br />
between Rode and one part of Gjerpen's congregation.<br />
3 An ord<strong>in</strong>ance from 1741 govern<strong>in</strong>g religious observances.<br />
12
Lammers also came from Denmark, and he was married to Dean Rode's sister.<br />
His talents ranged over a wide register; <strong>in</strong> him great power of <strong>in</strong>tellect was comb<strong>in</strong>ed with<br />
a strong emotional life and a creative imag<strong>in</strong>ation. He had a tra<strong>in</strong>ed musical sensibility,<br />
was a competent pa<strong>in</strong>ter and sketcher, and his abilities <strong>in</strong> the field of architecture also<br />
came to expression: as parish pastor <strong>in</strong> Bamble, before he came to Skien, he had designed<br />
the new church there and directed the construction himself. We have earlier mentioned<br />
that Lammers also was chosen as architect for the wooden church which was planned to<br />
replace the old Gjerpen church. In addition to these rich talents came qualities which<br />
more than any others made him <strong>in</strong>to the powerful personality he was: an unbend<strong>in</strong>g, steel<br />
will, a manly seriousness and a strong <strong>in</strong>ner glow. After hav<strong>in</strong>g worked <strong>in</strong> Bamble for 14<br />
years, he became parish pastor <strong>in</strong> Skien <strong>in</strong> 1849. It was <strong>in</strong> the follow<strong>in</strong>g period that he<br />
displayed the behavior which would make him <strong>in</strong>to one of the models of <strong>Ibsen</strong>'s Brand:<br />
the priest with the absolute demand on himself and on others, and the preacher of the<br />
message that the spirit of compromise is Satan. From the torch Lammers lighted, the fire<br />
spread, not just to Gjerpen and the neighbor<strong>in</strong>g parishes, but widely over the country, and<br />
at one time it almost looked as though the state church itself was threatened.<br />
An impression of how many people paid attention to Lammers and his preach<strong>in</strong>g<br />
is given by Mrs. Bodenhoff of Jønnevall <strong>in</strong> a written meditation from 1852: "Half of<br />
Skien's <strong>in</strong>habitants are simply crazy and despise all the others, who do not share their<br />
views. Lammers believes that he can read <strong>in</strong> people's faces, when they receive the<br />
sacrament, if they are true believers or not, and is angry because he must not turn them<br />
away accord<strong>in</strong>g to his pleasure; but then he thunders away <strong>in</strong> retribution, and consoles<br />
them with the promise of the hottest hell, etc. Everyone who dances or plays whist is<br />
13
simply lost, he preaches, and that conviction is now shared by half of Skien." That<br />
Lammers strongly disagreed with card-play<strong>in</strong>g, danc<strong>in</strong>g and act<strong>in</strong>g was one th<strong>in</strong>g; what<br />
was worse, he gradually began to re-<strong>in</strong>troduce the old church discipl<strong>in</strong>e and make the<br />
confession <strong>in</strong>to a condition for absolution and communion. In addition to the pulpit that<br />
he used, and accord<strong>in</strong>g to the op<strong>in</strong>ion of many misused to promote his ideas, he also<br />
made use of personal <strong>in</strong>fluence and paid calls at the homes of high and low. He<br />
enthroned layman's Christianity <strong>in</strong> the seat of honor and ma<strong>in</strong>ta<strong>in</strong>ed that lay people at all<br />
times had been the ma<strong>in</strong> source of renewal <strong>in</strong> religious life. He soon came <strong>in</strong>to the most<br />
irreconcilable opposition to his brother-<strong>in</strong>-law Dean Rode <strong>in</strong> Gjerpen, and it was <strong>in</strong> order<br />
to hear Lammers that a large part of the congregation here migrated down to Skien. In his<br />
demand for evidence of conversion Lammers was wholly <strong>in</strong> keep<strong>in</strong>g with the Haugianist<br />
tradition, just as <strong>in</strong> his condemnation of worldly pleasures. The meet<strong>in</strong>g house which<br />
Lammers took charge of construct<strong>in</strong>g from collected funds, the first <strong>in</strong> Bratsberg,<br />
accord<strong>in</strong>gly received the name "Hauge's Memorial," and from this meet<strong>in</strong>g place and<br />
from Skien's church went out a preach<strong>in</strong>g <strong>in</strong> these years which would shake up many<br />
people from <strong>in</strong>difference and rout<strong>in</strong>e Christianity.<br />
Lammers and his movement came <strong>in</strong>to steadly stronger opposition to the state<br />
church until it actually came to a break <strong>in</strong> 1856, when Lammers resigned from the church<br />
and was followed by a great number of his adherents. The decisive issue was his view of<br />
the sacraments, especially <strong>in</strong>fant baptism, which Lammers rejected. He then authored a<br />
new confession and established "The free apostolic-Christian congregation," which would<br />
be governed by the elders. The statutes were adopted by n<strong>early</strong> 40 people, of which about<br />
one-third were residents of Gjerpen, among them the ship's capta<strong>in</strong> Eckstorm's family <strong>in</strong><br />
14
Gr<strong>in</strong>i and the former teacher Søren Pedersen Tufte. The first resignations from the state<br />
church <strong>in</strong> Gjerpen took place on July 2nd 1856, and among these was Søren Tufte,<br />
entered <strong>in</strong> the church book as # 1. In the course of the year, accord<strong>in</strong>g to the same source,<br />
the number of the resigned <strong>in</strong>creased to 14, and up to 1860 we f<strong>in</strong>d a total of 35 resigned<br />
adults who had jo<strong>in</strong>ed Lammers' movement. The follow<strong>in</strong>g therefore appears to be rather<br />
modest, but the numbers do not give a correct picture of the movement's extent, far less of<br />
its significance <strong>in</strong> the parish. In the first place one part of those most active <strong>in</strong> the<br />
Lammers congregation is lack<strong>in</strong>g <strong>in</strong> the catalog of the resigned, among them the 11<br />
members of the Eckstorm family. With their zeal and fervor, Lammers' adherents exerted<br />
an <strong>in</strong>fluence which had no relation to their numbers. For that matter, part of those who<br />
were seized by the movement went over to other movements and church assemblies. Not<br />
the least significance the Lammers movement had was as a preparation of the ground for<br />
religious activity <strong>in</strong> later periods . . . .<br />
Pp. 578 ff. "The school and the teachers."<br />
The pastor (of the Gjerpen parish church) acquired new and significant duties as<br />
the chief adm<strong>in</strong>istrator of schools and poor relief <strong>in</strong> the parish. It was <strong>in</strong>itially by efforts<br />
from the pastor's side that these systems were put <strong>in</strong>to effect about 1740, and he had<br />
charge of the cont<strong>in</strong>u<strong>in</strong>g activity and the ma<strong>in</strong> responsibility for gett<strong>in</strong>g necessary<br />
organizational changes accomplished. As far as the school and its <strong>in</strong>struction were<br />
concerned, he had the duty of supervision, and he was also the one who would approve<br />
aspirants to the teach<strong>in</strong>g profession. A prospective teacher (of an ambulatory school), <strong>in</strong><br />
15
addition to the usual tra<strong>in</strong><strong>in</strong>g, the preparation for confirmation and perhaps a little extra<br />
<strong>in</strong>struction for an <strong>in</strong>terested teacher, received guidance and <strong>in</strong> <strong>in</strong>dividual cases also some<br />
private lessons from the pastor. Around 1800 there were <strong>in</strong>dividuals from the parish who<br />
went out and acquired a "sem<strong>in</strong>ary" (i.e., teachers' college) education, but this was purely<br />
exceptional. In a report about the schools from 1818 it says about Gjerpen: "Except for<br />
the teacher at Osebakken's permanent school, Wold, who is sem<strong>in</strong>ary-educated, the rest of<br />
the teachers are simple farmhands, who by be<strong>in</strong>g teachers (<strong>in</strong> the ambulatory schools) are<br />
exempted from be<strong>in</strong>g soldiers." Just at this time, however, a change occurred <strong>in</strong> these<br />
circumstances, when they began the systematic education of teachers <strong>in</strong> the parish itself.<br />
The one who took the <strong>in</strong>itiative <strong>in</strong> this was Edvard Munch, a short time after he assumed<br />
the position of Gjerpen parish pastor <strong>in</strong> 1813.<br />
In Munch's time the Gjerpen parish farm became, to a greater extent than before, a<br />
center for education and enlightenment. In addition to be<strong>in</strong>g a thoroughly schooled<br />
theologian Munch was also a remarkable l<strong>in</strong>guist, and had a command of both written<br />
and spoken German and French. For a number of years he conducted private <strong>in</strong>struction,<br />
and among the young men who received <strong>in</strong> his house a foundation for further education<br />
and studies were prime m<strong>in</strong>ister Løvenskiold's sons Otto and Sever<strong>in</strong>, Hans E. Møller the<br />
younger, from Åkre, Paul Hofgaard and Knud O. Knudsen (both of the two last-named<br />
later became parish pastors) the Frenchman Dublicat, together with Munch's own sons.<br />
We know about Peter Andreas Munch that when as a 13-year-old <strong>in</strong> 1823 he started at the<br />
newly-established Lat<strong>in</strong> school <strong>in</strong> Skien with the outstand<strong>in</strong>g rector Ørn as teacher, he<br />
was well prepared by his father both when it came to Greek and Lat<strong>in</strong> as well as liv<strong>in</strong>g<br />
languages. Both the <strong>in</strong>struction at home and <strong>in</strong> the milieu he grew up <strong>in</strong> must have<br />
16
contributed to arous<strong>in</strong>g the boy's historical <strong>in</strong>terests. The time was marked by the<br />
Constitution and the work of liberation, and dur<strong>in</strong>g the susceptible years of childhood and<br />
youth he received strong impressions of the events of 1814. Not far from home he could<br />
<strong>in</strong>vestigate the ru<strong>in</strong>ed church at Dag Eilifsson's and Gregorius Dagsson's Bratsberg. He<br />
experienced the jubilee <strong>in</strong> 1817, the celebration of the 300th anniversary of the<br />
Reformation, when hour-long un<strong>in</strong>terrupted r<strong>in</strong>g<strong>in</strong>g of all the church bells <strong>in</strong>troduced the<br />
thanksgiv<strong>in</strong>g service, and a chorale with clar<strong>in</strong>ets was played from the tower dur<strong>in</strong>g the<br />
congregation's departure from the church. The follow<strong>in</strong>g year was also marked by great<br />
events: K<strong>in</strong>g Carl XIII's death and Carl Johan's coronation. Moreover, dur<strong>in</strong>g the<br />
prolonged peal<strong>in</strong>g on this occasion one of the two bells <strong>in</strong> Gjerpen church with runic<br />
<strong>in</strong>scriptions from the Middle Ages, which could still be seen, shattered <strong>in</strong> pieces. There<br />
were enough impulses here to draw from for one who as an adult would make a<br />
pioneer<strong>in</strong>g contribution as a historian and become the <strong>in</strong>spir<strong>in</strong>g focal po<strong>in</strong>t <strong>in</strong> our work of<br />
national reconstruction.<br />
Another form of educational activity at the parish farm was, however, of greater<br />
significance on the local level than the preparatory <strong>in</strong>struction with a view to admission<br />
<strong>in</strong>to Lat<strong>in</strong> schools. Shortly after his arrival at the parish, <strong>in</strong> 1814 or 1815, Munch had<br />
taken up the work of educat<strong>in</strong>g teachers, and <strong>in</strong> 1816 he reports that he already has "a<br />
little nursery of that k<strong>in</strong>d." But when his office and other duties did not allow him to give<br />
the time which is needed <strong>in</strong> this work, he received a little help from Christen Lund, an<br />
assistance with which he was very satisfied. After three years' education at the<br />
Brahetrolleborg teachers' college <strong>in</strong> Denmark and seven years' activity at Fossum, partly<br />
as a teacher at the ironworks' school, partly as private tutor at the Løvenskiolds' house,<br />
17
Lund was very well qualified for this task. Lund was to assume the position of sexton,<br />
which church-owner Løvenskiold had the right to fill, when it became available after<br />
Gjert Monrad, and Løvenskiold had borne the costs of the young farmer's son's education<br />
with the idea of comb<strong>in</strong><strong>in</strong>g the job of sexton with a teach<strong>in</strong>g job. However, it appeared<br />
that <strong>in</strong> the long run Lund could with difficulty manage the <strong>in</strong>struction <strong>in</strong> an ord<strong>in</strong>ary<br />
school (almueskole) on the grounds of a weak chest.<br />
It was with this background that <strong>in</strong> 1816, when at Monrad's death it became<br />
feasible to appo<strong>in</strong>t a new sexton or church-s<strong>in</strong>ger as it was now called, <strong>in</strong> an<br />
understand<strong>in</strong>g with prime m<strong>in</strong>ister Løvenskiold, Munch proposed that Lund be excused<br />
from <strong>in</strong>struct<strong>in</strong>g <strong>in</strong> one of the ord<strong>in</strong>ary schools, and <strong>in</strong> return jo<strong>in</strong> the pastor <strong>in</strong> educat<strong>in</strong>g<br />
prospective teachers. They referred to Lund's well-known proficiency <strong>in</strong> <strong>in</strong>struct<strong>in</strong>g<br />
young people, as Munch especially emphasized that he not merely sang well, but that he<br />
also could teach s<strong>in</strong>g<strong>in</strong>g, and thereby be helpful to the pastor <strong>in</strong> his efforts to improve the<br />
s<strong>in</strong>g<strong>in</strong>g <strong>in</strong> church. The idea was supported <strong>in</strong> the diocese adm<strong>in</strong>istration, and thereby the<br />
<strong>in</strong>stitution received its official sanction. Regular <strong>in</strong>struction began at the start of the year<br />
1818, with a firmly fixed schedule. The record of "Gjerpen parish's school-teachers'<br />
college" is also preserved from this year. Here we f<strong>in</strong>d the plan for "the scheme of<br />
education." It would be divided <strong>in</strong>to two classes or sections, with one year of standard<br />
time <strong>in</strong> each class. The subjects were read<strong>in</strong>g, writ<strong>in</strong>g, practical account<strong>in</strong>g, religion,<br />
biblical and church history, biblical <strong>in</strong>terpretation, catechiz<strong>in</strong>g (<strong>in</strong>struction by question<br />
and answer), and learn<strong>in</strong>g by rote comb<strong>in</strong>ed with practical exercises, grammar and<br />
spell<strong>in</strong>g, practice <strong>in</strong> writ<strong>in</strong>g essays, elementary mathematics and mathematical geography,<br />
general history, but especially Norway's, geography with special emphasis on Norwegian<br />
18
and biblical geography, and f<strong>in</strong>ally s<strong>in</strong>g<strong>in</strong>g (choral practice). To beg<strong>in</strong> with <strong>in</strong>struction<br />
would be accord<strong>in</strong>g to the follow<strong>in</strong>g schedule:<br />
Mon., 1st sect. Wed., both sects. Sat., 2nd sect.<br />
9-10 Religion Bible history and Mathematics<br />
geography<br />
10-11 Grammar and Grammar and Bible <strong>in</strong>terpretation<br />
spell<strong>in</strong>g spell<strong>in</strong>g<br />
11-12 Account<strong>in</strong>g Account<strong>in</strong>g Rote learn<strong>in</strong>g and<br />
catechization<br />
exercises<br />
12-1 (<strong>in</strong> the head) (<strong>in</strong> the head)<br />
2-3 Geography Mathematics Geography<br />
3-4 General history Religion and Bible- History<br />
read<strong>in</strong>g<br />
4-5 Bible history Catechization Bible and church<br />
history<br />
5-6 Read<strong>in</strong>g practice Read<strong>in</strong>g practice S<strong>in</strong>g<strong>in</strong>g practice<br />
and analysis and analysis<br />
(Scripture-read<strong>in</strong>g)<br />
9 different textbooks were used <strong>in</strong> 28 copies, besides several maps of the parts of<br />
the world, everyth<strong>in</strong>g "generously given by cab<strong>in</strong>et m<strong>in</strong>ister Aall from Brække." It is<br />
evident that they tried to keep pace with developments <strong>in</strong> the different areas from the fact<br />
that all the books <strong>in</strong> the orig<strong>in</strong>al collection were changed for later editions <strong>in</strong> the course of<br />
20-30 years. They had, then, <strong>in</strong> all, the use of 45 copies of 16 works which covered the<br />
subjects theology, mathematics, logic, geography and history (of Norwegian history<br />
besides Faye's, P. A. Munch's Norway's History <strong>in</strong> Brief Extract was used). When Rode<br />
19
ecame pastor <strong>in</strong> 1834, like his predecessor he took upon himself one part of the<br />
<strong>in</strong>struction, and cont<strong>in</strong>ued with this for 10-12 years. But the ma<strong>in</strong>stay <strong>in</strong> the teachers'<br />
college from the time it was founded until it ceased its activity <strong>in</strong> the beg<strong>in</strong>n<strong>in</strong>g of the<br />
1850's was Christen Lund; most of the <strong>in</strong>struction rested with him, and at the end it<br />
appears that he was <strong>in</strong> charge of the teachers' college alone. Accord<strong>in</strong>g to Rode there<br />
could be up to 6-8 students each year.<br />
The found<strong>in</strong>g of the teachers' college at Gjerpen parish farm was to all<br />
appearances the most important new element <strong>in</strong> the areas of enlightenment and education<br />
<strong>in</strong> Gjerpen <strong>in</strong> the first half of the 19th century. Until then teachers' education was a rare<br />
exception, and teachers with that k<strong>in</strong>d of qualifications were solitary birds who were not<br />
satisfied with the teachers' conditions at the ambulatory school, even the permanent<br />
schools <strong>in</strong> the parish with the best reputations, Fossum Works and Osebakken's school,<br />
had only for short periods made use of teach<strong>in</strong>g talents with such an education. Now a<br />
radical transformation came about. Instead of the rather random tra<strong>in</strong><strong>in</strong>g which had<br />
hitherto been usual, the new teachers got a rather solid foundation for their work by<br />
undergo<strong>in</strong>g a systematic as well as well-rounded two-year course. In comparison to their<br />
older colleagues they were well educated people who <strong>in</strong> due course assumed the teach<strong>in</strong>g<br />
positions <strong>in</strong> the parish. The change did not take long; <strong>in</strong> 1834 Munch reports that all the<br />
teachers <strong>in</strong> the parish were graduates of the parish farm's teachers' college. Rode says<br />
later that Gjerpen had the satisfaction "not alone of hav<strong>in</strong>g tra<strong>in</strong>ed all its own<br />
schoolteachers itself, but also of hav<strong>in</strong>g furnished several of the neighbor<strong>in</strong>g parishes,<br />
namely Skien and Porsgrund, with some of their most competent teachers." We have set<br />
20
up the follow<strong>in</strong>g alphabetical list of the candidates who with certa<strong>in</strong>ty appear to have<br />
taken part <strong>in</strong> the teachers' college dur<strong>in</strong>g the ca. 35 years the <strong>in</strong>struction cont<strong>in</strong>ued:<br />
Students accepted by Gjerpen parish farm's teacher's college ca. (1816-1851):<br />
NB: f.=born, d.=baptized<br />
Abrahamsen, Halvor A. Hoppestad, from Bestul, f. 18/6 1815<br />
Andersen, Isak A. Gr<strong>in</strong>i, f. 1/10 1827<br />
Andersen, Niels A. Krageto, f. 12/8 1830<br />
Andersen, Østen A. Venstøp, d. 8/1 1804<br />
Andersen, Niels A., from Løberg, f. 18/9 1816<br />
Arnesen, Gunder A. Augestad, d. 23/2 1806<br />
Christensen, Andreas C. Steensaasen, f. 11/6 1819<br />
Danielsen, Gregorius D. Lund, from Jønnevall, d. 17/10, 1790<br />
Engebretsen, Mathias E. Øvrum, f. 12/9 1821<br />
Eriksen, Lars E. Ballestad, f. 15/10 1825<br />
Gundersen, Ole G. Gulset, d. 21/2 1800<br />
Helgesen, Erik H. Foss, from northern Bø, f. 9/11 1813<br />
Isaksen, Aslak I. Gr<strong>in</strong>i, d. 15/9 1805<br />
Isaksen, Christian I. Foss, d. 7/6 1801<br />
Isaksen, Hans I. Gr<strong>in</strong>i, d. 8/2 1801<br />
Isaksen, Lars I. Follaug, from Kolk<strong>in</strong>n, f. 16/4 1824<br />
Isaksen, Ole I. Holm, d. 21/1 1798<br />
Jacobsen, John J. Ballestad (later Bøhle), d. 28/6 1807<br />
Jensen, Anders J. Lien, from Lia below Fossum, f. 15/2 1812<br />
Johnsen, Svenke J. Froger, d. 29/7 1798<br />
Jørgensen, Ole J. Hobæk, f. 9/8 1826<br />
Kittelsen, Ole K. Riis, d. 9/10 1803<br />
Larsen, Ell<strong>in</strong>g L. Høimyr, f. 21/1 1827<br />
Larsen, Hans L. Aas, d. 15/1 1797<br />
Mikkelsen, Christen M. Doxrød, d. 24/11 1793<br />
Nielsen, Carl Daniel N. Holt, from Bratsbergkleiva, f. 7/8 1816<br />
Nielsen, Christian N. Kleven, from the Kleiva farm <strong>in</strong> Gjerpen f. 8/9 1816<br />
Nielsen, Halvor N. Lysa, from Sokka, d. 1/11 1812<br />
Nielsen, Hans N. Bøe, f. 27/7 1833<br />
Nielsen, Jacob N. Strømdal, d. 14/10 1804<br />
Nielsen, Johannes N. Gromstul (Opphaugen), d. 9/10 1796<br />
Nielsen, Ole N. Aas, f. 21/10 1832<br />
Olsen, Even O. Bugot, f. 12/5 1811<br />
Olsen, Niels O. Ballestad, f. 12/8 1815<br />
Olsen, Torgrim O. Ballestad, f. 14/7 1811<br />
Pedersen, Søren P. Tufte, f. 19/11 1820<br />
21
Rasmusen, Peder R. Øvrum, f. 7/8 1826<br />
Sivertsen, Hans Riis, from Nærum, f. 25/9 1812<br />
Solvesen, Johan Erboe S. Gr<strong>in</strong>ie, f. 23/9 1812<br />
Thorbjørnsen, Halvor T. Puttehaasen (also called himself Putten), d. 19/2 1804<br />
Not all of these 42 students completed teacher tra<strong>in</strong><strong>in</strong>g. Several stopped after a<br />
time, for example Erik Helgesen Foss, who went to America with the first large<br />
cont<strong>in</strong>gent of emigrants from the parish <strong>in</strong> 1843. Some took their exam and afterwards<br />
went <strong>in</strong>to another l<strong>in</strong>e of work. But for by far the most the teacher's college became the<br />
preparation for the teach<strong>in</strong>g profession. A changed attitude to the profession is also<br />
detected at the time when the teachers embarked on a genu<strong>in</strong>e education. Steadily more<br />
had a wider <strong>in</strong>fluence <strong>in</strong> the schools' service dur<strong>in</strong>g the ten years which were required to<br />
escape military service, and not a few cont<strong>in</strong>ued as teachers as long as their strength<br />
lasted. There was less movement and greater stability <strong>in</strong> the profession. While the<br />
average age of the teachers <strong>in</strong> 1810 was 23 years, <strong>in</strong> 1850 it had <strong>in</strong>creased to 36 years.<br />
The recruit<strong>in</strong>g took place from all levels <strong>in</strong> the parish society, and among the teachers we<br />
f<strong>in</strong>d people from sizable farms as well as from the most impoverished ranks. Of the<br />
above-named 42 aspirants there is one whose social background we have not been able to<br />
determ<strong>in</strong>e; of the rest 28 came from agriculture, as far as we can see with a division of 17<br />
self-owned and 11 rented farms, while 13 were sons of tenant farmers, craftsmen and<br />
laborers. For the last group the tra<strong>in</strong><strong>in</strong>g and teach<strong>in</strong>g profession became an economic and<br />
social lever, and the same th<strong>in</strong>g applied to that part of the sons of farmers who also had<br />
grown up <strong>in</strong> meagre circumstances. Among more well-fixed farm boys there were partly<br />
younger sons, partly freeholders to farms that it would take a long time to take over.<br />
Even if the teachers' salary was not large (<strong>in</strong> the 1830's and 1840's it was around 20<br />
22
speciedalers plus expenses <strong>in</strong> the ambulatory schools, and <strong>in</strong> the permanent schools it<br />
could rise to 100 dalers and more), it was <strong>in</strong> any case a secure <strong>in</strong>come, also the exemption<br />
from cont<strong>in</strong>ual military service was a factor that counted . . . .<br />
Pp. 588 ff.:<br />
Hans Isaksen began his school activity a short time after he was confirmed, first <strong>in</strong><br />
Bø district around 1820, later <strong>in</strong> Gr<strong>in</strong>i school district. In 1835 he was appo<strong>in</strong>ted to<br />
Fossum Ironworks school, and he had this position for a number of years. He was one of<br />
the teachers who was given a prize for his effort and competence; <strong>in</strong> Dean Rode's<br />
recommendation from 1837 it says that he dist<strong>in</strong>guished himself by "capability and zeal<br />
for his vocation, as well as by a worthy character and conduct," and a couple of years later<br />
he is designated as the most capable and most respectable of the professionally active<br />
teachers <strong>in</strong> Gjerpen. The school at Fossum, which had only one teacher, must therefore<br />
have been very good <strong>in</strong> Hans Isaksen's time, probably the best <strong>in</strong> the parish, and<br />
represented under the circumstances a good educational offer<strong>in</strong>g for the children of the<br />
ironworks.<br />
We should, however, be aware that neither the school at the ironworks nor the<br />
ambulatory schools <strong>in</strong> the parish were folkeskoler <strong>in</strong> our understand<strong>in</strong>g of the term. Not<br />
everyone went there: they were almueskoler, the designation poor-schools was also used.<br />
Those who stood higher on the social scale, like civil servants and landowners, partly<br />
<strong>in</strong>structed their children themselves, especially at the elementary level, partly they paid<br />
for private <strong>in</strong>struction, preferably by a private tutor such as we have seen <strong>in</strong> older times.<br />
23
The private tutor was generally a university student, or a so-called "clerk;" at the home of<br />
Sheriff Pedersen <strong>in</strong> Limi, where we know that the children were educated at home, there<br />
was <strong>in</strong> the 1830's a clerk by the name of Jørgen Johan <strong>Ibsen</strong>, who was certa<strong>in</strong>ly <strong>in</strong> charge<br />
of private <strong>in</strong>struction. Also the wealthiest farmers, or other parish people who were<br />
ambitious enough on their children's behalf and saw a way to do it, made provision for<br />
special <strong>in</strong>struction, either <strong>in</strong> place of the usual school, or <strong>in</strong> addition to it. Private tutors<br />
were usually university students. (sic) The most respected teachers <strong>in</strong> the "almueskole"<br />
were often engaged <strong>in</strong> <strong>in</strong>struction <strong>in</strong> their free time, or after they had stopped teach<strong>in</strong>g <strong>in</strong><br />
the public school. To the last-named category belonged Mikkel Evensen, who had been<br />
sexton and teacher <strong>in</strong> Bø, but moved to Gjerpen <strong>in</strong> 1820 and settled down at Eikåsen, for<br />
that matter as the first self-owner we have knowledge of at this farm. We have <strong>in</strong>tact his<br />
detailed journal notes over several years, where we get quite familiar with his many tasks<br />
as a farmer, but he discusses also his <strong>in</strong>structional activity. He never had any connection<br />
to the public school system <strong>in</strong> the parish, apart from that at one time he was school<br />
super<strong>in</strong>tendent <strong>in</strong> his district. In one place it is noted that he has had "Hansen's three<br />
children the whole week," on another page it is reported that "at Kløker's I shall get daily<br />
12 (shill<strong>in</strong>gs) for three hours' <strong>in</strong>struction, also 6 ort" every month. The payment was<br />
therefore 4 shill<strong>in</strong>gs per hour. At times Eversen had many private students, both from<br />
estates and tenant farms.<br />
Among those who spent his childhood <strong>in</strong> Gjerpen and received his basic education<br />
while he lived here, besides P. A. Munch, was another who later <strong>in</strong> life would atta<strong>in</strong> the<br />
summit of fame: Henrik <strong>Ibsen</strong>. After his father, Knud <strong>Ibsen</strong>, who was a bus<strong>in</strong>essman <strong>in</strong><br />
Skien, had lost his money, he moved with his family <strong>in</strong> 1835 to the farm Erland's<br />
24
Venstøp, a property he had bought <strong>in</strong> 1833. Henrik therefore had his home here <strong>in</strong> the<br />
important years of childhood and youth from the age of 7 years until he was about 15. It<br />
was not an unhappy time, despite the clouds which the economic shipwreck cast over the<br />
family. His father was a respected man <strong>in</strong> Gjerpen, among other th<strong>in</strong>gs he was elected as<br />
a deputy <strong>in</strong> the parish executive committee and sat sometimes <strong>in</strong> court marshal Ernst<br />
Løvenskiold's absence. He also had the means to be a host at festive gather<strong>in</strong>gs both for<br />
the parish association and Skien's shoot<strong>in</strong>g club, where he pursued his <strong>in</strong>terest <strong>in</strong> hunt<strong>in</strong>g.<br />
And for an aspir<strong>in</strong>g poet the beautiful farm, nature and the whole parish milieu must have<br />
been a well of valuable impressions, and from here also are drawn many of the themes <strong>in</strong><br />
his later writ<strong>in</strong>g: the dark loft with the maimed wild duck, the mill-race where the wife <strong>in</strong><br />
Rosmersholm drowns herself, the manor and its master, the chamberla<strong>in</strong>, and the m<strong>in</strong>er<br />
who breaks through down <strong>in</strong> the depths with his heavy hammer-blow.<br />
Much has been expla<strong>in</strong>ed where it concerns Henrik <strong>Ibsen</strong>'s youth, but we have no<br />
certa<strong>in</strong> <strong>in</strong>formation about one important aspect of the poet's childhood, his first<br />
attendance at school. It has therefore been an open field for speculation. It has been<br />
ma<strong>in</strong>ta<strong>in</strong>ed as a possibility, even as the most likely, that his father placed him <strong>in</strong> Fossum<br />
Ironworks school. We can safely disregard this, however. This school as we know was<br />
established for the children of the ironworks' people, although students from the<br />
neighbor<strong>in</strong>g district also had access by exception when they lived <strong>in</strong> the vic<strong>in</strong>ity of<br />
Fossum. But what can otherwise be said positively about it, was that it was and rema<strong>in</strong>ed<br />
an almueskole; the children of the district's laborers and artisans, tenant farmers and<br />
pa<strong>in</strong>ters went here, but we f<strong>in</strong>d very few farmers among the parents, let alone wealthy<br />
self-owned farmers. And still it was a good step up from there to the cultured class Knud<br />
25
<strong>Ibsen</strong> was at home <strong>in</strong>, notwithstand<strong>in</strong>g his economic misfortune. The social division was<br />
deep and <strong>in</strong>disputable; <strong>in</strong> those days one did not place "children from better families" on<br />
the school bench together with children of poor people. The ironworks school therefore<br />
did not represent an educational opportunity for the upper classes <strong>in</strong> the surround<strong>in</strong>g area,<br />
and the Schaan<strong>in</strong>g family <strong>in</strong> northern Hyni, Cudrio <strong>in</strong> southern Venstøp and Gasmann <strong>in</strong><br />
northern Foss must like <strong>Ibsen</strong> arrange for elementary education for their children <strong>in</strong><br />
another way. Where it concerns the last-named, they have thought that Henrik possibly<br />
received <strong>in</strong>struction at Hans Isaksen's, and that can well be imag<strong>in</strong>ed. This teacher as we<br />
have seen had fully adequate qualifications for <strong>in</strong>struct<strong>in</strong>g <strong>in</strong> that period's folkeskole. If it<br />
is correct that court marshal (Ernst) Løvenskiold used him as a private teacher for his<br />
children, as it has been claimed, that serves as complete confirmation of Isaksen's<br />
competence. Another possibility is that the <strong>in</strong>struction took place at the home of chapel-<br />
s<strong>in</strong>ger Lund <strong>in</strong> Århus. With three years' tra<strong>in</strong><strong>in</strong>g from the Brahetrolleborgske teachers'<br />
college <strong>in</strong> Fyn, one of the best <strong>in</strong> Scand<strong>in</strong>avia, he was without equal the best educated of<br />
all the teachers <strong>in</strong> the parish, and the close collaboration over many years with learned<br />
men like Munch and Rode had doubtlessly enriched the apt college graduate and<br />
promoted his further development. We know that Lund kept school at Århus and that it<br />
was sometimes attended by young people from Skien. To secure his son <strong>in</strong>struction there<br />
must probably have suited Knud <strong>Ibsen</strong> well, with the ambitions he had, not least when it<br />
concerned Henrik. He and his sibl<strong>in</strong>gs were for that matter a good deal together with<br />
Sexton Lund's children and well known there at the farm. It suggests that Lund himself<br />
must have had considerably more than a purely superficial contact with the young Henrik<br />
<strong>Ibsen</strong>, when he could give utterance to a prediction like this: "Henrik will be a great<br />
26
man!" As the statement of an outstand<strong>in</strong>g teacher about one unusually gifted student, this<br />
prophecy loses the character of a pure vision, even if it is astonish<strong>in</strong>g enough <strong>in</strong>-and-of<br />
itself. Tak<strong>in</strong>g everyth<strong>in</strong>g <strong>in</strong>to consideration, we shall consider it as probable that Henrik<br />
<strong>Ibsen</strong> received his first regular <strong>in</strong>struction at the home of Christen Lund, so that his walk<br />
to school was about 1 1/2 kilometers long stretch<strong>in</strong>g between Venstøp and Århus.<br />
The last couple of years of his time <strong>in</strong> Gjerpen, from 13 to 15 years of age, Henrik<br />
<strong>Ibsen</strong> walked to school <strong>in</strong> Skien, first to the earlier discussed private middelstandsskole<br />
("middle-class school") which was conducted by Hansen and Stockfleth, afterwards at<br />
Skien's borgerskole. He was accompanied by his brother Johan, Peder Christian Lund<br />
Pedersen, son of Sheriff Pedersen of Limi, and Gottfried Christian Gasmann; the last-<br />
named had the longest walk to school, he walked all the way from northern Foss. Others<br />
with whom Henrik <strong>Ibsen</strong> was together part of the time and who also received an<br />
education beyond the elementary, were the contemporary Ole Paulsen from Gulset, son of<br />
m<strong>in</strong>e capta<strong>in</strong> Andreas Paulsen, and the older Christen Vilhelm Lund, son of Christen<br />
Lund.<br />
In 1843 the <strong>Ibsen</strong>s' farm Venstøp was sold at auction and the family moved back<br />
to town. But the connection to Gjerpen was underscored by among other th<strong>in</strong>gs that <strong>in</strong><br />
the autumn the 15-year-old Henrik stood for confirmation <strong>in</strong> Gjerpen church. He was<br />
placed third on the church platform, after Capta<strong>in</strong> Eckstorm's son Theodor from Gr<strong>in</strong>i and<br />
Peder Chr. Lund Pedersen, someth<strong>in</strong>g Knud <strong>Ibsen</strong> was deeply disappo<strong>in</strong>ted about: he<br />
declared that his son answered <strong>in</strong> such a way dur<strong>in</strong>g the oral exam<strong>in</strong>ation as if it had been<br />
a complete declamation. It was even h<strong>in</strong>ted that gifts to the priest had decided the places,<br />
27
and that Henrik actually should have stood first, a contention that accord<strong>in</strong>g to our<br />
knowledge of Dean Rode we f<strong>in</strong>d no reason to take seriously.<br />
We do not know much about what impression Rode received of the young Henrik<br />
<strong>Ibsen</strong>, but he was without a doubt aware that he had here a student out of the ord<strong>in</strong>ary. In<br />
the record where Henrik <strong>Ibsen</strong>'s name was <strong>in</strong>scribed <strong>in</strong> June 1843, certa<strong>in</strong>ly <strong>in</strong> connection<br />
with the preparation for confirmation, it usually says about the best students that they read<br />
"really well" or "very well," that they have good knowledge of Christianity and the like.<br />
Aga<strong>in</strong>st the background of the pla<strong>in</strong>ness which characterizes Rode's giv<strong>in</strong>g of grades, it is<br />
evidence that he gives the aspir<strong>in</strong>g poet a rare dist<strong>in</strong>ction: "Reads remarkably well <strong>in</strong> the<br />
Book, and displays thoughtfulness." Henrik <strong>Ibsen</strong>'s grade at the confirmation was: "Very<br />
good knowledge of Christianity."<br />
28
II. Textbooks used <strong>in</strong> Skien’s Lat<strong>in</strong> school <strong>in</strong> 1840.<br />
Follow<strong>in</strong>g is a list of the textbooks used <strong>in</strong> Skien's Lat<strong>in</strong> school (Lærde skole) <strong>in</strong><br />
1840. The source of the references is a report published <strong>in</strong> Norske Universitets- og Skole-<br />
Annaler. Udgivne af H[enn<strong>in</strong>g] J[unghans] Thue. Anden Række. Første B<strong>in</strong>d.<br />
Christiania, Forlagt av J. Chr. Adelsted, 1842. “Underviisn<strong>in</strong>gens Omfang samt de<br />
Skolebøger, der benyttes ved Underviisn<strong>in</strong>gen.” 212-15. Items <strong>in</strong> quotation marks are<br />
the references as listed <strong>in</strong> the report. Underneath these items are the references to books,<br />
as listed <strong>in</strong> publication <strong>in</strong>dexes. At the end of each item are <strong>in</strong>itials <strong>in</strong> parentheses,<br />
<strong>in</strong>dicat<strong>in</strong>g the <strong>in</strong>dex from which the list<strong>in</strong>g has been taken: BD = Bibliotheca Danica;<br />
NB = Norsk Bogfortegnelse.<br />
Henrik <strong>Ibsen</strong> did not attend the Lat<strong>in</strong> school, but the teachers of the school he did attend,<br />
W. F. Stockfleth and Johan Hansen, placed an ad <strong>in</strong> the Skien newspaper <strong>in</strong> January of<br />
1840 <strong>in</strong>vit<strong>in</strong>g students to come “br<strong>in</strong>g<strong>in</strong>g with them the books they had used before.”<br />
This suggests that the teachers were able to work with students who used a variety of<br />
textbooks; besides, schoolbooks at that time were fairly standardized. History was one of<br />
<strong>Ibsen</strong>’s favorite subjects, and there is evidence that <strong>in</strong>dicates he was familiar with<br />
Kofod’s world history and P. A. Munch’s Scand<strong>in</strong>avian history, both of which are on this<br />
list. He also studied Lat<strong>in</strong> <strong>in</strong> Skien, and both Sallust’s history of the Catil<strong>in</strong>arian<br />
conspiracy, and Cicero’s 4 orations aga<strong>in</strong>st Catil<strong>in</strong>e, which he said he used later to<br />
prepare for the university entrance exams, are on this list.<br />
MODERSMAALET:<br />
1ste class: "D.S. Birchs Udtog af Sproglæren"<br />
Birch, Dav. Seidel<strong>in</strong>, Udtog af den danske Sproglære, med kort Methodelære for<br />
Sprogundervisn<strong>in</strong>gen i de danske Skoler; til Veiledn<strong>in</strong>g for Almueskolelærere. Kbh.<br />
1810. 2. og forøgede Udg. Sst. 1812. 3. Udg. Sst. 1817. 4. Udg. Sst. 1825. (BD IV, 63)<br />
2den class: "M.C. Hansens Grammatik"<br />
Hansen, Maurice Cph., Forsøg til en Grammatik i Modersmaalet. Chra. 1822.<br />
2det forbedrede Oplag. Chra. 1826. 110 S. 3die Opl. (Grammatik i det norske og danske<br />
Sprog). Chra. 1828. 4de Opl. Chra. 1833. 118 S. 4de Opl. Paa ny aftr. m. Forfatterens<br />
Samtykke. Chra. 1838. 118 S. 4de Opl. 2dengang aftrykt med Forfatterens Samtykke.<br />
Chra. 1840. 118 S. (NB 61)<br />
3de class: "M. C. Hansens Syntaxis"<br />
[This is a section of Hansen’s grammar.]<br />
29
LATIN:<br />
1ste class: "Chr. Gott. Brøders M<strong>in</strong>dre Lat<strong>in</strong>ske Grammatik"<br />
Brøder, Chr. Gottlob, M<strong>in</strong>dre lat<strong>in</strong>ske Grammatik for Begyndere. Udgiven af<br />
M.C. Hansen. Chra. 1827. 198 pg. 28 S. (NB)<br />
"Brøders Lectioner"<br />
Brøder, Chr. Gottl., Lat<strong>in</strong>ske Lectioner <strong>in</strong>deholdende Naturhistorie, Samtaler,<br />
Fortæll<strong>in</strong>ger og Fabler, <strong>in</strong>drettede for Begyndere. Udgivne ved Georg Sverdrup. Kbh.<br />
1799. Andet Oplag. Sst. 1814. (U.B.) 3. Opl. Kbh. 1825. (BD IV)<br />
2den class: "Brøders Større Grammatik"<br />
[Possibly] Brøder, Chr. Gottl., Praktisk lat<strong>in</strong>sk Grammatick eller Anviisn<strong>in</strong>g til at<br />
lære sig self det lat<strong>in</strong>ske Sprog. [1787] Oversat efter det tredie Opl. ved Georg Sverdrup.<br />
Kbh. 1801. 3. Opl. med Forandr<strong>in</strong>ger og Tillæg af Fr. Chr. Olsen. Kbh. 1827. (BD IV)<br />
LATIN AUTHORS:<br />
"Cornelius Nepos"<br />
[Possibly] Cornelii Nepotis vitae excellentium imperatorum. Grammaticam<br />
annotationem perpetuam subjecit M. C. Hansen. Chra. 1829. IV og 134 S. (NB, 32)<br />
"Sallustii bellum Jugurth<strong>in</strong>um & Catil<strong>in</strong>arium"<br />
Sallusti Crispi, C., Catil<strong>in</strong>a et Jugurtha. Edit. E[rnst] F[red.] C[hr.] Bojesen.<br />
Hauniæ. 1837.<br />
"Ovid, Forvandl<strong>in</strong>ger, 2de Bøger"<br />
[Possibly] [Sahl, Laur.], P. Ovid Nasons Forvandl<strong>in</strong>ger oversatte i danske Vers.<br />
[Med lat<strong>in</strong>sk Text.] 4. [Udkom som Programmer fra Kbh. lærde Skole fra 1773-75, med<br />
en meget lang Titel tillige <strong>in</strong>deholdende Indbydelsen: P.O. Nasonis Metamorphoses, ex<br />
Lat<strong>in</strong>is <strong>in</strong> Danicos Versos transferendas curat.... Laur. Sahl.] (BD IV)<br />
[or] Benzon, Jens, P. Ovidius Nasos Forvandl<strong>in</strong>gers første Deel, <strong>in</strong>deholdende de<br />
fem første Bøger, fordansket. Odense 1816. (BD IV)<br />
30
[or] Grønlund, J[ohs.], Tvende af Ovids Forvandl<strong>in</strong>ger oversatte i Orig<strong>in</strong>alens<br />
Versemaal. Kbh. 1830. Vord<strong>in</strong>gborg. (BD IV)<br />
[or] Ovidius Naso, Publius, Forvandl<strong>in</strong>ger. Oversat af S[imon Sørensen]<br />
Meisl<strong>in</strong>g. Kbh. 1831.<br />
"Terentii, Andria"<br />
Terentii, P., Comoediæ. Ed. Carol Guil. Elberl<strong>in</strong>g. Hauniæ. 1834.<br />
"Cæsar's Galliske Krig"<br />
(BD IV, 120)<br />
"Ciceros 4 Taler mod Catil<strong>in</strong>a, Tale pro lege Manilia, de senectute & de amicitia, een bog<br />
af Ciceros de officiis"<br />
Bloch, Sev. Nic. Joann., M. Tullii Ciceronis orationes selectæ. Textum<br />
recognovit et perpetua annotatione illustravit. Acc. excursus critici. Vol. I. Orationes<br />
cont<strong>in</strong>. pro S. Roscio Amer., pro lege Manilia, et IV <strong>in</strong> Catil<strong>in</strong>am. Hafn. [1828.] [O. m.<br />
T: M. Tullii Ciceronis orationes pro S. Roscio Amer..... illustr. S.N.J. Bloch. Hafn.] (BD<br />
IV)<br />
Olshausenus, Guilielm., M. T. Ciceronis de oficiis libri ad optimorum librorum<br />
fidem editi c. brevi notatione critica. Slesvici 1823. (BD IV)<br />
"Taciti, Germania"<br />
C. Cornelii Taciti de situ, moribus et populis Germaniæ libellum <strong>in</strong> usum<br />
schoolarum edidit et notis illustravit. A[nd.] W<strong>in</strong>d<strong>in</strong>g Brorson. Havn. 1804. (BD IV)<br />
"Virgils Æneid, 1ste, 2den og 6te bog"<br />
Meisl<strong>in</strong>g, S[imon] S., Æneiden, et Heltedigt af Publius Virgilius Maro. Oversat i<br />
Orig<strong>in</strong>alens Versemaal. 1. Bd. Slagelse 1824. 2. Bd. Kbh. 1826 (BD IV, 139)<br />
[or] Munthe, E[jler Cph. Kaasbøl], De sex første Bøger af Virgilius's Æneid.<br />
Oversatte i ubunden Stiil, tilligemed et Indhold og en forklarende Indledn<strong>in</strong>g til hver<br />
Bkog. Kbh. 1811. (BD IV, 140)<br />
"Livius, 1ste og 2den bog (hvoraf som oftest de 3 øvrige boger af den 1ste Pentade læses<br />
utenom)"<br />
31
Møller, Rasm., Forsøg til en Oversættelse af T. Livius's romerske Historie med de<br />
allernødvendigste Anmærkn<strong>in</strong>ger, især for Ustuderede. 1-7. Pentade. Kbh. 1800-1818.<br />
(BD IV, 125)<br />
"Horatss, Oder, 2de Boger, sammes Breve, samt ars poetica."<br />
"Meiers Romerske Oldsager"<br />
Meyer, Jo. Leonh., Lærebog i de romerske Oldsager, til Brug for den studerende<br />
Ungdom. Oversat af det Tydske. Med 5 Kobbere. Kbh. 1799. Sst. 1820. Nyt efter d.5.<br />
Udg. igjennemseet og rettet Opl. [Besørg. af Gerh. Bonnier.] Med 5 Kobbere. Sst. 1823.<br />
(BD II, 451)<br />
GREEK<br />
1ste class: "Langes Grammatik Begyndelsesgrundens"<br />
Lange, Fred. [Olaus], Det græske Sprogs Grammatik til Skolernes Brug<br />
udarbeidet. Kbh. 1826. 2. forbedrede og tildeels omarbeidede Udg. Kbh. 1830. (BD IV,<br />
10)<br />
"Blochs Lærebog"<br />
Bloch, Sør. Nic. Joh., Græsk Læsebog for Underviisn<strong>in</strong>gens to første Aar, en<br />
Omarbeidelse af den forhen udgivne Jacobses græske Elementarbog. Kbh. 1823.<br />
2den class: "Langes Gram., Syntaxen"<br />
3die class: "samme gram."<br />
GREEK AUTHORS:<br />
"Homers Iliade, de 5 første boger"<br />
Fibiger, P[ed.] G[rib], Homers Iliade. Oversat i den græske Orig<strong>in</strong>als Versemaal.<br />
Første Hefte. I-VI. Sang. Kbh. 1827. (BD IV, 101)<br />
"Xenophons Cyropædi"<br />
Baden, Jac., Xenophons Cyropædie oversat efter det Grædske. Kbh. 1766 (BD<br />
IV, 108)<br />
4de class: "Herodots Klio"<br />
32
"Bions og Moschuss Idyller"<br />
Gundelach, Fr. Cph., Bions og Moschus's Smaadiget, oversatte og med Anm.<br />
ledsagede. Kbh. 1807. [Med den græske Text.]<br />
"Plutarch, 1 & 2 biographier"<br />
Nissen, N[ic.] Lang, Plutarchs sammenlignende Lev<strong>net</strong>sbeskrivelser af<br />
Themistocles og Camillus, Alexander og Cæsar. Efter den Reiske Huttenske Text med<br />
critiske og oplysende Anm. Kbh. 1809. 2. forb. Udg. Kbh. 1826. (BD IV, 105)<br />
"Platos Krito"<br />
Platons Dialog Crito udgiven af W. Thrane. Chra. 1835. 8. 24 S. (Guldberg &<br />
Dxwonkowski, 20 Sh.) Hartmann. 12 Sh.<br />
"Hesiodus Theogoni"<br />
Sverdrup, Georg., Hesiodi Theogonia et Scutum Herculis. In usum Prælectionum.<br />
Havn 1806. (BD IV, 99)<br />
HEBREW:<br />
"L<strong>in</strong>dbergs Gram."<br />
L<strong>in</strong>dberg, Jac. Chr., Hebraisk Grammatik. Kbh. 1822. [Med kobberst. Tavle, og<br />
kobberst. Vig<strong>net</strong> paa Titelbladet.] 2. forøgede Oplag. Kbh. 1828. [Med kobberst.<br />
Tavle.] (BD IV, 79)<br />
"Gesenius, Hebraiske Lærebog"<br />
RELIGION:<br />
1ste class: "Balles Lærebog"<br />
Balle, Nik. C., Lærebog i den evangelisk-christelige Religion, <strong>in</strong>drettet til Brug i<br />
de norske Skoler. Chrsand. Moe. (Date?) (NB 10)<br />
"Luthers Katekismus, 6te Capitel"<br />
33
Luther, Mart<strong>in</strong>, Større Katechismus, oversat og med Anmærkn<strong>in</strong>ger ledsaget af<br />
W. A. Wexels. Chra. 1828. 196 S. 2det uforandrede Opl. Chra. 1829. 196 S. 3die Opl.<br />
Chra. 1843. 184 S. Grøndahl. (NB 92)<br />
"Herslevs M<strong>in</strong>dre Bibelhistorie"<br />
Herslev, Svend Borchmand, Kort udsigt over Bibelhistorien. Kbh. 1813. 2den<br />
Udg. Chra. 1824. 3die Udg. 1826. 4de Udg. 1829. 5te Udg. 1831. (NB 67)<br />
2den class: "Det Gamle Testamente i Herslevs Større Bibel historie."<br />
Herslev, S.B., Lærebog i Bibelhistorien, udarbeidet til Brug i Almueskolerne.<br />
Chra. 1832. 2det, 3die og 4de Opl. 1833. 5te Opl. 1834. 6te og 7de Opl. 1835. (NB 67)<br />
"Holmboes bibelske Geografi, begyndes"<br />
Holmboe, Cph. Andr., Bibelsk Geographie i Udtog, til Brug i Almueskoler. Med<br />
et Kart over Jødeland. Chra. 1838. XI og 55 S. (NB 71)<br />
3die class: "Stenersens Lærebog"<br />
Stenersen, Stener Johannes, Forsøg til en Lærebog i Religionen til Brug for de<br />
lærde Skolers høiere Classer. Chra. 1827. 279 S. Anden, efter Forfatterens Død (ved<br />
Prof. J.F. Dietrichson) besørgede Udgave. Chra. 1839. 247 S. Dahl. (NB 141)<br />
"Herslevs Større Bibelhistorie"<br />
"Matthæ og Johannes Evangelier"<br />
(Johannes.) Evangeliet efter Johannes tilligemed de otte første Capitler af Pauli<br />
Brev til de romerske Christne i en forklarende Oversættelse med Anmærkn<strong>in</strong>ger som<br />
Bilage til Bogen om Christendommends Aand af N. Treschow. Chra. 1829. 8. 244 S.<br />
Hartmann. n. Pr. 60 Sh.<br />
Matthæi Evangelium, udlagt og forklaret af H[ans] Chr. Rørdam. Kbh. 1838.<br />
"Holmboe, væsentlig"<br />
GERMAN:<br />
1ste class: "Hallagers Lærebog"<br />
Hallager, Morten, Ny tydsk Lærebog for Begyndere. Omarbeidet af P.T. Hanson.<br />
Chra. 1828. 319 S. 2det Opl. Chra. 1835. 3die Opl. Chra. 1840. 319 S. (NB 60)<br />
34
"Begyndelsesgrundette av Hjorths Gram."<br />
Hjort, Peder, Den tydske Grammatik for Dansktalende. Til Brug ved al<br />
Underviisn<strong>in</strong>g. Kbh. 1824. Indrettet til Brug saavel i Skoler som ved fortsat eget<br />
Studium. 2. omarbeidede Opl. Kbh. 1827. (BD IV, 47)<br />
2den class: "L. Hansons Thuiskon"<br />
Hanson, Peter Treschow, Thuiskon eller Tydsk Læsebog. Chra. 1817. 340 S.<br />
2det Opl. Chra. 1820. 3die forbedrede Opl. Chra. 1836. VIII og 378 S. Grøndahl. (NB<br />
63)<br />
3die class: "Behrmanns Haandbog"<br />
Haandbog i det tydsk sprog og den tydske skjønne Literatur. Ved Hans Henr.<br />
Behrmann og Ludw. Meyer. 1-2. deel. Kbh. 1809-23. [O. m. særsk. Tittler, 1:<br />
Haandbog i den tydske prosaiske Literatur <strong>in</strong>deholdende Prøver af Tydsklands klassiske<br />
Prosaikere tilligemed biographiske og literære Efterretn<strong>in</strong>ger, ved Hendr. Behrmann.<br />
Kbh. 1809; 2: Haandbog i den tydske poetiske Literatur, osv., ved Ludw. Meyer. Sst.<br />
1823.]<br />
4de class: "resten av samme samt Hjorths Gram."<br />
FRENCH:<br />
1ste class: "Gedikes Læsebog og Grammatiken"<br />
Gedike, Fried., Fransk Læsebog for Begyndere, tilligemed en kort Grammatik. 2.<br />
forbedrede Oplag. Udgiven efter den 6. i Berl<strong>in</strong> undkomne tydske Udgave ved Laur.<br />
Hallager. Kbh. 1800. Udgiven efter nyeste tydske Udgave ved P. Thonboe. 3.<br />
omarbejdede og forbedrede Oplag. Sst. 1804. (U.B.) 4., efter tredie omarbejdede og<br />
forbedrede Oplag. Kbh. 1809. 6. giennemseete og rettede Oplag. Sst. 1817. (U.B.) 7.,<br />
paany giennemseete og rettede, Oplag. Kbh. 1824. 8., paany gjennemseete og rettede,<br />
Oplag. Kbh. 1829. (BD IV 39)<br />
2den class: "Begyndelse af Hagerups Gram."<br />
Hagerup, M[atth.], Resonneret theoretisk-praktisk Sproglære over det franske<br />
Sprog, nærmest for Danske, efter Dictionnaire de l'Académie francoise, Wally,<br />
Domergue, Lévizac, Moz<strong>in</strong> Cam<strong>in</strong>ade, Dolnoy, og fl. etc. Kbh. 1806. (BD IV 34)<br />
- - - -. Kortfattet Fransk Sproglære, <strong>in</strong>deholdende i nøyagtig metodisk<br />
Fremstillelse, alt hvad der kan henrøres til Hoved-Grundsætn<strong>in</strong>ger i dette Sprog,<br />
35
tydeliggjorte ved Exempler. 1. Deel, <strong>in</strong>dbefattende den egentlige Skproglære. Kbh.<br />
1808. 2. Deel, <strong>in</strong>deholdende den egentlige Sprogøvelse. Kbh. 1809.<br />
- - - -. Raisonneret theor.-pract. fransk Skproglære. 3. Deel. Kbh. 1811.<br />
[O.m.T.: Danske og franske Samtaler for Viderekomne med specielt Hensyn paa<br />
Danismer med det franske Sprog. 1. Deel. Kbh. 1811.] (BD IV 35)<br />
3die class: "Halvparten af Gedikes Chrestomati"<br />
Fransk Chrestomathie til Brug i de høiere Classer. Samlet af de bedste nyere<br />
Forfatteres Skrifter af Friedr. Gedike, og udgivet efter Orig<strong>in</strong>alens 3. Oplag med dansk<br />
Oversættelse af de vanskeligste Ord og Talemaader, af Peter Thonboe. Kbh. 1808. 2.<br />
Oplag. Odense 1818. 2. (!) Oplag. Kbh. 1820. (BD IV 40)<br />
"Hagerups Gram., helt igjennom"<br />
4de class: "hele Gedikes Chrestomati, samt repetition af førmeldte Gram.'<br />
HISTORY:<br />
1st class: "Kofods fragmentariske Fremstill<strong>in</strong>g af historiens vigtigste Begivenheder <strong>in</strong>dtil<br />
det vestlige Romerriges Undergang<br />
Kofod, Hans Anch., Historiens vigtigste Begivenheder, fragmentarisk fremstillede<br />
for Begyndere. Kbh. 1808. [Defekt; kompl. Exempl. i (U.B.)] 2. Opl. Sst. 1810. 3.<br />
Opl. Sst. 1814. (U.B.) 4. Opl. Sst. 1817. 5. Opl. Sst. 1823. (BD II 474)<br />
"Halvparten af Munchs Udtog af Skand<strong>in</strong>aviens Historie"<br />
Munch, Peter Andr., Norges, Sveriges og Danmarks historie til Skolebrug. Chra.<br />
1838. 488 S. Dahl. (NB 102)<br />
- - - -. Norges, Sveriges og Danmarks historie. I fortsattet Udtog. Chra. 1839. 63<br />
S. Dahl. (NB 102)<br />
2den class: (above cont<strong>in</strong>ued)<br />
3die class: "første deel af Kofods nyere historie gjennemgaaes<br />
Kofod, Hans Anch., Nyere Historie. 1-2. D. Kbh. 1811-12. [Med Tabeller.] -- 2.<br />
Opl. 1-2. D. Sst. 1815-16. --3. Opl. 1-2. D. Sst. 1825-28.<br />
4de class: "Plums historiske Tabeller" (Plum was an <strong>in</strong>structor at the Skien lærde skole.)<br />
36
GEOGRAPHY:<br />
1ste class: "C.L. Platous Udtog af Geographien"<br />
Platou, Ludvig Stoud, Udtog af Geographien for Begyndere. Chra. 1810. 3die<br />
Opl. Chra. 1816. 4de Opl. Chra. 1818. 5te Opl. Chra. 1821. 6te Opl. Chra. 1824. 7de<br />
Opl. Chra. 1827. 8de Opl. 1834. 10de Opl. Chra. 1837..... (NB 114)<br />
2den class: "Platous Større Geographi med berigtigelser fra Norge til Tydskland excl."<br />
Platou, Carl Nicolai Stoud. Lærebog i Geographien. Chra. 1840. 8. VI og 1040<br />
S. Hviids Enke. 2 Spd. 72 Sh. Udk.<br />
- - - -. Udtog af Geographien for Mellemklasserne. 2den forøgede Udgave. Chra.<br />
1844. 8. 254 S. C. A. Wulfsberg. Indb. 66 Sh.<br />
3die class: "fra Norge til Arabien excl."<br />
4de Class: "repetition af alt."<br />
MYTHOLOGI:<br />
"Moritz Græske og romerske Mythologi"<br />
Den græske og romerske Mythologie. Efter de nyeste Udgaver af Damms og<br />
Moriz's Haandböger. Oversat af M(althe) Möller. 2. Opl. KBH. 1811. 8. 3. Opl. Med<br />
29 Kobbere. Kbh. 1831. 8.<br />
ARITHMETIC:<br />
1ste class: "Bjørns Arithmetic"<br />
Bjørn, Hans Outzen, Lærebog i Arithmetiken med hosføjede Exempler. 1-3.<br />
Cursus. Odense. 1806-10. -- 2. forbedr. Oplag. Sst. 1812-13. -- 1. Cursus. 3. Opl. Sst.<br />
1820 (U.B.) -- 2-3. Cursus. 3. Opl. Sst. 1822-23. 1. Cursus. 4. Opl. Sst. 1835.<br />
2den class: "samme"<br />
3die class: "Holmboes Arithmetik;"<br />
37
Holmboe, Bernt Michael, Lærebog i Mathematiken. D. 1. Indeholdende<br />
Indledn<strong>in</strong>g til Mathematiken samt Begyndelsesgrundene til Arithmetiken. Chra. 1825. 8.<br />
VIII og 274 S. (Lehmanns Enke). Dybwald. Indb. 1 Spd.<br />
"Grøndahl Lærebog i Arithmetiken" (Grøndahl & Son was a bookseller <strong>in</strong> Christiania.)<br />
4de class: "hele Holmboes Arithmetikk og opgaverne til hans Lærebog i Arithmetiken"<br />
Holmboe, Bernt Michael, Lærebog i Mathematiken. D. 2. Indeholdende<br />
Begyndelsesgrundene til Geometrien. Chra. 1827. 8. 155 S. M. 10 Tabeller i Stentr.<br />
Kom. H. Adelsted og Dybwad. Indb. 1 Spd. 12 Sh.<br />
GEOMETRY:<br />
"Holmboes Geometri og Stereometri"<br />
Holmboe, B., Lærebog i Mathematiken. D. 2. (see above.)<br />
Holmboe, B., Stereometrie. Chra. 1833. 8. 121 S. m. 4. stentr. Tab. Kom. h.<br />
Adelsted, Cappelen og Feilberg & Landmark. 96 Sh.<br />
38
III. The book collection of the Løvenskiold family as of 1843.<br />
Follow<strong>in</strong>g is a list of titles published before 1844 <strong>in</strong> the book collection of the<br />
Løvenskiold family of Skien. There are more than 900 titles, some represent<strong>in</strong>g more<br />
than one volume. The list is organized by the last name of the author, and is based on a<br />
bibliography made by Anne Grete Holm Olsen <strong>in</strong> 1961.<br />
The fact that the publication date of a book is earlier than 1844 does not prove it was <strong>in</strong><br />
the collection at that time. However, normal practice is to buy a book when it is new and<br />
<strong>in</strong> pr<strong>in</strong>t. Especially for books published well before 1844, the likelihood is great that they<br />
were <strong>in</strong> the collection.<br />
The estate of the Løvenskiold family, Fossum, was less than two kilometers from the<br />
<strong>Ibsen</strong>s’ farm at Venstøp. Knud <strong>Ibsen</strong> at times worked <strong>in</strong> the ma<strong>in</strong> house at Fossum as an<br />
accountant, so it is physically possible that he borrowed books from the collection,<br />
although we have no anecdotal evidence that he did so. Still, the existence of the<br />
collection is evidence of the <strong>cultural</strong> <strong>environment</strong> <strong>in</strong> which Henrik <strong>Ibsen</strong> grew up, not<br />
least because his elementary school teachers, who are believed to have been Hans<br />
Isachsen and Christen Lund, were also teachers at Fossum. As a young man, Lund was a<br />
tutor of the Løvenskiold children, and was later the director of a teacher’s college<br />
operated at the Gjerpen parish farm. Isachsen was also a tutor of the family’s children, as<br />
well as a teacher at a school on the estate, which <strong>in</strong> the 1830s, when Henrik started<br />
school, had 90 students, accord<strong>in</strong>g to Halvdan Koht. We do not know whether Henrik<br />
attended this school, but he probably did, s<strong>in</strong>ce he learned both German and French while<br />
he lived <strong>in</strong> Skien. Even if he did not learn these languages at the school on the Fossum<br />
estate, but rather had private <strong>in</strong>struction, Lund and Isachsen were probably his teachers,<br />
and they certa<strong>in</strong>ly had access to the Løvenskiolds’ book collection.<br />
Abhandlungen und Beobachtungen durch die ökonomisch Gesellschaft zu Bern<br />
gesammelt. Bern, 1762-73.<br />
Abraham a S. Clara, August<strong>in</strong>er Barfüsser [pseud. for Hans Ubrich Megerle]. Heilsames<br />
Gemisch-Gemasch. Würtzburg, 1704.<br />
Abrantes, Laure Junot d'. Memoires. Souvenirs historiques sur Napoléon, la révolution,<br />
le directoire, le consulat, l'empire et la restauration. Vols. 1-10. Paris, 1831-33.<br />
Acerbi, Joseph. Reich durch Schweden und F<strong>in</strong>nland, bis an die äussersten Gränzen von<br />
Lappland, <strong>in</strong> den Jahren 1789 und 1799. Aus dem Englischen übers. von Ch. Weyland.<br />
Berl<strong>in</strong>, 1803.<br />
39
Achenwall, Gottfried. Staatsverfassung der heutigen vornehmsten Europäischen Reiche<br />
im Grundrisse. 4. verb. Ausg. Gött<strong>in</strong>gen, 1762.<br />
[Adelaide Carol<strong>in</strong>e Cornelie, grev<strong>in</strong>ne Baudiss<strong>in</strong>, f. comtesse Schimmelmann.] Die<br />
Dorfgesellschaft. 2. Aufl., vols. 1-2. Kiel, 1792.<br />
Aeschylos. Vier Tragödien des Aeschylos. Übers. von Friedrich Leopold, Grafen zu<br />
Stolberg. Vienna, 1817.<br />
Alers, Christian Wilhelm. Gedichte der Religion, dem Vaterlande und der Freundschaft.<br />
Vol. 1. Hamburg, 1786.<br />
Algreen-Uss<strong>in</strong>g, T. Anmerkn<strong>in</strong>ger til T<strong>in</strong>gsretten til Brug for den lovstuderende<br />
Ungdom. Vol. 2. Kbh., 1825.<br />
Allgeme<strong>in</strong>e deutsche Bibliothek. Vols. 72-79. Berl<strong>in</strong>, 1787-88.<br />
Allgeme<strong>in</strong>es Gesangbuch, auf Königlichen allergnädigsten Befehl ... herausgebeben.<br />
Kiel, 1789.<br />
Almanach des dames 1816.<br />
Alm<strong>in</strong>deligt norsk Maanedsskrivt. No. 6. Christiania, March 6, 1831.<br />
- - - -. Vol. 2. April-September, 1831.<br />
Ancher, Peder Kofod. Samlede juridiske Skrifter. Udg. af J.F.W. Schlegel og R. Nyerup.<br />
Vols. 1-2. Kbh., 1807-08.<br />
- - - -. Anviisn<strong>in</strong>g for en dansk Jurist angaaende Lovkyndigheds adskillige Deele, Nytte<br />
og Hielpemidler. Kbh., 1777.<br />
- - - -. En dansk Lov-Historie fra Kong Harald Blaatands Tid til Kong Christian V. Vols.<br />
1-2. Kbh., 1769-76.<br />
[Anchersen, Hans Ped.] Herthedal ved Leyre i Siæland, og Det gamle Dannemark 150<br />
Aar for og efter Christi Fødsel. Kbh., 1745.<br />
- - - -. Nomen augustum orbi et sacrum Friderici regi celsitud<strong>in</strong>is pr<strong>in</strong>cipis hæreditarii<br />
Dani et Norvegi. Hafni, n.d..<br />
Ancillon, Frederic. Essais de philosophie, de politique et de litterature. Vols. 1-4. Paris,<br />
1832.<br />
- - - -. Om souvera<strong>in</strong>itet og Statsforfatn<strong>in</strong>ger. Overs. af H.L. Bernhoft. Chra., 1820.<br />
40
Anckarsvärd, M.G. Allwastra ru<strong>in</strong>. Lithographierad. Stockholm, 1828.<br />
- - - -. Bohus ru<strong>in</strong>. Lithographierad. Sth., 1828.<br />
- - - -. Stegeborgs ru<strong>in</strong>. Lithographierad. Sth., 1828.<br />
Andre, Christian Carol, and Johann Marrhäus Bechste<strong>in</strong>. Almeennyttige<br />
Underholdn<strong>in</strong>ger i Physik, Naturhistorie, Technologie og Landvæse<strong>net</strong>, til Brug for<br />
Fædre, Hofmestere, Ungdomslærere og Opdragere. Vols. 1-3. Kbh., 1796-98.<br />
Anecdotes <strong>in</strong>édites de la f<strong>in</strong> du 18e siécle pour servir de suit aux anecdotes françaises.<br />
Paris, 1801.<br />
Aperçu sur la liaison politique entre les Duchés de Slesvig et de Holste<strong>in</strong>. Kbh., 1816.<br />
Aphelen, H. von. Grand dictionnaire royal françois et danois. Pt. 1. Kbh., 1759.<br />
[Arblay, Frances Burney d'.] Cecilia or Memoirs of an heiress. 5th ed., 4 vols. London,<br />
1786.<br />
[- - - -.] Evel<strong>in</strong>a oder E<strong>in</strong>es jungen Frauenzimmers E<strong>in</strong>tritt <strong>in</strong> die Welt. Vols. 1-3, aus<br />
dem Englischen. Lpz., 1779.<br />
Archenholts, I.W. von. England und Italien. Vols. 1, 2, 4, 5. Lpz., 1787.<br />
Archiv for Historie og Geographie. Saml. og udg. af J. Chr. Riise. Kbh., 1820-36. 16<br />
vols.<br />
Areboe, A.C. Hexaemeron rhythmico-danicum. Kbh., 1661.<br />
Argens, J.B. de Boyer d'. Les caprices de l'amour et de la fortune. La Haye, 1737.<br />
Ariosto, Lodovico. Opere. Vols. 1-2. Veneziae, 1730. Folio.<br />
Aristotle. The works of Aristotle <strong>in</strong> 4 parts, a new edition. London, 1806.<br />
Arl<strong>in</strong>court, [Victor] d'. Bryggerkongen. Kbh., 1840.<br />
Authentischer Berich von dem an der Französischen Friedensgesandschaft bei ihrer<br />
Rükreise von dem Congress <strong>in</strong> der Nähe von Rastadt verübten Meuchelmord. Nebst<br />
e<strong>in</strong>igen weiteren Actenstüken und Zusäzen des Herausgebers. N.p., 1799.<br />
Bacallar y Sanna, Vicente, marquis of San Felipe. Comentarios de la Guerra de Espana e<br />
historia de su Rey Phelipe V. Genoa, 1721.<br />
41
Baden, Gustav Ludvig. Det norske Riges Historie. En Haandbok. Kbh., 1804.<br />
Baden, Jacob. Dansk-lat<strong>in</strong>sk Ordbog. Kbh., 1810.<br />
- - - -. Dansk-lat<strong>in</strong>sk Ordbog. 3. Opl. Kbh., 1831.<br />
- - - -. Lat<strong>in</strong>sk-dansk Lexikon eller Ordbog. 2. Opl. besørget ved Torkel Baden. Vols. 1-<br />
2. Kbh., 1815.<br />
Baggesen, Jens. Nye blandede Digte. Kbh., 1807.<br />
- - - -. Parthenäis oder Die Alpenreise. E<strong>in</strong> idyllisches Epos <strong>in</strong> neun Gesängen.<br />
Hamburg, n.d.<br />
Bahrdt, Johann Friedrich. Sammlung e<strong>in</strong>iger Erbauungsreden, Über auserlesene<br />
Wahrheiten der Religion Jesu. Lpz., 1767.<br />
Bailleul, J. Ch. Réponse de L.N.M. Carnot ... au rapport fair sur la conjuration du 18<br />
fructidor an V, au conseil des c<strong>in</strong>q-cents. Londres, 1799.<br />
Balle, Nic. Ed<strong>in</strong>ger. Den augsburgske Troesbekjendelse. Paa ny fordansket, udg. ved<br />
Jens Möller. Kbh., 1817.<br />
Bang, Christen Staphenson. Descriptio civitatis Christianensis. Ded er Christianiæ Stads<br />
Beskrifuelse, som er Hofued Stad i Norrige. Chra., 1651.<br />
Barba, Alvare-Alfonse. Traite de l'art métallique. Paris, 1736.<br />
Barruel, [August<strong>in</strong>.] Histoire du clergé pendant la révolution françoise. 2. éd. Londres,<br />
1794.<br />
[Barthelemy, Jean Jacques]. Voyage du jeune Anacharsis en Grèce dans le milieu du<br />
quatrième siècle avant l'ère vulgaire. 2. ‚d. Vols. 2, 4-7. Paris, 1789.<br />
- - - -. Recueil de cartes geographiques, plans, vues et medailles. Paris, 1789.<br />
Barthol<strong>in</strong>, Thomas Eichel. Taxt-Bog eller systematisk Efterretn<strong>in</strong>g om de til denne Tid<br />
gjeldende og paabudne Skatter, Afgivter og Paalg i Danmark og Norge, samt øvrige<br />
Danske Besiddelser, tilligemed Udtog af de Anordn<strong>in</strong>ger, som dermed staae i<br />
Forb<strong>in</strong>delse. Kbh., 1805.<br />
Bastholm, Christian. Moralske Tanker af Stoikerne, bragte i systematisk Orden. Kbh.,<br />
1808.<br />
42
- - - -. Aandelige Taler over alle Evangelierne. Vols. 1-2. Kbh., 1779.<br />
- - - -. Aandelige Taler, samt en Skrift- og Fornuftmssig Forklar<strong>in</strong>g over de dødes<br />
Opstandelse. Kbh., 1777.<br />
Bastholm, E. Kort Udsigt over den aabenbarede Religions Historie. Kbh., 1789.<br />
Bayle, Peter. The dictionary historical and critical. 2nd ed. Vols. 1-5. London: 1734-<br />
38. Folio.<br />
Bech, Fredrik Julius. Veiledn<strong>in</strong>g til at opdrage en sund, fornuftig, dydig og lykkelig<br />
Afkom. Kbh., 1796.<br />
Becker, Karl Friedrich. Die Weltgeschichte für die Jugend. Vols. 1-10. Berl<strong>in</strong>, 1804-09.<br />
Beckmann, Johann. Anleitung zur Technologie, oder zur Kentniss der Handwerke,<br />
Fabriken und Manufacturen. Gött<strong>in</strong>gen: 1780.<br />
Beiträge zur geheimen Geschichte des menschlichen Verstandes und Herzens. Aus den<br />
Archiven der Natur gezogen. Vol. 1, bks. 1-5. Lpz., 1770.<br />
Belloc, Louise Sw. Lord Byron. Vols. 1-2. Paris, 1824.<br />
Bembo, Pietro. Delle historia V<strong>in</strong>itiana di M. Pietro Bembo card. volgarmente scritta. 12<br />
vols. Venegia, 1552.<br />
[Benoist, Élie.] Histoire de l'edit de Nantes, contenenant ... pr<strong>in</strong>cipalement les<br />
contraventions, <strong>in</strong>executions, chicanes, artifices, violences et autre <strong>in</strong>justices, que les<br />
Reformez se plaignant jusques a l'edit de revocation en octobre 1685. Vols. 1-2, vol. 3,<br />
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Tetens, J.N. Considerations sur les droits réciproques des puissances belligérantes et des<br />
puissances neutres sur mer avec les pr<strong>in</strong>cipes du droit de guerre en géneral. Kbh., 1805.<br />
Theocritus. Theocriti reliquiae graece et lat<strong>in</strong>e. Ex recensione et cum animadversionibus<br />
Theophili Christophori Harles. Lipsiae, 1780.<br />
- - - -. Idylles. Mises en vers françoises. Suivies de quelques Idylles de Bion, Moschus<br />
et autres auteurs plus modernes. Amsterdam, 1794.<br />
Thibaut, Anton Friedrich Justus. Beiträge zur Critik der Feuerbachischen Theorie über<br />
die Grundbegriffe des pe<strong>in</strong>lichen Rechts. Hamburg, 1802.<br />
88
Thiebault, D. Les adieux du duc de Bourgogne et de l'abbé de Fénélon, son précepteur.<br />
Sth., 1788.<br />
Thielenfeld, Johann August Thiele von. Alfred und Ida. Briefe über Fortdauer und<br />
Wiedersehen. 2. Aufl. Lpz., 1818.<br />
Thomas a Kempis. Om Christi Efterfølgelse. Fuldstændigen og uforandret efter<br />
Grundtexten oversat, samt med en Forer<strong>in</strong>dr<strong>in</strong>g og korte Anmærkn<strong>in</strong>ger ledsaget af W.A.<br />
Wexels. 2. Opl. 4 vols. Chra., 1835.<br />
Thue, Friderich Wilhelm. Forsøg til Beskrivelse over Kragerøe Kiøbsted og Langesunds-<br />
Fiorden, eller Scheens Kiøbstad med dens Ladesteder, samtlig beliggende i Bradsberg<br />
Amt og Aggerhuus Stift i Norge. Kbh., 1789.<br />
- - - -. Korte Efterretn<strong>in</strong>ger om Christiansund. Srtr. av Topografisk Journal for Norge.<br />
Vol. 4, pt. 16. [Bound with:] J. Rosted. Physisk og oeconomisk Beskrivelse over<br />
Eidsvolds Jernvrk.<br />
Thaarup, Friderik. Kort Veiledn<strong>in</strong>g til det danske Monarchies Statistik, samt dens<br />
Litteratur. Kbh., 1790.<br />
- - - -. Materialier til det danske Monarkies Statistik. Vol. 1. Kbh., 1794.<br />
Tidskrift för hästvänner och landtmän. Nos. 1-6. November 1831-April 1832.<br />
Tidsskrift for den norske Personalhistorie. Udg. af Bernt Moe. R. 1, pts. 1-9. Chra.,<br />
1840-46.<br />
Tieck, Ludwig. Poetisches Journal. Jena, 1800.<br />
Tiede, Johan Friderich. En sand Christens daglige Omgang med Gud. Overs. af Hans<br />
Jørgen Birch. Vol. 2, pt. 2. Kbh., 1779.<br />
Tiemann, Wilhlem Albrecht. Abhandlung über die Förmerei und Giesserei auf<br />
Eisenhütten. E<strong>in</strong> Beitrag zur Eisenhüttenkunde. Nürenberg, 1803.<br />
Titius, Gerhard. Abfertigung e<strong>in</strong>er papistischen verläumbderischen Schrift so <strong>in</strong>tituliret:<br />
Gewisse Relation welcher Gestalt G. Calixtus ... im Todtbett sich verhalten. Helmstadt,<br />
1657. [Bound with:] Briève relation [etc.]<br />
Tombleson's views of the Rh<strong>in</strong>e. Ed. by W.G. Fearnside. London, 1832.<br />
Tompson, John. English miscellanies consist<strong>in</strong>g of various pieces of div<strong>in</strong>ity, morals,<br />
politics, philosophy and history as likewise of some choice poems. Vol. 2. Gött<strong>in</strong>gen,<br />
1746.<br />
89
Topografisk Journal for Norge. Vols. 1-2, 4-6, 8-10. Chra., 1792-1808.<br />
Topographisk-statistiske Saml<strong>in</strong>ger. Udg. af det Kgl. Selskab for Norges Vel. Vol. 1, pt.<br />
1. Chra., 1812.<br />
Trapp, E.C. Auszüge aus den französischen Classikern. Vols. 1-2. Braunschweig, 1789-<br />
90.<br />
Trede, L. Abschied's Erwiederung, zu dreien von der Plöner Gelehrtenschule auf die<br />
Universität abgehende Jüngl<strong>in</strong>gen am Schlusse des offentlichen Examens der 25ste Sept.<br />
1828. Plön, 1828.<br />
Tregder, Eiler Hagerup. Haandbog for Reisende i Kongeriget Danmark og<br />
Hertugdømmerne Slesvig, Holsteen, Lauenburg. Kbh., 1824.<br />
Treschow, Gerhard. Danske Jubel-Lrere. Kbh., 1753.<br />
Treschow, N. Lovgivn<strong>in</strong>gs-Pr<strong>in</strong>cipier, eller om Staten i Forhold til offentlig Velstand,<br />
Nær<strong>in</strong>gsveie, Handel, Fattigvæse<strong>net</strong>, samt Penge- og Skatte-Væse<strong>net</strong> m.m. Chra., 1821.<br />
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Placater, Rescripter, Resolutioner, Krigs- og Skibs-Artikler, Octroier, Privilegier og<br />
Fundatser, fra Aar 1660 <strong>in</strong>dtil nrvrende Tid. Vols. 1-2. Kbh., 1777-81.<br />
Trolle, H. af Krone og Torne. Fortæll<strong>in</strong>g fra den f<strong>in</strong>sk-russiske Krig 1808-1809. Kbh.,<br />
1885.<br />
Tull<strong>in</strong>, Christian Braunman. Samtlige Skrifter. Vol. 3. Kbh., 1773.<br />
Tychonius, Christen Lassön. Den hellige augsburgiske Bekiendelses Historie. Kbh.,<br />
1730.<br />
Udkast til en Karakteristik af Hans Kongelige Høihed Kronpr<strong>in</strong>dsen af Danmark<br />
tilligemed en kort Udsigt over de danske Litteratur og de skiønne Kunster. Overs. af<br />
Engelsk ved Frederick Schneider. Kbh., 1793.<br />
Über die Neutralität bei dem gegenwärtigen Kriege. Kiel, 1793.<br />
Uforgribelige Tanker om Bondestandens Opkomst i Danmark. Kbh., 1777. [Bound<br />
with:] Peder Svave til Giordsløv. Kbh., 1777.<br />
90
Underretn<strong>in</strong>g om Matrikelskylden som Maalestok for Skat af Jordeiendomme i Norge.<br />
Chra., 1816. [Bound with:] J.H. Vogt. Udsigt over det danske Monarchis Skattevsen.<br />
Kbh. 1815.<br />
Underretn<strong>in</strong>g om offentlige Stiftelser og Legater vedkommende Smaalenenes Amt,<br />
Hedemarkens Amt og Christians Amt. Udg. af det kongelige norske Regier<strong>in</strong>gs<br />
Departement for Kirke- og Underviisn<strong>in</strong>gs-væse<strong>net</strong>. Chra., 1832.<br />
Unzer, Johann August. Sammlung kle<strong>in</strong>er Schriften. Neue verb. und veränderte Aufl. 1-<br />
2 Sammlung. Lüneburg, 1766-68.<br />
[Unzer, Johann Christoph.] Geschichte der Brüder des grünen Bundes. Vol. 1: Lambergs<br />
Geschichte. Berl<strong>in</strong>, 1782.<br />
[Urf‚, Honor‚ d'.] La nouvelle Astrée. Aus dem Frantzosischen <strong>in</strong>s Teutsche übers.<br />
Vols. 1-4. Lpz., 1726.<br />
Uddrag af de, angaaende Begivenhederne i Christiania den 17de Maii 1829, stedfundne<br />
Undersøgelser og Forhandl<strong>in</strong>ger; tilligemed den i samme Anledn<strong>in</strong>g under 17de Februar<br />
1830 afgivne kongelige naadigste Resolution. Chra., 1630.<br />
[Veaux, J.C. de la Cours.] Vie de Fréderic II, Roi de Prusse. Vols. 1-2. Strasbourg,<br />
1788.<br />
Ventur<strong>in</strong>i, Carl. Russlands und Deutschlands Befreiungs-kriege von der Franzosen<br />
Herrschaft unter Napoleon Buonaparte <strong>in</strong> den Jahren 1812-1815. Vol. 2: Krieg <strong>in</strong><br />
Deutschland 1813. Lpz., 1816.<br />
Venuti. Dissertations sur les anciens monumens de la ville de Bordeaux, sur les Gahets,<br />
les antiquités, et les ducs d'Aquita<strong>in</strong>e. Bordeaux, 1754.<br />
Vergilius Maro, Publius. Opera <strong>in</strong> tironum gratiam perpetua annotatione. Vols. 1-2.<br />
Lipsiae, 1789.<br />
- - - -. P. Virgilii Maronis Opera ad optimorum librorum fidem. Lipsiae, 1829.<br />
--- Georgicon. Libri IV des Publius Virgilius Maro Landbau, 4 Gesänge, übers. und<br />
erklärt von Johann He<strong>in</strong>rich Voss. Eut<strong>in</strong>, 1789.<br />
- - - -. De sex første Bøger af Virgilius's Æneide. Overs. i ubunden Stiil, tilligemed et<br />
Indhold og en forklarende Indledn<strong>in</strong>g til hver Bog ved E. Munthe. Kbh., 1811.<br />
- - - -. Æneiden, et Heltedigt. Overs. i Orig. Versemaal ved S. Meisl<strong>in</strong>g. Vols. 1-2.<br />
Slagelse, 1824-26.<br />
91
Vertot, [R.A. de.] Histoire des Chevaliers Hospitaliers de S. Jean de Jérusalem. Vols. 1-<br />
5. Paris, 1726.<br />
Villers, [Charles François Dom<strong>in</strong>ique de.] Brief an die Gräf<strong>in</strong> F. de B. enthaltend e<strong>in</strong>e<br />
Nachricht von den Begebenheiten, die zu Lübeck an dem Tage Donnerstag den 6ten<br />
November 1806 und folgenden vorgefallen s<strong>in</strong>d. Amsterdam, 1807.<br />
Vogt, Jørgen Herman. Udsigt over det danske Monarchies Skattevæsen, med Forklar<strong>in</strong>g<br />
over det, som Paabudene have <strong>in</strong>dbragt. Vol. 1 for Aaret 1806. Kbh., 1815.<br />
- - - -. Underretn<strong>in</strong>g om Matrikelskylden, som Maalestok for Skat af Jordeiendomme i<br />
Norge. Chra., 1816.<br />
Vogt, Peter. Love, Anordn<strong>in</strong>ger, Kundgjørelser, aabne Breve, Resolutioner m.m. der<br />
vedkomme Kongeriget Norges Lovgivn<strong>in</strong>g og offentlige Bestyrelse, for Aaret 1816, i<br />
tidsfølgende Orden og udtogsviis samlede og udg. Chra., 1817.<br />
Voltaire, François Marie Arouet de. Oeuvres. Nouv. éd. Vols. 1-10. Dresde, 1748-50.<br />
- - - -. Oeuvres complètes. Vols. 1-70, N.p., 1789.<br />
- - - -. Histoire de l'empire de Russie sous Pierre le Grand. Vols. 1-2. Paris, 1803.<br />
- - - -. Poétique ou Observations recueillies de ses ouvrages. Pt. 1. Geneve, 1766.<br />
Der Vornehme Thor, oder He<strong>in</strong>richs Grafen von Moreland Geschichte. Aus dem<br />
Englischen. Vol. 1, pts. 1-3. Frankfurt, 1776.<br />
Voss, Johann He<strong>in</strong>rich. Gedichte. Vol. 1. Hamburg, 1785.<br />
- - - -. Luise. E<strong>in</strong> ländliches Gedicht <strong>in</strong> drei Idyllen. Königsberg, 1800.<br />
- - - -. Mythologische Briefe. Vols. 1-2. Königsberg, 1794.<br />
- - - -. Über des Virgilischen Landgedichte. Ton und Auslegung. Altona, 1791.<br />
Le voyageur plaisant. 2. éd. Londres, 1785.<br />
Wagener, S.C. Moralische Anekdoten. Berl<strong>in</strong>, 1803.<br />
Wagner, Ernst. Die reisenden Maler. E<strong>in</strong> Roman. Vols. 1-2. Lpz., 1806.<br />
- - - -. Wilibald's Ansichten des Lebens. E<strong>in</strong> Roman <strong>in</strong> vier Abtheilungen. Vols. 1-2.<br />
Me<strong>in</strong><strong>in</strong>gen, n.d.<br />
92
[Wagner, He<strong>in</strong>rich Christoph]. Anleitung zu denen curiösen Wissenschaften. Frankfurt,<br />
1737.<br />
Wailly, Alfred de. Nouveau dictionnaire lat<strong>in</strong>-français. Paris, 1830.<br />
Waldeck, D. Io. Petri. Institutiones iuris civilis he<strong>in</strong>eccianae. Emmendatae atque<br />
reformatae. Gott<strong>in</strong>gae, 1794.<br />
Wedek<strong>in</strong>d, Freiherrn von. Über den Werth des Adels und über die Ansprüche des<br />
Zeitgeistes auf Verbesserung der Adels<strong>in</strong>stituts. Vols. 1-2. Darmstadt, 1816.<br />
Wedel Jarlsberg, [Frederik Christian.] Frivilligt Skriftemaal til s<strong>in</strong>e brave Landsmnd.<br />
Kbh., 1825.<br />
- - - -. Nogle Ideer om Bank- og Pengevse<strong>net</strong>, og om sammes Indflydelse paa Staters Vee<br />
og Vel i Alm<strong>in</strong>delighed, men paa vor Stat i Srdeleshed. Kbh., 1816.<br />
- - - -. Den juridiske Tartuff eller Det juridiske Snigmord. Borgerligt Skuespil i 5 Acter.<br />
Kbh., 1826.<br />
[Wedel-Jarlsberg, H.] Efterretn<strong>in</strong>ger om den for Rigsretten mod Statsraad Greve Wedel-<br />
Jarlsberg anlagte Sag. Chra., 1822.<br />
Wegel<strong>in</strong>, Jacob Daniel. Caractères historiques des empereurs depuis Auguste jusqu'a<br />
Maxim<strong>in</strong>, … l'usage de l'Académie Royale des gentils-hommes. Vols. 1-2. Berl<strong>in</strong>, 1768.<br />
Welde, C.F. van der. Arved Gyldenstjerna. En Fortll<strong>in</strong>g fra Begyndelsen af det attende<br />
Aarhundrede. Overs. Chra., 1823.<br />
Der Welt-Courier. 1812-13; 1813-14; 1814-15. 3 vols.<br />
Werfel, Johan. Efterretn<strong>in</strong>g om de danske Vest<strong>in</strong>diske øers St. Croix's, St. Thomas's og<br />
St. Jan's Indtagelse af den Engelskvest<strong>in</strong>diske Flaade under Contreadmiral Dukworth og<br />
Generallientenant Trigge tilligemed Beskrivelse over disse øer. Kbh., 1801.<br />
Wergeland, Henrik. For Almuen. Pt. 1. Chra., 1830.<br />
- - - -. Jan van Huysums Blomsterstykke. En Buket fra Henr. Wergeland til Fredrika<br />
Bremer. Kra., 1840.<br />
[Wergeland, Nicolai.] Fortrolige Breve til en Ven, Skrevne fra Eidsvold i Aaret 1814 af<br />
Et Medlem af Rigsforsaml<strong>in</strong>gen. Chra., 1830.<br />
[Werner, Friedrich Ludwig Zacharias.] Mart<strong>in</strong> Luther, oder Die Weihe der Kraft. E<strong>in</strong>e<br />
Tragoedie. Berl<strong>in</strong>, 1807.<br />
93
[- - - -.] Die Söhne des Thales. E<strong>in</strong> dramatisches Gedicht. Vols. 1-2. Berl<strong>in</strong>, 1803. Vol.<br />
1: Die Templer auf Cypern. Vol. 2: Die Kreuzesbrüder.<br />
Wicquefort, A. de. L'histoire des Prov<strong>in</strong>ces unies des Pais-Bas. Vol. 1. La Haye, 1719.<br />
Wieland, C.M. Sämmtliche Werke. Vols. 1-32; Suppl. vols. 1-6. Lpz., 1794-99.<br />
- - - -. Sämmtliche Werke. Vols 36-38. Lpz., 1801-05.<br />
- - - -. Prosaische Schriften. Vol. 2. Zurich, 1772.<br />
Willebrand, Johann Peter. Historische Berichte und practische Anmerkungen auf Reisen<br />
<strong>in</strong> Deutschland und andern Ländern. Lpz., 1769.<br />
Wilse, J.N. Physisk, oeconomisk og statistisk Beskrivelse over Spydebergs Præstegield<br />
og Egn i Aggershuus Stift udi Norge. Vol. 2, pt. 3. Chra., 1779.<br />
W<strong>in</strong>ckell, George Franz Dietrich aus dem. Handbuch für Jäger, Jagdberechtigte und<br />
Jagdliebhaber. 2. Aufl. Vols. 1-3. Lpz., 1821-22.<br />
W<strong>in</strong>ckelmann, [Johan Joachim.] Anmerkungen über die Geschichte der Kunst des<br />
Alterthums. Vols. 1-2. Dresden, 1767.<br />
- - - -. Versuch e<strong>in</strong>er Allegorie, besonders für die Kunst. Dresden, 1766.<br />
Worm, Jens. Forsög til et Lexicon over danske, norske og islandske lærde Mnd, som ved<br />
trykte Skrifter have giort sig bekiendte, saavelsom andre Ustuderede som noget have<br />
skrevet. Vols. 1-2. Hels<strong>in</strong>göer, 1771-73.<br />
Xenophon. Sämmtliche Schriften. Aus dem Griechischen neu übers. von August<br />
Christian Borhek. Vols. 1-2. Lemgo, 1771-80.<br />
- - - -. Cyropädie oder Bildungs- und Lebensgeschichte des ältern Cyrus. Griechisch, mit<br />
Inhaltsanzeigen erklärenden Wortregister und e<strong>in</strong>er kritischen Borrede von Friedrich<br />
He<strong>in</strong>rich Bothe. Lpz., 1821.<br />
- - - -. La nouvelle Cyropedie, ou Les voyages de Cyrus avec un discours sur la<br />
mythologie. Nouv. éd. Wismar, 1746.<br />
- - - -. Xenophons Sokratiske Merkvrdigheder. Efter den græske Orig<strong>in</strong>al ved I. Broch.<br />
2. og forbed. Opl. Kbh., 1802.<br />
Young, [E.] Les nuits. Trad. de l'anglois par M. le Tourneur. Vols. 1-2. Yverdon, 1769.<br />
94
Zeitung für die elegante Welt 1817-1818.<br />
Zetlitz, Jens. Samlede Digte. Vol. 1. Chra., 1825.<br />
Zollikofer, G.J. Andachtsübungen und Gebete zum Privatgebrauche für nachdenkende<br />
und gutges<strong>in</strong>nte Christen. Vols. 1-2. Lpz., 1789.<br />
- - - -. Predigten. Vol. 2. Lpz., 1771.<br />
- - - -. Predigten, nach se<strong>in</strong>em Tode herausgegeben. Vols. 1, 3, 5. Lpz., 1788-89.<br />
- - - -. Predigten über die Würde des Menschen, und den Werth der vornehmsten D<strong>in</strong>ge,<br />
die zur menschlichen Glückseligkeit gehören, oder dazu gerech<strong>net</strong> werden. Vols. 1-2.<br />
Lpz., 1783.<br />
- - - -. Prækener, oversatte af det Tydske ved J.F. Bergsøe. Indeholdende: Det andet B<strong>in</strong>d<br />
af Forfatterens Prækener over Menneskers Værdighed [etc.] Vol. 2. Kbh., 1800.<br />
Æsop. Les fables d'Esope Phrygien. Kbh., 1784.<br />
Ötter-Tal för Hans Kongl. Høghet kronpr<strong>in</strong>sens af Sverige Joseph Frans Oscars utkorade<br />
gemål, hennes Durchlautigheit Joseph<strong>in</strong>a Maximiliana Eugenia. Sth., 1822.<br />
Ørsted, Anders Sandød. Eunomia, eller Saml<strong>in</strong>g af Afhandl<strong>in</strong>ger, henhørende til<br />
Moralphilosophien, Statsphilosophien, og den Dansk-Norske Lovkyndighed. Vol. 1.<br />
Kbh., 1815.<br />
Oeconomiske Annaler. Vol. 1. Kbh., 1797.<br />
Aall, Jacob. Fædrelandske Ideer. Christiansand, 1809.<br />
95
IV. Plays advertised for performance <strong>in</strong> the newspapers of Skien between<br />
1832 and 1843, when <strong>Ibsen</strong> lived there.<br />
Skien's first newspaper, Ugeblad for Skien og Omegn, was founded <strong>in</strong> 1830. It<br />
ceased publication <strong>in</strong> 1839, but the follow<strong>in</strong>g year the same editor, Peter Feilberg, started<br />
another paper, under the name Bratsberg Amtstidende.<br />
Upcom<strong>in</strong>g performances of plays were advertised <strong>in</strong> these newspapers by<br />
theatrical companies that visited Skien. The personnel of these companies were part of a<br />
<strong>net</strong>work of mostly Danish actors, directors, designers and musicians that criss-crossed<br />
Norway <strong>in</strong> the first half of the n<strong>in</strong>eteenth century. They could hope to be employed by<br />
dramatic societies <strong>in</strong> Christiania, Drammen, Christianssand, Stavanger, Bergen, and<br />
Trondheim, where they would select and perform seasons of plays <strong>in</strong> repertory.<br />
Enterpris<strong>in</strong>g theatre directors <strong>in</strong> these companies would assemble tour<strong>in</strong>g companies <strong>in</strong><br />
the off-seasons, and travel to prov<strong>in</strong>cial towns, <strong>in</strong>clud<strong>in</strong>g those on the southeastern coast<br />
of Norway.<br />
The companies that visited Skien performed for from a week to six weeks, and<br />
offered a season of between four and n<strong>in</strong>eteen plays. The players were lodged <strong>in</strong> people's<br />
homes, s<strong>in</strong>ce there were no hotels. The companies as a rule did not have enough actors to<br />
perform all of the roles <strong>in</strong> all of the plays, so local players took support<strong>in</strong>g roles.<br />
Sometimes the players allowed people who would not have had the money for a ticket,<br />
like servants and children, to attend dress rehearsals.<br />
What follows is a chronological list of the plays advertised for performance <strong>in</strong><br />
Skien between 1832, when <strong>Ibsen</strong> was four years old, and 1843, when he was about to<br />
leave for Grimstad. The plays are cited under the names of the leaders of the companies,<br />
who normally placed the ads, and whose names appear <strong>in</strong> them.<br />
The ads give a play's title, and usually its author. In the follow<strong>in</strong>g list that <strong>in</strong>formation,<br />
which is <strong>in</strong> quotation marks, is followed by publication <strong>in</strong>formation. If a play was not<br />
published, any further <strong>in</strong>formation we do have is <strong>in</strong>cluded. The translations referred to<br />
are of plays <strong>in</strong>to Danish from other languages, usually French or German. Some plays<br />
were translated more than once. It is not always possible to determ<strong>in</strong>e which version was<br />
performed on a given occasion.<br />
96
At end of the list are some observations, bibliographical <strong>in</strong>formation, and the key<br />
to bibliographical symbols.<br />
1832-- JOHANN CONRAD HUUSHER’S COMPANY.<br />
Aug. 21--<br />
"Christen og Christ<strong>in</strong>e," dramatisk Idyl af Professor Heiberg.<br />
Christen og Christ<strong>in</strong>e. Dramatisk Idyl i 1 Act. Efter Scribes og [Jean Henri]<br />
Dup<strong>in</strong>s "Michel et Christ<strong>in</strong>e", ved J. L. Heiberg. Udgivet af Ferd. Pr<strong>in</strong>tzlau.<br />
København 1830.<br />
"Seer Jer i Speil," versisiseret Lystspil i een Act af Tøpfer.<br />
Seer jer i Speil! Lystspil i een Act, paa rimede Vers. Efter [Karl] Tøpfers<br />
Manuscript: Nehmt e<strong>in</strong> Exempel d'ran! ed J. L. Heiberg. Udgivet af Ferd<strong>in</strong>and<br />
Pr<strong>in</strong>tzlau. København 1830.<br />
"Skuespiller<strong>in</strong>den paa Prøve," Lystspil i een Act af Radet.<br />
Skuespiller<strong>in</strong>den paa Prøve eller Den Sidstankomne. Comedie i 1 Act; oversat<br />
(from the French of Jean Baptiste Radet) ved N. T. Bruun. København 1814.<br />
Sept. 2--<br />
"Efterskriften," Lystspil i een Act af Holbe<strong>in</strong>.<br />
Holbe<strong>in</strong>, Franz v., Efterskriften, Lystspil i 1 Act [oversat af Geo. Julius Liebe].<br />
København 1829. 4 Bl. (Freely adapted from Heigel's "Der Perrückenstock.")<br />
"Kjærlighed under Maske," Comedie i een Act af Dubois.<br />
Dubois, Jean Bapt., Kjærlighed under Maske. Comedie i 1 Act. Frit oversat ved<br />
N. T. Bruun. København 1808.<br />
Landstedet ved Kongeveien," Lystspil i een Act af Kotzebue.<br />
Kotzebue, A. v., Landstedet ved Kongevejen, et Lystspil I 1 Optog, oversat og<br />
forandret af G. T. Bang. Maribo 1809. (Orig<strong>in</strong>al title: "Das Landhaus an der<br />
Heerstrasse.")<br />
97
Sept. 6--<br />
"Skriftemalet eller Ægtemanden som Eremit," Lystspil i een Act af Kotzebue.<br />
Kotzebue, A. v., Skriftemalet eller Ægtemanden som Eremit. Comedie i 1 Act<br />
frit oversat efter Die Beichte af Kotzebue og den franske Bearbeidelse af samme<br />
Stykke<br />
le mari hermite ved N. T. Bruun. København 1813.<br />
"De to Sedler," Lystspil i een Act af Florian.<br />
Nyeste Saml<strong>in</strong>g af Skuespil. [Schultzes Saml<strong>in</strong>g.] 1-5. Bd. København 1792-94.<br />
[Hvert Stykke har særsk. Pag<strong>in</strong>er<strong>in</strong>g og Signatur. 1. og 3. Bd. mangle i st. Kgl.<br />
Bibl., men f<strong>in</strong>des i U.B. Af 4. Bd. f<strong>in</strong>des kun Titelbl. og Indeholdsangivelse.<br />
Complet i U.B. 2. Bd., København 1792, <strong>in</strong>deholder: Florian, De to Sedler. Et<br />
Lystspil i 1 Optog. Oversat af [Ditl. Fl<strong>in</strong>dt] Staal. (Orig<strong>in</strong>al title: "Les deux<br />
billets.")<br />
"Søster og Brøder i een Person, eller Den snurrige Frier," Lystspil i een Act af<br />
Kotzebue.<br />
(No list<strong>in</strong>g.)<br />
Sept. 9--<br />
"Anecdotsaml<strong>in</strong>gen," Lystspil i 2 Acter af Scribe.<br />
Comedy <strong>in</strong> one act by Scribe and Delavigne (orig<strong>in</strong>al title, "La vieille"), tr. from<br />
Castelli's German translation by Liebe. A manuscript of this play is <strong>in</strong> the archive<br />
of the Royal Theatre, København.<br />
"De tre Feil, eller Kortspil, Piger og Vi<strong>in</strong>," Lystspil I een Act af Hoffmann.<br />
De tre Feil eller Kortspil, Piger og Vi<strong>in</strong>. Comedie i 1 Act, efter [Ludv.] Schrøders<br />
Omarbeidelse af (Francois Benoit Hoffmann's) Jerôme Po<strong>in</strong>tu ved N. T. Bruun.<br />
København 1810.<br />
Sept. 16--<br />
"Gev<strong>in</strong>sten i Classelotteriet," Comedie i 1 Act af Hagemeister.<br />
Hagemeister, [Joh. Gottfr.], Gev<strong>in</strong>sten i Classelotteriet. Comedie i 1 Akt. Frit<br />
oversat af N. T. Bruun. København 1802. (Orig<strong>in</strong>al title: "Das grosse Loos.")<br />
98
"Brudgommen fra Holland," Lystspil i 2 Acter af Kotzebue.<br />
KBS: Cas<strong>in</strong>o 29 4.<br />
Sept. 18--<br />
"Frimureren," versisiseret Lystspil i 1 Act af Kotzebue.<br />
"Frimureren," Comedie i een Act af Kotzebue, oversat af T. Thorsen. København<br />
1818. (Orig<strong>in</strong>al title: "Die freimaurer.")<br />
"Elskovsdrikken," Lystspil i 2 Acter af Scribe.<br />
Scribe, [Aug.] Eug., Elskovsdrikken. Komisk Syngestykke i 2 Acter. Musikken<br />
af Auber. Overs. og <strong>in</strong>drettet for den danske Skueplads af Th. Overskou.<br />
København 1832. (DKTR, Nr. 42). U. Titelbl. (Orig<strong>in</strong>al title: "Le philtre.")<br />
1833-- NILS CHRISTIAN SIMONSEN’S COMPANY.<br />
Feb. 1--<br />
"Bedsteforældrene eller Det snurrige Frieri," Lystspil i 2 Acter.<br />
[Bang, Balth.], Bedsteforældrene eller det snurrige Frierie. Et orig<strong>in</strong>alt Lystspil i<br />
2 Acter. København 1814.<br />
"List imod List eller: Hendrik og Pernille," Lystspil I 1 Act af Dubois.<br />
List imod List eller Hendrik og Pernille. Comedie i 1 Act af [Jean Baptiste]<br />
Dubois [og André René Polydore Alissan de Chazet], frit oversat og localisert ved<br />
N. T. Bruun. København 1807. (Orig<strong>in</strong>al title: "Mart<strong>in</strong> et Front<strong>in</strong>, ou: Assaut de<br />
valets.")<br />
Feb. 10--<br />
"Kjærligheds Kamp eller Brødrene," Skuespil i 2 Acter af Rambach.<br />
Rampach, Fr. Eberh., Kjærligheds Kamp eller Brødrene. Skuespil i 1 Act, oversat<br />
ved N. T. Bruun. København 1813. (Orig<strong>in</strong>al title: "De fe<strong>in</strong>dlichen bruder, od.:<br />
Homòopath u. Allopath.")<br />
"Portraitet eller Misforstaaelserne," Comedie i 1 Act efter Arresto.<br />
99
Arresto, [Christlieb Geo. He<strong>in</strong>r.],Portraitet eller Misforstaaelsen. Comedie i een<br />
Akt, oversat ved N. T. Bruun. København 1814.<br />
Feb. 18--<br />
“Jeppe paa Bjerget, eller Den forvandlede Bonde," Comedie i 5 Acter af Baron<br />
Holberg.<br />
[Holberg, Ludv.,], Jeppe paa Bierget eller den forvandlede Bonde. En Comoedie i<br />
5 Acter. København 1802. (First published 1722.)<br />
Feb. 24--<br />
"Brud og Brudgom i een Person," Lystspil i 4 Afdel<strong>in</strong>ger af Aug. v. Kotzebue.<br />
Theaterstykker. Første--Tredie Saml<strong>in</strong>g . . . . København 1815. [Hvert Stykke<br />
har særsk. Pag<strong>in</strong>er<strong>in</strong>g og Signatur.] 3. Saml<strong>in</strong>g Indeholder: Kotzebue, [Aug. v.],<br />
Brud og Brudgom i een Person. Comedie i 2 Akter. Oversat ved N.T. Bruun.<br />
Mar. 4--<br />
"Fætteren i Lissabon," Skuespil i 3 Acter ved Schrøder.<br />
Schrøder, Fred. Ludv., Fætteren i Lissabon. Et Lystspil i 3 Handl<strong>in</strong>ger, oversat af<br />
D[itl.] F[l<strong>in</strong>dt] Staal. U. St. o. A. [1790.] (Orig<strong>in</strong>al title: "Der Vetter von<br />
Lissabon.")<br />
1834-- OLE JULIUS OLSEN’S COMPANY.<br />
July 10--<br />
“Brödrene eller Kjærlighedskampen", Skuespil i 2 Acter af Kotzebue. (see Feb.<br />
10, 1833.)<br />
"Amalie og Henriette, en Scene af Hverdagslivet."<br />
(No list<strong>in</strong>g.)<br />
July 15--<br />
"Den förste Kjærlighed," Lystspil i 1 Act af Scribe.<br />
July 2l--<br />
Scribe, [Aug.] Eug., Den første Kjærlighed. Overs. af J[oh.] L[udv.] Heiberg.<br />
(København 1832). (DKTR, Nr. 44). U. Titelbl. (Orig<strong>in</strong>al title: "Les premières<br />
amours.")<br />
100
"Den 28de Januar," Syngestykke i 2 Acter.<br />
Heiberg, Joh. Ludv., Den otte og tyvende Januar. Vaudeville. Udgiven af Ferd.<br />
Ant. Chr. Pr<strong>in</strong>tzlau. København 1826.<br />
"Selvmordersken," Sørgespil i 2 Acter.<br />
Selvmorderne eller det adopterede Barn. Dansk orig<strong>in</strong>al Skuespil i 3 Akter.<br />
København 1816.<br />
July 25--<br />
"Hendrik den Femtes Ungdom," Lystspil i 3 Acter.<br />
Duval, Alex. [Alex. V<strong>in</strong>c. P<strong>in</strong>eux], Henrik den Femtes Ungdom. Lystspil i 3<br />
Acter; frit oversat ved N. T. Bruun. København 1808. (Orig<strong>in</strong>al title: "La<br />
jeunesse d'Henri V.")<br />
July 30--<br />
"Hvor Fanden blev nav<strong>net</strong> af, eller: Den verdenskloge Procurator," nyt orig<strong>in</strong>alt<br />
Lystspil i 2 Acter, af en unævnt norsk Forfatter.<br />
By Pavels Hielm, a local dramatist. Unpublished. A later advertisement revised<br />
the title to: "Hvor Satan blev nav<strong>net</strong> af...".)<br />
1835-- JACOB MAYSON’S COMPANY.<br />
Sept. 25--<br />
“De Uadskillelige,” Vaudeville af Professor Heiberg.<br />
Heiberg, Joh. Ludv., De Uadskillelige. Vaudeville. Med et Kobber, efter Tegn<strong>in</strong>g<br />
af [Chr. Wilh.] Eckersberg. Udgiven af Ferd. Pr<strong>in</strong>tzlau. København 1827.<br />
Sept. 30--<br />
"Misforstaaelse paa Misforstaaelse," Lystspil i 1 Act af Th. Overskou.<br />
DKTR. 1-2. Deel. [København 1828-30.] 1. Deel <strong>in</strong>deholder: [Overskou,<br />
Thom.], Misforstaaelse paa Misforstaaelse. Orig<strong>in</strong>alt Lystspil i 1 Act.<br />
København 1828.<br />
"Hvilken er den Rette eller De to Lærker," Vaudeville af Th. Overskou.<br />
101
DKTR. 1. Deel <strong>in</strong>deholder: [Overskou, Thom.], Hvilken er den Rette?<br />
Vaudeville i 1 Act. København 1829.<br />
Oct. 7--<br />
."Brud og Brudgom i een Person" (see Feb. 24, 1833).<br />
Oct. 11--<br />
"Kostgjængeren," Lystspil i 1 Act af Scribe.<br />
Scribe, [Aug.] Eug., (Dup<strong>in</strong>, Jean Henri, and Dumersan (ie., Théophile Marion)),<br />
Kostgængeren. Overs. af J[oh.] L[udv.] Heiberg. København 1832. (DKTR, Nr.<br />
44). U. Titelbl. (Orig<strong>in</strong>al title: "La pension bourgeoise.")<br />
"Yelva," nyt Melodrama i 2 Afdel<strong>in</strong>ger af Scribe, Devilleneuve og Desverges.<br />
Scribe, [Aug.] Eug., og [Theod. Ferd. Vallou Devilleneuve og Desvergers<br />
[Chapeau]], Yelva. Overs. af Th[om.] Overskou. (København 1835). (DKTR,<br />
Nr. 70). U. Titelbl. (Orig<strong>in</strong>al title: "Yelva, ou: L'orphel<strong>in</strong>e russe.")<br />
Oct. 16--<br />
"Brødrene foster," Lystspil i 5 Acter af Töpfer ved Heiberg.<br />
[Rowley, William], Brödrene Foster. Efter (Karl Friedrich Gustav) Töpfers<br />
Bearbeidelse af en engelsk Orig<strong>in</strong>al omarbeidet af J[ohan] L[udv.] Heiberg.<br />
København 1833. (DKTR, Nr. 50). U. Titelbl. (Orig<strong>in</strong>al title: ("A new wonder a<br />
woman never vexed.")<br />
Oct. 18--<br />
"Røvercapita<strong>in</strong>en, eller Jeg tager aldri Feil," Lystspil i 1 Act.<br />
Comedy <strong>in</strong> one act by Sa<strong>in</strong>t<strong>in</strong>e (i.e., Joseph Xavier Boniface), Lauzanne (i.e.,<br />
August<strong>in</strong>e Théodore Lauzanne de Vaux Roussel), and (Frédéric August) Duvert,<br />
tr. by H. L. Bernhoft. TS ark A2, #22. KBS: Dagmarteatret 383 C8. (Orig<strong>in</strong>al<br />
title: "La capita<strong>in</strong>e des voleurs.")<br />
"Kunstnerliv, eller Den ene Arbeidet, den Anden Lønnen," Vaudeville af Th.<br />
Overskou.<br />
Overskou, Th[omas], Kunstnerliv eller den Ene Arbeidet, den Annen Lønnen.<br />
København 1832.<br />
Den fortrædelige Formiddag," Lystspil i 1 Act ved J.L. Heiberg.<br />
102
[Duvert, Félix Auguste, Desverges (ie., Chapeau, Arm<strong>in</strong>), og Victor (ie., Var<strong>in</strong>,<br />
Charles Victor)], Den fortrædelige Formiddag. Lystspil i 1 Act. Omarbeidet<br />
efter: La mat<strong>in</strong>ée aux contretemps, og <strong>in</strong>drettet for den danske Skueplads ved J.L.<br />
Heiberg. København 1829.<br />
"Supplicanten, eller: Fastelavens Mandag," Vaudeville-Monologue af Heiberg.<br />
J. L. Heiberg's Poetiske Skrifter, Syvende B<strong>in</strong>d. Vaudeviller. Tredje Avdel<strong>in</strong>g.<br />
København 1862.<br />
Oct. 21--<br />
“De Uadskillelige" (see Sept. 23);<br />
“De Danske i Paris," Vaudeville i 2 Acter af Heiberg.<br />
Heiberg, J[oh.] L[udv.], De Danske i Paris. Vaudeville. København 1833.<br />
Oct 26--<br />
"Amors Geniestreger," Lystspil i 2 Acter af Heiberg.<br />
1836--<br />
Hertz, Henr., Amors Geniestreger, versifiseret Lystspil i to Acter af Forfatteren til<br />
Lystspillet Hr. Burchardt og hans Familie etc. Udgivet af Fred. Pr<strong>in</strong>tzlau.<br />
København 1830.<br />
"Et Eventyr i Rosenberg Have," Vaudeville af Heiberg.<br />
Heiberg, Joh. Ludv., Et Eventyr i Rosenborg Have. Operette. Musiken<br />
componert af [Cph. Ernst Fried.] Weyse. Udgiven af Ferd. Pr<strong>in</strong>tzlau.<br />
København 1827.<br />
May 13--<br />
"Den ung hidsige Mand, eller Raad til de unge Koner," Lystspil i 1 Act af<br />
Pixerécourt.<br />
Pixérécourt, [René Charles] Guilbert [de], Den unge hidsige Mand eller Raad til<br />
de unge Koner. Comedie i 1 Act oversat ved N.T. Bruun. København 1810.<br />
(Orig<strong>in</strong>al title: "Avis aux femmes, ou: le Mari Colère.")<br />
103
"Skatten, eller: Staae ikke paa Luur," Syngestykke i 1 Act af Hoffman, Musiken<br />
af Mehul.<br />
Hofman, [François Benoit], Skatten eller Staae ikke paa Luur. Syngestykke i 1<br />
Act, frit oversat til [Etienne Henri] Mehuls Musik af N. T. Bruun. København<br />
1804. (Orig<strong>in</strong>al title: "Le trésor supposé, ou: Le danger d'ecouter aux portes.")<br />
May 15--<br />
"Well<strong>in</strong>gton's Uniform, eller Slaget ved Marseilles," Lystspil i 1 Act.<br />
Kotzebue, A., v., Well<strong>in</strong>gtons Uniform. Lystspil i 1 Act. Oversat af A[dolph]<br />
F[r.] Elmquist. Aarhuus 1816.<br />
"En Fødselsdag i Slutteriet," Vaudeville i 1 Act af Overskou.<br />
Overskou, Th[omas], En Fødselsdag i Slutteriet. København 1834.<br />
May 18--<br />
"Preciosa," lyrisk drama i 4 Avdel<strong>in</strong>ger af Wulff, Musiken af C. M. v. Weber.<br />
Wolff, [Pius Alexander], Preciosa. Lyrisk Drama. Med Musik af C[arl] M[aria]<br />
v. Weber. Oversat af C[asp.] J[ohs.] Boye. København 1822.<br />
May 23--<br />
"En Hytte og hans Hjerte," Lystspil i 3 Acter af Scribe og Alphons.<br />
Scribe, [Aug.] Eug., og Alphonse [Rob. Alphonse Gautier], En Hytte og hans<br />
Hjerte. Overs. af Carl Pt. Borgaard. København 1836. (DKTR, Nr. 78). U.<br />
Titelbl.<br />
"De to smaae Savoyarder," Syngestykke i 1 Act, Musiken af D'Alayrac.<br />
[Marsollier des Vivetières, Benoit Jos.], De to smaa Savoyarder. Et Syngestykke i<br />
1 Act med Musik af Mr. [Nicolas] D'Aleyrac, oversat af Adam Gottlob Thoroup<br />
til Brug for det Kongelig Danske Theater. [København 1792]. (Orig<strong>in</strong>al title:<br />
"Les deux petits savoyards.")<br />
May 27--<br />
"De to Ægtemand," nyt Lystspil i 1 Act af Scribe.<br />
104
Scribe, [Aug.] Eug., og [Ant. François] Varner, De to Ægtemænd. [Overs. af<br />
Chr. N. Rosenkilde]. København 1835. (DKTR, 68). U. Titelbl. (Orig<strong>in</strong>al title:<br />
"Les deux maris, ou La pensionnaire mariée.")<br />
"Gulkorset," nyt Lystspil i 2 Acter med Sang og Chor af Heiberg.<br />
Mélesville, [Anne Honoré Joseph Duveyrier], og Nic. Brazier, Guldkorset. Ved<br />
Joh. Ludv. Heiberg. København 1836. (DKTR, Nr. 79). U. Titelbl. (Orig<strong>in</strong>al<br />
title: "Cathér<strong>in</strong>e, ou: le croix d'or.")<br />
May 29--<br />
Jean," Lystspil i 3 Acter af Signol og Théaulon.<br />
Théaulon de Lambert [Marie Emanuel Guillaume Marguérite], og [Alph.] Signol,<br />
Jean. [Overs. af Niels V<strong>in</strong>d<strong>in</strong>g Dorph]. København 1835. (DKTR, Nr. 74). U.<br />
Titelbl.<br />
"Et Eventyr i Rosenberg Have" (see Oct. 26, 1835).<br />
June 2--<br />
"Elverhöi," Ridderskuespil i 5 Acter, med Sang og Chor, af Professor Heiberg,<br />
Musiken componeret af F. Kuhlau.<br />
Heiberg, Joh. Ludv., Elverhøi. Skuespil i 5 Acter. Udgivet af Ferd. Pr<strong>in</strong>tzlau.<br />
København 1828.<br />
June 3--<br />
“Brødrene foster" (see Oct. 16, 1835).<br />
June 8--<br />
“Tordenskjold," Drama i 4 Acter, af Oehlenschläger.<br />
Oehlenschläger, Adam, Tordenskiold. Syngespil. København 1821.<br />
*June 10--<br />
*(N.B.: The list<strong>in</strong>g for June 10 did not appear <strong>in</strong> the newspaper, but rather <strong>in</strong> G.<br />
W. Selmer's handwritten journal, whose entries otherwise correspond exactly to<br />
the plays advertised. Selmer (see under 1840) was an actor <strong>in</strong> Mayson's company<br />
at the time he kept the journal, which is now <strong>in</strong> the state archive <strong>in</strong> Trondheim.)<br />
"Kom!"<br />
105
Elsholtz, [Franz v.], Kom! Dramatisk Opgave i een Act. Frit oversat af C[arl Pt.]<br />
Borgaard. U. Titelbl. St. o. A. København 1834. (DKTR, Nr. 57). (Orig<strong>in</strong>al<br />
title: "Komm hier!")<br />
"De to Galeislaver."<br />
Nyeste Saml<strong>in</strong>g af Skuespil, til Brug for den Kongelige Danske Skueplads og for<br />
Privat-Theatre. 1-2 Deel. København1824-25. 2. Deel Indeholder:]<br />
[Carmouche, Pierre Franc. Adolphe, Poujol d. Æ. og Boirié, [Jean Bernh. Eugène<br />
Cantiran de], De to Galieslaver eller Møllen ved St. Aldervon. Drama i 3 Acter<br />
med Chor og Dands. Oversat [af Julius Liebe] efter Theodor Hells Bearbeidelse<br />
("Die beiden galeisclaven") af den franske Orig<strong>in</strong>al ("Les deux forçats, ou: La<br />
meunière du Puy-de-Dome").]<br />
June 12--<br />
"Hvilken er den Rette, eller De to Lærker" (see Sept. 30, 1835).<br />
"Aprilsnarrene," eller: "Intriguen i Skolen."<br />
Heiberg, Joh. Ludv., Aprilsnarrene eller Intriguen i Skolen. Vaudeville. Udgiven<br />
af F. A. C. Pr<strong>in</strong>tzlau. København 1826.<br />
June 15--<br />
"Intriguen ved Morskabstheatret," Vaudeville i 1 Act af Arnesen.<br />
"Intriguen ved Morskabstheatret," Orig<strong>in</strong>al Vaudeville i en Akt af A.L. Arnesen.<br />
København 1891.<br />
"De Danske i Paris" (see Oct. 21, 1835).<br />
June 19--<br />
"Lets<strong>in</strong>digheds Fölger," eller: "Fader og Datter," Skuespil i 2 Acter efter Bayard.<br />
TS ark A2, #76.<br />
LJ: "Fader og Datter." Skuesp. i 2 a. av (Jean François Alfred) Bayard. "La<br />
lectrice", fritt overs. av G. Carstensen.<br />
"Guldbryllupsfrierne," Vaudeville i 1 Act.<br />
[Hald, Pet. Tetens], Guldbryllupsfrierne, orig<strong>in</strong>al Vaudeville. Udg. af Ferd.<br />
Pr<strong>in</strong>tzlau. København 1828.<br />
106
June 22--<br />
"Moden," eller: "Alpehyrderne," nyt Lystspil, i 4 Acter, af B. Bang.<br />
[Bang, Balth.], Privattheater. København 1828. [Indeholder: Moden eller<br />
Alpehyrderne. Et Lystspil i 4 Acter.<br />
"De to smaae Savoyarder" (see May 23).<br />
June 26--<br />
"Seer Jer i et Speil!" (see August 21, 1832).<br />
"Rataplan," eller: "Den lille Tambour," Vaudeville i 1 Act.<br />
"Rataplan, eller Den Lille Tambour," Vaudeville i 1 Act, [af Sevr<strong>in</strong> [ie., Charl.<br />
August<strong>in</strong> Bassompierre] og A.V.Vizent<strong>in</strong>i], overs. efter (Louis) Angely af H.P.<br />
Holst. København 1834. (Orig<strong>in</strong>al title: "Rataplan, ou: Le petit tambour.")<br />
1838-- OLSEN AND MILLER’S COMPANY (Ole Julius Olsen and Jens Peter Miller).<br />
Oct. 21--<br />
"Den Unge Ægtemand," Lystspil 1 3 Acter, af Scribe.<br />
Mazères, [Edouard Josephe Ennemond], Den Unge Ægtemand. [Oversat af Thom.<br />
Overskou]. København 1831. (DKTR, Nr. 33). U. Titelbl. (Orig<strong>in</strong>al title: "Le<br />
jeune mari.")<br />
"Hans Sörens Frierie," Vaudeville af (Christen) Rosenkilde.<br />
Rosenkilde has a longer play with a character <strong>in</strong> it by this name.<br />
Oct. 24--<br />
"Jovial, eller Underfoged og Poet," Lystspil i 2 Acter, med Sang.<br />
EA: "Jovial, Bytjener og Poet," vaud. i 2 a., `efter det franske', Théaulon og<br />
Choquart.<br />
LJ: "Jovial, eller: Underfogeden som Poet," Lystsp. i 2 a. med sang, av Théaulon<br />
og Choquart.<br />
107
Théaulon (ie., de Lambert, Marie Emanuel Guillaume Marguérite) and (Adolphe)<br />
Choquart). (Orig<strong>in</strong>al title: "M. Jovial," ou: "L'Huissier Chansonnier.") CTR.<br />
"List imod List..." (see Feb. 1, 1833).<br />
Oct. 29--<br />
"Hvedebrödsdagene,"Lystspil i 2 Acter af Scribe.<br />
Scribe, Aug. Eug., Mélesville (i.e., Duveyrier, Anne Honoré Joseph, baron) og<br />
Carmouches, (Pierre François Adolphe). Hvedebrødsdagene, Lystspil i 2 Acter,<br />
oversat<br />
efter La lune de miel, af J.E. Beck. Arendal 1833.<br />
"De Sandseslöse," Lystspil med Sang i 1 Act.<br />
Kotzebue, A. v., De Sandsesløse, Lystspil i 1 Act. Oversat af P[et. Thun.]<br />
Foersom. København 1810. (Orig<strong>in</strong>al title: "Die Zerstreuten.")<br />
Oct. 31--<br />
"Hvilken er den Rette?" (see Sept. 30, 1835).<br />
Nov. 1--<br />
"Gouverneuren fra India," (Jünger).<br />
Jünger, Joh. Fr., Gouverneuren fra India. Skuespil i 5 Akter. Efter: Verstand und<br />
Leichts<strong>in</strong>n. Af P.D. Faber. København 1806.<br />
Nov. 4--<br />
"Napoleon's Död paa St. Helena," historisk Drama i 3 Acter.<br />
1839--<br />
Napoleon. Historisk Drama i to Deler. Første Deel: Napoleon i Schönbrunn, i 4<br />
Malerier. Anden Deel: Napoleon paa St. Helena, i 3 Malerier. Oversat og<br />
omarbeidet af Th[om.] Overskou efter [Désiré] Ch[arles]Dupeuty og [François<br />
Joseph] Regnier [de la Brière]. Udg. af Ferd. Pr<strong>in</strong>tzlau. København 1832.<br />
Jan. 10--<br />
"Valeur & Compagnie," Lystspil i 1 Act af Bayard.<br />
108
Bayard, [Jean François Alfr.], og Devorme [ie., August<strong>in</strong> Jules de Vailly], Valeur<br />
& Compagnie. Komedie i een Act. [Oversat af Niels V<strong>in</strong>d<strong>in</strong>g Dorph].<br />
(København 1838). (DKTR, Nr. 95). U. Titelbl.<br />
"Fruentimmerhaderen," Syngestykke i 2 Acter, efter det Franske.<br />
Fruentimmerhaderen. Syngestykke i 1 Act efter en Vaudeville af (Jean Nicolas)<br />
Bouilly. Lyrisk omarbeidet til Musik af forskiellige Componister ved N.T. Bruun.<br />
København 1811. (Orig<strong>in</strong>al title: "Ha<strong>in</strong>e aux femmes.")<br />
Jan. 14--<br />
"Den Gjerriges Datter," Comedie i 2 Acter, efter det Franske.<br />
"Den Gjæerriges Datter," Skuespil i 2 Acter af (Jean François Alfred) Bayard og<br />
Poul Duport, oversat af C. Borgaard. KTR, Tiende Deel. (Also translated by<br />
Aaholm.<br />
Orig<strong>in</strong>al title: "La fille de l'avare.")<br />
"Kunstnerpröven," Syngestykke i 1 Act.<br />
EA: "Vaud. i 1 a., (Joseph) Patrat."<br />
Jan. 16--<br />
"Pariserdrengen," Lystspil 1 2 Acter af Bayard og Vanderburch, overs. ved N.M.<br />
Aalholm.<br />
Bayard, [Jean François Alfr.], og E[mile Louis] Vanderburch, Pariserdrengen.<br />
Lystspil i 2 Akter. [Overs. af Eug. Bidoulac]. Udg. og forlagt af C[arl] E[mil]<br />
Wiborg. København 1837. (Af "Lommebibliothek for Skuespilyndere",<br />
København 1836.) (Orig<strong>in</strong>al title: "Le gam<strong>in</strong> de Paris.")<br />
"Nei," Vaudeville i 1 Act af Heiberg.<br />
Heiberg, J[oh.] L[udv.], Nei. Vaudeville. København 1836.<br />
Jan. 20--<br />
"Paul Clifford," Vaudeville i 2 Acter af Mélesville og Duveyrier.<br />
Mélesville [Anne Honoré Joseph Duveyrier] og Charles Duveyrier, Paul Clifford.<br />
Skuespil i 2 Acter, overs. af Carl Pt. Borgaard. København 1836. (DKTR, Nr.<br />
86). U. Titelbl. (Orig<strong>in</strong>al title: "Clifford, le voleur.")<br />
109
"Rataplan, eller Den lille Tambour" (see June 26, 1836).<br />
Jan. 23--<br />
"Den förste Kjærlighed" (see Sept. 23, 1835).<br />
"Aprilsnarrene, eller Intriguen i Skole" (see June 12, 1836).<br />
Jan. 28:<br />
"Et keiserligt Indfard," Lystspil i 2 Acter.<br />
Ancelot, [Jacques Arsene Polycarpe François], og [Nicolas] Paul Duport, Et<br />
Giftermaal under Keisertiden. Lystspil i 2 Acter. Oversat af Carl [Pt.] Borgaard.<br />
(København 1839). (KTR, Nr. 109). U. Titelbl. P. (Also translated by<br />
Aalholm.)<br />
"Mödes og Skilles eller Spanierne i Fyen," Vaudeville i 1 Act.<br />
Andersen, H.C., Skilles og Mødes. Orig<strong>in</strong>al dramatisk Digtn<strong>in</strong>g i 2 Afdel<strong>in</strong>ger.<br />
København 1836. (DKTR, 4. Deel.)<br />
Sept. 14--<br />
"Strömpevæveren," Lystspil i 2 Acter.<br />
(No list<strong>in</strong>g.)<br />
"Frieren fra Holland," Vaudeville i 1 Act.<br />
EA: "Vaud i 1 a., (Armod og Høimodighed, Kotzebue.)<br />
Kotzebue, [Aug.] v., Armod og Høimodighed. Et Lystspil i 3 Optog. Oversat af<br />
[Ditl. Fl<strong>in</strong>dt] Staal. København 1796.<br />
(In this play there is a character named "van der Husen" who is newly arrived<br />
from Holland, and appears <strong>in</strong> three scenes (pp. 67-77; 89-98; 104-117).)<br />
Sept. 18--<br />
"Et ungt Ægtepars Huusholdn<strong>in</strong>g," Lystspil i 2 Acter.<br />
Scribe, [Aug.] Eug., og [Jean François Alfr.] Bayard, Et ungt Ægtepars<br />
Huusholdn<strong>in</strong>g. Lystspil i 1 Act; bearb. ved Carl Pt. Borgaard. København 1837.<br />
(DKTR, Nr. 89). U. Titelbl.<br />
(Orig<strong>in</strong>al title: "Le budget d'un jeune ménage.")<br />
110
"Henriette og Amalia eller Skoledisciplene," dramatisk scene med sang.<br />
(No list<strong>in</strong>g.)<br />
"En halv Time i Forligelses-Commissionen," Lystspil i een Act.<br />
"En halv Time i Forligelses-Commissionen," af P. N. Jørgensen. Smaadigte og<br />
Dramatiske Skizzer. (Udgivne som Manuscript for Venner.) Trykt hos<br />
Forfatteren. København 1837. Andet noget forandrede Udgave. København<br />
1842.<br />
Sept. 22--<br />
"Enten elskes eller döe," Lystspil i 1 Akt af Scribe.<br />
Scribe, E., Enten elskes eller døe! Lystspil i een Act; oversat af J. L. Heiberg.<br />
København 1838. (DKTR, 5. Deel). (Orig<strong>in</strong>al title: "Etre aimé ou mourir.")<br />
Vennernes Fest, eller: Testament," Vaudeville i 2 Akter, af Rosenkilde.<br />
Rosenkilde, C[hristen] N[ieman], Vennernes Fest eller Testamentet. Lystspil i 2<br />
Acter. Med Sange og Chor til bekjendte Melodier. Udg. af Theater-Directionen.<br />
København 1826.<br />
Sept. 25--<br />
"Louise de Lignerolles," Drama i 5 Acter, efter det Franske.<br />
Drama <strong>in</strong> five acts by D<strong>in</strong>aux (i.e., Prosper Parfait Goubaux) and Legouvé, tr. by<br />
J. Ball<strong>in</strong>g. TS ark A2, #66.<br />
Sept. 29--<br />
"Coliche," Lystspil i een Akt.<br />
[Duport, N.P., og P.H. Foucher], Coliche. Lystspil i een Act, efter det Franske<br />
ved J. L. Heiberg. København 1836.<br />
"To Ord, eller Natten i Skoven," Syngestykke i een Akt, af Marsollier, Musikken<br />
af Dalayrac.<br />
[Marsollier des Vivetières, Benoit Jos.], To Ord eller Natten i Skoven.<br />
Syngestykke i 1 Act; sat i Musik af Dalayrac. Oversat til Skuepladsens Brug ved<br />
111
N. T. Bruun. København 1818. (Orig<strong>in</strong>al title: "Deux mots, ou: Une nuit dans<br />
la forêt.")<br />
Oct. 2--<br />
"Brandskatten," Lystspil i een Akt, af Kotzebue.<br />
Kotzebue, A., Brandskatten. Comedie i 1 Act. Oversat af J[ens] Wille.<br />
København 1806. P. (Orig<strong>in</strong>al title: "Die Brandschatzung.")<br />
"De Uadskillelige" (see Sept. 23, 1835).<br />
Oct. 9--<br />
"Kjærlighed og Heltemod," romantisk Ridderskuespil i 4 Acter, af Thiele.<br />
Thiele, J[ust] M[atthias], "Kynast, eller Kjærlighed og Heltemod," Skuespil i 3<br />
Acter. København 1821.<br />
Oct. 13--<br />
"Korsikanerne," Skuespil i 5 Akter, af Thiele.<br />
Kotzebue, Aug. v., Korsikanerne. Skuespil i 4 Akter. Oversat af Hans Georg.<br />
Gotfr. Schwarz. København 1800. (Orig<strong>in</strong>al title: "Die Corsen.")<br />
1840-- GUSTAV WELHELM SELMER’S COMPANY.<br />
May 28--<br />
"Et Feiltr<strong>in</strong>," Drama i 2 Acter af Scribe, oversat af J.L. Heiberg.<br />
Scribe, [Aug.] Eug., Et Feiltr<strong>in</strong>. Drama i 2 Acter, overs. af J[oh.] L[udv.]<br />
Heiberg. København 1832. (Orig<strong>in</strong>al title: "Une faute.")<br />
"Kjærlighed paa Flasker," Vaudeville i 1 Act af Mélesville.<br />
"Kjærlighed paa Flasker," by Mélesville (i.e., Anne Honoré Joseph, baron<br />
Duveyrier) og (Nicolas) Brazier, oversat af Borgaard. (Orig<strong>in</strong>al title: "Le philtre<br />
champenois.") KBS: Skuespil 4.<br />
May 31--<br />
"Elverhöi" (see June 1, 1836).<br />
112
June 2--<br />
"Onkels Hemmelighed," Lystspil i 1 Act af Var<strong>in</strong>, oversat af Th. Overskou.<br />
Var<strong>in</strong>, [Charles Victor], Onkels Hemmelighed. Lystspil i een Act; oversat af<br />
Th[om.] Overskou. København 1839. (DKTR, Nr. 110). U. Titelbl. (Orig<strong>in</strong>al<br />
title: "Le secret de mon oncle.")<br />
"Sörgetale over et tomt Glas," af Saphir.<br />
LJ: "scenisk Monolog av Peter Nicolai Jørgensen."<br />
"Rekruten," Vaudeville i 1 Act af Merle.<br />
Merle, [Jean Toussa<strong>in</strong>t], [Anto<strong>in</strong>e Jean Baptiste] Simon<strong>in</strong> og Ferd<strong>in</strong>and<br />
[Ferd<strong>in</strong>and Laloue], Rekruten. Vaudeville i een Act. Oversat og localiseret af<br />
Th[om.] Overskou. København 1834. (Orig<strong>in</strong>al title: "Le conscrit.")<br />
June 5--<br />
"Jeg er m<strong>in</strong> Brøder," Lystspil i 1 Act af Contessa, oversat af Rosenkilde.<br />
Contessa, [Carl Wilh. Salice], Jeg er m<strong>in</strong> Broder. Comedie i een Act, oversat ved<br />
N. T. Bruun. København 1820. (Orig<strong>in</strong>al title: "Ich b<strong>in</strong> me<strong>in</strong> Bruder.")<br />
Förste Act af "Den Hvide Dame," Opera af Scribe, oversat til Boieldieus Musik af<br />
Overskou.<br />
Scribe, Den hvide Dame. Syngespil 1 3 Acter; oversat til Boieldieus Musik af<br />
Thomas Overskou. Udgivet af F[erd.] Pr<strong>in</strong>tzlau. København 1826. (Orig<strong>in</strong>al<br />
title: "La dame blanche.")<br />
June 11--<br />
"Far<strong>in</strong>elli," Syngestykke i 3 Acter, af St. George og Leuven, oversat af J. L.<br />
Heiberg, Musikken af Halevy, Marschner, et al.<br />
Sa<strong>in</strong>t-Georges, de [i.e., Jules Henri de Vernoy], og de Leuven [i.e., Adolphe, grev<br />
Ribb<strong>in</strong>g], Far<strong>in</strong>elli. Lystspil i 3 Acter med Sange og Chor til Musik af forskjellige<br />
Componister. Efter det Franske, og tildeels til Orig<strong>in</strong>als Musik, oversat af J[oh.]<br />
L[udv.] Heiberg. København 1837. DKTR Nr. 94. U. Titelbl.<br />
June 14--<br />
"Feiltagersene," Komedie i 5 Acter af Goldsmith, oversat af N.V. Dorph.<br />
113
Goldsmith, Oliver, Feiltagelserne. Ved Neils V<strong>in</strong>d<strong>in</strong>g Dorph. U. Titelblad, St. o.<br />
A. København 1838. DKTR, Nr. 98. P. (Orig<strong>in</strong>al title: "She stoops to<br />
conquer.")<br />
June 18--<br />
"Pariserdrengen" (see Jan. 16, 1839).<br />
"Kjærlighed paa Flasker" (see May 28).<br />
June 21--<br />
"Den förste Kjærlighed" (see Sept. 23, 1835).<br />
"De Danske i Paris" (see Oct. 21, 1835).<br />
June 24--<br />
"De to Ægtemænd" (see May 27, 1836).<br />
"Yelva" (see Oct. 11, 1835).<br />
June 26--<br />
"De to Ætgemænd" (see May 27, 1836).<br />
"Kjærligheds Drømme eller Søvngjængersken," Vaudeville i 2 Acter efter "La<br />
Somnambule," af Scribe og Delavigne, oversat af J. L. Heiberg.<br />
Kjærligheds Drømme. Vaudeville, oversat efter La Somnambule, af E. Scribe og<br />
G[erma<strong>in</strong>] Delavigne, og <strong>in</strong>drettet for den danske Skueplads ved Joh. Ludv.<br />
Heiberg. Udgiven af Ferd<strong>in</strong>and Pr<strong>in</strong>tzlau. København 1827.<br />
July 1--<br />
"Preciosa" (see May 18, 1836).<br />
July 5--<br />
"Axel og Valborg," Sörgespil i 5 Acter af Oehlenschläger.<br />
Oehlenschläger, Adam, Axel og Valborg. Et Sørgespil. København 1810.<br />
[Kobberst. Titelbl.] -- 2 forskjellige Eftertryk. København 1810. [Begge med<br />
kobberst Titelbl.]<br />
114
1843-- CARL JENS PETERSEN’S COMPANY<br />
July 17--<br />
"Clermont, den bl<strong>in</strong>de Maler eller Artistens Kone," Skuespil i 2 Acter af Scribe.<br />
Scribe, [Aug.] Eug., og [Emile Louis] Vanderburch, Clermont eller Kunstnerens<br />
Kone. Skuespill i 2 Acter. [Overs. af Hans Pt. Holst]. København 1839. (DKTR,<br />
112). U. Titelbl. (Orig<strong>in</strong>al title: "Clermont, ou: Une femme d'artiste.")<br />
"Under Laas og Lukke (i.e., "Lykke")," ny Vaudeville i een Act efter det Franske.<br />
De Leuven (i.e., Adolphe, grev Ribb<strong>in</strong>g), Deforges (i.e., Philippe Auguste Alfred<br />
Pittaud) and (Philippe François P<strong>in</strong>el) Dumanoir, tr. by Borgaard (also by F. L.<br />
Hoedt). (Orig<strong>in</strong>al title: "Sous Clef.") TS ark A2, #298.<br />
July 20--<br />
"Et Glas Vand, eller Liden Tue vælter stort Læs," Comedie i 5 Acter af Scribe.<br />
Et Glas Vand, eller Lide Tue kan vælte stort Læs, Comedie i fem Acter af Eugene<br />
Scribe, oversat af Th. Overskou. DKTR, Sjette Deel, 1840-42. (Orig<strong>in</strong>al title:<br />
"La verre d'eau...".)<br />
July 23--<br />
"Mistress Siddons, den engelske Skuespiller<strong>in</strong>ne," Skuespil i 2 Acter.<br />
EA: "Skuesp. 1 2 a. av Leuven og Lhérie...".<br />
De Leuven (i.e., Adolphe Grev Ribb<strong>in</strong>g) and Lhérie, tr. by Peter Bloch.<br />
"List og Phlegma," Vaudeville i 1 Act af Angely.<br />
EA: "Vaud. i 1 a., Angely, overs. Aug. Werligh."<br />
LJ: "etter Patrat's kom. `La résolution <strong>in</strong>utile, ou: Les déguisements amoureux,'<br />
fritt overs. av Henrik Wergeland."<br />
J.B. Halvorsen: "fritt overs. av Henrik Wergeland, utrykt, opført på Kristiania<br />
Theater, 17 Juli, 1837."<br />
July 26--<br />
"Möllen i Marly," nyt Lystspil i 1 Act.<br />
115
Comedie i 1 Act av Mélesville (i.e., Anne Honoré Joseph, baron Duveyrier) og<br />
(Charles) Duveyrier, ovs. av Carl Petersen. (Orig<strong>in</strong>al title: "La meunière de<br />
Marly.") TS ark A2, #296. KBS: Cas<strong>in</strong>o 1049 4.<br />
"Den første Kjærlighed" (see Sept. 23, 1835).<br />
"Emilies Hjertebanken," Vaudeville-Monolog.<br />
Heiberg, J[oh.] Ludv., Emilies Hjertebanken. Vaudeville-Monolog. København<br />
1840.<br />
July 28--<br />
"Den engelske Skuespiller Kean," Skuespil i 5 Acter.<br />
Dumas, Alexandre (père), Kean. Oversat af Carl Borgaard. U. Titelbl.<br />
København 1838. (DKTR, Nr. 103.)<br />
July 30--<br />
"Indqvarter<strong>in</strong>gen," nyt Lystspil i 1 Act.<br />
Hertz, Henrik, Indqvarter<strong>in</strong>gen. Lystspil i 1 Act. København 1841.<br />
"Jovial eller Underfogden som Poet" (see Oct. 24, 1838).<br />
Aug. 1--<br />
"Donna Clara," Natscene i 1 Act, af A. Munch.<br />
Munch, Andreas, Donna Clara. En Natscene. Chra. 1840.<br />
"Enten Elskes eller Döe," (see Sept. 22, 1839).<br />
"Fruentimmerhaderen," (see Jan. 10, 1839).<br />
Aug 4--<br />
"Emilies Hjemkomst fra Ballet," Vaudeville-Monologue.<br />
"Valeur & Compagnie" (see Jan. 10, 1839).<br />
116
"Skorsteensfeierdrengene," Vaudeville i 2 Acter.<br />
By Théaulon (i.e., de Lambert, Marie Emanuel Guillaume Marguérite), Desforges<br />
(i.e., Choudard, Pierre Jean Baptiste), and Lurieu, (Gabriel de), tr. by Borgaard.<br />
(Orig<strong>in</strong>al title: "Le ramoneur.") TS ark A2, #140.<br />
Aug. 6--<br />
“Qvækeren og Dandser<strong>in</strong>den," af Scribe.<br />
Scribe, [Aug.] Eug., og [Nic. Paul] Duport, Qvækeren og Dandser<strong>in</strong>den. Lystspil<br />
i 1 Act; overs. af J[oh.] L[udv.] Heiberg. København 1834. DKTR, Nr. 60). U.<br />
Titelbl. (Orig<strong>in</strong>al title: "Le quaker et la danseuse.")<br />
"Nei" (see Jan. 16, 1839).<br />
JOACHIM WERNER WEISE’S COMPANY.<br />
Oct. 18--<br />
"Kjærlighet formaaer Alt," Lystspil i 4 Acter.<br />
Holbe<strong>in</strong>, Frantz von, "Kjærlighed formaar Alt," Lystspil i 4 Akter, oversat til<br />
Dansk. KBS: Folketeatret 4.<br />
"Hovmesteren i Knibe," Vaudeville i 1 Act.<br />
Melesville, [Anne Honoré Joseph Duveyrier], Hovmesteren i Knibe. Vaudeville.<br />
(After Giraudi's "L'ajo nell'imbarazzo.") Overs. af Th. Overskou. København<br />
1832. (Presumably unpublished. Orig<strong>in</strong>al title: "Le précepteur dans l'embarras.")<br />
A manuscript of this play is <strong>in</strong> the archive of the Royal Theatre, København.<br />
Oct. 22--<br />
"Valerie," Skuespill i 3 Acter."<br />
Oct. 25--<br />
Scribe, [Aug.] Eug., og Mélesville [ie., Anne Honoré Joseph Duveyrier], Valérie.<br />
Comedie i 3 Acter. [Overs. af Joh. Adolph Gottlob Stage]. København 1839.<br />
(DKTR, Nr. 107). U Titelbl.<br />
"Rataplan, den lille Tambour" (see June 26, 1836).<br />
117
"Den förste Kjærlighed," (see Sept 25, 1835).<br />
"Frölich, eller Berl<strong>in</strong>erchoristen,” Musikalsk Qvodlibet i 2 Acter. (by L.<br />
Schneider.)<br />
Oct. 29--<br />
"En Bryllupsdags Fataliteter," Lystspil i 2 Acter.<br />
Overskou, Th., En Bryllupsdags Fataliteter. Orig<strong>in</strong>alt Lystspil i 2 Acter.<br />
København 1840. (DKTR, 5. Deel.)<br />
"Tableau vivant <strong>in</strong>deholdende 'Röverne i Calabria'i 45 Billeder."<br />
OBSERVATIONS.<br />
In all, 148 plays (118 different plays) were advertised <strong>in</strong> Skien between 1832 and<br />
1843. The author performed most often was J. L. Heiberg, a Danish poet, critic,<br />
playwright and director at the Royal Theatre <strong>in</strong> København: 17 performances of his plays<br />
were given, and 17 performances of his translations of French plays by Eugene Scribe and<br />
others. Plays by Scribe alone received 11 performances; plays by Scribe <strong>in</strong> collaboration<br />
with others received an additional 13 performances. Next most popular was the German<br />
dramatist August von Kotzebue: 12 performances of his plays were given, although his<br />
plays received proportionately fewer performances as time went on. Thomas Overskou,<br />
also of the Royal Theatre, received 7 performances of his plays and 8 performances of his<br />
translations. 56 of the plays were orig<strong>in</strong>ally French; 29 were Danish; 25 were German; 2<br />
were English. There were only 2 orig<strong>in</strong>al plays by Norwegian authors, but there were<br />
several translations by Norwegians, and it is possible that one or more of the 4<br />
anonymous plays were by local or otherwise Norwegian authors.<br />
The Danish <strong>in</strong>fluence on theatrical activity <strong>in</strong> Skien dur<strong>in</strong>g the period was very<br />
strong. Not only were almost all of the performers Danish, but about two-thirds of the<br />
plays came from the playwrights and translators on the staff of the Royal Theatre <strong>in</strong><br />
København. The best-known Scand<strong>in</strong>avian dramatists before <strong>Ibsen</strong>, Holberg and<br />
118
Oehlenschläger, appear <strong>in</strong> the forego<strong>in</strong>g list, but for only one performance <strong>in</strong> the first<br />
case, and two <strong>in</strong> the second.<br />
The most popular genre by far was the one-act comedy or lystspil, which was<br />
often called a vaudeville. Comedie, lystspil, and "vaudeville" were loosely-applied terms,<br />
which could cover anyth<strong>in</strong>g from a monologue or a short sketch, sometimes with s<strong>in</strong>g<strong>in</strong>g<br />
and danc<strong>in</strong>g, to a longer comedy <strong>in</strong> a realistic style. There were 71 of these among the<br />
118 titles. There were 18 longer comedies performed, leav<strong>in</strong>g only 29 plays for all the<br />
other genres, which <strong>in</strong>cluded skuespil (ie., dramas, or serious plays) of various lengths<br />
(15), music dramas (5), tragedies (2), melodrama (1), historical drama (1), and<br />
ridderskuespil (2). There were also several pieces that do not fall <strong>in</strong>to any of the above<br />
categories: a "night-scene," a "musical Quodlibet," and a "tableau vivant."<br />
BIBLIOGRAPHY.<br />
Reference works cited for publication <strong>in</strong>formation about plays:<br />
Bibliotheca Danica. Systematisk Fortegnelse over den danske Litteratur fra 1482 til<br />
1830. B<strong>in</strong>d IV (Sprogvidenskab. Literatur. Tidsskrifter . . .). Ved Dr. Phil. Chr. V.<br />
Bruun. København 1902 (1963). B<strong>in</strong>d V (Supplementer. ABC Register). Ved. Dr. Phil.<br />
Lauritz Nielsen. København 1914 (1963).<br />
Supplement til Bibliotheca Danica samt Bibliotheca Slesvico-Hosatica til 1840.<br />
Udarbejdet af H. Ehrencron-Muller. København 1948.<br />
Dansk Bogfortegnelse. for Aarene 1841-1858, samlet af F. Fabricius. København 1861.<br />
Norsk Bog-fortegnelse. 1814-1847. Med Anhang, <strong>in</strong>deholdende: I. Land- og Søkarter.<br />
II. Indbydelseskrifter. III. Politiske og Avertissements-Tidender. Samlet og udgiven af<br />
Mart. Nissen. Kra. 1848.<br />
Works about the travell<strong>in</strong>g theatrical companies:<br />
Anste<strong>in</strong>sson, Eli. Teater i Norge, Dansk scenekunst 1813-1863: Kristiansand - Arendal-<br />
Stavanger. Oslo: Universitetsforlaget, 1968.<br />
Jensson, Liv. Biografisk Skuespillerleksikon. Norske, danske og svenske skuespillere på<br />
norske scener særlig på 1800-tallet. Oslo: Universitetsforlaget, 1981.<br />
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- - - -. Teater i Drammen <strong>in</strong>ntil 1840. Oslo: Gyldendal, 1974.<br />
KEY TO BIBLIOGRAPHICAL SYMBOLS.<br />
CTR = plays for which no publication <strong>in</strong>formation has been found, but which were<br />
produced at the Christiania Theatre, and are cited <strong>in</strong> Christiania Theaters Repertoire<br />
1827-99. Øyv<strong>in</strong>d Anker. Oslo: Gyldendal, 1956.<br />
EA = cited <strong>in</strong> Teater i Norge . . . . Eli Anste<strong>in</strong>ssen. Oslo: Universitetsforlaget, 1968.<br />
DKTR = Det Kongelige Theaters Repertoire, <strong>in</strong> which plays produced at the royal Danish<br />
theatre were published, at first s<strong>in</strong>gly, and then <strong>in</strong> (various) bound volumes, start<strong>in</strong>g <strong>in</strong><br />
1828.<br />
LJ = cited <strong>in</strong> Teater i Drammen . . . . Liv Jensson. Oslo: Gyldendal, 1974.<br />
TS = the manuscript number <strong>in</strong> the theatre collection of the University Library, Oslo.<br />
KBS = the manuscript number <strong>in</strong> the drama collection of the Royal Library, København.<br />
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V. Erik Bøgh. A travell<strong>in</strong>g theatre company.<br />
This is a memoir by a Danish writer of a season he spent <strong>in</strong> Sweden <strong>in</strong> the 1840's as an<br />
actor <strong>in</strong> one of the travell<strong>in</strong>g theatrical companies that <strong>in</strong> earlier years had visited Skien.<br />
Despite the fact that some readers might f<strong>in</strong>d several of the <strong>in</strong>cidents offensive, the essay<br />
is <strong>in</strong>cluded because it offers a rare glimpse of the production conditions <strong>in</strong> these<br />
companies. Several of the persons mentioned <strong>in</strong> the piece, especially the two directors,<br />
were well-known characters <strong>in</strong> Skien dur<strong>in</strong>g <strong>Ibsen</strong>'s boyhood, because their company was<br />
<strong>in</strong> residence at several different times. The wife of one of them reportedly once gave<br />
danc<strong>in</strong>g lessons <strong>in</strong> Skien after the company had temporarily dissolved.<br />
"Et reisende skuespillerselskab," Er<strong>in</strong>dr<strong>in</strong>ger fra m<strong>in</strong>e unge Dage. Erik Bøgh<br />
(København: 1894): 303 ff.<br />
What especially attracted me to the company was its plan: to travel <strong>in</strong> Sweden.<br />
That gave me the hope that I could rid myself of the clums<strong>in</strong>ess which every novice<br />
usually br<strong>in</strong>gs to the theatre, without the Danish public's suffer<strong>in</strong>g from it, so that,<br />
perhaps as soon as the next year, I could appear on this side of the Sound (i.e., the Danish<br />
side) with the proper skill.<br />
After what I had heard about the company's management and talents, I had no<br />
reason to desire or expect any long-stand<strong>in</strong>g relationship with it. The fact that the season<br />
would be spent outside our own country aroused a suspicion that its personnel were not<br />
fit take part <strong>in</strong> a competition with the prov<strong>in</strong>cial companies who rema<strong>in</strong>ed at home, but<br />
that did not worry me, s<strong>in</strong>ce I fancied that the less well the others could perform, the<br />
greater prospects must there be for me. However, the <strong>in</strong>formation which I collected about<br />
its two directors did not sound especially comfort<strong>in</strong>g. It was said about the first, the<br />
rather well-known J.P. Miller, that he had been implicated <strong>in</strong> an affair, <strong>in</strong> its time<br />
much-discussed, but hushed up by persons <strong>in</strong> high places, concern<strong>in</strong>g some degenerate<br />
social gather<strong>in</strong>gs <strong>in</strong> a build<strong>in</strong>g adjo<strong>in</strong><strong>in</strong>g the theatre. He had <strong>in</strong>curred from that a<br />
Consilium abeundi, with the consequence that he travelled to Norway. There he debuted<br />
at the Christiania Theatre, made a fiasco, took up journalism, and once aga<strong>in</strong> came <strong>in</strong>to<br />
conflict with the police, partly on the grounds of a brawl, dur<strong>in</strong>g which <strong>in</strong> self-defense he<br />
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eat a driver to death with a yoke-tree, and partly because of another affair, which did not<br />
come fully to light, but still contributed to his be<strong>in</strong>g reluctant to go to Norway aga<strong>in</strong>.<br />
His partner Julius Olsen was a real old-fashioned prov<strong>in</strong>cial actor <strong>in</strong> the heroic<br />
tradition, a serious person who always appeared, both on the stage and <strong>in</strong> everyday life, <strong>in</strong><br />
the very highest-heeled cothurni, as the knight without fear and without reproach, but<br />
who, when it came down to it, could not conceal that he was a very ord<strong>in</strong>ary plebeian. He<br />
dropped out of his noble character all the time, pronounced all foreign words <strong>in</strong>correctly<br />
and swore like a sailor.<br />
But what about the personnel? They were neither better nor worse than could be<br />
expected under two such directors, who <strong>in</strong>to the barga<strong>in</strong> had booked their engagements<br />
after the most favored actors and actresses had been placed with better-established<br />
companies. Therefore I was not unprepared for hav<strong>in</strong>g one th<strong>in</strong>g or another happen to me<br />
<strong>in</strong> the com<strong>in</strong>g season; why had I allowed myself to be engaged, if not to experience<br />
someth<strong>in</strong>g, whatever it might be?<br />
I certa<strong>in</strong>ly achieved that. As soon as I entered the hotel over <strong>in</strong> Skåne, where I<br />
was to report for duty, the adventures began. I had scarcely set foot across the threshold<br />
before I saw a tall and husky man <strong>in</strong> summer clothes and shirtsleeves slip past the end of<br />
the long corridor <strong>in</strong>to which I had stepped, and <strong>in</strong> a moment a candelabra flew through<br />
the air after him. I was surprised and came to a halt, but before I could <strong>in</strong>terpret the<br />
significance of this phenomenon, another projectile, a carafe full of water, came travell<strong>in</strong>g<br />
<strong>in</strong> the same direction, at the level of a man's height, and smashed aga<strong>in</strong>st the wall. At the<br />
same time the fugitive, who had eluded the missile by runn<strong>in</strong>g <strong>in</strong>to a room at the<br />
<strong>in</strong>tersection, came rather calmly out of a door right beside me. I took him for one of the<br />
servants of the house and asked him if this was where the theatre company lodged.<br />
"Yes <strong>in</strong>deed! And you presumably are our new actor? Well then, welcome. I am<br />
Director Miller...".<br />
"Ah," I burst out, with an expression which must have betrayed my astonishment<br />
at see<strong>in</strong>g a director treated <strong>in</strong> such a manner.<br />
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Miller, who was a judge of character, <strong>in</strong>stantly guessed my thoughts. "Do I<br />
perceive that you are frightened by these tricks?" he asked smil<strong>in</strong>gly, with a little pat on<br />
the shoulder.<br />
I could not deny it, and so he reassured me with the assertion that it did not mean<br />
anyth<strong>in</strong>g. "There is a young man here with the company, who sometimes expresses<br />
himself <strong>in</strong> that extravagant way. In other respects he is a splendid fellow, who does not<br />
mean any harm by the ruckus he makes," he cont<strong>in</strong>ued expla<strong>in</strong><strong>in</strong>g.<br />
This benign <strong>in</strong>terpretation astonished me no less than the bombardment itself,<br />
s<strong>in</strong>ce if the carafe had hit him it would have had the same effect whether it had been sent<br />
with good <strong>in</strong>tentions or evil, and therefore I cannot deny that I got a marvellous<br />
impression of what was considered fun and what was taken seriously <strong>in</strong> this company.<br />
At the even<strong>in</strong>g meal I met the rest of the actors and actresses, and here that<br />
impression was fully corroborated. Between these gentlemen and ladies a confidence and<br />
naturalness prevailed which I had never believed could develop between people who had<br />
seen each other for the first time fairly recently, and it was obvious that the few days <strong>in</strong><br />
which the company had been gathered before my arrival must have been sufficient to<br />
eradicate every trace of shyness. Nobody thought to weigh his words; on the contrary, a<br />
tacit agreement had evidently been made: that every expression must be several degrees<br />
stronger than its significance.<br />
I was received immediately as a fellow conspirator, to whom by reason of the<br />
common shipwreck one could without hesitation show absolute confidence, and <strong>in</strong> the<br />
beg<strong>in</strong>n<strong>in</strong>g they expla<strong>in</strong>ed to me, <strong>in</strong> the adopted unreproduceable jargon, the matter of my<br />
first adventure. Miller was known always to favor (or, as his less gifted co-director called<br />
it: "favoritize") one or the other of the actors <strong>in</strong> a rather reckless fashion. The party <strong>in</strong><br />
question was not merely showered with presents and <strong>in</strong>vitations, but also from the<br />
moment he became the director's favorite he was named as the company's absolute<br />
juvenile lead, he got all the reward<strong>in</strong>g roles and had permission to reject all those which<br />
he did not like. In return for all these splendors the favorite had to endure the annoyances<br />
which were an accompaniment of the patron's peculiarities, and among these there was<br />
one which sometimes could be rather embarrass<strong>in</strong>g for the favored hero and lover. The<br />
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director, who was a bachelor by necessity and a woman-hater on pr<strong>in</strong>ciple, watched over<br />
his protégé with Argus-eyed jealousy, so that he should not fall <strong>in</strong>to the hands of any of<br />
the "accursed defective creatures," his pet-name for the ladies! Now it had just occurred,<br />
that the watched-over young man had displayed, <strong>in</strong> a little-too-obvious a fashion, his<br />
<strong>in</strong>terest <strong>in</strong> the company's youngest and prettiest female artist: a girl scarcely eighteen<br />
years old, who was present and enjoyed herself rather well dur<strong>in</strong>g the critique. As for the<br />
matter <strong>in</strong> question, it was one of the rather frequent skirmishes between the director and<br />
his favorite, and the former's cynical scorn had as usual caused the latter to go berserk,<br />
and throw whatever he wanted at him, whereupon he had taken flight.<br />
"Th<strong>in</strong>k, how unlucky, that he (i.e., the writer) did not get hit <strong>in</strong> the neck by the<br />
carafe!" burst out one of the ladies.<br />
"But then I should have been doomed," I <strong>in</strong>terjected.<br />
"Yes, surely a lucky break!" it sounded <strong>in</strong> a chorus, cont<strong>in</strong>u<strong>in</strong>g <strong>in</strong> the jargon.<br />
"But where is the wild berserker now?" I asked.<br />
"Naturally, with his friend and patron," answered everyone.<br />
"Every time, after there has been a k<strong>in</strong>d of scene between them, the director<br />
always gives an elegant supper with two place sett<strong>in</strong>gs, and then the bagatelle is<br />
forgotten.<br />
friendship.<br />
I looked over astonished at the young girl who had <strong>in</strong>terfered with the director's<br />
"Yes, just wait! It will not stay that way," she said with a triumphant smile.<br />
"Watch out, my girl!" The company's old prompter dropped <strong>in</strong>to the conversation<br />
to warn her. "You cannot best the director, and he is capable of anyth<strong>in</strong>g. If you fall out<br />
with him, then you will immediately get your return ticket, and you must not imag<strong>in</strong>e that<br />
his friend will lift a f<strong>in</strong>ger to keep you!"<br />
to prevail.<br />
"I say: just wait!" cont<strong>in</strong>ued the young girl, who no doubt counted on be<strong>in</strong>g able<br />
Probably she attempted to do just that, but not many nights later there was a<br />
confrontation <strong>in</strong> the lover's room between the director and her, and the next day she went<br />
home to Denmark, and without any carafes be<strong>in</strong>g broken over it.<br />
124
Despite the fact that this little event is far from be<strong>in</strong>g one of the most typical, I<br />
suppose it is sufficient to give an impression of the tone and the life of this artistic<br />
society, and therefore I believe that it might spare me from not<strong>in</strong>g some of the more<br />
drastic ones.<br />
Similarly I hope I can spare my readers a description of the <strong>in</strong>dividual members of<br />
the company, s<strong>in</strong>ce none of them had significance for my life's story. I can testify to this:<br />
that both on the male and on the female side they belonged to the true bohemia. They<br />
were good-natured, friendly, carefree and amaz<strong>in</strong>gly irresponsible children of the<br />
moment, who all together were more-or-less rebell<strong>in</strong>g aga<strong>in</strong>st their past and "let the violet<br />
see to their future." No great dramatic talent was be<strong>in</strong>g wasted <strong>in</strong> any of them, but even if<br />
there had been, it would have been almost impossible for it to manifest itself under the<br />
given circumstances. Even though with one exception we were all not much more than<br />
novices, there was noth<strong>in</strong>g which resembled <strong>in</strong>struction, and the rehearsals, of which<br />
never more than three were held of even the most difficult pieces, limited themselves to a<br />
demonstration of entrances and exits and a reel<strong>in</strong>g off of speeches without corrections or<br />
guidance. As far as the distribution of roles was concerned, it was almost unalterably<br />
predeterm<strong>in</strong>ed. The aforementioned juvenile lead was the obvious choice for all the best<br />
younger roles. If there were two lovers or one serious lover and a bon-vivant <strong>in</strong> the same<br />
piece, the young actors never got any satisfaction from that, s<strong>in</strong>ce the pathetic director<br />
took one, and then it was a matter of catch-as-catch-can how the uncle, servant, notary,<br />
walk-on, and similar small roles would be divided among them.<br />
The situation was the same with the female roles. The best role, whether it was a<br />
tragic hero<strong>in</strong>e, an <strong>in</strong>genue, a soubrette, a chaperone or a comic matron, was always<br />
dest<strong>in</strong>ed for the director's wife, except that she was a little, <strong>in</strong>significant person, who did<br />
not put herself out <strong>in</strong> the theatre at all. As a rule it was difficult enough with the few<br />
female talents to fill the few roles <strong>in</strong> a piece, but if there were for example a<br />
woman-friend too many, then they wrote down her speeches <strong>in</strong> a letter, and if the author<br />
required "a girl" where one could not be had, then without further ado they put down "a<br />
servant" on the program. When one played "Aprilsnarrene," it was completely impossible<br />
to get "Madam Rar's" role assigned, when neither the wife, the young woman, nor the two<br />
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young girls could double it, and the company had only four actresses. But what<br />
difference did that make? Just as easily as one struck the four quartet- s<strong>in</strong>gers, one could<br />
let little Tr<strong>in</strong>e's father meet for the exam <strong>in</strong>stead of her mother, and <strong>in</strong> that way I got the<br />
opportunity to portray: "Mr. Rar, fruit and wild-flower merchant."<br />
When we had come somewhat farther <strong>in</strong>to the country, and as a corollary farther<br />
away from our homeland, so that it was likely that the personnel did not have the money<br />
to leave the directors and travel back to Denmark, they called a general meet<strong>in</strong>g, <strong>in</strong> which<br />
they offered a k<strong>in</strong>d of balance sheet of their <strong>in</strong>come and expenses <strong>in</strong> the forego<strong>in</strong>g weeks,<br />
which showed that if the attendance did not get better, it would be impossible for them to<br />
meet the stipulated payroll. Therefore they offered us the same conditions that travell<strong>in</strong>g<br />
companies usually had: "to play on shares." Miller would have an extra share before the<br />
reckon<strong>in</strong>g, for direct<strong>in</strong>g and keep<strong>in</strong>g the accounts, as would Olsen, who owned the<br />
wardrobe and the repertoire, but the rest of us would fraternally share the balance <strong>in</strong> equal<br />
parts. At this juncture there was not much po<strong>in</strong>t <strong>in</strong> object<strong>in</strong>g, s<strong>in</strong>ce they could not keep to<br />
the contracts. Besides, these had been issued by the old ex-pastor on behalf of the<br />
directors, and both of them expla<strong>in</strong>ed that they did not regard themselves as bound by the<br />
commitments he had imposed upon them, so there was "noth<strong>in</strong>g written" which assured<br />
us the regular salaries. Besides, what could we do to them? "Where noth<strong>in</strong>g is,..." etc.<br />
In any case this much was known: the manger was empty, and everybody knew<br />
what usually followed from that. ("When the manger is empty the horses bite.") It did<br />
not fail to happen here, either. The words that were exchanged were neither gentle nor<br />
elegant, and when, as they say, one th<strong>in</strong>g led to another, it was not long before it came to<br />
hand-to-hand combat. The large, robust Miller had taken a firm grip on the chest of a<br />
slender young actor with his left hand, and his right was already lifted to strike a blow,<br />
when the actress who for the time be<strong>in</strong>g was engaged to the threatened youth suddenly<br />
yanked up one of the w<strong>in</strong>dows and with a tear<strong>in</strong>g shriek shouted: "Help! Help!"<br />
That shriek changed the situation <strong>in</strong>stantly. The tumult ceased, and Miller<br />
released his victim <strong>in</strong> order to yank the noisy lady away from the w<strong>in</strong>dow. A little pause<br />
set <strong>in</strong>, and now our tragic second director took the opportunity to present a pathetic<br />
<strong>in</strong>terlude. He stepped forward <strong>in</strong>to the middle of the floor and let his head fall as deeply<br />
126
down on his breast as possible, while he let out three long, deep sighs, whereupon he<br />
suddenly heaved his face and hands up towards the ceil<strong>in</strong>g and declaimed:<br />
"So at last it must come to this! For thirty years now I have been a<br />
Scand<strong>in</strong>avian artist and, if I may say so, a Scand<strong>in</strong>avian cavalier! Until<br />
this day there was not a blot on my name. Young lady! What I have<br />
fought for with honor and nobility for thirty years you have destroyed <strong>in</strong> an<br />
<strong>in</strong>stant. Now, may the devil burn me, I would not give two shill<strong>in</strong>gs for<br />
my good name and reputation."<br />
This <strong>in</strong>comparable speech had an irresistibly comic effect. It was only the general<br />
mood of despondency which prevented it from be<strong>in</strong>g taken with deserved applause. I,<br />
who had been careful not to say a word dur<strong>in</strong>g the whole proceed<strong>in</strong>gs, and possibly<br />
therefore was closest to be<strong>in</strong>g regarded as a representative of the absent well- <strong>in</strong>tentioned<br />
public, did not have sufficient control over my facial expressions to be able completely to<br />
conceal a suppressed laugh over the director's correct appraisal of his name and<br />
reputation, and I should have had that (ie., self-control), s<strong>in</strong>ce I saw cl<strong>early</strong> that my quiet<br />
amusement wounded him more than the others' horse laughs. I had now fallen out with<br />
one of the band's chiefs.<br />
The next day the threatened actor showed me an <strong>in</strong>describably rude letter he<br />
wanted to send to Miller. I advised him aga<strong>in</strong>st it as altogether unnecessary, but when<br />
that did not help, offered at least to edit or rewrite the most <strong>in</strong>jurious phrases. The same<br />
th<strong>in</strong>g could after all be <strong>in</strong>timated <strong>in</strong> a more careful form, which did not expose the letter<br />
writer to the unpleasantnesses which he otherwise would be able to expect. There was for<br />
example no risk <strong>in</strong> express<strong>in</strong>g himself thus and so.... In short: my warn<strong>in</strong>gs and advice<br />
were followed.<br />
In the even<strong>in</strong>g, before the performance, as we were sitt<strong>in</strong>g <strong>in</strong> the dress<strong>in</strong>g room<br />
and mak<strong>in</strong>g ourselves up, Miller was <strong>in</strong> a good mood, as if noth<strong>in</strong>g had happened. In the<br />
middle of a conversation with the theatre's tailor he suddenly turned around to my<br />
comrade with the words:<br />
"It is true: thanks for the letter: it has amused me. He writes well!"<br />
The letter writer made no answer to his question about what it meant, and I could<br />
not very well <strong>in</strong>ject myself <strong>in</strong>to the affair, but I understood immediately that the<br />
keen-m<strong>in</strong>ded director had guessed what other "he" had embellished the letter's style. I<br />
127
had now accord<strong>in</strong>gly fallen <strong>in</strong>to disfavor with both the chiefs, and my repertoire came to<br />
bear witness of that.<br />
It was always the smallest and least significant roles that fell to my lot. If ever I<br />
did get a larger role, it was always an unsympathetic character, like Lord Melville <strong>in</strong> Kean<br />
and similar gentlemen, who come on the stage merely <strong>in</strong> order to be abused. Even if I did<br />
get small roles, I still could not compla<strong>in</strong> that they were too few, s<strong>in</strong>ce it regularly<br />
happened that I got three or four <strong>in</strong> the same piece, for example an old servant <strong>in</strong> the first<br />
act, a young servant <strong>in</strong> the second and third acts, the old servant aga<strong>in</strong> <strong>in</strong> the fourth and a<br />
notary <strong>in</strong> the fifth.<br />
The presentation of Hagbarth og Signe (by Oehlenschlæger) was a typical<br />
production of that k<strong>in</strong>d. Our lead<strong>in</strong>g lover had ordered this tragedy, which had not been<br />
presented by us earlier, for a benefit performance, and the role assignments were: that the<br />
half-century-old Olsen would play "Young Hagbarth;" his ugly little wife: beautiful<br />
Signe; the beneficiary: Alger; Miller: Hamund, etc. To me rema<strong>in</strong>ed the yeomen of the<br />
guard Grim and Erik together with the prison guard comb<strong>in</strong>ed <strong>in</strong>to one character.<br />
When we played on shares, everyone had to furnish himself with the costume<br />
pieces which were not found <strong>in</strong> the wardrobe, and it owned only the rema<strong>in</strong>s of a suit of<br />
armor, which naturally Hagbarth had to have. The beneficiary, who <strong>in</strong> Alger's role<br />
appears suddenly "armed from head to toe <strong>in</strong> a new gleam<strong>in</strong>g suit of armor, with helmet<br />
grat<strong>in</strong>g lowered," had to order his armor, which obviously was reduced to a helmet and<br />
coat of mail or rather storm-hat and breastplate. The words "arm-leathers and<br />
mail-stock<strong>in</strong>gs" were struck <strong>in</strong> the dialogue, and it was delegated to the town's t<strong>in</strong>smith to<br />
equip him, Alf and Hamund.<br />
It was also ordered that I procure myself the helmet and armor for the scene <strong>in</strong> the<br />
second act where the yeoman enters from the battle; when I answered that I would create<br />
armor made out of cardboard, which I hoped would be strong enough to last for the few<br />
even<strong>in</strong>gs <strong>in</strong> which the tragedy would be performed by us, Hagbarth's aforementioned<br />
prospective portrayer answered:<br />
"Just do not let it look as if everyth<strong>in</strong>g is home-made!"<br />
"If anyth<strong>in</strong>g it will be too f<strong>in</strong>e rather than too simple," I ma<strong>in</strong>ta<strong>in</strong>ed.<br />
128
"Don't be shy! By all means make it as beautiful as you can!" he cont<strong>in</strong>ued<br />
scornfully, and I responded to his exhortation a trifle ironically with the promise that I<br />
would do my best to<br />
exceed his expectations.<br />
I had a hunch that a t<strong>in</strong>smith who was accustomed to mak<strong>in</strong>g only gutters and<br />
bathtubs would not be able to supply especially practical helmets, breastplates and<br />
shields, and the good small-town craftsman did not disappo<strong>in</strong>t my expectation. It was not<br />
his fault that the helmets turned out to resemble a cross between storm-hats and bak<strong>in</strong>g<br />
t<strong>in</strong>s, the coats of mail a k<strong>in</strong>d of self-cooker, and the shields...; he had done his best and<br />
delivered sound t<strong>in</strong>smith's- work. He was not a weaponsmith. I certa<strong>in</strong>ly was not either,<br />
but I had a concept of how a suit of armor was supposed to look, and had some skill <strong>in</strong><br />
cardboard construction. Besides, I was offended that I had gotten the little yeoman-role<br />
and was be<strong>in</strong>g required to make my costume as attractive as possible; accord<strong>in</strong>gly I made<br />
for myself a complete suit of sh<strong>in</strong><strong>in</strong>g armor, covered with light-blue bronzed paper with<br />
silver ornaments on the breastplate and silver borders on all the jo<strong>in</strong>ts, a helmet with a<br />
silver crest and silver grat<strong>in</strong>g and a correspond<strong>in</strong>g shield.<br />
Of course it was altogether unreasonable to equip a yeoman <strong>in</strong> such a fashion,<br />
when the k<strong>in</strong>g was so poorly armed, but <strong>in</strong> this company what was not unreasonable! The<br />
presentation of this play with the given talents was an <strong>in</strong>sult to the public, and the order to<br />
procure costumes, for which we would never aga<strong>in</strong> have any use, was altogether<br />
<strong>in</strong>considerate towards the personnel, especially towards that part of it who were excluded<br />
from the reward<strong>in</strong>g roles. I for my part had now decided to make my yeoman <strong>in</strong>to a<br />
reward<strong>in</strong>g role, and besides had noth<strong>in</strong>g aga<strong>in</strong>st meet<strong>in</strong>g the management's chicanery with<br />
my own.<br />
The benefit performance drew a full house. Oehlenschlæger's name was on the<br />
program, after all, and <strong>in</strong> a tragedy by the great poet the audience expected fenc<strong>in</strong>g,<br />
processions and everyth<strong>in</strong>g that belonged to "grand spectacle." Their expectations were<br />
<strong>in</strong> va<strong>in</strong>, however. The beneficiary, as the young Pr<strong>in</strong>ce Alger, who had forged himself a<br />
costume of tempered steel, about which his character asserts: "Not even Thor <strong>in</strong><br />
Thrudvang has a better suit of armor," had to appear <strong>in</strong> the horribly defective cas<strong>in</strong>g made<br />
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y the t<strong>in</strong>smith, and all the rest of the players were equipped with correspond<strong>in</strong>g<br />
shabb<strong>in</strong>ess, and there was no trace either of procession or of fenc<strong>in</strong>g either on horseback<br />
or on foot.<br />
Worse yet was the fact that the iambic dialogue, with its many archaisms and<br />
<strong>in</strong>versions, which <strong>in</strong> any case was delivered <strong>in</strong> less than correct Danish and partly with<br />
less than dist<strong>in</strong>ct voices, was practically <strong>in</strong>comprehensible to the Swedish prov<strong>in</strong>cial<br />
public. It was therefore not strange that the first act was presented <strong>in</strong> solemn silence, and<br />
that Director Hagbarth, when the curta<strong>in</strong> fell <strong>in</strong> utter silence, expressed his <strong>in</strong>dignation<br />
that one "should play a masterpiece to such sleepyheads!"<br />
In the second act, when the skald Halloge, with Erik and the rest of the warriors<br />
who have taken part <strong>in</strong> the battle where Alf has fallen, come back from the duel, the<br />
management's tactic to make the strife appear to be as bloody as possible had been to<br />
leave all the warriors with the exception of Erik beh<strong>in</strong>d on the battlefield. Accord<strong>in</strong>gly I<br />
entered alone with the old s<strong>in</strong>ger, who sang Alf's death-poem. Probably the sh<strong>in</strong><strong>in</strong>g<br />
armor, which I had not worn <strong>in</strong> the first act, and which put all the rest of the costumes to<br />
shame, had allowed the audience to be misled <strong>in</strong>to tak<strong>in</strong>g me for a ma<strong>in</strong> character <strong>in</strong> the<br />
com<strong>in</strong>g part of the unknown play, and when Erik suddenly appeared as the skald's noble<br />
defender aga<strong>in</strong>st the queen's fury, and after recit<strong>in</strong>g the pathetic speech about <strong>in</strong>gratitude<br />
towards poets, followed him out carry<strong>in</strong>g his harp, a thunder of applause broke out, which<br />
was all the stronger <strong>in</strong> comparison with the whole forego<strong>in</strong>g silence.<br />
When I came offstage I was met by Director Olsen, who almost choked by<br />
bitterness paced back and forth like a lion <strong>in</strong> his cage and greeted me ironically with the<br />
complimentary words: "That is what I call a masterpiece. You are, the devil break me, a<br />
great artist, the greatest comic player I have ever seen. Just now I, who <strong>in</strong> thirty years<br />
have played Hagbarth to thunderous approval <strong>in</strong> all three Nordic k<strong>in</strong>gdoms, have given<br />
one of my best scenes, without one hand hav<strong>in</strong>g stirred for me; all the ma<strong>in</strong> characters<br />
have been onstage and gone off without applause; the public slept until it snored! But<br />
then you come on <strong>in</strong> a lousy little yeoman-role and speak a miserable exit speech of 10<br />
l<strong>in</strong>es -- and immediately the house breaks out clapp<strong>in</strong>g, so that the theatre shakes! I<br />
130
eckon, the devil crush me, you are such a master at play<strong>in</strong>g small roles, that you will<br />
never get a bigger one as long as I am director!"<br />
That was a compliment as well, even though it applied more to my armor-mak<strong>in</strong>g<br />
than to my act<strong>in</strong>g talent, and I must say that the directors with rare punctiliousness carried<br />
out the offer of exemption from all larger roles. It was only <strong>in</strong> the relatively few <strong>in</strong>stances<br />
when the actors play<strong>in</strong>g the ma<strong>in</strong> characters were sick, that I appeared as anyth<strong>in</strong>g other<br />
than respondents, but <strong>in</strong> such emergencies there was no specialty <strong>in</strong> which they hesitated<br />
to allow me to double for the <strong>in</strong>firm, no matter how long the role was, or how short the<br />
time I had to learn it.<br />
When they would assign me to these roles as understudy, which they were obliged<br />
to let me play "on the grounds of not hav<strong>in</strong>g anybody else," all the same I could not<br />
compla<strong>in</strong> that my repertoire was too small, or even less that it was too monotonous. Not<br />
count<strong>in</strong>g the regular roles, which boiled down to "mak<strong>in</strong>g announcements and br<strong>in</strong>g<strong>in</strong>g<br />
letters <strong>in</strong>," I had the opportunity to test my abilities <strong>in</strong> approximately 30 roles, which<br />
<strong>in</strong>cluded n<strong>early</strong> all fields: older figures like dignified fathers, villa<strong>in</strong>ous userers and old<br />
comics, younger characters like the wild man Alaster (Ørkenens Søn) and one of the<br />
elegant lords <strong>in</strong> Kvækeren og Dandser<strong>in</strong>den -- seducers like Melville (Kean) and<br />
miserable creatures like Ernest <strong>in</strong> De Danske i Paris. In Jeppe paa Bjerget I played on the<br />
one hand Lakaj, on the other hand doctor, bailiff's wife and judge. Everyth<strong>in</strong>g went<br />
accord<strong>in</strong>g to the formula <strong>in</strong> En Komedie i det Grønne:<br />
We play large, we play small,<br />
And we play everyth<strong>in</strong>g equally well!<br />
I scarcely need to mention, that at first I noticed most cl<strong>early</strong> the mistakes and<br />
flaws of others, but only later and with greater difficulty grasped what I myself expressed,<br />
s<strong>in</strong>ce naturally it was the same with me as with all actors: I saw noth<strong>in</strong>g of my own<br />
act<strong>in</strong>g, but I was only conscious of the effort, while with cold criticism I could judge what<br />
the others achieved. Nevertheless I had a feel<strong>in</strong>g that my self-criticism was not as myopic<br />
as it is <strong>in</strong> most theatre-folk. I soon became conscious that I had a rather good stage<br />
presence, spoke a pure Danish, had a flawless voice and understood how to make myself<br />
up. I also believed I had a more correct diction than most, and that I had a very quick<br />
apprehension and a reliable memory, but there my gifts for the stage ended. The most<br />
131
important ones escaped me. I lacked the confidence which is the precondition for one's<br />
be<strong>in</strong>g able to give himself away completely <strong>in</strong> the situation and express the passions with<br />
full power. I lacked the fertile wit, which fills out the exaggerated contours <strong>in</strong> the comic's<br />
speeches, expressions and movements, so that the character becomes natural and<br />
believable and the livel<strong>in</strong>ess contagious. F<strong>in</strong>ally, because of the small and restricted<br />
circumstances <strong>in</strong> which I had lived, I lacked the freedom and absence of shyness <strong>in</strong><br />
behavior, which as a rule one acquires only by long practice, if one ever achieves it!<br />
Therefore the greatest hope I gave myself for a future <strong>in</strong> the theatre, was approximately<br />
that I could become a skilled and experienced actor <strong>in</strong> some years, and with the<br />
acqua<strong>in</strong>tance I already had with the dark side of theatre-life, such a prospect was not<br />
especially tempt<strong>in</strong>g. Even before it drew towards the end of the season I was completely<br />
cured of my theatrical illusions and <strong>in</strong> agreement with myself that I must try my luck <strong>in</strong><br />
another way, but which? Of that I had no <strong>in</strong>kl<strong>in</strong>g.<br />
The time passed, or rather ran quickly dur<strong>in</strong>g constant travels and small<br />
adventures à la Bohême with the company. The matter of the shares dictated that the <strong>net</strong><br />
<strong>in</strong>come decl<strong>in</strong>ed as the even<strong>in</strong>gs grew lighter; soon the directors could no longer agree on<br />
the reckon<strong>in</strong>g of the accounts, and Miller, who as he himself admitted was economically<br />
<strong>in</strong>dependent with the aid of an annual subsidy from Christian the Eighth, left the company<br />
first. Shortly afterward our second director followed his example and took with him the<br />
repertoire and the wardrobe. So there we were, up <strong>in</strong> Vestergötland, most of us without<br />
money for the journey home.<br />
There was now no choice but to give a benefit performance with a repertoire<br />
which we could play without a promptbook and <strong>in</strong> our own clothes. That brought <strong>in</strong> the<br />
necessary money. This was delivered <strong>in</strong> the even<strong>in</strong>g to the travel fund and at 7 o'clock<br />
the next morn<strong>in</strong>g the departure would take place.<br />
----- -----<br />
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VI. Elverhøj (“Elves’ Hill”), by Johan Ludvig Heiberg (1828).<br />
Elverhøj is a "fairy-tale comedy" (eventyrcomedie), a type of musical comedy which<br />
mixes fantasy and reality. The play dramatizes the plight of an <strong>in</strong>nocent young woman<br />
who has grown up <strong>in</strong> the Danish countryside, <strong>in</strong> the house of a peasant woman whom she<br />
believes is her mother. She is associated with nature, and with supernatural creatures.<br />
She is <strong>in</strong> love with a young man who also loves her, but who is dest<strong>in</strong>ed for a marriage<br />
arranged for him by the k<strong>in</strong>g. The k<strong>in</strong>g, a character created as a compliment to the<br />
Danish k<strong>in</strong>g, recognizes her as a true aristocrat, and she is able to marry the man she<br />
loves.<br />
This play entered the repertoire of the Bergen theatre <strong>in</strong> 1854-55, when <strong>Ibsen</strong> may<br />
have directed it himself. He wrote several plays <strong>in</strong> the style of eventyrcomedie, <strong>in</strong>clud<strong>in</strong>g<br />
the fragment "Rypen i Justedal," Sancthansnatten, and Olaf Liljekrans.<br />
The follow<strong>in</strong>g translation is based on the text <strong>in</strong> Elverhøi, Aprilsnarrene, De<br />
Uadskillelige, af Johan Ludvig Heiberg. Udgivet med noter ved Henn<strong>in</strong>g Fonsmark.<br />
København: Hans Reitzel, 1965, 5-82.<br />
“ELVES’ HILL”<br />
Drama <strong>in</strong> Five Acts by J. L. Heiberg<br />
Premiéred at the Royal Danish Theatre, November 6th, 1828.<br />
CHARACTERS<br />
Christian IV, k<strong>in</strong>g of Denmark.<br />
Erik Walkendorff, master of Høistrup <strong>in</strong> Stevns.<br />
Elisabeth Munk, his ward.<br />
Albert Ebbesen, the k<strong>in</strong>g's sheriff <strong>in</strong> Tryggevælde.<br />
Karen, a peasant woman <strong>in</strong> Tryggevælde.<br />
Paul Flemm<strong>in</strong>g, courtiers <strong>in</strong> the k<strong>in</strong>g's<br />
Henrik Rud, ret<strong>in</strong>ue.<br />
Ag<strong>net</strong>e, Karen's daughter.<br />
Bjørn Olufson, chief steward at Høistrup.<br />
Mogens, a hunter.<br />
Peasants, courtiers, pages, knights and ladies.<br />
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FIRST ACT.<br />
A region <strong>in</strong> Tryggevæld Township. In the background Stevns Township. The border<br />
between the two is a stream, which flows across the stage. A pla<strong>in</strong> wooden bridge<br />
crosses the stream. On the other side of the stream a large thicket is visible. KAREN's<br />
farmhouse lies <strong>in</strong> the foreground to the right of the audience. A table and bench stand<br />
outside the house. It is <strong>early</strong> morn<strong>in</strong>g before sunrise; gradually the day dawns.<br />
MELODRAMA,<br />
dur<strong>in</strong>g which KAREN opens the door to her house and steps out. She leaves the door<br />
stand<strong>in</strong>g open; a lively fire can be seen burn<strong>in</strong>g <strong>in</strong> the hearth. She carries out several<br />
kitchen utensils, while see<strong>in</strong>g to the fire, add<strong>in</strong>g firewood and blow<strong>in</strong>g on it. From the<br />
left <strong>in</strong> the background a hunter's horn is heard; <strong>in</strong> the distance, trumpets. A little later<br />
MOGENS enters from the background over the bridge. Then from the left side the KING<br />
and FLEMMING enter, both <strong>in</strong> travell<strong>in</strong>g clothes. In the meanwhile KAREN has seated<br />
herself outside the house and begun to polish some kitchen utensils. MOGENS carries<br />
his collect<strong>in</strong>g box on his back; he walks slowly across the bridge, turn<strong>in</strong>g often and<br />
look<strong>in</strong>g back. After he has crossed the bridge, he notices KAREN, stands and listens to<br />
her s<strong>in</strong>g the follow<strong>in</strong>g ballad. The KING and FLEMMING do not especially notice the<br />
other characters. They can be seen <strong>in</strong> conversation, FLEMMING po<strong>in</strong>t<strong>in</strong>g <strong>in</strong> different<br />
directions <strong>in</strong> the background and to the sides, as if to <strong>in</strong>form the KING about the vic<strong>in</strong>ity.<br />
SCENE ONE.<br />
The KING. FLEMMING. MOGENS. KAREN.<br />
KAREN (s<strong>in</strong>gs at her work).<br />
1.<br />
I went <strong>in</strong>to the forest late one summer even<strong>in</strong>g,<br />
And drank a beaker from a gush<strong>in</strong>g spr<strong>in</strong>g.<br />
But beware, o my girl, for the elf-k<strong>in</strong>g sees you!<br />
2.<br />
The bubbl<strong>in</strong>g wave sprang up from a green hill;<br />
All-at-once it grew still; it flowed without a sound.<br />
Now beware, o my girl, for the elf-k<strong>in</strong>g sees you!<br />
3.<br />
Then the air echoed with songs and str<strong>in</strong>gs,<br />
134
Three white maidens danced <strong>in</strong> the dew.<br />
Now beware, o my girl, for the elf-k<strong>in</strong>g sees you!<br />
4.<br />
Like fleet<strong>in</strong>g mist over the meadow,<br />
The three became one and the one three.<br />
Now beware, o my girl, for the elf-k<strong>in</strong>g sees you!<br />
5.<br />
The elf-k<strong>in</strong>g appeared <strong>in</strong> the midst of the dance;<br />
Then he drew a costly r<strong>in</strong>g from his f<strong>in</strong>ger.<br />
Now beware, o my girl, for the elf-k<strong>in</strong>g sees you!<br />
6.<br />
I grabbed for the r<strong>in</strong>g, but he seized my hand,<br />
The white maidens wove round us <strong>in</strong> a circle.<br />
Yes beware, o my girl, for the elf-k<strong>in</strong>g sees you!<br />
7.<br />
Now I live <strong>in</strong> the hill as the elf-k<strong>in</strong>g's bride,<br />
And I venture out only when the mist falls.<br />
S<strong>in</strong>ce beware, o my girl, for the elf-k<strong>in</strong>g sees you!<br />
(At the beg<strong>in</strong>n<strong>in</strong>g of this ballad the KING and FLEMMING have left the stage <strong>in</strong><br />
conversation. Towards the end of the song they come <strong>in</strong> aga<strong>in</strong>, and the KING becomes<br />
aware of KAREN.)<br />
FLEMMING (to the KING).<br />
I can assure your grace that this woman is a liv<strong>in</strong>g archive for all our old superstitious<br />
songs: they still bloom on her lips, and are spread from there throughout the whole<br />
district. When she dies it will be the end of our folk-poetry.<br />
MOGENS (to KAREN).<br />
Karen! Good morn<strong>in</strong>g! You are up and about <strong>early</strong>.<br />
KAREN.<br />
I have to be, s<strong>in</strong>ce there is to be a celebration here today.<br />
135
MOGENS.<br />
But why do you always s<strong>in</strong>g such sorrowful songs?<br />
KAREN.<br />
I know plenty of merry ones; I shall s<strong>in</strong>g you one immediately.<br />
FLEMMING (to the KING).<br />
If your grace will take note, you will hear what the woman considers "merry".<br />
KAREN (s<strong>in</strong>gs).<br />
1.<br />
I laid down my head on Elves’ Hill,<br />
My eyes feigned a trance;<br />
Then two young maidens came toward me,<br />
And enticed me with song and speech.<br />
Eia! what a strange dance!<br />
2.<br />
Then the rush<strong>in</strong>g stream grew still,<br />
That was wont to race.<br />
The little fish swam <strong>in</strong> the river,<br />
They played with their f<strong>in</strong>s.<br />
Eia! what a strange dance!<br />
3.<br />
First they beckoned me and then they threatened me,<br />
I stood as though bound <strong>in</strong> cha<strong>in</strong>s.<br />
Then the cock crowed <strong>in</strong> a distant town,<br />
And the spell vanished.<br />
Eia! what a strange dance!<br />
4.<br />
S<strong>in</strong>ce then I advise every Danish squire<br />
Who wants to ride <strong>in</strong>to the forest,<br />
Not to ride to Elves’ Hill,<br />
And lie down there to sleep.<br />
Eia! what a strange dance!<br />
136
MOGENS.<br />
Well, the tune is lively enough, but it deals with the same subject.<br />
KAREN.<br />
You know very well I do not s<strong>in</strong>g about anyth<strong>in</strong>g else.<br />
MOGENS.<br />
I can't blame you. Just this morn<strong>in</strong>g, a moment ago, I saw the elf-girl beyond the thicket<br />
at the foot of the hill.<br />
Quiet!<br />
KAREN.<br />
MOGENS.<br />
She disappeared between the trees as I approached. I walked no farther than that stone<br />
over there, s<strong>in</strong>ce I had no desire to follow her tracks.<br />
KAREN.<br />
Quiet, I say! Don't you see there are strangers here?<br />
(They cont<strong>in</strong>ue <strong>in</strong> conversation.)<br />
FLEMMING (to the KING).<br />
Your grace, don't you th<strong>in</strong>k it's a shame about these old songs of elves, brownies and<br />
trolls; they have outlived the time when one believed them literally; so when these people<br />
put on a long face one does not know whether to laugh or cry.<br />
KING.<br />
Certa<strong>in</strong> songs and legends please me.<br />
137
(Softly and secretly.)<br />
A small co<strong>in</strong>, which is no longer <strong>in</strong> circulation,<br />
But which the peasantry still collects<br />
In the hope that it will aga<strong>in</strong> become valuable,<br />
Is a part of the national treasure.<br />
But who is the old woman, actually?<br />
FLEMMING.<br />
A cotter's widow, but still not poor;<br />
She receives her offer<strong>in</strong>gs just like the priest,<br />
S<strong>in</strong>ce around here she is considered an oracle;<br />
She does not merely s<strong>in</strong>g about elves<br />
And the underworld; <strong>in</strong> Egnen they believe<br />
That she has converse with them. So powerful<br />
Is the esteem <strong>in</strong> which she is held, that<br />
If the cattle are sick, or if there is some evil afoot,<br />
They immediately seek Mother Karen's advice.<br />
She has a daughter who is very beautiful.<br />
KING.<br />
Well, well, Mr. Flemm<strong>in</strong>g! You are familiar<br />
With the local folklore, I see.<br />
You have profited from your stay here.<br />
FLEMMING.<br />
Why not, your grace? I visited<br />
My friend, Mr. Ebbesen, dur<strong>in</strong>g the hunt<strong>in</strong>g season;<br />
But one cannot hunt all the time,<br />
There is still time to joke.<br />
KING.<br />
Have you charmed<br />
The pretty peasant girl as a joke, perhaps?<br />
138
(To KAREN.)<br />
FLEMMING.<br />
No, your grace! She is not one to be charmed.<br />
She is as virtuous and as <strong>cultural</strong>ly ref<strong>in</strong>ed<br />
As ladies of the court. I almost believe<br />
That Mother Karen knows a little witchcraft,<br />
When I consider her daughter's bear<strong>in</strong>g.<br />
KING.<br />
Do you want to provoke my curiosity?<br />
FLEMMING.<br />
Well, it is just as easy to assuage it.<br />
The old woman will certa<strong>in</strong>ly jump with joy<br />
When the k<strong>in</strong>g <strong>in</strong>quires after her daughter.<br />
Good morn<strong>in</strong>g, Karen!<br />
KAREN.<br />
Well, look here!<br />
Mr. Flemm<strong>in</strong>g! Have you come out<br />
To visit Tryggevælde aga<strong>in</strong>?<br />
FLEMMING.<br />
Yes, my good woman.<br />
KAREN.<br />
And brought such a handsome knight with you?<br />
KING (to FLEMMING):<br />
She does not recognize me.<br />
139
FLEMMING.<br />
Tell me, Karen,<br />
Isn't your lovely daughter at home?<br />
KAREN.<br />
My lovely daughter? Well, if she is lovely,<br />
It is neither her fault nor m<strong>in</strong>e.<br />
FLEMMING.<br />
Well said!... But tell me, isn't she at home?<br />
KAREN.<br />
By the Rood! What's the hurry? Don't rush!<br />
She is not at home to you at this time;<br />
It is still <strong>early</strong>, the child is sleep<strong>in</strong>g.<br />
FLEMMING.<br />
How is that? She is sleep<strong>in</strong>g, and you are up?<br />
KAREN.<br />
Young blood needs more sleep.<br />
FLEMMING.<br />
But she should help you with your work;<br />
You must reap some benefit from your daughter.<br />
I shall go <strong>in</strong> and wake her.<br />
KAREN<br />
140
(plac<strong>in</strong>g herself <strong>in</strong> front of the door):<br />
Quiet,<br />
Sir Knight! This is no jok<strong>in</strong>g matter.<br />
KING.<br />
And it has been taken far enough already.<br />
I must agree with the old woman:<br />
She has a pretty daughter, and naturally<br />
She has to be clever at watch<strong>in</strong>g over her.<br />
KAREN.<br />
There speaks a sensible old man!<br />
Take your cue from him.<br />
FLEMMING.<br />
If I see correctly<br />
You are mak<strong>in</strong>g preparations for a celebration.<br />
You are considered to be the best cook<br />
In the township; I'll bet the peasants<br />
Have ordered a d<strong>in</strong>ner aga<strong>in</strong>.<br />
KAREN.<br />
You hit it right. This even<strong>in</strong>g the sheriff<br />
Is marry<strong>in</strong>g Miss Munk <strong>in</strong> Høistrup,<br />
So the peasants are celebrat<strong>in</strong>g<br />
All day long; this even<strong>in</strong>g they will accompany him<br />
To the bride's house, twenty miles away.<br />
FLEMMING.<br />
This even<strong>in</strong>g, you say? That is impossible!<br />
KAREN.<br />
141
It is?<br />
KING.<br />
The woman is right aga<strong>in</strong>,<br />
It is this even<strong>in</strong>g.<br />
FLEMMING (aside).<br />
Heavens! What news!<br />
KAREN.<br />
Aren't the two gentlemen go<strong>in</strong>g to Høistrup?<br />
It will be jolly, you can count on that.<br />
MOGENS.<br />
And elegant.<br />
They say the k<strong>in</strong>g will be there.<br />
KAREN.<br />
Who says so? That is only rumor and gossip.<br />
MOGENS.<br />
That may well be. Still... the k<strong>in</strong>g is the<br />
Godfather of the bride; so it is reasonable that<br />
He would come to her wedd<strong>in</strong>g.<br />
KAREN.<br />
How you talk!<br />
I am tell<strong>in</strong>g you, the k<strong>in</strong>g is not com<strong>in</strong>g.<br />
MOGENS.<br />
142
I don’t believe it, either; but they say...<br />
KAREN.<br />
They say! They say so many th<strong>in</strong>gs.<br />
You gentlemen, who have just come from the city,<br />
You must know; am I right?<br />
(with a glance at the KING):<br />
(To the KING.)<br />
I don't know....<br />
FLEMMING.<br />
KAREN (to the KING):<br />
Well, what do you say, Sir Knight?<br />
KING.<br />
I must agree with the woman for the third time,<br />
S<strong>in</strong>ce the k<strong>in</strong>g is not com<strong>in</strong>g.<br />
You see?<br />
KAREN (to the OTHERS).<br />
But can you tell me the reason why he is not com<strong>in</strong>g?<br />
KING.<br />
Well, he has other th<strong>in</strong>gs to th<strong>in</strong>k about.<br />
He has been on a tour <strong>in</strong> Vord<strong>in</strong>gborg,<br />
And is go<strong>in</strong>g all the way to Copenhagen.<br />
143
KAREN.<br />
No, sire! That is not the right reason.<br />
KING.<br />
Is that so! Then let me hear the right one!<br />
KAREN.<br />
Yes <strong>in</strong>deed, noble courtiers can learn someth<strong>in</strong>g<br />
From peasants after all.<br />
KING.<br />
I have often experienced that.<br />
KAREN.<br />
Well, then listen: the real reason<br />
Why the k<strong>in</strong>g is not com<strong>in</strong>g to Høistrup...<br />
Well?<br />
KING.<br />
KAREN.<br />
Is because he does not dare to come.<br />
KING.<br />
What? He does not dare?<br />
KAREN.<br />
That's it.<br />
144
KING.<br />
Well, what is he afraid of?<br />
KAREN.<br />
Has he ever at any time set foot<br />
In Stevns Township?<br />
KING.<br />
No, he hasn't;<br />
But still it could happen.<br />
KAREN.<br />
No, never!<br />
KING.<br />
KAREN.<br />
But, say....<br />
Look at that stream that flows past here:<br />
It separates Stevns from Tryggevælde Township.<br />
I tell you: the k<strong>in</strong>g dares go no farther<br />
Than to the place where you stand;<br />
He does not dare to cross this bridge.<br />
FLEMMING.<br />
Now I have heard everyth<strong>in</strong>g!<br />
KING (softly):<br />
Be quiet, Flemm<strong>in</strong>g!<br />
145
(To KAREN.)<br />
What danger threatens him <strong>in</strong> Stevns?<br />
KAREN.<br />
The k<strong>in</strong>g <strong>in</strong> Stevns will not tolerate his presence.<br />
KING.<br />
The k<strong>in</strong>g will not tolerate the k<strong>in</strong>g's presence?<br />
MOGENS.<br />
She means the elf-k<strong>in</strong>g.<br />
Ha ha ha ha!<br />
KING.<br />
The elf-k<strong>in</strong>g?<br />
FLEMMING.<br />
KING.<br />
She keeps com<strong>in</strong>g back<br />
To her legends.<br />
(seriously and solemnly):<br />
FLEMMING.<br />
Ha ha ha!<br />
KAREN.<br />
146
(To FLEMMING.)<br />
Ever s<strong>in</strong>ce the time of Arild an elf k<strong>in</strong>g has ruled<br />
From the stream here to Stevns' high sea-cliff.<br />
He tolerates no other k<strong>in</strong>g's presence.<br />
Our k<strong>in</strong>gs know that very well,<br />
And therefore none of them comes there.<br />
If you do not believe me, then ask whoever you like,<br />
Everyone <strong>in</strong> Egnen will agree with what I say.<br />
And you, my merry young knight!<br />
When I need anyth<strong>in</strong>g to laugh at,<br />
I can look for it <strong>in</strong> your mirror,<br />
But not <strong>in</strong> the wise talk of old people.<br />
(In the meanwhile she has collected her kitchen utensils, goes <strong>in</strong>to the house with them<br />
and slams the door after herself.)<br />
SCENE TWO.<br />
KING. FLEMMING. MOGENS.<br />
KING (to FLEMMING):<br />
Now you have made the old woman angry,<br />
And I shall not get to see her daughter.<br />
FLEMMING.<br />
It was impossible for me to conta<strong>in</strong> my laughter,<br />
The whole conversation was so preposterous.<br />
MOGENS.<br />
The good gentlemen may f<strong>in</strong>d it rather peculiar,<br />
But still, that's how it is.<br />
FLEMMING.<br />
147
Look, now he<br />
Wants to convert people, and swears on a<br />
Stack of Bibles.<br />
KING.<br />
I wish I knew where Ebbesen was.... Perhaps he<br />
Rode to Høistrup to see his bride.<br />
FLEMMING.<br />
Possibly.<br />
MOGENS.<br />
You ask about Ebbesen?<br />
He is around here somewhere.<br />
KING.<br />
Where?<br />
MOGENS.<br />
I saw him<br />
Over <strong>in</strong> the elf-thicket;... I'll tell you,<br />
He was steal<strong>in</strong>g slowly after the girl.<br />
KING.<br />
What? Which girl?<br />
The elf-girl.<br />
MOGENS.<br />
KING.<br />
148
What? You are start<strong>in</strong>g <strong>in</strong> aga<strong>in</strong> about the elves?<br />
I believe the whole township is under a spell.<br />
MOGENS.<br />
As true as I am alive, I saw the girl myself,<br />
And Ebbesen was steal<strong>in</strong>g after her,<br />
But both of them disappeared beh<strong>in</strong>d Elves’ Hill.<br />
KING.<br />
Now that is go<strong>in</strong>g almost too far!<br />
MOGENS.<br />
It is well-known<br />
That the sheriff often trails her<br />
In the even<strong>in</strong>g at twilight and <strong>in</strong> the morn<strong>in</strong>g.<br />
As a hunter I have to be aware of it. I see him<br />
Very often wander<strong>in</strong>g there <strong>in</strong> the elf-thicket.<br />
FLEMMING.<br />
Oh yes, sure he does! A man who is go<strong>in</strong>g to marry<br />
Miss Munk this even<strong>in</strong>g has a rendezvous<br />
With a girl <strong>in</strong> a thicket.<br />
MOGENS.<br />
Oh, but he is clever!<br />
He does not allow himself to be captivated so easily.<br />
I th<strong>in</strong>k he has another purpose.<br />
KING.<br />
And what is that?<br />
149
(He leaves.)<br />
MOGENS.<br />
Well! I'll tell you:<br />
They believe that a treasure is buried yonder<br />
At the base of Elves’ Hill, s<strong>in</strong>ce the girl sits<br />
There so often, as if she were guard<strong>in</strong>g someth<strong>in</strong>g.<br />
I th<strong>in</strong>k the treasure attracted him there.<br />
FLEMMING.<br />
I th<strong>in</strong>k the girl is entic<strong>in</strong>g him.<br />
MOGENS.<br />
That could be.<br />
It is not easy to know what to believe about that.<br />
He will surely be here soon, s<strong>in</strong>ce the cock crowed<br />
A long time ago; it is almost light,<br />
And then the elf-girl leaves. However,<br />
Will the gentlemen be good enough to keep quiet<br />
About what I have told them? Farewell, then!<br />
SCENE THREE.<br />
KING. FLEMMING.<br />
KING.<br />
What is one to th<strong>in</strong>k about these people?<br />
I do not know whether they fear God<br />
And honor the k<strong>in</strong>g, but their belief <strong>in</strong><br />
Legends about elves is unshakable.<br />
FLEMMING.<br />
The culture here is primitive.<br />
I th<strong>in</strong>k your grace ought to<br />
150
Burn this whole thicket from here over.<br />
Perhaps the elf-k<strong>in</strong>g himself would come out<br />
In embarrassment, hav<strong>in</strong>g no money to pay the rent.<br />
KING.<br />
There's someth<strong>in</strong>g beh<strong>in</strong>d all this, believe it!<br />
Why does Ebbesen wander around on those hidden paths?<br />
FLEMMING.<br />
And so close to the wedd<strong>in</strong>g! Still,<br />
I can scarcely conta<strong>in</strong> my puzzlement,...<br />
The old woman must <strong>in</strong>form me,...<br />
Why was the wedd<strong>in</strong>g decided on so quickly?<br />
KING.<br />
I could have told you that myself, Flemm<strong>in</strong>g!<br />
It is tak<strong>in</strong>g place on my orders.<br />
FLEMMING.<br />
And is that why<br />
Your grace travelled here to Tryggevæld?<br />
KING.<br />
In order to br<strong>in</strong>g the sheriff my best wishes myself.<br />
FLEMMING.<br />
My liege! Have you lost your confidence <strong>in</strong> me?<br />
KING.<br />
Why do you ask that?<br />
151
FLEMMING.<br />
S<strong>in</strong>ce your grace<br />
Did not confide <strong>in</strong> me the reason for our<br />
Journey, on the whole way here.<br />
KING.<br />
I have my reasons, but calm down,<br />
An honorable mission awaits you:<br />
I shall depart this even<strong>in</strong>g; you will stay,<br />
And cont<strong>in</strong>ue on to Høistrup <strong>in</strong> my name,<br />
And br<strong>in</strong>g Miss Munk my wedd<strong>in</strong>g present.<br />
FLEMMING (perplexed).<br />
That is too much... all-too-great an honor...<br />
KING.<br />
When I stood as godfather to Elisabeth,<br />
Your sa<strong>in</strong>ted father was the one who<br />
Represented me, who brought my godfather's gift<br />
To the child's cradle. Now you will<br />
Represent the k<strong>in</strong>g at her wedd<strong>in</strong>g.<br />
FLEMMING.<br />
My k<strong>in</strong>g! This favor....<br />
KING.<br />
Hush! who is com<strong>in</strong>g<br />
Across the bridge there!<br />
FLEMMING.<br />
It is Ebbesen.<br />
152
KING.<br />
Ah! Is he com<strong>in</strong>g back at last, then?<br />
SCENE FOUR.<br />
KING. FLEMMING. EBBESEN comes across the bridge.<br />
FLEMMING.<br />
Hey, Albert! It's about time you arrived!<br />
Come over here and see!<br />
EBBESEN.<br />
Heavens! Is it possible?<br />
My exalted k<strong>in</strong>g! You have come to visit me,<br />
And I was not present when you arrived!<br />
But I had never imag<strong>in</strong>ed this favor....<br />
KING.<br />
It is my custom to surprise people.<br />
EBBESEN.<br />
Oh! If only a premonition had told me....<br />
I hope you have not had to wait long.<br />
Flemm<strong>in</strong>g, when did his exalted majesty arrive?<br />
About an hour ago....<br />
FLEMMING.<br />
EBBESEN.<br />
153
An hour!<br />
A m<strong>in</strong>ute would be too long!<br />
Did his majesty stop by the castle?<br />
FLEMMING.<br />
Yes.<br />
But nobody knew where you were. At first<br />
They searched for you <strong>in</strong> the bedroom, but <strong>in</strong> va<strong>in</strong>.<br />
They were surprised that you had gone out<br />
So <strong>early</strong>, when they had assumed that you still<br />
Lay <strong>in</strong> the arms of sleep.<br />
EBBESEN.<br />
Heavens!<br />
Did your grace f<strong>in</strong>d a room and a bed,<br />
Attendants, breakfast?.... I shall hurry ahead<br />
To arrange everyth<strong>in</strong>g....<br />
KING.<br />
There is no hurry.<br />
Just stay; my ret<strong>in</strong>ue here is not large,<br />
And does not need many rooms. Besides,<br />
I am go<strong>in</strong>g to Copenhagen this afternoon;<br />
But Flemm<strong>in</strong>g will appear <strong>in</strong> my place at Høistrup.<br />
Are you satisfied with that?<br />
EBBESEN.<br />
My exalted k<strong>in</strong>g!<br />
Your will was ever m<strong>in</strong>e.<br />
KING.<br />
Where have you been this morn<strong>in</strong>g?<br />
154
EBBESEN.<br />
I have been out walk<strong>in</strong>g.<br />
FLEMMING.<br />
Is that so?<br />
In the elf-thicket yonder?<br />
And solitary.<br />
EBBESEN.<br />
Yes, it is cool there!<br />
FLEMMING.<br />
EBBESEN.<br />
Certa<strong>in</strong>ly.<br />
KING.<br />
Afraid of the elves?<br />
EBBESEN.<br />
But aren't you<br />
I can see<br />
Your grace will have his joke.<br />
Egnen is full of all sorts of elf-legends.<br />
In the church-wall at Great-Hedd<strong>in</strong>ge<br />
There is an arch which is bricked up;<br />
It is called the elf-k<strong>in</strong>g's dark chamber.<br />
The simple folk believe he has his day-bed there;<br />
While at night he wanders here <strong>in</strong> the thicket<br />
In moonlight and gentle summer breezes.<br />
But if a storm rages, or if the sea grows wild,<br />
Then he sits on Stevns' white sea-cliff,<br />
155
As the k<strong>in</strong>g of the sea-cliff, with his spear <strong>in</strong> his hand,<br />
And watches with delight whenever ships run aground.<br />
KING.<br />
And isn't it true that he does not tolerate it<br />
If I cross over the bridge <strong>in</strong>to his district?<br />
EBBESEN.<br />
Has your grace heard that already?<br />
Yes, there are a thousand stories about him!<br />
It is not worth tak<strong>in</strong>g such th<strong>in</strong>gs to heart.<br />
KING.<br />
Certa<strong>in</strong>ly not! That does not trouble me any more<br />
Than the legend that is go<strong>in</strong>g around about you.<br />
About me?<br />
EBBESEN.<br />
KING.<br />
Well, they say that you<br />
Commune with the elf-girl <strong>in</strong> the thicket.<br />
EBBESEN.<br />
Oh, what foolishness!<br />
KING.<br />
It certa<strong>in</strong>ly is foolishness,<br />
Especially on your wedd<strong>in</strong>g day.<br />
156
EBBESEN.<br />
Who has been so bold as to say such th<strong>in</strong>gs to you?<br />
KING.<br />
It was a hunter, one of your people.<br />
FLEMMING.<br />
Th<strong>in</strong>k, what a shameless hunter's lie!<br />
EBBESEN.<br />
Do they gossip about me, Paul?<br />
FLEMMING.<br />
By no means. But do not be angry<br />
With the hunter, if he has given you away,<br />
S<strong>in</strong>ce he has also provided you with a good excuse:<br />
He said it was not the girl you were look<strong>in</strong>g for,<br />
But rather the treasure she was guard<strong>in</strong>g. Yes <strong>in</strong>deed!<br />
She has a treasure, that is what you want.<br />
EBBESEN.<br />
But I do not understand....<br />
KING.<br />
Is that so, Albert?<br />
Do you know that when a treasure is found,<br />
Half of it belongs to the K<strong>in</strong>g?<br />
You will not deprive me of my rights?<br />
EBBESEN.<br />
157
Good grief! I shall be as honest<br />
As Esau, when he bought Jacob's birthright.<br />
I cannot express how happy it makes me<br />
That your grace has such a merry humor.<br />
My humble self is happy to serve<br />
As the target for wit's keen arrow,<br />
When my exalted k<strong>in</strong>g amuses himself <strong>in</strong> this way.<br />
But permit me to lead you to the castle,<br />
And I shall enterta<strong>in</strong> you as well as I can.<br />
KING.<br />
I accept your offer.<br />
EBBESEN.<br />
My k<strong>in</strong>g!<br />
This is the way, we must go to this side.<br />
FLEMMING.<br />
(to EBBESEN, as they are go<strong>in</strong>g):<br />
You got off that time, but do not celebrate just yet;<br />
I don't believe your confession is quite complete.<br />
(All three go out to the left.)<br />
SCENE FIVE.<br />
AGNETE comes across the bridge. She walks slowly, with soft steps, and looks off to<br />
the side, where the preced<strong>in</strong>g characters went out.<br />
AGNETE.<br />
I wonder what that was about, those two gentlemen who waited for him and went off with<br />
him? Probably a couple of knights who are go<strong>in</strong>g to accompany him to the wedd<strong>in</strong>g <strong>in</strong><br />
Høistrup.... Oh! The wedd<strong>in</strong>g, the wedd<strong>in</strong>g! It makes me more and more anxious.<br />
158
(She sits down <strong>in</strong> a meditative position outside the house.)<br />
SCENE SIX.<br />
(AGNETE. KAREN comes out with two large earthenware crocks <strong>in</strong> her hands.)<br />
KAREN.<br />
Are you here at last? Is it f<strong>in</strong>ally time to come home?<br />
AGNETE.<br />
Is it late?... My God! I see it is daylight, I had hardly noticed.<br />
KAREN (aside).<br />
Now she is <strong>in</strong> her dream-world aga<strong>in</strong>. (Aloud.) Ag<strong>net</strong>e, when you go to Elves’ Hill, you<br />
must keep track of the time and not stay away for so long. Two strange knights were just<br />
here...<br />
I saw them. Who were they?<br />
You saw them?<br />
AGNETE (jumps up quickly).<br />
KAREN.<br />
AGNETE.<br />
I hid on the other side of the bridge until they were gone.<br />
KAREN.<br />
159
Good. I did not want them to see you. One was Mr. Flemm<strong>in</strong>g, he asked about you <strong>in</strong> his<br />
usual nosey way, but I said you were not up yet. Then Mogens came, and said that he had<br />
met the elf-girl. He was still rather frightened by it. Haven't you met the k<strong>in</strong>g <strong>in</strong> the<br />
thicket yet?<br />
AGNETE.<br />
No, Mother, I have never seen him.... But tell me, who was the other knight?<br />
KAREN.<br />
How do I know? He was a modest reasonable old man.<br />
AGNETE.<br />
They are probably both com<strong>in</strong>g to the wedd<strong>in</strong>g, don't you th<strong>in</strong>k?<br />
I suppose so.<br />
KAREN.<br />
AGNETE.<br />
And are you hav<strong>in</strong>g a celebration today also? The peasants want to dr<strong>in</strong>k to...<br />
KAREN.<br />
Well, why don't you say it? To Mr. Ebbesen's and Miss Munk's health.<br />
Yes, of course!<br />
AGNETE.<br />
KAREN.<br />
160
Ag<strong>net</strong>e! Wake up! It is as if you were sleepwalk<strong>in</strong>g. You sigh, you look around, you<br />
hardly hear anyth<strong>in</strong>g I say. Come, child, there is plenty to do here today. Give a help<strong>in</strong>g<br />
hand, and stop brood<strong>in</strong>g.<br />
AGNETE.<br />
Yes, dear Mother! What do you want me to do?<br />
KAREN.<br />
Move all the plates and tankards out here onto the table, and look after the house as well;<br />
meanwhile I am go<strong>in</strong>g to the castle to fetch the mead. We already have enough beer and<br />
cider, but they must toast the bridal couple with mead.<br />
Oh, yes!<br />
AGNETE.<br />
KAREN.<br />
Now, what do you have to sigh about? Go <strong>in</strong>side, my child, and be quick about it, then<br />
you will be <strong>in</strong> a better mood.<br />
(Ag<strong>net</strong>e goes <strong>in</strong>to the house.)<br />
SCENE SEVEN.<br />
KAREN alone.<br />
Poor child! She does not know herself what makes her so moody, and what draws her<br />
cont<strong>in</strong>ually to Elves’ Hill. I hope she never f<strong>in</strong>ds out!<br />
(Goes out to the left.)<br />
SCENE EIGHT.<br />
161
EBBESEN and FLEMMING come <strong>in</strong> from the left side, but by another way than<br />
KAREN went out. A PAGE follows them.<br />
EBBESEN.<br />
My friend! The k<strong>in</strong>g has la<strong>in</strong> down to take a nap, to rest after the trip. If it is as important<br />
to you as you say it is to visit Mr. Rosenkrantz <strong>in</strong> Vemmeltofte, then do not waste a<br />
moment, but go there immediately so as to be back before the k<strong>in</strong>g wakes up.<br />
FLEMMING.<br />
I shall follow your advice; but <strong>in</strong> case I am delayed for a few m<strong>in</strong>utes, I count on your<br />
mak<strong>in</strong>g excuses for me. The k<strong>in</strong>g will not miss my company, as long as he has you.<br />
Today you are the object of all his thoughts, his favors, his fatherly affection....<br />
EBBESEN.<br />
You are right. But still, see that you come back at the right time. I have saddled my<br />
fastest horse for you. Then wait on the other side of the bridge. My page will conduct<br />
you to the place. Hurry! Be off!<br />
FLEMMING.<br />
I can hardly get time to say two words to you <strong>in</strong> private. You lucky fellow! Do you<br />
realize that you received your bride from our noble k<strong>in</strong>g's own hand?<br />
EBBESEN.<br />
How can you ask that? Certa<strong>in</strong>ly I recognize his k<strong>in</strong>dness. But hurry! Do not waste<br />
time!<br />
FLEMMING.<br />
And yet what is even such happ<strong>in</strong>ess compared to love, to the blessed thought of lov<strong>in</strong>g<br />
and know<strong>in</strong>g oneself loved?<br />
EBBESEN.<br />
162
Yes, that is true happ<strong>in</strong>ess. Oh, my friend, if you knew...<br />
What? How greatly you are loved?<br />
FLEMMING.<br />
EBBESEN.<br />
Yes, exactly, how greatly I am loved. If you knew, if you dreamed....<br />
FLEMMING (aside).<br />
I must go at once to Høistrup. I must speak with her, I must have a settl<strong>in</strong>g of accounts....<br />
What are you say<strong>in</strong>g?<br />
That there is not a moment to lose.<br />
EBBESEN.<br />
FLEMMING.<br />
EBBESEN.<br />
No, that is just what I am say<strong>in</strong>g. Hurry, hurry!<br />
Farewell!<br />
Farewell!<br />
FLEMMING.<br />
EBBESEN.<br />
(FLEMMING goes across the bridge, followed by the PAGE.)<br />
163
SCENE NINE.<br />
EBBESEN alone.<br />
He f<strong>in</strong>ally left. And now to Høistrup!<br />
There is not a moment to lose.<br />
I must make an end of this relationship;<br />
I shall go and get a refusal from Miss Munk,<br />
And br<strong>in</strong>g it back to the k<strong>in</strong>g<br />
As honesty requires.<br />
He will be angry, I can foresee that;<br />
But it can't be helped!<br />
(He looks towards KAREN's house and kisses his f<strong>in</strong>gers.)<br />
First a depart<strong>in</strong>g kiss<br />
To you, straw-thatched hut, simple dwell<strong>in</strong>g,<br />
The goal of my long<strong>in</strong>g, my desire's paradise!...<br />
The door is open<strong>in</strong>g!... Oh, there she is!<br />
SCENE TEN.<br />
EBBESEN. AGNETE comes out of the house and sets a pile of t<strong>in</strong> plates on the table.<br />
EBBESEN.<br />
Good morn<strong>in</strong>g, Ag<strong>net</strong>e!<br />
So busy so <strong>early</strong>?<br />
AGNETE.<br />
Nice to see you, Mr. Sheriff!<br />
EBBESEN.<br />
AGNETE.<br />
164
Yes, sir!<br />
And it is for your sake.<br />
EBBESEN.<br />
For m<strong>in</strong>e, you say?<br />
AGNETE.<br />
There will be a banquet here today, and they will dr<strong>in</strong>k<br />
Your health. So you can easily see<br />
That my work is for your sake.<br />
EBBESEN.<br />
Ag<strong>net</strong>e!...<br />
AGNETE.<br />
And there will be danc<strong>in</strong>g here. You can well believe, Mr. Sheriff,<br />
That I shall dance. When you see me,<br />
You will th<strong>in</strong>k about the elf-girl's dance<br />
In the even<strong>in</strong>g at twilight, and <strong>in</strong> the morn<strong>in</strong>g.<br />
EBBESEN.<br />
But Ag<strong>net</strong>e! Just listen...<br />
AGNETE.<br />
But beware, your lordship,<br />
When I ride to your wedd<strong>in</strong>g,<br />
That I do not draw a circle around you, and lure<br />
You <strong>in</strong>to it, and put a spell on you!<br />
EBBESEN.<br />
You cast that spell a long time ago!<br />
165
AGNETE.<br />
Am I a witch? I cannot cast a spell on you;<br />
You yourself are an overpower<strong>in</strong>g sorcerer,<br />
Who cancelled my conjuration,<br />
And leaped out of the charmed circle.<br />
Ag<strong>net</strong>e!<br />
Just listen to me...<br />
EBBESEN.<br />
AGNETE.<br />
I don't have time. There is<br />
So much to do here; as you must be aware,<br />
I shall serve you on your wedd<strong>in</strong>g day.<br />
EBBESEN.<br />
Is your mother there <strong>in</strong> the house?<br />
AGNETE.<br />
No, she is busy, she has gone out.<br />
EBBESEN.<br />
Is nobody else <strong>in</strong> the house?<br />
AGNETE.<br />
Nobody at all.<br />
EBBESEN.<br />
166
(rushes over and embraces her).<br />
(tears herself loose).<br />
My elf-girl! You, I love only you,<br />
And I believe I want to stay with you.<br />
AGNETE.<br />
Stop, stop, Mr. Sheriff!<br />
Yes, there are lots of people <strong>in</strong> there.<br />
EBBESEN.<br />
Are you mak<strong>in</strong>g a fool of me?<br />
(He runs over and looks <strong>in</strong>to the house and returns.)<br />
You witch,<br />
You are just mak<strong>in</strong>g fun of me.<br />
(He runs after her, she runs away.)<br />
AGNETE.<br />
Hush, hush! Remember,<br />
This is not Elves’ Hill.<br />
EBBESEN.<br />
Oh, my Ag<strong>net</strong>e!<br />
Wherever I see you is Elves’ Hill for me.<br />
When I am near you a blessed dream awakens <strong>in</strong> me;<br />
I am <strong>in</strong>toxicated by you, like the man<br />
Who has la<strong>in</strong> his head down on Elves’ Hill,<br />
And sees the moon over the meadow's mists.<br />
AGNETE.<br />
Oh! Do you want to rem<strong>in</strong>d me of that offense?<br />
167
EBBESEN.<br />
What offense? Have I not approached your<br />
Innocence modestly and piously, whenever you<br />
Met me <strong>in</strong> confidence by Elves’ Hill?<br />
Have I concealed that the K<strong>in</strong>g had decreed<br />
My union with Miss Munk long before<br />
I knew you, before you knew me?<br />
But still I never spoke of love<br />
To her, nor does she love me.<br />
As a knight it was not proper that I<br />
Throw over our engagement, but she,<br />
As a lady, can do it.<br />
I hoped to make everyth<strong>in</strong>g right,<br />
When suddenly I received the news<br />
(It was only yesterday)<br />
That the marriage was set for this even<strong>in</strong>g.<br />
But I am go<strong>in</strong>g right now to Høistrup;<br />
In two hours I shall return here aga<strong>in</strong>,<br />
And I shall br<strong>in</strong>g back a refusal<br />
As good as an honorable suitor can desire.<br />
AGNETE.<br />
Now you are tell<strong>in</strong>g me what I want to hear.<br />
EBBESEN.<br />
I said the same th<strong>in</strong>g this morn<strong>in</strong>g<br />
By Elves’ Hill.<br />
AGNETE.<br />
But when I came back,<br />
And saw these preparations,<br />
And saw two knights wait<strong>in</strong>g for you,<br />
Who I thought were com<strong>in</strong>g to your wedd<strong>in</strong>g,<br />
Then my uneas<strong>in</strong>ess was aroused aga<strong>in</strong>.<br />
I know well enough, despite your promises,<br />
You cannot marry me, a peasant -girl;<br />
168
But I can still love you, my lord,<br />
In silent thoughts, modestly, as it ought to be;<br />
But to see you as another's bridegroom! No!<br />
I cannot do that.<br />
EBBESEN.<br />
Do not doubt my word!<br />
Did not a worthier knight than I,<br />
The noble Tycho Brahe,<br />
Marry a simple peasant-girl?<br />
What I have sworn, I swear aga<strong>in</strong>:<br />
I shall have no rest, no peace, until I<br />
Have led my elf-girl to the altar.<br />
Do not call me that!<br />
AGNETE.<br />
EBBESEN.<br />
That is what you should be called.<br />
AGNETE.<br />
It only rem<strong>in</strong>ds me aga<strong>in</strong> of my s<strong>in</strong>.<br />
EBBESEN.<br />
What s<strong>in</strong>? What offense?<br />
AGNETE.<br />
That I have concealed<br />
My love from my mother. I do not know<br />
What thoughts she has when she sees me<br />
Walk<strong>in</strong>g towards Elves’ Hill. She knows very well<br />
That many who have seen me yonder <strong>in</strong> the thicket<br />
Take me for an elf-girl.<br />
169
But she believes completely <strong>in</strong> the old legends,<br />
She believes I have converse with the elves.<br />
Therefore I have deceived her!...<br />
And if it were true, if these be<strong>in</strong>gs<br />
Truly exist, will they not<br />
Be angry at the brazen girl who plays<br />
Frivolously with their secret power?<br />
EBBESEN.<br />
Be calm, my Ag<strong>net</strong>e! For a lov<strong>in</strong>g heart<br />
Nature is magic, and magic is nature.<br />
Ag<strong>net</strong>e! You are the elf-girl herself:<br />
Your spirit animates the silent thicket there,<br />
The quiet hilltop; and when I see the white mists<br />
Glide vaguely over the meadow,<br />
Then I believe it is your handmaidens, girl,<br />
Who want to shape themselves <strong>in</strong>to your noble image,<br />
But s<strong>in</strong>k powerlessly back aga<strong>in</strong>.<br />
AGNETE.<br />
I do not understand you; but I feel<br />
Calm, s<strong>in</strong>ce you have comforted me.<br />
(They hear music <strong>in</strong> the distance.)<br />
What is that?<br />
EBBESEN.<br />
AGNETE.<br />
Our guests are com<strong>in</strong>g now.<br />
Then I must leave.<br />
EBBESEN.<br />
170
Farewell!<br />
AGNETE.<br />
EBBESEN.<br />
Farewell! My horse<br />
Will carry me to Høistrup as swift as lightn<strong>in</strong>g.<br />
AGNETE.<br />
Do not forget the refusal!<br />
EBBESEN.<br />
No, I shall fetch that.<br />
But tell me, Ag<strong>net</strong>e. Do I dare exchange it<br />
Later for a kiss? You will not be angry,<br />
When I request the payment?<br />
AGNETE.<br />
First, my Lord, let us see if you br<strong>in</strong>g it!<br />
(AGNETE runs <strong>in</strong>to the house, EBBESEN walks quickly out on the opposite side.)<br />
SCENE ELEVEN.<br />
PEASANTS come over the bridge and from both sides. They are heard <strong>in</strong> the distance<br />
before they enter.<br />
CHORUS.<br />
1.<br />
Quickly to a gay party,<br />
Danc<strong>in</strong>g and s<strong>in</strong>g<strong>in</strong>g<br />
We all hurry.<br />
The peasant is the sheriff's guest,<br />
171
The flute's whistle<br />
Will call us<br />
To the wedd<strong>in</strong>g <strong>in</strong> the beech grove.<br />
2.<br />
The silent night<br />
S<strong>in</strong>ks over valley<br />
Fields and cottages;<br />
Yonder from his elf-thicket<br />
The k<strong>in</strong>g will<br />
Listen quietly<br />
To the party <strong>in</strong> the beech grove.<br />
3.<br />
Quickly to the banquet hall<br />
Young and old<br />
Walk with delight.<br />
Here by the sunny cross<strong>in</strong>g<br />
The sound of happ<strong>in</strong>ess<br />
Will gather us<br />
To the wedd<strong>in</strong>g <strong>in</strong> the beech grove.<br />
(They go <strong>in</strong>to the house.)<br />
- - - - -<br />
SECOND ACT.<br />
A salon at Høistrup. On the left side <strong>in</strong> the foreground is a w<strong>in</strong>dow which opens onto<br />
the garden. On the same side <strong>in</strong> the background an entrance to a side room.<br />
SCENE ONE.<br />
BJØRN OLUFSON, alone, stands at the open w<strong>in</strong>dow and speaks out <strong>in</strong>to the garden.<br />
BJØRN.<br />
I beg your pardon? Hush! Hush! You do not need to talk so loud. The walls have<br />
ears.... Now you understand. Yes, Lord God! You must take the opportunity as it<br />
comes.... I beg your pardon?... Can I be quiet? Do not ask me that. I am a man who has<br />
172
grown gray <strong>in</strong> service. I have been chief steward here at Høistrup for 33 years; <strong>in</strong> that<br />
whole time I have had the confidence of everyone: the sa<strong>in</strong>ted wife, the lord, the young<br />
lady and many other noble lords and ladies. I am full of important secrets, which neither<br />
my words nor expressions have divulged or <strong>in</strong> any way shall divulge. If I were to tell you<br />
everyth<strong>in</strong>g I know, your nose and mouth would drop off from astonishment. But see if I<br />
do.... What?... Am I shout<strong>in</strong>g?... (Look<strong>in</strong>g around.) There is nobody here.... Now, yes,<br />
yes, it will not be noticed now.... A letter?... Can it be be delivered?... Yes, let me<br />
see.... (Look<strong>in</strong>g around aga<strong>in</strong>.) You can throw it <strong>in</strong> through the w<strong>in</strong>dow; but it must be<br />
quick!... Listen, you must tie a stone to it.... You don't need to?... Take it easy, do not hit<br />
me <strong>in</strong> the face with it. (He jumps aside, a letter is thrown <strong>in</strong> through the w<strong>in</strong>dow, he<br />
walks over and picks it up and walks over to the w<strong>in</strong>dow aga<strong>in</strong>.) No signature! Yes, that<br />
is discreet, I can manage that. (He puts it <strong>in</strong> his pocket.) It will be taken care of, and you<br />
can count on my discretion. But now get out of here. Out of the way! Someone is<br />
com<strong>in</strong>g. (He closes the w<strong>in</strong>dow.)<br />
SCENE TWO.<br />
BJØRN. ELISABETH.<br />
BJØRN.<br />
Good morn<strong>in</strong>g, mistress! Up so <strong>early</strong>?<br />
It's not so <strong>early</strong>.<br />
ELISABETH.<br />
BJØRN.<br />
For me and those like me, who have their hands full with the preparations for the<br />
wedd<strong>in</strong>g, it is certa<strong>in</strong>ly not <strong>early</strong>, but for the bride, for the noble bride, who from danc<strong>in</strong>g<br />
and merriment will not close an eye tonight, for her it is <strong>early</strong>, much too <strong>early</strong>.<br />
ELISABETH.<br />
If I am caus<strong>in</strong>g any <strong>in</strong>convenience, good Bjørn, then I shall gladly be on my way.<br />
BJØRN.<br />
173
Caus<strong>in</strong>g <strong>in</strong>convenience? Good Bjørn? Well, I am a good Bjørn (Bjørn = bear), a gentle,<br />
domesticated good Bjørn, who has too much breed<strong>in</strong>g to speak discourteously to my<br />
noble young mistress.<br />
ELISABETH.<br />
I do not consider it a discourtesy. But you are as secretive as the Sybil, and I cannot tell<br />
whether my arrival at this moment <strong>in</strong>terrupts you <strong>in</strong> some plot, perhaps.<br />
BJØRN.<br />
Gracious mistress! I am secretive, but it is not my fault if I have been deemed worthy of<br />
be<strong>in</strong>g entrusted with secrets. I know my duty and the importance of my post; never will<br />
any rose s<strong>in</strong>k down at hav<strong>in</strong>g gotten me to run <strong>in</strong> fear ("løbe <strong>in</strong> fælden"). (?)<br />
ELISABETH.<br />
No, certa<strong>in</strong>ly not. Actually, to tell you the truth, you are simply an annoy<strong>in</strong>g person that<br />
one can never learn anyth<strong>in</strong>g about. These days I see you and my guardian all the time<br />
putt<strong>in</strong>g your heads together, and talk<strong>in</strong>g <strong>in</strong> riddles about the k<strong>in</strong>g's presence at or<br />
absence from my wedd<strong>in</strong>g. You are afraid that either he will come or he will not come. I<br />
cannot be sensible about it while I am <strong>in</strong>furiated by watch<strong>in</strong>g your secretive gestures.<br />
BJØRN.<br />
But, gracious mistress! Do not take it amiss, but you are rather hotheaded. I have never<br />
dared to make gestures to Mr. Walkendorff, and he has never honored me by mak<strong>in</strong>g<br />
gestures to me. We have talked about the k<strong>in</strong>g's com<strong>in</strong>g here, that is true, and we have<br />
been anxious at not know<strong>in</strong>g whether his royal grace will enhance the party with his<br />
presence, or whether we dare expect this happ<strong>in</strong>ess. That is true, but that is all.<br />
ELISABETH.<br />
You are ly<strong>in</strong>g, you are deceiv<strong>in</strong>g me. Your anxiety betrays a more significant reason than<br />
you give. You are try<strong>in</strong>g to hide some important secret from me, but you cannot control<br />
your face and your expressions.<br />
BJØRN.<br />
174
God help me! What are you say<strong>in</strong>g, Miss! I cannot control my face, I, who s<strong>in</strong>ce my<br />
earliest youth have committed myself to rule over every wr<strong>in</strong>kle <strong>in</strong> it?<br />
It does not obey your orders.<br />
ELISABETH.<br />
BJØRN.<br />
Mistress! For heaven's sakes! You make me tremble all over! What does my face<br />
reveal? What k<strong>in</strong>d of secret would it be?<br />
That is just what I <strong>in</strong>sist you tell me.<br />
But if I have noth<strong>in</strong>g to say?<br />
Liar!<br />
ELISABETH.<br />
BJØRN.<br />
ELISABETH.<br />
BJØRN.<br />
If someth<strong>in</strong>g were entrusted to me, should I tarnish my honor, which I have earned by<br />
silence, by reveal<strong>in</strong>g it?<br />
You see? You admit it.<br />
ELISABETH.<br />
BJØRN.<br />
175
For heaven's sake! No! Stop teas<strong>in</strong>g me!... What would you say if I revealed a secret, if<br />
you yourself had told it to me?<br />
Be quiet!<br />
ELISABETH.<br />
BJØRN.<br />
Yes, there we have it. You say "be quiet," and I am quiet, and that is just my merit. (He<br />
takes the letter out of his pocket.) What would you say if I delivered this letter to<br />
someone other than yourself?<br />
ELISABETH.<br />
Give it to me! Hurry up, <strong>in</strong> case somebody is com<strong>in</strong>g!<br />
BJØRN.<br />
There we have it. Now you yourself recommend silence to me.<br />
There is no signature.<br />
ELISABETH.<br />
BJØRN.<br />
But you can depend on it, it is for you. I am no more guilty of confusion, than of gossip.<br />
(ELISABETH has opened the letter and reads it to herself.) But to get to the po<strong>in</strong>t: Mr.<br />
Flemm<strong>in</strong>g is here; he says he positively must speak with you tête-à-tête, and that nobody<br />
must know he is here. He is down <strong>in</strong> the garden, hid<strong>in</strong>g beh<strong>in</strong>d the trees, and he is<br />
wait<strong>in</strong>g for your answer.<br />
ELISABETH.<br />
(who <strong>in</strong> the meanwhile has read the letter).<br />
I know all that, it is <strong>in</strong> the letter.<br />
176
BJØRN.<br />
Well, then I did not need to say it. But, noble mistress! You say that you cannot be<br />
sensible with me? It is I who cannot be sensible with you. Where will all this lead?<br />
What k<strong>in</strong>d of unfortunate passion do you harbor for someone other than your proper<br />
bridegroom? How can you dare on the very day of the wedd<strong>in</strong>g to receive a letter from<br />
him, and grant him a rendezvous? Where will it all end?<br />
ELISABETH.<br />
I do not know that myself. But I must make a decision today.<br />
BJØRN.<br />
Certa<strong>in</strong>ly it cannot be postponed any longer.<br />
That is why I must speak with him.<br />
ELISABETH.<br />
BJØRN.<br />
I shudder to imag<strong>in</strong>e the outcome. If it had not been for com<strong>in</strong>g <strong>in</strong>to possession of one<br />
more secret, and <strong>in</strong> order to serve you, noble mistress, then I should not have taken upon<br />
myself so dangerous a mission as to be love's postman between you and your secret lover.<br />
ELISABETH.<br />
But, Bjørn, you will be loyal to me, and help me?<br />
BJØRN.<br />
My gracious mistress must command me. What fidelity requires....<br />
ELISABETH.<br />
177
I know, I know! Listen, you must keep my guardian away.<br />
BJØRN.<br />
That is not difficult! I shall tell Mr. Walkendorff that I have a secret to discuss with him.<br />
ELISABETH.<br />
Yes, you can certa<strong>in</strong>ly say that without ly<strong>in</strong>g.<br />
BJØRN.<br />
Or take him down to see the outdoor preparations for the wedd<strong>in</strong>g, for example the<br />
torches <strong>in</strong> the great avenue.<br />
ELISABETH.<br />
Splendid! But first you must take a message to Flemm<strong>in</strong>g from me, and tell him that<br />
when my guardian is gone I shall give him a signal from the w<strong>in</strong>dow.<br />
Very well.<br />
BJØRN.<br />
ELISABETH.<br />
But... I just want to write him a couple of words, and I shall br<strong>in</strong>g them to you.<br />
BJØRN.<br />
Quiet! Here comes Mr. Walkendorff.<br />
SCENE THREE.<br />
The preced<strong>in</strong>g. WALKENDORFF.<br />
178
How shall I give you the letter?<br />
Quiet! Don't let him notice anyth<strong>in</strong>g!<br />
Just tell me! Hurry!<br />
Careful! Careful!<br />
ELISABETH (aside to BJØRN).<br />
BJØRN (aside to ELISABETH).<br />
ELISABETH.<br />
BJØRN.<br />
WALKENDORFF.<br />
What is this? What k<strong>in</strong>d of secrets do you two have together? You are hatch<strong>in</strong>g some<br />
plan or other, which I am not supposed to know about. I have observed for some time...<br />
BJØRN.<br />
How can my gracious lord believe...<br />
WALKENDORFF.<br />
I know what I believe. You, my dear Bjørn Olufson, are the most secretive person under<br />
the sun. You should never come out except at night, walk<strong>in</strong>g <strong>in</strong> felt stock<strong>in</strong>gs, and with<br />
your f<strong>in</strong>ger on your lips, as they depict the god of silence.<br />
BJØRN.<br />
Gracious lord! How can you reproach me with the silence for which you have always<br />
have praised me? If I had not been silent...<br />
179
Be quiet!<br />
WALKENDORFF.<br />
BJØRN.<br />
Now you yourself demand silence of me.<br />
WALKENDORFF.<br />
You will be silent with my secrets, but you will not have secrets with my ward.<br />
ELISABETH.<br />
You see, Bjørn, I am right? Now my guardian himself admits that you have secrets with<br />
each other.<br />
BJØRN.<br />
It is not my fault. I have never admitted it, and I shall never admit it.<br />
Be quiet!<br />
With pleasure.<br />
WALKENDORFF.<br />
BJØRN.<br />
ELISABETH.<br />
It is not necessary, s<strong>in</strong>ce I am leav<strong>in</strong>g you, dear gentlemen, so you can speak loudly and<br />
freely about your secrets.<br />
(She goes.)<br />
180
Elisabeth! What do you mean?<br />
WALKENDORFF.<br />
SCENE FOUR.<br />
BJØRN. WALKENDORFF.<br />
WALKENDORFF.<br />
She is already gone. Bjørn! Bjørn! You have not let her notice anyth<strong>in</strong>g?<br />
BJØRN.<br />
I, sire? Have I forgotten my 33 years' service?<br />
WALKENDORFF.<br />
She is an impetuous, headstrong girl. It is my desire to get her married today, and then<br />
my responsibility is f<strong>in</strong>ished!<br />
Yes, I wish it were f<strong>in</strong>ished!<br />
What did you say?<br />
BJØRN.<br />
WALKENDORFF.<br />
BJØRN.<br />
I have a premonition that it is not go<strong>in</strong>g to come off.<br />
Why is that?<br />
WALKENDORFF.<br />
181
BJØRN.<br />
I do not know myself. But I dreamed last night that the k<strong>in</strong>g came here to attend the<br />
wedd<strong>in</strong>g, and that he asked why the bride did not wear the jewel which he had given her<br />
as her godfather.<br />
WALKENDORFF.<br />
Be quiet! You should never mention that subject, even tête-à-tête with me. God be with<br />
my noble sa<strong>in</strong>ted wife, but she committed a black s<strong>in</strong>.<br />
Carelessness is not a s<strong>in</strong>.<br />
BJØRN.<br />
WALKENDORFF.<br />
But carelessness which has such consequences? I loved her greatly, but I console myself<br />
for her death by remember<strong>in</strong>g that now we two are the only ones <strong>in</strong> on the secret.<br />
BJØRN.<br />
In that case my gracious lord also wishes that I were dead and gone.<br />
WALKENDORFF.<br />
Certa<strong>in</strong>ly not, Bjørn! You have been faithful and devoted to me, but a woman's silence is<br />
noth<strong>in</strong>g to depend upon.<br />
BJØRN.<br />
But, sire, what do you say then to my dream?<br />
Oh, that! A dream!...<br />
WALKENDORFF.<br />
182
BJØRN.<br />
But what if I tell you that it is already beg<strong>in</strong>n<strong>in</strong>g to come true?<br />
What?<br />
WALKENDORFF.<br />
BJØRN.<br />
Well, it is a secret, but you shall hear it. The k<strong>in</strong>g is <strong>in</strong> Tryggevæld.<br />
What did you say!<br />
The truth, sire!<br />
But how do you know that?<br />
WALKENDORFF.<br />
BJØRN.<br />
WALKENDORFF.<br />
BJØRN.<br />
It is a secret. It is enough that I know it.<br />
Damn your secrets!<br />
WALKENDORFF.<br />
BJØRN.<br />
183
He arrived there last night, but I shall confide to you that it is said he will not attend the<br />
wedd<strong>in</strong>g feast.<br />
I was sure of it!<br />
WALKENDORFF.<br />
BJØRN.<br />
Then why did you become so anxious, sire?<br />
WALKENDORFF.<br />
Because one never knows.... Still... one can know, there is no danger. The k<strong>in</strong>g is not<br />
com<strong>in</strong>g. He has never been to Stevns, and there is an old legend that he does not dare to<br />
come.<br />
BJØRN.<br />
Do you mean that the k<strong>in</strong>g is afraid of the elves?<br />
WALKENDORFF.<br />
Certa<strong>in</strong>ly not! But there is a venerable old legend, which he will not openly defy. He<br />
knows and understands that one should not suddenly disturb the common people from<br />
their beneficial superstitions. No, I am calm about the situation. The k<strong>in</strong>g is not<br />
com<strong>in</strong>g.<br />
Well then, I shall be calm also.<br />
BJØRN.<br />
WALKENDORFF.<br />
He did not come to Elisabeth Munk's baptism either, but sent the sa<strong>in</strong>ted Mr. Flemm<strong>in</strong>g<br />
<strong>in</strong> his place.<br />
184
BJØRN.<br />
And this time he will send the young Mr. Flemm<strong>in</strong>g.<br />
Are you sure of that?<br />
Fairly sure.<br />
How do you know that?<br />
A secret, sire.<br />
WALKENDORFF.<br />
BJØRN.<br />
WALKENDORFF.<br />
BJØRN.<br />
WALKENDORFF.<br />
A secret! A secret! I always get that answer. Well, I shall not cross-exam<strong>in</strong>e you, one is<br />
usually able to depend on you, and the <strong>in</strong>formation is excellent, if it is true.<br />
Positively.<br />
BJØRN.<br />
WALKENDORFF.<br />
Well then, the danger is past. So let us be merry, and th<strong>in</strong>k only about the celebration!<br />
Have you <strong>in</strong>vited all the guests on the list?<br />
BJØRN.<br />
(tak<strong>in</strong>g a paper out of his pocket).<br />
185
Everyone is <strong>in</strong>vited. I have put an "X" next to the name of everyone that has permission<br />
to come.<br />
(look<strong>in</strong>g at the paper).<br />
WALKENDORFF.<br />
Oh, that's f<strong>in</strong>e! There will be plenty of guests, both <strong>in</strong>vited and un<strong>in</strong>vited. Let me see<br />
now, you are arrang<strong>in</strong>g everyth<strong>in</strong>g for the best. I must go <strong>in</strong>to the danc<strong>in</strong>g salon <strong>in</strong> order<br />
to see how everyth<strong>in</strong>g is arranged, and then I shall go to the forest, where the peasants are<br />
hav<strong>in</strong>g a feast. I must also see if they have supplied themselves generously.<br />
BJØRN.<br />
Gracious lord! I flatter myself that noth<strong>in</strong>g is lack<strong>in</strong>g. But you do well to look after it<br />
yourself.<br />
WALKENDORFF.<br />
In the meanwhile, do not forget what you have to do.<br />
BJØRN.<br />
No, you do not need to worry about that.<br />
(WALKENDORFF leaves.)<br />
SCENE FIVE.<br />
BJØRN alone.<br />
He is gone. If the young lady were here now, then this would be the most convenient<br />
time for her to pursue her <strong>in</strong>tention. I do not know how all this will end, but I have a<br />
premonition that the whole wedd<strong>in</strong>g will end <strong>in</strong> an uproar, and <strong>in</strong> that case is it not good<br />
to<br />
have everyth<strong>in</strong>g ready for a new one?... Ah, here is the young lady.<br />
186
SCENE SIX.<br />
BJØRN. ELISABETH.<br />
ELISABETH.<br />
See here, Bjørn, here is the letter. (She hands him the letter.) Hurry now! Away!<br />
BJØRN.<br />
I am hurry<strong>in</strong>g, my lady, I am hurry<strong>in</strong>g. You can be sure that your guardian is occupied<br />
with all k<strong>in</strong>ds of arrangements for this even<strong>in</strong>g. But just so you will not be taken by<br />
surprise by anyone else, let me first reconnoitre the terra<strong>in</strong>.<br />
Yes, you do that!<br />
ELISABETH.<br />
BJØRN.<br />
What signal have you arranged with Mr. Flemm<strong>in</strong>g?<br />
ELISABETH.<br />
I have written that when he hears me s<strong>in</strong>g, he can come <strong>in</strong>.<br />
BJØRN.<br />
Very well, but then I must open the w<strong>in</strong>dow, s<strong>in</strong>ce otherwise he cannot hear it.<br />
I thought of that.<br />
ELISABETH.<br />
BJØRN.<br />
187
But do not s<strong>in</strong>g before I come back and have <strong>in</strong>formed you that everyth<strong>in</strong>g is secure.<br />
ELISABETH.<br />
No, certa<strong>in</strong>ly not, but just hurry! You hurry!<br />
I am hurry<strong>in</strong>g, I am fly<strong>in</strong>g!<br />
(Walks slowly out.)<br />
BJØRN.<br />
SCENE SEVEN.<br />
ELISABETH alone.<br />
Now I am alone, let me collect myself!<br />
My head is so confused that I scarcely<br />
Know where I am.... Still... let's see....<br />
I have heard it often enough, it is like this:<br />
The k<strong>in</strong>g wants to marry me to Ebbesen;<br />
But why should the monarch choose for me?<br />
Does my heart not dare to choose for itself? Ah, no!<br />
Freedom is not compatible with the favor<br />
Which the k<strong>in</strong>g has shown the abandoned child,<br />
Whose mother died when she was born,<br />
Whose father soon followed her <strong>in</strong> death.<br />
I know, when my father was prepar<strong>in</strong>g<br />
To visit the North Pole for the second time,<br />
The k<strong>in</strong>g reproached him with angry words<br />
Over the outcome of his first voyage,<br />
And the loss of the ships and men.<br />
He answered rashly, one word provoked another,<br />
The embittered k<strong>in</strong>g struck him with his cane.<br />
There is an ancient legend, that he whom K<strong>in</strong>g Christian<br />
Has touched <strong>in</strong> anger cannot live;<br />
My father has confirmed that once aga<strong>in</strong>:<br />
Early <strong>in</strong> my tender childhood I was alone,<br />
All I <strong>in</strong>herited was his famous name.<br />
That awakened the k<strong>in</strong>g's mercy towards the weak,<br />
He gave me gold, stood godfather to me,<br />
188
(Pause.)<br />
(Goes to the w<strong>in</strong>dow.)<br />
(Listens.)<br />
(S<strong>in</strong>gs.)<br />
(Impatiently.)<br />
Entrusted me to Walkendorff at Høistrup<br />
And to his noble wife, whom I still remember<br />
With deep reverence. This even<strong>in</strong>g<br />
He will take the last step <strong>in</strong> the effort<br />
Of provid<strong>in</strong>g for me.... But will his favor<br />
Then become coercion? Will my <strong>in</strong>cl<strong>in</strong>ation<br />
Not be asked for its vote, where it matters?<br />
By now Bjørn must have brought the letter!<br />
He could have done it ten times over!<br />
I do not see him<br />
Anywhere yet.<br />
I do not hear him either.<br />
Ah, my patience is at an end!... Well then,<br />
I shall s<strong>in</strong>g my song, then the time will pass,<br />
And he cannot hear me out there.<br />
1.<br />
Now the leafy-bower is shadowed<br />
And the day is long<br />
Where little birds nest<br />
In the bloom<strong>in</strong>g meadow.<br />
2.<br />
Only the god of love<br />
Is bl<strong>in</strong>d, poor fellow;<br />
He flutters towards the w<strong>in</strong>dowpane.<br />
They let him <strong>in</strong>.<br />
Yes, truly, if he flutters towards the w<strong>in</strong>dow,<br />
Then I let him <strong>in</strong>! There is no end to it!<br />
Bjørn is not com<strong>in</strong>g! How long shall I wait?<br />
189
(S<strong>in</strong>gs with noticeable impatience.)<br />
(She opens the w<strong>in</strong>dow.)<br />
1.<br />
A knight rambles among green trees,<br />
Roses and delightful flowers.<br />
A thrush s<strong>in</strong>gs, he stands so near it,<br />
It greets midsummer with its chirp<strong>in</strong>g.<br />
2.<br />
He listens with pleasure among green trees,<br />
Roses and delightful flowers,<br />
He muses and leans silently on his sword,<br />
While the bird welcomes midsummer.<br />
3.<br />
Now a maiden opens the w<strong>in</strong>dow towards the trees,<br />
Roses and delightful flowers.<br />
She s<strong>in</strong>gs like the bird, he stands near her,<br />
Then his breast feels it is summer.<br />
(Draw<strong>in</strong>g away little-by-little from the w<strong>in</strong>dow.)<br />
4.<br />
Then his hope sprouts like the green trees,<br />
Roses and delightful flowers.<br />
He beholds the beloved, she is so dear to him,<br />
He greets his hope <strong>in</strong> midsummer.<br />
SCENE EIGHT.<br />
ELISABETH. FLEMMING.<br />
FLEMMING.<br />
I greet my hope, when I see you.<br />
But it is not midsummer for my hope.<br />
ELISABETH.<br />
190
Why not?<br />
FLEMMING.<br />
Can you ask that?<br />
Elisabeth! What am I to th<strong>in</strong>k?<br />
You know how long I have loved you,<br />
You know how often you have flattered my hope...<br />
Excuse my words, but the truth matters here...<br />
You have given me more than one proof<br />
Of your love; and now?... Do you know<br />
That the k<strong>in</strong>g has come to Tryggevæld?<br />
That I shall represent his royal person<br />
At your wedd<strong>in</strong>g? That he has suddenly<br />
Decided that this even<strong>in</strong>g?... This even<strong>in</strong>g!...<br />
What will you do, tell me, what is go<strong>in</strong>g to happen?<br />
Have you forgotten me, do you no longer love me?<br />
Is Ebbesen not merely the k<strong>in</strong>g's choice,<br />
But your heart's as well? Even he tells me<br />
That he loves you, that you love him.<br />
My God, what shall I believe, what shall I th<strong>in</strong>k?<br />
Oh, speak! Answer! Free me from my fear!<br />
ELISABETH.<br />
For heaven's sake! Do not ask so many questions!<br />
Where shall I start? Where shall I stop?<br />
FLEMMING.<br />
I am impetuous, I know that, but I would be<br />
A wretch, a villa<strong>in</strong>, if I were calm now.<br />
I have fought with myself, I have dissembled<br />
With superhuman strength. Neither the k<strong>in</strong>g,<br />
Nor Ebbesen, nor anyone else has suspected<br />
That I worship you, that I have courted you<br />
For so long. S<strong>in</strong>ce to others I am disguised,<br />
Then <strong>in</strong> your house I must speak, I must<br />
Give my heart air, give re<strong>in</strong> to my bitter compla<strong>in</strong>t,<br />
And ga<strong>in</strong> strength for new dissembl<strong>in</strong>g.<br />
191
ELISABETH.<br />
You say I have flattered your hope,<br />
Have given you proofs of my love;<br />
Why then do you meet me with such violent doubt?<br />
FLEMMING.<br />
Because the time I fear approaches<br />
With swift steps. In a few hours I shall<br />
See you as the bride of another! Oh, heavens!<br />
And he has told me that you love him!<br />
ELISABETH.<br />
But are you more terrified than I myself<br />
By the news about this wedd<strong>in</strong>g,<br />
Which comes much sooner than I had expected?<br />
I had hoped that there was enough time,<br />
And had based my whole hope on time.<br />
FLEMMING.<br />
But you are wrong there; one must act,<br />
One must act oneself, and not depend on time.<br />
Why have you not let me step forward<br />
As your bridegroom before the eyes of the world?<br />
ELISABETH.<br />
That is impossible! What would the k<strong>in</strong>g say?<br />
FLEMMING.<br />
Why have you not let me ask<br />
The monarch about his will, tell him<br />
Without evasion how the matter stands;<br />
And beseech his favor for us both?<br />
Oh, he is good! He has a k<strong>in</strong>dly heart!<br />
192
ELISABETH.<br />
But he is also firm <strong>in</strong> his decision;<br />
Believe me, it is not possible!<br />
FLEMMING (with bitterness).<br />
You know better!<br />
ELISABETH.<br />
My whole plan is to ga<strong>in</strong> time.<br />
FLEMMING.<br />
Oh, what a bad plan! What use is time,<br />
When one does not take advantage of it?... Elisabeth!<br />
If time is all the hope you can give me,<br />
Then my hope has been f<strong>in</strong>ished for some time.<br />
Have patience...<br />
ELISABETH.<br />
FLEMMING.<br />
With what? With time,<br />
Which is almost passed? Oh, if I did not have<br />
So much faith <strong>in</strong> your word,<br />
I could be tempted by the bitter thought<br />
That Ebbesen is right <strong>in</strong> what he says;<br />
You love him... do not be angry.... Understand me....<br />
I do not mean that you love him exactly,<br />
But he pleases you; you n<strong>early</strong><br />
Love him;... and I! Oh heavens!<br />
I believe you also love me only halfway!<br />
You are undecided, you do not know what you want,<br />
And stretch time out.<br />
193
ELISABETH.<br />
You <strong>in</strong>sult me.<br />
FLEMMING.<br />
I would not do that for all the world.<br />
Forgive me! You are good, you love me,<br />
I know that. Oh! If I did not know it,<br />
It would be all over for me! But you are impetuous,<br />
Heedless, unpredictable, you would rather tease<br />
The poor bird which you hold by the w<strong>in</strong>g;<br />
You know it is stuck fast, and cannot fly.<br />
ELISABETH.<br />
By heaven! I do not believe it, did you come here<br />
Only to speak discourteously to me?<br />
If I have as many faults as you say,<br />
Why do you want to court my hand?<br />
FLEMMING.<br />
Forgive me! I have no control over myself!<br />
Do not put any weight on what an impetuous lover<br />
Says <strong>in</strong> his despair! Let us<br />
Not waste time with useless compla<strong>in</strong><strong>in</strong>g,<br />
But come to some resolution!<br />
ELISABETH.<br />
I have come to m<strong>in</strong>e:<br />
I shall not hear anyth<strong>in</strong>g more from your mouth.<br />
FLEMMING.<br />
Are you giv<strong>in</strong>g me a refusal?<br />
194
ELISABETH.<br />
Take it<br />
Any way you want, but go!<br />
FLEMMING.<br />
Now then! By heaven!<br />
You will be sorry that you teased me!<br />
SCENE NINE.<br />
The preced<strong>in</strong>g. BJØRN.<br />
BJØRN.<br />
My young lady! Ah! What has been go<strong>in</strong>g on here!<br />
You have sung your song too <strong>early</strong>.<br />
Why so?<br />
ELISABETH.<br />
BJØRN.<br />
Why didn't you wait<br />
Until I had told you that it was time?<br />
What's the matter?<br />
ELISABETH.<br />
FLEMMING.<br />
What is go<strong>in</strong>g on?<br />
195
That is a secret.<br />
BJØRN.<br />
ELISABETH.<br />
Old fool!<br />
If it is a secret, then do not mention it.<br />
BJØRN.<br />
Yes, I must mention it, it cannot be kept quiet.<br />
Then speak!<br />
Yes, speak!<br />
ELISABETH.<br />
FLEMMING.<br />
BJØRN.<br />
A knight is stand<strong>in</strong>g outside,<br />
And demands to speak with you immediately.<br />
Who is it?<br />
ELISABETH.<br />
BJØRN.<br />
A secret, mistress!<br />
He has entrusted his name to me alone,<br />
He is <strong>in</strong>cognito.<br />
ELISABETH.<br />
196
I believe secrets<br />
Ra<strong>in</strong> down on you from heaven.<br />
BJØRN.<br />
And s<strong>in</strong>ce I never use an umbrella aga<strong>in</strong>st the ra<strong>in</strong>,<br />
Then surely I must be drenched.<br />
FLEMMING.<br />
It couldn't be Holger Rosenkrantz<br />
From Vemmeltofte?<br />
BJØRN.<br />
If I said the name<br />
Of each and every person that it is not, you could<br />
Conclude from my manner who it is.<br />
ELISABETH (to FLEMMING).<br />
Why are you afraid to meet him <strong>in</strong> particular?<br />
FLEMMING.<br />
When I rode away from Tryggevæld, I told<br />
Ebbesen that I was go<strong>in</strong>g to see Rosenkrantz.<br />
If that is who is com<strong>in</strong>g now,<br />
Then I must ask him not to<br />
Betray me to Ebbesen.<br />
ELISABETH.<br />
Mr. Flemm<strong>in</strong>g!<br />
You cannot go out through the door now;<br />
The stranger must not see you.<br />
Go <strong>in</strong>to the side-room for the time be<strong>in</strong>g.<br />
197
FLEMMING.<br />
But make my suffer<strong>in</strong>g short, I beg you.<br />
I must hurry back, so that<br />
The k<strong>in</strong>g will not miss me.<br />
ELISABETH.<br />
Yes, just go, go!<br />
(FLEMMING goes <strong>in</strong>to a side room on the left.)<br />
SCENE TEN.<br />
ELISABETH. BJØRN.<br />
ELISABETH.<br />
Now you can speak, Bjørn! Who is the knight?<br />
BJØRN.<br />
Ah, mistress! He who comes most <strong>in</strong>conveniently<br />
Of all the knights on earth.<br />
ELISABETH.<br />
Then it must be Death.<br />
BJØRN.<br />
Death, mistress,<br />
Is not a knight.<br />
ELISABETH.<br />
198
Well, then who is it?<br />
It is Mr. Ebbesen.<br />
Himself.<br />
(Aside, as he leaves.)<br />
(He goes.)<br />
BJØRN.<br />
ELISABETH.<br />
What's that? You say...<br />
BJØRN.<br />
ELISABETH.<br />
Splendid! He comes most conveniently.<br />
BJØRN.<br />
How do you mean? I do not understand you.<br />
Conveniently! Just now Mr. Flemm<strong>in</strong>g...<br />
ELISABETH.<br />
Relax!<br />
Go, good Bjørn, and let him enter immediately!<br />
I await him with impatience.<br />
BJØRN.<br />
Immediately! Immediately!<br />
There is a secret hidden here.<br />
199
SCENE ELEVEN.<br />
ELISABETH alone.<br />
Now I shall show Flemm<strong>in</strong>g I can act,<br />
And that I do not sit idle,<br />
And expect time to do everyth<strong>in</strong>g. But as punishment<br />
For his impetuosity, he shall not know<br />
The plan I make. Ebbesen is the man!<br />
He is steady, I shall entrust myself to him;<br />
The other by his impulsiveness could<br />
Spoil the whole game.... Ah! There he is!<br />
SCENE TWELVE.<br />
ELISABETH. EBBESEN.<br />
EBBESEN.<br />
You are no doubt wonder<strong>in</strong>g, my noble young lady,<br />
Why I approach you so secretly;<br />
The k<strong>in</strong>g does not know of my errand,<br />
Nor should anyone else know of it.<br />
I heard terrified that your wedd<strong>in</strong>g<br />
To me, which is scarcely worthy of success,<br />
Was scheduled to be held already this even<strong>in</strong>g.<br />
It weighed heavily on my conscience<br />
That I had not yet asked for your hand.<br />
Our marriage has been decided by the k<strong>in</strong>g;<br />
But it would be unchivalrous, unmanly of me<br />
To take advantage of that, when first I ought to<br />
F<strong>in</strong>d out if your love is so <strong>in</strong>cl<strong>in</strong>ed.<br />
You have never told me that you love me,<br />
And truly, when I consider it myself,<br />
Then it seems very reasonable<br />
That you can make many better choices.<br />
Therefore I swear to you, as an honest man;<br />
I should rather expose myself to the k<strong>in</strong>g's wrath,<br />
Than marry you aga<strong>in</strong>st your will.<br />
200
ELISABETH.<br />
You speak as befits a knight.<br />
If your <strong>in</strong>tention is half as good as your speech,<br />
I am content.<br />
EBBESEN.<br />
How is that, my young lady?<br />
Do you doubt the s<strong>in</strong>cerity of my words?<br />
ELISABETH.<br />
I have not said that, or even thought it.<br />
But you seem somewhat reserved;<br />
And yet, if we are to act jo<strong>in</strong>tly,<br />
Then we should meet half-way.<br />
Now you are stand<strong>in</strong>g still, you do not move,<br />
But only signal to me. Do you expect<br />
Me to walk the whole way to you?<br />
You make the first step, I shall make the next.<br />
What do you mean?<br />
EBBESEN.<br />
ELISABETH.<br />
It appears to me<br />
You are court<strong>in</strong>g a refusal. If I gave it,<br />
The th<strong>in</strong>g would be most comfortable for you.<br />
Then on my responsibility alone, you could say:<br />
"Miss Munk has given me a refusal; I cannot<br />
Lead her to the altar by force; Heaven knows,<br />
How deeply the refusal grieves me!"<br />
EBBESEN.<br />
201
My noble young lady! Do not misunderstand me!<br />
That knight on whom you bestow your hand<br />
Is blissfully fortunate <strong>in</strong> the highest degree...<br />
If he loves me.<br />
ELISABETH.<br />
EBBESEN.<br />
Oh! He who resists your charm,<br />
He is made of stone...<br />
Elisabeth!<br />
ELISABETH.<br />
Ah! You yourself are stone.<br />
EBBESEN.<br />
ELISABETH.<br />
Hush, hush! Understand me rightly!<br />
I mean, you are as immovable<br />
As stone; you are stand<strong>in</strong>g completely still now,<br />
Instead of approach<strong>in</strong>g me handsomely.<br />
What you were pleased to say to me<br />
Was flattery, and there is no time for that.<br />
My charm, as you have called it,<br />
Is easy to resist, doubly easy,<br />
When one already has another love.<br />
EBBESEN.<br />
What? You believe...<br />
ELISABETH.<br />
202
(Ironically.)<br />
I shall not <strong>in</strong>quire<br />
How well-founded is the story circulat<strong>in</strong>g,<br />
That you have conference with the elf-girl.<br />
I have often laughed at it when I have heard it.<br />
I do not ask about it, do not want to know about it;<br />
I do not require any confession,<br />
And you will not question me either,<br />
Whether my heart had already made a choice.<br />
In this we shall both keep silence.<br />
But there is one th<strong>in</strong>g of which we must speak,<br />
Which we must be completely clear about!<br />
Do you dare to assure me that you love me?<br />
EBBESEN.<br />
My lady! I asked you first.<br />
ELISABETH.<br />
I see that one does not get anywhere with you.<br />
Do you believe I am so foolish<br />
As to th<strong>in</strong>k that every man should sigh for me?<br />
You are practic<strong>in</strong>g a false gallantry here<br />
For which there is neither time nor place.<br />
Well then, I shall s<strong>in</strong>g <strong>in</strong> your key:<br />
You love me, I do not doubt it....<br />
To madness, it cannot be less.<br />
But if now I had decided not to reciprocate,<br />
If I gave you a refusal, or made<br />
The whole wedd<strong>in</strong>g go on the rocks....<br />
Answer me candidly, would you then despair,<br />
Shoot, hang, drown yourself, and so forth?<br />
EBBESEN (<strong>in</strong> the same tone).<br />
This question deserves a straightforward answer:<br />
No, my young lady, no! It would not take me even a day;<br />
I believe I should then search for life,<br />
203
And see what comfort it could possibly br<strong>in</strong>g.<br />
ELISABETH.<br />
Now, the Lord be praised! I had expected that,<br />
I see you are a reasonable man....<br />
I believe we understand each other.... So<br />
Now jok<strong>in</strong>g aside! You will meet here<br />
At the wedd<strong>in</strong>g place this even<strong>in</strong>g, tak<strong>in</strong>g part<br />
In all the festivities, as a bridegroom.<br />
You must dance with me, you must show me<br />
Great care and attention.<br />
Now... the matter will be easy for you,<br />
Who love me so much. But when the time approaches<br />
For the church to jo<strong>in</strong> our hands,<br />
I shall feel ill, fall<strong>in</strong>g <strong>in</strong> a fa<strong>in</strong>t.<br />
Once the celebration is upset, we ga<strong>in</strong> time.<br />
But if you can also...<br />
EBBESEN.<br />
ELISABETH.<br />
Just be calm!<br />
I shall play my role; follow my plan;<br />
It is not the first time I have fa<strong>in</strong>ted.<br />
You are fasc<strong>in</strong>at<strong>in</strong>g!<br />
EBBESEN.<br />
ELISABETH.<br />
Yes, of course!... But silence!<br />
So nobody notices...<br />
EBBESEN.<br />
204
You can count on me.<br />
ELISABETH.<br />
Then abide by the agreement. Farewell!<br />
Now hurry away, and do not let anyone see you!<br />
EBBESEN (as he kisses her hand).<br />
Your jest <strong>in</strong> earnest is most charm<strong>in</strong>g.<br />
(ELISABETH leaves.)<br />
SCENE THIRTEEN.<br />
EBBESEN alone.<br />
It is a good plan; now my heart is light.<br />
This even<strong>in</strong>g the k<strong>in</strong>g will leave aga<strong>in</strong>.<br />
He who ga<strong>in</strong>s time, soon will w<strong>in</strong> more.<br />
SCENE FOURTEEN.<br />
EBBESEN. FLEMMING enters from the side room.<br />
FLEMMING (aside).<br />
I was listen<strong>in</strong>g; they walked away, so I must go after!<br />
I must talk with her one more time,<br />
Whatever it costs!<br />
EBBESEN.<br />
What am I see<strong>in</strong>g? Flemm<strong>in</strong>g!<br />
FLEMMING.<br />
205
What! Albert! Ebbesen? You here?<br />
EBBESEN.<br />
You rode to Rosenkrantz at Vemmeltofte?<br />
FLEMMING.<br />
You stayed home, <strong>in</strong> the company of the k<strong>in</strong>g?<br />
EBBESEN.<br />
Time can seem long to a bridegroom,<br />
But what are you do<strong>in</strong>g here?<br />
He loves her,<br />
He loves her!<br />
Might he be her lover?<br />
(To FLEMMING.)<br />
FLEMMING (aside).<br />
EBBESEN (aside).<br />
We must away! It is high time!<br />
FLEMMING.<br />
Away! Away! The soles of my feet are burn<strong>in</strong>g! (?)<br />
EBBESEN.<br />
What is wrong with you? What is the matter? Say someth<strong>in</strong>g!<br />
FLEMMING.<br />
206
(They go out.)<br />
Leave me <strong>in</strong> peace! I am barely conscious from grief!<br />
EBBESEN.<br />
Be happy! You will dance at my wedd<strong>in</strong>g.<br />
- - - - -<br />
THIRD ACT.<br />
The meadow <strong>in</strong> Tryggevæld Township, outside KAREN's house, as <strong>in</strong> the first act.<br />
SCENE ONE.<br />
The PEASANTS who entered <strong>in</strong> the first act, are stand<strong>in</strong>g with tankards <strong>in</strong> their hands,<br />
and dr<strong>in</strong>k<strong>in</strong>g. MOGENS is stand<strong>in</strong>g <strong>in</strong> their midst. KAREN pours for them. AGNETE<br />
allows herself sometimes to look among them. It is even<strong>in</strong>g, yet before sunset.<br />
MOGENS (s<strong>in</strong>gs).<br />
1.<br />
Now the day wears on so even, so plump,<br />
Already the moon stands over Stevn's sea cliff.<br />
The beaker gleams,<br />
Happ<strong>in</strong>ess beckons us,<br />
While coolness waves from the trees' garland.<br />
The dew falls<br />
With lustre of pearls,<br />
The even<strong>in</strong>g calls<br />
To song and dance.<br />
CHORUS.<br />
The beaker gleams, etc.<br />
207
2.<br />
Now the girl sits <strong>in</strong> the elf-thicket,<br />
And silently watches over the golden treasure,<br />
The k<strong>in</strong>g alone<br />
Peeps beh<strong>in</strong>d a branch,<br />
He glimpses our merriment, hears our song,<br />
Listens to the noise<br />
All by himself,<br />
Hears from the height<br />
Our beakers' r<strong>in</strong>g.<br />
CHORUS.<br />
The k<strong>in</strong>g alone, etc.<br />
MOGENS.<br />
3.<br />
Soon the moon, no longer pale, will tend<br />
Its night-light high over beech and oak.<br />
The stars will glitter<br />
Soon <strong>in</strong> the darkness,<br />
When the even<strong>in</strong>g is adorned for the festival.<br />
Freya will tw<strong>in</strong>e<br />
Her golden hair,<br />
We shall f<strong>in</strong>d the way<br />
To the wedd<strong>in</strong>g-garden.<br />
CHORUS.<br />
The stars will glitter, etc.<br />
MOGENS.<br />
Then let us now dr<strong>in</strong>k a toast to our sheriff!<br />
Long live him and his bride!<br />
PEASANTS.<br />
208
Hurrah! Long life!<br />
(They cl<strong>in</strong>k their tankards.)<br />
AGNETE (aside).<br />
Oh, what torment! Now it is wear<strong>in</strong>g on towards even<strong>in</strong>g,<br />
He is not com<strong>in</strong>g!<br />
MOGENS.<br />
What is wrong with our Ag<strong>net</strong>e!<br />
Why does she look out on the banquet so dejectedly?<br />
KAREN.<br />
Leave the girl <strong>in</strong> peace! What does it matter<br />
To you if she is dejected?<br />
MOGENS.<br />
Well said! I <strong>in</strong>tend noth<strong>in</strong>g bad.<br />
On such a day everybody should be merry.<br />
(He mixes among the PEASANTS.)<br />
KAREN (to AGNETE).<br />
Control yourself, do not let anybody notice anyth<strong>in</strong>g.<br />
Why are you so distressed, child?<br />
It is <strong>early</strong> yet, soon the others will leave,<br />
You can still go to Elves’ Hill.<br />
AGNETE.<br />
No, mother, no! I shall not go there this even<strong>in</strong>g.<br />
KAREN.<br />
209
Ag<strong>net</strong>e! But how are you feel<strong>in</strong>g?<br />
I hardly recognize you. Are you go<strong>in</strong>g to the wedd<strong>in</strong>g,<br />
Instead of to Elves’ Hill? Well then,<br />
Let us both accompany the others.<br />
AGNETE.<br />
To the wedd<strong>in</strong>g! No! I'd rather go to Elves’ Hill!<br />
But I shall stay here, <strong>in</strong> your house, Mother!<br />
SEVERAL.<br />
To danc<strong>in</strong>g! To danc<strong>in</strong>g!<br />
MOGENS.<br />
Let the danc<strong>in</strong>g beg<strong>in</strong>!<br />
KAREN (to AGNETE).<br />
Pull yourself together, child! We'll talk later.<br />
MOGENS.<br />
But if there is danc<strong>in</strong>g, then Karen must s<strong>in</strong>g.<br />
S<strong>in</strong>g, Karen, one of your old songs,<br />
And let our young people create a roundel.<br />
KAREN.<br />
Very well, but you must s<strong>in</strong>g along.<br />
MOGENS.<br />
I'll be glad to.<br />
210
SEVERAL.<br />
To danc<strong>in</strong>g! To danc<strong>in</strong>g!<br />
MOGENS.<br />
Let the danc<strong>in</strong>g beg<strong>in</strong>!<br />
(The PEASANTS dance dur<strong>in</strong>g the follow<strong>in</strong>g song.)<br />
KAREN.<br />
1.<br />
Deep <strong>in</strong> the sea, which foams with strong waves<br />
Aga<strong>in</strong>st Stevns' white mounta<strong>in</strong>,<br />
A mermaid hides herself <strong>in</strong> the depths<br />
In the fresh, cool, blue world.<br />
KAREN and MOGENS.<br />
But when the pale moon hangs over mirror -clear river,<br />
She ascends, and softly plays the harp.<br />
KAREN.<br />
Hush! Hush! What a delicious sound!<br />
Far over the waves sounds the mermaid's song.<br />
BOTH.<br />
Far over the waves sounds the mermaid's song.<br />
KAREN.<br />
The sea-cliff k<strong>in</strong>g gazes out from<br />
His white throne, recall<strong>in</strong>g vanished pleasure.<br />
"You who enrapture me with the harp's tone,<br />
Oh, my bride! Come to this breast!"<br />
211
KAREN and MOGENS.<br />
But she blushes warmly through the clear wave,<br />
The harp's tone dies, she stammers out her answer:<br />
KAREN.<br />
"Hush! Hush! Hush! I am not your bride!<br />
The wave is cold, it quenches love."<br />
BOTH.<br />
The wave is cold, it quenches love.<br />
KAREN.<br />
3.<br />
Sorrowfully he wanders away from the mounta<strong>in</strong>,<br />
He searches for peace <strong>in</strong> the elf-thicket,<br />
Wanders alone there by the spr<strong>in</strong>g-world,<br />
In the blue, moon-clear night.<br />
KAREN and MOGENS.<br />
There he keeps watch silently, and weaves his <strong>net</strong>s,<br />
Wrapp<strong>in</strong>g so many <strong>in</strong>nocent children <strong>in</strong> his embrace.<br />
KAREN.<br />
Hush! Hush! Hush! He is certa<strong>in</strong>ly near us!<br />
He has heard everyth<strong>in</strong>g concealed beh<strong>in</strong>d his trees.<br />
BOTH.<br />
He has heard everyth<strong>in</strong>g concealed beh<strong>in</strong>d his trees.<br />
(The dance comes to an end.)<br />
212
(as she pours for him).<br />
(after hav<strong>in</strong>g drunk).<br />
MOGENS.<br />
I am left feel<strong>in</strong>g strange, Karen,<br />
At these songs about our elf-k<strong>in</strong>g.<br />
Soon it will be even<strong>in</strong>g, then it will get dark,<br />
And we shall pass close by Elves’ Hill.<br />
KAREN.<br />
Then you aren't afraid, when you stroll<br />
In such a company?<br />
MOGENS.<br />
It makes me shudder<br />
Every time I th<strong>in</strong>k about the golden treasure<br />
The elf-girl guards.<br />
KAREN.<br />
Are you crazy?<br />
Then you do not have the courage to dig it up?<br />
MOGENS.<br />
What? Courage? I shall show you I have courage.<br />
Hurry up! Fill my tankard! Courage comes later.<br />
KAREN<br />
You are dr<strong>in</strong>k<strong>in</strong>g more than you can hold, Mogens!<br />
MOGENS<br />
And if I get drunk, what of it?<br />
213
It can happen today to the best of men.<br />
Fill the tankard aga<strong>in</strong>, it makes me brave.<br />
(She fills it, he holds it <strong>in</strong> his hand and dr<strong>in</strong>ks from it now and then.)<br />
(Aside.)<br />
(To MOGENS.)<br />
Tell me, Karen,... you understand it...<br />
Tell me aga<strong>in</strong>, what is it a man will do,<br />
When he wants to unearth a treasure yonder <strong>in</strong> Stevns?<br />
KAREN.<br />
I have often told you that.<br />
MOGENS.<br />
Tell me aga<strong>in</strong>.<br />
KAREN.<br />
Well, then...<br />
Perhaps it will frighten him.<br />
You know the church on Stevns' sea-cliff?<br />
Yes, Høierup.<br />
MOGENS.<br />
KAREN.<br />
A skipper built it<br />
Who had been <strong>in</strong> distress, about to be shipwrecked<br />
On Fælskov's reef; he promised heaven then<br />
That if his life was spared he would build<br />
A church on the sea-cliff. He was rescued,<br />
214
And built the church far out, near the edge of the cliff.<br />
Now the waves of the sea wash aga<strong>in</strong>st its foot,<br />
And tear great pieces out of the cliff;<br />
Soon the church will topple down, if every<br />
Christmas Eve they do not move it <strong>in</strong>land,<br />
By as much as a handsbreadth.<br />
I know that!<br />
Now cont<strong>in</strong>ue!<br />
MOGENS.<br />
KAREN.<br />
But the churchyard gives way<br />
Cont<strong>in</strong>ually before the sea's power.<br />
The long knuckles of the buried dead<br />
Are exposed to the light on the cliffside,<br />
And many arms, as pale as mounta<strong>in</strong> chalk,<br />
Po<strong>in</strong>t with withered f<strong>in</strong>gers out over the sea.<br />
MOGENS.<br />
I know that! Cont<strong>in</strong>ue!<br />
KAREN.<br />
If one goes there<br />
At midnight, one creeps up onto the cliff,<br />
But it is steep, and the sea is down below,...<br />
Mark this well! It can cost your life...<br />
MOGENS.<br />
I know that! Cont<strong>in</strong>ue!<br />
KAREN.<br />
If then one unearths<br />
215
(Aside.)<br />
Three knuckles, and br<strong>in</strong>gs them down to the place<br />
Where the treasure is buried; one digs it up,<br />
And no witchcraft can then conceal it<br />
From the eye or the hand.<br />
MOGENS.<br />
That is right.<br />
That is how you told it to me before.<br />
I have supplied myself with what I shall need.<br />
KAREN.<br />
Why do you stare so wildly?<br />
MOGENS.<br />
Fill my tankard,<br />
And don't ask me!<br />
KAREN.<br />
The sheriff is com<strong>in</strong>g!<br />
MOGENS.<br />
Then pour! Pour! Now we must really dr<strong>in</strong>k.<br />
(KAREN fills the beakers for him and the others.)<br />
SCENE TWO.<br />
The preced<strong>in</strong>g. EBBESEN and FLEMMING, both <strong>in</strong> festive dress, come from the left<br />
side. Two pages follow them.<br />
216
(She runs out.)<br />
EBBESEN.<br />
Good even<strong>in</strong>g, my friends! Have they<br />
Taken care of you, as I would have it?<br />
Have song and dance and cl<strong>in</strong>k<strong>in</strong>g tankards delighted you?<br />
Yes, sire, yes!<br />
I am pleased.<br />
PEASANTS.<br />
EBBESEN.<br />
AGNETE (aside).<br />
It is he!<br />
In handsome wedd<strong>in</strong>g clothes! Oh, so he betrayed<br />
Ag<strong>net</strong>e's trust! Now it is all over!<br />
SCENE THREE.<br />
The preced<strong>in</strong>g, except AGNETE.<br />
EBBESEN.<br />
You pages! Come here!<br />
(The PAGES approach.)<br />
Do not forget<br />
What I have charged you: Pay no attention<br />
To these peasants while the k<strong>in</strong>g is here.<br />
I have told you, his grace will have it so.<br />
He is leav<strong>in</strong>g here before midnight,<br />
And will not waste time receiv<strong>in</strong>g<br />
217
The greet<strong>in</strong>gs and good wishes of these people.<br />
You know his will, see to it!<br />
(The PAGES bow and step back.)<br />
KAREN (br<strong>in</strong>gs two tankards).<br />
Mr. Sheriff, you must dr<strong>in</strong>k a tankard handsomely<br />
With our peasants! You too, Mr. Flemm<strong>in</strong>g!<br />
FLEMMING.<br />
What? I? No, old woman, save your mead!<br />
KAREN.<br />
Why so? I believe you are still angry.<br />
You became angry this morn<strong>in</strong>g; do not let the sun<br />
Go down on it.<br />
FLEMMING.<br />
Old woman! Leave me alone!<br />
EBBESEN.<br />
Oh, do not bother about him! He is a little upset;<br />
It will pass, but he needs to<br />
Move his legs <strong>in</strong> the danc<strong>in</strong>g salon.<br />
FLEMMING.<br />
Be quiet! Do not make fun of me.<br />
EBBESEN.<br />
Consider, my dear friend,<br />
You shall appear on our k<strong>in</strong>g's behalf,<br />
218
You do not resemble him at all with such a face.<br />
(KAREN meanwhile has poured for EBBESEN and the others.)<br />
MOGENS.<br />
Long live our sheriff! Long live his bride!<br />
(They empty the tankards.)<br />
EBBESEN.<br />
Yes, I shall empty this for my bride.<br />
(He empties the tankard. Aside.)<br />
(To the PEASANTS.)<br />
Where is she? I have been look<strong>in</strong>g for her <strong>in</strong> va<strong>in</strong>!...<br />
I thank you, friends!... Is it true!...<br />
Will you accompany me to Høistrup this even<strong>in</strong>g?<br />
Yes, sire, yes!<br />
PEASANTS.<br />
EBBESEN.<br />
I thank you all!<br />
I expected it, and therefore I ordered<br />
My carriage to drive some distance ahead,<br />
It waits on the other side of the bridge;<br />
I shall walk there with you on foot;<br />
Then I shall get <strong>in</strong> with Flemm<strong>in</strong>g, we shall drive<br />
In haste to the bride's house, and later<br />
We shall see you aga<strong>in</strong> at the celebration.... Now, away!<br />
PEASANTS.<br />
219
Away! Away!<br />
EBBESEN (aside).<br />
Where is Ag<strong>net</strong>e?<br />
Oh, if I could only reassure the beloved<br />
With a friendly word before my departure!<br />
CHORUS of PEASANTS.<br />
1.<br />
Now when the sheriff departs,<br />
We accompany him to the bride's house.<br />
There we shall have new celebrations,<br />
Once more they shall fill our tankards.<br />
2.<br />
We shall know the way by the moon;<br />
The house itself has a starry radiance;<br />
The wedd<strong>in</strong>g lights and burn<strong>in</strong>g lamps<br />
Beckon so cl<strong>early</strong> to a nocturnal dance.<br />
3.<br />
Light streams through a distant w<strong>in</strong>dow,<br />
Yonder is a proud knight's room.<br />
Hurrah for the bridegroom! Hurrah for the bride!<br />
Hurrahs will fill forest and valley!<br />
(Dur<strong>in</strong>g the latter part of the chorus, EBBESEN and FLEMMING cross the bridge,<br />
followed by the PAGES and all the PEASANTS.)<br />
SCENE FOUR.<br />
MOGENS. KAREN.<br />
KAREN.<br />
Why aren't you go<strong>in</strong>g with them? Hurry up;<br />
Consider, that if you are walk<strong>in</strong>g alone,<br />
The elf-girl can take you by the neck.<br />
220
(She fills it.)<br />
(Dr<strong>in</strong>ks.)<br />
MOGENS.<br />
I am go<strong>in</strong>g, but fill my tankard once more,<br />
So I can work up courage for my stroll.<br />
KAREN.<br />
What? Do you want to dr<strong>in</strong>k still more?<br />
Fill it! Fill it!<br />
Well!<br />
MOGENS (seizes the tankard).<br />
KAREN.<br />
MOGENS.<br />
Soon the night will fall.<br />
Hurrah for the elf-girl and for the treasure!<br />
(Walks quickly across the bridge.)<br />
SCENE FIVE.<br />
KAREN alone.<br />
How wild he is! He has drunk far too much....<br />
Now I must speak with Ag<strong>net</strong>e.... Poor th<strong>in</strong>g!<br />
Every day she grows more preoccupied,<br />
And loses herself <strong>in</strong> deep dream<strong>in</strong>g....<br />
221
Where did she go?... Here she comes.<br />
SCENE SIX.<br />
KAREN. AGNETE.<br />
In the meanwhile it has grown darker. In a little while it is even<strong>in</strong>g, but the moon<br />
sh<strong>in</strong>es brightly.<br />
AGNETE.<br />
Mother!<br />
Has everyone gone?<br />
KAREN.<br />
Yes, they have gone!<br />
One can still hear their shout<strong>in</strong>g <strong>in</strong> the distance....<br />
AGNETE.<br />
Oh God! Then my last hope is gone.<br />
KAREN.<br />
What do you mean?<br />
AGNETE.<br />
I love Ebbesen!<br />
Now I have said it! Come what will!<br />
KAREN.<br />
Ag<strong>net</strong>e! Are you crazy? But...<br />
222
AGNETE.<br />
Mother!<br />
I have often been about to confess it to you,<br />
But fear suppressed it.<br />
KAREN.<br />
Are you dream<strong>in</strong>g?<br />
Do you mean our sheriff, who is marry<strong>in</strong>g<br />
Miss Munk this even<strong>in</strong>g?<br />
AGNETE.<br />
Spare me, spare me!<br />
I feel my humiliation; but yet...<br />
Even though he has faithlessly betrayed his oath,<br />
I still believe that he loves me.... Believe it?<br />
No, no, I know it!... Even if he said to me:<br />
"I do not love you any more," I would answer boldly:<br />
"You lie, sire! I am still your beloved!<br />
KAREN.<br />
Ag<strong>net</strong>e! Ah, I am trembl<strong>in</strong>g! Yet tell me,<br />
When have you talked with the sheriff, and how?<br />
AGNETE.<br />
In the even<strong>in</strong>g at twilight, and <strong>in</strong> the morn<strong>in</strong>g,<br />
On Elves’ Hill.<br />
KAREN.<br />
On Elves’ Hill! Ag<strong>net</strong>e!<br />
You terrify me!... Unlucky girl!<br />
You yourself do not recognize your offense!<br />
AGNETE.<br />
223
Mother!<br />
For heaven's sake! What do you mean?<br />
KAREN.<br />
Ah, do not call me<br />
Mother! I am no longer your mother.<br />
AGNETE.<br />
Is your anger so cruel? Am I not unfortunate<br />
Enough already? Shall I also be burdened<br />
With be<strong>in</strong>g cursed?<br />
KAREN.<br />
My child!<br />
Would I curse you? Come, Ag<strong>net</strong>e!<br />
Come to my heart! It beats only for you.<br />
(throws herself <strong>in</strong>to her arms).<br />
AGNETE.<br />
Let me gather faith at your breast!<br />
But what did your words mean? You said<br />
I must no longer call you Mother?<br />
KAREN.<br />
Ah, dear child! I am not your mother.<br />
How is that?<br />
AGNETE.<br />
KAREN.<br />
224
Unfortunate girl! You must know,<br />
As a child you were kidnapped by the elves,<br />
Your bridegroom is the elf-k<strong>in</strong>g.<br />
Oh, Mother!<br />
AGNETE.<br />
KAREN.<br />
Oh, if only it could still rema<strong>in</strong> hidden from you!<br />
But now you must know it.<br />
Oh, tell me!<br />
AGNETE.<br />
KAREN.<br />
I had a child who was called Ag<strong>net</strong>e,<br />
But <strong>in</strong> <strong>early</strong> <strong>in</strong>fancy she died.<br />
One even<strong>in</strong>g I walked away from the little dead one<br />
Out <strong>in</strong>to the forest, griev<strong>in</strong>g. Suddenly<br />
By Elves’ Hill I heard a child cry<strong>in</strong>g;<br />
I went over there; I found you ly<strong>in</strong>g<br />
In the grass, picked you up and carried you home,<br />
Buried the little corpse <strong>in</strong> silence, concealed<br />
The matter carefully and gave you out<br />
To be my Ag<strong>net</strong>e. Child! You are a heathen,<br />
You have not received Christian baptism!<br />
Therefore the elf-k<strong>in</strong>g could steal you.<br />
Oh, heavens!<br />
AGNETE.<br />
KAREN.<br />
225
You wore a cha<strong>in</strong> around your throat,<br />
On which was a r<strong>in</strong>g with large diamonds<br />
That sparkled like stars. This treasure<br />
Carried the elf-k<strong>in</strong>g's symbol;<br />
S<strong>in</strong>ce he is rich <strong>in</strong> diamonds and jewels.<br />
He entices the young by the sight of gold,<br />
And with a precious r<strong>in</strong>g he betrothes himself<br />
Forever to the easily deceived child.<br />
AGNETE.<br />
Mother! You terrify me!<br />
KAREN.<br />
My cottage<br />
Was too humble for such a treasure,<br />
Which thieves could steal, or fire destroy.<br />
I put the r<strong>in</strong>g <strong>in</strong> a jar, buried it<br />
In silence at the foot of Elves’ Hill,<br />
In the same place where I had found you,<br />
In the same place where an <strong>in</strong>st<strong>in</strong>ct,<br />
Which you yourself did not understand, so often<br />
Drew you <strong>in</strong> the twilight, while everyone<br />
Who saw you turned aside for fear of the elf-girl.<br />
AGNETE.<br />
No, Mother, no! The <strong>in</strong>st<strong>in</strong>ct which drew me<br />
Was love. I met Ebbesen there,<br />
S<strong>in</strong>ce the place is frighten<strong>in</strong>g, and therefore solitary.<br />
KAREN.<br />
You have committed a double s<strong>in</strong>, Ag<strong>net</strong>e!<br />
S<strong>in</strong>ce Ebbesen is a bridegroom, you are a bride,<br />
The elf-k<strong>in</strong>g's bride!... Unfortunate!<br />
And by his hill, where he lurks concealed,<br />
There you have met your love!... Ah, Ag<strong>net</strong>e!<br />
Has he not touched you with outstretched sceptre?<br />
Have you not heard his compla<strong>in</strong><strong>in</strong>g sigh <strong>in</strong> the spr<strong>in</strong>g,<br />
226
His bitterness <strong>in</strong> the w<strong>in</strong>d? Have the white mists<br />
Which weave on the meadow never<br />
Embraced you with a moist and clammy cold?<br />
AGNETE.<br />
No, Mother, no! I have never seen him.<br />
KAREN.<br />
(seizes a little stick, and extends it to AGNETE).<br />
Then go, go immediately to the place where he rules!<br />
But go alone! Then perhaps he will come.<br />
Take this stick; the sharp iron tip on it<br />
Was forged by witchcraft; dig up the treasure,<br />
It lies under the greensward, by the bank,<br />
On the right side, quite low down. Invoke him!<br />
Call him at the foot of the hill and at its top,<br />
In bush and thicket, by the spr<strong>in</strong>g and by the stream;<br />
And if he comes, give the r<strong>in</strong>g back to him,<br />
Request your freedom; if he does not take the r<strong>in</strong>g,<br />
Then throw it to him, turn quickly around,<br />
Take flight immediately, and do not look back!<br />
Oh, great God!<br />
AGNETE.<br />
KAREN.<br />
What? Do you not have the courage?<br />
AGNETE.<br />
Yes, I have courage for everyth<strong>in</strong>g <strong>in</strong> order to be free.<br />
KAREN.<br />
227
(As she goes.)<br />
Then go!<br />
I am go<strong>in</strong>g!<br />
AGNETE.<br />
Now give me strength, o heaven!<br />
KAREN (shout<strong>in</strong>g after her).<br />
Be brave! Be brave! I shall wait for you <strong>in</strong> the cottage.<br />
(AGNETE goes over the bridge. KAREN goes <strong>in</strong>to her house.)<br />
SCENE SEVEN.<br />
The KING enters from the left side, followed by HENRIK RUD and a HUNTER.<br />
KING.<br />
Mr. Henrik Rud! Now you know my will.<br />
RUD.<br />
Yes, sire! Your courtiers are follow<strong>in</strong>g you; they are<br />
Already on the way: they will be here <strong>in</strong> a little while.<br />
A hunt <strong>in</strong> moonlight is someth<strong>in</strong>g rare.<br />
Yet the spoils will scarcely be large;<br />
Perhaps here and there a badger <strong>in</strong> the thicket.<br />
KING.<br />
Be that as it may! I need a pretext here,<br />
And a hunt<strong>in</strong>g party can serve well for that,<br />
Even if there were no moon <strong>in</strong> the sky.<br />
228
How quiet everyth<strong>in</strong>g is! Already Ebbesen has gone<br />
To Høistrup with Paul Flemm<strong>in</strong>g; the peasants<br />
Are also gone, the time is convenient.<br />
RUD.<br />
Now certa<strong>in</strong>ly the elf-girl is los<strong>in</strong>g herself <strong>in</strong> the thicket.<br />
KING.<br />
She is just the one I am look<strong>in</strong>g for. Isn't it so, Henrik?<br />
Haven't you noticed it: this morn<strong>in</strong>g Flemm<strong>in</strong>g<br />
Was happy, but this even<strong>in</strong>g completely dejected,<br />
And Ebbesen, who was dejected this morn<strong>in</strong>g<br />
Was happy this even<strong>in</strong>g?<br />
RUD.<br />
That cannot be denied.<br />
KING.<br />
As they say, there is someth<strong>in</strong>g hidden <strong>in</strong> it. The girl<br />
By Elves’ Hill is certa<strong>in</strong>ly part of the game.<br />
They want to deceive me; I do not trust them.<br />
But I shall follow the track.<br />
RUD.<br />
Your grace<br />
Is wont to see with your own eyes, hear<br />
With your own ears.<br />
KING.<br />
I shall still do that.<br />
They believe I do not dare cross the bridge?<br />
Who knows? Perhaps they depend upon that themselves?<br />
Well then, I shall show them.<br />
229
I hear<br />
Your hunters.<br />
RUD.<br />
KING.<br />
Then let us hurry,<br />
Before they have reached us. Do they know<br />
That I have gone ahead?<br />
Yes, sire!<br />
RUD.<br />
KING.<br />
Well then, away! I am not Cæsar,<br />
And these waves are not Rubicon;<br />
But yet I say: jacta est alea!<br />
(Goes quickly over the bridge, followed by RUD and the HUNTERS.)<br />
SCENE EIGHT.<br />
The COURTIERS of the k<strong>in</strong>g's ret<strong>in</strong>ue come <strong>in</strong> from the left side, all <strong>in</strong> hunt<strong>in</strong>g dress.<br />
CHORUS.<br />
1.<br />
Glorious, a summer night<br />
On the way to an elf-thicket,<br />
Rest by the cool spr<strong>in</strong>g!<br />
Luna's silver band<br />
W<strong>in</strong>ds around Endymion,<br />
Spy<strong>in</strong>g <strong>in</strong> bush and <strong>in</strong> valley.<br />
230
2.<br />
If you meet a nymph,<br />
Leave her to herself!<br />
Hunter, o let her go!<br />
Remember that Actæon was<br />
Punished for a bold glance!<br />
Hunter, o you take care!<br />
3.<br />
Walk on the safe road,<br />
Do not get lost and lose yourself,<br />
Hunter, <strong>in</strong> case you are taken!<br />
But if you have lost our track,<br />
Listen to our hunter's chorus,<br />
That will call you back.<br />
(They cross the bridge.)<br />
- - - - -<br />
FOURTH ACT.<br />
A meadow <strong>in</strong> the thicket. A stream flows from a spr<strong>in</strong>g, and curves around the foot of<br />
the hill. It is a clear moonlit night.<br />
SCENE ONE.<br />
MOGENS with a spade <strong>in</strong> his hand.<br />
So now I have become a treasure-hunter.<br />
Be brave! This is the critical moment!... I have<br />
Never before been at this place so late.<br />
I always walked around it at a distance,<br />
And very often saw the elf-girl on the hill....<br />
There she is!... No, it was only the moon,<br />
Play<strong>in</strong>g upon a bush. Moonlight<br />
Is no good; I like the dark better,<br />
Real pitch-black gloom,<br />
In which one cannot dist<strong>in</strong>guish anyth<strong>in</strong>g. This light<br />
Confuses the eye with so many images.<br />
Here that is not possible; but on the other side,<br />
231
Where the elf-girl likes to sit,<br />
Where the treasure is buried.... Oh! I am shak<strong>in</strong>g!<br />
What if she is sitt<strong>in</strong>g there when I arrive,<br />
And frightens me away from my work?<br />
Cheer up! Noth<strong>in</strong>g ventured, noth<strong>in</strong>g ga<strong>in</strong>ed.<br />
(He goes beh<strong>in</strong>d the hill.)<br />
SCENE TWO.<br />
AGNETE.<br />
(comes <strong>in</strong> with the stick <strong>in</strong> her hand).<br />
You be<strong>in</strong>gs, who hover about these places!<br />
If your power is more than magic tricks,<br />
Then spare the unlucky one, who laments<br />
That she belonged to you from birth!<br />
You k<strong>in</strong>g, who rules this thicket,<br />
Show yourself to me, but <strong>in</strong> gentle beams,<br />
So that my eyes may endure the silver gleams<br />
As easily as the moon's radiance tonight!<br />
You mist-images, whose dance enterta<strong>in</strong>s<br />
The monarch who lives here <strong>in</strong> the hill!<br />
Will you regard me as your sister,<br />
And <strong>in</strong>clude me <strong>in</strong> your graceful chorus?<br />
Forgive me! Even if I am the cause:<br />
I have wandered here as elf-girl,<br />
Have approached your hidden riches,<br />
Have felt your threaten<strong>in</strong>g attraction pass by.<br />
Here, far from the mobs and the noise,<br />
I have met my beloved <strong>in</strong> this silent grove,<br />
Heard oaths of fidelity from his ly<strong>in</strong>g mouth.<br />
No, I shall not see this place aga<strong>in</strong>,<br />
Which was the graveyard of my young happ<strong>in</strong>ess,<br />
Where now I tread on the withered myrtle,<br />
Which was planted by a faithless friend!<br />
And yet... yet it is there the earth conceals<br />
My birth-r<strong>in</strong>g <strong>in</strong> its hid<strong>in</strong>g place.<br />
I must go there!... What is that I see?<br />
Yonder it sounded like the noise of a spade!<br />
Is this sound perhaps the elf-k<strong>in</strong>g's message?<br />
232
Will he imprison me with that r<strong>in</strong>g<strong>in</strong>g iron?<br />
But if I come, perhaps he will threaten me<br />
With an outstretched f<strong>in</strong>ger, and call me his bride.<br />
I am confused, let me seek rest!<br />
My thoughts swarm and my feet are weak.<br />
By these waves, which rush murmur<strong>in</strong>g<br />
From the hill out through the dark thicket,<br />
I shall seek peace for my fear, for my sorrow.<br />
From the k<strong>in</strong>g's deep dwell<strong>in</strong>g <strong>in</strong> the spr<strong>in</strong>gs.<br />
O small waves, will you tell me<br />
A story from your ruler's castle!<br />
(She sits on a tree-stump at the foot of the hill, and falls asleep. Then the<br />
follow<strong>in</strong>g dream, visible to the audience, is presented: The ELF-GIRLS dance <strong>in</strong> the<br />
meadow <strong>in</strong> the moonlight. They notice AGNETE, and draw the ELF-KING over to her.<br />
He moves<br />
quite close to her, shows her a sign of love, and extends to her a diamond r<strong>in</strong>g. AGNETE<br />
awakens, gets up, and is about to take the r<strong>in</strong>g, when the ELF-KING s<strong>in</strong>ks <strong>in</strong>to the earth,<br />
and the ELF-GIRLS disappear.)<br />
AGNETE.<br />
My God! Was that a dream?<br />
(She holds her hands <strong>in</strong> front of her eyes.)<br />
SCENE THREE.<br />
AGNETE. MOGENS comes <strong>in</strong> from beh<strong>in</strong>d the hill. He has a diamond r<strong>in</strong>g <strong>in</strong> his<br />
hand; he looks at it attentively as he steps forward, so that he comes to stand quite near<br />
AGNETE without see<strong>in</strong>g her.<br />
MOGENS.<br />
A precious r<strong>in</strong>g!<br />
Truly, a rare treasure!<br />
AGNETE.<br />
(tak<strong>in</strong>g her hands from her eyes).<br />
233
Yet... I saw<br />
The golden r<strong>in</strong>g so cl<strong>early</strong>; it sparkled<br />
With large diamonds.<br />
(She turns and see MOGENS hold<strong>in</strong>g the r<strong>in</strong>g <strong>in</strong> his hand.)<br />
Yes, that's it!<br />
(She reaches out her hand and takes the r<strong>in</strong>g.)<br />
(He runs away.)<br />
MOGENS.<br />
Ah! It is the elf-girl! Heaven help me!<br />
SCENE FOUR.<br />
AGNETE (alone).<br />
Who was he who brought me the r<strong>in</strong>g?<br />
Why did he run away?<br />
(Contemplates the r<strong>in</strong>g.)<br />
How strange! Just like<br />
I saw it <strong>in</strong> the dream!... Now I have it!<br />
But the k<strong>in</strong>g? How shall I f<strong>in</strong>d him?<br />
And I wonder if he will take it back?<br />
In my dream he was so friendly towards me,<br />
He bowed to me, gave me the r<strong>in</strong>g,<br />
As if he betrothed himself to me a second time....<br />
Someone is com<strong>in</strong>g! Where shall I hide?<br />
SCENE FIVE.<br />
AGNETE stand<strong>in</strong>g <strong>in</strong> the foreground to the left. The KING enters <strong>in</strong> the background,<br />
followed by RUD and the HUNTERS.<br />
234
It must be this place.<br />
KING (still <strong>in</strong> the background).<br />
RUD.<br />
I should say so!<br />
Will your grace observe that<br />
A girl is stand<strong>in</strong>g over there, lighted by the moon,<br />
So f<strong>in</strong>e a creature, so bright, even transparent,<br />
That whoever saw her could boldly swear<br />
He has actually seen the elf-girl.<br />
KING.<br />
As true as I am alive!... Stay back, Rud!<br />
Be careful! Let us not alarm her;<br />
She could disappear like a mist,<br />
She looks so evanescent. Stay here,<br />
I shall leave the path by myself.<br />
(RUD and the HUNTERS rema<strong>in</strong> <strong>in</strong> the background, the KING steps forward.)<br />
(She wants to hide.)<br />
AGNETE.<br />
They are approach<strong>in</strong>g!<br />
KING.<br />
Good even<strong>in</strong>g, lovely girl,<br />
Be calm! You have noth<strong>in</strong>g to fear.<br />
I am a stranger who does not know the way.<br />
Will you give me directions?<br />
Yes, sire!<br />
AGNETE.<br />
235
What are you look<strong>in</strong>g for?<br />
The elf-girl!<br />
KING.<br />
I am look<strong>in</strong>g for the elf-girl.<br />
AGNETE.<br />
KING.<br />
Isn't it true that she rules<br />
In this hidden place, and shows herself<br />
In moonlight to the wanderer?<br />
Oh, sire!<br />
AGNETE.<br />
KING.<br />
Why are you so disturbed? Tell me, beautiful child,<br />
Am I already stand<strong>in</strong>g at the goal I am seek<strong>in</strong>g?<br />
Aren't you yourself the elf-girl?<br />
AGNETE.<br />
Oh, do not mock me, sire!<br />
KING.<br />
Mock you?<br />
By heaven! No, I wish to pay homage to your beauty<br />
By this question. They have told me<br />
That the elf-girl often shows herself here,<br />
And you, you look so charm<strong>in</strong>g to me,<br />
As if you were made of snow and mounta<strong>in</strong> air.<br />
236
AGNETE.<br />
No, sire, I am only a mortal,<br />
Not the elf-girl, I would not be that<br />
For all the gold and diamonds <strong>in</strong> the world!<br />
Oh God! I myself walk here with a frightened heart,<br />
For fear of the elf-girl, who perhaps<br />
Lies <strong>in</strong> wait for me unseen.<br />
KING.<br />
Is there<br />
Another elf-girl here, then?<br />
So they say.<br />
AGNETE.<br />
KING.<br />
What? Then I have not yet found the right one?<br />
AGNETE.<br />
No, it is not I! Not I.<br />
KING.<br />
My child,<br />
Who are you then, if not the one I am look<strong>in</strong>g for?<br />
AGNETE.<br />
I am a poor peasant girl, sire!<br />
My mother's name is Karen, her cottage<br />
Stands by the river <strong>in</strong> Tryggevæld township.<br />
I am not ly<strong>in</strong>g, sire! If you <strong>in</strong>quire,<br />
237
(Aside.)<br />
(To AGNETE.)<br />
You will learn that I have told the truth.<br />
My mother is a cotter's widow, sire,<br />
But well-known.<br />
KING.<br />
My child! I do not doubt you.<br />
Ah! It is she of whom Flemm<strong>in</strong>g spoke.<br />
But tell me, child, what are you do<strong>in</strong>g here so late?<br />
Have you made an assignation with your lover?<br />
AGNETE.<br />
My lover, sire! I have no lover!<br />
KING.<br />
Then what has attracted you so late<br />
To this hidden place? You say yourself<br />
You walk here with a frightened heart!... Girl,<br />
What are you look<strong>in</strong>g for here?<br />
Oh God!<br />
AGNETE.<br />
KING.<br />
Speak boldly!<br />
You can entrust your thoughts to me calmly,<br />
Are you <strong>in</strong> trouble? Have faith <strong>in</strong> me,<br />
Perhaps I can help you to accomplish someth<strong>in</strong>g.<br />
238
AGNETE.<br />
Yes, sire! You appear to be good and noble,<br />
You have a manly bear<strong>in</strong>g, <strong>in</strong>spir<strong>in</strong>g trust<br />
In the breast of the abandoned. And yet...<br />
There is someth<strong>in</strong>g stern <strong>in</strong> your look....<br />
No... not stern... I do not know what to call it,<br />
But I am almost shy before your glance;<br />
It gives me confidence, but it also fills me<br />
With fear... with veneration, I mean,<br />
With deep respect. See, there is the word!<br />
KING.<br />
In truth, this language is no peasant's.<br />
My child, where have you learned to speak so well?<br />
If I awaken fear and trust <strong>in</strong> you,<br />
Then forget the first, let the second prevail!<br />
By heaven! You are already precious to me!<br />
Speak out, what are you look<strong>in</strong>g for?<br />
AGNETE.<br />
Ah, noble sire...<br />
But you will laugh at me.<br />
KING.<br />
No, dear child!<br />
Speak boldly! Tell me everyth<strong>in</strong>g!<br />
AGNETE.<br />
I am look<strong>in</strong>g for the k<strong>in</strong>g.<br />
KING.<br />
As true as I am alive! That answers itself, oddly enough:<br />
You are look<strong>in</strong>g for the k<strong>in</strong>g, and you are stand<strong>in</strong>g <strong>in</strong> front of him.<br />
239
What?<br />
As I say.<br />
AGNETE.<br />
KING.<br />
AGNETE.<br />
No, sire!<br />
You have broken your promise, you are mock<strong>in</strong>g me!<br />
KING.<br />
I am tell<strong>in</strong>g the truth; is that so <strong>in</strong>credible?<br />
AGNETE.<br />
You are like one of us, of flesh and blood.<br />
KING.<br />
My child! Is not a k<strong>in</strong>g of flesh and blood?<br />
AGNETE.<br />
No, sire, no! He is a fleet<strong>in</strong>g mist,<br />
Who hovers for a whiff <strong>in</strong> the even<strong>in</strong>g breeze;<br />
His heart has no blood, his bones have no marrow,<br />
He has no resemblance to you.<br />
KING.<br />
God's death!<br />
I call that a pretty conception of a k<strong>in</strong>g!<br />
240
AGNETE.<br />
You are gett<strong>in</strong>g angry!<br />
KING.<br />
No! No! Now I have it!<br />
Do you mean the elf-k<strong>in</strong>g?<br />
AGNETE.<br />
Yes, who else?<br />
KING.<br />
Who else?... Can you ask that, my child?<br />
Is there no other k<strong>in</strong>g known to you,<br />
Than the one your superstition has created?<br />
AGNETE.<br />
You will not lead me to believe, sire,<br />
That you are K<strong>in</strong>g Christian?<br />
KING.<br />
Lead you to believe?<br />
AGNETE.<br />
S<strong>in</strong>ce that would be even more <strong>in</strong>credible.<br />
And why is that?<br />
KING.<br />
241
AGNETE.<br />
K<strong>in</strong>g Christian does not dare come<br />
To Stevns; the elf-k<strong>in</strong>g will not tolerate him.<br />
KING.<br />
My child, your <strong>in</strong>nocence makes me smile.<br />
Now you can see that the k<strong>in</strong>g is <strong>in</strong> Stevns,<br />
And that your elf-k<strong>in</strong>g must tolerate him.<br />
You can learn from this, that from now on<br />
The elf-k<strong>in</strong>g's authority is at an end,<br />
And you have noth<strong>in</strong>g more to fear from him.<br />
AGNETE.<br />
No, sire, no! I dare not believe that!<br />
S<strong>in</strong>ce my <strong>early</strong> childhood I have heard<br />
That the k<strong>in</strong>g does not dare come to Stevns.<br />
KING.<br />
God's death! I am los<strong>in</strong>g my patience.<br />
You do not recognize here any other k<strong>in</strong>g<br />
Than the one which your imag<strong>in</strong>ation has created.<br />
It is time I deposed him,<br />
And show you, you fool, who governs.<br />
You believe <strong>in</strong> someth<strong>in</strong>g that is only a figment of the imag<strong>in</strong>ation;<br />
And I, who am stand<strong>in</strong>g visibly before your eyes,<br />
You dare to deny me life and truth?<br />
Let go of this ignorant thought!<br />
If someth<strong>in</strong>g sorrowful weighs on your heart,<br />
If some desire lies <strong>in</strong> your bosom,<br />
Then turn to the k<strong>in</strong>g, before whose countenance<br />
You are placed here! Confide your sorrow to him,<br />
Express your hope, your fear to him!<br />
That was always the custom <strong>in</strong> Denmark;<br />
I can see the future <strong>in</strong> spirit: thus it shall be!<br />
AGNETE.<br />
242
(throws herself down before his feet).<br />
O God's ano<strong>in</strong>ted! I recognize you!<br />
How my eye was bl<strong>in</strong>d to your radiance!<br />
Now I feel it: The fire <strong>in</strong> the glance,<br />
Which <strong>in</strong>spires faith and trust <strong>in</strong> my bosom,<br />
While it also bows me <strong>in</strong> the dust<br />
Before your feet; even that noble wrath,<br />
Whose lightn<strong>in</strong>g flash blazes <strong>in</strong> your speech's thunder,<br />
Everyth<strong>in</strong>g says to me that you are the monarch!<br />
KING (rais<strong>in</strong>g her up).<br />
Stand up, my daughter! Tell your errand<br />
To him you first named with the name of a k<strong>in</strong>g.<br />
AGNETE.<br />
Oh, he is powerless from this hour!<br />
Before the Skoldung* sun he and all the mists<br />
Recede, which suck nourishment from the moon.<br />
(*The name of the Danish royal family.)<br />
KING.<br />
What do you want with him, then?<br />
AGNETE.<br />
Oh God!...<br />
To give him back this r<strong>in</strong>g.<br />
KING.<br />
Give it to me!<br />
(AGNETE gives him the r<strong>in</strong>g.)<br />
What am I see<strong>in</strong>g!<br />
243
My gift as godfather to Elisabeth!<br />
How did you come by this r<strong>in</strong>g?<br />
AGNETE.<br />
My liege! The woman yonder by Tryggevæld<br />
Is not my mother; she found me<br />
Here as an <strong>in</strong>fant, and this r<strong>in</strong>g<br />
Was on my necklace.<br />
KING.<br />
What am I hear<strong>in</strong>g!... Follow me<br />
To Høistrup! There is no time to waste here.<br />
AGNETE.<br />
To Høistrup! O my liege! No, spare me....<br />
KING.<br />
Why?... Listen, child! You love Ebbesen!...<br />
Are you silent? Answer truthfully!<br />
Yes!<br />
AGNETE.<br />
KING.<br />
Has he<br />
Sworn to be true to you?<br />
Yes!<br />
AGNETE.<br />
244
KING.<br />
Then come, my daughter!<br />
Now I shall be a guest at Høistrup! Quickly!<br />
If only we do not come too late!<br />
HUNTERS (back <strong>in</strong> the forest).<br />
If you meet a nymph,<br />
Leave her to herself!<br />
Hunter, o let her go!<br />
Remember that Actæon was<br />
Punished for a bold glance!<br />
Hunter, o take care!<br />
KING.<br />
(as soon as the first two l<strong>in</strong>es are sung).<br />
(RUD steps forward.)<br />
Ah! The hunters are look<strong>in</strong>g for me.... Henrik Rud!<br />
Send a hunter down<br />
To the farmhouse yonder by the bridge; let him<br />
Br<strong>in</strong>g the old woman, she must accompany me<br />
To Høistrup at once and without delay.<br />
I shall wait for her at my carriage.<br />
(The HUNTER leaves.)<br />
(To AGNETE.)<br />
RUD.<br />
At once, sire!<br />
KING.<br />
And now, away!<br />
245
I am com<strong>in</strong>g.<br />
AGNETE.<br />
KING.<br />
Give me your hand!<br />
What the darkness hides will come to light.<br />
(Walks with AGNETE by the hand, followed by RUD.)<br />
HUNTERS (back <strong>in</strong> the forest).<br />
Walk on the safe road,<br />
Do not get lost and lose yourself,<br />
Hunter, <strong>in</strong> case you are taken!<br />
But if you have lost our track,<br />
Listen to our hunter's chorus,<br />
That will call you back.<br />
- - - - -<br />
FIFTH ACT.<br />
An illum<strong>in</strong>ated and festively decorated salon at Høistrup.<br />
SCENE ONE.<br />
WALKENDORFF. ELISABETH. EBBESEN. FLEMMING. KNIGHTS and<br />
LADIES.<br />
As the curta<strong>in</strong> goes up, a large magnificent ball is seen <strong>in</strong> full course. KNIGHTS and<br />
LADIES perform different dances. Then some YOUNG GIRLS step forward, and dur<strong>in</strong>g<br />
an appropriate dance, formally present ELISABETH with the bridal wreath. She appears<br />
undecided whether to receive it. FLEMMING observes her closely; EBBESEN also<br />
has directed his attention towards her. F<strong>in</strong>ally she takes the wreath, though with<br />
trembl<strong>in</strong>g hands. The YOUNG GIRLS step back. The ball beg<strong>in</strong>s aga<strong>in</strong>, as the<br />
246
KNIGHTS and LADIES, who were spectators of the YOUNG GIRLS' dance, aga<strong>in</strong> take<br />
up positions <strong>in</strong><br />
new quadrilles. All the pr<strong>in</strong>cipal characters present stand meanwhile <strong>in</strong> the foreground <strong>in</strong><br />
front of the dancers. FLEMMING, who has struggled with himself for a long time, steps<br />
forward, and takes the wreath out of ELISABETH's hand, which must happen a moment<br />
after she has received it. ELISABETH and EBBESEN stand surprised by that.<br />
WALKENDORFF appears astonished and annoyed at FLEMMING's audacity.<br />
FLEMMING and ELISABETH are seen to implore his forgiveness and protection for<br />
their love. WALKENDORFF expresses his fury, that he will not have anyth<strong>in</strong>g to do<br />
with it.<br />
This whole action must be conducted <strong>in</strong> such a way as if the characters really spoke with<br />
each other, so that the audience can imag<strong>in</strong>e that they cannot hear the words on account<br />
of the loud dance-music. Little-by-litte everyth<strong>in</strong>g falls <strong>in</strong>to disorder, the quadrilles are<br />
<strong>in</strong>terrupted, the guests run amongst each other, all give signs of their confusion.<br />
Suddenly the HUNTERS' chorus from the third and fourth acts is heard, not s<strong>in</strong>g<strong>in</strong>g,<br />
merely<br />
perform<strong>in</strong>g on the hunt<strong>in</strong>g horn outside. Everyth<strong>in</strong>g grows quiet <strong>in</strong> the salon; they listen<br />
with tense expectation.<br />
SCENE TWO.<br />
The preced<strong>in</strong>g. BJØRN enters quickly.<br />
BJØRN (to WALKENDORFF).<br />
O sire! I have important news to report:<br />
The k<strong>in</strong>g is here.<br />
The k<strong>in</strong>g!<br />
SEVERAL.<br />
OTHERS.<br />
The k<strong>in</strong>g!<br />
OTHERS.<br />
The k<strong>in</strong>g!<br />
247
WALKENDORFF (aside).<br />
May heaven have mercy on my s<strong>in</strong>s!<br />
(Rushes towards the exit to receive the KING. Everyone flocks around him.)<br />
SCENE THREE.<br />
The preced<strong>in</strong>g. The KING. RUD. FOLLOWERS.<br />
KING.<br />
Mr. Walkendorff! I salute you! I come<br />
Unexpectedly, I assume, but I beg you,<br />
Do not let my arrival disturb your celebration!<br />
WALKENDORFF (very embarrassed).<br />
Disturb!... Your majesty! This favor,<br />
So great, though it is unexpected, still must<br />
Inf<strong>in</strong>itely enhance the celebration's joy,<br />
If it were not already disturbed.<br />
KING.<br />
What do you mean?<br />
WALKENDORFF (po<strong>in</strong>t<strong>in</strong>g to ELISABETH).<br />
She will not accept him,<br />
She has another.<br />
KING.<br />
Walkendorff! You are jok<strong>in</strong>g.<br />
248
WALKENDORFF.<br />
No, your grace! I assure you I am now<br />
In no mood to joke.<br />
(kneel<strong>in</strong>g before the k<strong>in</strong>g).<br />
ELISABETH and FLEMMING.<br />
Hear us, noble K<strong>in</strong>g....<br />
KING.<br />
What do I see? You, Mr. Flemm<strong>in</strong>g! Is it you<br />
Who have filled her head with fancies?<br />
You are supposed to appear to her on my behalf,<br />
As your sa<strong>in</strong>ted father represented me of old<br />
At the child's cradle. Know, my young gentleman,<br />
You represent the k<strong>in</strong>g most unworthily,<br />
And resemble your father not at all.<br />
Stand up, ungrateful one! Away with you!<br />
I shall have noth<strong>in</strong>g further to do with you.<br />
You have both deceived my trust,<br />
You have concealed your love from me,<br />
Instead of confess<strong>in</strong>g it at the right time.<br />
(ELISABETH and FLEMMING stand up.)<br />
Mr. Ebbesen! You stand so silent <strong>in</strong> the corner.<br />
Yet this sight cannot be welcome to you.<br />
Come here! As sure as I am the k<strong>in</strong>g, I promise,<br />
You shall receive compensation for all the <strong>in</strong>justice<br />
Which you received here.<br />
EBBESEN.<br />
Be lenient, your grace!<br />
I require no compensation. If you would favor me,<br />
Grant me a request: bestow on those two<br />
The favor of which you just now deprived them,<br />
And let them go to the altar. I swear:<br />
249
I should not, cannot marry Miss Munk.<br />
KING.<br />
I have not asked for your advice, Mr. Sheriff!<br />
What k<strong>in</strong>d of words were those which escaped you?<br />
You do not require compensation? Is it possible?<br />
Perhaps you yourself have a part <strong>in</strong> their alliance?<br />
Perhaps you have already given someone else<br />
A promise of fidelity?<br />
(EBBESEN looks down embarrassed.)<br />
I shall show you<br />
The mean<strong>in</strong>g of th<strong>in</strong>gs!... You have sworn<br />
Not to marry Elisabeth? Well then,<br />
I believe my oath is just as good as yours:<br />
I swear by my royal word:<br />
You will lead Elisabeth to the altar,<br />
The same person I stood godfather to, and bestowed<br />
A rare diamond on as a cradle gift....<br />
Elisabeth! Take the glove off your hand,<br />
Display the r<strong>in</strong>g.<br />
WALKENDORFF (aside to BJØRN).<br />
Ah! I am perish<strong>in</strong>g with terror!<br />
ELISABETH.<br />
Your majesty! I do not understand you.<br />
Do I have a rare diamond that you bestowed on me?<br />
KING.<br />
Can you ask that?.... Mr. Walkendorff,<br />
On a day when the bride is so festively adorned,<br />
Why is she not wear<strong>in</strong>g the K<strong>in</strong>g's gift?<br />
Go, fetch it immediately.<br />
250
WALKENDORFF.<br />
Ah! Your grace....<br />
KING.<br />
Well?<br />
What is the matter?<br />
How is that?<br />
WALKENDORFF.<br />
The r<strong>in</strong>g... is gone.<br />
KING.<br />
WALKENDORFF.<br />
Sire! The fault is m<strong>in</strong>e.<br />
I was abroad, my sa<strong>in</strong>ted wife<br />
Carelessly let the child go with the r<strong>in</strong>g<br />
On a cha<strong>in</strong> around her throat: it was stolen.<br />
KING.<br />
How easy to cast the blame on your wife,<br />
When she is dead, and cannot defend herself!<br />
I swear, your grace....<br />
WALKENDORFF.<br />
KING.<br />
How do you know<br />
It was stolen? Who was the culprit?<br />
251
WALKENDORFF.<br />
A miserable hunter was suspected, noble sire!<br />
KING.<br />
What? Suspected? How do you know that?<br />
WALKENDORFF.<br />
They saw him<br />
Sneak it secretly out of the castle.<br />
At Tryggevælde he was later followed<br />
By hunters; they seized him there,<br />
But he had noth<strong>in</strong>g that gave evidence aga<strong>in</strong>st him.<br />
Presumably he had thrown the r<strong>in</strong>g away<br />
From fear of his pursuers, had later wandered<br />
To the place aga<strong>in</strong>, found it, and sold it.<br />
KING.<br />
But wasn't the child stolen with it?<br />
WALKENDORFF.<br />
What? No, Elisabeth is stand<strong>in</strong>g here.<br />
BJØRN (aside).<br />
Now it p<strong>in</strong>ches!<br />
KING.<br />
That seems to me <strong>in</strong>credible.<br />
They have told me that the cha<strong>in</strong> was made of steel,<br />
And was fastened firmly to the child's throat,<br />
That it was not easy to get it loose.<br />
252
WALKENDORFF.<br />
Ah! How do you know that!<br />
KING.<br />
(gives a sign to his FOLLOWERS. To WALKENDORFF).<br />
Can you prove<br />
That this girl here is Miss Munk?<br />
Assurances are not enough. I ma<strong>in</strong>ta<strong>in</strong>:<br />
The one who has the r<strong>in</strong>g is Elisabeth.<br />
SCENE FOUR.<br />
The preced<strong>in</strong>g. AGNETE enters fearfully, followed by KAREN.<br />
EBBESEN.<br />
Ag<strong>net</strong>e! What am I see<strong>in</strong>g!<br />
KING (to AGNETE).<br />
Come, my child!<br />
Stretch out your hand! See, here is the diamond!<br />
This is Elisabeth, Munk's daughter!<br />
WALKENDORFF.<br />
Mercy!<br />
I concealed it out of fear, my lord!<br />
I have not spared time, nor labor, nor diligence,<br />
To trace the vanished child,<br />
But everyth<strong>in</strong>g was <strong>in</strong> va<strong>in</strong>.<br />
KING.<br />
253
Who is the girl<br />
Who is given out to be Miss Munk!<br />
WALKENDORFF.<br />
My niece, sire! I came home<br />
From abroad with her, as a ward,<br />
My brother left her to me at his death,<br />
When he gave up the ghost <strong>in</strong> Strasborg. The girl<br />
Was newly left motherless, she was<br />
About the same age as the lost child,<br />
And called Elisabeth, like her.<br />
KING.<br />
Ah! You see,<br />
How the work of darkness seeks the light?<br />
I ought to punish you, punish you all,<br />
But I shall let mercy pass for justice....<br />
Now, Ebbesen! Which of us swore the truth?<br />
Will you still not marry Miss Munk?<br />
EBBESEN.<br />
Forgive me, my liege!<br />
Be happy!<br />
(He unites FLEMMING and ELISABETH.)<br />
KING (unites EBBESEN and AGNETE).<br />
My wish applies also to Mr. Flemm<strong>in</strong>g<br />
And Miss Walkendorff.<br />
ALL.<br />
Long live the k<strong>in</strong>g!<br />
254
CHORUS.<br />
Protect our k<strong>in</strong>g, great God!<br />
Protect his family!<br />
Let the noble and exalted stock of Skjoldung<br />
Always grow fresh shoots!<br />
Protect our k<strong>in</strong>g, great God!<br />
Protect his family!<br />
With flowers <strong>in</strong> his silver hair,<br />
And strengthened year by year,<br />
He bears the weight of his crown,<br />
As easily as <strong>in</strong> his youth's Spr<strong>in</strong>g!<br />
- - - - - - - - - -<br />
- - - - - - - - - -<br />
255
VII. “Donna Clara, en Natscene.”<br />
This play is an experiment by an apprentice dramatist. Even though it may seem sentimental<br />
and artificial to modern tastes, Andreas Munch was no hack writer. He was the third most<br />
important poet <strong>in</strong> Norway <strong>in</strong> the 1840s, after Henrik Wergeland and Johan Sebastian Welhaven.<br />
Munch was one of <strong>Ibsen</strong>'s models as he was learn<strong>in</strong>g to write lyric poetry. Accord<strong>in</strong>g to the<br />
editor of his works, the scholar and critic M.J. Monrad, he was the most purely lyrical of the<br />
three lead<strong>in</strong>g Norwegian poets of the time.<br />
"Donna Clara" was performed not only <strong>in</strong> Skien, but also <strong>in</strong> Bergen, where it<br />
entered the repertoire <strong>in</strong> 1855-56, the same season <strong>in</strong> which Gildet paa Solhoug<br />
premiered. Clara may be a model for Margit <strong>in</strong> that play.<br />
This translation is based on the text <strong>in</strong> the collected edition of Munch's works<br />
(Andreas Munch. Samlede Skrifter. M. J. Monrad og Hartvig Lassen, eds. 5 vols.<br />
København, 1887-90; vol. II, 287-325). The first edition of the play (1840) ended with<br />
Clara claw<strong>in</strong>g at the wall beh<strong>in</strong>d which her former lover had been immured. It is the first<br />
version which was performed <strong>in</strong> Skien, accord<strong>in</strong>g to the reviewer from Skiensposten (see<br />
file # IX). All the same, it has seemed appropriate to translate the f<strong>in</strong>al version of the<br />
play, s<strong>in</strong>ce no doubt it represents Munch's mature <strong>in</strong>tention for it.<br />
“DONNA CLARA. A Night-Play.”<br />
Characters.<br />
Count del Fuente.<br />
Clara, his wife.<br />
Don Fernando.<br />
Maja, Clara's chambermaid.<br />
A journeyman mason.<br />
A servant.<br />
A gothic room, with rich, heavy furnish<strong>in</strong>gs. In the background two deep arched<br />
w<strong>in</strong>dows, and midway between these a door <strong>in</strong>to an alcove hollowed out <strong>in</strong> the thick wall.<br />
On the right side a door. In the foreground a table, on which is a light <strong>in</strong> a candelabrum.<br />
It is late afternoon. Clara is seen <strong>in</strong> the alcove, on her knees pray<strong>in</strong>g <strong>in</strong> front of a picture<br />
of the Virg<strong>in</strong> Mary. Maja sleeps <strong>in</strong> an armchair. After a lapse of some moments Clara<br />
stands up, and walks slowly forward <strong>in</strong>to the room.<br />
Forgive me, Madonna!<br />
CLARA.<br />
256
I cannot pray any more:<br />
Fear and yearn<strong>in</strong>g, sorrow and yearn<strong>in</strong>g<br />
Sit watch<strong>in</strong>g <strong>in</strong> my breast,<br />
And when devotion wants to unfold<br />
Its big, bright w<strong>in</strong>gs,<br />
Cold seizes my heart,<br />
Whispers darkly <strong>in</strong> my ear,<br />
And I cannot pray any more.<br />
In my childhood, <strong>in</strong> my childhood<br />
They taught me to pray so nicely!<br />
They put my hands together,<br />
Had me kneel whole hours<br />
On the hard, cold stones<br />
In the dark prayer chamber.<br />
But I cried and cried, and longed<br />
For my playgrounds.<br />
For the child's prayer is like the bird's:<br />
Flight and play and happy songs,<br />
Green meadows, fresh forests,<br />
Heaven around its chaste head.<br />
Now I have no songs <strong>in</strong> me,<br />
I cannot see the green meadows,<br />
Or breathe the cool forests,<br />
I have no air, no flower, no freedom;<br />
Now I walk to the prayer chamber,<br />
Kneel on the hard stones,<br />
Sigh for consolation <strong>in</strong> prayer:<br />
But I cannot pray any more.<br />
Oh how sad and lonely it is<br />
With<strong>in</strong> these old walls!<br />
These dark, massive arches<br />
Erect a vault over the grave of my hope<br />
And my husband's evil eyes<br />
Look at me from all the corners.<br />
It is as if someth<strong>in</strong>g sad<br />
Lurks here <strong>in</strong> the night!<br />
This stillness makes me anxious;<br />
Maja! Maja! She is sleep<strong>in</strong>g!<br />
Sleep! Sleep! Those who could sleep, forget!<br />
This <strong>in</strong>dolent body can sleep,<br />
This empty soul can repose<br />
257
In a dream of new dresses,<br />
Red ribbons and silken laces!<br />
I envy her ability to sleep.<br />
(She shakes her.)<br />
Maja! Maja Please wake up!<br />
MAJA (starts).<br />
Help me! What is it? Oh, forgive me, Madam,<br />
I didn't know, I believe I have been asleep.<br />
CLARA.<br />
How dare you sleep, when your mistress is awake?<br />
Don't stand there like a marble statue!<br />
Do someth<strong>in</strong>g.<br />
Well, what shall I do?<br />
MAJA.<br />
CLARA.<br />
You are unbearable. Can't you at least<br />
Understand that I am bored this even<strong>in</strong>g?<br />
It is so dead here, so empty. I want to be enterta<strong>in</strong>ed.<br />
What are you made for other than to amuse?<br />
Invent someth<strong>in</strong>g! You understand! Now, what will it be?<br />
MAJA.<br />
Mother of God! Help this poor girl!<br />
I cannot read, or s<strong>in</strong>g, either,<br />
I have never learned the graceful arts<br />
To pass the time for a noble lady.<br />
I can only sew, curl hair and cook.<br />
Forgive me, Donna, but it is already late;<br />
What if you tried to go to bed?<br />
258
One is not bored when one is asleep.<br />
CLARA.<br />
You and your sleep<strong>in</strong>g! I do not want to sleep.<br />
MAJA.<br />
Shall I tease your dark locks, then,<br />
And adorn you handsomely with gold and silk,<br />
Until the duke comes home from town tonight?<br />
CLARA.<br />
Terrible. That won't do. Someth<strong>in</strong>g else.<br />
MAJA.<br />
What else shall I do? Let me see, I can<br />
Tell you a delightful story<br />
An old Moor taught me, when we<br />
Were still <strong>in</strong> your father's house <strong>in</strong> Seville.<br />
CLARA.<br />
Seville! That's it! Yes, Seville!<br />
Oh, how sweetly and easily it rests on the lips,<br />
When home is mentioned <strong>in</strong> a foreign prison!<br />
Talk to me about Seville, good Maja!<br />
It is so good to hear the names<br />
Of all my friends, and about<br />
The grove of trees on my father's estate!<br />
You are the only one who knows about them.<br />
Talk about Seville, do you hear? About home!<br />
MAJA.<br />
About your home? Is your home not here<br />
In this beautiful castle, the house of your husband,<br />
259
The rich, powerful, highborn duke?<br />
How can you still give a thought to<br />
That lowly house at Guadalquivir,<br />
Here <strong>in</strong> the midst of your royal splendor?<br />
CLARA.<br />
Peace rested on that lowly house!<br />
Peace, a child's peace! So gentle, so light, so easy<br />
Like the morn<strong>in</strong>g sky on the sh<strong>in</strong><strong>in</strong>g sea.<br />
The happy freedom I have left yonder<br />
On the river's fresh, bloom<strong>in</strong>g bank;<br />
Like a captive bird, on the wild seacoast,<br />
Now I only dream about that lost peace.<br />
There is a place deep <strong>in</strong> my father's garden,<br />
Where palm trees and acacias softly waved<br />
And the river glistened through the <strong>net</strong> of leaves.<br />
I hide my youthful memory<br />
In the shade under the palm tree's broad leaves,<br />
The wave whispers one name only.<br />
Say it, Maja! Let me hear the sound,<br />
So that the soul's most secret, silent thought<br />
Can quench its thirst for an encourag<strong>in</strong>g word!<br />
MAJA.<br />
Isn't it the arbor, surely, where your father,<br />
Don Gusman, always sat <strong>in</strong> the cool even<strong>in</strong>g,<br />
And where you brought him his w<strong>in</strong>e and fruit?<br />
CLARA.<br />
Ah yes, the poor old man! Perhaps he is sitt<strong>in</strong>g<br />
There now and play<strong>in</strong>g chess with Father Anton<br />
And th<strong>in</strong>k<strong>in</strong>g often about the distant Clara?<br />
But that is still not exactly right.<br />
There is another place <strong>in</strong> the garden, Maja!<br />
MAJA.<br />
Now I have it! Of course, you mean the place<br />
260
By the palm tree, where the chimpanzee<br />
Was tied, whom you were so fond of<br />
And whom you yourself fed from your white hand?<br />
CLARA.<br />
No, that is too crazy! You are a monkey!<br />
I am a fool, to want to talk with you.<br />
Get away from me, Maja, you are too stupid.<br />
Go back to sleep. Go!<br />
Thanks, Madonna!<br />
(She goes.)<br />
MAJA.<br />
CLARA (alone).<br />
Ascend from thought's deep, silent sea,<br />
You soft, nightly memory,<br />
You last remnant of my love!<br />
You borrow his love-dark eye<br />
His deep voice's sweet melody,<br />
And whisper to my soul, <strong>in</strong> this night,<br />
A soft echo of vanished pleasures.<br />
In Seville, <strong>in</strong> Seville,<br />
Under palms and pla<strong>in</strong>ta<strong>in</strong>s<br />
My father's white villa stood<br />
Cheerful with its columns and balconies.<br />
Andalusia's soft sky<br />
Rested on white roofs,<br />
And the whole lovely picture<br />
Was reflected <strong>in</strong> the water's surface.<br />
Close by the door of the house I rested<br />
On many lovely southern even<strong>in</strong>gs;<br />
I did not th<strong>in</strong>k about the birds' warbl<strong>in</strong>g,<br />
I did not see the flowers' golden leaves.<br />
261
I listened silently, quite silently<br />
To the distant bell, which softly<br />
T<strong>in</strong>kled, like a founta<strong>in</strong> of love,<br />
In a dark corner of the garden.<br />
That was the sign he was there!<br />
And, when it had grown late,<br />
With joy and anxiety I stole<br />
To the place, which only two knew.<br />
Donna Clara! Donna Clara!<br />
It sounded from the dark hedges.<br />
Don Fernando! Don Fernando!<br />
Do you remember that Clara lives?<br />
While you were <strong>in</strong> distant lands<br />
She was compelled to marry<br />
This proud, dark grandee,<br />
This cunn<strong>in</strong>g gallego.<br />
He brought his young wife<br />
To his deserted fortress by the sea;<br />
He keeps her buried there,<br />
Jealous of every stone <strong>in</strong> the wall.<br />
But she wastes away and yearns,<br />
Yearns to go back to her home<br />
To her garden's dark hedges,<br />
To Seville, to Fernando!<br />
It is so hot and humid, so stifl<strong>in</strong>g <strong>in</strong> here.<br />
I'll open the w<strong>in</strong>dow, so that the fresh sea-Beeze<br />
Can strengthen the heart from its salty chalice.<br />
(She opens the w<strong>in</strong>dow and looks out.)<br />
How vast, how airy! It does the captive good<br />
To see the wide, dusky horizon,<br />
And the sea, which rolls with deep breaths<br />
Heavily toward the shore's black cliffs.<br />
I spy a ship yonder through the darkness!<br />
The white sails billow out ready to fly,<br />
And the night-signal gleams high on the mast<br />
And calls the passengers to get on board.<br />
262
If only that were me, who was sail<strong>in</strong>g along<br />
To life, to freedom over transparent waves!<br />
But I am bound, bound here eternally<br />
And dare not escape, even if I could.<br />
(The sounds of a guitar outside.)<br />
Sh! Such sounds! Flatter<strong>in</strong>g, familiar,<br />
They whisper to me like old friends;<br />
They are like Don Fernando's even<strong>in</strong>g signal!<br />
FERNANDO (softly under the w<strong>in</strong>dow).<br />
Donna Clara! Donna Clara!<br />
CLARA.<br />
Jesus! Savior! Whose voice is that!<br />
FERNANDO.<br />
Answer me, answer me, Donna Clara!<br />
CLARA.<br />
It is he! Oh God! What do I do now?<br />
FERNANDO.<br />
Clara, have you learned to forget?<br />
CLARA (with overflow<strong>in</strong>g feel<strong>in</strong>g).<br />
Don Fernando! Don Fernando!<br />
Sa<strong>in</strong>t Clara be praised!<br />
FERNANDO.<br />
263
I recognize this sweet voice;<br />
Up to the wall, climb over it!<br />
CLARA.<br />
Are you mad? You're not go<strong>in</strong>g to do it?<br />
Help! For God's sake! Oh! He is already hang<strong>in</strong>g<br />
On the wall like a swallow,<br />
Where it curves high over<br />
The sea and the jagged cliffs!<br />
Oh, it makes me dizzy just to watch.<br />
FERNANDO (approach<strong>in</strong>g).<br />
Beloved girl, these stones,<br />
These crevices here <strong>in</strong> the wall,<br />
These dry ivy v<strong>in</strong>es<br />
Are for me a ladder to heaven.<br />
CLARA.<br />
He is already near. Oh Fernando,<br />
I do not dare to receive you.<br />
FERNANDO.<br />
Then throw me down <strong>in</strong> the depths.<br />
CLARA.<br />
God! There he is; I am doomed!<br />
(She runs away from the w<strong>in</strong>dow.)<br />
Clara, Clara, beloved maid!<br />
FERNANDO (leaps <strong>in</strong>).<br />
264
My Fernando!<br />
CLARA.<br />
(Stops suddenly and keeps him away from her.)<br />
Ah, what am I do<strong>in</strong>g?<br />
Go away! For God's sake, before he comes,<br />
Before my cruel husband comes;<br />
Flee, oh flee, your life depends on it!<br />
FERNANDO (takes her hands).<br />
Yes, it is life itself I want to w<strong>in</strong>!<br />
He is a fool who dares not act<br />
Forcefully, when dest<strong>in</strong>y's bl<strong>in</strong>d<br />
Mask lies <strong>in</strong> his hand!<br />
Let him shape it with spirit,<br />
Seize happ<strong>in</strong>ess and change<br />
The life of your loved one!<br />
Do you believe, then, that I came here<br />
Without purpose and without a plan, like<br />
The wave cast up on the shore?<br />
I shall leave here with only one companion,<br />
Do you doubt that, Clara?<br />
Everyth<strong>in</strong>g is decided, everyth<strong>in</strong>g is ready,<br />
The ship wait<strong>in</strong>g just below yonder<br />
Has everyth<strong>in</strong>g ready, the anchor is weighed,<br />
And soon will fly like our thoughts<br />
To America. And when<br />
The morn<strong>in</strong>g hour f<strong>in</strong>ally strikes,<br />
And he comes home from town,<br />
This duke, this snake,<br />
Will f<strong>in</strong>d his beautiful captive<br />
Flown away with the morn<strong>in</strong>g mist!<br />
Don Fernando, I am his wife.<br />
CLARA (tears herself loose).<br />
FERNANDO.<br />
265
Yes, but forced, shamelessly forced!<br />
That decree means noth<strong>in</strong>g:<br />
Why bear the yoke with fear,<br />
If you yourself did not choose?<br />
Clara, does my voice not swell,<br />
Clara, my eye not sh<strong>in</strong>e<br />
From a right which precedes his?<br />
Ask your own last thought,<br />
Ask the beat<strong>in</strong>g of your heart, which beats...<br />
Clara, can you deny it?<br />
CLARA.<br />
The church's high sacrament<br />
B<strong>in</strong>ds me to the Count del Fuente;<br />
Go, Fernando! Do not tempt me,<br />
Death is <strong>in</strong> the look you give me.<br />
FERNANDO.<br />
Clara, Clara, have you no<br />
Better greet<strong>in</strong>g for your lover,<br />
When, lov<strong>in</strong>g and faithful<br />
He returns to your embrace aga<strong>in</strong>?<br />
Fernando, if you knew<br />
What it costs me to answer:<br />
I have no better greet<strong>in</strong>g!<br />
CLARA.<br />
FERNANDO.<br />
What it costs you, you say?<br />
Only whims and figments of the imag<strong>in</strong>ation,<br />
False duties fastened with screws,<br />
Such virtues are a horror.<br />
You build up a whole funeral chorus<br />
Over the heart's eager yearn<strong>in</strong>gs,<br />
You torture yourself to sit prettily<br />
Like a precious object <strong>in</strong> a cage,<br />
266
While the day streams about you<br />
With its life, its love!<br />
CLARA.<br />
Say what you will, but don't mock me, Fernando!<br />
FERNANDO.<br />
You drive me to it.<br />
See! I came here to this lovely encounter<br />
So happily, so boldly,<br />
Trembl<strong>in</strong>g from courage and desire.<br />
A thousand heavens, bright with love,<br />
A thousand yearn<strong>in</strong>gs, gentle, sweet,<br />
Rocked themselves deep <strong>in</strong> my breast;<br />
I greeted death and danger proudly:<br />
They were witness to my progress,<br />
And I brought you as a gift<br />
Everyth<strong>in</strong>g beautiful that life can have:<br />
Freedom, hope and love!<br />
But you came towards me<br />
Armed with an imag<strong>in</strong>ary fault,<br />
Thrust my life back coldly,<br />
Trod on my salvation.<br />
You have forgotten our days of love,<br />
The sweet laments of our nights<br />
By yonder river's green banks!<br />
I have not forgotten them, Clara!<br />
I still remember well what you said<br />
To me yonder that last even<strong>in</strong>g,<br />
Before I was to go away from you:<br />
The summer night's warm sky<br />
Lay with its deep clouds<br />
Like an eye bl<strong>in</strong>ded with tears<br />
Over Andalusia's pla<strong>in</strong>s,<br />
And the pale, cold stars<br />
Reflected themselves with a smile <strong>in</strong> the river,<br />
As if they were mak<strong>in</strong>g fun of it all.<br />
Then your words sounded <strong>in</strong> the night:<br />
267
See Fernando! These worlds<br />
Prance <strong>in</strong> heaven's ballroom<br />
Because they tw<strong>in</strong>kle eternally,<br />
Eternally, without life and warmth.<br />
What is all this glitter worth<br />
Aga<strong>in</strong>st the long<strong>in</strong>g of the heart,<br />
Aga<strong>in</strong>st a warm tear of ardor,<br />
Aga<strong>in</strong>st a woman's silent fidelity?<br />
Now, pay heed to that, Clara!<br />
Now that you're chang<strong>in</strong>g your language...<br />
Now you choose the Count del Fuente,<br />
Choose the dead glitter of a star,<br />
Wrap yourself <strong>in</strong> its cold beams<br />
And, smil<strong>in</strong>g with pity, look<br />
Down on love and fidelity!<br />
CLARA.<br />
I cannot take this any longer;<br />
Will you kill me, Fernando?<br />
Are you say<strong>in</strong>g that I forget!<br />
I forget. I, who have noth<strong>in</strong>g <strong>in</strong> this world<br />
Except the memory that rema<strong>in</strong>s<br />
Of my youthful love!<br />
This is my life, Fernando:<br />
Morn<strong>in</strong>gs without hope or pleasure,<br />
Nights without rest or sleep,<br />
Days, long, endlessly long<br />
Like days and nights <strong>in</strong> the Sahara desert.<br />
I do not see anyone except stupid,<br />
Insensitive, <strong>in</strong>dolent slaves,<br />
I have nobody, from whose lips<br />
I can dr<strong>in</strong>k the balm of talk!<br />
Yes, I can be driven so far<br />
That I yearn, I can even yearn<br />
For my hated husband!<br />
But then when he comes<br />
With his cold snake-like gaze,<br />
With his scornful smile fixed on his lips,<br />
With his tongue's uncouth speech;<br />
Oh! Then the heart shrivels,<br />
The blood freezes <strong>in</strong> every ve<strong>in</strong><br />
268
And I flee <strong>in</strong>to dead silence<br />
In order to escape from his sight.<br />
Can you understand me now, Fernando?<br />
That I suck memory dry<br />
As if from life's last spr<strong>in</strong>g?<br />
FERNANDO.<br />
If you love your memory<br />
When pale and still it sleeps<br />
On your eyelid <strong>in</strong> the night,<br />
Like an elf with folded w<strong>in</strong>gs;<br />
Then can you love it less<br />
When it takes liv<strong>in</strong>g form,<br />
Has a cheek, where blood makes it blush,<br />
An eye, through which the soul speaks,<br />
A heart, which beats with your own<br />
Here <strong>in</strong> this moment of heated passion?<br />
Do you only kiss a flower<br />
When it closes its chalice of petals<br />
From the cold night air?<br />
And not when it freshly unfolds<br />
Its rich, light colors<br />
In the sh<strong>in</strong><strong>in</strong>g morn<strong>in</strong>g sun?<br />
CLARA.<br />
Never! S<strong>in</strong>ce memory's flower<br />
Is a night violet, Fernando.<br />
It can never breathe<br />
Out its fragrance <strong>in</strong> the sunlight,<br />
S<strong>in</strong>ce it only thrives and lives<br />
In the dark past.<br />
This flower is all we possess<br />
Of our past life, Fernando!<br />
We can watch over it, nurse it<br />
Tenderly and faithfully, separately.<br />
Our future ways go apart!<br />
You are free, you have battles and victories<br />
To deaden your sorrows;<br />
I have only a woman's honor,<br />
A Spanish woman's honor;<br />
To which I sacrifice everyth<strong>in</strong>g.<br />
269
And, when some day my struggle is over,<br />
They will spread over the coff<strong>in</strong><br />
The woman's white banner of honor,<br />
That for which I sacrificed everyth<strong>in</strong>g.<br />
FERNANDO.<br />
No! I cannot yet release<br />
This beautiful dream of life,<br />
Cannot suddenly tear<br />
All my hope and all my future<br />
Bloodily out of the depths of the soul;<br />
I shall fight to the last.<br />
(He seizes Clara's hand and leads her to the w<strong>in</strong>dow.)<br />
Clara, do you see the ship,<br />
Shak<strong>in</strong>g its strong w<strong>in</strong>gs<br />
Impatient to fly<br />
With its beautiful, light burden<br />
Over the sea's warm billows,<br />
To the shore of the new world,<br />
To Brazil's enchanted land!<br />
There, where the heavens waft fragrance over<br />
Lush, erect palm trees,<br />
Where forest solitude praises<br />
God with its deep hymns,<br />
Where nature still sleeps,<br />
Lovely as a child <strong>in</strong> the cradle,<br />
Enliven<strong>in</strong>g, fresh as the even<strong>in</strong>g dew,<br />
Eternally young, the days of old.<br />
(On his knees.)<br />
Follow me, Clara, follow me there!<br />
There we would f<strong>in</strong>d a place,<br />
Where eternal peace breathes sweetly;<br />
We shall search for a beautiful alcove<br />
In the deep, dim forest,<br />
Where the world's footsteps do not tread,<br />
Where rumors and gossip cannot reach!<br />
CLARA.<br />
270
I know a rumor<br />
From which nobody can escape:<br />
S<strong>in</strong>ce it lives <strong>in</strong> one's own m<strong>in</strong>d,<br />
Gnaws <strong>in</strong>wardly at the heart;<br />
I know of no consolation aga<strong>in</strong>st it,<br />
Not even, not even love itself!<br />
Not this wild ardor<br />
In your eye now, Fernando!<br />
This is the last time I speak,<br />
Soon I shall be to you as if I were dead.<br />
We must part, my love!<br />
But let our part<strong>in</strong>g be sweet<br />
Like the sun, as it drops<br />
Gently and quietly under the waves,<br />
Sends to the last forests catch<strong>in</strong>g its rays<br />
Its silent farewell!<br />
Let me th<strong>in</strong>k I have slept,<br />
Dreamed the love-song of my youth,<br />
Let me rest my weary head<br />
On your breast yet once more,<br />
My Fernando!<br />
Clara! Clara!<br />
FERNANDO.<br />
CLARA (starts).<br />
Sh! What is that? Spurs clatter<br />
Do you hear? In the corridor!<br />
Heaven, help! It is my husband;<br />
Great God! You are lost!<br />
Not as long as I have this.<br />
FERNANDO (draws his epée).<br />
271
CLARA.<br />
Oh, but what about me, Don Fernando!<br />
FERNANDO<br />
(lets his epée fall, covers his face with his hands and runs to the<br />
w<strong>in</strong>dow to leap out).<br />
CLARA.<br />
Not there! Do you want to be smashed to pieces?<br />
Quickly, <strong>in</strong>to my prayer chamber!<br />
My husband never goes <strong>in</strong> there,<br />
Quick, hurry up!<br />
Yes, for your sake.<br />
FERNANDO.<br />
(At the moment the door to the alcove closes beh<strong>in</strong>d Fernando, the Count<br />
del Fuente enters by the ma<strong>in</strong> door, notices it, and rema<strong>in</strong>s stand<strong>in</strong>g on the<br />
threshold. Meanwhile Clara has picked up Fernando's rapier, hidden it under the<br />
table and thrown herself <strong>in</strong>to the armchair <strong>in</strong> front of it. All this happens <strong>in</strong> an<br />
<strong>in</strong>stant.)<br />
Good even<strong>in</strong>g, Clara!<br />
THE COUNT (walks slowly over to Clara).<br />
CLARA.<br />
Back so soon, my lord?<br />
THE COUNT.<br />
Have I come too <strong>early</strong>? What? How pale you are,<br />
And how you tremble, Clara. Are you afraid?<br />
272
I am not afraid of anyth<strong>in</strong>g.<br />
CLARA.<br />
THE COUNT.<br />
Is that so? Well, we shall see.<br />
(Seizes her hand roughly.)<br />
Were you alone when I came, Clara?<br />
CLARA.<br />
What k<strong>in</strong>d of question is that. Are you jok<strong>in</strong>g?<br />
THE COUNT.<br />
I am deadly serious. Why the sly glance<br />
At the door to the alcove yonder?<br />
Who is hold<strong>in</strong>g devotions <strong>in</strong> your prayer chamber?<br />
CLARA (is silent).<br />
THE COUNT.<br />
Well! Does your conscience strike you dumb?<br />
CLARA.<br />
That accusation does not deserve an answer.<br />
THE COUNT.<br />
Ha! Ha! It suits you very well, very nicely<br />
To play the offended one, the pure one!<br />
273
Be comforted, my dove! The bird is <strong>in</strong> a cage,<br />
He will not run from you; s<strong>in</strong>ce you know,<br />
The alcove has been dug out of the build<strong>in</strong>g itself<br />
And has no other exit. Oh yes! We have him!<br />
Now I shall savor the experience<br />
Of this capture for a long time.<br />
(He draws his rapier.)<br />
See here the sh<strong>in</strong><strong>in</strong>g blade,<br />
How hot it blushes for revenge and blood!<br />
It will aid my search <strong>in</strong> the alcove.<br />
CLARA (on her knees).<br />
Mother of God, stand by me now!<br />
THE COUNT.<br />
That may well be necessary. Now, let my patience burst;<br />
You savage, sweet revenge, I greet you!<br />
(He runs toward the alcove with his sword raised.)<br />
CLARA<br />
(spr<strong>in</strong>gs up and throws herself <strong>in</strong> his way).<br />
Stop! I <strong>in</strong>sist; you shall not go there!<br />
THE COUNT.<br />
Get out of the way! Your turn will come soon enough.<br />
CLARA<br />
(hold<strong>in</strong>g him back with all her strength).<br />
Now you will listen to me, if only<br />
A spark of reason lives <strong>in</strong> your dark soul!<br />
274
You took me away from life, from love,<br />
You have killed my youth, locked up my hope,<br />
Hung lead on every hour of my day.<br />
Cunn<strong>in</strong>g as a snake you lie <strong>in</strong> wait,<br />
Your smile is poison, your embrace is death,<br />
And still, del Fuente, I rema<strong>in</strong> true to you!<br />
By the light of the sun, which you have hidden from me,<br />
As God rules this world, I am true to you until death!<br />
Only one th<strong>in</strong>g I demand as a humble return<br />
For all my fidelity, for my whole life;<br />
Only one th<strong>in</strong>g, my husband: You shall not look<br />
In my alcove tonight. S<strong>in</strong>ce a woman<br />
Can endure anyth<strong>in</strong>g, except such a dishonor.<br />
You have my word, I am eternally faithful to you!<br />
THE COUNT.<br />
A magnificent pledge! Only forgive me, beautiful lady,<br />
I prefer liv<strong>in</strong>g proof.<br />
(He is about to open the door.)<br />
CLARA.<br />
Well then, do it. But mark this, once that door is opened,<br />
Whether you f<strong>in</strong>d anyth<strong>in</strong>g or not,<br />
From that moment everyth<strong>in</strong>g is over between us.<br />
THE COUNT (hold<strong>in</strong>g her under the ch<strong>in</strong>).<br />
You little tart, how beautiful anger makes you!<br />
It would be a pity if we must be parted!<br />
I may well humor you, if all goes well.<br />
(Reflect<strong>in</strong>g. Aside.)<br />
Revenge is good. So be it.<br />
Well, Clara,<br />
I give <strong>in</strong>, I shall trust your word,<br />
But pay heed, this is my condition.<br />
275
(He takes a crucifix which stands on the table, and shows it to her.)<br />
Do you believe <strong>in</strong> Him, who hangs here on the cross?<br />
Do not mock what is sacred.<br />
CLARA.<br />
THE COUNT.<br />
What do you believe <strong>in</strong>?<br />
The Inquisition believes it can f<strong>in</strong>d,<br />
Whoever swears falsely on this image.<br />
What do you mean by that?<br />
CLARA.<br />
THE COUNT.<br />
You will swear, Clara,<br />
You will swear on the crucifix, that<br />
In there will be found no witness aga<strong>in</strong>st your fidelity.<br />
CLARA.<br />
And why should it take an oath, a heavy, costly oath,<br />
When pla<strong>in</strong> truth comes from a simple word?<br />
THE COUNT.<br />
Swear, woman! Swear this <strong>in</strong>stant! Or,<br />
By the fires of hell, I shall open the alcove door!<br />
I am ready.<br />
CLARA.<br />
276
THE COUNT.<br />
Then lay your hand on this.<br />
Dare you repeat on the body of your Saviour,<br />
That you are faithful to me?<br />
(Aside.)<br />
I am faithful to you!<br />
CLARA (confidently).<br />
I dare say it before your presence, Father!<br />
A word is empty, but saves life and honor.<br />
THE COUNT.<br />
What are you mumbl<strong>in</strong>g? Well then, I am satisfied;<br />
May a dark oblivion cover this scene.<br />
But yet I shall set a warn<strong>in</strong>g sign,<br />
A visible seal on our reconciliation.<br />
(He r<strong>in</strong>gs.)<br />
You look at me? No doubt there is a question<br />
Burn<strong>in</strong>g to get out from those dark, seductive eyes.<br />
What shall we wager? Can't you guess?<br />
Just wait! You will undoubtedly be surprised.<br />
(A servant, the previous.)<br />
THE COUNT.<br />
Is the mason still here <strong>in</strong> the castle,<br />
Whom I ordered to restore<br />
The old columns down <strong>in</strong> the entrance hall?<br />
SERVANT.<br />
277
Yes, your Grace.<br />
THE COUNT.<br />
Let him come up,<br />
And br<strong>in</strong>g with him stone and mortar and tools,<br />
I have a job for him here <strong>in</strong> this chamber.<br />
In the hall! Tonight!<br />
SERVANT.<br />
THE COUNT.<br />
Why are you stand<strong>in</strong>g there?<br />
(The servant goes.)<br />
CLARA.<br />
God! What an idea! You are not go<strong>in</strong>g to . . .<br />
THE COUNT.<br />
Wall <strong>in</strong> the door to the alcove? Exactly.<br />
I hate this witness to my weakness,<br />
And no foot shall enter it aga<strong>in</strong>.<br />
Rejoice now, Clara! Could I give<br />
A better proof that I believe you?<br />
CLARA (forc<strong>in</strong>g herself to smile).<br />
What k<strong>in</strong>d of childish fancy is that?<br />
What has my poor prayer chamber done to you?<br />
Perhaps you are jealous of the old,<br />
Worm-eaten holy picture <strong>in</strong> there?<br />
Leave it <strong>in</strong> peace, I love this place,<br />
Remember what you promised: not to encroach on the alcove.<br />
278
THE COUNT.<br />
Remember what you swore, that's more important for you.<br />
All responsibility falls completely on you.<br />
As far as I am concerned, I am keep<strong>in</strong>g my promise,<br />
I will not open the door myself.<br />
The mason can do so as much as he likes.<br />
CLARA.<br />
I cannot believe it. Tell me you are jok<strong>in</strong>g!<br />
THE COUNT.<br />
Call it a joke, a fancy, whatever you want;<br />
I am do<strong>in</strong>g it. But consider,<br />
That this joke has a deep mean<strong>in</strong>g:<br />
There is a reality beh<strong>in</strong>d its smile<br />
And someth<strong>in</strong>g secret <strong>in</strong> these stones,<br />
Which tickles the m<strong>in</strong>d like an old legend.<br />
You always compla<strong>in</strong> about boredom;<br />
Well then, here come the night's silent spirits<br />
To set up a little scene for you.<br />
CLARA<br />
(aside while the count looks towards those enter<strong>in</strong>g).<br />
Where shall I get strength <strong>in</strong> this frightful hour,<br />
To avoid show<strong>in</strong>g the count that I'm scared to death for myself<br />
and him!<br />
When the count is gone, I shall still save him!<br />
(A mason enters with his tools. Some servants follow him<br />
with a litter, on which are stone, mortar, etc., which at a<br />
sign from the duke they place by the alcove, and then go out.)<br />
279
THE COUNT (to the mason).<br />
Listen, man! This is my will and command,<br />
That you immediately wall up this door.<br />
You see that it is sunk <strong>in</strong>to the wall,<br />
So there is exactly room for twenty stones.<br />
Hurry, get busy; your reward will be forthcom<strong>in</strong>g.<br />
(The mason beg<strong>in</strong>s his work with the follow<strong>in</strong>g song.<br />
Meanwhile the duke stands at his side with folded arms, and<br />
looks stiffly at Clara, who <strong>in</strong> the foreground leans aga<strong>in</strong>st the table, with<br />
an <strong>in</strong>tense effort at reta<strong>in</strong><strong>in</strong>g her<br />
composure.)<br />
MASON (s<strong>in</strong>gs).<br />
A mason lays stone upon stone<br />
And th<strong>in</strong>ks noth<strong>in</strong>g of it,<br />
And calmly he lowers the marble<br />
Slab over the bones of k<strong>in</strong>gs.<br />
He laughs, when on his handiwork<br />
Salty tears fall <strong>in</strong> haste;<br />
For then the mortar sets doubly strong<br />
And never cracks over the years.<br />
He builds to make a mighty work<br />
With his simple hands,<br />
And when the fortress is displayed<br />
Nobody remembers the mason:<br />
Then he takes his walk<strong>in</strong>g stick<br />
To th<strong>in</strong>k about his next job.<br />
And f<strong>in</strong>ally he lays his bricks<br />
To make his very own tomb<br />
And wearily lays himself down to eternal peace.<br />
(He is f<strong>in</strong>ished.)<br />
THE COUNT.<br />
Take this gold; leave the castle immediately,<br />
Your work is not required here any longer.<br />
280
Say noth<strong>in</strong>g of what you did tonight,<br />
If you hold your life dear: you understand me.<br />
(The mason bows deeply, puts his f<strong>in</strong>ger to his mouth and<br />
goes. The servants come and carry out his tools.)<br />
Now we are alone, Clara. The wall stands<br />
And strongly divides the past and the present.<br />
In there, <strong>in</strong> that dark, empty room,<br />
Which no eye can pe<strong>net</strong>rate any more,<br />
I have deposited my fear, my jealousy,<br />
It sleeps there, forgotten and eternally mute.<br />
Here, on the other side of the partition,<br />
We stand, my wife, purified of everyth<strong>in</strong>g<br />
That force and anger laid between us.<br />
Sit here beside me, Clara! I shall put<br />
My severity aside with my sword, and absorb<br />
Myself <strong>in</strong> bright, quiet domesticity.<br />
(He takes off his hat and his sword, sits <strong>in</strong> an armchair and <strong>in</strong>vites Clara to take a<br />
place beside him. He seizes her hand.)<br />
The dark night, the cozy night<br />
Now spreads its soft cloak over us,<br />
And rocks the soul, full of love and bliss,<br />
Between those two: fear and hope.<br />
Do you not feel its warm, light dream<br />
Float<strong>in</strong>g about your brow, beloved Clara?<br />
Does not the night's secret stream<br />
Flow like fire and oil through your ve<strong>in</strong>s?<br />
Even on my hard, steel-covered soul<br />
It s<strong>in</strong>ks melt<strong>in</strong>gly, like flute-sounds<br />
On the mounta<strong>in</strong>s' dark forest one summer even<strong>in</strong>g.<br />
Why so mute? Why do you conceal your glance?<br />
Here is your hand -- note -- it is also m<strong>in</strong>e,<br />
It lies ice-cold. Has it no pressure,<br />
No sign of life for its rightful owner?<br />
You do not answer. Is that your sign of fidelity then,<br />
That truth you just swore to me on the crucifix?<br />
In such a fashion a statue is true,<br />
Which stands awkwardly on its pedestal<br />
And gapes endlessly.<br />
No, a woman's fidelity is not cold and stiff:<br />
It overflows with the freshness of life,<br />
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And hangs nicely <strong>in</strong> the man's strong arms,<br />
And trembles sweetly like the green rush,<br />
But bends, like it, before the storm's anger.<br />
Do you understand, Clara? Shall I beg for<br />
The favor which is my right, my possession?<br />
CLARA.<br />
Go away. I am tired, dead-tired.<br />
THE COUNT.<br />
Even this tiredness makes you more charm<strong>in</strong>g!<br />
Like an ethereal veil which rests over<br />
Pale features, where half-closed lips sleep<br />
And the eye dreams like a sigh of long<strong>in</strong>g.<br />
Do you believe that I can part from you now?<br />
No! I have longed for this hour,<br />
Like the bedou<strong>in</strong> for the cistern of water.<br />
It is m<strong>in</strong>e now, I have paid d<strong>early</strong> for it!<br />
Only rest <strong>in</strong> peace, do not speak, I shall talk<br />
And I shall feed my eyes on you,<br />
And dr<strong>in</strong>k of the sooth<strong>in</strong>g reconciliation.<br />
It is a long time, dear wife,<br />
S<strong>in</strong>ce we sat so cosily like married folks,<br />
Here by our own hearth. This room<br />
Now smiles so familiarly on its lords,<br />
And the ceil<strong>in</strong>g arches so faithfully over us.<br />
(He looks around.)<br />
What thoughts am I hav<strong>in</strong>g? Yes, by Our Lady!<br />
Yet how strange, how very curious!<br />
In this same castle, with<strong>in</strong> these walls,<br />
Several hundred years ago, they<br />
Played the same scene as tonight!<br />
And time, like its own apparition,<br />
Wanders through these noble halls<br />
And plays ever and aga<strong>in</strong> its old scenes;<br />
Only someth<strong>in</strong>g was adjusted after the change,<br />
Which separates our time's stream from the source of<br />
ancient energy.<br />
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Then the matter was crude and very serious,<br />
Then they walled <strong>in</strong> flesh and blood<br />
Now one only plays with mortar and stone,<br />
Walls up the door <strong>in</strong> front of empty air.<br />
Don't you know the story? You don't?<br />
Well then, it is just the time for a story,<br />
When the night listens with anxious silence,<br />
And the voice trembles at its own sound.<br />
I shall recite you the old legend.<br />
See, the parchment lies on the shelf;<br />
The castle chapla<strong>in</strong> has written it down.<br />
(He takes the parchment and sits down to read.)<br />
(He reads.)<br />
Oh! God, oh God!<br />
CLARA.<br />
THE COUNT.<br />
Hush! Listen calmly now.<br />
First I shall trim the light, so its sh<strong>in</strong>e<br />
Can kiss away the foul shadows, s<strong>in</strong>ce<br />
The story is rather frighten<strong>in</strong>g, Clara.<br />
"Let the gate fly open! Blow the horn loudly!<br />
Alaric will ride out hunt<strong>in</strong>g.<br />
Already he rides at a gallop down through the cornfield.<br />
See the heron's plume, the purple-caped splendor!<br />
His band of knights follows him closely,<br />
The long lances gleam after prey,<br />
And over the peasants' fields the company roams<br />
Towards the edge of the distant, dark forest.<br />
There are the arched halls of oak tree,<br />
And the deer dashes over the green moss;<br />
A distant Halloo! resounds through the forest,<br />
The good dogs now run to the scent.<br />
Count Alaric eagerly pursues the prey<br />
And forgets everyth<strong>in</strong>g <strong>in</strong> the hunt's wild delight<br />
Until the day wanes, the bird chorus grows mute,<br />
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And the breath of night flows over the forest's breast.<br />
Now <strong>in</strong> the castle at home sits his wife<br />
The beautiful Ines, the same even<strong>in</strong>g,<br />
In the chamber, where the last glow from the fire<br />
Sh<strong>in</strong>es mystically through the sta<strong>in</strong>ed glass w<strong>in</strong>dow.<br />
She half recl<strong>in</strong>es on richly-embroidered pillows<br />
And plays softly with her luxurious hair.<br />
Pensively she lets her noble head s<strong>in</strong>k,<br />
A brilliant tear forms <strong>in</strong> her eye.<br />
Now she raises her arm; it s<strong>in</strong>ks aga<strong>in</strong>,<br />
And waves of anxiety wash over her breast.<br />
But now aga<strong>in</strong> she pulls the bell cord,<br />
It r<strong>in</strong>gs. Someone comes walk<strong>in</strong>g out <strong>in</strong> the hall:<br />
A soft f<strong>in</strong>ger knocks lightly on the door...<br />
It opens halfway . . . a page glides <strong>in</strong>,<br />
A page, fair and slender like a child's thoughts,<br />
With golden locks and rosy cheeks.<br />
The freshness of youth swims <strong>in</strong> his sea-blue eye,<br />
His carriage is erect, his ch<strong>in</strong> still smooth,<br />
Around his f<strong>in</strong>e limbs fits closely<br />
The white silk robe embossed with silver.<br />
In his hand he carries a golden tray<br />
On which there stands a sparkl<strong>in</strong>g chalice,<br />
He kneels down and bids her dr<strong>in</strong>k<br />
The noble w<strong>in</strong>e, so fragrant, so cool.<br />
She leans toward him gracefully<br />
Bashfully her glance drops,<br />
And the gold's luster, and the w<strong>in</strong>e's dark ripples<br />
Are reflected <strong>in</strong> her snow-white brow.<br />
The handsome page kisses her hands<br />
She tolerates it . . . she tolerates even more...<br />
Soon neither of them is conscious of the world any more:<br />
Only lips aga<strong>in</strong>st lips, eyes to eyes.<br />
Then all at once the drawbridge thunders.<br />
Do they hear it, do they run away? Oh! No!<br />
The courtyard clatters loudly with horseshoes<br />
They notice noth<strong>in</strong>g, they do not even wake.<br />
Loud footsteps are heard <strong>in</strong> the stairway . . . are they asleep?<br />
Now Ines leaps up with a shriek of terror,<br />
And the page conceals himself <strong>in</strong> an alcove<br />
Covered by a purple curta<strong>in</strong>.<br />
284
But yet before the last fold of the curta<strong>in</strong> conceals him,<br />
Alaric stands on the threshold, clad <strong>in</strong> steel.<br />
His eyes burn wildly <strong>in</strong> their sockets,<br />
He smiles bitterly, he marks his target.<br />
The squires br<strong>in</strong>g lime and heavy stone blocks,<br />
Soon a wall is laid around the page's limbs!<br />
Ines lies unconscious. The duke bathes<br />
Himself <strong>in</strong> his revenge, and sits down to keep watch.<br />
And Ines wakes. She scratches her<br />
White f<strong>in</strong>gers bloody on the hard stones,<br />
And rage's wild cry of distress reverberates<br />
Far over the castle and the free and open nature outside.<br />
But everyth<strong>in</strong>g is dead . . . only Alaric she sees,<br />
His marble visage mocks, as she is tormented<br />
He only asks placidly, as he laughs:<br />
Do you wish the wall torn down, Donna Ines?<br />
And days and heavy nights pass<br />
Across this same scene of terror.<br />
In time Ines's locks turn gray,<br />
But Alaric is hard, like the wall's stones.<br />
And Ines's eyes cease to sh<strong>in</strong>e,<br />
Arms grow shrivelled that before were so round;<br />
Just listen! Listen! Deep, deep with<strong>in</strong> the wall<br />
Sighs are heard, and a hollow, muffled sound"<br />
(Actual muffled noise is heard <strong>in</strong> the alcove. The count leaps up.)<br />
What was that? Does the page's dark spirit<br />
Still stalk around <strong>in</strong> the castle?<br />
CLARA (slid<strong>in</strong>g down from her seat).<br />
Mercy! Mercy!<br />
THE COUNT.<br />
What is it you want? Spirits need no mercy.<br />
CLARA (embrac<strong>in</strong>g his knees).<br />
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Yet human be<strong>in</strong>gs have mercy!<br />
THE COUNT.<br />
Remember your oath!<br />
Now all doors are closed to mercy!<br />
(He throws her aside and says aside, as he goes out:)<br />
You ripen now, you ripen, sweet revenge!<br />
CLARA.<br />
(rema<strong>in</strong>s a moment ly<strong>in</strong>g with her face toward the floor, then<br />
raises her head, looks around bewildered, and leaps up quickly).<br />
He is gone . . . he is gone . . .<br />
To the wall! These brief<br />
Moments are m<strong>in</strong>e.<br />
Do not kill me, wild torment,<br />
Before the work is f<strong>in</strong>ished!<br />
(She takes Fernando's rapier.)<br />
God has sent me this steel!<br />
The mortar is still wet and soft,<br />
The stone yields to my thrust.<br />
I feel <strong>in</strong> these arms the strength of a man,<br />
The <strong>in</strong>tense heat of the world!<br />
Help! I am com<strong>in</strong>g, my Fernando!<br />
(She runs over to the wall and beg<strong>in</strong>s to work with the rapier to break it down.<br />
Immediately afterwards the count comes <strong>in</strong> from the other door, and watches her silently<br />
for some moments. F<strong>in</strong>ally he says slowly):<br />
THE COUNT.<br />
Do you want to tear down the wall, Donna Clara?<br />
CLARA<br />
286
(half-collapses with a shriek: but leaps up suddenly aga<strong>in</strong>, and runs towards the<br />
count).<br />
Yes, del Fuente! These stones<br />
Must be torn down at once . . .<br />
Help me! Look! It is a matter of life and death!<br />
THE COUNT.<br />
Whose life? Beh<strong>in</strong>d this wall<br />
Is really only empty air...<br />
You have sworn it yourself, Clara.<br />
CLARA.<br />
I swore to you that I was faithful,<br />
And for this fidelity I have<br />
Sacrificed to you my love.<br />
Yes, there is a life beh<strong>in</strong>d the wall<br />
Indeed, a precious life, del Fuente!<br />
Away now, away you false shame<br />
Whereby I became a tigress!<br />
Come, oh come! You sweet dishonor,<br />
Make me once aga<strong>in</strong> a woman!<br />
Yes, del Fuente! Him, I love...<br />
Him, the only one I have loved,<br />
Don Fernando is <strong>in</strong> there!<br />
He is <strong>in</strong>nocent! Oh, he came<br />
Here to lead me to freedom,<br />
And I led him to his death,<br />
Which he suffered <strong>in</strong> silence<br />
In order to rescue what I proudly<br />
And stupidly called my honor!<br />
Kill me, kill me now, del Fuente,<br />
Oh, but rescue him, save Fernando!<br />
THE COUNT.<br />
You talk wildly. Just bear <strong>in</strong> m<strong>in</strong>d:<br />
There is nobody beh<strong>in</strong>d the wall,<br />
Everyth<strong>in</strong>g was just an old legend.<br />
I will not kill anyone here,<br />
287
Least of all you. Now you shall live!<br />
CLARA.<br />
Every moment can kill!<br />
Save him, save him, del Fuente!<br />
Break down the wall at once, if not<br />
You will see me fill Spa<strong>in</strong><br />
With wild cries of revenge for this misdeed!<br />
THE COUNT.<br />
It is your deed, Donna Clara!<br />
I am clean, I know of noth<strong>in</strong>g.<br />
Nobody will touch this wall.<br />
CLARA<br />
(runs despair<strong>in</strong>gly to the door, cry<strong>in</strong>g):<br />
Help! Murder! Help me!<br />
THE COUNT (holds her back).<br />
You will stay here. Go ahead and shout!<br />
These walls are thick,<br />
Nobody hears, nobody answers,<br />
You will never leave this castle.<br />
CLARA (on her knees).<br />
If no human be<strong>in</strong>g can help me,<br />
Then you listen to me, Madonna!<br />
Mistress of heaven! Let me be the one you punish!<br />
Oh, but rescue him, save Fernando!<br />
(A servant comes <strong>in</strong> with a letter.)<br />
288
THE COUNT.<br />
What do you want? How dare you enter unannounced?<br />
SERVANT.<br />
Only a letter for the countess . . .<br />
A fisherman just now brought it here,<br />
Instructed that it be opened immediately.<br />
A letter for me?<br />
(She runs towards the servant.)<br />
CLARA.<br />
THE COUNT (grabs the letter).<br />
Give it here! Then go.<br />
Nobody must disturb us here,<br />
Nobody, if you value your life.<br />
CLARA (to the servant, as he goes).<br />
Call for some help here! For God's sake, do it!<br />
THE COUNT.<br />
(after hav<strong>in</strong>g locked the door beh<strong>in</strong>d the servant).<br />
Silence, Clara! That is useless,<br />
The castle's people are my slaves.<br />
Let us just see now, from whom<br />
You can still get letters, Clara!<br />
(Opens the letter.)<br />
What's this? Hell and damnation!<br />
What is this? Don Fernando?<br />
Yes, here it says . . . he writes himself . . .<br />
289
(To Clara.)<br />
Can it be possible? Oho!<br />
The secret passage . . . Now I remember,<br />
There have been old rumors<br />
About the existence of such a th<strong>in</strong>g here <strong>in</strong> the tower . . .<br />
But they could never f<strong>in</strong>d<br />
It aga<strong>in</strong>. And now he,<br />
He must have found it, just when<br />
I had him fast <strong>in</strong> the trap!<br />
Forces of hell, you have saved him!<br />
Oh I am a fool! Ten times a fool,<br />
Who did not th<strong>in</strong>k about this before,<br />
Who did not seize my captive alive!<br />
God, what does this mean?<br />
CLARA.<br />
THE COUNT.<br />
But still<br />
I shall not give up my revenge!<br />
He cannot be far away!<br />
After him, at once!<br />
After him, with horses and hounds,<br />
After him, with lights and torches!<br />
Sound the horn! Let the dogs loose!<br />
Open fire with muskets! Let every bullet count! --<br />
Ha, it will be a merry hunt!<br />
Wait for me here, my dove, until I<br />
Come back aga<strong>in</strong> soon<br />
With your beloved, to a joyous<br />
and bloody night of merrymak<strong>in</strong>g!<br />
(He dashes out.)<br />
CLARA (alone).<br />
Oh, what word was that I heard?<br />
Dare I hope? No, oh no!<br />
290
Such a thought were surely madness!<br />
Yet, his fury . . .<br />
(She sees the letter, which the duke <strong>in</strong> his rage has tossed away <strong>in</strong>voluntarily.)<br />
Ha! See there . . .<br />
A paper, crumpled together,<br />
It is the letter! He has forgotten it,<br />
Thrown it away <strong>in</strong> his fury . . .<br />
It is m<strong>in</strong>e!<br />
(After unfold<strong>in</strong>g it.)<br />
(She reads.)<br />
Jesus! Mary!<br />
Is that not Fernando's handwrit<strong>in</strong>g?<br />
He is saved! Still, it could<br />
Have been written before he came here;<br />
Heaven! Give me the strength to read!<br />
"Donna Clara! God has taken<br />
Away a carnal s<strong>in</strong> from your head!<br />
Your Fernando is delivered,<br />
Even though he was prepared to suffer<br />
Silently for you the worst possible agony of death.<br />
The wall was all closed around me,<br />
The air already became stifl<strong>in</strong>g, and the darkness<br />
Dense like <strong>in</strong>side a coff<strong>in</strong>...<br />
I was buried alive!<br />
Then, while <strong>in</strong> prayer and sorrow<br />
I pressed myself aga<strong>in</strong>st the madonna's<br />
M<strong>in</strong>iature statue . . . See! then it glided<br />
Easily aside, and I felt<br />
The night's fresh air breathe<br />
On me from an open<strong>in</strong>g<br />
To a w<strong>in</strong>d<strong>in</strong>g staircase, which<br />
I found hidden <strong>in</strong> the wall.<br />
Quickly, spontaneously I descended<br />
Down the dilapidated w<strong>in</strong>d<strong>in</strong>g staircase <strong>in</strong> the wall,<br />
Until by the foot of the tower<br />
Towards the garden I found an exit,<br />
Hidden between underbrush and stones!<br />
I was free! As light as a bird<br />
I hurried over the outer fortifications,<br />
291
Down the cliffs, over crevices<br />
Down to the fish<strong>in</strong>g harbor on the beach,<br />
Where I now <strong>in</strong> haste write down<br />
These farewell l<strong>in</strong>es to you.<br />
When you read them, I shall<br />
Already be at sea on the ship out yonder,<br />
Which only waits for me, ready to<br />
Spread its w<strong>in</strong>gs towards the New World <strong>in</strong> the west,<br />
whither<br />
I have dreamed you would follow!<br />
You did not want to do that.<br />
I am go<strong>in</strong>g alone. Nevermore<br />
Will you see Fernando, Clara!<br />
But yet he wanted you to know<br />
That he still lives,<br />
Lives, and cannot forget you,<br />
Lives, and forgives you!"<br />
(She slowly repeats the last words.)<br />
Lives, and forgives you!<br />
Thanks, Fernando! I shall take<br />
These words with me to the grave,<br />
Where I am go<strong>in</strong>g now.<br />
Ah, Fernando! You have your revenge!<br />
Nobody <strong>in</strong> the whole world<br />
Is so alone, so miserable,<br />
As your poor, poor Clara!<br />
(S<strong>in</strong>k<strong>in</strong>g on her knees.)<br />
Yet forgive me, o Madonna!<br />
I am eternally thankful to you!<br />
You have heard my prayer, have rescued him,<br />
Freed him, as if by a miracle!<br />
I led him cruelly to death<br />
Yet he is the one I shall always love.<br />
He is saved! Now may the righteous will of heaven<br />
Decide my fate!<br />
Shall I cont<strong>in</strong>ue to be a martyr here<br />
With my terrible husband,<br />
Or will it be k<strong>in</strong>dly granted to me<br />
To hide this poor, hot,<br />
S<strong>in</strong>-heavy head<br />
Under the peace of the nun's veil,<br />
292
In a cloister, to honor you,<br />
Oh, Madonna! What is your will!<br />
I will endure everyth<strong>in</strong>g, humbly, quietly,<br />
S<strong>in</strong>ce I know that he is alive,<br />
Alive, and cannot forget me,<br />
Alive, and forgives me!<br />
293
VIII. Indqvarter<strong>in</strong>gen (“The Billett<strong>in</strong>g”), by Henrik Hertz.<br />
Henrik Hertz was one of the best writers <strong>in</strong> the stable of playwrights at the Royal Theatre<br />
<strong>in</strong> Copenhagen. Indqvarter<strong>in</strong>gen deals with a real social problem, the <strong>in</strong>vasion of<br />
families caused by the billett<strong>in</strong>g of troops <strong>in</strong> private homes dur<strong>in</strong>g maneuvers, although it<br />
presents the problem <strong>in</strong> a comical, even farcical style. The play was performed not only<br />
<strong>in</strong> Skien <strong>in</strong> 1843, but also <strong>in</strong> Sørlandet a few years later, and it entered the repertoire of<br />
the Bergen theatre <strong>in</strong> the 1852-53 season. <strong>Ibsen</strong> probably directed it then himself, so he<br />
must have known it well.<br />
<strong>Ibsen</strong> profited by his contact with Hertz's plays, which <strong>in</strong>clude Kong Renes Datter<br />
and Svend Dyr<strong>in</strong>gs Hus. He was accused of imitat<strong>in</strong>g the latter play <strong>in</strong> compos<strong>in</strong>g Gildet<br />
paa Solhoug, a charge aga<strong>in</strong>st which he defended himself <strong>in</strong> the preface to the second<br />
edition of that play. His defense was justified as far as the details of the two texts are<br />
concerned. However, the fact that he worked with Hertz's plays <strong>in</strong> the theatre as well as<br />
<strong>in</strong> the study dur<strong>in</strong>g his apprenticeship is significant, and he must have learned from<br />
Hertz's theatrical expertise.<br />
In Indqvarter<strong>in</strong>gen Hertz was able to create characters who are viewed satirically,<br />
but are still three-dimensional, that is, they have complexity and are not merely farcical<br />
puppets. It is possible that Hertz's method of characterization left its mark on some of<br />
<strong>Ibsen</strong>'s best plays. The characters of Brandt and Louise <strong>in</strong> particular are similar to some<br />
of <strong>Ibsen</strong>'s characters. Hjalmar Ekdal may owe someth<strong>in</strong>g to Brandt, and Hedda Gabler<br />
may be a cous<strong>in</strong> of Louise. The marriage of a clever, spirited woman and a prosaic or<br />
foolish husband is also part of <strong>Ibsen</strong>'s stock-<strong>in</strong>-trade. Of course, both Hertz and <strong>Ibsen</strong><br />
were work<strong>in</strong>g <strong>in</strong> a comic tradition that had been <strong>in</strong>fluenced by the practice of the<br />
eighteenth century dramatist Ludvig Holberg.<br />
This translation is based on the text <strong>in</strong> Dramatiske Værker af Henrik Hertz. Vol.<br />
1. Kjøbenhavn: C. A. Reitzels Bo og Arv<strong>in</strong>ger, 1854, 253-347.<br />
INDQVARTERINGEN<br />
("THE BILLETTING")<br />
by Henrik Hertz.<br />
CHARACTERS.<br />
BRANDT, a factory manager.<br />
LOUISE, his wife.<br />
HANNE, her sister.<br />
294
ADOLF HERMANSEN, a prov<strong>in</strong>cial officer.<br />
JOHAN, BRANDT's old SERVANT.<br />
A SERVANT.<br />
The action takes place <strong>in</strong> the town of Frederiksberg.<br />
Part of a garden beside BRANDT's farmhouse. To the left a w<strong>in</strong>g of the build<strong>in</strong>g<br />
with a door to a garden room. Beyond this some trees, under which are two small tables<br />
and some garden chairs. Somewhat to the right a little patch of shrubbery, which is<br />
positioned <strong>in</strong> such a way that those who stand between it and the nearest sidew<strong>in</strong>gs can be<br />
seen by the spectators, but not by those who are on the other side of the stage. Two walks<br />
or paths go to the garden's exit, one nearest the house, and one between the thicket and<br />
the sidew<strong>in</strong>gs.<br />
FIRST SCENE.<br />
BRANDT, LOUISE and HANNE are sit<strong>in</strong>g beside the table, the first read<strong>in</strong>g a<br />
newspaper, the others occupied with handwork.<br />
Is there anyth<strong>in</strong>g new <strong>in</strong> the newspaper?<br />
Noth<strong>in</strong>g that would <strong>in</strong>terest you.<br />
LOUISE.<br />
BRANDT.<br />
LOUISE.<br />
You can't know that. When it is new, it always has the good and <strong>in</strong>disputable feature that<br />
it is not old. Let's hear what is there, if it really is new.<br />
BRANDT.<br />
295
Would it <strong>in</strong>terest you that a man <strong>in</strong> Jylland has proven positively <strong>in</strong> front of a large group<br />
of people that he cannot walk on water?<br />
No.<br />
LOUISE.<br />
BRANDT.<br />
Or that Madame Klatt's elephant has drunk so much brandy that it has acquired a red<br />
trunk?<br />
LOUISE.<br />
No, not that either . . . except that a dr<strong>in</strong>ker <strong>in</strong> such grand style <strong>in</strong>evitably <strong>in</strong>spires<br />
admiration.<br />
BRANDT.<br />
Or would it <strong>in</strong>terest you that the regiments are summoned for Autumn maneuvers?<br />
LOUISE.<br />
Yes, . . . that is, I am obliged to take an <strong>in</strong>terest <strong>in</strong> it. After all, you said that billett<strong>in</strong>g is<br />
usually made here on the farm.<br />
BRANDT (jumps up).<br />
What? Billett<strong>in</strong>g? Yes, God help us, that's true! And I have not thought about it at all . .<br />
. . No, that won't do!<br />
LOUISE.<br />
They do not ask us, certa<strong>in</strong>ly. We must tolerate billett<strong>in</strong>g whether we like it or not.<br />
BRANDT.<br />
296
Yes, but there is billett<strong>in</strong>g and then there is billett<strong>in</strong>g. A couple of fellows can probably<br />
be put up on the farm. But with my luck an officer and his Servant usually stay here.<br />
And you th<strong>in</strong>k that would be a bother for us?<br />
LOUISE.<br />
BRANDT (quickly).<br />
Yes, of course. It will be an unbelievable bother, and for you especially. You can't<br />
imag<strong>in</strong>e what demands such a gentleman makes and what attentions he asks for.<br />
LOUISE.<br />
Which regiment usually lodges here <strong>in</strong> the neighborhood?<br />
BRANDT.<br />
In our house almost <strong>in</strong>variably a prov<strong>in</strong>cial officer lodges.<br />
A prov<strong>in</strong>cial officer?<br />
HANNE (burst<strong>in</strong>g out).<br />
BRANDT.<br />
Oh, well, my gentle lamb, is that so remarkable a curiosity?<br />
HANNE (confused).<br />
No . . . I didn't mean that. But . . . but, I thought, that we have a . . . (To LOUISE.) Don't<br />
we have a cous<strong>in</strong> who is with the prov<strong>in</strong>cial officers?<br />
Yes, Adolf Hermansen.<br />
LOUISE.<br />
297
BRANDT.<br />
Adolf Hermansen? God help us! Is he your cous<strong>in</strong>? Yes, he is with the prov<strong>in</strong>cial<br />
officers all right. But that is a terrible story!<br />
LOUISE.<br />
Ha ha ha! Why are you gett<strong>in</strong>g so upset? Is it such a great misfortune, that Adolf<br />
Hermansen is with the prov<strong>in</strong>cial officers?<br />
BRANDT.<br />
Oh no, not at all. But that he is your cous<strong>in</strong>, that is a misfortune. Don't I know Adolf<br />
Hermansen? We used to be <strong>in</strong>separable. If he comes to town, and learns that I am<br />
married to a cous<strong>in</strong> of his, then noth<strong>in</strong>g will do but he must look me up.<br />
LOUISE.<br />
But you don't need to worry about it. I understand well enough what you mean. You<br />
believe that I, like so many other wives, will <strong>in</strong>sist that my husband break off all his<br />
youthful connections. But I am not so egotistical. On the contrary, s<strong>in</strong>ce Adolf is your<br />
friend, he will also be m<strong>in</strong>e; and I shall take great pa<strong>in</strong>s to obta<strong>in</strong> his good will.<br />
BRANDT (aside).<br />
Thanks! (Aloud.) Those are excellent pr<strong>in</strong>ciples. But you see, my friendship with Adolf<br />
was not exactly <strong>in</strong>tense, so to speak. It was one of these fleet<strong>in</strong>g acqua<strong>in</strong>tances that youth<br />
establishes and irresponsibility cont<strong>in</strong>ues. And <strong>in</strong> recent years all connection between us<br />
has been as good as broken off.<br />
LOUISE.<br />
Is that so? Well, that is another matter. But . . . it occurs to me now . . . you once told me<br />
about a young officer who n<strong>early</strong> got <strong>in</strong>volved <strong>in</strong> a duel on your behalf. Wasn't that<br />
Adolf?<br />
BRANDT (embarrassed).<br />
298
Yes, <strong>in</strong>deed it was.<br />
LOUISE.<br />
And, if I remember correctly, you told me six months ago, when you were <strong>in</strong> need of<br />
money for the new English loom, that a friend of your youth went out of his way to make<br />
you a very generous offer. Was that Adolf too, perhaps?<br />
Yes, <strong>in</strong>deed it was.<br />
BRANDT (embarrassed).<br />
LOUISE.<br />
Well . . . so the friendship has not been so very irresponsible.<br />
BRANDT.<br />
Yes . . . understand me rightly . . . he is brave and generous. But . . . but his<br />
irresponsibility . . . oh, when I tell you . . .<br />
LOUISE.<br />
Yes, I do not know him at all. As you know, his father and m<strong>in</strong>e were at odds with one<br />
another. I myself have lived for a long time <strong>in</strong> Fyen, so I am not acqua<strong>in</strong>ted with my own<br />
family. I have never even seen Adolf. In the past he was of spoken of <strong>in</strong> my parents'<br />
house; but . . . with all due respect for your op<strong>in</strong>ion about the friend of your youth . . . it<br />
seems to me that at home they judged him more gently.<br />
So?<br />
BRANDT.<br />
LOUISE.<br />
They did speak now and then about how wild and unrestra<strong>in</strong>ed he was . . . .<br />
299
BRANDT.<br />
That is just what I'm say<strong>in</strong>g. Oh, his wildness, his lack of restra<strong>in</strong>t! A man should not act<br />
like that!<br />
LOUISE.<br />
You didn't let me f<strong>in</strong>ish . . . . But they also agreed that his lack of restra<strong>in</strong>t was comb<strong>in</strong>ed<br />
with many remarkable qualities; that there was a life and a warmth <strong>in</strong> his nature, which<br />
from time to time tended to express itself a little wildly, but that the foundation of his<br />
character was very solid.<br />
BRANDT.<br />
So? . . . (Aside.) I believe my wife is <strong>in</strong>fatuated with him without even hav<strong>in</strong>g met him.<br />
HANNE (timidly).<br />
I remember too, that they spoke very well of him at home. (To LOUISE.) Do you recall<br />
how taken Aunt was with him . . . .<br />
Will you just be quiet.<br />
Does he know that we are married?<br />
BRANDT (aside to HANNE).<br />
LOUISE.<br />
BRANDT.<br />
By God, he should know. But I don't believe he does. We have been married for only<br />
two months. Our engagement, by your own desire, was secret almost until our wedd<strong>in</strong>g<br />
day; and for the last four or five months I have not heard anyth<strong>in</strong>g from Adolf.<br />
LOUISE.<br />
Surely you mean <strong>in</strong> the last couple of years, as you said before.<br />
300
BRANDT.<br />
Yes, of course . . . yes, that is to say, we have come across each other once <strong>in</strong> the<br />
meantime. But one cannot count that. (Looks out to the side.) Now, there is the<br />
mailman. So I have no more time to chat with you. (Aside, as he goes.) Adolf here <strong>in</strong><br />
my house and <strong>in</strong> my pretty young wife's company! I hope our Lord will let me escape<br />
that misfortune.<br />
Listen, Louise, I want to tell you someth<strong>in</strong>g.<br />
Well?<br />
Oh, it probably doesn't matter.<br />
SECOND SCENE.<br />
LOUISE. HANNE.<br />
HANNE.<br />
LOUISE.<br />
HANNE.<br />
LOUISE.<br />
Not to you perhaps, but it might to me. Now for once you have aroused my curiosity.<br />
Just tell me, my lamb, as Brandt calls you.<br />
HANNE.<br />
I only wanted to tell you that I know our cous<strong>in</strong> Adolf.<br />
You do? From where?<br />
LOUISE.<br />
301
HANNE.<br />
I do not actually know him. That is to say, I know him, but he does not know me. You<br />
see, last year I was at Fru Norager's house <strong>in</strong> Soro for a couple of days at the same time he<br />
was there. On one occasion there was a very large company of ladies and gentlemen from<br />
the district at d<strong>in</strong>ner, and among them was Adolf. At that time he was liv<strong>in</strong>g on a farm <strong>in</strong><br />
the vic<strong>in</strong>ity.<br />
LOUISE.<br />
Well, but didn't you take the opportunity to make his acqua<strong>in</strong>tance then?<br />
HANNE.<br />
How can you imag<strong>in</strong>e that he would notice me. I was so young then.<br />
LOUISE.<br />
Yes, that's true, you were exactly one year younger then, or about 16 years old.<br />
HANNE.<br />
And besides, he was always surrounded by so many people. At the table I sat far away<br />
from him, and later it was as though I was afraid to come near him. I didn't even have the<br />
courage to tell the others that I was related to him.<br />
What do you th<strong>in</strong>k of him?<br />
LOUISE.<br />
HANNE.<br />
Oh, he's handsome! And he is certa<strong>in</strong>ly a very charm<strong>in</strong>g person. Everyth<strong>in</strong>g he said, and<br />
everyth<strong>in</strong>g he did suited him so well. I cannot possibly believe that he is as abandoned as<br />
Brandt says. Besides, he was so restra<strong>in</strong>ed; everyone spoke so well of him. And<br />
302
you should see how proper he was. His l<strong>in</strong>en shone. I th<strong>in</strong>k that all the other gentlemen<br />
were dim<strong>in</strong>ished <strong>in</strong> comparison with him. I stood <strong>in</strong> the w<strong>in</strong>dow as he rode away. I have<br />
never seen anyone mount a horse like he did and dash off like that.<br />
LOUISE (laugh<strong>in</strong>g).<br />
You are well on the way to be<strong>in</strong>g <strong>in</strong>fatuated with him.<br />
HANNE.<br />
Oh, how can you believe! . . . It just seems to me that it is my duty to defend him aga<strong>in</strong>st<br />
Brandt's unreasonable suspicions of his character.<br />
LOUISE.<br />
Yes, but just be careful. It is sometimes dangerous to carry out one's duty with too much<br />
zeal.<br />
(with a letter <strong>in</strong> his hand).<br />
THIRD SCENE.<br />
The preced<strong>in</strong>g. BRANDT.<br />
BRANDT<br />
Isn't that just what I expected! Isn't that just what I thought!<br />
What's happened?<br />
(gives her the letter).<br />
LOUISE.<br />
BRANDT<br />
303
There. Read it yourself . . . . It is a letter from Adolf. He writes that through a friend <strong>in</strong><br />
Copenhagen he has arranged to come to stay here on the farm, and that he and his<br />
squadron are arriv<strong>in</strong>g <strong>early</strong> this morn<strong>in</strong>g. He could be here at any moment.<br />
(after hav<strong>in</strong>g looked at the letter).<br />
LOUISE<br />
But it appears he is not lodg<strong>in</strong>g with us for our sakes at all. Just listen! (Reads.) "For a<br />
long time I have wished to spend some time <strong>in</strong> the vic<strong>in</strong>ity of my beloved Aunt." . . . So<br />
he doesn't know that my mother has been taken over to Fyen.<br />
BRANDT.<br />
Or it seems like he doesn't know it. Do you believe that he is lodg<strong>in</strong>g with us for your<br />
mother's sake, he, who is otherwise such a great lover of the free-and-easy life?<br />
LOUISE.<br />
Well, <strong>in</strong> any case we must prepare for his arrival, and make a couple of rooms ready.<br />
We have no room. We cannot receive him.<br />
BRANDT.<br />
LOUISE.<br />
We have no room? We have two guest rooms, which you yourself have been busy<br />
furnish<strong>in</strong>g.<br />
They can be made ready <strong>in</strong> a m<strong>in</strong>ute.<br />
HANNE.<br />
LOUISE.<br />
304
Indeed they can . . . . Listen, Hanne, you go up and see that the furnish<strong>in</strong>gs are attractive<br />
and tasteful. Let the girls put the chiffoniere <strong>in</strong> there that we have stand<strong>in</strong>g ready. He can<br />
sit and write there.<br />
Yes, I know. I'll take care of it right away.<br />
HANNE.<br />
LOUISE.<br />
Pretty it up however you can; put some flowers <strong>in</strong> a glass and some water.<br />
HANNE.<br />
Yes, I shall. You will see how attractively I shall decorate it.<br />
(Goes <strong>in</strong>to the house.)<br />
Well, you women have been busy.<br />
BRANDT.<br />
LOUISE.<br />
Yes, I thought that we should relieve you of all the bother. Hanne and I shall take care of<br />
Adolf while he is here, as well as we can.<br />
BRANDT.<br />
Oh, the bother! That is the least of it. But our lovely morn<strong>in</strong>g and even<strong>in</strong>g hours, which<br />
until now we spent out here <strong>in</strong> rural quietness . . . everyth<strong>in</strong>g like that is spoiled and<br />
profaned by the presence of another man.<br />
LOUISE.<br />
But then remember the even<strong>in</strong>gs, when it started to get so long and sad. You yourself<br />
have already wished for some company out here <strong>in</strong> the even<strong>in</strong>gs.<br />
305
BRANDT.<br />
And our solitary, pleasant walks? I am tell<strong>in</strong>g you beforehand, when we go out <strong>in</strong> the<br />
morn<strong>in</strong>g, and he is at home, we are not tak<strong>in</strong>g him with us.<br />
He might be offended by that.<br />
LOUISE.<br />
BRANDT.<br />
Offended? No, that is not at all <strong>in</strong> his character. He prefers it if people don't stand on<br />
ceremony with him.<br />
LOUISE.<br />
Well, we'll see . . . . But I forgot to tell you, there was a message for you from the factory.<br />
BRANDT.<br />
Say . . . that's right . . . I have . . . I have wanted to tell you this the whole time. I have<br />
been th<strong>in</strong>k<strong>in</strong>g, I shouldn't be lean<strong>in</strong>g over the people at work the whole day. It looks so<br />
suspicious.<br />
Oh. You may be right about that.<br />
LOUISE.<br />
BRANDT.<br />
Don't you th<strong>in</strong>k so? And Moller, our deputy adm<strong>in</strong>istrator, is a clever man. It does him<br />
good to get tra<strong>in</strong><strong>in</strong>g and ga<strong>in</strong> self-confidence. The man must develop himself.<br />
LOUISE.<br />
But I thought you said before that you don't quite trust Moller.<br />
306
BRANDT.<br />
Moller? No, you are surely mistaken there. He is as good as gold.<br />
LOUISE.<br />
Yes, it seems to me this is a good idea. Then perhaps you will use the extra time to<br />
prepare the proposal you are go<strong>in</strong>g to make to the treasury concern<strong>in</strong>g the factory.<br />
BRANDT.<br />
Exactly. It has been on my m<strong>in</strong>d me for a long time.<br />
LOUISE.<br />
It is good that th<strong>in</strong>gs are com<strong>in</strong>g to a head there. Listen, you know what, I will fix up<br />
your old room <strong>in</strong> the other build<strong>in</strong>g for you, so that you can work while Adolf is here, far<br />
away from the rest of us, and completely undisturbed.<br />
BRANDT.<br />
Now why do you want to do that? That won't do at all. Adolf would be very offended if I<br />
were to isolate myself like that.<br />
LOUISE.<br />
Offended? But you just ma<strong>in</strong>ta<strong>in</strong>ed that that is not <strong>in</strong> his character. That he prefers that<br />
no fuss is made over him.<br />
BRANDT.<br />
Yes . . . I did, didn't I. But remember, I am an old acqua<strong>in</strong>tance of his and the man of the<br />
house. How would it look if I locked myself up. No, I shall sit and work <strong>in</strong> the little<br />
room beside our liv<strong>in</strong>g room . . . or listen! I shall sit <strong>in</strong> with you others. It is so lovely<br />
and cozy, and then the work goes better.<br />
307
LOUISE.<br />
Is that what you want? (She looks at him and laughs.) Do you remember the old song<br />
that Uncle Holmer used to s<strong>in</strong>g with his deep voice: "He, who has found a girl." 4<br />
I believe so. But why?<br />
BRANDT.<br />
LOUISE.<br />
There is a verse <strong>in</strong> it, I can do a little of it. Just listen.<br />
(S<strong>in</strong>gs.)<br />
What do you mean by that?<br />
A man should always take care of them,<br />
Like a miser of his treasure.<br />
Until along comes a dandy,<br />
Of the proper hunt<strong>in</strong>g-class,<br />
Then woman's fidelity good night!<br />
Trallalala<br />
BRANDT (at a loss).<br />
LOUISE.<br />
Noth<strong>in</strong>g. Now I shall go <strong>in</strong>to our liv<strong>in</strong>g room and fix a table with paper and writ<strong>in</strong>g<br />
materials for you. Then you can beg<strong>in</strong> at once on your proposal to the exchequer, while<br />
the rest of us eat breakfast.<br />
(She goes <strong>in</strong>.)<br />
FOURTH SCENE.<br />
BRANDT (alone).<br />
4 Osman’s aria <strong>in</strong> The Abduction from the Seraglio, by Mozart.<br />
308
She is mak<strong>in</strong>g fun of me. But there is noth<strong>in</strong>g to be done about it. An uneasy feel<strong>in</strong>g has<br />
come over me s<strong>in</strong>ce I received this annoy<strong>in</strong>g news . . . . My wife is an excellent wife, a<br />
model among women. But yet she has always been a worldly person . . . and . . . she is a<br />
woman. The attention of a young, attractive man flatters her . . . one step leads to<br />
another. One jokes, one <strong>in</strong>spects the area, one romances . . . that damned romance! I<br />
never have been able to get <strong>in</strong>to it, and I am no good at it at all . . . . (He walks restlessly<br />
up and down.) It is a marvellous feel<strong>in</strong>g, jealousy. I have no reason for it, I cannot<br />
account for it, and all the same . . . . Oh, it's really stupid of me. I won't th<strong>in</strong>k about it<br />
any more. I will . . . couldn't one arrange quite secretly for Adolf to be assigned to<br />
another billett<strong>in</strong>g? I'll try that, and write a couple of words.<br />
(Just as he is go<strong>in</strong>g <strong>in</strong>, ADOLF enter<strong>in</strong>g calls to him.)<br />
FIFTH SCENE.<br />
BRANDT. ADOLF HERMANSEN. A SERVANT, who carries a cotton sack.<br />
Brandt! Wait . . . it is you, isn't it?<br />
ADOLF (as he enters).<br />
BRANDT (aside).<br />
Now, upon my soul, there he is! (Aloud.) Is that you, Adolf? Is it really you?<br />
ADOLF.<br />
Of course it's me. Weren't you expect<strong>in</strong>g me?<br />
BRANDT.<br />
Expect<strong>in</strong>g you? No . . . yes . . . of course I was expect<strong>in</strong>g you.<br />
ADOLF.<br />
309
I hope so. After all, I wrote to you, that I would be lodg<strong>in</strong>g with my aunt. Didn't you<br />
receive my letter?<br />
BRANDT.<br />
Uh, certa<strong>in</strong>ly I did, and you're very welcome. (Shakes his hand.) Come and put down<br />
your th<strong>in</strong>gs and make yourself comfortable . . . . But you see . . . actually, it is a very<br />
unpleasant situation, but your aunt, whom you are long<strong>in</strong>g to see, has just now been taken<br />
over to Fyen. So you can surely have no desire to lodge here.<br />
ADOLF.<br />
Has she been taken over to Fyen? How unfortunate.<br />
BRANDT.<br />
Yes, isn't that unfortunate? I have been really vexed about it while you were on your<br />
way. Because what use can there be now for you to stay here with us? But, if you like, I<br />
shall gladly take the trouble myself to get you quartered <strong>in</strong> another place, <strong>in</strong> a livelier<br />
house . . . even though, naturally, I would happily see you stay here.<br />
ADOLF.<br />
But has everyone from Aunt's house been taken over to Fyen? Her daughters too?<br />
Her daughters? No . . . they are at home.<br />
BRANDT (fumbl<strong>in</strong>g).<br />
ADOLF.<br />
Oh, what do you know! So that's all right then. (To the SERVANT.) Hans! Put down<br />
my bag. We're stay<strong>in</strong>g here.<br />
So you mean, that you nevertheless . . .<br />
BRANDT.<br />
310
ADOLF.<br />
Yes, naturally. My servant can simply go across to Fyen and br<strong>in</strong>g my luggage over here.<br />
BRANDT.<br />
Your luggage? Well . . . . (To the SERVANT.) Yes, <strong>in</strong> the meantime you can br<strong>in</strong>g it<br />
<strong>in</strong>to the garden room.<br />
(The SERVANT goes <strong>in</strong>to the house.)<br />
ADOLF.<br />
You see, my dear Brandt, as you can well imag<strong>in</strong>e it is not my old aunt, as dear as she is<br />
to me, that attracts me here. No, the mag<strong>net</strong> is rather someone else.<br />
So . . . ? Dare I ask who?<br />
Her oldest daughter, my cous<strong>in</strong> Louise.<br />
BRANDT.<br />
ADOLF.<br />
BRANDT (aside).<br />
My wife! There we have it! (Aloud.) You're not serious?<br />
ADOLF.<br />
I most def<strong>in</strong>itely am serious. You know that frankness is one of my foremost qualities. I<br />
shall not conceal from you that for a long time I have had my head full of this girl. Ever<br />
s<strong>in</strong>ce I was a half-grown boy I have heard her talked about. Moreover, I believe<br />
that her mother and my mother had dest<strong>in</strong>ed us for one another.<br />
BRANDT (aside).<br />
311
Unfortunately, that is what my mother-<strong>in</strong>-law recently told me.<br />
ADOLF.<br />
However, for several years I have not thought about her at all. The unfriendl<strong>in</strong>ess that<br />
existed between my father and my aunt's husband excluded me from her vic<strong>in</strong>ity, so until<br />
now I have not made her personal acqua<strong>in</strong>tance, and perhaps once aga<strong>in</strong> shall not<br />
succeed. You know that I have lived somewhat giddily . . . . Six months ago for the first<br />
time it was as if all the old memories, everyth<strong>in</strong>g that I had heard my mother say so often,<br />
suddenly awakened, and restored my cous<strong>in</strong>'s picture <strong>in</strong> my soul, and endowed it once<br />
aga<strong>in</strong> with all the beauty and charm which <strong>in</strong> younger years I had attached to it. And you<br />
know who I can thank that these pleasant memories awoke <strong>in</strong> me aga<strong>in</strong>?<br />
No, how should I know . . . .<br />
You, my friend, and nobody else.<br />
Me?<br />
BRANDT.<br />
ADOLF.<br />
BRANDT.<br />
ADOLF.<br />
Don't you remember, that six months ago you wrote me a letter, <strong>in</strong> which among other<br />
th<strong>in</strong>gs you mentioned a daughter of a factory owner who had recently died, from whose<br />
widow you <strong>in</strong>tended to take over the management of the factory. This young girl was<br />
precisely the cous<strong>in</strong> I had already heard so much about. The warmth with which you<br />
mentioned her, a warmth I had never expected of you, had a contagious effect on me.<br />
S<strong>in</strong>ce then I have had no peace. More than once I resolved to ask permission to conv<strong>in</strong>ce<br />
myself with my own eyes of my cous<strong>in</strong>'s charms. F<strong>in</strong>ally I made up my m<strong>in</strong>d to have<br />
patience until the time of the maneuvers, and to secure myself a billett<strong>in</strong>g <strong>in</strong> my aunt's<br />
house, <strong>in</strong> order to be able, quite without suspicion, to undertake my observations <strong>in</strong> the<br />
vic<strong>in</strong>ity and now . . . here I am, and I have decided, if my cous<strong>in</strong> Louise corresponds to<br />
my conception of her, to fall <strong>in</strong> love with her and . . . to propose.<br />
312
BRANDT.<br />
Propose? Propose to Louise? Are you crazy? She is my wife, you know.<br />
ADOLF.<br />
Your wife! What are you say<strong>in</strong>g! . . . But that's impossible. You have been engaged for<br />
quite some time now to the lovely Julie Kaufmann <strong>in</strong> Copenhagen.<br />
Certa<strong>in</strong>ly not . . . that was a stupid rumor.<br />
But one which you did not seriously deny.<br />
BRANDT.<br />
ADOLF.<br />
BRANDT.<br />
I let it alone. Just at that time I was secretly engaged to Louise, and I was just as glad if<br />
people were set on the wrong track.<br />
ADOLF.<br />
So you are married to Louise! That certa<strong>in</strong>ly is an unforeseen obstacle! But so what!<br />
That doesn't mean anyth<strong>in</strong>g.<br />
That doesn't mean anyth<strong>in</strong>g?<br />
BRANDT.<br />
ADOLF.<br />
No, because then I shall simply fall <strong>in</strong> love with her.<br />
BRANDT.<br />
313
No, that will not do at all.<br />
Shame on you! Are you jealous?<br />
ADOLF.<br />
BRANDT.<br />
Jealous? I? . . . No, you misunderstand me. But . . . now listen, Adolf, let's discuss this<br />
seriously. You must recognize that with the feel<strong>in</strong>gs you have for my wife, you cannot<br />
live here <strong>in</strong> the house.<br />
What k<strong>in</strong>d of talk is that?<br />
ADOLF.<br />
BRANDT.<br />
If you take my advice, I shall secure you an excellent, a much more comfortable lodg<strong>in</strong>g<br />
here <strong>in</strong> the vic<strong>in</strong>ity. Do it, my dear, good Adolf! It is <strong>in</strong> your own best <strong>in</strong>terests, believe<br />
me. There are two charm<strong>in</strong>g daughters . . .<br />
ADOLF.<br />
Are there? Yes, I shall visit them. But I am stay<strong>in</strong>g here. There is my billett<strong>in</strong>g-letter . . .<br />
look!<br />
BRANDT.<br />
Are you really serious, that you want to stay here?<br />
ADOLF.<br />
My friend! I can tell that you cl<strong>early</strong> do not understand the military. It would be contrary<br />
to my duty if I objected to the quarters assigned to me, simply because I have a charm<strong>in</strong>g<br />
cous<strong>in</strong> there. Such stubbornness would only discredit me with my superiors. It might<br />
have the most serious consequences.<br />
314
You are <strong>in</strong>corrigible.<br />
BRANDT.<br />
ADOLF.<br />
Therefore, my friend, show me to my room. The service calls, and I must change.<br />
BRANDT.<br />
Well, for God's sake! . . . You can go <strong>in</strong>to the little room, right here by the garden room.<br />
Wait, I shall call one of the servants.<br />
ADOLF.<br />
That is not necessary. I have my servant with me. (Ironically.) You can be sure that my<br />
billett<strong>in</strong>g will not cause you any more <strong>in</strong>convenience than can be avoided. As for your<br />
wife, just remember that she is one of my closest relatives. I shall treat her with<br />
all the attention that a pretty young wife can ask for from one who is at once her cous<strong>in</strong>,<br />
her husband's friend and a lieutenant <strong>in</strong> His Majesty's prov<strong>in</strong>cial guards.<br />
(He goes <strong>in</strong>to the garden room.)<br />
SIXTH SCENE.<br />
BRANDT (alone).<br />
Well, now the storm has broken over my head, and much worse than I had feared. And I<br />
myself wrote to him about Louise. Oh, what a fool I am! How can a man who is so<br />
clever act so stupidly? Adolf will fall <strong>in</strong> love with Louise ten times as much, simply<br />
because she<br />
is married. That's the way men are. But I cannot allow that. I have duties to myself.<br />
Someth<strong>in</strong>g must be done . . . . But what? . . . If I were to send my wife to Copenhagen to<br />
my sister, and meanwhile kept Hanne here . . . . But what use is that? He would soon<br />
look up my wife, and then what is bad could become worse. But Hanne . . . what about<br />
her! Oh, that is a great idea, but risky. She is pretty and gentle, and how powerful is the<br />
315
first impression! It is magnificent, beautiful! . . . . The th<strong>in</strong>g is, it is only a reprieve. The<br />
truth will come out some day. Well, let it! Just let it! He will first have paid court to<br />
Hanne and declared his preference for her, and then he will already have ru<strong>in</strong>ed it with<br />
my wife. Women never forgive it if a man prefers another to them . . . . Oh, it is a<br />
remarkable idea! If only my wife . . . . God knows what she will say to this remarkable<br />
idea. She has already got it <strong>in</strong>to her head that I am jealous. Now she will laugh at me,<br />
naturally. But I must get her to listen to reason.<br />
SEVENTH SCENE.<br />
BRANDT. LOUISE (from the garden).<br />
LOUISE.<br />
Are you here, Brandt? Johan has just this moment told me that your friend has arrived<br />
and is <strong>in</strong> the little room.<br />
BRANDT.<br />
Yes, he has arrived, and it is just as well that I see you. We need to make some<br />
preparations.<br />
LOUISE.<br />
Oh, that is not necessary. Hanne and I have already made the two guest rooms ready.<br />
BRANDT.<br />
No, dear Louise, those are not the preparations I mean. It is someth<strong>in</strong>g quite different,<br />
which <strong>in</strong> my op<strong>in</strong>ion is of a very serious nature.<br />
LOUISE.<br />
What a remarkable expression you have on your face. What has caused it?<br />
BRANDT.<br />
316
Do you know why Adolf has sought so eagerly to be quartered here <strong>in</strong> the house?<br />
LOUISE.<br />
No, I know that as little as that he has sought it eagerly.<br />
BRANDT.<br />
The poor man did not know that you were married.<br />
The poor man!<br />
It was his <strong>in</strong>tention to ask for your hand.<br />
LOUISE.<br />
BRANDT.<br />
LOUISE.<br />
For my . . . ? Oh, you are jok<strong>in</strong>g! He doesn't know me at all.<br />
BRANDT.<br />
He knows you from the comments of others. His mother has praised you <strong>in</strong>ord<strong>in</strong>ately. I<br />
also believe that it was her wish to see you as a couple.<br />
So? (Aside.) I believe he is right about that.<br />
LOUISE.<br />
BRANDT.<br />
When he learned that you were married he became very upset. I could cl<strong>early</strong> see that he<br />
has already given himself a fantasy-image, which he cannot let go of without a struggle.<br />
He wanted to leave immediately and f<strong>in</strong>d himself another lodg<strong>in</strong>g; only the thought of his<br />
317
duty to the service prevented him from reject<strong>in</strong>g an otherwise satisfactory quarters, that<br />
and my persuasions moved him to stay.<br />
As I said, you are jok<strong>in</strong>g.<br />
Every word I say is the simple truth.<br />
LOUISE.<br />
BRANDT.<br />
LOUISE.<br />
I don't believe you. Just come out with what you have up your sleeve.<br />
BRANDT.<br />
What if I tell you that his confession has made a great impression on me, and that I<br />
consider it a duty to my friend to remedy this unpleasant conflict.<br />
How will you remedy it?<br />
LOUISE.<br />
BRANDT.<br />
You see . . . I know Adolf well, perhaps better than he knows himself. I know that the<br />
unfortunate circumstance, that you are married . . .<br />
LOUISE (laugh<strong>in</strong>g).<br />
The unfortunate circumstance that I am married! Yes, and to you <strong>in</strong> the barga<strong>in</strong>.<br />
BRANDT.<br />
318
That this circumstance, far from subdu<strong>in</strong>g his passion, will only <strong>in</strong>crease it. When he<br />
meets you, he will perhaps fall <strong>in</strong> love with you <strong>in</strong>curably, simply because you are<br />
married.<br />
Do you th<strong>in</strong>k so? Just because of that?<br />
LOUISE.<br />
BRANDT.<br />
Yes, that is the way he is, and that is perhaps how all human nature is constituted. He<br />
might overlook Hanne, even though she is a gentle and gracious young girl. He will have<br />
eyes and ears only for you; he will direct all his attentions only to you . . . as I said,<br />
precisely because you are married and because his love is hopeless.<br />
LOUISE.<br />
I must confess that I had not anticipated such eloquence <strong>in</strong> you.<br />
BRANDT.<br />
I th<strong>in</strong>k we should try to prevent such an unfortunate consequence <strong>in</strong> the life of my friend.<br />
Prevent? Do you want a divorce, perhaps?<br />
LOUISE.<br />
BRANDT.<br />
No, but if you will concede the truth of what I have said, then you will also give your<br />
consent to a plan I have thought of, whereby nobody is harmed, and much misfortune can<br />
be prevented.<br />
Let me hear your plan.<br />
LOUISE.<br />
319
BRANDT.<br />
You see, Adolf does not know you. He only knows that you are his cous<strong>in</strong>, and that you<br />
are young, attractive and charm<strong>in</strong>g.<br />
LOUISE.<br />
S<strong>in</strong>ce he knows that, then I cannot ask for anyth<strong>in</strong>g more.<br />
BRANDT.<br />
He does not know Hanne, either. She is also his cous<strong>in</strong>, and similarly young, attractive<br />
and charm<strong>in</strong>g.<br />
And she is three years younger than I am.<br />
LOUISE.<br />
BRANDT.<br />
If he were to meet Hanne as my wife, perhaps he will decide to fall <strong>in</strong> love with her and<br />
overlook you.<br />
But how will all this end?<br />
LOUISE.<br />
BRANDT.<br />
Well, you see, <strong>in</strong> my op<strong>in</strong>ion, everyth<strong>in</strong>g depends on the first impression. I propose,<br />
therefore, that we . . . if it really is your serious desire to avoid an unfortunate relationship<br />
. . . that we, naturally only for today . . .<br />
LOUISE.<br />
Shall let Hanne be your wife and I your sister-<strong>in</strong>-law.<br />
320
BRANDT.<br />
Exactly! It is a pleasure to talk with you. You have grasped my idea immediately.<br />
LOUISE (laugh<strong>in</strong>g).<br />
But Brandt, where is your jealousy tak<strong>in</strong>g you?<br />
BRANDT.<br />
Oh, how can you believe . . . What reason do I have to be jealous? Even if Adolf should<br />
go and act stupidly, <strong>in</strong> all fairness, can't I depend on you?<br />
LOUISE.<br />
Yes, it seems to me that is the least you can expect. But tell me one th<strong>in</strong>g: hasn't it<br />
occurred to you that your plan is based on a slight abuse of my sister's honesty?<br />
BRANDT.<br />
Patience! Now I come to my ma<strong>in</strong> proposition. We have already spoken several times<br />
about an attractive and suitable match for Hanne.<br />
LOUISE.<br />
And now you are suggest<strong>in</strong>g that Adolf is the right man for her?<br />
BRANDT.<br />
It would be an excellent match. He is wealthy and unattached . . . and with his splendid<br />
character! . . .<br />
LOUISE.<br />
Quite so, but now I come with my ma<strong>in</strong> proposition, as you say. It is precisely Adolf's<br />
character that I have doubts about . . . after what you have told us.<br />
321
About his character? Have I said . . . ?<br />
BRANDT.<br />
LOUISE.<br />
Yes, his irresponsibility. A man should not be like that. Those were your very words.<br />
BRANDT.<br />
Yes, you are right; I have said that. But don't forget that that conversation was about<br />
youthful <strong>in</strong>discretions, which nobody puts any stock <strong>in</strong>. I admitted myself that he had<br />
done me substantial services.<br />
LOUISE.<br />
Yes, I cannot contradict you, s<strong>in</strong>ce I do not know him. But what will Adolf say about the<br />
fact that we have made a fool of him <strong>in</strong> this way?<br />
BRANDT.<br />
That k<strong>in</strong>d of th<strong>in</strong>g is just to his taste. He will be delighted at the joke.<br />
LOUISE.<br />
And one more th<strong>in</strong>g: what if Hanne, deceived by his attentions to her, grows fond of him,<br />
and what if afterwards he withdraws?<br />
BRANDT.<br />
Yes, that would be bad. But one runs that risk every time a gentleman at a ball or <strong>in</strong><br />
company pays court to a young girl. In all such cases one must reckon that, if the girl is<br />
sensible and well-bred, she can dist<strong>in</strong>guish true love from common flirtation<br />
(Courmagerie). And Hanne is very sensible and well-bred. Besides, you must not<br />
overlook that <strong>in</strong> this case she will know what to make of his attentions, if they really<br />
should be based only on wantonness . . . . Dear Louise! Believe me, you can participate<br />
without hesitation <strong>in</strong> this altogether <strong>in</strong>nocent plan, which at the most will give occasion<br />
for laughter and pleasure.<br />
322
LOUISE.<br />
No . . . to speak frankly . . . I cannot give my consent. One often gets mixed up <strong>in</strong> such<br />
dubious situations with a light heart, without consider<strong>in</strong>g that one does not dictate the<br />
outcome. We could realize too late that one should not use too many tricks with one's<br />
friends.<br />
BRANDT (takes her by the waist).<br />
Dearest Louise! Give <strong>in</strong> to me this once. I will take all the responsibility. If the matter<br />
turns out the way I reasonably expect, it will mean happ<strong>in</strong>ess for Hanne.<br />
LOUISE.<br />
Yes, if that is how it turns out. But still we ought not to let it happen <strong>in</strong> that way.<br />
Dear God! How can you be so obst<strong>in</strong>ate!<br />
BRANDT.<br />
LOUISE.<br />
I know very well that you consider me obst<strong>in</strong>ate, and at home they sometimes accused me<br />
of the same th<strong>in</strong>g. But, when we two argue, I very seldom get my way. You on the other<br />
hand always get your way, even though you are completely flexible.<br />
But that is a contradiction.<br />
BRANDT.<br />
LOUISE.<br />
It is not so great as it seems. I <strong>in</strong>sist on my op<strong>in</strong>ion, it is true, s<strong>in</strong>ce I do not easily<br />
concede that I am wrong. But when nobody listens to my po<strong>in</strong>t of view, then I lose the<br />
desire to<br />
argue. You on the other hand concede immediately that I am right; but all the same you<br />
come with other reasons, or with persuasions, or . . . what is so dangerous for a young<br />
wife . . . with signs of love, and then it is not long before your wife gives <strong>in</strong>.<br />
323
BRANDT (aside).<br />
How unfortunate when one's wife is so clever!<br />
LOUISE.<br />
However, s<strong>in</strong>ce it seems that we could live very happily together <strong>in</strong> this way, this time I<br />
will <strong>in</strong>sist on my op<strong>in</strong>ion as always and . . . give <strong>in</strong>.<br />
I like that! You are my own, agreeable wife.<br />
BRANDT.<br />
LOUISE.<br />
Wait a bit. One th<strong>in</strong>g we must agree upon. If the young gentleman does not seem to me<br />
suitable for Hanne, we must immediately make an end of this whole story.<br />
BRANDT.<br />
Naturally. But now we must separate. Adolf is <strong>in</strong>side gett<strong>in</strong>g dressed, and soon he will<br />
come out. First of all you must talk to Hanne and prepare her.<br />
LOUISE.<br />
Yes, I must <strong>in</strong>struct her and speak sensibly to her.<br />
BRANDT.<br />
Do that. You are just splendid at <strong>in</strong>struct<strong>in</strong>g people and talk<strong>in</strong>g sensibly to them. I shall<br />
go <strong>in</strong> and warn old Johan; you talk to the girls.<br />
To the girls? I am opposed to that.<br />
LOUISE.<br />
324
BRANDT.<br />
Why? It is only a joke, a bit of fun. Can't one relieve this prosaic life for once with a<br />
bold, poetic idea? . . . All that is required is that we all play our roles naturally. Hanne<br />
must be<br />
<strong>in</strong>structed really well. You must communicate the matter to her seriously. You can say<br />
that I wish it, that she can do me a service <strong>in</strong> that way. Or just say that you are afraid that<br />
I will become angry if she does not obey me.<br />
LOUISE.<br />
Certa<strong>in</strong>ly not. One must not make it so serious.<br />
BRANDT.<br />
Yes, upon my soul it is serious . . . that is to say, every deception requires art, and art<br />
requires seriousness.<br />
LOUISE (laugh<strong>in</strong>g).<br />
Ha ha ha! Adolf's arrival has awakened abilities <strong>in</strong> you which I had not dreamt of before.<br />
You <strong>in</strong>struct Johan, and leave my sister to me.<br />
BRANDT.<br />
Good . . . but there is still one more th<strong>in</strong>g. Now you must . . . . I mean, you . . . . Yes,<br />
you must naturally also consider how you will play your sister.<br />
LOUISE.<br />
Well, I should hope that I shall succeed <strong>in</strong> that.<br />
BRANDT.<br />
Of course you will. You are <strong>in</strong> a f<strong>in</strong>e mood for just such a little comedy. Yes, you have<br />
real talent . . . I do not say it at all to flatter you. I rather rely on your tact.<br />
325
You are a dear.<br />
LOUISE.<br />
BRANDT.<br />
It occurs to me, that as a young, unmarried, and <strong>in</strong>experienced girl, you must be very<br />
retir<strong>in</strong>g and unforthcom<strong>in</strong>g, only respond a little and appear shy. I believe you can keep<br />
him at a distance.<br />
LOUISE.<br />
Oh, what k<strong>in</strong>d of an idea is that! What k<strong>in</strong>d of young girl acts like that? On the contrary,<br />
I must be cheerful and unrestra<strong>in</strong>ed. I can very possibly be a little coquettish.<br />
No, <strong>in</strong> no way can you be that.<br />
BRANDT.<br />
LOUISE.<br />
Oh yes, <strong>in</strong> a pretty way I can very well be a little coquettish. It has occurred to me that a<br />
young, unmarried girl would like to w<strong>in</strong> favor, that Adolf is an attractive, charm<strong>in</strong>g man .<br />
. . so coquetterie happens by itself.<br />
BRANDT.<br />
Yes, there you are unfortunately correct; it happens by itself. But without wish<strong>in</strong>g to<br />
contradict you, I still believe it would be best if it did not happen at all.<br />
LOUISE.<br />
There could be different op<strong>in</strong>ions about that. But there can be only one op<strong>in</strong>ion about the<br />
fact that now we must separate and warn Johan and the girls and Hanne.<br />
BRANDT.<br />
326
Yes, you are right, and therefore I shall go now. Just do not let him meet you here, before<br />
everyth<strong>in</strong>g is ready. And talk with Hanne . . . and you yourself . . . yes, dear Louise, you<br />
should not act the coquette.<br />
LOUISE.<br />
S<strong>in</strong>ce I must not act accord<strong>in</strong>g to my own imag<strong>in</strong>ation, then I shall not act at all.<br />
BRANDT.<br />
Yes, yes . . . as you wish. (Aside.) God help a man, when his young wife has her own<br />
imag<strong>in</strong>ation!<br />
(Goes out through the garden.)<br />
EIGHTH SCENE.<br />
LOUISE (alone).<br />
So my husband is jealous. That is noth<strong>in</strong>g new. He was that the whole time we were<br />
engaged. They have told me so often that jealousy is a sign of love, that at last I have<br />
learned patience with it. I will comply with his moods this time as well. Perhaps<br />
it is for my sister's happ<strong>in</strong>ess; we shall see, when we get to know the young gentleman . .<br />
. . But I must warn our old Johan <strong>in</strong> time, s<strong>in</strong>ce my poor husband is so confused today<br />
that he can scarcely give himself orderly <strong>in</strong>structions, let alone other people.<br />
(She is go<strong>in</strong>g out on the way to the house.)<br />
NINTH SCENE.<br />
LOUISE. HANNE.<br />
HANNE (comes runn<strong>in</strong>g).<br />
327
Louise! Louise! Did you know that Adolf has arrived?<br />
LOUISE.<br />
Yes, but do not talk so loudly. He is <strong>in</strong> the little room.<br />
HANNE.<br />
Is he? Have you seen him? What do you th<strong>in</strong>k of him?<br />
LOUISE (laugh<strong>in</strong>g).<br />
I th<strong>in</strong>k well of him, but I have not seen him yet. I have someth<strong>in</strong>g to talk with you about.<br />
Let us go up to your room together.<br />
(She is go<strong>in</strong>g, when Adolf is heard speak<strong>in</strong>g <strong>in</strong> the house.)<br />
HANNE.<br />
God, Louise! That is def<strong>in</strong>itely him, he is com<strong>in</strong>g out. Let us run away.<br />
Stay. We can hide here.<br />
LOUISE.<br />
(They go beh<strong>in</strong>d the shrubbery, and stand so that dur<strong>in</strong>g the follow<strong>in</strong>g they are<br />
seen by all the spectators.)<br />
TENTH SCENE.<br />
ADOLF and JOHAN, who come out from the garden room. LOUISE and<br />
HANNE concealed.<br />
ADOLF (elegantly dressed).<br />
328
So, have you served for a long time with the family here?<br />
JOHAN.<br />
Yes, I have. But there is no wonder <strong>in</strong> that. Such gentry! The late agent was a sa<strong>in</strong>tly<br />
man. His wife, who has been taken over to Fyen for the summer, and both daughters . . .<br />
oh, they are all sa<strong>in</strong>tly people.<br />
ADOLF (aside).<br />
Both daughters . . . it's true, I have two cous<strong>in</strong>s here <strong>in</strong> the house. I must see to it that I do<br />
not mix them up. (Aloud.) Does the young wife resemble her sister?<br />
Yes, they are both sa<strong>in</strong>tly young women.<br />
JOHAN.<br />
ADOLF (aside).<br />
Then I shall be sensible about it! (Aloud.) I mean, do they resemble each other<br />
otherwise. Are they the same height?<br />
JOHAN.<br />
There can't be much difference, except the married one is a couple of years older.<br />
Do they dress the same?<br />
No, not always, as far as I can remember.<br />
ADOLF.<br />
JOHAN.<br />
LOUISE (aside to HANNE).<br />
329
Where is he go<strong>in</strong>g with these questions?<br />
HANNE (aside).<br />
For God's sake, don't let him notice we are stand<strong>in</strong>g here.<br />
ADOLF.<br />
What is the young wife wear<strong>in</strong>g today? That is, what dress, what shawl?<br />
JOHAN.<br />
Today . . . let me see . . . she has a red shawl on and Miss Hanne a blue one.<br />
LOUISE.<br />
(without say<strong>in</strong>g anyth<strong>in</strong>g, quickly switches shawls with HANNE.)<br />
Why are we switch<strong>in</strong>g shawls?<br />
HANNE (aside to her).<br />
ADOLF (aside).<br />
That is not a dependable sign of recognition. (Aloud.) And are they dressed the same<br />
besides that?<br />
JOHAN.<br />
No, they certa<strong>in</strong>ly aren't. But I have not paid such close attention . . . . Yes, the married<br />
one always wears a str<strong>in</strong>g of red coral pearls around her neck. She has it on today as well.<br />
LOUISE<br />
(quickly takes off her pearl band and puts it on HANNE).<br />
330
Louise, are you crazy?<br />
A str<strong>in</strong>g of red coral pearls?<br />
HANNE (aside).<br />
ADOLF.<br />
JOHAN.<br />
Yes . . . and today the married one has violet shoes on. I myself brought them <strong>in</strong> to her.<br />
(As JOHAN mentions the violet shoes, LOUISE bends over, as if to trade shoes,<br />
but hesitates . . . h<strong>in</strong>dered <strong>in</strong> part by her sister.)<br />
Well . . . red shawl, red pearls, violet shoes.<br />
ADOLF.<br />
JOHAN.<br />
Yes, and I truly believe, s<strong>in</strong>ce the young wife has gotten married, she always wears these<br />
beautiful caps.<br />
With a cap? Yes, now I cannot be mistaken.<br />
ADOLF.<br />
LOUISE (aside).<br />
Yes, Sir Cous<strong>in</strong>! You will be mistaken all the same.<br />
(Takes off her cap and sets it quickly and crookedly on HANNE's head.)<br />
What is the po<strong>in</strong>t of all these silly games?<br />
HANNE (aside).<br />
331
LOUISE.<br />
Hurry up and let's go, before he sees us. I shall expla<strong>in</strong> everyth<strong>in</strong>g to you.<br />
(She and HANNE run out quickly.) 5<br />
ADOLF.<br />
I shall not keep you any longer. I only wonder if you could tell your lord that I am<br />
wait<strong>in</strong>g for him here.<br />
JOHAN.<br />
He will be here right away. He just ran over to the factory.<br />
(He goes.)<br />
ELEVENTH SCENE.<br />
ADOLF (alone).<br />
My pretty cous<strong>in</strong> is married then, and to Brandt . . . that is dumb, all th<strong>in</strong>gs considered.<br />
What am I do<strong>in</strong>g here then? In the last half hour I have thought more about her than I<br />
would care to admit to myself. I thought about her with all the charms that a young<br />
girl, whose heart is still free, can possess, and now . . . how different the relation one feels<br />
oneself <strong>in</strong>, to a young girl and to a young wife! A young girl has an odor of modesty and<br />
chastity, which no young wife can possess. Yes, all this is certa<strong>in</strong> and true . . . and all the<br />
same, when I ask myself, if Louise now appears less attractive to my imag<strong>in</strong>ation, then I<br />
must be candid and answer no. On the way here I often had doubts. I expected to be<br />
disappo<strong>in</strong>ted this time as so often before. Now, however . . . I am on the po<strong>in</strong>t of<br />
believ<strong>in</strong>g that she <strong>in</strong> particular was meant for me . . . and that she <strong>in</strong> particular is lost for<br />
me.<br />
5 Dur<strong>in</strong>g the performance of this scene the ladies, if it is found desirable, could trade their silk aprons<br />
<strong>in</strong>stead of shawls, and the dialog could be adjusted for it.<br />
332
TWELFTH SCENE.<br />
ADOLF. BRANDT (from the garden).<br />
BRANDT (aside, as he enters).<br />
Now if only my wife has talked seriously with Hanne! (Aloud.) So there you are . . . .<br />
My, how elegant you look!<br />
ADOLF.<br />
I am report<strong>in</strong>g to the commander this afternoon, so it was necessary to adorn myself a<br />
little.<br />
BRANDT.<br />
You have done right there. But, what I want to say is, have you met my wife?<br />
No, not yet.<br />
ADOLF.<br />
BRANDT.<br />
You haven't? Wait a bit, I'll fetch her. (Aside.) Then at the same time I can speak with<br />
Hanne.<br />
ADOLF.<br />
Yes, thanks . . . but . . . we can take some time until she comes. My billett<strong>in</strong>g must not<br />
cause her any <strong>in</strong>convenience.<br />
BRANDT.<br />
Oh, what . . . <strong>in</strong>convenience! Just wait a bit, then I'll . . .<br />
333
Stay here, and let us talk together.<br />
ADOLF.<br />
BRANDT.<br />
As you wish. But I still cannot believe that you would be irritated, because I advised you<br />
earlier to take another lodg<strong>in</strong>g. You can well imag<strong>in</strong>e, it was only my joke. An old friend<br />
like you . . .! If you also paid a little court to my wife, you know, would I be offended by<br />
that? A sensible husband must get used to that. One has an attractive wife, so the<br />
gentlemen pay court to her.<br />
ADOLF.<br />
That is a splendid maxim! . . . Dear Brandt, I really owe you an honorable explanation.<br />
To speak frankly, I had expected anxiety, jealousy or even suspicion from you, and<br />
halfway decided to tease you a little.<br />
BRANDT.<br />
No, jealousy is not part of <strong>in</strong> my character at all. Above all you must not by any means<br />
misunderstand my previous remarks. It was not at all for my sake, but for yours that I<br />
advised you aga<strong>in</strong>st stay<strong>in</strong>g here. S<strong>in</strong>ce Louise is married now, I reasoned, to stay<br />
here <strong>in</strong> the house could perhaps be unpleasant for you.<br />
ADOLF.<br />
I hope not. I myself beg<strong>in</strong> to see the foolishness of occupy<strong>in</strong>g my thoughts so much with<br />
a girl I have not yet seen. It was a remnant of my old recklessness, which I now struggle<br />
aga<strong>in</strong>st as well as I can. Besides, if I ultimately want to part with my heart here <strong>in</strong><br />
the house, then I still have good prospects. Your wife does have a sister, after all.<br />
What are you say<strong>in</strong>g?<br />
BRANDT (terrified).<br />
ADOLF.<br />
334
I am say<strong>in</strong>g your wife has a sister, after all, who is perhaps as charm<strong>in</strong>g as she. I can try<br />
my luck with her.<br />
BRANDT (aside).<br />
Our Lord has decided to make him my torment<strong>in</strong>g angel!<br />
What is the sister like?<br />
ADOLF.<br />
BRANDT.<br />
The sister? Well . . . she is a very beautiful girl.<br />
Surely she is not as pretty as Louise?<br />
As pretty? No, she isn't.<br />
Doesn't she resemble her at all?<br />
ADOLF.<br />
BRANDT.<br />
ADOLF.<br />
BRANDT.<br />
Yes . . . naturally, as sisters usually do. That is, there is some external similarity, but not<br />
much. But <strong>in</strong>ner or temperamental similarities . . . no, there are none at all.<br />
ADOLF.<br />
No? Well, that can't be helped! (Laugh<strong>in</strong>g.) I see well enough, that either I must not fall<br />
<strong>in</strong> love here <strong>in</strong> the house at all, or it must be with your wife.<br />
335
BRANDT.<br />
Yes, do that. I shall regard it as a triumph for my taste . . . . But if I am not mistaken, it is<br />
she who is com<strong>in</strong>g. Wait here a little.<br />
(Goes toward HANNE, who enters from one of the garden paths.)<br />
THIRTEENTH SCENE.<br />
The previous. HANNE, with LOUISE's cap, red shawl and pearl necklace.<br />
HANNE<br />
(who does not at first notice ADOLF.)<br />
Brandt, you must speak sternly with Louise. Have you heard the idea she has?<br />
BRANDT (aside).<br />
Sh! Not so loud! It is not her idea, it is m<strong>in</strong>e. It is only a joke we have thought of. Be<br />
cooperative, and you will be my own gentle Hanne.<br />
HANNE.<br />
But how can I . . . ? I shall only make a fool of myself. Look how she has dressed me up.<br />
BRANDT.<br />
Just be natural. We'll help you, after all. Come now and let me <strong>in</strong>troduce you.<br />
HANNE.<br />
My God! Is he here? . . . If only you knew how frightened I am!<br />
336
BRANDT.<br />
You'll get over it; that is only <strong>in</strong> the beg<strong>in</strong>n<strong>in</strong>g.<br />
HANNE (irritated).<br />
But I have absolutely no desire to play a married woman.<br />
BRANDT.<br />
Come now. (To ADOLF, who <strong>in</strong> the meanwhile has kept at a distance.) Dear friend,<br />
allow me to present to you my wife.<br />
(approaches respectfully).<br />
ADOLF<br />
If I dare hope to be considered less foreign to you <strong>in</strong> the role of your cous<strong>in</strong> . . . . (Aside.)<br />
Oh, how pretty and charm<strong>in</strong>g she is!<br />
BRANDT.<br />
It is true, you are her cous<strong>in</strong>. So you must be looked on as an old friend around here.<br />
ADOLF.<br />
I now realize for the first time how fortunate it is for me that the disagreement which has<br />
existed formerly between our families has at last been discarded.<br />
You must answer him.<br />
BRANDT (aside to HANNE).<br />
HANNE (aside).<br />
Oh God, what shall I answer? I can hardly collect my thoughts.<br />
337
BRANDT.<br />
My wife says that she also is very sorry for this stra<strong>in</strong>ed relationship. Oh, we have often<br />
talked about it. But now you can make up for lost time.<br />
ADOLF (to HANNE).<br />
Do I also have your approval to make up for lost time . . .<br />
BRANDT.<br />
But I believe you are say<strong>in</strong>g De to my wife. That will not do. You are blood first<br />
cous<strong>in</strong>s, so must you use Du. (To HANNE.) Am I not right?<br />
Yes . . . if our cous<strong>in</strong> is of the same op<strong>in</strong>ion.<br />
HANNE (bashfully).<br />
ADOLF.<br />
Oh, you need have no doubt about that! I am only afraid that I am not bold enough to say<br />
Du. Our acqua<strong>in</strong>tance is so new. From my childhood I heard my mother speak of my<br />
charm<strong>in</strong>g cous<strong>in</strong>, and often wished secretly to make her acqua<strong>in</strong>tance. Over the years it<br />
feels so natural to say Du. The heart is <strong>in</strong>cl<strong>in</strong>ed to familiar addresses. One does not<br />
dream that the familiarity can encounter an obstacle or that it can be <strong>in</strong>appropriate. Now,<br />
after the lapse of so many years, I see my beautiful cous<strong>in</strong> for the first time . . . and I do<br />
not have the courage to make use of the right of familiarity that my k<strong>in</strong>ship with her gives<br />
me.<br />
He means my sister!<br />
HANNE (aside).<br />
BRANDT (aside).<br />
Now he is embarked, thank God; so I can be on my way. (Aloud.) Yes, you must say Du<br />
to each other, that is settled. But please excuse me now. I must go over to the factory.<br />
You keep my wife company <strong>in</strong> the meantime.<br />
338
No, stay here.<br />
I'll be right back.<br />
Then at least let Louise come out here.<br />
HANNE (aside to him).<br />
BRANDT.<br />
HANNE.<br />
BRANDT.<br />
I shall go up and call her. (Aside.) The devil I will. I am leav<strong>in</strong>g <strong>in</strong> order to keep my<br />
wife away.<br />
(He goes.)<br />
FOURTEENTH SCENE.<br />
ADOLF. HANNE.<br />
ADOLF.<br />
Help me, dear cous<strong>in</strong>, to get my mouth go<strong>in</strong>g to say Du.<br />
But I cannot very well properly beg<strong>in</strong>.<br />
HANNE (timidly).<br />
ADOLF.<br />
339
No, that is true, it was unfair to ask. Then give me your hand, cous<strong>in</strong>, and let us seal our<br />
k<strong>in</strong>ship with a handshake. (He takes her hand. Aside.) Her hand is trembl<strong>in</strong>g! (Aloud.)<br />
It is best that we act as if we had known one another a long time. We have after all<br />
known each other through our closest relatives. Has your mother often spoken of me?<br />
Yes, very often.<br />
HANNE.<br />
ADOLF.<br />
Has she? Did she speak well of me? She has certa<strong>in</strong>ly said that I was a wildcat, and<br />
frivolous and wanton.<br />
HANNE.<br />
No, she has positively not said anyth<strong>in</strong>g other than good about you.<br />
ADOLF.<br />
No? Oh, that is <strong>in</strong>f<strong>in</strong>itely precious to me! Yes, she is a magnificent woman. I certa<strong>in</strong>ly<br />
believe that you must resemble her.<br />
HANNE.<br />
Many people have said so, at least. But I am not as tall as she is.<br />
ADOLF.<br />
I do not mean the outer likeness; as far as that goes, I can see myself that you look like<br />
her. I was th<strong>in</strong>k<strong>in</strong>g about the <strong>in</strong>ner likeness.<br />
HANNE.<br />
I dare not praise myself that I resemble her. She is so good, so pious and so clever!<br />
ADOLF.<br />
340
But all that applies also to you, dear cous<strong>in</strong>.<br />
HANNE.<br />
No, believe me, I am still lack<strong>in</strong>g much to be like Mother.<br />
Does your sister resemble you?<br />
No, Louise favors my father.<br />
Louise? I thought your name was Louise.<br />
ADOLF.<br />
HANNE.<br />
ADOLF.<br />
HANNE (confused).<br />
Yes . . . that is my name, too. I . . . am th<strong>in</strong>k<strong>in</strong>g. (Aside.) I th<strong>in</strong>k that I shall go crazy<br />
from this.<br />
ADOLF.<br />
Tell me, Louise, did you imag<strong>in</strong>e that I would look the way I do?<br />
HANNE.<br />
Yes . . . but anyway, I have seen you . . . seen you once before.<br />
Have you? But where?<br />
ADOLF.<br />
341
HANNE.<br />
In Mrs. Norager's house <strong>in</strong> Sorø, with a large company that was there last year. (Aside.) I<br />
should not have said that.<br />
ADOLF.<br />
And you were there and I did not know it? How did that happen?<br />
HANNE.<br />
I don't know . . . there were so many strangers, and you were only there for the d<strong>in</strong>ner.<br />
ADOLF.<br />
But that was a great misfortune! Th<strong>in</strong>k, if I had made your acqua<strong>in</strong>tance then, perhaps<br />
you would not now be . . . so . . . yes, so we would not now be so strange to one another.<br />
HANNE.<br />
No, that is true. I also have thought about that today.<br />
ADOLF.<br />
Really? Oh, what a pity it is that we have not known each other s<strong>in</strong>ce childhood. I<br />
def<strong>in</strong>itely believe I would have become better and more sensible if I had known you and<br />
your sister earlier.<br />
HANNE.<br />
Oh, no! It is rather we who would have benefitted by it.<br />
This is a pure child of nature!<br />
ADOLF (aside).<br />
342
FIFTEENTH SCENE.<br />
The previous. BRANDT and LOUISE, who come <strong>in</strong> from one of the garden<br />
paths, the latter with uncovered hair and HANNE's blue shawl on.<br />
BRANDT.<br />
(who attempts to hold his wife back. Aside to her).<br />
Are you go<strong>in</strong>g to disturb them now?<br />
It is no disturbance . . . on the contrary!<br />
(aside, when she sees LOUISE).<br />
Thank goodness, there is my sister.<br />
(Hurries over to her.)<br />
(to BRANDT, who approaches).<br />
LOUISE.<br />
HANNE<br />
ADOLF.<br />
Oh, Brandt, your wife is an angel, a treasure, a pearl!<br />
Yes, do I not deserve credit for my choice?<br />
BRANDT.<br />
ADOLF.<br />
So charm<strong>in</strong>g! and shy and modest like a girl of 16.<br />
343
BRANDT.<br />
You are right about that. It is remarkable <strong>in</strong> a married woman.<br />
And she is so well-bred and <strong>in</strong>terest<strong>in</strong>g.<br />
ADOLF.<br />
BRANDT.<br />
Yes, she has had the benefit of a good upbr<strong>in</strong>g<strong>in</strong>g. (Aside.) I am sure that Hanne has not<br />
said a word.<br />
(who walks over to them).<br />
But shall I not meet our cous<strong>in</strong>?<br />
Ah, presumably my other cous<strong>in</strong>.<br />
LOUISE<br />
ADOLF.<br />
LOUISE.<br />
Yes, Cous<strong>in</strong> Hanne, if you please. But it appears I am superfluous here. My honorable<br />
cous<strong>in</strong> only has eyes for my sister.<br />
ADOLF.<br />
Oh, don't talk that way! But it is excusable, if I need time to collect myself.<br />
LOUISE.<br />
Well then, Sir Cous<strong>in</strong>! When you have collected yourself, then permit me to take a closer<br />
look at you.<br />
344
ADOLF (stands up straight).<br />
By all means! I am your Servant. But we must agree about one th<strong>in</strong>g, it will not do to<br />
say De to me. I say Du with Louise.<br />
LOUISE.<br />
Yes, naturally we must say Du to each other. That goes without say<strong>in</strong>g.<br />
Oh, that is not necessary.<br />
BRANDT (steps between them).<br />
ADOLF.<br />
What? Shall I say Du to your wife and De to your sister-<strong>in</strong>-law?<br />
LOUISE.<br />
That certa<strong>in</strong>ly brought a little variety <strong>in</strong>to the conversation. But all the same the best<br />
th<strong>in</strong>g is to say Du. So you are the cous<strong>in</strong> we have heard so much about?<br />
ADOLF.<br />
If what they have said about me is not too bad, then yes, it is I.<br />
LOUISE.<br />
It is not good to answer so def<strong>in</strong>itely. We have heard so much about you. People are<br />
sometimes of the op<strong>in</strong>ion that you are rather irresponsible, but then sometimes, that you<br />
have a very respectable character. (To BRANDT.) Isn't that true?<br />
BRANDT (aside).<br />
She is teas<strong>in</strong>g me. (Aloud.) The two qualities can very well go together, especially when<br />
one is young.<br />
345
Do you believe that I am irresponsible?<br />
I certa<strong>in</strong>ly have no reason to believe that.<br />
ADOLF<br />
(to HANNE, who is stand<strong>in</strong>g somewhat apart).<br />
HANNE.<br />
LOUISE.<br />
Yes, now leave my sister <strong>in</strong> peace. She is moreover a married woman, and does not have<br />
such a sharp eye for gentlemen's faults as we young girls.<br />
BRANDT (aside).<br />
My wife lays claim to him, as it appears. (Aloud.) But shouldn't we go <strong>in</strong>side? What is<br />
the po<strong>in</strong>t of stand<strong>in</strong>g out here?<br />
LOUISE.<br />
Oh, no! Let's stay here. It's such a lovely morn<strong>in</strong>g. See how clear the sky is, and the<br />
trees are still fresh from the night's dew. I have ordered Johan to br<strong>in</strong>g some refreshments<br />
out here. Now we shall all sit out here together. I shall sit here with my cous<strong>in</strong>, s<strong>in</strong>ce I<br />
have not talked with him at all yet. And here (mov<strong>in</strong>g one little table over to the<br />
shrubbery), you can sit here with your wife. Johan is br<strong>in</strong>g<strong>in</strong>g paper and writ<strong>in</strong>g materials<br />
out to you, if you should have the desire to write to the treasury, as you spoke of do<strong>in</strong>g.<br />
(To ADOLF.) I tell you, he has been married only two months; so he cannot spare his<br />
wife, not for a moment, when he sits at the worktable. You sigh, cous<strong>in</strong>; you too had the<br />
desire to be just such a lov<strong>in</strong>g husband.<br />
ADOLF.<br />
I cannot deny that I have sometimes thought of such happ<strong>in</strong>ess.<br />
LOUISE.<br />
346
Oh God, yes, if only one were married! (Aside to BRANDT.) Doesn't it seem to you I<br />
am play<strong>in</strong>g my part well?<br />
Yes . . . almost too well.<br />
BRANDT.<br />
LOUISE.<br />
Here comes Johan. Let's all take our places now.<br />
(After they have all sat down (with BRANDT and LOUISE <strong>in</strong> the middle)<br />
JOHAN comes with a serv<strong>in</strong>g-tray with fruit, w<strong>in</strong>e, etc., and leaves when he has set it<br />
down.)<br />
LOUISE.<br />
That's good. Just set the tray down here with us. (To ADOLF.) My brother-<strong>in</strong>-law and<br />
his wife do not need solid food. Their love is enough for them. We two, however, we<br />
can eat and dr<strong>in</strong>k. We are not married.<br />
ADOLF.<br />
Oh, you are a great joker! Not a serious word comes out of your mouth.<br />
He is right. Hold off now with the jokes.<br />
It is serious to me.<br />
Louise! Listen to what I say to you.<br />
BRANDT.<br />
LOUISE (to ADOLF).<br />
BRANDT.<br />
347
Louise, your husband is talk<strong>in</strong>g to you.<br />
To me? What shall I do?<br />
LOUISE (to HANNE).<br />
HANNE.<br />
BRANDT (confused).<br />
Well . . . yes . . . of course. You shall br<strong>in</strong>g me a glass of w<strong>in</strong>e. But let us now be at<br />
peace, children, and talk orderly with each other. We must th<strong>in</strong>k about what<br />
enterta<strong>in</strong>ments we can arrange for our guest while he is here with us.<br />
ADOLF.<br />
That is not worth th<strong>in</strong>k<strong>in</strong>g about. I do not need enterta<strong>in</strong>ment <strong>in</strong> such a charm<strong>in</strong>g circle.<br />
Your cous<strong>in</strong> is gallant.<br />
LOUISE.<br />
BRANDT.<br />
What if we took a drive after we eat. I have bought a pretty Tilbury, Adolf. You can take<br />
a drive <strong>in</strong> it with my wife.<br />
With his wife! This is a rare husband!<br />
ADOLF (aside).<br />
BRANDT.<br />
Then I shall drive with my sister-<strong>in</strong>-law <strong>in</strong> my old gig. We can go out <strong>in</strong>to the woods. In<br />
beautiful weather it is full of people.<br />
LOUISE.<br />
348
Yes, I have just been th<strong>in</strong>k<strong>in</strong>g about that, and <strong>in</strong> my op<strong>in</strong>ion we should go someplace else,<br />
where there are not so many people.<br />
Why? Is my pretty cous<strong>in</strong> shy of people?<br />
ADOLF.<br />
LOUISE.<br />
No, but I am not fond of rubb<strong>in</strong>g elbows with my fellow townsmen <strong>in</strong> the woods.<br />
Now, that is not such a great calamity.<br />
BRANDT.<br />
LOUISE.<br />
No, for God's sake! Copenhageners are worthy of respect, yes even charm<strong>in</strong>g <strong>in</strong> their<br />
daily life, at their bus<strong>in</strong>esses, and when they are at home. But they are unbearable when<br />
they go out to enjoy themselves . . . . You see my shoe, Cous<strong>in</strong>?<br />
ADOLF.<br />
Yes, I see that you also wear violet shoes, like your sister.<br />
LOUISE.<br />
Your eyes must be dazzled. You have never seen my sister with violet shoes. These are<br />
hers I have on. We got so busy mak<strong>in</strong>g your room ready that by mistake I put them on . .<br />
. . By the way, you could tie my shoelace, which I see has come loose.<br />
I shall do so with the greatest pleasure.<br />
ADOLF.<br />
BRANDT (jumps up).<br />
349
But what are you th<strong>in</strong>k<strong>in</strong>g of! That is not proper at all, to allow a gentleman . . .<br />
LOUISE.<br />
But the other day you yourself tied my shoelace.<br />
BRANDT.<br />
Yes, that's true. But it is a different with me. I am your . . . I am your . . .<br />
ADOLF.<br />
You are her brother-<strong>in</strong>-law, and I am her blood first cous<strong>in</strong>, and I am also much closer to<br />
her.<br />
LOUISE.<br />
Naturally. You stay with your wife and chat with her. As far as I can see, you have not<br />
yet exchanged a word with her.<br />
(who has sat down aga<strong>in</strong>).<br />
BRANDT.<br />
One cannot get a word <strong>in</strong> with you. (Aside.) My wife beg<strong>in</strong>s well. (JOHAN comes <strong>in</strong><br />
with paper, writ<strong>in</strong>g implements and paraphernalia.)<br />
JOHAN.<br />
If you please, here are the master's writ<strong>in</strong>g materials.<br />
Oh, who told you . . .<br />
BRANDT (annoyed).<br />
JOHAN.<br />
350
Have I forgotten someth<strong>in</strong>g? The straight-edge! I'll be right . . .<br />
Certa<strong>in</strong>ly not. Take it all away aga<strong>in</strong>.<br />
BRANDT.<br />
(JOHAN goes away aga<strong>in</strong> with the writ<strong>in</strong>g materials.)<br />
ADOLF<br />
(who meanwhile has tied the shoelace).<br />
There now! How's that?<br />
LOUISE.<br />
Remarkable. If my shoelace should come loose aga<strong>in</strong> while you are here, nobody shall<br />
re-tie it except you.<br />
I am sitt<strong>in</strong>g on nails.<br />
(speak<strong>in</strong>g over to HANNE).<br />
BRANDT (aside).<br />
LOUISE<br />
But shouldn't cous<strong>in</strong> Adolf see his rooms, which we have made ready for him so nicely?<br />
Yes, if our cous<strong>in</strong> has a desire to see them.<br />
(goes quickly over to HANNE).<br />
HANNE.<br />
ADOLF<br />
351
I have a great desire to do that. Will you show me?<br />
Yes, gladly.<br />
(stand<strong>in</strong>g up likewise).<br />
HANNE.<br />
LOUISE<br />
Come along, cous<strong>in</strong>, we shall both go up there with you.<br />
BRANDT.<br />
Oh no, now we are sitt<strong>in</strong>g so nicely. Let us stay here together now.<br />
It will only take a moment.<br />
LOUISE.<br />
BRANDT.<br />
Yes, I know. But . . . but . . . but I have a couple of words to say to you. You remember<br />
what you promised . . .<br />
I? What have I promised?<br />
Yes . . . hm . . . you know.<br />
LOUISE.<br />
BRANDT.<br />
LOUISE.<br />
No, I don't know anyth<strong>in</strong>g. What do you mean?<br />
352
BRANDT (aside to her).<br />
You can surely pretend that you know . . . . (Aloud.) Yes, I shall certa<strong>in</strong>ly tell you.<br />
ADOLF.<br />
I must see my rooms. That is settled, at any rate.<br />
Of course. Hanne! You go up with him.<br />
(both approach<strong>in</strong>g).<br />
Do you mean me?<br />
I mean my wife. You go up with Adolf.<br />
BRANDT.<br />
HANNE and LOUISE<br />
BRANDT (confused).<br />
LOUISE (to ADOLF).<br />
You see that my brother-<strong>in</strong>-law is not jealous.<br />
ADOLF.<br />
I have already admired him for that . . . . Come, dear little cous<strong>in</strong>.<br />
(He offers HANNE his arm. They go out the garden path nearest the house.)<br />
SIXTEENTH SCENE.<br />
353
Well, my friend, it's go<strong>in</strong>g well.<br />
(who walks restlessly up and down).<br />
Yes . . . very well . . . extremely well.<br />
BRANDT. LOUISE.<br />
LOUISE.<br />
BRANDT<br />
LOUISE.<br />
But you must not confuse the names. Or else you will give it all away. Remember now,<br />
that you will call me Hanne and my sister Louise, and that you will be tender and lov<strong>in</strong>g<br />
towards Hanne, but take me as I am, like a good brother-<strong>in</strong>-law usually does with his<br />
sister-<strong>in</strong>-law.<br />
BRANDT.<br />
I shall remember. But . . . excuse me for say<strong>in</strong>g this . . . but, dear Louise, it seems to me<br />
you are forgett<strong>in</strong>g our agreement.<br />
LOUISE.<br />
I? No, you are surely wrong about that. On the contrary, I was led to believe that you<br />
would admire my talent for such a little comedy, as you said earlier.<br />
BRANDT.<br />
Yes, there you are right. You have displayed a talent which I had not at all dreamed of.<br />
But . . . our agreement was still to give Adolf an opportunity to be alone with Hanne.<br />
LOUISE.<br />
No, that was not our agreement; I should have opposed that.<br />
354
BRANDT.<br />
But we both found it desirable, if they could make a match of it; and then it follows of<br />
itself that one must not put obstacles <strong>in</strong> the way of that.<br />
LOUISE.<br />
Yes, but do not forget what I stipulated: that I would first pay attention to the young<br />
gentleman, and get to know him.<br />
BRANDT (a trifle bitterly).<br />
It just seems like you have been try<strong>in</strong>g to get him to pay attention to you.<br />
LOUISE.<br />
Yes, I was quite taken with his handsome, courteous bear<strong>in</strong>g. He has great spirit and<br />
breed<strong>in</strong>g, and I must say that you are right that he can be dangerous for a young wife . . . .<br />
But I am afraid that Hanne is too quiet and serious for your friend Adolf.<br />
BRANDT.<br />
Still, experience shows that such <strong>in</strong>congruous relationships work best.<br />
LOUISE.<br />
Oh, yes of course . . . that is possible, all right. But . . . we are forgett<strong>in</strong>g Hanne while we<br />
are talk<strong>in</strong>g about her. We must see what she and our cous<strong>in</strong> are do<strong>in</strong>g.<br />
BRANDT.<br />
Do you want to disturb them aga<strong>in</strong>? It is as I say: you take pleasure <strong>in</strong> separat<strong>in</strong>g them.<br />
LOUISE.<br />
Here he comes, so we can save our argument.<br />
355
SEVENTEENTH SCENE.<br />
BRANDT. LOUISE. ADOLF (from the garden).<br />
(hurries over to LOUISE).<br />
ADOLF.<br />
Dearest cous<strong>in</strong>! How shall I thank you and your sister for the tasteful arrangement <strong>in</strong> my<br />
rooms. And the delightful little book collection, I am obliged for your thoughtfulness!<br />
LOUISE.<br />
It is my own little private library, which is completely at your service.<br />
ADOLF.<br />
Oh, I am overwhelmed by so much goodness. Allow me to extend my thanks.<br />
(He wants to take her by the hand.)<br />
(steps between them).<br />
BRANDT<br />
Excuse my sister-<strong>in</strong>-law, dear Adolf! She has a few th<strong>in</strong>gs to see to <strong>in</strong> the house. (Aside<br />
to LOUISE.) If you want to see what has become of your sister, this is a good<br />
opportunity for that.<br />
LOUISE.<br />
I am go<strong>in</strong>g now. (To ADOLF.) But have you noticed the portrait m<strong>in</strong>iature which hangs<br />
over the sofa?<br />
ADOLF.<br />
356
My aunt's portrait, pa<strong>in</strong>ted when she was a young girl. I noticed it immediately. It is as if<br />
one is look<strong>in</strong>g at your sister.<br />
LOUISE.<br />
You can thank me for that as well. I have taken it from my own room and hung it up <strong>in</strong><br />
yours. When you look at it, you can th<strong>in</strong>k aga<strong>in</strong> about your aunt and her daughter, my<br />
married sister.<br />
I like that; that was well-thought-of.<br />
BRANDT (aside to her).<br />
LOUISE (likewise aside).<br />
There, you see. (Aloud.) But excuse me now. The housework calls me.<br />
Isn't there anyth<strong>in</strong>g I can help you with?<br />
Yes, thanks! Come along.<br />
(holds him back).<br />
ADOLF.<br />
LOUISE.<br />
BRANDT<br />
What an idea! Will Adolf help you to set the table, perhaps? Let him stay here now. I<br />
must also have a little of him.<br />
All right, then I'll go by myself.<br />
(She goes <strong>in</strong>to the house.)<br />
LOUISE.<br />
357
EIGHTEENTH SCENE.<br />
ADOLF. BRANDT.<br />
ADOLF (aside).<br />
It is amaz<strong>in</strong>g how uneasy he is when one merely approaches his sister-<strong>in</strong>-law. I must test<br />
him. (Aloud.) She is a very spiritual girl, your sister-<strong>in</strong>-law.<br />
BRANDT.<br />
Oh yes . . . she has a good head on her shoulders.<br />
ADOLF.<br />
To say the least. No, she is unusually spirited.<br />
BRANDT.<br />
Oh yes, <strong>in</strong>deed. But, what I wanted to say, I must still show you my new Tilbury, that I<br />
spoke of earlier. Would you like . . . ?<br />
ADOLF.<br />
Yes, at once . . . . But to come back to your sister-<strong>in</strong>-law, when could I next attempt to<br />
try my luck with her?<br />
Try your luck? What do you mean?<br />
BRANDT (terrified).<br />
ADOLF.<br />
358
Well, you know, the idea I came here with. My elder cous<strong>in</strong>, whom I actually thought of,<br />
is married, she is your wife. But her sister is also very charm<strong>in</strong>g.<br />
BRANDT (aside).<br />
I have done this to myself. (Aloud.) Of course she is . . . but believe me, she will not do<br />
for you at all.<br />
ADOLF.<br />
You th<strong>in</strong>k not? She is so cheerful and pleasant.<br />
BRANDT.<br />
Yes, you are right about that. But you must have a rather different sort of wife. You see .<br />
. . like for example . . . yes, who can I suggest on the spur of the moment? . . . yes, like<br />
my wife. She could be just the th<strong>in</strong>g for you. Gentle, pious, <strong>in</strong>dulgent.<br />
ADOLF.<br />
Your sister-<strong>in</strong>-law, as far as I can see, has the superior <strong>in</strong>tellect. That teaches us to be<br />
patient with each other. If I only knew that I am not <strong>in</strong>different to her . . . .<br />
BRANDT.<br />
Yes, we can always talk about that. Wait here now, then I shall show you . . .<br />
Then can I depend on your consent?<br />
ADOLF.<br />
BRANDT.<br />
Do not doubt that, by all means! An old friend like you! . . . (Aside.) It is high time we<br />
put an end to this bus<strong>in</strong>ess.<br />
ADOLF.<br />
359
I believe I shall make a little attempt today . . . .<br />
BRANDT (quickly).<br />
No, I must advise aga<strong>in</strong>st that, frankly. My sister-<strong>in</strong>-law will regard it as very rash, and<br />
you will ru<strong>in</strong> everyth<strong>in</strong>g. On the whole, you must not th<strong>in</strong>k about serious th<strong>in</strong>gs today.<br />
Stay here now, and I shall see to gett<strong>in</strong>g a man to prepare my new carriage and br<strong>in</strong>g it<br />
out. In the meanwhile I shall send my wife out to you. (Aside, as he goes.) Pay court to<br />
my wife! No, that is a little too crazy.<br />
NINETEENTH SCENE.<br />
ADOLF (alone).<br />
I f<strong>in</strong>d myself <strong>in</strong> a remarkable situation. It is obvious that Brandt loves his sister-<strong>in</strong>-law.<br />
He is <strong>in</strong>different to his wife, and he has eyes only for her sister. Married only two months<br />
. . . that's terrible! All the same I believe that his sister-<strong>in</strong>-law is pull<strong>in</strong>g his leg a little.<br />
And his wife . . . it appears that she does not feel much warmth for him either. When I<br />
was up <strong>in</strong> my rooms with her just now, and <strong>in</strong> a moment of abandon put my arm around<br />
her waist, . . . how she trembled and turned pale! What if she were <strong>in</strong> love with me?<br />
After all, she has seen me before. Dear God, it runs hot and cold down my back just<br />
th<strong>in</strong>k<strong>in</strong>g such thoughts. But those are wicked thoughts . . . I do not want to give them a<br />
place <strong>in</strong> my heart. She is my friend's wife . . . and I want to act like an honest fellow.<br />
Isn't her sister a grand girl, so cheerful and alert! Shouldn't I consider myself fortunate if<br />
she fell to my<br />
lot. Certa<strong>in</strong>ly . . . but as for my married cous<strong>in</strong> . . . . (Tak<strong>in</strong>g out the mentioned portrait.)<br />
It is her mother's portrait, which I stole by tak<strong>in</strong>g it down from the wall up there. It is<br />
feature-for-feature the same picture as my cous<strong>in</strong>. The shy, fem<strong>in</strong><strong>in</strong>e expression, the<br />
<strong>in</strong>comparable look of sadness and reflection, which I have observed so often <strong>in</strong> her<br />
mother . . . . Everyth<strong>in</strong>g is <strong>in</strong> her, just as I imag<strong>in</strong>ed it. Oh my God, why is she married,<br />
and with a man who does not love her, and who perhaps she does not love either!<br />
TWENTIETH SCENE.<br />
ADOLF. LOUISE. Later HANNE.<br />
360
LOUISE<br />
(aside, as she comes out from the garden room).<br />
Hanne sat and cried <strong>in</strong> her room. I must know what obstacles might be <strong>in</strong> the way.<br />
(Aloud.) Here I am aga<strong>in</strong>, cous<strong>in</strong>! I would have had my sister with me, so that we could<br />
both show you the new layout <strong>in</strong> our garden; but she was angry and didn't want to. Surely<br />
it is not you who have made her angry?<br />
I don't believe so.<br />
ADOLF.<br />
LOUISE.<br />
I don't either. It would be very ungrateful of you, to say the least, after she has moved her<br />
own pretty new sofa up to your room, so that you could be comfortable.<br />
Has she really?<br />
ADOLF.<br />
LOUISE.<br />
She has only had it a month, and would scarcely allow any of us to sit on it; and now she<br />
has sacrificed it to your boots and spurs.<br />
ADOLF.<br />
Can't I go up and mollify her, if I have offended her without mean<strong>in</strong>g to?<br />
LOUISE.<br />
No, stay here. I hope she reconsiders and comes down by herself. (Looks at him.) But<br />
tell me, what k<strong>in</strong>d of a loop is that, which sticks out there. It looks familiar.<br />
ADOLF (confused, wants to conceal it).<br />
361
Oh, it's noth<strong>in</strong>g.<br />
Let me see! I'm so curious.<br />
(takes out the portrait).<br />
Well then, look!<br />
LOUISE.<br />
ADOLF<br />
LOUISE.<br />
What do I see! My mother's portrait! (Laugh<strong>in</strong>g.) And you are carry<strong>in</strong>g it <strong>in</strong> your breast!<br />
Well, now I see that you genu<strong>in</strong>ely are fond of your aunt.<br />
You are mak<strong>in</strong>g fun of me.<br />
ADOLF.<br />
LOUISE.<br />
If our whole family <strong>in</strong> ascend<strong>in</strong>g order were just as precious to you, I could treat you to a<br />
portrait of our great-grandmother. It is a rare piece. She is pa<strong>in</strong>ted as she looked on her<br />
wedd<strong>in</strong>g day, <strong>in</strong> a stiff corset with p<strong>in</strong>k gloves and her hair set a la Fontagne.<br />
Oh, stop!<br />
ADOLF.<br />
LOUISE.<br />
On her lap she has a little greyhound with a crooked neck, and <strong>in</strong> one hand an Easter-lily.<br />
ADOLF.<br />
362
Do not tease me any longer. You know why I have kept this portrait.<br />
No, I don't.<br />
LOUISE.<br />
ADOLF.<br />
Well, then let me tell you straightforwardly. I came here today with the <strong>in</strong>tention of . . .<br />
well of pay<strong>in</strong>g court to your sister, if she corresponded to the impression I had of her.<br />
To my sister! To a married woman!<br />
LOUISE.<br />
ADOLF.<br />
I did not dream that she was married. I did not know either of my two pretty cous<strong>in</strong>s, and<br />
that must be my excuse, and also that I did not earlier form an impression of your charm<br />
as of hers. But I expected to see a picture of my aunt rejuvenated; and your sister<br />
undoubtedly resembles her more than you do.<br />
LOUISE (aside).<br />
Good night, va<strong>in</strong> imag<strong>in</strong>ation! (Aloud.) Yes, that is a very unpleasant circumstance.<br />
What do you have <strong>in</strong> m<strong>in</strong>d now, poor cous<strong>in</strong>?<br />
ADOLF.<br />
My friend's wife is sacred to me; that goes without say<strong>in</strong>g. But I have decided that I shall<br />
not despair. Possibly there is still a consolation here for me, a consolation which can<br />
conta<strong>in</strong> greater happ<strong>in</strong>ess than I myself imag<strong>in</strong>e.<br />
(Here HANNE approaches from the walk which goes beh<strong>in</strong>d the shrubbery.)<br />
LOUISE.<br />
363
That is a conclusion worthy of you. But dare I ask where you will seek your consolation?<br />
(takes her hand).<br />
What do you th<strong>in</strong>k of me, dear cous<strong>in</strong>!<br />
I th<strong>in</strong>k well of you.<br />
ADOLF<br />
LOUISE.<br />
ADOLF.<br />
Is it too bold, if I hope that you will give me compensation for the loss which now cannot<br />
be made good?<br />
I? Are you court<strong>in</strong>g me?<br />
Oh my God! What must I hear!<br />
LOUISE.<br />
HANNE (aside).<br />
ADOLF.<br />
You see I am candid. I have confessed honestly to you. Give me an honest answer.<br />
LOUISE.<br />
S<strong>in</strong>ce you are candid, I shall be also be. Can you <strong>in</strong> all fairness ask me to be your<br />
makeshift, when all else fails for you?<br />
Do you love someone else, perhaps?<br />
ADOLF.<br />
364
LOUISE.<br />
That is a matter of conscience. But <strong>in</strong> any case, what is it worth to let yourself be<br />
embarrassed? You love someone else, and all the same pay court to me.<br />
(aside and <strong>in</strong> tears).<br />
If I were only a thousand miles away!<br />
HANNE<br />
ADOLF.<br />
Oh, answer me seriously! If you like me, then do not deny me your consent. Besides . . .<br />
you should get away from this house. The circumstances you live <strong>in</strong> here are not suitable.<br />
LOUISE (laugh<strong>in</strong>g).<br />
Not suitable? Oh, it seems to me they are quite good.<br />
ADOLF.<br />
No, believe me. I see more cl<strong>early</strong> than the rest of you. Be sure to get away. Come with<br />
me to my mother's.<br />
LOUISE.<br />
Thanks, but I am do<strong>in</strong>g very well here otherwise.<br />
ADOLF.<br />
Your sister goes around as patient as an angel, and suffers <strong>in</strong> silence. Brandt is uneasy,<br />
now tortured by passion and now by the feel<strong>in</strong>g of his duty. All this cannot be concealed<br />
from you.<br />
LOUISE (aside).<br />
365
Yes, he sees cl<strong>early</strong> all right.<br />
ADOLF.<br />
You must be able to see that Brandt is consumed by love for you.<br />
Do you really th<strong>in</strong>k so?<br />
It is so obvious anyone can see it.<br />
LOUISE.<br />
ADOLF.<br />
LOUISE.<br />
Yes, s<strong>in</strong>ce you draw my attention to it, it seems to me that he does love me.<br />
And that is terrible!<br />
Yes, you are right, it is terrible. Such a man!<br />
ADOLF.<br />
LOUISE.<br />
ADOLF.<br />
Therefore be sure that you get out of these unfortunate circumstances, for Brandt's sake as<br />
well as for your own. I do not dare conceal from you, that stay<strong>in</strong>g <strong>in</strong> this house is<br />
dangerous for your sister's peace and . . . dangerous for your reputation.<br />
LOUISE.<br />
What? My reputation? Then I don't dare to stay here another moment. A person's<br />
reputation is his greatest sanctuary.<br />
366
ADOLF.<br />
Then you agree with me? Now, as I said, come with me to my mother's place <strong>in</strong> town,<br />
today, and, if you will listen to my advice, preferably now, this moment. It will also be<br />
good for me to get away from here . . . I admit that frankly. But <strong>in</strong> time I will get to know<br />
you, I will realize that I can expect great happ<strong>in</strong>ess by your side. If I am so fortunate as to<br />
earn your good will, allow me then to ask for your hand. That is all I ask.<br />
I am go<strong>in</strong>g . . . I cannot stand this . . .<br />
(Makes a movement as if to go.)<br />
HANNE (aside).<br />
LOUISE (aside).<br />
That is my sister com<strong>in</strong>g! (Aloud.) Dear cous<strong>in</strong>, I am quite uneasy about what you have<br />
told me, and I realize that I (with emphasis) for my own sake as well as for my sister's<br />
should follow your advice. I shall go with you to your mother's, and, as you advise<br />
me, preferably at once . . . . Wait here; I shall just put on a hat and shawl. Or go down by<br />
the walk, where you will meet someone who can console you dur<strong>in</strong>g my absence.<br />
(Aside.) My poor, poor husband! What use to him now are all his tricks to watch over<br />
his wife! Now I am on the verge of leav<strong>in</strong>g!<br />
(Goes <strong>in</strong>to the house.)<br />
ADOLF.<br />
What does she mean? (Goes over to the shrubbery.) Do I see rightly? Are you here, dear<br />
Louise?<br />
HANNE (confused).<br />
I came just now . . . . I was look<strong>in</strong>g for my sister.<br />
But you have been cry<strong>in</strong>g. What's wrong?<br />
ADOLF.<br />
367
Noth<strong>in</strong>g . . . noth<strong>in</strong>g's wrong.<br />
HANNE.<br />
ADOLF.<br />
Of course . . . you have been cry<strong>in</strong>g, you are sad. Confide your sadness <strong>in</strong> me!<br />
HANNE.<br />
I have no sadness . . . none at all. Let me go now. I have no time.<br />
(hold<strong>in</strong>g her back).<br />
Stay! You are not angry at me, are you?<br />
ADOLF.<br />
HANNE.<br />
No, I'm not. But let me go. I shall tell my sister to come out. You are wait<strong>in</strong>g for her,<br />
surely.<br />
ADOLF (<strong>in</strong>quir<strong>in</strong>g).<br />
You have heard our conversation, haven't you? You have heard that I asked for her hand.<br />
But then you have also heard my open-hearted confession that it was actually you, dear<br />
Louise, who as soon as I arrived made an <strong>in</strong>delible impression on my heart. It should<br />
never have come from my lips . . . never! You belong to another, and I must abandon<br />
hope for you.<br />
My God, what shall I answer . . . !<br />
HANNE (aside).<br />
ADOLF.<br />
368
I imag<strong>in</strong>ed to f<strong>in</strong>d consolation <strong>in</strong> your sister. Perhaps I deceive myself. But you are both<br />
my close relatives, you are sisters, and both dear and precious to me. Give me your hand.<br />
I hope it will be for my happ<strong>in</strong>ess.<br />
HANNE (confused).<br />
But how can I . . . I cannot at all . . . . (Aside.) But isn't it irritat<strong>in</strong>g, that I should stand<br />
here and pretend for the sake of your notion!<br />
ADOLF.<br />
Here comes your husband. Let us speak with him and hear what he says.<br />
HANNE.<br />
Oh, God no, let me go. I cannot stay if he is com<strong>in</strong>g.<br />
ADOLF (aside).<br />
This is amaz<strong>in</strong>g! She has as it were a dread of her husband.<br />
(when HANNE wants to leave).<br />
Stay here! Why are you go<strong>in</strong>g <strong>in</strong>side?<br />
I must go <strong>in</strong> now.<br />
TWENTY-FIRST SCENE.<br />
ADOLF. HANNE. BRANDT.<br />
BRANDT<br />
HANNE<br />
369
(wants to hold her back).<br />
BRANDT<br />
What talk! You will stay and keep Adolf company. I must go up to see your sister.<br />
HANNE.<br />
I can't. You are wrong to keep me here. (Goes <strong>in</strong>side.)<br />
ADOLF (seriously).<br />
Let your wife go <strong>in</strong>, Brandt! I want to have a word with you.<br />
Well then, what do you want?<br />
BRANDT.<br />
ADOLF.<br />
I have just had a conversation with your sister-<strong>in</strong>-law.<br />
BRANDT.<br />
With my wi . . . with my sister-<strong>in</strong>-law, you say?<br />
ADOLF.<br />
Yes. I have already confided <strong>in</strong> you that she has made an impression on me. I have now<br />
talked to her about it.<br />
So? . . . What did she answer?<br />
BRANDT.<br />
370
ADOLF.<br />
She asked for time to th<strong>in</strong>k. But she did not deprive me of hope. She even admitted that<br />
she also th<strong>in</strong>ks well of me.<br />
Really?<br />
BRANDT.<br />
ADOLF.<br />
Most likely she first wants to hear your op<strong>in</strong>ion.<br />
I strongly doubt that.<br />
What do you th<strong>in</strong>k now?<br />
BRANDT (aside).<br />
ADOLF.<br />
BRANDT.<br />
Yes . . . to speak frankly, this courtship does not seem good to me at all. Immediately, the<br />
first time one sees a young girl, to ask for her hand, that is, to put it mildly, rashness.<br />
ADOLF.<br />
I do not believe it has been generally considered to be that <strong>in</strong> the capital for a long time.<br />
BRANDT.<br />
But you did not come here for her sake at all. It is my wife you have been fantisiz<strong>in</strong>g<br />
about for six months, even though you did not know her. If you had not told me that it<br />
was she who had made such a strong impression on you, then I would have found that<br />
reasonable. But my sister-<strong>in</strong>-law!<br />
371
ADOLF (very seriously).<br />
Brandt. Be sensible! I can well imag<strong>in</strong>e that you do not consider it right that I am fond of<br />
your sister-<strong>in</strong>-law.<br />
No, you are right about that.<br />
BRANDT (aside).<br />
ADOLF.<br />
But let me act here. I believe that it will be best for us all. You cannot and you should<br />
not deny me her hand. Let her unite with me, let her go away from your house . . . .<br />
Oh, you talk like a dreamer.<br />
BRANDT.<br />
ADOLF.<br />
Listen, Brandt, you do not understand your heart's situation. But I have seen through you:<br />
you love your wife's sister. But thank God I have enough control over myself, that I do<br />
not want to take advantage of your weakness. (With a strong voice.) She must leave your<br />
house. It is my duty as her nearest relative to deal with her. I shall take her away today.<br />
You want to take her away?<br />
BRANDT.<br />
ADOLF.<br />
Noth<strong>in</strong>g will prevent me. I am not mak<strong>in</strong>g a secret of it; I want to act openly. (Aside.)<br />
There she is!<br />
TWENTY-SECOND SCENE.<br />
372
ADOLF. BRANDT. LOUISE (with hat and shawl on) and later HANNE, both from<br />
the garden room.<br />
ADOLF.<br />
Just come, dear Hanne. I have told your brother-<strong>in</strong>-law everyth<strong>in</strong>g. He knows that you<br />
are go<strong>in</strong>g with me now at once.<br />
BRANDT (to LOUISE).<br />
But what does all this mean? Why are you dressed like that?<br />
LOUISE.<br />
I do not really know . . . . Cous<strong>in</strong> Adolf has such a great desire to take me away.<br />
BRANDT.<br />
Oh, now I have heard it all! What foolishness!<br />
ADOLF.<br />
My decision is firm . . . . Come, Hanne! (Takes LOUISE's hand and is about to take her<br />
with him.)<br />
BRANDT (stopp<strong>in</strong>g him).<br />
Are you crazy? You want to take away my wife?<br />
Your wife? Do you have two wives?<br />
No, certa<strong>in</strong>ly not . . . but . . . but . . .<br />
ADOLF.<br />
BRANDT.<br />
373
LOUISE.<br />
Yes, I am his wife, dear cous<strong>in</strong>! In case you have the desire to court me now, there is no<br />
way.<br />
But your sister Louise, is she then . . .<br />
Please! Her name is Hanne.<br />
ADOLF.<br />
LOUISE.<br />
ADOLF.<br />
Hanne! And she is not his wife? Yes, then I can understand his behavior. And Hanne is<br />
really not married?<br />
No, unfortunately.<br />
LOUISE.<br />
ADOLF.<br />
Unfortunately? All the better! Then can I hope perhaps . . .<br />
LOUISE.<br />
Perhaps. But first you must make a decision, which of us you will court. S<strong>in</strong>ce it seems<br />
to me you are uncerta<strong>in</strong> about that.<br />
ADOLF.<br />
Oh, you are wrong to make fun of me! I have confessed to you as honestly as you can<br />
require. Plead my case with your sister.<br />
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LOUISE.<br />
Yes, I shall see what I can do for you. Here she comes at this moment.<br />
(Walks towards HANNE, who is enter<strong>in</strong>g.)<br />
BRANDT.<br />
But am I hear<strong>in</strong>g correctly? It is Hanne that you are aim<strong>in</strong>g for after all?<br />
ADOLF.<br />
Yes, of course, dear friend, but you yourself are to blame for all the confusion.<br />
BRANDT.<br />
You are right about that, it was a great mistake of us. Your choice has my full consent.<br />
Hanne is a splendid girl. She will not give you a "No;" nor should she, either.<br />
HANNE<br />
(who meanwhile has talked with LOUISE, aside to her).<br />
But he believes that I am married.<br />
LOUISE.<br />
Yes, but now he has said he will not be offended that you are unmarried. He will take<br />
you all the same.<br />
HANNE.<br />
Oh, you are mak<strong>in</strong>g fun of me. I do not want to know anyth<strong>in</strong>g at all about it.<br />
LOUISE.<br />
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What k<strong>in</strong>d of talk is that! You cried to me <strong>in</strong> there and compla<strong>in</strong>ed, and said you were<br />
unhappy. One does not cry for noth<strong>in</strong>g.<br />
HANNE.<br />
But I myself have heard that he paid court to you.<br />
But I have expla<strong>in</strong>ed to you . . .<br />
But I do not believe you.<br />
LOUISE.<br />
HANNE.<br />
LOUISE.<br />
Yes, yes . . . I can understand that you are angry with cous<strong>in</strong> Adolf for his great<br />
recklessness . . . no? So let's give him a rejection. (Turns to ADOLF with assumed<br />
seriousness.) Dear cous<strong>in</strong>, I have talked with my sister.<br />
ADOLF<br />
(who meanwhile has stood <strong>in</strong> conversation with BRANDT, approaches quickly).<br />
Have you? What answer did she give?<br />
LOUISE.<br />
My sister does not conceal her good will to you as our close relative; nor does she deny<br />
you her respect as a military man. But she has become too uneasy over your flight<strong>in</strong>ess to<br />
dare consider a union which generally lasts for a whole lifetime.<br />
I have not said anyth<strong>in</strong>g of the k<strong>in</strong>d!<br />
HANNE (aside to her).<br />
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ADOLF.<br />
But dear God, my flight<strong>in</strong>ess is not n<strong>early</strong> as great as you suppose. I have the best<br />
<strong>in</strong>tentions to become steady and settled.<br />
LOUISE.<br />
Yes, then she must wait until these <strong>in</strong>tentions are developed. But for now duty and<br />
prudence command . . .<br />
BRANDT.<br />
Oh, what fancies! Hanne will give <strong>in</strong>. I vouch for Adolf.<br />
HANNE (aside to LOUISE).<br />
You should be ashamed of yourself for talk<strong>in</strong>g that way.<br />
LOUISE (softly to her).<br />
Allow me . . . it is a matter of your welfare. (Aloud to ADOLF.) For all these reasons<br />
and considerations she has decided . . . (tak<strong>in</strong>g HANNE's hand) . . . and I confess, I<br />
cannot blame her for it . . . she has decided, dear cous<strong>in</strong>, to . . . give you her hand.<br />
Concern<strong>in</strong>g her heart you must speak with her more <strong>in</strong>timately yourself.<br />
I am a lucky man!<br />
ADOLF.<br />
BRANDT.<br />
I like that. (Aside.) It is proper that I reveal the engagement, after I have secured him<br />
good employment.<br />
ADOLF.<br />
Now I am no longer angry with you, that you have pulled my leg. It has paved my way to<br />
great happ<strong>in</strong>ess.<br />
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BRANDT.<br />
Yes, do not hold it aga<strong>in</strong>st me, dear friend. But I do not deny that I got a little worried<br />
when I found out that we would have an officer to quarter, and my concern did not<br />
dim<strong>in</strong>ish when I discovered that it was you. In future it will be a firm rule with<br />
me: rather a whole company of enlisted men than one s<strong>in</strong>gle lieutenant.<br />
LOUISE.<br />
My friend, allow me to make an observation. The billett<strong>in</strong>g which the k<strong>in</strong>g and the<br />
authorities impose on us, I bend over backwards to tolerate like a good subject; it is<br />
dangerous neither for you nor for your wife. But there is another billett<strong>in</strong>g, which is a<br />
great plague for you and a great <strong>in</strong>convenience for your wife. That is jealousy. Let us<br />
guard ourselves aga<strong>in</strong>st that!<br />
Yes, there you are right.<br />
BRANDT.<br />
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IX. Review Articles about the Performance of Carl Petersen’s Company <strong>in</strong><br />
Skien <strong>in</strong> the Summer of 1943. From Skiensposten.<br />
#5, July 18--<br />
The Theatre. Skien, the 18th of July. An artistic enjoyment one has lacked here for<br />
several years and has desired to satisfy, is be<strong>in</strong>g offered to Skien's public at this time, as<br />
theatre director Petersen and company are giv<strong>in</strong>g some performances. These began<br />
yesterday even<strong>in</strong>g <strong>in</strong> front of a n<strong>early</strong> full house with the drama: Clermont or the bl<strong>in</strong>d<br />
pa<strong>in</strong>ter (Clermont eller den bl<strong>in</strong>d Maler) <strong>in</strong> which piece Mr. Petersen, <strong>in</strong> a handsome<br />
performance, and Madame Petersen presented the ma<strong>in</strong> roles as Thalia's dedicated<br />
children with accuracy and poise. In the vaudeville "Under Lock and Key" (“Under Laas<br />
og Lykke”) a piece without further value or character, Madame Ste<strong>in</strong>er portrayed the<br />
ma<strong>in</strong> role with charm and livel<strong>in</strong>ess to everyone's satisfaction. The lovely music, for<br />
which one has the local amateur musicians to thank, allowed us not to feel the absence of<br />
the full orchestras of the larger cities. On Thursday A Glass of Water (Et Glas Vand) will<br />
be presented, and one would wish that the performers of this piece, which requires a<br />
certa<strong>in</strong> study, might equally and at each of their performances see their efforst rewarded<br />
by a numerous attendance . . . and hopefully they will not acquire any reason to compla<strong>in</strong><br />
with respect to Skien, what is heard about Larvik, namely that the artists avoid that place<br />
for lack of encouragement and participation, which are only bestowed on charlatanry, and<br />
bear- and ape-tricks.<br />
#7, July 25--<br />
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Yesterday the visit<strong>in</strong>g theatre company gave their third performance before a full house:<br />
the comedy Mistress Siddons or the English Actress (Mistress Siddons eller den engelske<br />
skuespiller<strong>in</strong>de), and afterwards: "Desire and Indifference” (“List og Phlegma”). For the<br />
presentation of the certa<strong>in</strong>ly quite difficult roles <strong>in</strong> these pieces the act<strong>in</strong>g personnel<br />
deserved and received unanimous praise. The writer is no real critic ready to make<br />
pronouncements about the specific roles, but so much dare be said, that Madame Ste<strong>in</strong>er<br />
as Georg<strong>in</strong>a and Madame Petersen as Amelia Siddons gave their parts with a truth and<br />
feel<strong>in</strong>g as if <strong>in</strong> reality they had been the persons act<strong>in</strong>g, and <strong>in</strong>dividual scenes <strong>in</strong> their<br />
act<strong>in</strong>g even gripped the observers <strong>in</strong> an obvious way.<br />
#8, July 28--<br />
Mr. Petersen with his company enjoys great acclaim at every performance. On<br />
Wednesday was given before a good house: “The First Love” ("Den første Kjærlighed");<br />
then: “The Mill <strong>in</strong> Marly” ("Møllen i Marly"), and <strong>in</strong> conclusion: “Emily’s Palpitation”<br />
("Emilies Hjertebanken") -- all pieces with much success. Messrs. Ste<strong>in</strong>er and Bech<br />
played their roles remarkably well. In "List og Phlegma" the former was an exceedl<strong>in</strong>gly<br />
phlegmatic <strong>in</strong>dividual, and he who had no conceptiion of such a characteristic could<br />
certa<strong>in</strong>ly receive it cl<strong>early</strong> and evidently by watch<strong>in</strong>g his masterful act<strong>in</strong>g. And what does<br />
one say about Mr. Bech <strong>in</strong> his merry roles as, for example, Baron Palm <strong>in</strong> the last-<br />
mentioned play, and as the miller's apprentice <strong>in</strong> "Møllen i Marly?" Could anyone do it<br />
much better? This even<strong>in</strong>g will be presented: The English Actor Kean (Den engelsk<br />
skuespiller Kean). This is certa<strong>in</strong>ly a large and difficult play, but the company's previous<br />
performances, and especially what one saw of these <strong>in</strong> Et Glas Vand, which everyone<br />
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agrees made a great success, guarantee that this performance will not exceed its powers<br />
either. Mr. Petersen plays Kean's role, and one has seen that he can act . . ..<br />
#9, August 1--<br />
Skien, the 1st of August. The play Den Engelsk Skuespiller Kean, which on Friday<br />
passed over the stage, won great applause. Mr. Petersen, as Kean, had taken upon<br />
himself a great actor's role, and he accord<strong>in</strong>gly showed, despite the effort which the<br />
presentation requires, that he had it <strong>in</strong> his power. There is someth<strong>in</strong>g big and strong <strong>in</strong><br />
Mr. Petersen's act<strong>in</strong>g and <strong>in</strong> a larger theatre he would make a great impression. Most of<br />
the fellow players assisted him remarkably well and every act provoked strong applause.<br />
On Sunday were performed: The Billett<strong>in</strong>g (Indqvarter<strong>in</strong>gen), and afterwards: “Jovial, or<br />
the deputy mayor as poet” ("Jovial eller Underfogden som Poet"). These comedies were<br />
tremendously amus<strong>in</strong>g, and they also were performed <strong>in</strong> a masterful fashion. In the first<br />
play Mr. Ste<strong>in</strong>er showed how it goes with a jealous man; the Mesdames Petersen and<br />
Ste<strong>in</strong>er brought forth new charms <strong>in</strong> their act<strong>in</strong>g and Mr. Petersen was a natural lover.<br />
Mr. Bech as Jovial -- a role which falls precisely <strong>in</strong>to his style -- was very jovial. "I have<br />
made a song about it."<br />
#10, August 10--<br />
Skien, the 3rd of August. Yesterday even<strong>in</strong>g was presented: "Donna Clara, a Night-play"<br />
(“Donna Clara, en natscene”) by A[ndreas] Munch; afterwards: “Either Love or Death!”<br />
("Enten elskes eller døe!") and <strong>in</strong> conclusion: “The Woman-hater”<br />
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("Fruentimmerhaderen"). The company w<strong>in</strong>s greater and greater praise every time, and it<br />
deserved it not least yesterday. In the first play, of a tragic subject, Madame Petersen --<br />
this theatre's Melpomene -- gave Donna Clara's role with so much naturalness and<br />
feel<strong>in</strong>g, that it seemed she really found herself <strong>in</strong> that unhappy situation. How she was<br />
able to manifest the rapturous dismay which came over her at see<strong>in</strong>g her former lover<br />
aga<strong>in</strong>, and how she was able to express her <strong>in</strong>ner passions, when she had to battle<br />
rationally aga<strong>in</strong>st the <strong>in</strong>citement to flee which was imposed on her by the lover, to whom<br />
she would will<strong>in</strong>gly have given herself with all her soul - because fidelity to her hard,<br />
stone-hearted husband demanded it! Her face, her whole appearance cried out obviously<br />
how her heart was torn apart by sorrow, when her husband, whose strict words she<br />
listened to with the suffered obedience she had promised him, commanded that the door<br />
to the alcove, <strong>in</strong>to which her lover had slipped, should be walled up, so that he must<br />
languish there - yes, her whole <strong>in</strong>ner death-like anguish dur<strong>in</strong>g the execution of this work<br />
showed itself so naturally <strong>in</strong> her act<strong>in</strong>g, that she awakened sympathy <strong>in</strong> no small degree.<br />
[Quoted <strong>in</strong> English:] "Players are mirrors made for men to see, how bad they are, how<br />
good they ought to be," says an English author, and the truth of this showed itself <strong>in</strong> this<br />
performance. That Madame Petersen was not applauded as loudly as previously came<br />
probably from the unexpected tragic end<strong>in</strong>g of the play, after which the audience sank<br />
down <strong>in</strong> a pause, like that which usually follows when one has read the last l<strong>in</strong>es of a too-<br />
thrill<strong>in</strong>g novel; there is no other way to expla<strong>in</strong> this circumstance.<br />
The melancholy feel<strong>in</strong>gs which the presentation of this scene had awakened, were soon<br />
alleviated, when the next play was performed, and what one had missed <strong>in</strong> the forego<strong>in</strong>g<br />
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was not neglected now, and the performance accord<strong>in</strong>gly really deserved all the<br />
expressions of approval which were heard, so remarkably well did all the performers<br />
present their roles, and it was a true enjoyment which was offered <strong>in</strong> the theatre that<br />
even<strong>in</strong>g. Madame Ste<strong>in</strong>er was <strong>in</strong>comparable as Clotilde <strong>in</strong> "Elskes eller døe," and as the<br />
Baroness <strong>in</strong> "Fruentimmerhaderen;" these scenes could <strong>in</strong>deed scarcely be given better, at<br />
it is worthy of admiration at how much Nature she gives the character <strong>in</strong> her roles up to<br />
the very smallest nuances. Mr. Petersen did not let expectations be disappo<strong>in</strong>ted: his<br />
roles are well studied and presented with great confidence. Mr. Ste<strong>in</strong>er gave the Duke del<br />
Fuentes and the other roles with success, which also properly can be said about Mr. Bech<br />
as Notarius; his act<strong>in</strong>g is exceed<strong>in</strong>gly easy and pleasant.<br />
The company is giv<strong>in</strong>g two more performances here - one tomorrow as a benefit for Mr.<br />
Bech - and the numerous public which almost every even<strong>in</strong>g has had, and the satisfaction<br />
with which it has seen itself rewarded for its diligence and effort, will certa<strong>in</strong>ly not be<br />
lack<strong>in</strong>g these times either.<br />
#11, August 18--<br />
(Contributed.) The Petersen Theatre Company yesterday concluded its performances<br />
with Scribe's The Quaker and the Dancer (Qvækeren og Dandser<strong>in</strong>den) - Heiberg's<br />
vaudeville "Nei" and an "Epilog." The praiseworthy effort which this company has made<br />
at all its presentations deserves our full recognition, which it also received at its last<br />
performance, and which was expressed by the unusually numerous attendance. Madame<br />
Petersen's act<strong>in</strong>g, as the noble, proud Georg<strong>in</strong>a, surrounded by irresponsibility and<br />
383
seductions, which allows the Quaker to feel that womanly virtue and womanly value can<br />
be greatest where prejudice will not recognize it, satisfied all reasonable demands; those<br />
perhaps alone excepted, which one or another lion-maned rooster had cultivated<br />
accord<strong>in</strong>g to the stereotype of a capital city; as a friendly portrait of a noble woman this<br />
performance, and her earlier one as Queen Anne, will therefore rem<strong>in</strong>d us; long may<br />
Madame Petersen live <strong>in</strong> our memory.<br />
Mr. Petersen's "Morton" was a counterpart to his good act<strong>in</strong>g as Bol<strong>in</strong>gbroke <strong>in</strong> Et Glas<br />
Vand, and the handsome Quaker will long stand <strong>in</strong> our ladies' favor as a gracious man; he<br />
also assured himself of that from our side <strong>in</strong> Hammer's role <strong>in</strong> "Nei" and by his warm and<br />
clear declamation of the depart<strong>in</strong>g epilog.<br />
If we have not yet mentioned Madame Ste<strong>in</strong>er, it is not because her worth <strong>in</strong> any way<br />
whatsover is overshadowed by those named previously; it goes without say<strong>in</strong>g that she<br />
<strong>in</strong>deed occupies a high rank <strong>in</strong> this company, and by her well-studied act<strong>in</strong>g, by the easy,<br />
the gentle, the <strong>in</strong>significant and the significant, the question<strong>in</strong>g and the chatter<strong>in</strong>g<br />
naysayer <strong>in</strong> Sophie's role, she has bound the last flower <strong>in</strong> the bouquet of roses and<br />
stocks, which her cheerful, light, lively and confident act<strong>in</strong>g has woven <strong>in</strong>to a memory<br />
wreath among the Skien public.<br />
What one several times has believed especially ought to be less satisfactory <strong>in</strong> Mr. Bech<br />
is that his speeches most often appear to be dependent on the prompter; one shall not<br />
reproach him for this at the last performance; s<strong>in</strong>ce as both Toby and L<strong>in</strong>k his<br />
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memorization was good; and the act<strong>in</strong>g especially <strong>in</strong> the latter role, whose great<br />
difficulties one must recognize, was satisfactory.<br />
In the banner which decorated the stage <strong>in</strong> the epilog Mr. Petersen said to us: "We'll see<br />
you aga<strong>in</strong>." May it not be too long until then - and until that time may the company's<br />
abilities among its younger members develop to the degree that the lovers' roles are not<br />
taken by one who is only made for grandfathers, or the beautiful s<strong>in</strong>g<strong>in</strong>g voice of Miss<br />
Marcker so seldom used, - and may the circumstances <strong>in</strong> Skien accord<strong>in</strong>gly change for the<br />
better, so that this most noble enjoyment of higher culture not fall from too difficult<br />
f<strong>in</strong>ancial abilities.<br />
Because it (Skien) has long lacked enterta<strong>in</strong>ment our best wishes therefore follow this<br />
worthy company, which by its appearance <strong>in</strong> this town has earned genu<strong>in</strong>e respect, not<br />
only as ambitious artists, but also as morally worthy <strong>in</strong>dividuals.<br />
The 7th of August.<br />
385
X. Ferd<strong>in</strong>and and Isabella.<br />
This is a translation of the account of Ferd<strong>in</strong>and and Isabella of Spa<strong>in</strong> from a history text<br />
that was used <strong>in</strong> the Skien Lat<strong>in</strong> school at the time <strong>Ibsen</strong> was a student <strong>in</strong> another school<br />
<strong>in</strong> town.<br />
From Nyere historie, vol. 2, by Hans A. Kofod. Kbh., 1811-12. Pp. 321-4.<br />
FERDINAND THE CATHOLIC AND ISABELLA<br />
There arose immediately a slight disagreement between the two rulers over which<br />
of them was more n<strong>early</strong> entitled to the throne of Castile; but it was settled <strong>in</strong> this<br />
manner, that each should rule <strong>in</strong> his (or her) realm, even though Ferd<strong>in</strong>and's name would<br />
stand first <strong>in</strong> all edicts. The struggle for succession with K<strong>in</strong>g Alphonse of Portugal was<br />
ended to Spa<strong>in</strong>'s advantage with the agreement <strong>in</strong> Alcantara. The situation at this time,<br />
especially <strong>in</strong> Castile, was not the best. Lawlessness and disorder upset the peace of the<br />
citizens; but Ferd<strong>in</strong>and's wisdom f<strong>in</strong>ally taught them order. At every opportunity he<br />
confiscated assigned crown lands, thereby <strong>in</strong>creas<strong>in</strong>g the royal <strong>in</strong>come; also he gradually<br />
won grandmastership of Spa<strong>in</strong>'s three most important knightly orders, and acquired<br />
thereby significant <strong>in</strong>fluence on the aristocratic families. He established the Sacred<br />
Brotherhood, whose duty it was to guard strictly the observance of law and order. This<br />
certa<strong>in</strong>ly deserves great praise; but not the establishment of the frighten<strong>in</strong>g court of the<br />
Inquisition. To be sure, <strong>in</strong> the beg<strong>in</strong>n<strong>in</strong>g it was dependent on the court, but it was not<br />
long before the court itself trembled at the name of the sacred executioners, who were<br />
thought to make anyone by whom they believed they had been <strong>in</strong>sulted <strong>in</strong>to a heretic, and<br />
from whose bloody hands no human power could rescue those unfortunate victims who<br />
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had aroused the Inquisition's attention. Only a few of the persecuted were publicly<br />
martyred by the terrify<strong>in</strong>g, the most barbaric wild dignified (værdige), human-sacrific<strong>in</strong>g,<br />
autos-da-fé; far more persons, of whom one could not f<strong>in</strong>d the least criticism, p<strong>in</strong>ed away<br />
long years <strong>in</strong> underground prisons, without anyone know<strong>in</strong>g where they were or what<br />
crimes they had committed. 6 What an outrageous misuse of the most gentle religion.<br />
Until then the k<strong>in</strong>gdom of Granada had survived more through <strong>in</strong>ternal<br />
disagreements among Christians than by its own power. The closer relationship between<br />
Castilians and Aragonians under Ferd<strong>in</strong>and and Isabella heralded its fall. Conflicts with<strong>in</strong><br />
the rul<strong>in</strong>g family of Granada facilitated the ventures of these tw<strong>in</strong> rulers aga<strong>in</strong>st Granada,<br />
and also provided a pretext for the war by which to break a truce that had been formerly<br />
concluded, to take possession of Zehra and to refuse to pay the usual tribute. Ferd<strong>in</strong>and<br />
moved (an army) <strong>in</strong>to Granada, where Abu Abdallah (Boabdil) had ejected his father<br />
from the throne, and fought aga<strong>in</strong>st his uncle al Zagal, who desired to take advantage of<br />
the riots <strong>in</strong> order to mount (the throne) himself. Actually they divided the little realm<br />
among themselves, but Zagal, who did not see himself ready to defend his part aga<strong>in</strong>st the<br />
Christians, sold his fortresses to Ferd<strong>in</strong>and and Isabella, who daily came closer to their<br />
goal. Soon the Moors held no more than Granada itself, and 60,000 Castilians and<br />
Aragonians moved aga<strong>in</strong>st it, led by the greatest warrior of the time, one Ponce de Leon y<br />
Gonsalvo de Cordova, to whom his contemporaries unanimously ascribed the name the<br />
great commander-<strong>in</strong>-chief. In order to <strong>in</strong>cite even swifter action, Isabella herself appeared<br />
<strong>in</strong> the camp, and <strong>in</strong> order to make the seige more comfortable, ordered the construction of<br />
6 “The Inquisition,” says Gifford, “which Ferd<strong>in</strong>and first <strong>in</strong>troduced <strong>in</strong> Spa<strong>in</strong>’s constitution, and which he<br />
unfortunately fostered, obscured the nation’s prosperity with its evil repression, and, although its branches<br />
387
a fortified city called Santa Fe <strong>in</strong> the vic<strong>in</strong>ity of Granada. Fam<strong>in</strong>e, accidents of war and<br />
the doubt of support from Africa, ultimately persuaded the Moors to surrender. The city<br />
delivered itself to the Christian coalition, but the Moors were to keep their religion<br />
<strong>in</strong>violate, and be governed accord<strong>in</strong>g to their own laws. Thereupon Ferd<strong>in</strong>and and<br />
Isabella moved (their army) <strong>in</strong>to the capital city, and the dom<strong>in</strong>ion of this people (i.e., the<br />
Moors) <strong>in</strong> Spa<strong>in</strong> came to an end completely. The provisions, as they had understood<br />
them, were not kept by the treacherous Ferd<strong>in</strong>and. He tried to br<strong>in</strong>g them to Christianity<br />
through violence and coercion; they rebelled, but Ferd<strong>in</strong>and went aga<strong>in</strong>st them himself<br />
and forced them <strong>in</strong>to submission. In return for payment they received permission to cross<br />
over to Africa; if they returned they would die. In Aragon the nobility opposed itself to<br />
this procedure aga<strong>in</strong>st so many of its <strong>in</strong>habitants, some of whom were important people,<br />
so Ferd<strong>in</strong>and had to allow them to rema<strong>in</strong> there. Ferd<strong>in</strong>and dealt with the Jews <strong>in</strong> the<br />
same way as with the Moors, where after hard persecution a great many were compelled<br />
to leave the country. This zeal for the purity of the faith ga<strong>in</strong>ed Ferd<strong>in</strong>and, so villa<strong>in</strong>ous<br />
and treacherous (as) he <strong>in</strong> fact was, the name of the Catholic.<br />
were trimmed by the hand of philosophy, its trunk was still giv<strong>in</strong>g tragic evidence of how far religious<br />
persecution can go.”<br />
388
C. GRIMSTAD.<br />
I. A Memoir of <strong>Ibsen</strong> <strong>in</strong> Grimstad. Christopher Due’s Recollections of<br />
<strong>Ibsen</strong>’s Youthful Years.<br />
From Er<strong>in</strong>dr<strong>in</strong>ger fra Henrik <strong>Ibsen</strong>s Ungdomsaar, by Chr[istopher] Due (Copenhagen:<br />
Græbes Bogtrykkeri, 1909).<br />
In the 1840's Grimstad was a less impressive town <strong>in</strong> several respects than it is<br />
now. When I arrived there one dark Autumn even<strong>in</strong>g <strong>in</strong> 1845, my immediate impression<br />
was one of humble, primitive conditions. There were no street lights at all. In many<br />
w<strong>in</strong>dows there were weak lights without curta<strong>in</strong>s of any k<strong>in</strong>d, so that even <strong>in</strong> the so-called<br />
Ma<strong>in</strong> Street one could see that families were sitt<strong>in</strong>g around a table where just one tallow<br />
candle burned; this made the street seem even darker, and it was not without risk for<br />
walkers, s<strong>in</strong>ce the gutters lay <strong>in</strong> the middle. I mention especially the lack of street<br />
light<strong>in</strong>g because this also gives a picture of the spiritual enlightenment among the people<br />
then, among whom materialism wholly occupied their m<strong>in</strong>ds and thoughts, while higher<br />
spiritual <strong>in</strong>terests languished.<br />
The school situation was particularly questionable. Apart from the fact that a<br />
theological candidate was engaged at times by a s<strong>in</strong>gle family just for their children, there<br />
was only one lone teacher <strong>in</strong> Grimstad, namely the assistant m<strong>in</strong>ister of the Fjære and<br />
Grimstad churches, Isaachsen (the father of the late actor Isaachsen). This person, an<br />
especially virtuous and zealous man, accord<strong>in</strong>g to his lights, also taught all the town's<br />
probably n<strong>early</strong> 100 children who wanted to go to school, part of them every-other-day,<br />
that is, on one day the so-called plebeian school children attended, and on the other day<br />
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the children of families of better position, who paid an <strong>in</strong>significant monthly school tax.<br />
Isaachsen's energy and tirelessness accomplished a lot, and his memory should be<br />
preserved with gratitude through the generations, although no doubt the results of his<br />
work must have been limited, because of the many students for whom he was their only<br />
teacher, but <strong>in</strong> any case he laid a good foundation for the practical activity to which the<br />
com<strong>in</strong>g generation of youth was dest<strong>in</strong>ed. This is demonstrated also by the many virtuous<br />
and hard-work<strong>in</strong>g merchants Grimstad has produced <strong>in</strong> the course of time.<br />
The town’s location, as well as its access to the necessary materials, drew people<br />
to shipbuild<strong>in</strong>g from time immemorial. Hav<strong>in</strong>g the sea so close dur<strong>in</strong>g the shipp<strong>in</strong>g<br />
<strong>in</strong>dustry's most favorable period from the 1840's on, meant that <strong>in</strong> every <strong>in</strong>let, and there<br />
are many <strong>in</strong>lets <strong>in</strong> and near the town, one saw a hull under construction, and as soon as it<br />
was launched, one saw the ribs of a new one erected. One lived <strong>in</strong> Grimstad ma<strong>in</strong>ly for<br />
that and the whole country was happy <strong>in</strong> "the time of the wooden ships," which brought<br />
great prosperity. But this enterprise occupied the people to such a degree that higher<br />
<strong>in</strong>terests were not attended to. Everyone who had accumulated the means, or who could<br />
borrow money, <strong>in</strong>vested <strong>in</strong> ship shares. The priest, the doctor, the judge, not to mention<br />
the seamen and merchants, craftsmen, even the servant girls, all were shipowners. That<br />
is, the opportunity to become a part owner was easily available, even with a<br />
comparatively small amount of money. Becom<strong>in</strong>g the owner of a share <strong>in</strong> a ship was<br />
regarded as <strong>in</strong>surance, and more profitable <strong>in</strong> the long run than tak<strong>in</strong>g one's money to the<br />
sav<strong>in</strong>gs bank. It not seldom happened that under the high freight rates at that time, a ship<br />
was completely paid for after two or three years' trade. Most of the male <strong>in</strong>habitants were<br />
sent to sea immediately after confirmation, and after that they spent only the w<strong>in</strong>ter<br />
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months at home. After spend<strong>in</strong>g the greatest part of the year on board ships, they had<br />
abandoned spiritual development, nor was this state-of-m<strong>in</strong>d overcome <strong>in</strong> the few months<br />
before new trade commenced.<br />
As far as that goes there were <strong>in</strong> Grimstad especially good moral conditions.<br />
Moderation, liberal ideals, and above all a high degree of peacefulness, were prom<strong>in</strong>ent<br />
traits among the people, who lived their quiet, modest family life, each among his closest<br />
ties. With few exceptions, there were almost no <strong>in</strong>terests apart from the shipp<strong>in</strong>g trade.<br />
The few families that were not completely preoccupied with the materialistic philosophy<br />
of life made a rather sharp contrast to the majority of the town, and therefore stood out<br />
strongly on certa<strong>in</strong> occasions.<br />
Like <strong>Ibsen</strong> <strong>in</strong> his time, I preserve warm memories of the gracious people I knew<br />
there dur<strong>in</strong>g the 13 years I associated with them, <strong>in</strong> clean, wholesome social relations, and<br />
I want to close this section with a short story about the old Grimstad-families. I have<br />
earlier emphasized the charm<strong>in</strong>g peacefulness that reigns there.<br />
This is not always the case <strong>in</strong> small towns. I know several, where only dissension<br />
and conflict thrive best. A contribut<strong>in</strong>g cause of the good social spirit that prevails <strong>in</strong><br />
Grimstad I want to ascribe to the <strong>in</strong>fluence that made itself apparent from the old<br />
families, that provided a good example to imitate by their honesty and peacefulness <strong>in</strong> all<br />
their deal<strong>in</strong>gs. In the time we lived there I can therefore mention as true representatives<br />
for the old Grimstad the extended Holst family, who <strong>in</strong> those years were very numerous<br />
and of whom several are still alive.<br />
Among these people and under their conduct as depicted here, Henrik <strong>Ibsen</strong> also<br />
lived, and it is easily understandable that he was not understood or appreciated when <strong>in</strong><br />
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his lively and spirited way he behaved with extravagance. In the foreword to his jubilee-<br />
edition of the drama Catil<strong>in</strong>e he expressed himself about this as follows:<br />
Yet I could not refra<strong>in</strong> from express<strong>in</strong>g myself, on more elevated<br />
occasions, along the same passionate l<strong>in</strong>es as <strong>in</strong> my poetry; from which,<br />
however, I derived only dubious benefit, both from those who were and<br />
those who were not my friends: the former acclaimed my talent for be<strong>in</strong>g<br />
un<strong>in</strong>tentionally funny, while others found it utterly remarkable that a young<br />
man <strong>in</strong> my subord<strong>in</strong>ate position should actively discuss matters which not<br />
even they themselves ventured to have views about. For the sake of truth I<br />
must add that my behaviour on a number of occasions did not justify any<br />
great hopes that society had <strong>in</strong> me someone <strong>in</strong> whom the solid middle-class<br />
virtues might confidently be expected to flourish, just as I also, through my<br />
epigrams and caricatures, quarrelled with many who had deserved better of<br />
me and whose friendship I <strong>in</strong> fact prized. The long and short of it was that,<br />
while big th<strong>in</strong>gs were happen<strong>in</strong>g <strong>in</strong> the tumultuous world outside, I found<br />
myself at loggerheads with the small community <strong>in</strong> which I lived, cramped<br />
as I was by private circumstances and by conditions <strong>in</strong> general." (from The<br />
Oxford <strong>Ibsen</strong>, ed. James Walter McFarlane, et al, London: Oxford UP: vol<br />
I., Early Plays, 110-111.)<br />
GRIMSTAD PHARMACY<br />
<strong>in</strong> the years 1844-47.<br />
In small towns where there is only one pharmacy, one can be treated <strong>in</strong> any old<br />
way, at all events that is how it was <strong>in</strong> those years, and under the owner at the time, the<br />
pharmacist Reimann, a less-than-good economic situation was understandable, s<strong>in</strong>ce the<br />
pharmacy lay <strong>in</strong> an undist<strong>in</strong>guished part of the town, where one lived cheaply. . . . (It)<br />
was <strong>in</strong>stalled <strong>in</strong> a humble little outly<strong>in</strong>g build<strong>in</strong>g, at that time with small w<strong>in</strong>dowpanes <strong>in</strong><br />
both the two lower floors.<br />
When I walked past there one day with an acqua<strong>in</strong>tance, he asked me if I had seen<br />
the pharmacist's assistant who had arrived there some time ago, s<strong>in</strong>ce as he put it, there<br />
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was someth<strong>in</strong>g peculiar about him. For that matter there were many who had not yet seen<br />
him long after he had arrived, <strong>in</strong>asmuch as they had no bus<strong>in</strong>ess at the pharmacy, and at<br />
that time <strong>Ibsen</strong> was never to be seen outside, at any rate <strong>in</strong> the daytime.<br />
Curious to see him, shortly afterward I went <strong>in</strong>to the pharmacy. This was a little<br />
room that was so low that I could almost touch the ceil<strong>in</strong>g with my hand, and it was<br />
extremely shabby: crude, dark and uncomfortable. As a pharmacy it was primitive and<br />
chaotic <strong>in</strong> every respect. Through the half-open door a similarly shabby room could be<br />
glimpsed, which presumably was the assistant's apartment. No liv<strong>in</strong>g be<strong>in</strong>g was to be<br />
seen, nor any sound to be heard, either, to <strong>in</strong>dicate that there were people <strong>in</strong> the vic<strong>in</strong>ity,<br />
listen<strong>in</strong>g, so I had plenty of time to make the aforementioned observations, but after I had<br />
knocked on the counter, I noticed some movement beh<strong>in</strong>d the so-called dispensary<br />
cab<strong>in</strong>et, and soon after a rather small young man with a likeable lively face emerged from<br />
there with a quick motion. I want to remark here, that <strong>in</strong> his youth <strong>Ibsen</strong> developed<br />
unusually <strong>early</strong> a handsome full brown beard, that gave his face at the same time an<br />
energetic and also harmonious appearance . . . . Therefore he gave an overall impression<br />
of be<strong>in</strong>g a handsome young man, with a good well-developed body. On this uncerta<strong>in</strong><br />
occasion, as far as that goes, his face bore an unmistakable and impatient question mark,<br />
which <strong>in</strong>dicated right away that the supposed customer was by no means welcome. I<br />
asked for 4 shill<strong>in</strong>gs worth of bandages and he set about, and quickly supplied them. No<br />
words were exchanged between us, but when I received my bandages our eyes met and<br />
then I noticed a gl<strong>in</strong>t <strong>in</strong> his handsome eyes that made an impression on me. This gl<strong>in</strong>t<br />
was the spark which later showed itself, the gl<strong>in</strong>t of a spirit that would ignite a famous<br />
torch, that later cast its bright sparks over all parts of the world, hence this gl<strong>in</strong>t, this<br />
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spark was reflected <strong>in</strong> Henrik <strong>Ibsen</strong>'s eyes. I have depicted our first meet<strong>in</strong>g so precisely,<br />
because forever after, even after more than 60 years have elapsed, it has stood cl<strong>early</strong> <strong>in</strong><br />
my memory with a strong <strong>in</strong>tensity.<br />
After some time had passed the proprietor of Grimstad Apothecary sold his "royal<br />
privilege" to (another apothecary) Nielsen, who immediately moved it to the eastern part<br />
of the town, to the house where the liquor store was at that time. The location here was<br />
brighter, friendlier, with<strong>in</strong> sight of the harbor traffic, and Apothecary Nielsen had been<br />
my acqua<strong>in</strong>tance for several years, s<strong>in</strong>ce we had bus<strong>in</strong>ess accounts together <strong>in</strong> the sav<strong>in</strong>gs<br />
bank, so it followed thereafter, that I made frequent visits to the pharmacy, all the more<br />
s<strong>in</strong>ce it lay near both the place of my daily bus<strong>in</strong>ess and my lodg<strong>in</strong>gs.<br />
Naturally I then made <strong>Ibsen</strong>'s acqua<strong>in</strong>tance, and as usual between teenagers we<br />
quickly became good friends. For me this acqua<strong>in</strong>tance became a source of great<br />
happ<strong>in</strong>ess, and there developed afterwards a mutual sympathy between us. <strong>Ibsen</strong> needed<br />
a comrade, later also a trustworthy friend, and he had no choice.<br />
Soon I felt more and more strongly drawn to him. His <strong>in</strong>telligence and bubbl<strong>in</strong>g<br />
humor were so very <strong>in</strong>terest<strong>in</strong>g, s<strong>in</strong>ce these characteristics were miss<strong>in</strong>g among my other<br />
circle of comrades.<br />
Gradually I became a daily guest at the pharmacy, usually around even<strong>in</strong>g, when<br />
<strong>Ibsen</strong> sat rest<strong>in</strong>g <strong>in</strong> his room. I looked forward happily to these gather<strong>in</strong>gs all day. It was<br />
someth<strong>in</strong>g new and appeal<strong>in</strong>g to hear his quick comments, these free, and for me partly<br />
new views of life, to be sure impudent and full of paradoxes, it seemed to me, but always<br />
<strong>in</strong>terest<strong>in</strong>g. And <strong>in</strong> me he had an appreciative listener, who followed him with<br />
enthusiasm <strong>in</strong> his at times wild flights from the trivial circumstances <strong>in</strong> which he lived,<br />
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and which he <strong>in</strong> this way cast off, as it were, to our mutual enjoyment. <strong>Ibsen</strong> needed a<br />
response and on these occasions m<strong>in</strong>e was not lack<strong>in</strong>g.<br />
However, we were not always <strong>in</strong> agreement and sometimes I protested aga<strong>in</strong>st<br />
what seemed to me to be his fallacious op<strong>in</strong>ions. As usual between young men we<br />
discussed everyth<strong>in</strong>g between heaven and earth. Accord<strong>in</strong>gly not least marriage. Among<br />
one of <strong>Ibsen</strong>'s extravagant jokes I remember that he <strong>in</strong> a way zealously ma<strong>in</strong>ta<strong>in</strong>ed, that he<br />
and his eventual wife must each live on their own floor, only see each other at mealtimes<br />
and say De (the formal term of address) to each other. This was at that time his ideal of<br />
marriage.<br />
On their honeymoon I met <strong>Ibsen</strong> and his wife on a steamship, but the earlier<br />
ord<strong>in</strong>ance between married people seemed to have been abondoned by then, and <strong>in</strong> any<br />
case for many years there was no opportunity to practice the theory of the two floors.<br />
As therefore, I shall now try to describe <strong>Ibsen</strong> as at that time I knew him, it will of<br />
course be difficult to f<strong>in</strong>d the correct balance of discretion, s<strong>in</strong>ce as we know, between<br />
young men a great deal of unbridled talk goes on, and that goes especially among such<br />
lively natures as <strong>Ibsen</strong>'s <strong>in</strong> these years, full of the warm blood of youth, and that needs to<br />
be clarified so that life with <strong>Ibsen</strong> is <strong>in</strong> full measure clarified.<br />
It is necessary therefore to br<strong>in</strong>g to the reader's explicit attention, that I describe<br />
<strong>Ibsen</strong> accord<strong>in</strong>gly as he was at that time, about 20 years old, before the struggle of life<br />
and those great circumstances where he later voyaged had exercised their <strong>in</strong>fluence on his<br />
m<strong>in</strong>d-set and development.<br />
Our ways parted. Soon Dovre lay between us, later the greater part of Europe.<br />
Only seldom and with spaces between did we meet later, and I have little knowledge of<br />
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what changes had taken place <strong>in</strong> the afterward more and more silent and closed man,<br />
outside of what one can conclude from read<strong>in</strong>g his works.<br />
In any case for me, who knew him <strong>in</strong> his youth, I noticed a strik<strong>in</strong>g contrast when<br />
I saw him aga<strong>in</strong> as an old man. There was then no question of his earlier livel<strong>in</strong>ess and<br />
communicativeness. By then he had become to a great extent reserved and closed.<br />
THE FIRST IN PRINT<br />
To proceed <strong>in</strong> chronological order 7 I shall first relate an episode which took place<br />
a few weeks after we had become acqua<strong>in</strong>ted, and which makes a literary-historical<br />
contribution to the biography of <strong>Ibsen</strong>. S<strong>in</strong>ce I permit myself to play a part, I observe that<br />
this is only an <strong>in</strong>strument to better illustrate the situation, from a modern viewpo<strong>in</strong>t it<br />
gives a rather comic impression as far as I am concerned.<br />
Like so many young men I occupied myself with writ<strong>in</strong>g small poems. One day I<br />
had made such a one that I was proud of, and I took it with me one even<strong>in</strong>g, when I<br />
visited <strong>Ibsen</strong>. I confided to him that I wrote verse. "You don't say, do you! Let me hear<br />
some," was <strong>Ibsen</strong>'s answer. I then read aloud my "Sunset" - one of these melancholy<br />
sentimental th<strong>in</strong>gs, <strong>in</strong> which the young blood knows a heartsick long<strong>in</strong>g to express its<br />
feel<strong>in</strong>gs amidst a description of nature. After <strong>Ibsen</strong> had heard my read<strong>in</strong>g, he remarked:<br />
"I also write verse," and now it became my turn to say: "Oh, so you do, too," and at my<br />
7 Due became acqua<strong>in</strong>ted with <strong>Ibsen</strong> <strong>in</strong> 1847, after the pharmacy moved to its new location, but the poem<br />
discussed here, “I Høsten,” which he claims he learned of soon after they met, was not published until two<br />
years later, <strong>in</strong> September of 1849. We have no poems from <strong>Ibsen</strong>’s hand from as <strong>early</strong> as the time when he<br />
must have met Due.<br />
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equest he read his latest poem: "In the Autumn", that conta<strong>in</strong>ed a sentiment similar to<br />
my "Sunset".<br />
<strong>Ibsen</strong>'s poem appealed to me a great deal, and I immediately declared that it<br />
should be published, but he found this impossible to manage. There was no newspaper <strong>in</strong><br />
Grimstad, and he believed it was too presumptuous to th<strong>in</strong>k of its be<strong>in</strong>g accepted by a<br />
paper <strong>in</strong> the capital. I thought, however, that this would not be unatta<strong>in</strong>able, s<strong>in</strong>ce I was<br />
the Grimstad correspondent for Christiania-posten (The Constitution's successor). So I<br />
sent it <strong>in</strong>. A few days later I received the issue of Christiania-posten, which <strong>in</strong> its first<br />
column carried the poem which I had submitted, the newspaper's spell<strong>in</strong>g agree<strong>in</strong>g<br />
exactly with the orig<strong>in</strong>al's:<br />
IN THE AUTUMN<br />
The s<strong>in</strong>gers of Summer leave the forest; where their songs echoed from<br />
the branches, already the Autumn w<strong>in</strong>d's sigh<strong>in</strong>g song sounds<br />
mournfully through the yellow<strong>in</strong>g leaves. Here, where the flower<strong>in</strong>g<br />
tapestry so richly adorned the fragrant, pale green meadows, <strong>in</strong> the<br />
withered straw Summer's departure trembles, as from str<strong>in</strong>gs, - a<br />
lament<strong>in</strong>g poem!<br />
Lily! why did you leave your curved stem leafless beh<strong>in</strong>d; where did you<br />
flee away? O, you will be born <strong>in</strong> the Spr<strong>in</strong>g aga<strong>in</strong>, follow<strong>in</strong>g Summer's<br />
friendly angel! Rose, with pleasure's sweet-toned speech whisper<strong>in</strong>g<br />
through your fair calyx, the memory of your thorns rema<strong>in</strong>s beh<strong>in</strong>d, -<br />
cruel, but I love you still!<br />
We saw many seeds from the Spr<strong>in</strong>g orchard ripen<strong>in</strong>g to become fruit;<br />
oh, but so many plans lie handsomely covered by the grave of crushed<br />
expectations. Summer! you flew too soon towards the South, hope's<br />
existence was quickly over, and the mourner has no blossom to piously<br />
decorate that sacred height!<br />
Yes, among the graves there still rema<strong>in</strong>s one flower <strong>in</strong> its fairest<br />
splendor, the Autumn w<strong>in</strong>d has not yet brought it death. O, why then<br />
should the heart compla<strong>in</strong> any longer! Its name is memory; look, it still<br />
<strong>in</strong>duces a hope of wak<strong>in</strong>g from paralyz<strong>in</strong>g slumber; weave it <strong>in</strong>to a<br />
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garland around the cover<strong>in</strong>g of the past, comfort<strong>in</strong>gly it will promise a<br />
Spr<strong>in</strong>g!<br />
I was very impatient until even<strong>in</strong>g came, when it would become quiet <strong>in</strong> the<br />
pharmacy, and I could br<strong>in</strong>g <strong>Ibsen</strong> the paper. Warmly sympathetic, with a look of triumph<br />
on my friend's behalf I showed him his "first <strong>in</strong> pr<strong>in</strong>t". <strong>Ibsen</strong> first grew completely pale<br />
with emotion, but soon a happy blush flowed up <strong>in</strong> his face, and I am conv<strong>in</strong>ced that later<br />
on he scarcely felt so happy to see his<br />
work pr<strong>in</strong>ted as at this moment - "the first time".<br />
In a poem "When I saw my first <strong>in</strong> pr<strong>in</strong>t" ("Byggeplaner," i.e., "Build<strong>in</strong>g Plans")<br />
he has immortalized this sentiment. The first verse goes like this:<br />
I remember so pla<strong>in</strong>ly, as if it were happen<strong>in</strong>g today, the first time I<br />
saw a poem of m<strong>in</strong>e pr<strong>in</strong>ted <strong>in</strong> the newspaper; I sat <strong>in</strong> my room and<br />
smoked my pipe with puff<strong>in</strong>g drags <strong>in</strong> blissful self-satisfaction.<br />
Somewhat later <strong>Ibsen</strong> also wrote a poem on the occasion of Oehlenschläger's<br />
death, entitled "Skald <strong>in</strong> Valhalla" (“Skjalden i Valhal”). It was an enthusiastic tribute to<br />
the departed poet, who is welcomed by the valkyries and offered mead from a dr<strong>in</strong>k<strong>in</strong>g<br />
horn. I sent that as well to Christiania-posten, where it was immediately given a place <strong>in</strong><br />
its columns. After this experience my <strong>in</strong>terest <strong>in</strong> this new friend naturally <strong>in</strong>creased<br />
substantially. But we preserved as a deep secret <strong>in</strong> our comradeship, that <strong>Ibsen</strong> wrote<br />
poetry of that k<strong>in</strong>d.<br />
IBSEN IN A CIRCLE OF FRIENDS<br />
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Later, however, there were several who took notice of this quick, witty young<br />
man, and the apothecary's wait<strong>in</strong>g room soon became a favorite meet<strong>in</strong>g-place, especially<br />
on Sundays and <strong>in</strong> the even<strong>in</strong>gs, where more and more comrades were <strong>in</strong>troduced. There<br />
was always amusement <strong>in</strong> the appreciative circle around him, with <strong>Ibsen</strong> as the center,<br />
sparkl<strong>in</strong>g as he was with humor, and to be sure with sarcasm as well, always negotiat<strong>in</strong>g<br />
his straitened circumstances <strong>in</strong> good humor. One could f<strong>in</strong>d no <strong>in</strong>dication that anyth<strong>in</strong>g<br />
troubled him. He possessed to a great degree the resilience of youth.<br />
Among those who gathered <strong>in</strong> the watch-room there were some, especially one of<br />
them, who by his foolishness and unsuccessful attempts to be witty became a very useful<br />
and rather well-deserv<strong>in</strong>g object for <strong>Ibsen</strong>'s wit and sarcasm, which was always rewarded<br />
afterwards with bursts of laughter. Among the many jokes, often <strong>in</strong> the form of poems,<br />
and illustrated by splendid draw<strong>in</strong>gs, whereby he held up to ridicule comic circumstances<br />
among the comrades, there is one which I have a desire to relate. The anecdote evokes a<br />
complicated situation, <strong>in</strong> which the above-mentioned young man played a highly<br />
laughable role.<br />
<strong>Ibsen</strong> had an astonish<strong>in</strong>g ability to write fluent verse quickly, and he was also, as<br />
already mentioned, very talented as an illustrator. His pen could quickly, tastefully and<br />
tell<strong>in</strong>gly express the po<strong>in</strong>t, when someth<strong>in</strong>g was to be presented by illustration. Even<br />
though without see<strong>in</strong>g the altogether first-rate draw<strong>in</strong>gs one can scarcely take pleasure <strong>in</strong><br />
what is comical <strong>in</strong> these presented circumstances, I shall even so attempt to give the<br />
reader an impression of them.<br />
In a notebook <strong>in</strong> a series of pages one saw as a first picture the young man,<br />
bow<strong>in</strong>g and elegantly flourish<strong>in</strong>g his hat <strong>in</strong> the entryway, just as he takes leave after a<br />
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visit to his adored heart's queen. But his horse, harnessed to a sleigh, has found the<br />
departure rather prolonged, so the impatient animal has ambled away by himself. Its<br />
master, who <strong>in</strong> his amorous mood has not noticed, is f<strong>in</strong>ally ready to depart and realizes<br />
to his astonishment that horse and sleigh have disappeared.<br />
The next picture shows him runn<strong>in</strong>g wildly <strong>in</strong> order to catch his disobedient<br />
animal, but he cannot f<strong>in</strong>d it and must turn back <strong>in</strong> order to borrow a horse for the trip<br />
home, about half a mile. Then <strong>in</strong> a later picture he is seen rid<strong>in</strong>g as fast as he can <strong>in</strong> order<br />
to catch his horse. The latter, however, has stopped <strong>in</strong> at a nearby farm, from where <strong>in</strong> a<br />
new picture one sees the horse with a surprised expression (splendidly drawn) observ<strong>in</strong>g<br />
his master's hasty rid<strong>in</strong>g, while the latter does not notice the fugitive.<br />
Another picture shows a scene <strong>in</strong> the servants' quarters, where the master, hav<strong>in</strong>g<br />
arrived at home, rousts the sleep-drugged stableboy out of bed by the hair. A new horse<br />
is taken out, and now both venture forth, each on his horse, <strong>in</strong> order to search for the one<br />
that has disppeared. In the last picture all three horses are seen, at the moment when the<br />
wander<strong>in</strong>g horse comes walk<strong>in</strong>g calmly along and is met by the other two, etc.<br />
This ridiculous situation was also depicted <strong>in</strong> a detailed poem <strong>in</strong> rhymed verse,<br />
through several sections, and with tunes from the Danish vaudeville Neighbors<br />
(Genboerne), which was new at that time, and from which several songs were often sung<br />
by the above-mentioned young man. The latter was then <strong>in</strong>structed by <strong>Ibsen</strong> to learn<br />
several of the songs from Neighbors, and <strong>Ibsen</strong> gave him a copy of several sections of the<br />
horse story. This proved to be a success. The young man <strong>in</strong> question learned the verses<br />
and sang about his own misfortunes <strong>in</strong> the belief that they belonged <strong>in</strong> the play.<br />
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One cannot describe <strong>Ibsen</strong>'s delight at the great amusement which reigned <strong>in</strong> the<br />
circle of comrades, when we got the object of our teas<strong>in</strong>g himself to s<strong>in</strong>g the songs whose<br />
comic hero he was. <strong>Ibsen</strong>'s eyes glittered like fire, and we all forgot that we were naughty<br />
boys.<br />
Besides such jokes <strong>in</strong> the even<strong>in</strong>gs at <strong>Ibsen</strong>'s place there was sometimes a card<br />
party with him. To this were <strong>in</strong>vited the more trusted, who could keep silent about a<br />
certa<strong>in</strong> debauchery, that we drank punch from o<strong>in</strong>tment jars, which, <strong>in</strong> case of be<strong>in</strong>g<br />
surprised by a suspicious visitor, were <strong>in</strong>stantly emptied and put <strong>in</strong>to one's pocket. When<br />
midnight approached, one of those who was more sober could guess that <strong>Ibsen</strong> needed<br />
rest, s<strong>in</strong>ce we knew that he devoted part of the night to study<strong>in</strong>g, but he always soothed<br />
us with the say<strong>in</strong>g that there was still enough time for both read<strong>in</strong>g and sleep.<br />
IBSEN'S ABILITY TO WORK AND HIS HEALTH<br />
<strong>Ibsen</strong>'s ability to work and his physical hard<strong>in</strong>ess were phenomenal. In reality,<br />
except for a very few hours, he was at work day and night. The greatest part of the day<br />
was naturally occupied with the duties of the pharmacy. S<strong>in</strong>ce at that time there was no<br />
more than one pharmacy between Christianssand and Arendal (close to 70 kilometres),<br />
namely Grimstad's, there must have been quite a lot of trade, and s<strong>in</strong>ce the pharmacist<br />
was much occupied with his affairs as a shipowner, and as a bookkeeper and cashier <strong>in</strong><br />
the Grimstad sav<strong>in</strong>gs bank, and as he was sickly, it followed that <strong>Ibsen</strong> performed much<br />
of the work <strong>in</strong> the pharmacy.<br />
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Nielsen's pharmacy, like the former one, Reimann's, was by the humble standards<br />
of the day very <strong>in</strong>adequately equipped. I can therefore mention that there was no special<br />
room which could be used as a laboratory. When larger decoctions were to be prepared,<br />
the kitchen <strong>in</strong> the landlady's home had to be used. This occupied half of the ground floor<br />
<strong>in</strong> the little house, while the pharmacy and the watchroom took up the other half. I have<br />
accord<strong>in</strong>gly seen <strong>Ibsen</strong> <strong>in</strong> the kitchen there by an open fireplace, without a stove, engaged<br />
<strong>in</strong> the cook<strong>in</strong>g of medic<strong>in</strong>es, beside Madame Geelymuyden's kettles. For smaller<br />
preparations a rather small spirit-lamp <strong>in</strong> the pharmacy was used. At that time one did<br />
not have petroleum <strong>in</strong>struments. Because of these questionable facilities, of course, the<br />
work of the pharmacy was very <strong>in</strong>convenient and took an unduly long time, to <strong>Ibsen</strong>'s<br />
sorrow, s<strong>in</strong>ce thereby his favorite activities had to be curtailed to a great extent.<br />
Still, it should be noted here that pharmacist Nielsen was a conscientious, dutiful<br />
and hard-work<strong>in</strong>g man, who did not st<strong>in</strong>t more than necessary <strong>in</strong> his capacity to work.<br />
But s<strong>in</strong>ce he turned over so much <strong>in</strong> the pharmacy to the care of his s<strong>in</strong>gle assistant, he<br />
probably found this reasonable and satisfactory, while he had little or no knowledge of<br />
how precious for <strong>Ibsen</strong> the time was for other bus<strong>in</strong>ess.<br />
It was quite <strong>in</strong>credible, how much <strong>Ibsen</strong> accomplished on a daily basis. Besides<br />
the pharmacy's bus<strong>in</strong>ess, which as noted took up the greater part of the day, he had his<br />
read<strong>in</strong>g for the university entrance exam, which he had to pursue to a large extent on his<br />
own. Certa<strong>in</strong>ly he had a good private tutor <strong>in</strong> then candidate <strong>in</strong> theology Emil Bie, who<br />
died as dean <strong>in</strong> Toten, but there were, to be sure, as there could reasonably be, several<br />
subjects <strong>in</strong> which Bie was not fully capable, among which was mathematics, <strong>in</strong> which<br />
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therefore Dr. Ole Jacob Broche accord<strong>in</strong>gly later gave <strong>Ibsen</strong> one of his well-known<br />
"sixes" (i.e., a fail<strong>in</strong>g grade).<br />
Read<strong>in</strong>g for the entrance exam not only occupied much of his precious time, but<br />
also caused him a good deal of trouble and worry. Then, by an easily understandable<br />
<strong>in</strong>ner need, he had to devote part of the day to the authorship which soon more and more<br />
occupied his thoughts. And still on many occasions he had the time also to occupy his<br />
talent for draw<strong>in</strong>g. Just as his pencil was cont<strong>in</strong>ually active, <strong>in</strong> addition <strong>Ibsen</strong> was a<br />
landscape pa<strong>in</strong>ter. And as such he had an undubitable talent. Some small pieces from<br />
Telemark were respectable dilettante work.<br />
It will be understood that if <strong>in</strong> addition to this, the circle of friends also occupied<br />
his time every day, <strong>in</strong> this way most of the twenty-four hours passed, so that there were<br />
only a few left for rest or sleep. But yet I never heard <strong>Ibsen</strong> compla<strong>in</strong> about wear<strong>in</strong>ess.<br />
His physical hard<strong>in</strong>ess was unparalleled. He must have had an unusually robust<br />
nature. This was evident among other th<strong>in</strong>gs from the fact that s<strong>in</strong>ce his economic<br />
situation required him to use the greatest possible thrift, he tried to manage without<br />
underclothes and later also without stock<strong>in</strong>gs. S<strong>in</strong>ce among Grimstad's many fem<strong>in</strong><strong>in</strong>e<br />
beauties there was one young lady to whom he was attracted, I joked with him that he was<br />
play<strong>in</strong>g "Love Without Stock<strong>in</strong>gs." 8 We had a good laugh at this. <strong>Ibsen</strong> was always<br />
<strong>in</strong>cl<strong>in</strong>ed to regard his penurious circumstances from a humorous po<strong>in</strong>t of view. These<br />
experiments therefore succeeded even <strong>in</strong> the w<strong>in</strong>ter, without an overcoat. Yet I never<br />
noticed that he caught a cold, or compla<strong>in</strong>ed of other physical <strong>in</strong>conveniences.<br />
8 Kærlighed uden Strømper, a parody of a neoclassical tragedy, which had been written <strong>in</strong> Copenhagen <strong>in</strong><br />
1772 by a Norwegian, Johan Herman Wessel, and as one of the oldest authentic Norwegian dramas, was<br />
known to almost everyone.<br />
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I have above mentioned <strong>Ibsen</strong>'s talent for illustration and <strong>in</strong> that connection want<br />
to mention one of his many pencil draw<strong>in</strong>gs, which has a special <strong>in</strong>terest, consider<strong>in</strong>g<br />
what happened to him later <strong>in</strong> life. He detested honorary decorations. One day he<br />
showed me two draw<strong>in</strong>gs, of which the first depicted a plump gentleman, presumably<br />
after a first-class d<strong>in</strong>ner, sitt<strong>in</strong>g sleep<strong>in</strong>g <strong>in</strong> an easy chair, while over his head floats a<br />
cloud, from which protrudes a hand, hold<strong>in</strong>g a medal with a star. The next draw<strong>in</strong>g<br />
depicts the newly-m<strong>in</strong>ted knight, who has just awakened and is surprised to see the star<br />
on his breast. He puts his hand to his head and bursts out: "What? - an order? Why?<br />
How?" He soon f<strong>in</strong>ds the answer, however: "I have been sleep<strong>in</strong>g!" How little Henrik<br />
<strong>Ibsen</strong> suspected then, that his own breast one day would be decorated with orders,<br />
dist<strong>in</strong>ctions which to be sure he came to far from sleep<strong>in</strong>g.<br />
Before I conclude this section about <strong>Ibsen</strong>'s personal characteristics, I want to state<br />
that <strong>in</strong> the years we found ourselves frequently together, he gave few expressions of<br />
strongly pulsat<strong>in</strong>g feel<strong>in</strong>gs. It was as if his whole spiritual life moved exclusively, or at<br />
any rate essentially, <strong>in</strong> the direction of imag<strong>in</strong>ation and thought.<br />
But there was <strong>in</strong> any case to a high degree someth<strong>in</strong>g so captivat<strong>in</strong>g about him, as<br />
he really was then, that I gradually accustomed myself to the abovementioned lack, all the<br />
more, as at certa<strong>in</strong> times I received the impression that the reason for this lay <strong>in</strong> an<br />
aversion deep <strong>in</strong> his nature to reveal<strong>in</strong>g his feel<strong>in</strong>gs. He had an especially remarkable<br />
ability to disguise his many wants, so that <strong>in</strong> any case they did not appear to depress him.<br />
His close friends accord<strong>in</strong>gly found no occasion to compla<strong>in</strong> about him, so much less so,<br />
s<strong>in</strong>ce most of them scarcely understood the situation as it really was. I, who for some<br />
time was his only <strong>in</strong>timate, felt great sympathy with him and had difficulty understand<strong>in</strong>g<br />
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how under the circumstances <strong>in</strong> which he found himself he could be so cheerful and<br />
lively as was the case.<br />
SCHUL(E)RUD, IBSEN'S LOYAL FRIEND<br />
One day Grimstad was surprised that a young student made his entrance, outside<br />
of the usual holiday time and <strong>in</strong> order to pursue his legal studies for a whole year <strong>in</strong> his<br />
home there. A student was a rare sight <strong>in</strong> those parts. The annual total of matriculated<br />
students was then about one-tenth of what it is now, and small towns like Grimstad as a<br />
rule could not produce more than a couple, who then could be seen dur<strong>in</strong>g some weeks of<br />
holiday. There were for many years only two native-born students. Inevitably, then, to a<br />
certa<strong>in</strong> extent one had to look up to an academician, and s<strong>in</strong>ce the one <strong>in</strong> question here<br />
was <strong>in</strong> addition a very charm<strong>in</strong>g and sympathetic young man, he soon became an<br />
accepted person <strong>in</strong> our circle. My relationship of service to his father brought me<br />
immediately <strong>in</strong> touch with him, and as soon as possible I <strong>in</strong>troduced to <strong>Ibsen</strong> his later<br />
loyal and sacrific<strong>in</strong>g friend, then law-student Ole Carelius Schulrud (born <strong>in</strong> 1827,<br />
accord<strong>in</strong>gly a year old than <strong>Ibsen</strong>, died as an attorney practic<strong>in</strong>g before the appellate court<br />
<strong>in</strong> Christiania <strong>in</strong> 1859).<br />
Accord<strong>in</strong>gly, with<strong>in</strong> a short time they were <strong>in</strong>timate friends, and we two, <strong>Ibsen</strong>'s<br />
first "trust<strong>in</strong>g and loyal," as he calls us <strong>in</strong> the preface to the second edition of Catil<strong>in</strong>e,<br />
then created with <strong>Ibsen</strong> as lead<strong>in</strong>g character a triumvirate, which acquired so much<br />
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greater value, s<strong>in</strong>ce a deep secret soon occupied our common thoughts with the greatest<br />
<strong>in</strong>terest. Of this later . . . .<br />
First I want to communicate a little about the circumstances which for that matter<br />
bound us together. In addition to the mutual sympathy and common literary <strong>in</strong>terests - <strong>in</strong><br />
those years one studied seriously Søren Kierkegaard's books Either-Or (Enten/Eller), The<br />
Works of Love (Kærlighedens Gjern<strong>in</strong>ger), among others, and no less Oehlenschlæger's<br />
tragedies, Clara Rafael's Letters (Clara Rafael: Tolv Brev) (one of the first signs of<br />
women's liberation) - besides these po<strong>in</strong>ts of contact there was also <strong>in</strong> another a k<strong>in</strong>ship<br />
of circumstance. We were all three "as poor as church-mice." One of us for economic<br />
reasons sometimes had to forego the midday meal, the second had certa<strong>in</strong>ly both board<br />
and room, but seldom the pocket money for a cigar, and the third, <strong>Ibsen</strong> himself, from his<br />
<strong>in</strong>significant <strong>in</strong>come had to obta<strong>in</strong> his cloth<strong>in</strong>g and books, pay his private tutor, and even<br />
pay town tax as "pharmacist's journeyman," as he was designated on the tax bill, to<br />
<strong>Ibsen</strong>'s teeth-gr<strong>in</strong>d<strong>in</strong>g irritation.<br />
Most of our companions were larger or smaller shipowners and thereby well<br />
situated <strong>in</strong> economic respects. They had means for much which the three of us had to<br />
deny ourselves. Our well-heeled companions' circumstances created a strong contrast to<br />
that of the triumvirate, with its humble gather<strong>in</strong>gs. Not least <strong>in</strong> <strong>Ibsen</strong> was a bitter feel<strong>in</strong>g<br />
cultivated towards "those empty heads with full pockets." Nevertheless, these <strong>in</strong>dividuals<br />
were regularly enterta<strong>in</strong>ed by <strong>Ibsen</strong>, and <strong>in</strong>deed he was already mak<strong>in</strong>g then - or was <strong>in</strong><br />
any case, even if unconsciously, lay<strong>in</strong>g the groundwork for - studies for later process<strong>in</strong>g.<br />
Let me add here, that there were exceptional families, where a more <strong>in</strong>telligent life<br />
manifested itself, but <strong>Ibsen</strong> never travelled <strong>in</strong> these circles.<br />
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While we all looked up to <strong>Ibsen</strong> as the one with superior <strong>in</strong>tellectual gifts, he<br />
himself had nobody that he looked up to. This is <strong>in</strong>deed a lack dur<strong>in</strong>g the period of<br />
human development, especially <strong>in</strong> that period of life <strong>in</strong> which <strong>Ibsen</strong> then was. To be sure,<br />
he had read remarkably much, amaz<strong>in</strong>gly much consider<strong>in</strong>g the literarily <strong>in</strong>accessible<br />
circumstances <strong>in</strong> which he lived, but even the highly-gifted still cannot without the<br />
necessary conditions acquire everyth<strong>in</strong>g wholly by read<strong>in</strong>g. The experienced life-<br />
regard<strong>in</strong>g critical view is miss<strong>in</strong>g, and <strong>in</strong> such a strongly active temperament as <strong>Ibsen</strong>'s<br />
much is devoured without be<strong>in</strong>g healthily digested <strong>in</strong>tellectually.<br />
Among the authors he had studied by preference was Voltaire. He partly defended<br />
the former's deism, partly pantheism, and partly the study of primitive m<strong>in</strong>ers. He denied<br />
any personal relationship to God. In this he encountered strong opposition <strong>in</strong> a couple of<br />
us, and we tried zealously to convert his lack of religious faith, but <strong>in</strong> va<strong>in</strong>. Dur<strong>in</strong>g such a<br />
discussion one of our mutual acqua<strong>in</strong>tances once attempted to recommend to him the<br />
read<strong>in</strong>g of Bishop Wall<strong>in</strong>'s sermons, a devotional book much-favored at that time, and <strong>in</strong><br />
which he himself every morn<strong>in</strong>g took pleasure. "I can never get my fill of read<strong>in</strong>g it," he<br />
said. Here <strong>Ibsen</strong> remarked, <strong>in</strong> his quick-witted way, that there could not possibly be any<br />
food value <strong>in</strong> what one could not get enough of. Thereby he had the laughter on his side,<br />
and the religious <strong>in</strong>fluence <strong>in</strong> the end had to be given up as futile.<br />
As we know, the <strong>in</strong>fluence from home and the first years of childhood has the<br />
greatest significance for the later religious and moral development. One has, as far as is<br />
known, little or no knowledge about <strong>Ibsen</strong>'s circumstances before his arrival <strong>in</strong> Grimstad,<br />
but there <strong>in</strong> any case he had no opportunity for any educat<strong>in</strong>g or awaken<strong>in</strong>g <strong>in</strong>fluence<br />
from a good and healthy family life. If the fellowship with his peers is excepted, and then<br />
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as a rule only dur<strong>in</strong>g fun and amusement, he had no associates, and <strong>in</strong> the first years of<br />
our acqua<strong>in</strong>tance never participated <strong>in</strong> social gather<strong>in</strong>gs, but spent his time almost<br />
exclusively <strong>in</strong> the pharmacy and <strong>in</strong> its watchroom, <strong>in</strong>terrupted only by, that as quickly as<br />
possible he shared <strong>in</strong> the midday mealtime at the home of his employer's parents, <strong>in</strong><br />
whose nearby home pharmacist Nielsen lived. Breakfast and the even<strong>in</strong>g meal were<br />
brought up from there to <strong>Ibsen</strong> <strong>in</strong> the pharmacy's watchroom.<br />
IBSEN FINALLY PARTICIPATES IN SOCIETY<br />
<strong>Ibsen</strong> was strongly <strong>in</strong>fluenced by the French Revolution <strong>in</strong> 1848, and afterwards<br />
he became an out-and-out republican. With him as the life-giv<strong>in</strong>g center, at one and<br />
another opportunity social gather<strong>in</strong>gs of friends were created, where there was much<br />
amusement and speeches were given, especially with republican ideas <strong>in</strong> view.<br />
Accord<strong>in</strong>gly we arranged after the French model a so-called "reform banquet," where<br />
<strong>Ibsen</strong> gave a fire-breath<strong>in</strong>g speech aga<strong>in</strong>st all emperors and k<strong>in</strong>gs, those monsters of<br />
society, and for the republic, the "only possible" form of government.<br />
We also sometimes arranged dance enterta<strong>in</strong>ments. Grimstad had no satisfactory<br />
social hall, but one adapted oneself practically and very spontaneously to that, <strong>in</strong> that the<br />
mov<strong>in</strong>g powers among the young people applied <strong>in</strong> turn to the honorable ladies and<br />
gentlemen who presided over the largest halls, and asked without further permission to<br />
hold a ball at their house. The good-natured <strong>in</strong>habitants of Grimstad as a rule gave their<br />
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permission, and with the help of two viol<strong>in</strong>s and a flute, home-made mulled w<strong>in</strong>e and<br />
punch, coffee or tea and white bread we had the ball quite ready.<br />
I had several times urged <strong>Ibsen</strong> to take part <strong>in</strong> these occasions, but weighty<br />
reasons denied him this pleasure. He owned namely no even<strong>in</strong>g clothes, and - what was<br />
worse - he had never danced, which is why he did not dare to make his debut at a ball.<br />
The problem of clothes was solved, however, when one of those "with empty heads and<br />
full pockets" gave him credit. This at first astonished <strong>Ibsen</strong>, but then at the same time he<br />
found that it only confirmed the cited proverb, and when at year's end the bill for the cost<br />
of the cloth<strong>in</strong>g was presented, he found even more confirmation of it, as he declared <strong>in</strong><br />
his humorous way: "First he is stupid enough to give me credit, and later he is stupid<br />
enough to expect the bill to be paid." I can state, however, that this debt of <strong>Ibsen</strong>'s was<br />
paid.<br />
Now he was accord<strong>in</strong>gly prepared as a ball-cavalier, but to dare to ask his lady for<br />
a dance and step forward among the ranks of the dancers he found too bold. On this<br />
occasion <strong>Ibsen</strong>'s <strong>in</strong>vited was Miss Sophie Holst, one of Grimstad's many charm<strong>in</strong>g young<br />
girls. (She still lives here <strong>in</strong> Christiania as the widow Toft, and when I saw her a few<br />
years ago, even though she was then over 80 years old, she still preserved a quite unusual<br />
youthfulness.)<br />
We attempted however to put courage <strong>in</strong> <strong>Ibsen</strong>, and succeeded, by his lady's and<br />
other good-willed assistance, to see the pair set off <strong>in</strong> a quick gallop, certa<strong>in</strong>ly with some<br />
difficulty <strong>in</strong> the beg<strong>in</strong>n<strong>in</strong>g, but yet without sensational calamities, and soon it went quite<br />
swimm<strong>in</strong>gly, so that the situation was saved. Later he ventured himself <strong>in</strong> other dances as<br />
well, with equally good results.<br />
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S<strong>in</strong>ce here I touch upon the dances' rhythms, which <strong>Ibsen</strong> soon mastered, the<br />
thought is led away to his poems, also <strong>in</strong> this respect excellent. Even <strong>in</strong> his first literary<br />
works there was always the most exemplary verse construction, and when he wrote the<br />
poem discussed <strong>in</strong> an earlier chapter about the story of the horse, which was not short, it<br />
jigged as was mentioned before after melodies which were used <strong>in</strong> Neighbors, without a<br />
s<strong>in</strong>gle syllable <strong>in</strong> the meter fail<strong>in</strong>g. And yet <strong>Ibsen</strong> was not musical. When we <strong>in</strong> the<br />
circle of friends sang, he certa<strong>in</strong>ly came along, but <strong>in</strong>correctly, s<strong>in</strong>ce he lacked an ear for<br />
music. This seems to be almost the only ability that failed him. In other respects he<br />
could try almost anyth<strong>in</strong>g, and it always appeared that his em<strong>in</strong>ent gifts were equal to it.<br />
CATILINE<br />
One even<strong>in</strong>g while we were sitt<strong>in</strong>g at <strong>Ibsen</strong>'s place, he surprised his two loyal<br />
friends with a most <strong>in</strong>terest<strong>in</strong>g announcement, namely that he was writ<strong>in</strong>g a drama,<br />
“Catil<strong>in</strong>e,” <strong>in</strong>tended for production. As is known we then possessed almost no national<br />
literature <strong>in</strong> the dramatic field. If I mention Bjerregaard's The Mounta<strong>in</strong> Fairytale<br />
(Fjeldeventyret), A[ndreas] Munch's K<strong>in</strong>g Sverre's Childhood (Kong Sverres Ungdom),<br />
with which the theatre <strong>in</strong> Bank Place opened its performances, and Wergeland's The<br />
Campbells (Campbellerne), which all lay rather far back <strong>in</strong> time, one has <strong>in</strong>deed most of<br />
the scattered attempts. And at hear<strong>in</strong>g <strong>Ibsen</strong>'s fiery description of the idea for his drama,<br />
how his republican sympathies made themselves evident through the rebel Catil<strong>in</strong>e's wild<br />
and dar<strong>in</strong>g plans, we, his most <strong>in</strong>terested listeners, were of course <strong>in</strong>fected by his<br />
enthusiasm. This was not least the case when he read aloud the first scenes of the drama.<br />
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Naturally we urged him to cont<strong>in</strong>ue, and <strong>in</strong> a series of unforgettable even<strong>in</strong>gs he<br />
read aloud for criticism what between each time he had written. The well-disposed<br />
criticism committee found little to remark upon, however. We two, his first "loyal and<br />
trust<strong>in</strong>g," as <strong>Ibsen</strong> called us, found only pleasure and enjoyment at gradually hear<strong>in</strong>g his<br />
work make progress. None of us knew how to take <strong>in</strong>to consideration the technical faults<br />
<strong>in</strong> the drama's construction, while the various parts, partly strong and violent, where<br />
Catil<strong>in</strong>e appears, partly gentle and lyrical, where his good genius, his wife Aurelia, speaks<br />
peace and the cause of a peaceful, happy home, made a strong impression on us, and that<br />
still strikes me when I later read, for example, these l<strong>in</strong>es, which the poet puts <strong>in</strong>to<br />
Aurelia's mouth:<br />
Do you forget the little country place<br />
where I was born, and where we later, gay<br />
and happy <strong>in</strong> our calm of utter bliss,<br />
have spent so many a carefree summer day?<br />
Where else, I wonder, was the grass so green?<br />
Where else such coolness <strong>in</strong> the forest's shade?<br />
The little house peeps forth between the trees<br />
and beckons with its cosy air of peace.<br />
That's where we'll flee, and dedicate our lives<br />
to peaceful country ways, to quiet pleasures.<br />
There you shall have a lov<strong>in</strong>g wife to cheer you,<br />
whose tender kisses shall dispel your sorrows.<br />
And when with blossoms gathered from the fields<br />
you seek your sovereign lady <strong>in</strong> her bower,<br />
I shall at once proclaim you Pr<strong>in</strong>ce of Flowers,<br />
and w<strong>in</strong>d the laurel wreath around your brow!<br />
(The Oxford <strong>Ibsen</strong>, Vol. I: Early Plays, p. 55.)<br />
In the aformentioned preface to the jubilee edition of Catil<strong>in</strong>e one has <strong>Ibsen</strong>'s<br />
own statement of how when the drama was f<strong>in</strong>ished, I had the honor of copy<strong>in</strong>g it, and<br />
that it was sent with Schulrud, when he travelled to Christiania to complete his studies.<br />
411
In the same place <strong>Ibsen</strong> has also described how the sangu<strong>in</strong>e expectations for Catil<strong>in</strong>e<br />
were violently disappo<strong>in</strong>ted, as the Christiania Theatre regretted that the piece was not<br />
suited for production, next no publisher could be found, and it was f<strong>in</strong>ally pr<strong>in</strong>ted, by<br />
Schulerud's tireless and sacrific<strong>in</strong>g help with contribut<strong>in</strong>g the means for it, <strong>in</strong> a "s<strong>in</strong>gle<br />
edition." 32 copies of the little book found a market, and after the lapse of some time the<br />
rest of the edition was sold by the pr<strong>in</strong>ter as waste paper to a huckster. "In the<br />
immediately follow<strong>in</strong>g days we lacked for noth<strong>in</strong>g of life's most urgent necessities," says<br />
<strong>Ibsen</strong> <strong>in</strong> the preface. The new edition of 1875 is pr<strong>in</strong>ted <strong>in</strong> at least three issues, <strong>in</strong> several<br />
thousand copies.<br />
412
II. The Grimstad Read<strong>in</strong>g Society.<br />
The follow<strong>in</strong>g is an alphabetical list by author of the books purchased by the Grimstad<br />
Read<strong>in</strong>g Society (Leseselskab) between its found<strong>in</strong>g <strong>in</strong> 1835, and <strong>early</strong> 1850, when <strong>Ibsen</strong><br />
left Grimstad. The list has been developed by trac<strong>in</strong>g to <strong>in</strong>dexes of publications or to the<br />
card catalog of the Royal Library <strong>in</strong> Copenhagen the sketchy references to authors and<br />
titles <strong>in</strong> the handwritten record of acquisitions of the Read<strong>in</strong>g Society, which is now <strong>in</strong><br />
the Grimstad Public Library. (NB: Dates <strong>in</strong> parentheses at the end of citations refer to<br />
the year when books were recorded <strong>in</strong> the acquisitions list.)<br />
Both J. A. Reimann, <strong>Ibsen</strong>’s first employer <strong>in</strong> Grimstad, and the father of Lars Nielsen,<br />
his second employer, were members of the read<strong>in</strong>g society, so it is generally assumed that<br />
<strong>Ibsen</strong> had access to its collection.<br />
Aal, Jacob. Er<strong>in</strong>dr<strong>in</strong>ger som Bidrag til Norges historie fra 1800-1818. 1-3. Deel.<br />
Christiania 1844-1845 (1845).<br />
A<strong>in</strong>sworth, W. Harrison. Tower i London, Fortæll<strong>in</strong>g. Ovs. af Fr. Schaldemose. 1-3.<br />
Deel. København 1842 (1842).<br />
Andersen, Hans Chr. En Digters Bazar. København 1842 (1845).<br />
Archiv for Historie og Geographie. Samlet og udg. af Joh. Chr. Riise. 1-75. B<strong>in</strong>d.<br />
København 1820-38 (1835 ff.) {Hold<strong>in</strong>gs <strong>in</strong>clude approx. vols. 48-75.}<br />
Arthur (Pseud.). Een for Mange. Novelle. København 1847 (1847).<br />
Balzac, Honoré de. Rosalie. See Prov<strong>in</strong>dsernes Mysterier.<br />
Barg<strong>in</strong>et, A. Grenaderen fra Elba. Er<strong>in</strong>dr<strong>in</strong>ger fra 1814 og 1815. 1-2 Deel. (U. Titelbl.<br />
St. o.A. [1833]) (1838).<br />
- - - -. Den to og tredivte Halvbrigade. En Fortæll<strong>in</strong>g fra Napoleons første italienske<br />
Felttog. Ovs. af Jak. Riise. København 1835 (1838).<br />
Becker, Karl Friedr. Verdenshistorie, omarb. af Jos. Gottfr. Woltmann. Ovs. og forøget<br />
af Jac. Riise. 1-10. Deel. København 1822-26. -- Fortsat af Karl Adolf Menzel. Ovs. af<br />
Jak. Riise. 11-12. Deel. 1827-29. (1838).<br />
Becker, W.A. Charikles, en Fortæll<strong>in</strong>g. Skildr<strong>in</strong>g af Privatlivet i Grækenland i<br />
Alexander den Stores Tid. Ovs. af C. Ebel<strong>in</strong>g. København 1846 (1847).<br />
413
Bernard, Ch. Landjunkeren. Ovs. af D. Dessau. 1-4. Deel. København 1846 (1847).<br />
- - - -. Ægtemandens Vildbane. Ovs. af T.P., udg. af Chr. W<strong>in</strong>ther. København 1843<br />
(1843).<br />
Betlesen, Jac. (Pseud., Aslak Elg). Bergens Sommer. (1850). (Incomplete citation.)<br />
Bien. Et Maanedsskrift for Moerskabslæsn<strong>in</strong>g. B<strong>in</strong>d 1-26. Christiania 1832-38. 8.<br />
Hvert b<strong>in</strong>d bestaar af 3 hefter a 8 Art. m. 1 Stentr. W<strong>in</strong>ther, n. pr. <strong>in</strong>dtil videre 10 Spd.<br />
Enkelte hefter. 12v. (B. 17-26 ogsaa under Titel: Bien. Ny Saml<strong>in</strong>g. B. 1-10.<br />
Christiania 1836-38.) Intelligentsblad for Kunst, Literatur, Music og Moder. Et Tillæg til<br />
Maanedsskriftet Bien. (B. 21-26.) No. 1 1-18. 1837-38. (Samlg. Norske Læssefrugter.)<br />
Bremer, Fredrika. Hjemmet eller Familie-Sorger og Glæder. Ovs. af J. C. Jul<strong>in</strong>-<br />
Fabricius. 1-4. Deel. København 1840 (1840).<br />
- - - -. I Dalerne. Ovs. København 1845 (1850).<br />
- - - -. Nabofamilierne. Af Forf. til "Presidentens Døttre," "N<strong>in</strong>a," osv. Ovs. af J. C.<br />
Jul<strong>in</strong>-Fabricius. 1-4 Deel. København 1837 (1838).<br />
- - - -. Præsidents Døttre. En Fortæll<strong>in</strong>g, af Forf. af "Tegn<strong>in</strong>ger af Hverdagslivet". Ovs.<br />
af J. C. Jul<strong>in</strong>-Fabricius. København 1836 (1838).<br />
- - - -. Strid og Fred eller nogle Scener i Norge. Af Forf. til "Præsidentens Døttre",<br />
"Hjemmet" og fl. Overs. fra det Svenske. København 1841 (1850).<br />
- - - -. Tegn<strong>in</strong>ger af Hverdagslivet. Efter det Svenske af Theod. Schorn. København<br />
1836 (1838).<br />
- - - -. Trælqv<strong>in</strong>den. En Tegn<strong>in</strong>g fra Fortiden. Ovs. fra Svensk. Christiania 1840 (1840).<br />
Bronikowski, Alexander. Den Livegne eller Polen i det 11 Aarhundre. Romantisk<br />
Fortæll<strong>in</strong>g. Ovs. 1-4. Deel. København 1841 (1841).<br />
Bruden paa Senjen. Af Forf. af "Taar<strong>net</strong> ved Dardanellerne." København 1846 (1846).<br />
Buchwald, Joh. H. v. Invaliden eller Soldater-Perspective. Af Forf. til "Er<strong>in</strong>dr<strong>in</strong>ger."<br />
København 1840 (1845).<br />
Bulwer-Lytton, Edward. Samlede Skrifter. 1-69. Bd. København 1833-65.<br />
1-3. Bd. Eugen Aram. Ovs. af F. Schaldemose. 1-3. Deel. 1833 (1835).<br />
414
4-6 Bd. Devereux. En Fortæll<strong>in</strong>g. Ovs. af J. R. Reiersen. 1-3. Deel. 1833-34<br />
(1835).<br />
7-8. Bd. Pelham eller en Verdensmands Begivenheder. Ovs. af P. Saxild. 1-2.<br />
Deel. 1834 (1835).<br />
9-10. Bd. Den Fornegtede. En Fortæll<strong>in</strong>g. Ovs. af Reiersen. 1-2. Deel. 1834<br />
(1835).<br />
11-12. Bd. Paul Clifford. En Fortæll<strong>in</strong>g. Ovs. af E. Levison. 1-2. Deel. 1834<br />
(1835).<br />
13. Bd. Pillegrimene ved Rh<strong>in</strong>en. Ovs. af Reiersen. 1834 (S. 461. Arasmanes.<br />
Ovs. af Reiersen. med fortsat Pag<strong>in</strong>er<strong>in</strong>g) (1835).<br />
14. Bd. Falkland. Ovs. af Reiersen. 1835 (1835).<br />
15-16. Bd. Blomsterpigen eller Pompeis sidste Dage. Ovs. af Reiersen. 1-2.<br />
Deel. 1835 (1835).<br />
17-18. Bd. Engeland og Engelænderen. Ovs. af Schaldemose. 1-2. Deel. 1835<br />
(1836).<br />
19-20. Bd. Cola di Rienzi, den sidste Tribun. Ovs. af Reiersen. 1-2. Deel. 1836<br />
(1836).<br />
23-24. Bd. Ernst Maltravers. Ovs. af Schaldemose. 1839 (1839).<br />
25. Bd. Hertug<strong>in</strong>de de la Valliére. Et Skuespil i 5 Acter. Ovs. af Schaldemose.<br />
1839 (1840).<br />
26-27. Bd. Alice eller Hemmelighederne. En Fortsættelse af Ernst Maltravers.<br />
Ovs. af U.A. Rung. 1-2. Deel. 1839 (1839).<br />
28. Bd. Leila eller Granadas Beleir<strong>in</strong>g. Ovs. af Schaldemose. 1839 (1840).<br />
29-30. Bd. Godolph<strong>in</strong>. Fortæll<strong>in</strong>g. Ovs. af A. L. Moltke. 1-2. Deel. 1841<br />
(1841).<br />
31-33. Bd. Nat og Morgen. Fortæll<strong>in</strong>g. Ovs. ved Moltke. 1-3. Deel. 1841<br />
(1841).<br />
34-35. Bd. Zanoni. Ovs. ved Moltke. 1-2. Deel. 1842 (1842).<br />
36-39. Bd. Den sidst Lehnsherre. Ovs. af Schaldemose. 1-4. Deel. 1843 (1843).<br />
415
41-43. Bd. Lucretia eller Nattens Børn. Ovs. af Schaldemose. 1-3. Deel. 1847<br />
(1849).<br />
46. Bd. Athenen, dets Opkomst og Fald med Udsigt over det atheniensiske Folks<br />
Litteratur, Philosophi og Liv. Ovs. ved J. Møller. 1-3. Deel. 1847 (1847).<br />
Bulwer, Lady Lytton. Cheveley eller Manden af Ære. Ovs. efter den 3. Orig<strong>in</strong>aludgave<br />
ved U. A. Rung. 1-2. Deel. København 1840 (1840).<br />
Burney, Frances. Evel<strong>in</strong>a, eller et ungt Fruentimmers Indtrædelse i Verden. Deel 1-3.<br />
København 1805-12 (1845). {Possibly a later edition was purchased.}<br />
Bury, Charlotte. En Pariser<strong>in</strong>des Memoirer. Ovs. af L. Jordan. 1-3. Deel. København<br />
1843 (1. & 2. Deel, 1843).<br />
- - - -. Et Ægteskab i den fornemme Verden. Ovs. af L. Jordan. 1-2. Deel. København<br />
1841 (1844).<br />
- - - -. Trevelyan. Ovs. af L. Jordan. 1-2. Deel. København 1842 (1842).<br />
Carlén, Emilie. Bruden paa Omberg. Ovs. København 1846 (1846).<br />
- - - -. Fjeldronn<strong>in</strong>gen. 1-3. Deel. København (Date?) (1846).<br />
- - - -. Fosterbrøderne. Roman. Ovs. af J. C. Jul<strong>in</strong>- Fabricius. 1-3. Deel. København<br />
1840-41 (1842).<br />
- - - -. Gustav L<strong>in</strong>dorm. Efter det Svenske. Deel 1-3. 1839-40. (1842).<br />
- - - -. Kirke<strong>in</strong>dvielsen i Hammarby. Roman. Ovs. 1-3. Deel. København 1841<br />
(1842).<br />
- - - -. En Nat ved Bullar-Søen. Roman. Ovs. af L. Moltke. 1-3. Deel. København 1847<br />
(1850).<br />
- - - -. Rosen paa Tidseløen. Fortæll<strong>in</strong>g. Ovs. 1-3. Deel. København 1843 (1. & 2.<br />
Deel, 1842; 3. Deel, 1843).<br />
- - - -. Skydsdrengen. Fortæll<strong>in</strong>g. Ovs. 1-2. Deel. København 1842 (1850).<br />
Chamier, Fred. Ben Brace, den Sidstlevende af Nelsons Besætn<strong>in</strong>g paa Agamemnon.<br />
Ovs. af Chr. Carl Paludan. 1-2. Deel. København 1837 (1837).<br />
- - - -. Sørøverskibet. Roman. Ovs. 1-3. Deel. København 1843 (1. & 3. Deel, 1843).<br />
416
Conscience, Henrik. Mirakelaaret 1566, et. hist. Maleri. Ovs. 1-2. Bd. København 1846<br />
(1846)<br />
Cooper, James Fenimore. Havfruen eller Søskummeren. En Fortæll<strong>in</strong>g. Ovs. af Fr.<br />
Schaldemose. 1-3. Bd. København 1831 (1837).<br />
- - - -. Samlede Skrifter. Ovs. fra Orig<strong>in</strong>alsproget. 1-194. H. Forsk. Udg. København<br />
1831-1858.<br />
1-7. Hefte. Lodsen. Et Søemands-Eventyr. Ovs. af A. E. Boye. 1831 (1835).<br />
8-14. H. Conanchet eller Grændsebeboerne. Ovs. af F. Schaldemose. 1831-32<br />
(1835).<br />
15-20. H. Banditten. En ve<strong>net</strong>iansk Historie. Ovs. ved Schaldemose. 1832<br />
(1835).<br />
21-27. H. Spionen, en Fortæll<strong>in</strong>g fra den nordamerikanske krig. Ovs. ved P.<br />
Saxild. 1833 (1835).<br />
28-33. H. Hedn<strong>in</strong>gemuren eller Benedict<strong>in</strong>erne. Ovs. ved Schaldemose. 1833<br />
(1835).<br />
34-40. H. Den Sidste Mohicaner. En Fortæll<strong>in</strong>g fra Aaret 1757. Ovs. ved J.<br />
Riise. 1833 (1835).<br />
41-46. H. Skarpretteren eller V<strong>in</strong>høstfesten. En Fortæll<strong>in</strong>g. Ovs. af<br />
Schaldemose. 1834 (1835).<br />
47-52. H. Colonisterne, eller Susquehannas Kilder. En Fortæll<strong>in</strong>g. Ovs. af A. C.<br />
Clausen. 1834 (1835).<br />
53-59. H. Steppen. En Roman. Ovs. af J. Riise. 1834-35 (1835).<br />
60-66. H. Lionel L<strong>in</strong>coln, eller Bostons Beleir<strong>in</strong>g. Ovs. ved Schaldemose. 1835<br />
(1835).<br />
67-73. H. Havfruen eller Sø-Skummeren. Ovs. ved A. L. Moltke. Med en<br />
Forer<strong>in</strong>dr<strong>in</strong>g af A. E. Boye. 1836 (1836).<br />
74-79. H. Vandr<strong>in</strong>ger i Schweitz. Efter det Engelsk af J. C. Magnus. 1837-38<br />
(1838, 1839).<br />
417
80-86. H. Den røde Røver. En Fortæll<strong>in</strong>g. Ovs. af Engelsk ved A. R. Udg. af A.<br />
E. Boye. 1839-40 (1839, 1840).<br />
87-94. H. Heimreisen eller Jagten. En Sø-Roman. Ovs. fra Engelsk. Udg. af J.<br />
D. Magnus. 1841 (1841).<br />
95-102. H. Eva Eff<strong>in</strong>gham eller Hjemmet. En Roman. Ovs. ved U. A. Rung.<br />
1841-42 (1842).<br />
103-109. H. Forsigtighed. En Fortæll<strong>in</strong>g. Ovs. ved Otto Ferd. Bræmer. 1842<br />
(1842).<br />
Corsaren, satirisk Ugebl. m. Træsnit. Begyndt af Goldschmidt, sluttet af Fl<strong>in</strong>ch. N. 1-<br />
756. (N. 1-653. 4. N. 654-745 el. Ny Suite, N. 1-92 Fol., N. 746-756 el. Extra-N 1-11.<br />
4.) (Qvrtl.) ("Udvalg af Corsarens 2 förste Aarganger" 1845).<br />
Crusenstolpe, M.J. Carl Johan og Svenskerne. Romantisk Skildr<strong>in</strong>g af Forf. til<br />
Morianen. Overs. fra Svensk af J. H. Halvorsen. 1-4. B<strong>in</strong>d. København 1846-47 (1846).<br />
- - - -. Morianen eller det Holsten-Gottorpske Huus I Sverige. Tidsbilleder. Ovs. af J. C.<br />
Jul<strong>in</strong>-Fabricius. 1-12. Deel. 1841-45. (1842, 1-3. Deel; 1845, 4-12. Deel).<br />
Dash, Ctsse. Marquise de Parabiere. Ovs. af W., udg. af Philipsen. 1-2. Deel.<br />
København 1847 (1848).<br />
Dickens, Charles. Barnaby Rudge. Fortæll<strong>in</strong>g. Ovs. 1-4. Deel. København 1845<br />
(1845).<br />
- - - -. Pickwick-Klubbens efterladte Papirer, <strong>in</strong>deh. en tro Beretn<strong>in</strong>g om de<br />
corresponderende Medlemmers Iagttagelser, Farer, Reiser, Eventyr og <strong>in</strong>teressante Fata.<br />
Ovs. ved Ludv. Jordan. 1-2. Deel. København 1840 (1841).<br />
- - - -. Hverdagslivet, en Skildr<strong>in</strong>g. Ovs. København 1844 (1844).<br />
- - - -. Nelly og Hendes Bedstefader. Ovs. af C. P. Høyer. 1-3. Deel. København 1841-<br />
43 (1843, 1844, 1845).<br />
- - - -. Nicolaus Nicklebys Lev<strong>net</strong> og Eventyr. Ovs. af Jacob Behrend. Deel 1-8.<br />
København 1839-41 (1843).<br />
- - - -. Oliver Twist, eller en Vaisenhuusdrengs Lev<strong>net</strong>sløb. Efter det Engelske ovs. af<br />
Ludvig Jordan. Deel 1-3. 1840 (1843).<br />
Dumas, Alexander. Capita<strong>in</strong> Paul Jones. En historisk Roman. Ovs. af L. Jensen.<br />
København 1840 (1843).<br />
418
- - - -. Chevalier d'Harmental. Ovs. 1-2. Deel. København 1847 (1848).<br />
- - - -. Diana de Monsoreau. Ovs. af H. Nødskou. 1-5. Deel. København 1846 (1846).<br />
- - - -. Greven af Monte-Christo. Ovs. af F. Schaldemose. 1-8. Deel. København 1845-<br />
1846 (1850).<br />
- - - -. En Læges M<strong>in</strong>deskrifter. Ovs. af Schaldemose. 1- 11. Deel. København 1846-<br />
1848 (1850).<br />
- - - -. Qv<strong>in</strong>dekrigen. Ovs. af D. A. Cohen. 1-3. Deel. København 1847 (1849).<br />
- - - -. Ridder de Maison-Rouge. Ovs. af Schaldemose. 1-3. Deel. København 1847<br />
(1847).<br />
- - - -. Sylvandiere. Ovs. 1-2. Deel. København 1847 (1847).<br />
Duplessy, Baronesse. Alexandr<strong>in</strong>e af Chateaufort eller den uheldsvangre Formæl<strong>in</strong>g,<br />
forf.i den franske Republiks syvende Aar. Overs. fra den Franske af C. E. V. L<strong>in</strong>d.<br />
København 1834 (1835).<br />
Dur<strong>in</strong>gsfeld, Ida v. Grev Chala. Ovs. København 1848 (1848).<br />
Edgeworth, Maria. Helena, en Fortæll<strong>in</strong>g. Paa Dansk udg. af Otto Ferd. Bræmer.<br />
København 1839 (1845).<br />
Etlar, Carit (J. C. C. Brosböll). Ayella, en Fortæll<strong>in</strong>g. København 1847 (1847).<br />
Feval, P. (Pseud., F. Trollopp). Et Hof. Ovs. 1-2. Deel. København 1847 (1847).<br />
- - - -. Londons Mysterier. Roman. Ovs. af A. C. 1-4. Deel. København 1844-45<br />
(1844, 1845).<br />
- - - -. Molly-Maguirerne. Ovs. af F. Schaldemose. 1-4. Deel. København 1846<br />
(1850).<br />
- - - -. Paris. Fortæll<strong>in</strong>g. Ovs. 1-4. Deel. København 1846-1847 (1847).<br />
Flygare, see Carlén.<br />
Frederici, P. (Pseud.). Fortæll<strong>in</strong>ger, udg. efter Forf. Handskr. 1-2. Deel. København<br />
1847 (1847).<br />
Gosserman. Resa mellem södra og nordra Amerika. (1843). (Incomplete citation.)<br />
419
Gyllembourg-Ehrensvärd, Thomas<strong>in</strong>e Christ<strong>in</strong>e. Noveller, gamle og nye, af Forf. til "En<br />
Hverdags-Historie". Udg. af Joh. Ludv. Heiberg. 1-3 B<strong>in</strong>d. København 1833-34<br />
(Date?).<br />
- - - -. Een i Alle. Novelle, af Forf. til "En Hverdags-historie." Udg. af Joh. Ludv.<br />
Heiberg. København 1840 (1840).<br />
- - - -. Korsveien, Novelle, af. Forf. til. "En Hverdags-historie." Udg. af Joh. Ludv.<br />
Heiberg. København 1844 (1844).<br />
- - - -. Nær og fjern. Novelle, af Forf. til "En Hverdags-historie." Udg. af Joh. Ludv.<br />
Heiberg. København 1841 (1841).<br />
Hahn-Hahn, Ida. Tvende Qv<strong>in</strong>der. Ovs. af Jul. Chr. Gerson. 1-2 B<strong>in</strong>d. København 1846<br />
(1846).<br />
Hauch, Johs. Carsten. Guldmageren, en romantisk Begivenhed fra det forsvundne<br />
Aarhundrede. København 1836 (1841).<br />
Henn<strong>in</strong>gson, Charles Frederick. Den hvide Slave, eller den russiske Bondepige. Efter<br />
den engelske Orig<strong>in</strong>al af Forfatteren til "Revelations of Russia" [1844] ved L. Moltke.<br />
Deel 1-2. København 1846 (1846).<br />
Hertz, Henrik. Stemn<strong>in</strong>ger og Tilstande. Scener og Skildr<strong>in</strong>ger af et Ophold i<br />
Kjøbenhavn. København 1839 (1845).<br />
Historisk-Geographisk Archiv. Samlet og udgivet af J. Chr. Riise. 1-75. Bd. København<br />
1839-64. (Fairly complete set, 1839-1850).<br />
Hjerteløse Skjønne, Den. En Novelle. [Bearbeidet efter Honorè de Balzac.] Udg. og<br />
forlagt af A. F. Bergsøe. København 1834 (1835).<br />
Holberg, Ludvig. Ludvig Holbergs Udvalgte Skrifter, udgivne ved K. L. Rahbek. 1-20.<br />
B<strong>in</strong>d. København 1804-1808 (1838).<br />
Howard, Edw. Den gamle Commandeur. Roman. Ovs. af Magn. Strøm. 1-2. Deel.<br />
København 1838 (1839).<br />
- - - -. Ardent Troughton. Roman. Ovs. af F. Bræmer. 1-2. Deel. København 1842<br />
(1842).<br />
Hugo, Victor. Keiser Napoleons Historie. Christiania 1841 (1842).<br />
420
Høst, Alv. Th. De 100 Dage eller Napoleons Feldtog i 1815. Efter Verker af<br />
Hertug<strong>in</strong>den af Abrantes, General Berton, Fleury de Chaboulon etc. København 1840<br />
(1843).<br />
Informatoren og Aristocraten; en Hverdagshistorie, af "M. B." Ovs. fra Svensk. 1-2.<br />
Deel. København 1846-1847 (1847).<br />
Ingemann, Bernh. S. Erich Menveds Barndom. Historisk roman. 2. udg. 1-3. Deel.<br />
København 1828 (1837).<br />
- - - -. Kong Erik og de Fredløse. En Historisk Roman. 1-2. Deel. København 1833<br />
(1838).<br />
- - - -. Pr<strong>in</strong>ds Otto af Danmark og hans Samtid. En Historisk Roman. 1-2. Deel.<br />
København 1835 (1838).<br />
- - - -. Valdemar Seier. Historisk Roman. 2. udg. 1-3. Deel. København 1829 (1837).<br />
Irv<strong>in</strong>g, Wash<strong>in</strong>gton. En Reisendes Fortæll<strong>in</strong>ger. Ovs. af Ph. Wallich. 2 Bd. København<br />
1827, 1828 (1839).<br />
- - - -. Alhambra. {Incomplete citation.}<br />
James, George Ra<strong>in</strong>sford. Historisk-romantiske Fortæll<strong>in</strong>ger. Efter den engelske<br />
Orig<strong>in</strong>al. 1-63. Bd. København 1837-53.<br />
3-4. Bd. Herren af den gamle Skole. Fortæll<strong>in</strong>g. Ovs. ved Joh. L. Gottlieb. 1-2.<br />
Deel. 1840 (1840).<br />
5-6, Bd. Zigeuneren. Ovs. ved U. A. Rung. 1-2 Deel. 1840 (1840).<br />
7-8. Bd. Hugenotten, en Fortæll<strong>in</strong>g om de franske Protestanter. Ovs. ved Fr.<br />
Schaldemose. 1-2. Deel. 1841 (1841).<br />
9-10. Bd. Richelieu, en Fortæll<strong>in</strong>g af Frankrigs Historie. Ovs. ved A. L. Moltke.<br />
1-2. Deel. 1841 (1841).<br />
11-12. Bd. Røveren. Fortæll<strong>in</strong>g. Ovs. af Andr. Chr. Clausen. 1-2. Deel. 1841<br />
(1841).<br />
13-15. Bd. Henrik af Guise, eller Stænderforsaml<strong>in</strong>gen I Blois. Fortæll<strong>in</strong>g. Ovs.<br />
ved Rung. 1-2. Deel. 1841 (1841).<br />
16-17. Bd. Attila. Fortæll<strong>in</strong>g. Ovs. af Schaldemose. 1-2. Deel. 1841 (1841).<br />
421
18-19. Bd. Lidenskabernes Bog, tilligemed andre Fortæll<strong>in</strong>ger af samme<br />
Forfatter. Ovs. af Schaldemose. 1-2. Deel. 1842 (1841?, 1842).<br />
20-22. Bd. Henry Masterton. Ovs. af Moltke. 1-3. Deel. 1842 (1842).<br />
23-25. Bd. Maria af Burgund eller Oprøret i Gent. Historisk-romantisk<br />
Fortæll<strong>in</strong>g. Ovs. af Clausen. 1-3. Deel. 1842, 1845 (1842, 1845).<br />
26. Bd. Gensdarmen eller Henri de Cerous. Ovs. ved Magn. Strøm. 1844 (1844).<br />
32-34. Bd. Arabella Stuart. En Fortæll<strong>in</strong>g. Ovs. af Schaldemose. 1-3. Deel.<br />
1845 (1845).<br />
38-39. Bd. Rosa d'Albret eller Urolige Tider. Ovs. af Carl J. Mantzius. 1-2.<br />
Deel. 1846 (1846).<br />
40-42. Bd. Arrah Neil eller Forrige Tider. Ovs. af Schaldemose. 1-3. Deel. 1846<br />
(1846).<br />
43-44. Bd. John Marston Hall's Lev<strong>net</strong> og Eventyr. Roman. Ovs. ved C.<br />
Mantzius. 1-2. Deel. 1846-1847 (1848).<br />
47-48. Bd. Rob<strong>in</strong> Hood eller de Fredløse i Sherwood. Ovs. af Fred. Jensen. 1-2.<br />
Deel. 1847 (1847).<br />
K. K-g. Gustaf den tredje og hans Hof. (1843) (Incomplete citation.)<br />
Knorr<strong>in</strong>g, S.M. Axel, Roman af Forf til Sødskendebørnene. Ovs. 2 Opl. 1-3. Deel.<br />
København 1844 (1845).<br />
- - - -. Forhaabn<strong>in</strong>ger. 1-4. Deel. København 1844 (1844, 1845).<br />
- - - -. Husmanden og hans omgivelser . . . . 1-2. Deel. København 1844 (1844).<br />
- - - -. Illusionerne. Ovs. af C. J. Jul<strong>in</strong>-Fabricius. København 1837 (1838).<br />
- - - -. Qv<strong>in</strong>derne. 2 B<strong>in</strong>d. København 1837 (1838).<br />
- - - -. Stands-Paralleler. Ovs. fra Svensk. Deel 1-3. København 1839 (1850).<br />
- - - -. Sødskende Børnene. Ovs. af C. Jul<strong>in</strong>-Fabricius. København 1837 (1838).<br />
- - - -. Vennerne. København 1837 (1838).<br />
422
Knubs, Thobias (Pseud.). Efterladte papirer, udg. af Kirst<strong>in</strong>e Svale. København 1847<br />
(1848).<br />
Kunstberiderne, en Novelle. Efter det Tydske. (Schubothe). København 1847 (1849).<br />
La<strong>in</strong>g, Samuel. Reise i Sverige i 1838 med Bemærkn<strong>in</strong>ger over den svenske Nations<br />
moralske, politiske og økonomiske Forfatn<strong>in</strong>g. Ovs. fra det Engelske. Christiania 1840<br />
(1840).<br />
Lever, Ch. Familien O'Donoghue, en Fortæll<strong>in</strong>g. Ovs. af L. Moltke. 1-2. Deel. 1846<br />
(1850).<br />
Lewald, Aug. Gorgona. Billeder fra Frankrigs Middelalder. Udg. paa Dansk af Joh. H.<br />
Halvorsen. 1-2. Deel. København u.A. [1840] (1842).<br />
Maanedsroser, et Maanedsskrivt. Udgivet af Thomas Overskou. København Jan. 1824-<br />
Marts 1827. -- (Uden Udgiver). April 1827-Juni 1831. (Appears to have been a fairly<br />
complete set.)<br />
Marryat, Capita<strong>in</strong> F. Samlede Skrivter. 1-44. Bd. København 1835-51.<br />
1-2. Bd. Peter Simple, en Fortæll<strong>in</strong>g. Ovs. af Ludvig J. Moltke. 1-2. Deel.<br />
1835-36 (1835).<br />
3-4. Bd. Jacob Ærlig. Ovs. af Ludvig Jordan Moltke. 1-2. Deel. 1836-37 (1836).<br />
5-6. Bd. Kongens Eie. En Fortæll<strong>in</strong>g. Ovs. af Moltke. 1-2. Deel. 1836-37<br />
(1837).<br />
7. Bd. Sørøveren og De tre Kuttere. Tvende Noveller. Ovs. af Magn. Strøm.<br />
1837 (1837).<br />
8-9. Bd. Paschaen eller Mange Eventry i eet. Ovs. af Strøm. 1-2. Deel. 1836-37<br />
(1837).<br />
10-11 Bd. Søeofficieren. Roman. Ovs. af Saphir og Andr. Carl Hanson. 1-2.<br />
Deel. 1837 (1837).<br />
12-13 Bd. Newton Forster eller Coffardie-Farten. Roman. Ovs. af Strøm. 1-2.<br />
Deel. 1837 (1838).<br />
14-15. Bd. Mr. Midshipmand Easy eller Ligheds-Retten praktisk prøvet ombord i<br />
en Orlogsmand. En Fortæll<strong>in</strong>g. Ovs. af Moltke. 1-2. Deel. 1837-1838 (1838,<br />
1839).<br />
423
14-15(!). Bd. Japhet, der søger efter s<strong>in</strong> Fader. En Fortæll<strong>in</strong>g. Ovs. af Moltke.<br />
1-2. Deel. 1838 (1838).<br />
18-19. Bd. Snarleyyaw eller den djævelske Hund. Historisk Roman. Ovs. af<br />
Herm. Ipsen. 1-2. Deel. 1838 (1838).<br />
20-21. Bd. Dødseileren eller den flyvende Hollænder. Ovs. ved Ipsen. 1-2. Deel.<br />
1840 (1840).<br />
22-25. Bd. Dagbog holden i America, ledsaget med Bemærkn<strong>in</strong>ger over Landets<br />
Institutioner. Ovs. ved Moltke. 1-4. Deel. 1840-41 (1840)<br />
26-27. Bd. Den Fattige Jack. En Fortæll<strong>in</strong>g. Ovs. ved Moltke. 1-2. Deel. 1841<br />
(1841).<br />
28-29. Bd. Olla Podrida. Ovs. af Fr. Schaldemose. 1-2. Deel. 1841 (1841).<br />
30. Bd. Masterman Fl<strong>in</strong>k eller Skibbruddet i det stille Hav, en Bog for<br />
Ungdommen. Ovs. af Schaldemose. 1841 (1841).<br />
31-32. Bd. Joseph Rushbrook eller Krybskytten. En Fortæll<strong>in</strong>g. Ovs. ved<br />
Moltke. 1-2. Deel. 1842 (1842).<br />
33-34. Bd. Percival Keene. En Fortæll<strong>in</strong>g. Ovs. ved Moltke. 1-2. Deel. 1843<br />
(1843).<br />
35-36. Bd. Monsieur Violets Reiser og Æventyr i California, Sonora og det<br />
vestlige Texas. Ovs. af Schaldemose. 1-2. Deel. 1844 (1843, 1845).<br />
39-40. Bd. Nybyggerne i Canada. Skrevet for Ungdommen. Ovs. af Fred. Jensen.<br />
1-2. Deel. 1846 (1850).<br />
41-42. Bd. Kapergasten for et hundrede Aar siden. Ovs. af Jensen. 1-2. Deel.<br />
1846 (1848).<br />
42(!). Bd. Valerie, en Autobiographi. Ovs. af G. C. Jacobsen. 1849 (1850).<br />
Mortonval [Alex Fursy Guesdon]. Don Mart<strong>in</strong> Gil. Historie fra Peter den Grusommes<br />
Tid. Ovs af Frid. E.K. Dorschæus. 1-2. Deel. København 1838 (1839).<br />
Mügge, Th. Kamp mellem Hoved og Hjerte. Ovs. København 1844 (1845).<br />
Nyt Reportorium for Morskabs-Læsn<strong>in</strong>g. Udg. af A.P. Liunge. 1-6. B<strong>in</strong>d. København<br />
1830-32. (B<strong>in</strong>d 1. 1835).<br />
424
Oehlenschlæger, Adam. Øen i Sydhavet. Roman. 1-4. Deel. København 1824-25<br />
(1845).<br />
(Palzow, Auguste v.) Jacob van der Nees. Ovs. af P. Kruse. 1-3. Deel. København<br />
1845 (1846).<br />
- - - -. St. Roche. Ovs. af C. Mantzius. 1-3. Deel. København 1843 (1844).<br />
- - - -. Thomas Thyrnau. Ovs. af Kruse. 1-3. Deel. København 1844 (1844).<br />
P.P. (Pseud., see Th. V. K. Rumohr).<br />
Prov<strong>in</strong>dsernes Mysterier. Af H. de Balzac, Ch. Ballard og F. Soulié; overs. af<br />
forskjellige. 1-6 Deel. (I-II. Fætteren i Kjøbstaden; af Ballard. 1-2. Deel. III-IV. Otte<br />
Dage paa Slottet; af Soulié. 1-3 Deel. VI. Roslaie; af Balzac.) København 1844-45<br />
(1844, 1845).<br />
Rehfues, Ph. Jac. Scipio Cicala. Ovs. af A. C. Clausen. 1-3. B<strong>in</strong>d. København 1834-35<br />
(1835).<br />
Rellstab, Ludwig. 1812. En Historisk Roman. Ovs. af L. J. Flamand. 1-4. Deel.<br />
København 1835-36 (1838).<br />
(John) Ross's anden Opdagelsesreise til de nordlige Polaregne og Ophold i Boothia felix<br />
A. 1829-33. Oversat fra Engelsk af Knud Klær. Med Forfatterens Portr. og Biogr. samt 1<br />
Kort og 15 Staalstik. København 1837 (1835).<br />
Rudbeck, T. G. Birger Jarl og hans Samtid. Hist. Fortæll<strong>in</strong>g. Ovs. København 1845<br />
(1846).<br />
Rumohr, Th. V. K. (Pseud., P. P.). Grevens Feide, hist. maleri fra det 16 aarh. 1-4. Deel.<br />
København 1850 (1850).<br />
- - - -. Niels Juell og hans Samtid. Et historisk maleri fra midten af det 17de<br />
Aarhundrede. 1-2. Deel. København 1847 (Date?).<br />
- - - -. Peder Tordenskjold. (1842). (Incomplete citation.)<br />
Sa<strong>in</strong>t-Auba<strong>in</strong>, Andr. Nic. de [Pseud., Carl Bernhard]. Fortæll<strong>in</strong>ger. 1. Bd. København<br />
1839 (1839). {May conta<strong>in</strong>: Et Løvte; En Familie paa Landet.}<br />
- - - -. Gamle M<strong>in</strong>der. Fortæll<strong>in</strong>g. 1-2. Deel. København 1841 (1841).<br />
- - - -. Kröniker fra Christian den 2des Tid. 1-3. Deel. København 1847 (1847). (Vols.<br />
10-12 of Noveller og Fortæll<strong>in</strong>ger. 1841-50.)<br />
425
- - - -. Noveller. 1-4. Bd. København 1836-1838 (1839). {May conta<strong>in</strong>: Dagvognen,<br />
Declarationen, Brødrene, Commissionaire, Børneballet, Tante Francisca, Skødesynderne,<br />
Lykkens Yndl<strong>in</strong>g.}<br />
Sa<strong>in</strong>t<strong>in</strong>e, X. B. Ludvig XIIIs Elskede. Ovs. 1-2. Deel. København<br />
1847 (1849).<br />
Saussure, Mme. Qv<strong>in</strong>dens Liv. (1845). {perhaps an earlier edition of Qv<strong>in</strong>den fra<br />
hendes Confirmation til hendes Død. Ovs. af Bloch-Suhr. 2 udg. København 1857.}<br />
Schumacher, G. Gorm den Gamle. Roman. Ovs. med Anm. af H. Behrmann. 1-2. Deel.<br />
København 1845 (1850).<br />
Schwach, C. R. Ny og sandfærdig Vise om Peder Paars i Aarhuus af Cornelius Svendsen,<br />
Bager paa Levanger. Synges som Hans Michelsens bekjendte Vise. Christiania 1845<br />
(1845).<br />
Scott, Walter. Samlede Skrifter. Ovs. fra Orig<strong>in</strong>alsproget. 1-39. Bd. København 1832-<br />
58.<br />
1-2. Bd. Waverley eller det er treds<strong>in</strong>dstyve Aar siden. Ovs. af Fr. Schaldemose.<br />
1-2. Deel. 1832 (1836).<br />
3-4. Bd. Grev Robert af Paris. Historisk-romantisk Fortæll<strong>in</strong>g. Ovs. af<br />
Schaldemose. 1-2. Deel. 1833 (1836).<br />
5. Bd. Det farlige Slot. Romantisk Fortæll<strong>in</strong>g. Ovs. af Schaldemose. 1833<br />
(1836).<br />
6-7. Bd. Ivanhoe. En romantisk Fortæll<strong>in</strong>g. Ovs. af C. J. Boye. 1-2. Deel. 1833<br />
(1836).<br />
13-14. Bd. Bruden fra Lammermoor. En Fortæll<strong>in</strong>g. Ovs. af Boye. 1-2. Deel.<br />
1835 (1838).<br />
15. Bd. En Fortæll<strong>in</strong>g om Montrose. Ovs. af Boye. 1-2. Deel. 1836 (1838).<br />
16-17. Bd. Kenilworth. En Historisk Roman. Ovs. af Schaldemose. 1-4. Deel.<br />
1836 (1838).<br />
18-19. Bd. Guy Manner<strong>in</strong>g eller Stjær<strong>net</strong>yderen. Ovs. af Schaldemose. 1-2.<br />
Deel. 1837 (1838).<br />
426
20-21. Bd. Qvent<strong>in</strong> Durward, en historisk Fortæll<strong>in</strong>g. Ovs. af Schaldemose. 1-2.<br />
Deel. 1837-38 (1839).<br />
22-23. B<strong>in</strong>d. Søerøveren. Romantisk Fortæll<strong>in</strong>g. Ovs. af Schaldemose. 1-2.<br />
Deel. 1839 (1839, 1840).<br />
26-27. Bd. Allan Cameron, en Roman. Ovs. af Schaldemose. 1-2. Deel. 1841<br />
(1841).<br />
28-29. Bd. Rob<strong>in</strong> den Røde, en Fortæll<strong>in</strong>g. Ovs. af Schaldemose. 1-2. Deel.<br />
1842-43 (1842).<br />
- - - -. Anna af Geiersteen eller Taagens Datter. Historisk Roman. (Ovs. af Fr.<br />
Schaldemose?). 1-3. Deel. København 1830 (1840).<br />
- - - -. Klosteret. En romantisk Skildr<strong>in</strong>g. Ovs. af Andr. C. Rasmussen. 1-3. Deel.<br />
København 1823-24 (1840).<br />
- - - -. Korsridderen. 1-2. Deel. (1841). (Incomplete citation.)<br />
- - - -. Lord Nigels Hændelser. Ovs. af Fridr. Schneider. 1-3. Deel. København 1823<br />
(1840).<br />
- - - -. Lægens Datter (De Forlovede. Fortæll<strong>in</strong>g) Ovs. af Rasmussen. 1-2. Deel.<br />
København 1827 (1840)).<br />
- - - -. Midlothians Hjerte eller Fengslet i Ed<strong>in</strong>burgh. En Fortæll<strong>in</strong>g. Ovs. af Boye. 1-4.<br />
Deel. København 1822 (1840).<br />
- - - -. Oldgranskeren. Fortæll<strong>in</strong>g. Ovs. ved C. W. Hvid<strong>in</strong>g. 1-3. Deel. København<br />
1824 (1840).<br />
- - - -. Redgauntlet eller Den blodige Handske. En Fortæll<strong>in</strong>g fra det 18. Aarhundrede.<br />
Ovs. frit og med Forkortn<strong>in</strong>ger af Schneider. 1-3. Deel. København 1824-25 (1840).<br />
- - - -. Ridder Peveril paa Høien. En Fortæll<strong>in</strong>g. Ovs. ved L. J. Flamand. 1-2. Deel.<br />
København 1825 (1840).<br />
- - - -. St. Ronan's Brønd. En Fortæll<strong>in</strong>g. Ovs. ved Hans. G. N. Nyegaard. 1. Deel.<br />
København 1826. -- Ovs. ved P.S. Petersen [Pet. Salom. Mart<strong>in</strong>]. 2-3. Deel. (1840).<br />
- - - -. Talismanen. En romantisk Skildr<strong>in</strong>g fra Korstogenes Tider. Ovs. af Rasmussen.<br />
1-2. Deel. København 1826-27 (1840).<br />
427
- - - -. Woodstock eller Cavalieren. En romantisk Skildr<strong>in</strong>g fra Cromwells Tider. Ovs.<br />
af Rasmussen. 1-3. Deel. København 1827 (1840).<br />
- - - -. Øernes Behersker. En romantisk Skildr<strong>in</strong>g. Ovs. ved C. N. Block. København<br />
1829 (1840).<br />
Smith, Horace. Kjærlighed, en ve<strong>net</strong>iansk Historie. Ovs. af M. Strøm. København 1846<br />
(1846).<br />
Smith, Horaz. Ruben Apsley eller Hertugen af Monmouths Landgang. Udg. paa Dansk<br />
ved Chr. J. Klæstrup. 1-3. Deel. København 1834 (1838).<br />
Soulié, Fred. Djævelens Memoirer. Ovs. af C. M. Petersen. 1-2. Deel. København 1846<br />
(1847).<br />
- - - -. Frierne. Ovs. af T.P., udg. af Chr. W<strong>in</strong>ther. København 1847 (1847).<br />
- - - -. Grev<strong>in</strong>den af Monrion. Ovs. 1-2. Deel. København 1847 (1847).<br />
- - - -. Hertugen af Guise. Fortæll<strong>in</strong>g. Ovs. 1-2. Deel. København 1846 (1847).<br />
Souvestre, Emile. Fortæll<strong>in</strong>ger. Ovs. af Fred. L. Liebenberg. København 1839 (1839).<br />
Sp<strong>in</strong>dler, Karl. Jöden. Tydsk characteermaleri fra det femtende Aarhundrees Første<br />
Halvdeel. Bd. 1-6. København 1830 (1835).<br />
Sue, E. Arthur. Ovs. 1-3. Deel. 1847 (1847).<br />
- - - -. Den evige Jøde. Roman. Ovs. af P. V. Blicher. 1-10. Deel. København 1844-<br />
1845 (1845)<br />
- - - -. Malthesercomthuren. Roman. Ovs. 1-2. Deel. København 1846 (1846).<br />
- - - -. Mathilde. En ung Kones Memoirer. Ovs. af L. Jordan. 1-6. Deel. København<br />
1844 (1845).<br />
- - - -. Parises Mysterier. Ovs. tildeels af F. Schaldemose. 1-8. Deel. København 1843<br />
(1-5. Deel, 1843; 7-8. Deel, 1845).<br />
- - - -. Søtaar<strong>net</strong>. Roman. Ovs. 1-2. Deel. København 1847 (1847).<br />
Thiers, L.A. Den franske Revolutions Historie. Overs. efter den 15 Orig<strong>in</strong>aludgaven ved<br />
F. C. Rosen. 1-7 Bd. Nykøb<strong>in</strong>g 1842-45 (1846).<br />
Theodora (Pseud.) Fanny, en Fortæll<strong>in</strong>g. København 1842 (1842).<br />
428
Tidsskrift for Reisebeskrivelser. Udg. af Fr. Schaldemose. 1-10. Deel. København<br />
1838-42.<br />
I-II. Semilasso's (Fyrst Pückler Muskaus) Reise i Afrika. Ovs. af Schaldemose.<br />
1-2. Deel. 1838 (1838).<br />
III-IV. Lamart<strong>in</strong>es Reise i Østerland. Ovs. af Schaldemose. 1-2 Deel. 1838<br />
(1839, 1840).<br />
V. Oberst Sir Alex. Burnes's Reise paa Indusfloden I Aaret 1831 tilligemed<br />
Beretn<strong>in</strong>ger om Pandshab og Afghanistan. Ovs. med oplysende Anmærkn<strong>in</strong>ger og<br />
Fortale af Thorl. Gudm. Repp. 1839 (1839).<br />
VI. Otto v. Kotzebues nye Reise om Jorden. Ovs. af Schaldemose. 1840 (1840).<br />
VII-VIII. Ed. Rüppel, Reise i Abyss<strong>in</strong>ien. Ovs. af Schaldemose. I-II. Bd. 1840-<br />
41 (1841).<br />
IX-X. Ed. Pöppigs Reise i Chili og Peru og paa Amazonfloden i Aarene 1827-32.<br />
Ovs. af Schaldemose. 1-2. Deel. 1842 (?). (fortsat med: Nyt Tidsskrift for<br />
Reisebeskrivelser. I. 1844.)<br />
Trane, Torkel (F.J. Hansen). Humoristiske Noveller. B<strong>in</strong>d II: Let S<strong>in</strong>d og Lets<strong>in</strong>d.<br />
København 1844 (1845).<br />
Trollope, Mrs. F. Arv<strong>in</strong>gen til Thorpe Combe. Fortæll<strong>in</strong>g. Ovs. af L. Jordan. 1-3. Deel.<br />
København 1843 (1845).<br />
- - - -. Den gifte Enke. Ovs. af F. Bræmer. 1-2. Deel. København 1844 (1845).<br />
- - - -. Enken Barnaby. Fortæll<strong>in</strong>g. Ovs. af F. Bræmer. 1-2. Deel. København 1844<br />
(1845).<br />
Trollopp, F., see Feval.<br />
Udvalg af Crim<strong>in</strong>elsager og af mærkelige Forhandl<strong>in</strong>ger derom, for Lovkyndige,<br />
Psychologer, Retslæger og for et dan<strong>net</strong> Publicum overhoved samlet efter Bishchoff,<br />
Feuerbach, Hitzigs Annaler og fra andre Kilder. Udg. af Frands M. Lange. (1-3 H.).<br />
København 1831-1835. (1838).<br />
Wilson, C. Tom Cr<strong>in</strong>gles Skibsjournal. En Fortæll<strong>in</strong>g. Ovs af L. Moltke. 1-2. Deel.<br />
København 1838 (1839).<br />
W<strong>in</strong>ther, Chr., udg. I de Halvtreds. (1845). (Incomplete citation.)<br />
429
III. <strong>Ibsen</strong>’s Practice Essays <strong>in</strong> Norwegian Composition.<br />
The follow<strong>in</strong>g translations are based on the texts <strong>in</strong> Henrik <strong>Ibsen</strong>s Samlede Verker. Vol.<br />
15: Artikler og Taler. Ved Francis Bull, Halvdan Koht, Didrik Arup Seip. Oslo:<br />
Gyldendal, 1930, 21-27.<br />
Pp. 21 ff.:<br />
1. On the Importance of Self-Knowledge.<br />
Among all the branches of thought, the <strong>in</strong>vestigation of the nature of our own<br />
be<strong>in</strong>g is perhaps the one <strong>in</strong> which the greatest attentiveness and impartiality are necessary,<br />
<strong>in</strong> order to arrive at that which is the aim of every <strong>in</strong>vestigation, namely truth. Self-<br />
knowledge presupposes the most accurate attention to ourselves, our <strong>in</strong>cl<strong>in</strong>ations, and our<br />
actions, and only as the results such observation is it possible for the person to atta<strong>in</strong> to a<br />
clear and correct realization of the nature of his own character.<br />
How important this knowledge is for us is already evident from its name, self-<br />
knowledge, knowledge about oneself, and it must be of the greatest importance to the<br />
person to acquire this, s<strong>in</strong>ce every one of our undertak<strong>in</strong>gs requires its assistance all-too-<br />
much, until it can be dispensed with without harm.<br />
Accord<strong>in</strong>g to the different purposes to which the person makes use of his self-<br />
knowlege, its importance can be said to show itself ma<strong>in</strong>ly <strong>in</strong> two directions, namely:<br />
other people.<br />
1. with respect to our soul's further education and development, and next<br />
2. with regard to our material well-be<strong>in</strong>g, our undertak<strong>in</strong>gs and our relationship to<br />
As far as the first po<strong>in</strong>t is concerned, then, it is obvious that the person necessarily<br />
must possess an adequate knowledge of himself, if favorable progress <strong>in</strong> the suggested<br />
430
direction is to be expected. Indeed, if we assume that the th<strong>in</strong>k<strong>in</strong>g person's goal <strong>in</strong><br />
<strong>in</strong>tellectual respects is cont<strong>in</strong>ually to develop his spiritual abilities, to clarify his<br />
conceptions and on the whole as far as possible to lay aside the errors which <strong>in</strong>cl<strong>in</strong>ation<br />
or outer causes could have produced, then from this as well is evident the predom<strong>in</strong>ant<br />
<strong>in</strong>fluence self-knowledge exerts on the person's endeavors <strong>in</strong> this respect. One must<br />
know oneself, <strong>in</strong> order to know <strong>in</strong> what position he f<strong>in</strong>ds himself and <strong>in</strong> which directions<br />
improvements are necessary. The person must be conscious of his faults as well as his<br />
good qualities, <strong>in</strong> order to be able to lay aside the former and further develop the latter; he<br />
must know his passions, <strong>in</strong> order to be able to restra<strong>in</strong> them when they threaten to erupt,<br />
and thereby gradually to weaken the power they have ga<strong>in</strong>ed. Yet not <strong>in</strong> this alone, but<br />
also as an aid to judgment of the character of others and to human knowledge <strong>in</strong> general<br />
is it necessary to have correctly understood the nature of one's own character and mode of<br />
th<strong>in</strong>k<strong>in</strong>g, s<strong>in</strong>ce only by conclusions drawn from this is it possible for the person to atta<strong>in</strong> a<br />
somewhat certa<strong>in</strong> result <strong>in</strong> the mentioned respects.<br />
From what is here briefly advanced, it is obvious that self-knowledge is required<br />
as a basis for the person's spiritual development and <strong>in</strong>tellectual progress on the whole;<br />
but certa<strong>in</strong>ly there are fewer than one would desire who make use <strong>in</strong> this direction of the<br />
knowledge of themselves which they must have acquired. More generally, however, the<br />
person makes use of his self-knowledge <strong>in</strong> practical life as a necessary aid to advance his<br />
material <strong>in</strong>terests, and the different respects <strong>in</strong> which the importance of this is most<br />
sharply evident, will be more closely expla<strong>in</strong>ed here.<br />
It must be assumed that every th<strong>in</strong>k<strong>in</strong>g person, before he makes his conclusions,<br />
considers the obstacles which could oppose themselves, as well as the risks with which<br />
431
the execution can be associated, and it must therefore be important to him to know<br />
himself, <strong>in</strong> order to know whether his strength is capable of clear<strong>in</strong>g away the former or<br />
his courage permits him to approach the latter; and knowledge of himself must therefore<br />
always be of predom<strong>in</strong>ant <strong>in</strong>fluence on the person's mode of action, s<strong>in</strong>ce only thereby is<br />
one put <strong>in</strong> a position more-or-less certa<strong>in</strong>ly to be able to calculate the outcome of his<br />
projects.<br />
It can therefore certa<strong>in</strong>ly also be ma<strong>in</strong>ta<strong>in</strong>ed that, provided that the person himself<br />
is actually capable of someth<strong>in</strong>g with respect to his dest<strong>in</strong>y, then the chances of this<br />
would be better if he possessed self-knowledge enough always to adjust his actions<br />
accord<strong>in</strong>g to the abilities he had at his disposal, and always to know his <strong>in</strong>cl<strong>in</strong>ations<br />
enough not to let them get the upper hand.<br />
Accord<strong>in</strong>gly, <strong>in</strong> every direction of the person's endeavor self-knowledge is<br />
challenged, <strong>in</strong> order to be able to exert an <strong>in</strong>fluence for the benefit of himself and others;<br />
it is therefore of the highest necessity to acquire this knowledge, and if, then, as he learns<br />
to know his less good sides, the person is placed more than once <strong>in</strong> the necessity of<br />
hav<strong>in</strong>g to humble himself before himself, even so this humiliation can still not weaken<br />
the person's self-respect <strong>in</strong> any way, s<strong>in</strong>ce it demonstrates all the more a strong will and<br />
an honest striv<strong>in</strong>g for that which is the person's goal <strong>in</strong> life: the development of his<br />
spiritual abilities and the concern for his temporal welfare.<br />
Grimstad, the 3rd of February 1848.<br />
2. Labor is its own reward.<br />
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By labor is understood every endeavor to obta<strong>in</strong> an <strong>in</strong>tented, useful benefit from<br />
an appropriate activity. Therefore a broader mean<strong>in</strong>g lies <strong>in</strong> this word than that which<br />
one ord<strong>in</strong>arily understands by it, namely, a strenuous application of physical energies;<br />
accord<strong>in</strong>gly, <strong>in</strong> the suggested sense spiritual activity is called labor, and it is about this, as<br />
well as about every other useful activity, that the sentence can be employed: Labor is its<br />
own reward.<br />
Talents for activity are implanted <strong>in</strong> the person's nature, and the possession of<br />
these is naturally a good; but this good by no means lies <strong>in</strong> their dead presence, on the<br />
contrary, it is called forth only <strong>in</strong>sofar as they are used for that purpose for which they are<br />
given, namely for activity. Accord<strong>in</strong>gly, work is the only means whereby, so to speak, we<br />
actually come <strong>in</strong>to possession of our talents, considered as a good; s<strong>in</strong>ce an ability which<br />
is not used is a noth<strong>in</strong>gness, and an ability used for a harmful or <strong>in</strong>correct purpose is even<br />
<strong>in</strong> its feel<strong>in</strong>gs an evil; but every activity whereby a useful result is <strong>in</strong>tended is work;<br />
consequently work is not only a means, but even the only means whereby our talents for<br />
activity become a good for us.<br />
Whether the person is brought to activity by the <strong>in</strong>ner impulse to it, which to a<br />
higher or lower degree is <strong>in</strong>nate <strong>in</strong> everyone, or whether his situation compels him, under<br />
all circumstances the result is the same. In the first case he follows his <strong>in</strong>cl<strong>in</strong>ation and<br />
thereby has compensation enough for his toil; <strong>in</strong> the second case one acts out of necessity,<br />
but this necessity is <strong>in</strong> reality a good, as thereby he is put <strong>in</strong> a position to improve his<br />
position and earn <strong>in</strong>creased means to well-be<strong>in</strong>g and enjoyment.<br />
However, that which is understood by the reward which lies <strong>in</strong> the labor is not the<br />
material benefit of the activity, s<strong>in</strong>ce this reward rather appears as a consequence of the<br />
433
labor. The reward which lies <strong>in</strong> the labor is understood to be the benefit which is jo<strong>in</strong>ed<br />
to the activity itself without respect to the results of the same, and here then must<br />
especially be <strong>in</strong>cluded: that the body is strengthened and, as a consequence of that, the<br />
health is ma<strong>in</strong>ta<strong>in</strong>ed, that the m<strong>in</strong>d is encouraged and improved, <strong>in</strong>asmuch as the thought<br />
is directed towards a useful goal, that the ideas are clarified and a cont<strong>in</strong>ually wider and<br />
wider field is opened for the <strong>in</strong>quir<strong>in</strong>g m<strong>in</strong>d, whereby the spiritual activity produces the<br />
consciousness of hav<strong>in</strong>g made a step forward towards a great goal, perfection, <strong>in</strong>sofar as<br />
it is given to the human race at any time here <strong>in</strong> life to reach this po<strong>in</strong>t.<br />
3. Why should a nation seek to preserve the language and memory of its ancestors?<br />
It is only by the cont<strong>in</strong>ued <strong>in</strong>fluence through the centuries of the traditions of the<br />
past from generation to generation that the dist<strong>in</strong>ctive character <strong>in</strong> conceptions and<br />
perceptions is capable of develop<strong>in</strong>g itself, when it appears sharply enough def<strong>in</strong>ed,<br />
f<strong>in</strong>ally acquir<strong>in</strong>g the name of a people's national character, while the results achieved by<br />
the ancestors are the succeed<strong>in</strong>g generations' possession, and this possession is common<br />
for every <strong>in</strong>dividual of the society to which he belongs; but it is precisely <strong>in</strong> this common<br />
right of acquisition that the reason must be sought for the <strong>in</strong>ner unity and the outer<br />
limitation which alone is capable of ma<strong>in</strong>ta<strong>in</strong><strong>in</strong>g a people's existence, s<strong>in</strong>ce it is here that<br />
nationality has its root, or perhaps more correctly, this is nationality itself.<br />
But if the bond which knits a nation's <strong>in</strong>dividuals to each other must be sought<br />
primarily <strong>in</strong> the common <strong>in</strong>heritance of the forefathers' conduct and activity, then it must<br />
naturally be important to the nation to acquire for itself the greatest possible security for<br />
the legitimacy whereby it <strong>in</strong>herits its past; it must seek to ma<strong>in</strong>ta<strong>in</strong> and clarify everyth<strong>in</strong>g<br />
434
that it still remembers about the ancestors and before all else the language, the speak<strong>in</strong>g<br />
witness of a people's common orig<strong>in</strong>s.<br />
It is only through memories that the ancestors still live among us, it is through<br />
memories alone that we are able to acquire for ourselves the past, - but it is <strong>in</strong> the past<br />
that what exists is based; if the foundation is shaken, then the build<strong>in</strong>g erected on it must<br />
also totter. A people without a past or without memories of the past has no basis <strong>in</strong><br />
tradition ("Faren"); memory bears witness of former greatness, <strong>in</strong> it, for those who come<br />
after, lies an <strong>in</strong>creased demand not to enfeeble its radiance; if the memory is sad, it also<br />
possesses rich experiences. In every person's breast there is <strong>in</strong>stilled a certa<strong>in</strong> feel<strong>in</strong>g of<br />
piety for the conceptions and impressions he has received <strong>in</strong> his childhood; if one th<strong>in</strong>ks<br />
of a nation as an <strong>in</strong>dividual, then the past is its childhood memories; they will always<br />
speak faithfully and warn<strong>in</strong>gly, they will be a strong bulwark aga<strong>in</strong>st the demoralisation,<br />
from which this still might have its source.<br />
In the recognition of the significance memories of the ancestors have, also lies a<br />
duty to ma<strong>in</strong>ta<strong>in</strong> them. By this is understood naturally not merely the visible rem<strong>in</strong>ders of<br />
the past, but also every spiritual witness, every trait from the vanished time <strong>in</strong>terwoven <strong>in</strong><br />
the folk-character, and especially the retention of the ancestors' language, which certa<strong>in</strong>ly<br />
creates one of the most important bonds between them and us. By this it is not meant that<br />
a nation should safeguard the past and its memories by stagnation and irrational hold<strong>in</strong>g-<br />
fast to the old; on the contrary, it is by cont<strong>in</strong>u<strong>in</strong>g to develop and improve what is<br />
received, without <strong>in</strong> any way los<strong>in</strong>g sight of its source, that succeed<strong>in</strong>g generations rightly<br />
honor the memory of the generations who have consigned to them the past's rich<br />
<strong>in</strong>heritance.<br />
435
Yet <strong>in</strong> this respect the people also have duties toward the com<strong>in</strong>g times; what the<br />
ancestors have effected for the now-liv<strong>in</strong>g generations, the latter should pass on to the<br />
com<strong>in</strong>g; s<strong>in</strong>ce just as the present belongs to the past with respect to the follow<strong>in</strong>g<br />
moment, it is bus<strong>in</strong>ess of the present to clarify and as far as possible to fulfill what<br />
vanished generations have begun, thought or guessed, s<strong>in</strong>ce it is on this foundation that<br />
the future's hopes will be built.<br />
436
IV. “Den Skand<strong>in</strong>aviske Idé” (“The Scand<strong>in</strong>avian Idea”), by Marcus J.<br />
Monrad.<br />
IBSEN AND SCANDINAVIANISM.<br />
<strong>Ibsen</strong> was <strong>in</strong>volved <strong>in</strong> Scand<strong>in</strong>avianism as <strong>early</strong> as 1848. We know this because a<br />
poem he wrote <strong>in</strong> that year, “The Giant Oak Tree,” shows the <strong>in</strong>fluence of this movement.<br />
In the Fall of 1844, when the follow<strong>in</strong>g three-part article appeared <strong>in</strong> a Christiania<br />
newspaper, <strong>Ibsen</strong> was work<strong>in</strong>g as an apprentice <strong>in</strong> a pharmacy <strong>in</strong> Grimstad, and at that<br />
time the pharmacy was also the post office. Newspapers and magaz<strong>in</strong>es came to their<br />
subscribers <strong>in</strong> the mail, and presumably when <strong>Ibsen</strong> had a spare moment he could read<br />
them. We have no anecdotal evidence that <strong>Ibsen</strong> read this particular article, but Monrad<br />
was an important <strong>in</strong>tellectual <strong>in</strong> Norway at that time, and <strong>Ibsen</strong>’s philosophy teacher<br />
dur<strong>in</strong>g his year at the university <strong>in</strong> 1850-51.<br />
Marcus J. Monrad, "Den Skand<strong>in</strong>aviske Idé." Morgenbladet, nos. 268, 270, 272<br />
(September, 1844).<br />
I.<br />
The thought which as a vague generality is expressed by the term Scand<strong>in</strong>avian<br />
Unity, and which was first articulated as such by a couple of Danish and Swedish writers,<br />
has recently become very widespread, and has f<strong>in</strong>ally had a success even <strong>in</strong> Norway,<br />
which one could call surpris<strong>in</strong>g, consider<strong>in</strong>g our countrymen's renowned caution and<br />
reserve. In Denmark and Sweden, as is well known, there are already so-called<br />
Scand<strong>in</strong>avian Societies, with the goal of work<strong>in</strong>g for Scand<strong>in</strong>avian unity ma<strong>in</strong>ly <strong>in</strong><br />
literary respects; <strong>in</strong> Norway, as far as is known, there are still no formal societies with this<br />
purpose; but at present the Norwegian student society must be regarded as a center of the<br />
Scand<strong>in</strong>avianist movement among us, s<strong>in</strong>ce on the whole--not without fervent debates--it<br />
has declared itself favorable to the idea, and has been <strong>in</strong> contact with the Swedish society,<br />
from which it has received gifts of Swedish books, just as it has forwarded to the Swedes<br />
[some] of our literary productions. It was natural that young people, who are the most<br />
437
easily <strong>in</strong>fluenced by what is new, whether it is wise or foolish, were the first to embrace<br />
this idea, <strong>in</strong> which there apparently lay such great th<strong>in</strong>gs hidden; however, it is a fact that<br />
it has now become a subject for many older people's attention and <strong>in</strong>terest as well; it<br />
obtrudes itself <strong>in</strong>creas<strong>in</strong>gly as a current issue, and is discussed everywhere far and wide<br />
on the right and on the left.<br />
The idea of Scand<strong>in</strong>avian unity, like every other large and comprehensive idea, as<br />
it developed to greater preciseness, had to expose great oppositions and accord<strong>in</strong>gly to<br />
awaken conflict, which is the more fervent the bl<strong>in</strong>der it is, and the more that everyday<br />
<strong>in</strong>terests and passions have come <strong>in</strong>to play. The Scand<strong>in</strong>avian Idea has been <strong>in</strong>terpreted,<br />
or rather mis<strong>in</strong>terpreted <strong>in</strong> every way, celebrated with enthusiasm as Scand<strong>in</strong>avia's only<br />
salvation, but also on the other hand written off [udstregen] as fanaticism, even as treason<br />
aga<strong>in</strong>st the fatherland. There are enthusiasts who would tear down all boundaries and<br />
proclaim one Scand<strong>in</strong>avia, so that Norway, Sweden and Denmark should disappear; there<br />
are also those who suspect every approach to the brother peoples as dangerous. We recall<br />
see<strong>in</strong>g <strong>in</strong> a Norwegian prov<strong>in</strong>cial newspaper twelve reasons, which were to prove the<br />
Scand<strong>in</strong>avian Idea's harmfulness. As is natural, we also have "middle-of-the-roaders"<br />
enough, and these manage as usual with a dist<strong>in</strong>ction: "as a gesture towards a literary<br />
rapprochement Scand<strong>in</strong>avianism is harmless, perhaps even desirable; [but] as politics--<br />
may God deliver us from that!"<br />
As long as everyone makes The Scand<strong>in</strong>avian Idea <strong>in</strong>to whatever he th<strong>in</strong>ks fit,<br />
there is no explanation <strong>in</strong> this confusion, and the controversy "over whether it is<br />
beneficial or harmful for Norway to embark upon it" comes to no end. On the whole it is<br />
an improper reversal of the matter, when one is asked about the benefit or harmfulness of<br />
438
an idea. With an idea it is a question only of its truth, or <strong>in</strong> other words whether it is a<br />
real idea, which has its root <strong>in</strong> the general consciousness and <strong>in</strong> the nature of the matter,<br />
or a mere fancy. Of the so-called Scand<strong>in</strong>avian Idea it must accord<strong>in</strong>gly be asked,<br />
whether there really is an Idea of Scand<strong>in</strong>avia, of which the former is merely the<br />
subjective reflection, and then whether if Scand<strong>in</strong>avia really is someth<strong>in</strong>g, is a national<br />
unity, which has its def<strong>in</strong>ite historical mission, then what this is. But this can only be<br />
discovered by a more comprehensive historical consideration, and pend<strong>in</strong>g its outcome all<br />
secondary considerations with respect to benefit, harm, etc., must be overshadowed.<br />
The recent past has undeniably had a revolutionary, divisive and destructive<br />
character. One can date this tendency from the Reformation, which attacked at its root<br />
the pr<strong>in</strong>ciple of an external authority brood<strong>in</strong>g over Europe, to awaken by means of an<br />
<strong>in</strong>ner--religious--doma<strong>in</strong> the feel<strong>in</strong>g of the <strong>in</strong>dividual's <strong>in</strong>dependence and eternal<br />
justification. This movement must, however, also extend to the political [sphere]; s<strong>in</strong>ce<br />
there were also--by analogy with the aforementioned spiritual hegemony--powerful<br />
pr<strong>in</strong>cely houses with military power and diplomatic connections that gathered under<br />
themselves masses of different peoples, who without <strong>in</strong>ner sympathies were held together<br />
merely by an outward compulsion. Even if the Reformation seems at first to show favor<br />
precisely to secular absolutism, even so it could not fail that <strong>in</strong> a more distant future its<br />
actual pr<strong>in</strong>ciple of <strong>in</strong>dependence and <strong>in</strong>dividuality must assert itself also <strong>in</strong> political<br />
respects.<br />
This creative spark long smoulder<strong>in</strong>g <strong>in</strong> silence actually broke <strong>in</strong>to flame <strong>in</strong> the<br />
French Revolution, and that movement, which from there spread over Europe, has<br />
essentially the merit to have called forth nations <strong>in</strong>stead of empires, nations which have<br />
439
felt their existence and sought to do their own will to guide, <strong>in</strong>stead of merely to listen to<br />
the commands of the <strong>in</strong>dividual. Everywhere now is detected a tendency to break apart<br />
the formerly aggregated masses; everyth<strong>in</strong>g that has felt itself to be a dist<strong>in</strong>ctive feature,<br />
attempted also to present itself and assert itself as such <strong>in</strong> external appearance. This<br />
tendency must naturally first and foremost direct itself aga<strong>in</strong>st the colossus which<br />
Napoleon himself--the Revolution's son--with a strange misconception of his call<strong>in</strong>g, had<br />
conglomerated: the k<strong>in</strong>gdom of France had to be reduced to the French nation. Over<br />
almost the whole of Europe the process cont<strong>in</strong>ued: Norway seceded from Denmark,<br />
Belgium from Holland, Greece from Turkey; the Poles made a desperate attempt to crawl<br />
out of the clutches of Russia. Similar movements are detected now, even though they are<br />
tak<strong>in</strong>g place more quietly. Accord<strong>in</strong>gly Austria is apparently threatened with be<strong>in</strong>g split<br />
<strong>in</strong>to at least three parts, Ireland is zealously occupied with the issue of repeal, the Prussian<br />
Poles grumble beh<strong>in</strong>d their beards, and it is only fear which holds them back. In order to<br />
show how far the division can go, one can recall the splitt<strong>in</strong>g of the "Baseler Landschaft"<br />
from the town of Basel. One sees accord<strong>in</strong>gly a striv<strong>in</strong>g to create cont<strong>in</strong>ually smaller and<br />
smaller states; the same pr<strong>in</strong>ciple which claims citizenship, freedom and <strong>in</strong>dependence<br />
for the s<strong>in</strong>gle <strong>in</strong>dividual <strong>in</strong> the state, claims also recognition for every society which on<br />
the basis of a dist<strong>in</strong>ctive character can be regarded as an <strong>in</strong>dividual.<br />
This striv<strong>in</strong>g for <strong>in</strong>dependence, this process of <strong>in</strong>dividualization, is accord<strong>in</strong>gly,<br />
then, considered from one po<strong>in</strong>t of view, without purpose and end; s<strong>in</strong>ce the common<br />
charactistics recede as they become more concrete, cont<strong>in</strong>ually gather<strong>in</strong>g <strong>in</strong> narrower and<br />
narrower circles, and who determ<strong>in</strong>es the boundary where a certa<strong>in</strong> dist<strong>in</strong>ctive<br />
characteristic ends to be able to be a nationality? Acccord<strong>in</strong>gly, on the occasion of<br />
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Norway's separation from Denmark, and the Norwegians' opposition to any k<strong>in</strong>d of<br />
amalgamation with Sweden, one has asked whether the conclusion of the same pr<strong>in</strong>ciple<br />
could not lead, for example, to the northern mounta<strong>in</strong> region of Norway separat<strong>in</strong>g itself<br />
from the southern mounta<strong>in</strong> region. It cannot be denied that Trondheimers have much,<br />
both <strong>in</strong> predispositions and customs, which separates them from the people of the<br />
southern mounta<strong>in</strong> region, just as also climatic and other circumstances to some extent<br />
seem to <strong>in</strong>dicate separate <strong>in</strong>terests. The aforementioned tendency towards <strong>in</strong>dependence<br />
would also really be someth<strong>in</strong>g to be feared, as destructive of everyth<strong>in</strong>g, as if <strong>in</strong> world<br />
history everyth<strong>in</strong>g at last separated <strong>in</strong>to mean<strong>in</strong>gless atoms--if it were not accompanied by<br />
a tendency <strong>in</strong> the opposite direction, which has the effect of creat<strong>in</strong>g cont<strong>in</strong>ually larger<br />
and larger unities, and shows itself superior to the former [tendency] precisely <strong>in</strong> that it<br />
walks <strong>in</strong> its footsteps and makes use of its results for its greater goals. This merg<strong>in</strong>g,<br />
unit<strong>in</strong>g pr<strong>in</strong>ciple is world history's actual nisus organicus, which is actually one with the<br />
forego<strong>in</strong>g and only its positive side. The dissimilar must be separated, <strong>in</strong> order for the<br />
similar to be united; the compulsory conglomeration, held together by outer bonds, must<br />
be split asunder <strong>in</strong> order to make a place for a free association, determ<strong>in</strong>ed by <strong>in</strong>ner<br />
reasons. Freedom and <strong>in</strong>dependence consist only by submission under a general law of<br />
society; without this they are unreal abstractions. The <strong>in</strong>dividual cannot be free and<br />
<strong>in</strong>dependent unless there are citizens <strong>in</strong> a state, and the state itself cannot be <strong>in</strong>dependent<br />
except as a l<strong>in</strong>k <strong>in</strong> a larger whole.<br />
This is not empty philosophiz<strong>in</strong>g; one <strong>in</strong>quires about the history of only the most<br />
recent times, to see if a recognizable striv<strong>in</strong>g to create larger societies has not followed on<br />
the heels of the disorganization. Or much more: the unit<strong>in</strong>g, organiz<strong>in</strong>g tendency has<br />
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from the first moment been <strong>in</strong>divisible from the disorganiz<strong>in</strong>g [tendency]. Is this not<br />
already expressed <strong>in</strong> the concept of nation and nationality, which was expressed with such<br />
energy at the same moment one threw off the tyrants' yoke? When the unnatural bond<br />
was dissolved, then one immediately looked for a natural one; or more correctly: the<br />
latter bond one used already as a belt of strength, as one attacked the former. It was<br />
precisely by the <strong>in</strong>vocation of nationality, that the men of the liberation led the battle.<br />
And this spirit once evoked cannot let itself be bound aga<strong>in</strong>!<br />
It must further be recognized that <strong>in</strong> the beg<strong>in</strong>n<strong>in</strong>g the conception of what actually<br />
constitutes a nationality was only vague. To be sure, at first one took this conception only<br />
from the negative side; one felt it should be a natural, <strong>in</strong>-itself free solidarity, not a unity<br />
based on dynastic jo<strong>in</strong>t ownership. The poet Walter Scott can be said to be among the<br />
first who brought to the attention of Europe what significance common descent and<br />
language have with respect to the determ<strong>in</strong>ation of nationality. In his romantic<br />
descriptions of England's and Scotland's ancient history he has po<strong>in</strong>ted out with great<br />
clarity the opposition between the Saxon and the French people, who have met on the<br />
same ground; and after him French writers of history especially have developed the<br />
romantic and German-Scand<strong>in</strong>avian tribal-characters--an opposition which can be said to<br />
have become a basic pr<strong>in</strong>ciple <strong>in</strong> modern historical research.<br />
Practically-speak<strong>in</strong>g, aff<strong>in</strong>ity of language and descent, with clearer or vaguer<br />
consciousness of its actual significance, gradually manifested itself <strong>in</strong> several corners of<br />
Europe. Germany's unity has been celebrated already for a long time now <strong>in</strong> the songs of<br />
the poets, and at present there is scarcely one young person <strong>in</strong> Germany who is not an<br />
adherent of this idea. South of the Alps one dreams already stronger and stronger dreams<br />
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about the unity of Italy, and--<strong>in</strong> Europe's opposite corner we are eagerly occupied with the<br />
Scand<strong>in</strong>avian Idea. Yes, such great power and significance lies <strong>in</strong> this idea of national<br />
unity, this tendency towards unification of related national elements for the development<br />
of common freedom and civilization, that it has even brought forth its grandiose<br />
caricature--<strong>in</strong> Pan-Slavism!<br />
Accord<strong>in</strong>gly the historical process--like mechanical motion--allows itself to be<br />
broken <strong>in</strong>to two oppos<strong>in</strong>g equal powers, one repulsive and one attractive. Separately<br />
these powers are simply abstractions; the one without the other would lead to absurdities,<br />
atomistic dismemberment or characterless amalgamation. Therefore, s<strong>in</strong>ce <strong>in</strong> reality they<br />
are <strong>in</strong>separably bound together, they limit each other mutually, and therefore could<br />
actually only create concrete units. Even though it is difficult to say where the actual<br />
border stands for the firmest and most concrete political unity, which we call a state, it is<br />
still certa<strong>in</strong> that there is such a border. Yet with this the process of organization does not<br />
stop, but cont<strong>in</strong>ues <strong>in</strong>wards to create municipalities, outward associations of peoples or<br />
confederations. S<strong>in</strong>ce outwardly also wider and wider circles exist, which are def<strong>in</strong>ed by<br />
a cont<strong>in</strong>ually more abstract sense of community. Indeed, this as been expressed already<br />
<strong>in</strong> the French historians' aforementioned discovery of the German-Scand<strong>in</strong>avian tribal<br />
unity <strong>in</strong> opposition to the romantic, just as both these tribes, like historical peoples<br />
especially, let themselves be construed as a unity <strong>in</strong> opposition to the Slavs.<br />
Now it is a general law <strong>in</strong> history, that everyth<strong>in</strong>g which is <strong>in</strong> a thought, that is to<br />
say not <strong>in</strong> a loose, subjective thought, which can occur once to someone or other, but <strong>in</strong> a<br />
real thought, given by history itself, strives also to realize itself, to assume gradually a<br />
firmer outl<strong>in</strong>e. This is basically only a def<strong>in</strong>ition of freedom's striv<strong>in</strong>g, which aims at<br />
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ealiz<strong>in</strong>g <strong>in</strong>ner conscious purpose. And the more nations struggle forward <strong>in</strong> culture and<br />
freedom, the more obviously and more directly will the former law assert itself. Now the<br />
first outl<strong>in</strong>e acquires the tendency towards unity first <strong>in</strong> literature; it is most especially a<br />
literary unity which evolves. Such a one exists already <strong>in</strong> general features--one can say--<br />
over the whole of civilized Europe; <strong>in</strong> spite of what is characteristic, and marked<br />
obviously enough by the language of the different literatures, there is yet a European<br />
literature with its heroes: Dante and Tasso, Molière and Rac<strong>in</strong>e, Shakespeare and Lord<br />
Byron, Goethe and Schiller, Holberg and Oehlenschlæger--a literature which more and<br />
more demands the attention of all educated people, whereas for example the Slavic and<br />
Turkish literature with its hundreds of writers is still regarded as be<strong>in</strong>g irrelevant to us.<br />
Such a literary commonality will now doubtless more and more dissem<strong>in</strong>ate itself; yet<br />
one cannot leave it there; s<strong>in</strong>ce that striv<strong>in</strong>g for unity is only articulated for the<br />
conciousness and realized so to speak <strong>in</strong>wardly; it seeks gradually also to take possession<br />
of the outward doma<strong>in</strong>s and accord<strong>in</strong>gly must f<strong>in</strong>ally also touch upon the political. It is<br />
precisely characteristic of the most recent--freedom's--time, that circumstances develop<br />
from with<strong>in</strong>, that literature accord<strong>in</strong>gly is a forerunner for politics, and not, as previously,<br />
an idle spectator.<br />
In the old days of barbarism it was not the people but the pr<strong>in</strong>ces who concluded<br />
alliances; they then attempted to make use of whoever they could <strong>in</strong> order to support their<br />
power, and accord<strong>in</strong>gly then one not uncommonly saw the sight of a "tiger mat<strong>in</strong>g with a<br />
lamb," s<strong>in</strong>ce the tiger's and the lamb's lord found such an unnatural connection answer<strong>in</strong>g<br />
to his <strong>in</strong>terests. No fruitful connections for mutual transmission of culture and freedom<br />
were then <strong>in</strong>tended; the pr<strong>in</strong>ce's private passions determ<strong>in</strong>ed the dest<strong>in</strong>y of the people.<br />
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However, when nations have come to consciousness and stand at the helm themselves,<br />
they want to regulate their connections by their own natural sympathies; commonality <strong>in</strong><br />
language and customs, together with common memories of the past draw them together,<br />
and little-by-little, under literature's <strong>in</strong>fluence, they approach the consciousness that they<br />
have a common historical vocation, a common pr<strong>in</strong>ciple to manifest <strong>in</strong> humanity's general<br />
process of civilization, and that <strong>in</strong> order to develop and defend this they must unite both<br />
their <strong>in</strong>tellectual and material powers. The perception that every <strong>in</strong>dividual state is<br />
directly determ<strong>in</strong>ed to promote the general human civilization, and accord<strong>in</strong>gly can jo<strong>in</strong><br />
with anybody else, would correspond to cosmopolitanism <strong>in</strong> <strong>in</strong>dividuals, which <strong>in</strong>deed<br />
also leads them to feel that they are at home <strong>in</strong> any state and religion, that wherever they<br />
are they could act the same way. 9<br />
II.<br />
The Scand<strong>in</strong>avian Idea is accord<strong>in</strong>gly <strong>in</strong> no way an isolated phenomenon, a<br />
phantom of an <strong>in</strong>dividual's fantasy or mood; it is much more, as we have seen its<br />
analogies <strong>in</strong> all quarters and it is deeply grounded <strong>in</strong> the general historical development<br />
and the whole direction of the times. That our Scand<strong>in</strong>avia could not be unaffected by<br />
the ideas ferment<strong>in</strong>g everywhere <strong>in</strong> Europe, was so much more natural, because the spirit<br />
of history, or to use a more commonly understood expression: Providence, seems recently<br />
to have turned its attention more and more towards us. Even the most careless glance<br />
9 It must be regarded as such a state-cosmopolitanism when some Danish patriots dream of an alliance with<br />
France aga<strong>in</strong>st England. To be sure, it is the Affair of 1807 which still creates enmity; they do not consider<br />
that it was only the work of the nemesis of history with respect to the Danish forefathers' bloody actions <strong>in</strong><br />
England. All k<strong>in</strong>dred nations--like brothers--have quarrelled and fought <strong>in</strong> their childhood; but they must<br />
grow up sometime, and then such accounts must be regarded as settled.<br />
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over the course of world events cannot ignore, that history withdraws more and more to<br />
the northwest. The old world, Rome's orbis terrarum, is limited for the most part to<br />
countries around the Mediterranean; the Middle Ages' wide-rang<strong>in</strong>g fanciful upheaval<br />
still centers mostly around the former Roman Empire's northern borders, where Romans<br />
and barbarians got along together; more recent history belongs to Central Europe, with<br />
France to a great extent as the leader. And that the last act of this great European drama<br />
will be played especially <strong>in</strong> our Scand<strong>in</strong>avia, is evident by much more than the former<br />
analogy. The Scand<strong>in</strong>avian North for the moment stands at the summit of our time's<br />
civilization; the enlightenment of the people is at least as great and widespread here as<br />
anyplace; Protestantism, whose mightiest champions have already once before gone out<br />
from here, has permeated the population more completely here than <strong>in</strong> any other place.<br />
The political freedom <strong>in</strong> the Norwegian constitution has already raised a magnificent<br />
temple; and among our brother peoples, where it has not yet come so far, its voice still<br />
sounds already fuller and more powerful, and the time <strong>in</strong>deed is not far off, when like an<br />
Orpheus it will get the stones to move; art has already f<strong>in</strong>ished several of the northern<br />
temple's ornamentations; science stands like a priest, and poetry already s<strong>in</strong>gs splendid<br />
hymns previously construed by the priest <strong>in</strong> its tabernacle, still really often threatened by<br />
storm. The rest of Europe already beg<strong>in</strong>s to turn its glance more and more up here; what<br />
has hitherto stood <strong>in</strong> the way of our importance has been only our division. Norway,<br />
Sweden, Denmark are each by themselves too small to place any significant weight <strong>in</strong>to<br />
the scale of Europe; only together would they be able to assert themselves, only together<br />
will they be able to carry out with strength the larger and difficult mission to which<br />
already they are more and more obviously beckoned. Now <strong>in</strong> the first place, as far as<br />
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literature goes, it is evident that an isolated Norwegian or Swedish or Danish literature<br />
can <strong>in</strong> no way arouse the attention <strong>in</strong> Europe or have the <strong>in</strong>fluence <strong>in</strong> the development of<br />
scholarship, as a united Scand<strong>in</strong>avian [literature can], not to mention that each of the<br />
former separate literatures conta<strong>in</strong>s to be sure so much that is valuable and genu<strong>in</strong>e <strong>in</strong><br />
relation to its extent. But <strong>in</strong> the second place, the separate literatures, which could not be<br />
self-sufficient even when they managed without the support which lies <strong>in</strong> the common<br />
bank, would become far more dependent on literature from abroad, and not be able to<br />
develop themselves <strong>in</strong>to the powerful dist<strong>in</strong>ctive feature, which would achieve a genu<strong>in</strong>e<br />
significance. The dependence of Danish literature on the German is all-too-well-known;<br />
the Swedish has walked on the Frenchmen's leash more than is proper; about the<br />
Norwegian, which is still completely <strong>in</strong> its childhood, noth<strong>in</strong>g def<strong>in</strong>ite can yet be said, but<br />
the analogy and simple impression for that matter seem to <strong>in</strong>dicate that it will not be able<br />
to keep itself free from ma<strong>in</strong>ly English <strong>in</strong>fluence. Now we would not <strong>in</strong> any way want<br />
Scand<strong>in</strong>avia's literature to stand, like the Russian, completely isolated from the German,<br />
French and English literatures, which for that matter are not without mutually significant<br />
po<strong>in</strong>ts of contact either; we have suggested above precisely how with these it constitutes a<br />
higher unity. But we want Scand<strong>in</strong>avia's literature to defend its <strong>in</strong>dependence <strong>in</strong> this<br />
unity, we want it to stand there with honor, with firm, marked, manly features, we want it<br />
to have its complete significance beside the rest. And it is <strong>in</strong> this respect significant that<br />
the Danish writer who has given the strongest support to emancipate Danish poetry and<br />
atta<strong>in</strong> that significance--namely Oehlenschlæger --is precisely the one to whom honor<br />
belongs for hav<strong>in</strong>g first expressed the idea of Scand<strong>in</strong>avia's unity. His poetry is basically<br />
as Norwegian as it is Danish, and with the exception of the little difference of dialect, it<br />
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could just as well be called equally Swedish; and yet nobody before him has sung so<br />
utterly nationally, so truly Scand<strong>in</strong>avianly! Therefore it is so far from be<strong>in</strong>g the case that<br />
the national consciousness dilutes and loses itself by be<strong>in</strong>g expanded over all of<br />
Scand<strong>in</strong>avia, that it much more precisely thereby achieves its actual courage and strength!<br />
But still it does not end with literature; <strong>in</strong>deed we want not merely to s<strong>in</strong>g for<br />
Europe and hold uplift<strong>in</strong>g conversations about our nationality--<strong>in</strong>deed, they would not<br />
listen much to either afterwards, if we could not by more material means give our words<br />
weight. Besides, it could possibly happen, while we sang our best, that one or another<br />
birdcatcher could get the desire to cage us, one after the other, and then the song would<br />
only come to a sad end. So it is a matter of be<strong>in</strong>g sure also to have a beak and claws; and<br />
while our neighbors <strong>in</strong> all quarters by alliances and by an altogether better and better<br />
organized military capability <strong>in</strong>crease--one can say fearfully--<strong>in</strong> strength, we must not<br />
rema<strong>in</strong> stand<strong>in</strong>g <strong>in</strong> our prevail<strong>in</strong>g <strong>in</strong>significance. There was a time when our forefathers,<br />
without creat<strong>in</strong>g any actual union, were feared over the whole of Europe; but that was<br />
then, when <strong>in</strong> the army itself an <strong>in</strong>dividual's strength and valor were the decisive factors.<br />
Now everyth<strong>in</strong>g depends more on the masses and on a rational organization; now an<br />
<strong>in</strong>dividual Stærkodder is of little significance; now a s<strong>in</strong>gle flock of either Norwegians or<br />
Swedes or Danes with all possible courage will not be able to do the deeds as <strong>in</strong> the old<br />
days. If we will--and we must will it--reta<strong>in</strong> the same relative strength as <strong>in</strong> the past, then<br />
we must follow the development of the times; the berserker's wild energy disappeared a<br />
long time ago, and besides would now help us greatly not; let us therefore draw our<br />
strength from a more noble source, from the League of Nations, and from the strongest,<br />
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most beautiful league of nations, which rests on a sacred thought, a national unity and<br />
agreement to develop and defend the same idea of freedom.<br />
It lies precisely <strong>in</strong> the nature of civilization and accord<strong>in</strong>gly <strong>in</strong> the character of the<br />
most recent times, that the spirit, the idea more and more appears and asserts itself over<br />
the raw power of nature. Not as if the latter should be useless or superfluous; physical<br />
power is necessary precisely to the realization of the idea; but it must more and more<br />
present itself as serv<strong>in</strong>g the idea; as ruled by it. Its [power's] actual effect depends more<br />
and more on that it receives from the idea its firm direction and its <strong>in</strong>ner order<strong>in</strong>g and<br />
economy. The Scand<strong>in</strong>avian people accord<strong>in</strong>gly will only be able to accomplish anyth<strong>in</strong>g<br />
significant <strong>in</strong> the future <strong>in</strong>sofar as they are led by the Scand<strong>in</strong>avian Idea; only under this<br />
condition can the natural strength and courage <strong>in</strong>herited from their forefathers have the<br />
right vigor and force and become someth<strong>in</strong>g other than Thor's prodigious but wasted<br />
accomplishments <strong>in</strong> Jotunheim.<br />
Therefore let us not disappo<strong>in</strong>t ourselves concern<strong>in</strong>g the nature and significance of<br />
the Scand<strong>in</strong>avian Idea. It cannot rema<strong>in</strong> stand<strong>in</strong>g here as a literary [unity], but must one<br />
day, sooner or later, develop the thought also of political unity, to which it conta<strong>in</strong>s the<br />
seed (aspiration). Those for whom it was a consolation that the Scand<strong>in</strong>avian idea was<br />
only an <strong>in</strong>nocent concern for literature's development, that it only aimed at greater unity<br />
<strong>in</strong> the bookstore and more rebellion <strong>in</strong> the literary situation--those who have only dared to<br />
give the idea their approval under this assumption, must be stripped of their delusion, and<br />
the sooner the better. It is better if they desert completely, s<strong>in</strong>ce the idea is better served<br />
by hav<strong>in</strong>g the travelers <strong>in</strong> the middle way and the half-way hucksters as enemies than as<br />
friends. However, it is good that the matter is not carried out precipitately; it will have<br />
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time precisely to develop itself from with<strong>in</strong>, from the consciousness' own depths, and<br />
therefore it is perhaps most practical that the active work <strong>in</strong> the service of the idea be<br />
limited at first to the literary situation. It is perhaps even useful that the masses of<br />
workers, especially the young people who engage themselves with it, not be conscious at<br />
first of any other purpose; their work will thereby be more peaceful, more secure, less<br />
marked by self-<strong>in</strong>terest and the passions of the moment. But it cannot fail that one must<br />
gradually glimpse, at least as a distant possibility (which <strong>in</strong> any case one must regard<br />
either with fear or antipathy) what the more <strong>in</strong>sightful already perceive as a necessity. A<br />
people's literature is <strong>in</strong>deed never anyth<strong>in</strong>g isolated, anyth<strong>in</strong>g exist<strong>in</strong>g for itself alone, but<br />
has its actual significance <strong>in</strong> a real exist<strong>in</strong>g nationality; it is an expression of a nation's<br />
<strong>in</strong>nermost consciousness, and where this is true and strong, there also outwardly far and<br />
wide it must and shall break itself a way to unite itself.<br />
For that matter, of what character this Scand<strong>in</strong>avian unity should be or will<br />
become, lies outside the possibilities of the present moment to determ<strong>in</strong>e more closely. It<br />
would not be difficult to write a book about it and make proposals by the dozen, but that<br />
would be only slightly useful. The certa<strong>in</strong> and complete answers to such questions occur<br />
only through the course of centuries, not <strong>in</strong> a th<strong>in</strong>ker's m<strong>in</strong>d. Well runs the old rule, that<br />
one should always th<strong>in</strong>k before one acts, and from this should follow, not to embark upon<br />
anyth<strong>in</strong>g which one has not <strong>in</strong>vestigated completely beforehand; but this division between<br />
thought and action must not be pursued too far; s<strong>in</strong>ce it is certa<strong>in</strong> <strong>in</strong> any case that the<br />
greater, world-historical thoughts are not <strong>in</strong> themselves fully developed before precisely<br />
be<strong>in</strong>g acted. What time carries <strong>in</strong> its womb can only <strong>in</strong> general contours and for the most<br />
part merely negatively be reported <strong>in</strong> advance. Accord<strong>in</strong>gly the considerations we have<br />
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<strong>in</strong>itiated above lead more closely only to a firm, unshakeable alliance <strong>in</strong> war and peace<br />
between the three Scand<strong>in</strong>avian nations, liv<strong>in</strong>g together mutually and reciprocally, with<br />
common <strong>in</strong>terests and cooperation, as far as the separate nations' <strong>in</strong>dependence can<br />
permit. S<strong>in</strong>ce this appears to us clear, that there cannot be talk here about any<br />
amalgamation.<br />
The general consideration <strong>in</strong>itiated above has shown that our time's striv<strong>in</strong>g for<br />
unity has orig<strong>in</strong>ated precisely from, or has <strong>in</strong> any case developed itself <strong>in</strong> <strong>in</strong>separable<br />
connection with an opposite tendency, a tendency to separate and divide, a tendency<br />
which aims at allow<strong>in</strong>g every <strong>in</strong>dividuality, every real dist<strong>in</strong>ctive feature, to receive its<br />
full rights. In this way an adequate counterweight is given, and the self-creat<strong>in</strong>g unity is<br />
protected from merg<strong>in</strong>g <strong>in</strong> a loose-jo<strong>in</strong>ted dull clump. It can be added, that the<br />
aforementioned pr<strong>in</strong>ciple of separation <strong>in</strong> particular seems to belong to the Scand<strong>in</strong>avian<br />
tribe; it is perhaps one of this tribe's most important duties to ma<strong>in</strong>ta<strong>in</strong> the eternal<br />
justification of the <strong>in</strong>dividual. The enterprise of <strong>in</strong>dependence is too deeply <strong>in</strong>gra<strong>in</strong>ed <strong>in</strong><br />
the Scand<strong>in</strong>avian's whole m<strong>in</strong>d, that he <strong>in</strong> any way should rel<strong>in</strong>quish it. Evidence of this<br />
is furnished by, for example, the energy which the Norwegians have shown to ma<strong>in</strong>ta<strong>in</strong><br />
their <strong>in</strong>dependence from Sweden--truly a heroic struggle, which even so has not made the<br />
union with this k<strong>in</strong>gdom looser or weaker. As a consequence of the same pr<strong>in</strong>ciple one<br />
can note our present arrangement with executive committees; which despite the<br />
difficulties that perhaps <strong>in</strong> the beg<strong>in</strong>n<strong>in</strong>g it can have entailed, yet must be regarded as a<br />
happy sign of the times.<br />
On the whole the Scand<strong>in</strong>avian countries' scattered geographical position and<br />
most highly differentiated natural situation show already that they are not determ<strong>in</strong>ed to<br />
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create such a compact mass as, for example, France. Indeed, <strong>in</strong> that sense not even our<br />
literature will become one and without division, evidently to express everyth<strong>in</strong>g that is<br />
alive <strong>in</strong> the nation, so necessarily what is characteristic and <strong>in</strong>dependent <strong>in</strong> the three<br />
Nordic people must also f<strong>in</strong>d its expression <strong>in</strong> their common literature, which accord<strong>in</strong>gly<br />
must <strong>in</strong>deed manifest itself as a unity, but <strong>in</strong> addition with a certa<strong>in</strong> obvious articulation.<br />
Accord<strong>in</strong>gly <strong>in</strong> this respect the Norwegians' effort to emancipate itself completely from<br />
Danish literature deserves recognition, and the Danish are completely wrong to condemn<br />
the thought of develop<strong>in</strong>g the recognizable Norwegian written language, as a phantom of<br />
a narrow-m<strong>in</strong>ded Norwegian fanaticism. In spite of all Danish protests, it is already<br />
recognized more and more by the language, if someth<strong>in</strong>g is written south or north of<br />
Kattegat, and we need only to get a Norwegian dictionary accord<strong>in</strong>g to Professor<br />
Holmboe's plan 10 <strong>in</strong> order that it will show how much we have that is remarkable <strong>in</strong> our<br />
vocabulary. And yet are yonder Norwegian Norwegians so far from act<strong>in</strong>g aga<strong>in</strong>st the<br />
Scand<strong>in</strong>avian Idea's <strong>in</strong>terests, that they are rather to be regarded as its necessary<br />
forerunners. A liberation must come first, before a free affiliation can take place; only<br />
when Norway truly owns someth<strong>in</strong>g, can it have someth<strong>in</strong>g to deposit <strong>in</strong> the common<br />
fund. Therefore, much seems to suggest that Scand<strong>in</strong>avian literature has <strong>in</strong> common with<br />
the ancient Greek to be divided <strong>in</strong>to dialects; but this did not prevent the latter [language]<br />
from be<strong>in</strong>g great and immortal and perhaps the most well-rounded which has yet existed.<br />
10 See the periodical Nor, 3rd volume's 1st part; Morgenbladet no. 193.<br />
III.<br />
452
What, then, has Norway <strong>in</strong> particular to do with respect to the Scand<strong>in</strong>avian Idea?<br />
First and foremost, not to be afraid of it, as someth<strong>in</strong>g which will be dangerous to its<br />
<strong>in</strong>dependence, should it not be altogether as "politically <strong>in</strong>nocent" <strong>in</strong> its deepest<br />
foundation as at first glance it appears. The idea of Scand<strong>in</strong>avian union would be<br />
dangerous only if Norway did not possess strength enough to assert itself beside the<br />
neighbor states, if it were not able to behave with perfect dignity <strong>in</strong> the confederation. By<br />
that, then, is already suggested, what first and foremost must be the purpose of the<br />
Norwegian nation's endeavors, what there actually is for us to do; that is, namely,<br />
precisely as much as possible to liberate ourselves from all undue dependence, to give our<br />
<strong>in</strong>dependence and all our spiritual as well as material powers the highest possible degree<br />
of harmonious development. Let the <strong>in</strong>dustries struggle forward, as far as the country's<br />
nature will permit; let the military power and a true warrior spirit rise; let science and art<br />
be pursued with zeal and enthusiasm; let the whole national spirit be steadily more and<br />
more developed and strengthened, by recall<strong>in</strong>g the forefathers' proud customs and<br />
achievements; truly, it shall then be felt that our neighbors do not need us less than we<br />
them, and Norway's <strong>in</strong>dependence <strong>in</strong> the union will then be sufficiently secure, and by the<br />
union doubly secure aga<strong>in</strong>st every foreign molestation. As far as the <strong>in</strong>dustries are<br />
concerned, the matter speaks for itself; with respect to the military power, is it bad to<br />
neglect it now, because for the moment we have peace. The war will reach us to be sure,<br />
and perhaps before we suspect it, and woe to us, if it meets us unprepared! The<br />
Scand<strong>in</strong>avian k<strong>in</strong>gdoms would come to need all the power they could summon, and<br />
considerations of their possible union should sharpen our zeal even more <strong>in</strong> this respect,<br />
for once to be able to contribute a not contemptible addition to the common defensive<br />
453
strength. The Scand<strong>in</strong>avian Idea must on the whole enlarge our vision with respect to our<br />
situation; it must make us at once more courageous and more cautious; more courageous,<br />
because <strong>in</strong> union with our neighbors we could expect to accomplish someth<strong>in</strong>g, more<br />
cautious, because for this reason we ourselves are led to attach importance to our military<br />
establishment and not to regard it as a useless embellishment. Accord<strong>in</strong>gly, those<br />
considerations which otherwise could mislead us <strong>in</strong>to direct<strong>in</strong>g our attention all-too<br />
exclusively to a one-sided defese, must yield to bolder and more comprehensive<br />
perceptions. We would certa<strong>in</strong>ly not <strong>in</strong> any way th<strong>in</strong>k of mak<strong>in</strong>g conquests; but it must<br />
be recognized that the division between defensive and offensive war, even though it is<br />
emphasized even <strong>in</strong> our constitution, scarcely permits <strong>in</strong> reality strictly to be<br />
accomplished, precisely because a surprise attack at the right time can often be the most<br />
effective, even the only possible means of defense. Especially when a David shall fight<br />
with a Goliath it is of the greatest importance to reach the giant with a deft shot from a<br />
sl<strong>in</strong>g, before he actually gets his crush<strong>in</strong>g club lifted.<br />
And as far as science and literature are concerned, it should still be recognized,<br />
that these are not luxuries or toys, but altogether necessary l<strong>in</strong>ks <strong>in</strong> a state organization.<br />
We could <strong>in</strong>deed not avoid becom<strong>in</strong>g <strong>in</strong>tellectually dependent oOn those who write our<br />
books and on the whole stand above us <strong>in</strong> education and knowledge; and political<br />
<strong>in</strong>dependence does not reconcile at all with <strong>in</strong>tellectual dependence. Therefore, not only<br />
the immediate practical subjects, but on the whole everyth<strong>in</strong>g which <strong>in</strong> general<br />
determ<strong>in</strong>es spiritual culture, history, philosophy, yes all the way to poetry and the f<strong>in</strong>e<br />
arts, must be considered <strong>in</strong>dispensable <strong>in</strong> every truly <strong>in</strong>dependent state. Where a nation<br />
lacks this important means to come to full and deep consciousness of itself it is and<br />
454
ema<strong>in</strong>s actually <strong>in</strong>competent, and its political <strong>in</strong>dependence an empty form. If <strong>in</strong> this<br />
respect Norway cannot raise itself to a suitable rank <strong>in</strong> relation to its neighbors, then it<br />
could well be feared, that under a com<strong>in</strong>g Scand<strong>in</strong>avian union, Denmark especially would<br />
raise its old supremacy; --or more correctly, even without a union, the Danes would still<br />
dom<strong>in</strong>ate us fundamentally.<br />
Yet, we do not suppose that there is any danger; Norway has <strong>in</strong> its womb so many<br />
material and spiritual powers, that when they only become conscientiously developed,<br />
they will to be sure secure it an honorable and <strong>in</strong>dependent place beside its neighbor<br />
countries. But Norway is still a young state, everyth<strong>in</strong>g is only <strong>in</strong> its spr<strong>in</strong>g<strong>in</strong>g-forth;<br />
before it can really develop itself to firm dist<strong>in</strong>ctiveness, it is <strong>in</strong>deed best, that at first for<br />
the most part it conduct itself separately. Norway has accord<strong>in</strong>gly for the moment no<br />
reason to accelerate the Scand<strong>in</strong>avian union; it must on the contrary still desire a period of<br />
preparation, before it can appear beside its neighbors <strong>in</strong> all situations with dignity, with<br />
mature powers and with a firmly marked and consistent and articulate national spirit, and<br />
not only from the first moment be able to make an <strong>in</strong>contestable claim to full recognition,<br />
but also later cont<strong>in</strong>ually to raise its position with honor. A closer association, which will<br />
then precisely protect its <strong>in</strong>dependence, could perhaps, if it happened too soon, be<br />
overwhelm<strong>in</strong>g and h<strong>in</strong>der the still slender shoots' characteristic development.<br />
Accord<strong>in</strong>gly--it may also really be the general sentiment among us--at first we take no<br />
active step; but we do not h<strong>in</strong>der the free movement of the idea; we anticipate as a<br />
possibility, even as a probability, that at some time it will be realized, and we use the<br />
<strong>in</strong>terven<strong>in</strong>g time <strong>in</strong> order that it really can become to us a rich bless<strong>in</strong>g, as accord<strong>in</strong>g to its<br />
nature it should be. This, we believe, is <strong>in</strong> any case a far more valuable mode of op<strong>in</strong>ion,<br />
455
than either theirs, who <strong>in</strong> their limited nationalistic arrogance rely upon our steep cliffs,<br />
and imag<strong>in</strong>e that <strong>in</strong> every respect and <strong>in</strong> every situation now and <strong>in</strong> the future we will be<br />
sufficient to ourselves, or those who, <strong>in</strong> dishonorable cowardice, place their trust <strong>in</strong> our<br />
<strong>in</strong>significance and weakness, and believe to have <strong>in</strong> that the best shield aga<strong>in</strong>st all k<strong>in</strong>ds<br />
of misfortunes. That is not what any true, enlightened Norwegian th<strong>in</strong>ks. On the<br />
contrary: we feel that <strong>in</strong> much we are still <strong>in</strong>ferior, that for the moment, alone by<br />
ourselves, we have not altogether the weight <strong>in</strong> Europe as at one time; we suspect that<br />
there are imm<strong>in</strong>ent hard tests and bad times, where to be sure we could have need of<br />
assistance; but we are both proud and <strong>in</strong>telligent enough to take this preferably from our<br />
brothers, whom we similarly could support; and we still feel so much of the forefathers'<br />
fire and strength <strong>in</strong> us that we doubt not of a f<strong>in</strong>al victory. We discern it pla<strong>in</strong>ly: we are<br />
still determ<strong>in</strong>ed to perform great deeds <strong>in</strong> the world's great places; the old Norsemen were<br />
the terror of civilized Europe, so shall the new Scand<strong>in</strong>avia be civilization's asylum; our<br />
Archaean rock, or rather our enlightened, free and equal spirit shall create the archipelago<br />
aga<strong>in</strong>st which the threaten<strong>in</strong>g waves of barbarism and despotism shall be broken and<br />
must be cast powerlessly back. There it is written: "thus far and no farther!"<br />
456
V. Plays Advertised <strong>in</strong> Christianssand and Arendal, for performance <strong>in</strong><br />
Sørlandet, 1844-48).<br />
There was no local newspaper <strong>in</strong> Grimstad <strong>in</strong> the 1840s, but there were newspapers <strong>in</strong><br />
Christianssand and Arendal, two larger towns on the Norwegian coast to the south and<br />
north of Grimstad respectively. Theatre troupes generally traveled by boat along the<br />
coast, and on occasion they put <strong>in</strong> at Grimstad and performed part of their repertoire. We<br />
do not know which plays they performed <strong>in</strong> Grimstad, but it is <strong>in</strong>terest<strong>in</strong>g that <strong>in</strong> 1847 a<br />
company <strong>in</strong> Sørlandet performed Molière’s Don Juan, s<strong>in</strong>ce the hero of <strong>Ibsen</strong>’s first play,<br />
like Don Juan, is a libert<strong>in</strong>e. We also know that <strong>Ibsen</strong> was aware of Hostrup’s Genboerne<br />
(“Neighbors”), a comedy that was performed <strong>in</strong> the area dur<strong>in</strong>g the summer of 1848.<br />
In the follow<strong>in</strong>g list, the play as advertised <strong>in</strong> the newspapers comes first <strong>in</strong> quotation<br />
marks; publication <strong>in</strong>formation about the play follows. For an explanation of <strong>in</strong>itials <strong>in</strong><br />
parentheses, see the end of the list.<br />
(NB: K.= advertised <strong>in</strong> Christiansand; A.= advertised <strong>in</strong> Arendal.)<br />
1844-- P. I. Titchen Company<br />
Feb. 3, A.--<br />
"Ungdommen maa rase, nyt lystspil i 2 Acter efter Angelys (d. 1835) orig<strong>in</strong>al."<br />
"Ukjent forfatter" (EA).<br />
Feb. 3, A.--<br />
"Romeo e Giulietta, nyt lystspil i 1 Act." (1843)<br />
[Warburg, C.A.] Romeo e Giulietta. Lystspil i 1 Akt. København 1843.<br />
Feb. 6, A.--<br />
Hvedbrødsdagene, lystsp. i 2 Acter."<br />
Scribe, Aug. Eug., Mélesville (i.e., Duveyrier, Anne Honoré Joseph, baron), og<br />
Carmouches, (Pierre Francois Adolphe). Hvedebrødsdagene, Lystspil i 2 Acter,<br />
oversat efter La lune de miel, af J. E. Beck. Arendal 1833.<br />
Feb. 6, A.--<br />
"Old<strong>in</strong>gens ung Kone, ny Vaudeville i 2 Acter."<br />
457
"af Scribe" (EA).<br />
Feb. 10, A.--<br />
"Formyndere og Myndl<strong>in</strong>g, Lystsp. i 1 Act. Efter Scribes og Courcys "Simpel<br />
Historie" overs. af J. L. Heiberg."<br />
Formynder og Myndl<strong>in</strong>g. Lystspil i 1 Act. Efter Scribe's og de Courcy's "Simple<br />
Historie," oversat ved J. L. Heiberg. København 1829. (DKTR Nr. 20.)<br />
Feb. 10, A.--<br />
"Brud og Brudgom i een Person, Lystspil i 2 Acter efter det tydske."<br />
Kotzebue, A. v. Brud og Brudgom i een Person. Comedie i 2 Acter oversat ved<br />
N. T. Bruun. København 1815.<br />
Feb. 16, A.--<br />
"Man kan hvad Man vil, Lystspil i 2 Acter efter det franske, oversat af Professor J.<br />
L. Heiberg."<br />
Ancelot [Jacques Arsene Polycarpe Francois], og Alexis de Comberousse, Man<br />
kan hvad man vil. ("Vouloir, c'est pouvoir.") Efter det Franske oversat af J[oh.]<br />
L[udv.] Heiberg. København 1838. (DKTR Nr. 96.)<br />
Feb. 16, A.--<br />
"Michel Perr<strong>in</strong> eller Politie-Spionen uden at vide det, Vaudeville i 2 Acter af<br />
Melesville og Chr. Duveyrier, overs. av Th. Overskou."<br />
Melesville, [Anne Honoré Joseph Duveyrier], og Charles Duveyrier. Michael<br />
Perr<strong>in</strong> eller Politispionen uden at vide det. Bearb. af Thom. Overskou.<br />
København 1835. (DKTR Nr. 73.)<br />
Feb. 18, A.--<br />
"Debutant<strong>in</strong>dens Fader, Lystspil i 5 Acter efter det franske af Bayard og<br />
Theaulon."<br />
Bayard, [Jean Francois Alfr.] og [Marie Emanuel Guillaume<br />
Marguerite]Théaulon [de Lambert], Debutant<strong>in</strong>dens Fader. Frit efter det<br />
Franske [ved Carl Otto]. København 1840. (Dramatisk Repertoire, Nr. 1).<br />
458
Feb. 18, A.--<br />
"Recruten, Vaudeville i 1 Act af Merle, Simon<strong>in</strong> og Ferd<strong>in</strong>and, overs. af Th.<br />
Overskou."<br />
Merle, [Jean Toussa<strong>in</strong>t], [Anto<strong>in</strong>e Jean Baptiste] Simon<strong>in</strong> og Ferd<strong>in</strong>and [i.e.,<br />
Ferd<strong>in</strong>and Laloue], Rekruten. Oversat og localisert af Th[om.] Overskou.<br />
København 1834.<br />
Feb. 19, A.--<br />
"De borgerlige Stevnemøder, Lystsp. i 2 Act af Hofmann."<br />
Hofman, [Francois Benoit], De borgerlige Stævnemoder. Comedie i 1 Act;<br />
oversat ved N. T. Bruun. København 1819.<br />
Feb. 19; Mar. 11, A.--<br />
"Jeppe paa Bjerget eller Den forvandlede Bonde, Comedie i 5 Acter af Baron<br />
Ludvig v. Holberg."<br />
[Holberg, Ludv.] Jeppe paa Bierget eller den forvandlede Bonde. En Comoedie i<br />
5 Acter. København 1802. (First published 1722.)<br />
Feb. 23, A.--<br />
"En Bryllupsdag-fataliteter, orig<strong>in</strong>alt Lystsp. i 2 Acter, af Th. Overskou."<br />
(København 1840. DKTR Nr. 118.)<br />
118.)<br />
Overskou, Th[omas]. En Bryllupsdags Fataliteter. København 1840. (DKTR Nr.<br />
Feb. 32, A.--<br />
"Recentsen og Dyret, orig<strong>in</strong>al Vaud. i 1 Act af J.L. Heiberg."<br />
Heiberg, Joh. Ludv., Recentsen og Dyret. Vaudeville. Udgiven af Ferd.<br />
Pr<strong>in</strong>tzlau. København 1827.<br />
Feb. 25, A.--<br />
"Svend Dyr<strong>in</strong>gs Hus, romantisk Skuespil i 4 Acter, med Sang og Chor, af Henr.<br />
Hertz; Musiken componert af Concertmaster Rung." (København 1837.)<br />
Hertz, Henr. Svend Dyr<strong>in</strong>gs Hus. København 1837.<br />
459
Mar. 5, A.--<br />
"Ørkenens Søn, ny romantisk Skuespil i 5 Acter af `Frederick Halm,' overs. af C.<br />
Borgaard."<br />
Holm, (Fr.). Ørkenens Søn, fra "Der Sohn der Wildnis," overs. av Borgaaard.<br />
København 1843.<br />
Mar. 10, A.--<br />
"Hr. Bonaventures Reise-Eventyr eller saadan Reiser man med Deligencen,<br />
Vaudeville i 6 Acter."<br />
Mar. 10, A.--<br />
"Intriguen ved Morskabstheatret, orig<strong>in</strong>al Vaud. i 1 Act."<br />
Intriguen ved Morskabstheatret, Orig<strong>in</strong>al Vaudeville i en Akt af A. L. Arnesen.<br />
København 1891.<br />
Mar. 11, A.--<br />
"Rataplan, den lille Tambour, Vaudeville i 1 Act."<br />
Rataplan, eller Den Lille Tambour, Vaudeville i 1 Act, [af Sevr<strong>in</strong> [i.e., Charl.<br />
August<strong>in</strong> Bassompierre] og A.V. Vizent<strong>in</strong>i], overs. efter (Louis) Angely af H.P.<br />
Holst. København 1834. (Orig<strong>in</strong>al title: "Rataplan, ou: Le petit tambour.")<br />
Mar. 13, A.--<br />
Slaget i Kjøgebugt, orig<strong>in</strong>al dramatisk Skildr<strong>in</strong>g i 1 Act med sang, af kongl.<br />
Skuesp. W. Holst."<br />
Holst Wilh. [Conr.] Slaget i Kjøgebugt. København 1835.<br />
Mar. 13, A.--<br />
"Nei! orig<strong>in</strong>al Vaud. i 1 Act."<br />
Heiberg, Joh. Ludv. Nei. København 1836.<br />
Mar. 13, A.--<br />
"De Uadskillelige, orig<strong>in</strong>al Vaudeville i 1 Act."<br />
460
Heiberg, Joh. Ludv. De Uadskillelige. Vaudeville. Met et Kobber, efter Tegn<strong>in</strong>g<br />
av [Chr. Wilh.] Eckersberg. Udgiven af Ferd. Pr<strong>in</strong>tzlau. København 1827.<br />
Apr. 9, A.--<br />
"Don Juan af Østerrig, Ridderskuespil i 5 Acter, af Casimir Delavigne, overs. af<br />
Borgaard."<br />
Delavigne, Casimir. Don Juan af Østerrig. Oversat af C[arl Pt.] Borgaard.<br />
København 1834. (DKTR Nr. 58.)<br />
-- Cortes and Weyse Company.<br />
Oct. 27, A.--<br />
"Recreations-Reise, Lystsp. i 1 Act efter det tydske."<br />
"Forf. ukj." (EA)<br />
Oct. 27, A.--<br />
"Far<strong>in</strong>elli, Lystsp. i 3 Acter med Chor og Sang ved J. L. Heiberg."<br />
Sa<strong>in</strong>t-Georges, de [i.e., Jules Henri de Vernoy], og Leuven [i.e., Adolph, Grev<br />
Ribb<strong>in</strong>g]. Far<strong>in</strong>elli. Efter det Franske. Oversat af J[oh.] L[udv.] Heiberg.<br />
København 1837. (DKTR Nr. 94.)<br />
Oct. 31, A.--<br />
"Leonora! lyrisk Drama i 3 Avdel<strong>in</strong>ger af Baron v. Holtey. Musiken af Professor<br />
Eberwe<strong>in</strong>."<br />
Oct. 31, A.--<br />
"List og Phlegma, Vaud. i 1 Act af Angely."<br />
List og Phlegma, vaud. i 1 a. av Angely, bearb. efter Patrat's Kom. "Le Resolution<br />
<strong>in</strong>utile, ou: Les Deguisements amoureux," overs. og omarb. av. H. Wergeland.<br />
(CTR)<br />
Nov. 3, 5, A.--<br />
461
"Den Usynlige paa Sprogøe, dramatisk Spøg i 1 Act med Chor og Sange af H.C.<br />
Andersen. med tilhørende Spansk Nationaldands. ‘Et Jaleo de Xerxes,’ som<br />
dandses i Costume af Jrf. Andersen."<br />
Andersen, H[ans] C[hr.] Den Usynlige paa Sprogø. København 1839. (DKTR<br />
Nr. 113.)<br />
Nov. 3, A.--<br />
"Malles Friere, Vaudeville monolog i 1 Act."<br />
"af Edvard Meyer" (EA)<br />
Nov. 3, A.--<br />
"Recentsen og Dyret, Vaudeville i 1 Act af Heiberg." (See Feb. 23.)<br />
Nov. 5, A.--<br />
"Den Usynlige Hans, Operette i i Act af Cost<strong>in</strong>oble, Musikken af Eule."<br />
Dec. 4, A.--<br />
"Djævelens Memoirer, Skuespil i 3 Acter af Etienne Arago og Paul Vermond."<br />
1845-- None.<br />
1846-- None.<br />
"Djævelens Memoirer," Drama i tre Acter af Etienne Arago og Paul Vermond.<br />
MS Nr. 301 <strong>in</strong> the university library, Oslo.<br />
"Les mémoires du diable," overs. av N. A. Colban. (CTR.)<br />
1847-- Chr. L. Hansen Company (Den Bergenske Skuespillerselskab)<br />
May 9, K.; May 24, A.--<br />
"Indkvarter<strong>in</strong>gen, Lystspil i een Act."<br />
462
Henrik Hertz. Indqvarter<strong>in</strong>gen, Lystspil i 1 Act. København 1841.<br />
May 9, K.; June 15, A.--<br />
"Postillonen i Lonjumeau."<br />
De Leuven [i.e., Adolph, Grev Ribb<strong>in</strong>g] og Brunswick [i.e., Léon Lheric].<br />
Postillonen i Lonjumeau. Oversat af Th[om.] Overskou. København 1837.<br />
May 9, K.; May 26, A.--<br />
"Adolph og Henriette, Vaudeville i een Akt ved A.L. Arnesen."<br />
Adolph og Henriette. Dramatisk Spøg i 1 Act, efter den franske Vaudeville<br />
"Indiana et Charlemagne," (av Dumanoir and Bayard, oversat) ved A. L. Arnesen.<br />
MS Nr. 338 <strong>in</strong> the University Library, Oslo.<br />
May 11, K.; June 15, A.--<br />
"Kong Renes Datter, lyrisk Drama i een Act af H. Hertz."<br />
Hertz, Henr. Kong Rene's datter: lyrisk Drama. København 1843.<br />
May 11, K.--<br />
"Jovial eller Underfogden som Poet."<br />
Théaulon (i.e., de Lambert, Marie Emanuel Guillaume Marguérite) and (Adolphe)<br />
Choquart. (Orig<strong>in</strong>al title: "M. Jovial, ou: L'Huissier Chansonnier.") (CTR.)<br />
May 12, K.; May 24, A.--<br />
"Don Cæsar de Bazan, Drama i 5 Acter af Dumanoir and Dennery."<br />
Lystsp. i 5 a. av Dumanoir og Dennery. "Don César de Bazan," overs. av N. C. L.<br />
Abrahams. København 1846.<br />
May 16, K.; June 9, A.--<br />
"Regimentets Datter, Opera i 2 Akter af Sa<strong>in</strong>t Georges og Bayard; Musiken af<br />
Donizetti, oversat af Th. Overskou."<br />
Sa<strong>in</strong>t-Georges, de [i.e., Jules Henri de Vernoy], og [Jean Francoise Albert]<br />
Bayard. Regimentets Datter. Oversat af Th[om.] Overskou. København 1840.<br />
(DKTR Nr. 122.)<br />
463
May 19, K.--<br />
"Ulla skal paa Bal, en Bellmansk Situation af Heiberg." (København 1845.)<br />
Heiberg, (J. L.). Ulla skal paa Bal. København 1845.<br />
May 19, K.--<br />
"Tordenskiold, orig<strong>in</strong>al Vaudeville i 1 Akt af H.Ø. Blom."<br />
Tordenskiold. Vaudeville i een Act, af H. Ø. Blom. MS Nr. 324, university<br />
library, Oslo.<br />
May 19, K.; May 26, 30, June 13, A.--<br />
"Intriguerne, Vaudeville i 1 Akt af Forfatteren til ‘Gjenboerne'".<br />
Hostrup, Christian. Intrigerne. Vaudeville. København 1846.<br />
May 30, A.--<br />
"Jean<strong>net</strong>te og Jean<strong>net</strong>ton, Comedie i 2 Acter af Scribe."<br />
Jean<strong>net</strong>te og Jean<strong>net</strong>ton. Lystsp. i 2 A. af. av Scribe og Varner, overs. (av G. E.<br />
Schjelderup). København 1850.<br />
June 1, A.--<br />
"Don Juan eller Steengjæstebudet, Comedie i 5 Acter af Moliere: paany oversat af<br />
Th. Overskou."<br />
Kom. i 5 a. av Moliere. Don Juan, ou: Le Fest<strong>in</strong> de Pierre, overs. av Overskou.<br />
(København 1844.)<br />
June 6, A.--<br />
"En Herre og en Dame, Vaudeville i 1 Act."<br />
vaud. i 1 a. av Xavier, Duvert og Lauzanne. "Un Monsieur et une Dame." (CTR)<br />
June 6, A.--<br />
"Den Reisende Student, Vaudeville i 2 Acter."<br />
464
(CTR)<br />
vaud. i 2 a. av Schneider. "Der Reisende Student, oder: Das Donnerwetter."<br />
June 13, A.--<br />
"Napoleon paa St. Helena, historisk Drama i 3 Acter af Duperty og Regnier."<br />
Napoleon. Historisk drama i to Dele. Oversat og omarbeidet af Thom. Overskou<br />
efter Désiré Charles Dupeuty og Francois Joseph Regnier de la Brière. Udg. av<br />
Ferd Pr<strong>in</strong>tzlau. København 1832.<br />
June 15, A.--<br />
"Kjærlighedsdrømme eller Søvngjængersken, Vaudeville i 2 Acter, efter `La<br />
Somnambula" ved J. L. Heiberg."<br />
Kjærligheds Drømme. Vaudeville, oversat efter La Somnambule, af E. Scribe og<br />
G[erma<strong>in</strong>] Delavigne, og <strong>in</strong>drettet for den danske Skueplads ved Joh. Ludv.<br />
Heiberg. Udgiven af Ferd<strong>in</strong>and Pr<strong>in</strong>tzlau. København 1827.<br />
1848-- Hans Sørensen Company (Den Bergenske Skuespillerselskab).<br />
Aug. 26, A.; Sept. 8, K.--<br />
"Genboerne."<br />
Hostrup, Christian. Genboerne. Vaudeville-Komedie. København 1847.<br />
Aug. 27, A.--<br />
"Pak, Lystsp. i 5 Acter af Overskou."<br />
Overskou, Thomas. Pak! Lystspil i 5 Acter. København 1845.<br />
Aug. 30, A.--<br />
"Babiole og Joblet, Lystspil i 2 Acter."<br />
Aug. 30, A.--<br />
Scribe, Eugene and Xavier. Babiole og Joblet, Lystspil i 2 Acter, overs. af<br />
Overskou. In Th. Overskous Selskabstheatret. En Skuespilsaml. m. Anviisn<strong>in</strong>g<br />
til Udførelsen. (København) 1847.<br />
465
"En Sondag paa Amager, Vaudeville i 1 Act av et Anonym."<br />
Heiberg, Johanne Luise. En Søndag paa Amager. Vaudeville. København 1848.<br />
Sept. 3, A.; Sept. 11, K.--<br />
"En Pariser<strong>in</strong>de, Lystspild i 2 Acter efter det fransk."<br />
"En Pariser<strong>in</strong>de. Lystsp. i 2 a. av Emile Souvestre."<br />
Sept. 3, A.--<br />
"List og Phlegma, Vaudeville i 2 Act af Angely." (See Oct. 31, 1844.)<br />
Sept. 11, K.--<br />
"Salonen eller Intrigen i Kræmmerhuset, orig<strong>in</strong>al norsk Vaudeville i 1 Act af Rolf<br />
Olsen."<br />
1849 -- None.<br />
1850 -- None.<br />
Olsen, Rolf. Salonen eller Intrigen i Kræmmerhuset. Vaudeville i een Act. Chra.<br />
1848.<br />
KEY TO ABBREVIATIONS:<br />
CTR = Christiania Theaters Repertoire, 1827-99. Øyv<strong>in</strong>d Anker. Oslo: Gyldendal,<br />
1956.<br />
DKTR = Det Kongelige Theaters Repertoire, København 1828 ff.<br />
EA= Teater i Norge . . . . Eli Anste<strong>in</strong>sson. Oslo: Universitetsforlaget, 1968.<br />
466
VI. Jørgen Moe. "Indledn<strong>in</strong>g." Saml<strong>in</strong>g af Sange, Folkeviser og Stev.<br />
Norske Almuedialekter. Christiania: P. T. Mall<strong>in</strong>gs Forlag, 1840.<br />
Some of what is written <strong>in</strong> the follow<strong>in</strong>g essay will not be easily understood by<br />
English-speak<strong>in</strong>g readers, s<strong>in</strong>ce it has to do with styles of verse and folk poetry<br />
unfamiliar outside of Norway. All the same, it has seemed worthwhile to <strong>in</strong>clude the<br />
essay because of its <strong>in</strong>tr<strong>in</strong>sic <strong>in</strong>terest, and because its ideas appear to have <strong>in</strong>fluenced<br />
<strong>Ibsen</strong> <strong>in</strong> the composition of some of the poems he wrote <strong>in</strong> 1849-50. He planned to<br />
produce a series of folk songs at the time, but the only one of this series which<br />
survives is “Møllergutten” (“The Miller Boy”), whose verses are actually lyrics. They<br />
were to be set to the melody of a folk song, “Aa kjøre vatn aa kjøre ved” (“If you go<br />
<strong>in</strong>to the water you will get wet”). See H[ans] Eitrem, “Henrik <strong>Ibsen</strong>—Henrik<br />
Wergeland,” Maal og M<strong>in</strong>ne (Kristiania) 1910, 38-9.<br />
The author of this essay was later to be the partner of Asbjørnsen <strong>in</strong> a large project of<br />
collect<strong>in</strong>g Norwegian folk tales: Peter Christen Asbjørnsen og Jørgen Moe. Norske<br />
folkeeventyr. 2 nd ed. Christiania: J. Dahl, 1852.<br />
If one assumes that the ma<strong>in</strong> requirement of a country's serious literature is that<br />
it should reflect, <strong>in</strong> pure, ref<strong>in</strong>ed images, the life of the people as it has existed as a<br />
result of physical and historical conditions, it will hardly occur to anyone to deny that<br />
what we call Norwegian poetry stands very low. Nor will anyone grope for long after<br />
the reason: at the time "the lion was tamed by a poodle," it was natural that the<br />
Norwegian Pegasus, displaced onto the Danish pla<strong>in</strong>s and mauled by German and<br />
French, forgot its ancient flight from mounta<strong>in</strong>top to mounta<strong>in</strong>top. After the<br />
separation from Denmark the political element consumed all the energy, and none of<br />
that period's poetry-writ<strong>in</strong>g Northmen towered so much above his time that, liberated<br />
from this one-sided struggle, he was able to lose himself <strong>in</strong> and express the home-and-<br />
heart-life of the people,--except for just one, our splendid Maurits Hansen. But one<br />
swallow--even a swallow with such a melodious breast--does not make a summer, and<br />
the present subject therefore <strong>in</strong>volves the unusual circumstance that our "art" poetry as<br />
467
a whole is rather separate from, is <strong>in</strong>deed purely alien to our "folk" poetry, such as it<br />
manifests itself, pr<strong>in</strong>cipally <strong>in</strong> stories and legends, but also <strong>in</strong> <strong>in</strong>dividual metric, lyric-<br />
epic forms. Still, however artificial and ref<strong>in</strong>ed a country's literature may be, even so,<br />
if it is genu<strong>in</strong>e, it has always preserved a fundamental tone <strong>in</strong> its folk poetry;--among<br />
us everyone sounds his own tone, and where the sounds unite, it has often been as<br />
disharmony.<br />
Even less than the life of the people, which so far has had one poet, has our<br />
mounta<strong>in</strong> scenery found a person who was open to it and also possessed of a m<strong>in</strong>d,<br />
who was able to liberate its poetry from fossilization, <strong>in</strong> which it lies spellbound. In<br />
this respect--I know it is a frightful heresy, but it must here come out!--I have a rash<br />
hope for Mr. Welhaven, a hope several of his poems have not alone for me awakened,<br />
but for me still only partly satisfied.<br />
For all those who acknowledge this defect of our "art" poetry--certa<strong>in</strong>ly the<br />
worst it can have--every means to alleviate the same must be of the utmost importance,<br />
and as long as there do not appear some, or even just one poetic spirit with the superior<br />
ability, that by its own power it can immerse itself <strong>in</strong> the life of the people and there<br />
liberate and resurrect with itself the abundance of poetry it possesses, so long must the<br />
present means be sought, of reach<strong>in</strong>g poetic persons with folk poems, <strong>in</strong> order that the<br />
breath of these (which <strong>in</strong> truth can be compared with the awaken<strong>in</strong>g and enliven<strong>in</strong>g<br />
spr<strong>in</strong>g w<strong>in</strong>d) can stimulate them to productions written <strong>in</strong> the people's spirit, or to<br />
receptivity to the same.<br />
Of course, I do not by any means want to have the designation "poetic person"<br />
taken <strong>in</strong> the narrowest sense of those--God knows how many--poet-names that, all<br />
468
th<strong>in</strong>gs considered, we could thereby obta<strong>in</strong>; I refer here equally to the brilliant readers,<br />
whose awaken<strong>in</strong>g to love the patriotic element <strong>in</strong> our self-develop<strong>in</strong>g literature is just<br />
as necessary, <strong>in</strong>asmuch as it is certa<strong>in</strong> that the poet, gently lifted and carried on his<br />
public's love, is able to atta<strong>in</strong> the highest. As far as the poems themselves are<br />
concerned, it is naturally not really the <strong>in</strong>tention to present subject matter (Stof) <strong>in</strong> the<br />
folk poetry,--we have enough of that, for the time be<strong>in</strong>g we have too much; I consider<br />
the worth and mean<strong>in</strong>g of these, as I suggested, to be only <strong>in</strong> the <strong>in</strong>spiration and<br />
livel<strong>in</strong>ess they carry <strong>in</strong> themselves. To be sure I judge those popular prose poems,<br />
legends, and especially folktales appear<strong>in</strong>g abundantly among us far higher <strong>in</strong> this<br />
respect than the only th<strong>in</strong>ly appear<strong>in</strong>g versified forms, because the former (i.e., <strong>in</strong><br />
prose), which to a great extent are Filosofemer (?) have a quite different profundity,<br />
and because they are lighter <strong>in</strong> a technical sense, they far more purely and more<br />
def<strong>in</strong>itely express their idea, while the latter (i.e., versified) lie bound <strong>in</strong> the form's far<br />
from <strong>in</strong>flexible and perfectly developed organism; but nevertheless these latter also<br />
without a doubt fully deserve attention, and that the moreso as they are more rare.<br />
They have besides someth<strong>in</strong>g that must and will secure them access to eye and ear--<br />
their melodies, these often so boundlessly delightful tones, whereby our mounta<strong>in</strong><br />
valleys' desires and pa<strong>in</strong>s dissolve and die.<br />
This is partly the mean<strong>in</strong>g (betydn<strong>in</strong>gen) which has led to the publication of<br />
this collection; still, it can be considered from another perspective, from that of the<br />
language. Indeed, as far as that goes, the dialects--with which I do not have familiarity<br />
enough to be able to judge--are reliable, yield<strong>in</strong>g examples, remnants of which our<br />
valley district still preserves of our glorious old Norse speech, and how these now<br />
469
form themselves--a contribution which could be <strong>in</strong>terest<strong>in</strong>g not alone for our age's<br />
researchers, but also for everyone else who <strong>in</strong>tends to use our language as a means of<br />
public communication. Indeed, I <strong>in</strong> no way want to have Dolgsmaal (?) laid on my<br />
conviction that it is the one correct th<strong>in</strong>g that our writers fetch from the gold m<strong>in</strong>es of<br />
the common language, that they need and that they could profitably use; these m<strong>in</strong>es<br />
conta<strong>in</strong> ores which have a clear and strong sound for melodies precisely for what<br />
Norwegians have to say and s<strong>in</strong>g. That criticism and taste must be applied here,<br />
however, is someth<strong>in</strong>g which goes without say<strong>in</strong>g. Moreover it is certa<strong>in</strong>ly the same,<br />
whether this conviction is concealed or expressed, it will even so <strong>in</strong> time manifest<br />
itself!<br />
This about the book <strong>in</strong> general. About its first part especially there is noth<strong>in</strong>g<br />
much to say. What there is of it is good, for example the delightful Stockfleth-esque<br />
"Heimatkomt" ("Homecom<strong>in</strong>g") and much of Storm, needs no recommendation, and<br />
of what is possibly less good it would even be wasted. Often the melody recommends<br />
the less remarkable text. But there could be a word to say about the poems <strong>in</strong> the<br />
second part of the book. These are authentic folk-poems, and <strong>in</strong>sofar as they are well-<br />
chosen, they bear the <strong>in</strong>ner mark thereof. But the artlessness <strong>in</strong> the form, which is to<br />
that extent remarkable, comb<strong>in</strong>es <strong>in</strong>deed the bold and certa<strong>in</strong>ly the typical, the<br />
genu<strong>in</strong>e, the true and the proficient, which surpris<strong>in</strong>gly meet us <strong>in</strong> all folk poetry. But<br />
do not ask here about the author; with every poem one receives only one answer: the<br />
people; s<strong>in</strong>ce it is written not to w<strong>in</strong> a name, but delight (Luft)--it is the profuse life,<br />
which must liberate itself, that is the source, that which fights its way up <strong>in</strong>to the<br />
daylight. What He<strong>in</strong>e has adduced about the German peasant's improvisations:<br />
470
Wer hat das schone Liedel erdacht?<br />
Es habens drei Gans ubers Wasser gebracht,<br />
Zwei graue und e<strong>in</strong>e weife,<br />
(Who has made this beautiful song?"<br />
Three geese have brought it over the water,<br />
Two gray and one white,)<br />
is said <strong>in</strong> Norwegian about these folk-poems:<br />
Aa denna Visa har gjort sei sjøl:<br />
Hu kom naa flytanes paa et Fjøl.<br />
(This ballad has been made by the soul itself:<br />
She comes now float<strong>in</strong>g over a mounta<strong>in</strong>.)<br />
But precisely because it is <strong>in</strong>cl<strong>in</strong>ation and not conscious purpose to which these<br />
poems owe their existence, they have accord<strong>in</strong>gly someth<strong>in</strong>g to give, and they give it<br />
with truth. As improvisations they must necessarily be understood <strong>in</strong> connection with<br />
their melodies, and as such they have an often miraculous power. As an example I<br />
will mention the deep, <strong>in</strong>timately lament<strong>in</strong>g: "Ifjør jet e Jeiten." In contrast to this the<br />
baroque-comic "Han Mas aa'n Lasse" constitutes an example. In the background of<br />
this baroque-comic mood, where everyth<strong>in</strong>g romps joyfully together, there rema<strong>in</strong>s <strong>in</strong><br />
addition, often <strong>in</strong> the text, but almost always <strong>in</strong> the melody, a pa<strong>in</strong>ful, subdued tone,<br />
which I do not know how to compare with anyth<strong>in</strong>g better than with the miraculously<br />
vibrat<strong>in</strong>g and trembl<strong>in</strong>g lower str<strong>in</strong>g on the bottom of the Hardanger fiddle, when it is<br />
scraped <strong>in</strong> a charm<strong>in</strong>g Hall<strong>in</strong>g-dance, with short bold strokes. This pa<strong>in</strong>ful trembl<strong>in</strong>g,<br />
this hidden zither<strong>in</strong>g restlessness <strong>in</strong> the midst of the noisy, joyful, enthusiastic<br />
happ<strong>in</strong>ess I believe is dist<strong>in</strong>ctively Norwegian, a sound from our mounta<strong>in</strong> scenery<br />
471
itself, and I suggest it is not at all accidental that our folk-virtuosos' <strong>in</strong>strument is<br />
constructed <strong>in</strong> just that way. Through others (i.e., other poems) there goes a gentle<br />
romantic tone, for example through "Rabnabryllup i Kraakalund," which has the<br />
<strong>in</strong>timacy of a children's fairy-tale, and the especially pretty erotic situation: "Je seer<br />
dei ut for Gluggen" ("I see you through the peephole").<br />
--But it is especially the verses (Stevene), which by their dist<strong>in</strong>ctive method of<br />
com<strong>in</strong>g <strong>in</strong>to be<strong>in</strong>g and use, perhaps even more than by their contents, have claims on<br />
the attention. The verses, named after stef, i.e., a k<strong>in</strong>d of reflective, cont<strong>in</strong>ually<br />
backward-look<strong>in</strong>g refra<strong>in</strong> <strong>in</strong> the old skalds' strophes--are <strong>in</strong>deed to be regarded as a<br />
remnant of the improvisation through which the ancestors easily and energetically<br />
discharged their lively hearts. To "make stev" (i.e., to carry on a (dialogue) contest <strong>in</strong><br />
the improvisation of "stev") is a social enterta<strong>in</strong>ment; it is very common <strong>in</strong> several<br />
mounta<strong>in</strong> parishes, as far as I know, especially <strong>in</strong> the southwestern part of the<br />
country; 11 it consists of a song-competition, which is opened by a s<strong>in</strong>ger <strong>in</strong> the crowd<br />
(prepared), as with a provocative glance and tone he s<strong>in</strong>gs one of the usually stock<br />
challeng<strong>in</strong>g forms, like<br />
"Stevjast mæ me, kan de lite nytte;<br />
Men e ska laane de Krok aa Lykke,<br />
Aa e ska laane de Lykkje aa Krok<br />
Aa hægt saa Kjæften d<strong>in</strong> vel ihop!"<br />
(To make stev" with me, will do you little good;<br />
But I shall loan you a hook for luck,<br />
Oh I shall loan you a ribbon with the hook<br />
11 The honourable pastor A[ndreas] Faye, who <strong>in</strong>deed has had the goodness to communicate to the publisher<br />
most of the <strong>in</strong>cluded stev as well as my h<strong>in</strong>t about their use, etc., mentions especially Sætersdal as their true<br />
home; yet it occurs to me that the ones from there which are presented <strong>in</strong> this collection are among the most<br />
mediocre both <strong>in</strong> subject and form.<br />
472
To fasten your mouth together!)<br />
The one who takes up the challenge, answers for example:<br />
Aa e ska ta d<strong>in</strong>e Or paatværke,<br />
Saa d<strong>in</strong>e Kjakabe<strong>in</strong>, dei ska værke,<br />
Aa e ska ta d<strong>in</strong>e Or paa Sne,<br />
Saa Nasetippen ska hænge ne!<br />
(Oh I shall twist your ear crosswise,<br />
So your jawbone, will pa<strong>in</strong> you,<br />
Oh I shall twist your ear askew,<br />
So the tip of your nose will hang down!)<br />
I have taken pa<strong>in</strong>s to choose a pair of the most grandiose-arrogant suggestive<br />
verses (Intimationsvers), <strong>in</strong> order to show that <strong>in</strong> this piece our folk-s<strong>in</strong>gers <strong>in</strong> their<br />
controversies are not <strong>in</strong>ferior to our educated poets; but should someone believe all the<br />
same that they must yield, I do not know how to rescue them <strong>in</strong> any other way than by<br />
call<strong>in</strong>g attention to the lively mood <strong>in</strong> their boast<strong>in</strong>g; that will most likely restore the<br />
balance aga<strong>in</strong>.<br />
Accord<strong>in</strong>gly, when the battle is opened, they attack each other with stev of<br />
varied contents, until one is silenced and thereby conquered. However, one must not<br />
imag<strong>in</strong>e the whole as improvisation; the true Steverne are armed for battle with a<br />
whole pile of memorized stev, among which, dur<strong>in</strong>g the struggle, they have only to<br />
choose, or from which they choose and later accommodate what is chosen <strong>in</strong> its<br />
details; s<strong>in</strong>ce the one's stev always constitutes a supplement<strong>in</strong>g or respond<strong>in</strong>g l<strong>in</strong>k to<br />
the other's preced<strong>in</strong>g. Only when the combatants flare right up <strong>in</strong> anger, is everyth<strong>in</strong>g<br />
improvised between them, and these momentary <strong>in</strong>spirations (Tankefugle, i.e.,<br />
473
"thought-birds") usually have both beak and claws. In a second sense, namely <strong>in</strong> its<br />
orig<strong>in</strong>s, however, the whole battle's series of stev is naturally, like all folk-poetry,<br />
improvisation; not only by the Stever but also from the crowd. Accord<strong>in</strong>gly the<br />
custom that the Steverne have <strong>in</strong>herited from the old skalds, that they assiduously wet<br />
the throat, so the song will not sound hoarse; but this is the only pause which dares<br />
f<strong>in</strong>d a place, as long as the battle lasts.<br />
From this brief discussion of the orig<strong>in</strong> and use of the stev, one should expect a<br />
more po<strong>in</strong>ted and less <strong>in</strong>tricate subject matter than that here communicated allows one<br />
to conclude. But partly one must remember that a large part are written <strong>in</strong> another<br />
time, and partly reveal these children of nature <strong>in</strong> the midst of the listen<strong>in</strong>g crowd, free<br />
and unh<strong>in</strong>dered, (express<strong>in</strong>g) what moves them then and there. On the girls' lips<br />
especially therefore these small poems often overflow with a warmth of feel<strong>in</strong>g and an<br />
unmistakable s<strong>in</strong>cerity; one can easily feel that here especially, as <strong>in</strong> other places, is<br />
love's pleasure and pa<strong>in</strong>, which br<strong>in</strong>gs the warm blood to rise and the song to emit a<br />
fragrance. The prettiest of those here presented, those from Telemark, are almost all<br />
serious, and with all their simplicity, many still have someth<strong>in</strong>g which f<strong>in</strong>ds a way to<br />
the heart. If the m<strong>in</strong>d is to comprehend these poems, however, it must liberate itself<br />
from the effort of read<strong>in</strong>g modern ref<strong>in</strong>ed poetry as a path to perceiv<strong>in</strong>g a hidden<br />
mean<strong>in</strong>g underneath their naive and unsophisticated expression; of such a betrayal--if I<br />
may so call it--these small poems, <strong>in</strong> their <strong>in</strong>nocence, know noth<strong>in</strong>g. As an example I<br />
shall mention the stev: "Ja Kjærlikheta, ho kan bedrøve" ("Yes Love, how it can<br />
grieve"). In several of the gay and joyful expressions there is a good-natured teas<strong>in</strong>g;<br />
someth<strong>in</strong>g could even be f<strong>in</strong>e <strong>in</strong> suggestions for example "Om alle Guter sto i ei L<strong>in</strong>e"<br />
474
("If all the boys stood <strong>in</strong> a l<strong>in</strong>e"); but all of this k<strong>in</strong>d have that true, strong nature's<br />
priceless mood, replaceable by no substitute.<br />
In technical respects, one notices that all are formed accord<strong>in</strong>g to the same<br />
pattern, because they are the same melody underneath; from this perhaps the name.<br />
The easily soluble iambic series for each of these are besides not otherwise notable,<br />
than that the last enjambment's variation or supplement of the thought <strong>in</strong> the first<br />
enjambment, which can be compared with similar <strong>in</strong> heroic ballads, bears witness to<br />
the poems' orig<strong>in</strong> by improvisation, and furthermore what is more essential, that <strong>in</strong> the<br />
most highly imperfect rhyme the vocal sounds' resonance is sought with surpris<strong>in</strong>g<br />
accuracy and found with certa<strong>in</strong>ty. Should this signify that poetry with assonances<br />
will be able to f<strong>in</strong>d acceptance among our people?<br />
With these <strong>in</strong>troductory comments the book is delivered to readers of good<br />
will. Its poetry and melodies sound around Mangen's bow, sooth<strong>in</strong>g him <strong>in</strong> his first<br />
slumber and blend<strong>in</strong>g themselves <strong>in</strong> his gentlest dream; his childhood memories will<br />
better and more prettily tell their tale.<br />
475
VII. Translations of the Poems <strong>Ibsen</strong> Wrote <strong>in</strong> Grimstad.<br />
The order <strong>in</strong> which the poems are reproduced follows that <strong>in</strong> vol. 14 of Henrik <strong>Ibsen</strong>s<br />
Samlede Værker. Ved Francis Bull, Halvdan Koht, Didrik Arup Seip. Oslo:<br />
Gyldendal, 1937, 43-87.<br />
These are literal prose translations, lack<strong>in</strong>g the meter and rhyme of the orig<strong>in</strong>als, both of<br />
which are at times quite complex. <strong>Ibsen</strong>’s <strong>early</strong> poems are <strong>in</strong> general well crafted and<br />
carefully done, although they depend on trite poetic conventions.<br />
RESIGNATION (1847)<br />
Are you glimmers from the dark of the soul,<br />
That broke through the dense darkness,<br />
And that sparkle like a lightn<strong>in</strong>g flash,<br />
Born merely to be forgotten forever?<br />
Were all my yearn<strong>in</strong>gs futile,<br />
Was my dream just a phantom,<br />
Is the soul's ascent denied me,<br />
Was my poetry cold and empty!<br />
Be silent, then, you undertones!<br />
If I cannot understand you,<br />
Let me among millions<br />
Live forgotten and forgotten die!<br />
POEMS FROM 1848<br />
BY THE SEA<br />
Foam<strong>in</strong>g wave with battle-lov<strong>in</strong>g m<strong>in</strong>d! Who is able to follow you? Where are you<br />
head<strong>in</strong>g now? Who is able to restra<strong>in</strong> your stormy rush? Who to tame you, to hold you<br />
fast!<br />
Like a youth <strong>in</strong> wild tumultuous brawl, your desire was always to play aga<strong>in</strong>st the cliff.<br />
Yet <strong>in</strong> the midst of your struggle, <strong>in</strong> the midst of your anger, you beckon the little seaflower<br />
to your breast!<br />
476
The moment is fleet<strong>in</strong>g; like your greatness! Your force has vanished, then you s<strong>in</strong>k<br />
down! See, a grave awaits you <strong>in</strong> a break <strong>in</strong> the cliffs. Ha, wave! So ended your dream<br />
of achievement!<br />
Your lament merely blends with the breakers' song! What is left beh<strong>in</strong>d? Not even the<br />
memory! Because while <strong>in</strong> its heaven 12 your dreams preserve you, <strong>in</strong> the tumult of the<br />
waves you are long s<strong>in</strong>ce forgotten!<br />
DOUBT AND HOPE<br />
What a night, so frightful, dark! A gale is blow<strong>in</strong>g out there! Like the lion's roar <strong>in</strong> a<br />
desolate wilderness, hear the storm's breath<strong>in</strong>g! Do you come from death's valley, you<br />
shadows yonder, you gray-shrouded spirits who walk like ghosts across a battlefield at<br />
night?<br />
These thunderous voices sound <strong>in</strong> this midnight hour like the darkness' wild victory song,<br />
like doomsday's bassoon! Many times I have scoffed at the terror of doomsday; the fruit<br />
this <strong>in</strong>sult bore is wild despair now!<br />
Long, long ago, when I was a child, I made my even<strong>in</strong>g prayer to God <strong>in</strong> heaven so<br />
happily for mother and father and sibl<strong>in</strong>gs small: but that was over long ago, I have<br />
forgotten my prayer, I no longer seek consolation there, I am not disposed to piety!<br />
Toss<strong>in</strong>g soul! do you tremble so at these thunderclaps? In the terror of this stormy night<br />
you believe you will see doomsday, that day that never will come, thus your words often<br />
ran; and it has been a long time s<strong>in</strong>ce you believed <strong>in</strong> that God you are pray<strong>in</strong>g to!<br />
Demon, 13 are you awakened aga<strong>in</strong>? Depart from me, horrid tempter! Like the hurricane's<br />
wild chase it storms <strong>in</strong> my soul, and no guide, no path <strong>in</strong> this sea of doubt! God! I would<br />
give all worldly cunn<strong>in</strong>g for a childlike prayer to you!<br />
But I am a child no more, nor have a child's m<strong>in</strong>d! I am bl<strong>in</strong>d to the path the <strong>in</strong>nocent eye<br />
sees <strong>in</strong> faith! This night is terrify<strong>in</strong>g, illum<strong>in</strong>ated only by the lightn<strong>in</strong>g, and yet it is as<br />
bright as day compared to the darkness <strong>in</strong> my breast!<br />
Yet I shall not despair, but follow the heart's command: I shall cl<strong>in</strong>g to hope, to faith <strong>in</strong><br />
my God! Let the hurricane's song howl, I slumber <strong>in</strong> peace; certa<strong>in</strong> I shall awaken aga<strong>in</strong><br />
reborn with childlike faith.<br />
12 i.e., the heaven of memory.<br />
13 i.e., the demon of doubt.<br />
477
THE GIANT OAK TREE<br />
In the farthest North stood a giant oak; its orig<strong>in</strong>s were <strong>in</strong> heathen times; its glorious<br />
crown rose towards heaven, and its roots struck deep <strong>in</strong>to the earth. Its mighty boughs, its<br />
vigorous shoots spread from the North Pole to the Eider, 14 proudly shaded the land of the<br />
Swedes, and crowned the Western sea's 15 rocky shores!<br />
But the storms of time moved aga<strong>in</strong>st the giant; they crushed its mighty trunk, and over<br />
that split, sunken Nor 16 they roared violently like a funeral song, and the East's 17 ravenous<br />
eagle looked across the blue Codan 18 with a covetous eye, while the German stretched his<br />
hand towards the prey, which lay, like one dy<strong>in</strong>g, unprotected!<br />
Yet the crushed (tree) bore sprout<strong>in</strong>g shoots, the liv<strong>in</strong>g spark grows easily <strong>in</strong>to a flame!<br />
Youth remembers what the graybeard was, and is readily disposed to grow the same.<br />
Those separated soon seek their brother aga<strong>in</strong>, and extend their hand to him like a faithful<br />
friend; soon they shall be united, soon they shall fuse together, like the Northern Lights'<br />
flame <strong>in</strong> a w<strong>in</strong>ter night's sky!<br />
POEMS FROM 1849<br />
THE SPRING OF MEMORY<br />
A maiden sits <strong>in</strong> the even<strong>in</strong>g hour, gaz<strong>in</strong>g <strong>in</strong>to the waves <strong>in</strong> the stream, and yonder, down<br />
<strong>in</strong> the deep shallows the dark forests are reflected.<br />
She gazes and gazes with a melancholy smile just as if she longed for someth<strong>in</strong>g; but the<br />
wave runs away <strong>in</strong> merry haste embraced by leafy banks.<br />
She sat this way often <strong>in</strong> <strong>in</strong>nocent childhood, she saw an image on the bottom then: a<br />
youth who beckoned, smil<strong>in</strong>g gently; long ago the sight disappeared.<br />
14 A river which today is <strong>in</strong> Germany, but which then was considered by the so-called “Eider Danes” to be<br />
the limit beyond which German expansion should not be allowed.<br />
15 The Atlantic Ocean.<br />
16 Goddess of the North.<br />
17 Russia’s.<br />
18 The Baltic Sea.<br />
478
Now she is grown, and yet how often she remembers her childhood days that never, never<br />
come aga<strong>in</strong>, nor do its sights return!<br />
Still she sits often by the spr<strong>in</strong>g's bank, her cheeks are sta<strong>in</strong>ed with tears; the waves<br />
trickle slowly away, the even<strong>in</strong>g breeze ripples them lightly.<br />
Then the moon casts a mysterious gleam this way from the vaulted arch; she gazes <strong>in</strong>to<br />
the wave and th<strong>in</strong>ks she still sees that image yonder!<br />
THE BALL OF THE DEAD<br />
Across the deserted churchyard the night has spread its w<strong>in</strong>gs; the dead slumber there so<br />
peacefully, a slumber not easily troubled; and mysteriously <strong>in</strong> the moon's radiance may be<br />
glimpsed the marble stone, which, adorned with sentimental wreaths, covers the bones of<br />
the dead.<br />
But the silence of yon grave is broken by midnight's hollow stroke; then, if you would<br />
only listen, you would hear a fa<strong>in</strong>t uproar, and while it approaches, it thunders more and<br />
more, and the stroller genuflects and shudders, although he sees noth<strong>in</strong>g!<br />
Then the sunken graves are opened and every moss-covered stone, and forth from those<br />
low dwell<strong>in</strong>gs so silently the dead step out. Yet at every step they clapped their rott<strong>in</strong>g<br />
knucklebones; but the gown, that white l<strong>in</strong>en, it shone pure as the snow.<br />
They take hold of one another's hands, and gather as for a celebration; a lygtmand 19 burns<br />
like a lamp, every skeleton is a welcome guest, each seizes its neighbor's hand and dances<br />
so wildly <strong>in</strong> a r<strong>in</strong>g; perhaps a pr<strong>in</strong>ce's spirit leaps around with a beggar's!<br />
Don't th<strong>in</strong>k that musicians are lack<strong>in</strong>g at such an excellent ball: a skeleton rattles his<br />
knuckles, a second might make ready to strike a skull like a drum; it resounds, like the<br />
last sigh from a break<strong>in</strong>g heart; see, that is the dead's music!<br />
They dance so merrily around and about the crumbled grave monuments; but the graves<br />
wait for them once more, only one hour are they granted, the ball they gave is ended;<br />
s<strong>in</strong>ce the clock's stroke sounds hollowly, and deep <strong>in</strong> the peaceful grave they slumber<br />
until Judgement Day!<br />
19 “Corpse-man,” a figure from folklore.<br />
479
MEMORY OF LEAVE-TAKING<br />
(At O. Schulerud's departure.)<br />
When ways part and friends walk separated <strong>in</strong> the tumult of life, we gaze so gladly<br />
towards the bright blue heaven of memory.<br />
The memories of bygone days sh<strong>in</strong>e there like friendly little stars, time's veil<strong>in</strong>g clouds<br />
are not able to dim that light so fair.<br />
Yet among those friendly little stars our eye searches so gladly for one; it tw<strong>in</strong>kles <strong>in</strong><br />
mournfully shimmer<strong>in</strong>g gleam and still is our most precious star!<br />
Its name is melancholy; s<strong>in</strong>ce <strong>in</strong> leave-tak<strong>in</strong>g's hour we mention it, spoken seriously, yet<br />
gently from the blue background it illum<strong>in</strong>ates each of our treasured memories of<br />
friendship!<br />
AUTUMN EVENING<br />
See, it is grow<strong>in</strong>g dark, the ra<strong>in</strong> strikes patter<strong>in</strong>g aga<strong>in</strong>st the w<strong>in</strong>dowpane, m<strong>in</strong>gl<strong>in</strong>g with<br />
the howl<strong>in</strong>g of the w<strong>in</strong>d, while across the sky pass cloud-shapes, like spirits from death's<br />
silent k<strong>in</strong>gdom; amid the rumble of distant thunder they come, they go, and disappear,<br />
like the memory of the newly beloved <strong>in</strong> a faithful maiden's breast.<br />
I sit close by the stove, gaz<strong>in</strong>g engrossed <strong>in</strong>to the fire, which only half lights the room; but<br />
it is a world for me, where <strong>in</strong> the coals' dark fissures my dream's airy figures build<br />
themselves a fire-palace (the equal is not easy to f<strong>in</strong>d; s<strong>in</strong>ce with<strong>in</strong> its halls I can see<br />
maidenly fidelity!).<br />
Ah, what scenery is there! Is it then my childhood's vanished days, bound to my heart,<br />
which appear aga<strong>in</strong> here? Or (I wish it were so!) is the veil <strong>in</strong> front of that vague<br />
distance, <strong>in</strong> a wild confused haste, drawn flutter<strong>in</strong>g aside, does Skulda 20 beckon with her<br />
gentle or om<strong>in</strong>ous smile?<br />
Nevertheless, I am awakened from my dream to cold reality; the ra<strong>in</strong> is still fall<strong>in</strong>g <strong>in</strong> a<br />
stream, my palace is toppled down. Oh, how sad it is and desolate, such a moment can<br />
give birth to dejection, can br<strong>in</strong>g the heart, anxiously, really to feel what it lacks:<br />
company? No, that is of little profit for a m<strong>in</strong>d disposed to dejection!<br />
20 One of the Norns (goddesses of fate) of Norse mythology.`<br />
480
I have my mistress, just like everyone else! But no earthly woman is she whom I call<br />
m<strong>in</strong>e; only a dream-vision, projected by a long<strong>in</strong>g unfulfilled, perhaps unatta<strong>in</strong>able!<br />
(What if love's yearn<strong>in</strong>g died suffocated <strong>in</strong> the heart's prison, like her, only a beautiful<br />
idea!)<br />
You believe you will recognize an earthly maiden <strong>in</strong> my beloved's features, that I have<br />
fetched from earth what I adorned her with! That from one I borrowed the forehead rich<br />
<strong>in</strong> thoughts, and from another this sea of emotions <strong>in</strong> my mistress' eyes? No, oh no, not<br />
from earth did I take what I gave to her!<br />
Come, my heart's ideal! I want to daydream by your side, from your tender glance I want<br />
gently to seek cool<strong>in</strong>g relief for the long<strong>in</strong>g consum<strong>in</strong>g me. That which susta<strong>in</strong>s my<br />
dream, that which never dies out, will <strong>in</strong> silence burn only when I meet aga<strong>in</strong> on earth my<br />
dream's spiritual bride!<br />
THE SOUL'S GLIMPSE OF THE SUN<br />
Oh, how my breast storms! I have heard this voice, which I recognize from the land of<br />
dreams when, sleep<strong>in</strong>g dully, I heard <strong>in</strong> the dawn<strong>in</strong>g night the waves whisper by the<br />
shore!<br />
I have seen the glance that my spiritual bride received <strong>in</strong> my poeticiz<strong>in</strong>g dream of love!<br />
Through the soul-depth guid<strong>in</strong>g, like a hurricane over the earth, the trembl<strong>in</strong>g stream of<br />
my ideas!<br />
And that pa<strong>in</strong> of long<strong>in</strong>g that my soul's ideal k<strong>in</strong>dled deep <strong>in</strong> my yearn<strong>in</strong>g breast, from<br />
be<strong>in</strong>g a burn<strong>in</strong>g, frenzied, all-consum<strong>in</strong>g fire, became a flame, so peaceful and warm!<br />
My cloudy breast was illum<strong>in</strong>ated by a spark, not like the summer's burn<strong>in</strong>g sun, when it<br />
casts a glow on us nearby, no, like the sh<strong>in</strong>e of the stars when they tw<strong>in</strong>kle from the<br />
farthest pole!<br />
In my soul there was day; then I did not feel resentment, nor pa<strong>in</strong>'s poison-dipped sword;<br />
it was only for a second, but that fleet<strong>in</strong>g moment was still more worthwhile than an<br />
eternity!<br />
Shall I be disappo<strong>in</strong>ted once more? Shall the visions flee and become merely phantoms<br />
aga<strong>in</strong>, when the storm<strong>in</strong>g roar of ecstasty’s <strong>in</strong>toxication sounds fa<strong>in</strong>t and dies wast<strong>in</strong>g<br />
away?<br />
O, with the treasure of memory I shall fantasize on the sea of dreams throughout the<br />
future's night, until I descend wearily to seek my peace <strong>in</strong> the calm, cool<strong>in</strong>g grave!<br />
481
MOONLIGHT CRUISE ON THE SEA<br />
The full moon sh<strong>in</strong>es; across the wide slumber<strong>in</strong>g sea-flood the glisten<strong>in</strong>g, gentle stream<br />
of moonlight spreads softly, appear<strong>in</strong>g magical, while everyth<strong>in</strong>g is still; while the stars <strong>in</strong><br />
the night sky bathe <strong>in</strong> the depths and the light sparkles from wave to wave; my vessel<br />
glides easily on the wave, it follows those beautiful rows of moonlight.<br />
Yonder <strong>in</strong> where the birch branches spread themselves, lean<strong>in</strong>g out <strong>in</strong>timately over the<br />
sea, there I rested just now under leafy cover; there it is so silent, there I could die, there I<br />
could slumber beneath the peaceful grave mound, there could the wave s<strong>in</strong>g <strong>in</strong> the stormy<br />
night, there could the spirits of the sea-depths weep, fill my abode with long<strong>in</strong>g laments.<br />
Yet no, it is oppressively stifl<strong>in</strong>g by the shore! I must go out on the waves far from land.<br />
There the sea-w<strong>in</strong>d wafts coolly on my forehead, there I will quench the fire of long<strong>in</strong>g<br />
that gnaws my heart; there it is silent, there stretches the sea-pla<strong>in</strong>, slumber<strong>in</strong>g, deserted,<br />
there nobody follows me, except the dead, whose eyes sparkle so strangely <strong>in</strong> the waves.<br />
Do you believe perhaps there are stars that tw<strong>in</strong>kle with tear-dimmed radiance down there<br />
<strong>in</strong> the depths? Do you see how they come, they vanish, they w<strong>in</strong>k and whirl around<br />
wildly <strong>in</strong> the mysterious dance? There certa<strong>in</strong>ly I would feel at home, there I could<br />
ext<strong>in</strong>guish every gnaw<strong>in</strong>g pa<strong>in</strong>, quiet every torment that consumed me with<strong>in</strong>! Yes, there<br />
it is splendid; there I could forget!<br />
MIDNIGHT MOOD<br />
Nocturnal mists drift across the riverbank, to s<strong>in</strong>k <strong>in</strong>to the soul gently engrossed <strong>in</strong> the<br />
peace of ideas; while the liv<strong>in</strong>g sleep, an elf<strong>in</strong> army haunts yonder <strong>in</strong> the dark forests; the<br />
midnight hour is near.<br />
Here it is good to dream, here <strong>in</strong> the silent night, where your sore long<strong>in</strong>gs' poetry is be<strong>in</strong>g<br />
set to music: the notes the waves s<strong>in</strong>g resound like spirits' play, down there the spruce<br />
forest's sigh hums accompany<strong>in</strong>g chords.<br />
Here you can conjure up the vanished memories from the sea of the past, greet, like<br />
friends, the shadows of those who passed away, that ascend from the grave, to m<strong>in</strong>gle so<br />
prettily the dim, darken<strong>in</strong>g cloud of memories with the gleams of light that sparkle from<br />
hope's break<strong>in</strong>g dawn!<br />
482
Did not sounds echo <strong>in</strong> the night's calm from the mist yonder? Softly the waves trickle,<br />
the birds listen from a twig; <strong>in</strong> the forest, where the elves play, everyth<strong>in</strong>g at once<br />
becomes hushed, between the old oaks the moon sh<strong>in</strong>es so bright.<br />
Do you hear the nøkken 21 s<strong>in</strong>g down by the river's edge, there where the willow tree<br />
sw<strong>in</strong>gs shad<strong>in</strong>g out over the water! There, concealed <strong>in</strong> that dark thicket, he plucks those<br />
golden str<strong>in</strong>gs, and the echo sounds gentle and long <strong>in</strong> the calm night.<br />
Nature is put <strong>in</strong> such a sad melancholy mood by the nøkken's lay; the dewdrop, just like a<br />
tear, glistens from every blade, enveloped <strong>in</strong> light clouds the moon sh<strong>in</strong>es so soft,<br />
lament<strong>in</strong>g notes tw<strong>in</strong>e themselves <strong>in</strong>to the strange play<strong>in</strong>g.<br />
When the daylight sh<strong>in</strong>es up here, the nøkken dwells <strong>in</strong> the river bottom, but when the<br />
moon <strong>in</strong> nocturnal hour ascends beh<strong>in</strong>d the spruce's top, you see him glide on the wave,<br />
s<strong>in</strong>g<strong>in</strong>g so mournfully; O could the lament tremble high above the golden star!<br />
In the song is pious energy, that commands a sacred power: the goal you long for, though<br />
deepest <strong>in</strong> the future laid, will one day reconcile your bosom and raise you above the<br />
earth, then every melancholy note becomes a blissful chord!<br />
TO THE STAR<br />
(Dedicated to C. E.)<br />
Pale star! Send a sign from that eternal height! Sh<strong>in</strong>e with friendly blaz<strong>in</strong>g tw<strong>in</strong>kle<br />
cl<strong>early</strong> before the eye of the soul!<br />
Shall your dim word-pictures 22 awaken only long<strong>in</strong>g, then! Yet teach me to see cl<strong>early</strong><br />
through the future's cover<strong>in</strong>g!<br />
Scatter doubt's black cloud from my sick heart, let a dawn of blessed certa<strong>in</strong>ty sh<strong>in</strong>e<br />
through the gloom;<br />
My prayer is foolhardy; dare I ask for certa<strong>in</strong>ty! Is a son of the earth able to raise himself<br />
from the earth?<br />
I shall be content with faith's gentle gleams; even if truth cannot be found here, I shall<br />
nourish hope;<br />
21 water sprite <strong>in</strong> the shape of a horse, man, etc.<br />
22 I.e., letters.<br />
483
When the heavenly light sh<strong>in</strong>es fa<strong>in</strong>tly from the distance, I shall be happy <strong>in</strong> the calm<br />
night, gaz<strong>in</strong>g towards my star.<br />
EVENING STROLL IN THE FOREST<br />
It is too bright, it is too bright where the moon sh<strong>in</strong>es down, my heart is so wracked by<br />
this night's peace; on every s<strong>in</strong>gle flower, on every s<strong>in</strong>gle leaf, stand pearldrops of the<br />
even<strong>in</strong>g dew and tremble before my eye!<br />
It is too bright, it is too bright here by the spr<strong>in</strong>g's bank! Look! The wave glides much<br />
too quietly and the image of the star <strong>in</strong> the watery depth, it seems to me, is a griefenshrouded<br />
forget-me-not, one eye swathed <strong>in</strong> gray.<br />
In there, farthest towards the north, where the spruce tree stands so dark, deep <strong>in</strong> the<br />
mounta<strong>in</strong> where the hulder lives (perhaps you call it a wilderness), there I have a favorite<br />
spot, thither I shall direct my step, there is my sacred k<strong>in</strong>gdom!<br />
Do you see where the mounta<strong>in</strong>'s steep top is enveloped <strong>in</strong> clouds; an autumnn storm is<br />
brew<strong>in</strong>g, already the night w<strong>in</strong>d blows! O, lovely; as if by a breath of spirit I feel the<br />
storm roar around me to make me run through the night!<br />
Away, away, deep <strong>in</strong>to the forest! O, still further on, until the soul becomes entirely a<br />
prey for this wild terror, until you almost believe the spirits of the night will follow your<br />
hasty track no matter how you hurry!<br />
Hush, here is the place;--calm now! Here amid the forest's bosom hear the owl screech,-do<br />
you hear? How splendid it sounded! It is a lively melody, do not let a note pass by<br />
your ear;--ah, how lovely!<br />
The spruce tree stands here black and tall by the tarn's dismal shore; while the storm<br />
rushes through the air see the mist's shadow-shroud, it drifts up, it drifts down and wraps<br />
now around the forest's top now over the black depths.<br />
The heart is so satisfied here, <strong>in</strong> the midst of the storm's tumult; here the face of nature<br />
itself is a mirror of my bosom, an image of what dest<strong>in</strong>y gave: no rest <strong>in</strong> life, no rest <strong>in</strong><br />
the grave, no rest <strong>in</strong> eternity!<br />
IN THE AUTUMN<br />
484
The s<strong>in</strong>gers of summer leave the forest; where their songs echoed from the branches,<br />
already the autumn w<strong>in</strong>d's sigh<strong>in</strong>g song sound mournfully through the yellow<strong>in</strong>g leaves.<br />
Here, where the flower<strong>in</strong>g tapestry so richly adorned the fragrant, light green meadows,<br />
summer’s departure trembles <strong>in</strong> withered straw, as from str<strong>in</strong>gs--a lament<strong>in</strong>g poem!<br />
Lily! why did you leave beh<strong>in</strong>d your curved stem leafless,--where did you flee away?<br />
You will be born <strong>in</strong> the spr<strong>in</strong>g aga<strong>in</strong>, follow<strong>in</strong>g summer's friendly angel! Rose, with<br />
pleasure's sweet-toned speech whisper<strong>in</strong>g through your calyx so fair, your thorny memory<br />
rema<strong>in</strong>s beh<strong>in</strong>d,--cruel,--but I love you still!<br />
Many a seed from the spr<strong>in</strong>g orchard we saw ripen<strong>in</strong>g to become fruit; but so many plans<br />
lie handsomely covered by the grave of crushed expectations. Summer! too soon you<br />
flew towards the south, hope’s existence was quickly over,--and the mourner has no<br />
blossom to decorate piously that sacred mound!<br />
Yes, among the graves there still rema<strong>in</strong>s one flower <strong>in</strong> its fairest splendor, the autumn<br />
w<strong>in</strong>d has not yet brought it death. O, why should the heart compla<strong>in</strong> any longer! Its<br />
name is memory,--look, it still <strong>in</strong>duces the hope of paralyz<strong>in</strong>g slumber to wake; weave it<br />
<strong>in</strong>to a garland around the cover<strong>in</strong>g of the past, comfort<strong>in</strong>gly it will promise a spr<strong>in</strong>g!<br />
SPRING'S MEMORY<br />
(Set to music by C. Due.)<br />
There is <strong>in</strong> life<br />
Given to you by God<br />
A spr<strong>in</strong>glike moment,<br />
When happy dreams<br />
Stream through you<br />
From the soul's depths<br />
And charmed away is<br />
Every misty veil<br />
From what you perceived<br />
Half-dimly before.<br />
A hope's summer<br />
With fair flowers<br />
From the heavens passes<br />
Beyond your <strong>in</strong>ner be<strong>in</strong>g;<br />
How bright they sparkle,<br />
Like little stars;<br />
485
While life's riddles<br />
Seem to you solved,<br />
A spr<strong>in</strong>gtime reigns<br />
Gently <strong>in</strong> your breast!<br />
Ah, soon it vanishes!<br />
Then a mournful sound<br />
From the heartstr<strong>in</strong>gs<br />
Gentle and long<br />
K<strong>in</strong>dly rem<strong>in</strong>ds you<br />
About the spr<strong>in</strong>g's delight,<br />
Those melody-streams<br />
Are echoes<br />
Of flower-dreams<br />
And spr<strong>in</strong>g-song!<br />
TO HUNGARY!<br />
The battle no longer thunders hollowly from the land of the Magyars! From the<br />
battlefield muffled sighs m<strong>in</strong>gled with a lament for the dead to br<strong>in</strong>g through the night's<br />
calm the sad and muted message: the Magyar is no more, his last great struggle is fought!<br />
Freedom's heroic band succumbed before the barbarians' wild hordes, on the ru<strong>in</strong>s tyranny<br />
stands aga<strong>in</strong> as freedom's murderer. Rejoice ye, purple-bedecked monarchs! Once aga<strong>in</strong><br />
violence celebrated its triumph,--freedom's flame is vanquished anew!<br />
Wretched land! O, your sons' best heart's blood is poured, yet, those noble fallen heroes<br />
have won a martyr's crown. See, you gird Europe's hope with your brave champions'<br />
corpses; soon perhaps that doomed land becomes another Poland!<br />
Yet, beyond the night of thralldom will beam a glorious sunrise, then will your heroes of<br />
freedom rise from the dead, to jo<strong>in</strong> with them who fell fight<strong>in</strong>g by Weichsel's banks and<br />
with those who are wet with blood-sta<strong>in</strong>s from the soil of the scaffold Germany!<br />
Yes, when those young k<strong>in</strong>smen ris<strong>in</strong>g bravely leap aga<strong>in</strong>st the throne like an autumn<br />
hurricane and topple the foundations of tyranny's pillars, then shall the name of the<br />
Magyars be called proudly by their heroes, to thunder like a beautiful battle-cry from<br />
those victorious ranks!<br />
486
AWAKE, SCANDINAVIANS!<br />
An Appeal to Norwegian and Swedish Brotherhood<br />
1849<br />
Hush, do you hear yon thunderclap from the south? Hollowly the boom rolls over<br />
Kattegat; there are two hostile powers wrestl<strong>in</strong>g, which spreads a night over Denmark!<br />
A night, so frightful and so teem<strong>in</strong>g with blood, just now when the young shoots of the<br />
freedom-tree display tender spr<strong>in</strong>glike flower buds, but the peace is lack<strong>in</strong>g to open them.<br />
Yonder stand German bullies <strong>in</strong> order to steal a part of Denmark's soil with armed hand; a<br />
soil, so sacred for the Northmen's race!<br />
Up, brothers, up--we dare no longer hesitate,--thus Norden's brother-spirit commands us,<br />
that unites Norwegian and Swede and Dane together!<br />
Already a long time lay a yearn<strong>in</strong>g <strong>in</strong> our breast,--the Danish brothers flew towards our<br />
soul, when they resolved with warm enthusiasm to bleed for Norden's great common<br />
cause.<br />
But if we stand silent, if we seize no sword, if we put up no brave front aga<strong>in</strong>st the<br />
German mob, then we are not worthy of our ancestors, nor of our brothers on the Danish<br />
beaches.<br />
If we entrench ourselves among our mounta<strong>in</strong>s, if we believe ourselves secure <strong>in</strong> the<br />
shelter of the cliff, O, would that the belief might not all too soon give way.<br />
But do not forget, Northmen, the eagle who with might extends his talons,--remember it<br />
is not far away:--what if it had sighted the quarry already?<br />
Is not Schleswig then a sacred realm, a common possession for the whole of Norden, a<br />
barrier aga<strong>in</strong>st Germanism's pe<strong>net</strong>ration, but what if now this barricade is be<strong>in</strong>g lost?<br />
What if the Eider stream moistens German banks, while Nordic spirit and language are<br />
driven out, what if the people then <strong>in</strong> the German's power mourn their Denmark, their<br />
dear lost mother?<br />
What if Denmark's lament carries hither on the w<strong>in</strong>d and forces its way to our hearts'<br />
depth while the stormcloud threatens from the distance:<br />
Do you stand then with shame's dim glow on your cheek, you, who were given the power<br />
and who did not seize the sword <strong>in</strong> order to defend Norden's right!<br />
487
Shall Schleswig for the Danish people become identified as what F<strong>in</strong>land is for Sweden's<br />
sons, a land for which bitter tears tremble heavily <strong>in</strong> the eye of the silent spokesman of<br />
sorrow.<br />
Shall Schleswig be dedicated to German plunder, shall the child be torn violently from its<br />
mother? No, brothers, no, there is a sacred law <strong>in</strong> the depths of the soul, it says: Rescue<br />
your brother!<br />
It says: help, what Nature long bound with noble firm bonds tight to the heart; woe, woe<br />
to you, if you fail <strong>in</strong> the hour of danger!<br />
Skulda reads your saga strictly and pla<strong>in</strong>ly, she requires action for what nourished you<br />
with<strong>in</strong> and not merely resound<strong>in</strong>g floods of words.<br />
Shall Norway sta<strong>in</strong> with a faithless deed its young freedom's bright sunrise? Say, who<br />
planted <strong>in</strong> the people's breast the advice to sit peacefully while the Danes bleed.<br />
Was it those men whom the people elected, to stand guard over their honor <strong>in</strong> the Th<strong>in</strong>g?<br />
Why did you not follow honor's noble command, why did you call dishonor upon<br />
yourselves?<br />
Was the choice doubtful when it stood to you to follow the voice of brotherly love. Say,<br />
did you not hear the people's cry?<br />
Already the German advanced closer and closer and yet you could forget those <strong>in</strong> distress<br />
who still placed <strong>in</strong> us a confident hope.<br />
Say, Swedish brothers, say why you tarry? Why do you not hurry across the sound's<br />
waves? You hold the Danes as dear as we, you love Zealand with its bright forests.<br />
Say, does not the tumult oppress your soul when you look across the sound towards<br />
Denmark, is not the German's victory cry an awful arrogant <strong>in</strong>sult, you are <strong>in</strong>cl<strong>in</strong>ed<br />
will<strong>in</strong>gly to subdue?<br />
Ha! is it true, what is whispered about, that you stare back with fright towards the east,<br />
are Sweden's sons then the barbarians' slaves?<br />
No, no, you fear no foreign judgment; each saga's page from bygone days nobly witnesses<br />
what is related there.<br />
And if only a s<strong>in</strong>gle band departs for there (Schleswig) from Sweden's coasts and from<br />
Norway's mounta<strong>in</strong>s, what use is that? A distant future will before its strict tribunal<br />
condemn the people.<br />
488
When the earth has long, long covered us those who come after with shame will confess:<br />
"We descend from a degenerate race," and will hurry to turn the page of our saga.<br />
Do the people then live only for the present? Is the memory of the past not a friendly<br />
flower with which we adorn many of the present moment's flaws.<br />
Soon "Nordic allegiance" becomes <strong>in</strong> our mouths bitter ridicule or empty platitudes and<br />
later generations (will) lack the comfort of memory.<br />
Shall brotherly love become hate? Shall brother blush shamefaced at brother? Shall we<br />
no more as before gather happily, no more <strong>in</strong> harmony enjoy the benefits of peace?<br />
What the veil of the future conceals, lies yet <strong>in</strong> darkness,--but soon the veil will crack;-what<br />
then if faithlessness towards our friend, towards Denmark, were our last action as a<br />
people!<br />
Ha, what will <strong>in</strong>spire us to the last battle, how, <strong>in</strong>deed, should we summon courage and<br />
strength when the people's honor lies <strong>in</strong> its grave?<br />
O, woe to us that we did not hurry there,--where warm brother-hearts burned despite<br />
Norway's cold, despite its mounta<strong>in</strong> and sea!<br />
You, Oskar! were already for a long time Norden's hope, towards you we sent trust<strong>in</strong>g<br />
glances. Do not be deaf to the cries of three nations, who from your lips await the royal<br />
order!<br />
Your pledge, Oskar! is a sacred debt, by you could Denmark's movement yet be won.<br />
Lead us, bold K<strong>in</strong>g! to Norden's advantage, there is only one way <strong>in</strong> which it still can be<br />
found.<br />
Why do you not call the nation's men to council, you, K<strong>in</strong>g! They (will) follow as soon<br />
as you call, because the sparks of the past still glow <strong>in</strong> the North!<br />
There is still time,--still by quick action the noble Denmark could be saved before it falls<br />
with trust disappo<strong>in</strong>ted <strong>in</strong> a--k<strong>in</strong>g's word!<br />
Command the nation to awake, command it to follow you before its spirit is bound <strong>in</strong><br />
cha<strong>in</strong>s of lethargy, lead it <strong>in</strong> the way of honor and duty before everyth<strong>in</strong>g is lost<br />
nevermore to be won.<br />
Then before your throne's foot two brother peoples whom you awoke to battle will kneel<br />
thankfully, and Norden's honor, Denmark's saved blood are the reward for the help you<br />
brought the Danes.<br />
489
Then, K<strong>in</strong>g! you (will) spread <strong>in</strong> newborn radiance an ancient honor over Norden's realms<br />
and the people exultantly (will) shout your name; while brothers s<strong>in</strong>k happily <strong>in</strong> brother's<br />
embrace and decorate the double crown with a wreath of love and faith which never fail.<br />
But if hope is disappo<strong>in</strong>ted, if it was only an illusion, if Denmark is left without help <strong>in</strong><br />
distress, Norway and Sweden will have betrayed Norden's cause, while for it many Danes<br />
met the heroes' death.<br />
Then hear a Norwegian's word you Danish men: let not the whole <strong>in</strong>nocent people suffer;<br />
know, many of us gladly girded their lo<strong>in</strong>s with the sword <strong>in</strong> order to battle by your side.<br />
Among Norway's mounta<strong>in</strong>s many bosoms bleed, so many hearts blaze for you there and<br />
never, never dies the flame of brotherhood.<br />
Only the misery the hate's seed scatters out wakens dullness' foolish <strong>in</strong>dignation, while it<br />
threatens the nation with imag<strong>in</strong>ed danger! (?)<br />
Yet one day,--you noble sons of Norway, you brave Swedish brothers! You awake! Hear<br />
yet the battle's tumult from Denmark thunder, soon the page is turned back <strong>in</strong> dest<strong>in</strong>y's<br />
book.<br />
Remember Schleswig was from distant bygone days a fair branch of Norden's giant oak<br />
tree,--soon perhaps (there will) rema<strong>in</strong> of Denmark only its honor as a tall stone<br />
monument of the past.<br />
Remember posterity will judge our conduct, let us not forget the heart's high command,<br />
nor break Norden's noble bond of brotherhood;<br />
Therefore work bravely by word, by writ<strong>in</strong>g, by sword, obey the voice of honor, of duty,<br />
and of reason, extend to the brother-people a lov<strong>in</strong>g brother's hand!<br />
POEMS FROM 1850<br />
TO THE POETS OF NORWAY<br />
Poets, why do you daydream for the distant past, for entombed age with its crumbl<strong>in</strong>g<br />
memories, a picture as feeble as the light that rises at dawn from a cloud-veiled star?--Is<br />
not the spark which you possess merely a gift bestowed on you to use for the people, who<br />
demand that the skald's <strong>in</strong>spired voice <strong>in</strong>terpret its sorrow, its delight and its long<strong>in</strong>g?<br />
490
You sang so often about "the tower<strong>in</strong>g mounta<strong>in</strong>," where the spruce forest grows and the<br />
glacier has a home, but visions and dreams that storm majestically <strong>in</strong> your brothers'<br />
hearts,--those you could forget! Why do you not listen to the rush<strong>in</strong>g, which trembles<br />
richly from the soul before it grows calm? Why do you not weave the visions <strong>in</strong>to a<br />
poem, why do you not form the sounds <strong>in</strong>to chords?<br />
Beautiful shapes beckon here-and-now, you know,--from the valley, from the mounta<strong>in</strong>,<br />
from w<strong>in</strong>ter and summer. Do you not see the treasure so brilliantly sparkl<strong>in</strong>g,--a poetry of<br />
folk life with delightful flowers! Those fleet<strong>in</strong>g images demand a life <strong>in</strong> descriptive<br />
poems, symbols of experience, they lack only the skald's <strong>in</strong>spir<strong>in</strong>g: "Come <strong>in</strong>to be<strong>in</strong>g!" to<br />
be dressed magnificently <strong>in</strong> the poem's draperies!<br />
MEMORIES OF A BALL<br />
A fragment of life <strong>in</strong> poetry and prose<br />
Prologue:<br />
To Stella!<br />
At your foot I lay down<br />
A bouquet of fresh flowers,<br />
Grown last summer<br />
From memory's herb-bed;<br />
You do not f<strong>in</strong>d<br />
There "love's memory,"<br />
Centifoler<br />
And violets,<br />
Or the rich luxuriance<br />
That comes with spr<strong>in</strong>gtime's sun.<br />
--Stella! The blossoms I give<br />
Are only melancholy bunches<br />
Of faded autumnal asters<br />
Sprouted fragrantly from a grave!<br />
1.<br />
As a comforter through life<br />
The angel of memory is given to us;<br />
491
From your childhood's fair spr<strong>in</strong>g<br />
He walks cheerfully by your side,<br />
Humm<strong>in</strong>g gently the songs of the past,<br />
Weav<strong>in</strong>g beautiful<br />
Evergreen<br />
Memory-wreaths <strong>in</strong> your hair.<br />
The Spr<strong>in</strong>g disappears, still you have<br />
A memory-flower left over,--<br />
Yes, each page <strong>in</strong> life's book<br />
Is written full of lovely memories,<br />
And when down the stream of time<br />
You aga<strong>in</strong> leaf through them<br />
The memories stand <strong>in</strong> rows<br />
Like shapes from a dream,<br />
Familiar,<br />
Heaven-sent,<br />
Just like the beautiful flowers of Spr<strong>in</strong>g,<br />
When your heart's W<strong>in</strong>ter comes.--<br />
Yes, from each of your life's moments<br />
Gently trembles an after-echo<br />
Sometimes short and sometimes long<br />
Through the str<strong>in</strong>gs of memory's harp;<br />
Yet among all the past's days,<br />
If you call them back,<br />
No moment so rich <strong>in</strong> memories<br />
As a gay ball you f<strong>in</strong>d!<br />
Perhaps it sounds a little strange,<br />
Besides a little unpoetic,--<br />
For an ear, f<strong>in</strong>ely aesthetic<br />
It was perhaps more precious<br />
In the ballroom that night to hear<br />
Someth<strong>in</strong>g "lovelier" and "greater,"<br />
Just as if the lighted hall,<br />
Festively decorated for a ball,<br />
Where a charm<strong>in</strong>g flock of coquettes<br />
Hurls the glance's fireworks<br />
While the music strikes up,--<br />
Were without poetry!<br />
Still, it is not such memories,<br />
Which appear before the soul's eye,<br />
There is s<strong>in</strong>cerity also,<br />
Not merriment alone,<br />
492
23 The Greek muse of danc<strong>in</strong>g and choral song.<br />
The ball's pleasant scene presents<br />
All its lovely enchantments!<br />
While every face expresses delight,<br />
Many <strong>in</strong> the heat of fever,<br />
Under passion's struggle<br />
Throw themselves <strong>in</strong>to the waltz's wild<br />
Whirl to quiet their torment<br />
Even if only for a short time;<br />
Many breasts,--yet no, I will<br />
No longer coldly pa<strong>in</strong>t<br />
This terrible wild game<br />
In those rapture-filled halls,<br />
Even to make a pilgrimage there oneself<br />
To see you around <strong>in</strong> the scenery,<br />
Consecrated like Terpsichore! 23<br />
What a sea of light billows forth<br />
From those long rows of w<strong>in</strong>dows<br />
With a radiance that teases the darkness<br />
There on the street under them,<br />
There where the many un<strong>in</strong>vited<br />
Leaned up aga<strong>in</strong>st the door,<br />
Gaz<strong>in</strong>g long<strong>in</strong>gly towards the hall<br />
And its splendor beh<strong>in</strong>d the frame,<br />
Yet what a picture of life,<br />
One of the two is given to you,<br />
Either you go like a guest<br />
Invited to life's feast,<br />
Or, like a spectator<br />
Shivered-through by the night's w<strong>in</strong>d,<br />
You gaze <strong>in</strong> from the street<br />
Towards those sh<strong>in</strong><strong>in</strong>g w<strong>in</strong>dows!<br />
But what a crowd <strong>in</strong> there!<br />
Like stars from a w<strong>in</strong>ter sky,<br />
Or as clear as crystal<br />
Glitter candles without number,<br />
While <strong>in</strong> an <strong>in</strong>tricate flow<br />
Groups ris<strong>in</strong>g and groups descend<strong>in</strong>g<br />
Float<strong>in</strong>g with graceful steps<br />
Smile courteously to one another.<br />
See, how far your glance reaches,<br />
Pure beauty you have before your eyes;<br />
493
Still my friend, look not too closely,<br />
S<strong>in</strong>ce with flower-trimmed hair<br />
And <strong>in</strong> these white costumes<br />
Even a virg<strong>in</strong> of thirty years<br />
Becomes <strong>in</strong> the ball a sylph!<br />
Roses, roses everywhere!<br />
Roses even pa<strong>in</strong>ted on the cheek!<br />
White arms,<br />
Lily-white bosoms<br />
With their alabaster sheen<br />
Here with lacework splendor heightened;<br />
Here a reddish bosom is<br />
Concealed from the eye with ornaments<br />
See the little one over there<br />
Scarcely ventures to send a glance<br />
Towards the swarm of young gentlemen,<br />
Who with chapaubas 24 <strong>in</strong> arm,<br />
Each his lady warmly holds,<br />
Yet give time,--she quickly learns,<br />
The girl-child was first<br />
Confirmed last autumn!<br />
What rich and varied life<br />
Still that lighted ballroom conta<strong>in</strong>s!<br />
Like a vision from a feverish sleep<br />
When your heart's dream-wife<br />
In your wild fantasy<br />
Glides ethereally past.<br />
O, I do so want to go <strong>in</strong> there,<br />
Where the noises, where the roars<br />
Wild and violent like my m<strong>in</strong>d,<br />
When its grief's storm rages;<br />
Into the crush to f<strong>in</strong>d<br />
Fleet<strong>in</strong>g oblivion or--her!<br />
2.<br />
A Diary's Last Page<br />
Foolish dreamer! What do you want here among these noisy crowds? Is it the irony of<br />
fate which has brought you to seek your heart's ideal <strong>in</strong> a ballroom?<br />
24 A French hat.<br />
494
And would it really please you to f<strong>in</strong>d it here? Would you like it if your heart's ideal were<br />
<strong>in</strong>carnated <strong>in</strong> the ballroom's ideals?<br />
Rational or irrational, all the same; I must! What are will and reason able to do aga<strong>in</strong>st<br />
that <strong>in</strong>ner, powerfully deadly and yet sav<strong>in</strong>g yearn<strong>in</strong>g?<br />
"I must"!<br />
Remember these words, you unfeel<strong>in</strong>g! who coldly judge passion's rage <strong>in</strong> the human<br />
soul, remember them and do not forget that <strong>in</strong> them you read the justification for so much<br />
of existence, err<strong>in</strong>g, and--destructive!<br />
What moves <strong>in</strong> all these happy smil<strong>in</strong>g figures? They have come here with the<br />
expectation of pleasure and satisfaction;--have they found what they sought, or does the<br />
scene of the ball express the idea of human life's great drama?<br />
And what is this idea?<br />
To dimly perceive (ahne), to hope and to be disappo<strong>in</strong>ted! See, <strong>in</strong> these three words is<br />
human life told!<br />
What was that! A glance met me among the crowd, a glance, strange and yet so familiar!<br />
No, that is no illusion, I have seen her, I have found my heart's ideal! I dare not dwell<br />
with these memories lest like airy phantoms they fly away and disappear!<br />
I have put my arms around her, I have gazed <strong>in</strong>to those clear eyes; yes, that is she, whom I<br />
know from my wak<strong>in</strong>g dreams; if only this is not also a dream!<br />
What is a human life's struggle and disappo<strong>in</strong>tment aga<strong>in</strong>st one half hour like this,--oh,<br />
glorious to be ru<strong>in</strong>ed completely, to be annihilated <strong>in</strong> such a moment<br />
Fate! Take this excess of happ<strong>in</strong>ess from me, do not let this moment be profaned by<br />
be<strong>in</strong>g prolonged; I have found her, what more then do I want?<br />
Benevolent fate! you have heard me! My life's three-act drama is played to the end;<br />
through two long acts have I perceived and hoped, now also is the third act past;<br />
magnificently! what a conception, what cast<strong>in</strong>g!<br />
And the "<strong>in</strong>trigue" <strong>in</strong> the piece? Is it not the simplest, the most understandable one can<br />
desire?<br />
A gentleman approaches; she places her arm <strong>in</strong> his, they go.<br />
495
"Who is this gentleman!"<br />
"It is her fiancé; she loves him passionately!"<br />
The ball is ended. Oh, nobody is as happy as I <strong>in</strong> this moment; I am bewildered by<br />
ecstasy, every long<strong>in</strong>g must be fulfilled; because I hope no more. I shall go home; I shall<br />
complete the last page <strong>in</strong> my diary with rem<strong>in</strong>iscences from the ball. That is my life's<br />
sunrise! My life's sunrise on my diary's last page! Strange; one speaks about eternity,<br />
should there follow an eternal day from this sunrise?<br />
Yes, I shall go home, I shall once more live through my life, my love, and then out <strong>in</strong>to<br />
the dark night to dream and--<br />
THE MILLER BOY<br />
Where the waterfall roars on a summer night across the river-bottom's stones, while the<br />
mist glides by river and thicket, there sits the miller boy alone; among alder foliage a<br />
snowpale dawn of moonlight peeps <strong>in</strong>, spread<strong>in</strong>g its pleasant gleam across the night's<br />
silent scene.<br />
It is late one Thursday even<strong>in</strong>g; from the mounta<strong>in</strong> echoes the hulder's air, and <strong>in</strong> the<br />
stream's torrent the fossegrim plucks the golden harpstr<strong>in</strong>gs, and the miller boy listens to<br />
its play<strong>in</strong>g. Hush, listen! Then, like a gentle echo, the hulder's song trembles, and the<br />
waterfall-harp's sound is lightly carried away on w<strong>in</strong>gs of night.<br />
It is Thorgjerd who calls forth his fiddle's marvellous lay, because he has sacrificed the<br />
black lamb to the fossegrim there below, and therefore too he has learned the magical<br />
play<strong>in</strong>g, and therefore strangely from his bow are heard the forest-top's sighs, the<br />
mounta<strong>in</strong>-brook's roar, with the call of the hulder and the song of the flute.<br />
But life at home seems to him cold and weak and joyless now, s<strong>in</strong>ce what he heard and<br />
saw last night he can never forget, and therefore from his str<strong>in</strong>gs pours what his yearn<strong>in</strong>g<br />
sang for him; a sorrowful song; the tones' stream <strong>in</strong>terprets the dream that the midsummer<br />
night let him perceive!<br />
IT IS FINISHED!<br />
Hope is quenched! Yes, forever quenched <strong>in</strong> my bosom where just now it blazed<br />
brightly; the enchanted castle's flowered gate is shut. Lovely dream! why fled you so<br />
496
soon? Harp notes wafted through the soul, deep <strong>in</strong> the m<strong>in</strong>d's temple it was sabbath; now<br />
the tone-wave has changed with a deathly sigh through the heart's night!<br />
The m<strong>in</strong>d-castle lies <strong>in</strong> ru<strong>in</strong>s stone upon stone on the heart's barren soil; but now at its<br />
mistress' steps the hall rises <strong>in</strong> the hour of night; from that mournful vanished k<strong>in</strong>gdom<br />
she reaches me gently that full chalice and the pale clouds of memory ascend ethereally<br />
from their catafalque. 25<br />
Oh, then I shall dream gently and ramble through the castle <strong>in</strong> the silent night, pious<br />
memory blossoms I shall pluck, to keep them, as the heart's best treasure> Come then,<br />
cold Present! with all your pa<strong>in</strong>, settle w<strong>in</strong>ter-like around my breast; a temple stands<br />
spr<strong>in</strong>g-like <strong>in</strong> my heart; there has memory built its tent!<br />
VACANT LODGING<br />
Little girl! would you like to move <strong>in</strong>to a faithful breast? See, I have a bright and cozy<br />
room <strong>in</strong> my heart's cottage, but I live there so sad and so lonely; I surely believe that<br />
with<strong>in</strong> the hut's walls there can be found room enough for us both!<br />
To be sure, so many little girls peek <strong>in</strong>side the door <strong>in</strong> pass<strong>in</strong>g, but the visit makes the<br />
cottage emptier than before; she has curtsied farewell, thanked k<strong>in</strong>dly for the even<strong>in</strong>g; she<br />
is forgotten and yet--the visit has <strong>in</strong>creased my boredom.<br />
No, that will not do any longer, I take that for granted! If you like, move <strong>in</strong> at once,<br />
conclude a contract with me for life. We’ll probably agree on the rent, just come, little<br />
girl! Come, let the sun, before it s<strong>in</strong>ks, see us as roommates!<br />
The cottage is certa<strong>in</strong>ly no hall where a party's noises resound, it is pla<strong>in</strong>, a summer<br />
hunt<strong>in</strong>g lodge; it even lacks w<strong>in</strong>ter heat<strong>in</strong>g; here on the wall is only one picture,--it is my<br />
portrait. If you agree, I shall pa<strong>in</strong>t a friendly little angel beside it.<br />
Then the hut will be redecorated, it will be tidied up <strong>in</strong>side, then I shall no longer f<strong>in</strong>d the<br />
heart's cottage sad and empty; everyone will smile Sunday-like, life will slip by like a<br />
poem, I shall be at peace if you are pleased to be my room's best ornament!<br />
THE SKALD IN VALHALLA<br />
(At the news of Oehlenschlæger's death.)<br />
25 An ornamental structure sometimes used for the ly<strong>in</strong>g-<strong>in</strong>-state of a body; also a pall-covered coff<strong>in</strong>shaped<br />
structure used at requiem masses celebrated after burial.<br />
497
26 The family of Norse gods.<br />
27 That is, the new skald, Oehlenschlæger.<br />
Death's harp trembles!<br />
The skald rises purified<br />
From earth-k<strong>in</strong>gdom’s valley,<br />
But on his high<br />
Heavenly journey<br />
He visits the hall of the Aser. 26<br />
Then strides the skald<br />
High above the ra<strong>in</strong>bow<br />
And <strong>in</strong>to the gods' castle,<br />
Od<strong>in</strong> greets him<br />
Happy from Lidskjalf,<br />
Yet the happ<strong>in</strong>ess is m<strong>in</strong>gled with grief;<br />
S<strong>in</strong>ce now Norden's<br />
Holy gods<br />
Have lost their spokesman on earth,<br />
Now is the bond<br />
Broken which united<br />
The Aser to the people <strong>in</strong> the North!<br />
Strangely uneasy,<br />
Gravely disposed,<br />
Forgett<strong>in</strong>g Idavold's pleasures,<br />
Sit <strong>in</strong> long,<br />
Sh<strong>in</strong><strong>in</strong>g rows<br />
Valfader's heroes so hushed.<br />
Brage then seizes<br />
The harp with skill<br />
Glorious silver notes fall,<br />
Hermod gladly<br />
Leads to his seat<br />
The Aser's mighty skald.<br />
Seated at table<br />
With r<strong>in</strong>g<strong>in</strong>g voice<br />
The skald 27 speaks words of thanks,<br />
He greets Alfader,<br />
Frigg and Baldur<br />
The comfort of Gods and men.<br />
498
High <strong>in</strong> Valhalla's<br />
Vaulted halls<br />
Treads an army of fallen warriors,<br />
Spl<strong>in</strong>tered shields<br />
Cover the brave ones,<br />
He recognizes Stærkodder there.<br />
That hero then greets<br />
The famous skald,<br />
Asks about Dana and Nor,<br />
Asks about Ingild's,<br />
Olaf's and Helga's<br />
Beloved native soil.<br />
Hakon the Good<br />
Silently approaches<br />
The bard, whose voice so strong<br />
Spoke for Norden's<br />
Listen<strong>in</strong>g sons<br />
Mighty his achievement and works.<br />
Then the fortress'<br />
Arched gate opens,<br />
Two holy ones approach;<br />
Freya the Beautiful's<br />
Sh<strong>in</strong><strong>in</strong>g grove<br />
Is their sacred abode.<br />
Gratefully the youth<br />
Kneels to the skald,<br />
The maiden, marvellously fair,<br />
Delivers to the famous<br />
Magnificent poet<br />
Eternity's wreath as reward.<br />
Quickly to Folkvang,<br />
Love's dwell<strong>in</strong>g,<br />
The lovers hasten away;<br />
Freya awaits them,<br />
The skald recognized<br />
Hagbarth and Signe aga<strong>in</strong>!<br />
Urda then reaches<br />
The skald his beaker<br />
499
Filled with refresh<strong>in</strong>g dr<strong>in</strong>k,<br />
Værandi loyally<br />
Follows her sister,<br />
Thank<strong>in</strong>g with mournful eye.<br />
Dark but delightful<br />
Skulda appears,<br />
Po<strong>in</strong>ts towards the future's blue:<br />
"S<strong>in</strong>ger! your memory<br />
Shall live eternally,<br />
Never your song shall die!<br />
“Soon you sit<br />
Blissful among spirits<br />
Here <strong>in</strong> transfiguration's home,<br />
Even if Norden's<br />
Mighty race changes,<br />
You will never be forgotten among them!"<br />
IN THE NIGHT<br />
Nature slumbers beh<strong>in</strong>d the cover of night <strong>in</strong> a dream of forgetfulness, then the soul<br />
makes ready its sailboat, to drift on memory's stream; sadly quiet it is carried along the<br />
flower<strong>in</strong>g shore there where the sigh<strong>in</strong>g wave is concealed by shadow<strong>in</strong>g forests.<br />
Look, a comforter then climbs k<strong>in</strong>dly on board the sailboat, while a blend<strong>in</strong>g m<strong>in</strong>or chord<br />
trembles from familiar voices; with sooth<strong>in</strong>g harmony it wafts past my soul, to greet<br />
<strong>in</strong>timately the fair visions with engrossed lament!<br />
Yet do not stir memory's bright wave with life's gust, surely at a moment's thought my<br />
world would collapse! Remembrance's night violet will be closed by daylight; it unfolds<br />
so gladly under the tw<strong>in</strong>kl<strong>in</strong>g stars!<br />
Then glide, my soul! on easy currents towards memory's shore, there you can quietly<br />
weave flowers <strong>in</strong> the night's peace! How lovely, <strong>in</strong> the dream to embrace aga<strong>in</strong> each<br />
memory as a friend; yes, lovely, to follow its long<strong>in</strong>g across remembrance's wave!<br />
MOONLIGHT STROLL AFTER A BALL<br />
(Written at the request of Sophie Holst and Cathr<strong>in</strong>e Mart<strong>in</strong>i.)<br />
500
Hush, how still! Yonder from the ballroom the pleasure sounds no longer; no voice, no<br />
tone pe<strong>net</strong>rates the night's calm.<br />
Far <strong>in</strong> the west the moon shortly will cast the last glance across the earth, which under the<br />
snow’s lilies sleeps <strong>in</strong> dreams of forgetfulness.<br />
The ball is ended; but <strong>in</strong> thought I still see among those white figures, that glide through<br />
the rows, a graceful young sylph!<br />
Soon the moon will have decl<strong>in</strong>ed, then sleep's arms will embrace me, then the soul could<br />
drift freely on the sea of dream with the treasures of memory!<br />
MOONLIGHT MOOD<br />
(Presented the 7th of April)<br />
The moon sh<strong>in</strong>es pale and colorless <strong>in</strong> the silent w<strong>in</strong>ter night. If only it could gently and<br />
for a time pe<strong>net</strong>rate the heart's night!<br />
If it could with silver-t<strong>in</strong>ted light gently and softly, as here, pour quiet peace <strong>in</strong>to the<br />
m<strong>in</strong>d, to lay forgetfulness over the memory!<br />
Moon! Thanks for this calm, which has lived recently <strong>in</strong> the soul! Thanks for the<br />
moment's relief!<br />
Oh, but peace should live permanently there,--then I might forget the heart's most<br />
precious memory!<br />
501
D. BIBLIOGRAPHY OF HENRIK IBSEN, 1828-50.<br />
EDITIONS.<br />
<strong>Ibsen</strong>, Henrik. Henrik <strong>Ibsen</strong> Brev 1845-1905. Ny Saml<strong>in</strong>g. Ved Øyv<strong>in</strong>d Anker. 2 vols.<br />
I. Brevteksten. II. Kommentarene. Registre. Oslo: Universitetsforlaget, 1979; 1980.<br />
- - - -. Early Plays: Catil<strong>in</strong>e, The Warrior’s Barrow, Olaf Liljekrans, by Henrik <strong>Ibsen</strong>.<br />
Trans. Anders Orbeck. New York: The American-Scand<strong>in</strong>avian Foundation; London:<br />
Humphrey Milford, Oxford UP, 1921.<br />
- - - -. Henrik <strong>Ibsen</strong>. Catil<strong>in</strong>e and The Burial Mound. Trans. with <strong>in</strong>tro. by Thomas F.<br />
Van Laan. New York: Garland, 1990.<br />
- - - -. Henrik <strong>Ibsen</strong>. The Oxford <strong>Ibsen</strong>. 8 vols. Ed. James Walter McFarlane, et al.<br />
London: Oxford UP, 19--. Vol. 1: The Early Plays. Trans. and ed. James Walter<br />
McFarlane and Graham Orton, 1970.<br />
- - - -. Henrik <strong>Ibsen</strong>s norske stilebog fra 1848. Forord av Brikt Jensen. Oslo:<br />
Gyldendal, 1977.<br />
- - - -. Henrik <strong>Ibsen</strong>. Oeuvres complètes. Trans. P[ierre] G[eorget] La Chesnais. Vol. 1<br />
only. Paris: La Nouvelle revue française, 1914. Contents: Introduction: “La litteratur et<br />
la société en Norvège vers 1850.” “Ouevres de Grimstad (1847-1850).” “Notice<br />
biographique.” “Poèmes.” “Le prisonnier d’Akershus,” fragment. “Catil<strong>in</strong>a.”<br />
Appendices: I. “Souvenirs d’enfance.” II. “Compositions norvégiennes.” A complete<br />
edition <strong>in</strong> 16 volumes was published later. Paris: Plon, 1930-45.<br />
- - - -. Henrik <strong>Ibsen</strong>. Samlede Verker. Ved Francis Bull, Halvdan Koht, Didrik Arup<br />
Seip. 20 vols. Oslo: Gyldendal, 1928-57. See esp. vol. 1 (date): Catil<strong>in</strong>a.<br />
“Kjæmpehøien.” “Norma.” Vol. 14 (date): Dikt, 9-87; vol. 15 (1930): Artikler og<br />
Taler, 21-32; vol. 16 (1940): Brev 1844-1871.<br />
- - - -. Henrik <strong>Ibsen</strong>. Speeches and New Letters. Trans. Arne Kildal, <strong>in</strong>tro. Lee M.<br />
Hollander. Boston: R. G. Badger, 1909; London: Frank Palmer, 1911.<br />
502
BOOKS, PARTS OF BOOKS, AND DISSERTATIONS.<br />
Aalen, Ragnar. “<strong>Ibsen</strong> og Paludan-Müller. Slektskap og <strong>in</strong>nflytelse.” Diss. U of Oslo,<br />
1938.<br />
Aall, Anathon. Henrik <strong>Ibsen</strong> als Dichter und Denker. Halle: Max Niemeyer, 1906.<br />
- - - -. “Henrik <strong>Ibsen</strong>, en norsk filosof.” In his Filosofien i norden. Kristiania: I<br />
kommision hos J. Dybwad, 1919. 277-316.<br />
Aarseth, Asbjørn. “<strong>Ibsen</strong>’s dramatic apprenticeship.” The Cambridge Companion to<br />
<strong>Ibsen</strong>. Ed. James Walter McFarlane. Cambridge: Cambridge UP, 1994. 1-11.<br />
Admoni, Vladimir Grigor’evic. Henrik <strong>Ibsen</strong>: Die Paradoxie e<strong>in</strong>es Dichterlebens.<br />
München: Beck’sche Riehe, 1991.<br />
Andenæs, Ragnar Nicolay. “<strong>Ibsen</strong> og Shakespeare, 1849-1871.” Diss. U of Oslo, 1934.<br />
Anderson, E<strong>in</strong>ar Wulfsberg. “The <strong>in</strong>fluence of Kierkegaard’s philosophy on the works of<br />
Henrik <strong>Ibsen</strong>.” Diss. U of M<strong>in</strong>nesota, 1926.<br />
Andreasen, Torleif. “Monologen i Henrik <strong>Ibsen</strong>s dramaer.” Diss. U of Oslo, 1952.<br />
Anker, Herman. “Fire akvareller av Henrik <strong>Ibsen</strong>.” Med boken som bakgrunn. Festskrift<br />
til Harald L. Tveterås. Oslo: Tanum, 1964. 3-22.<br />
Anker, Øyv<strong>in</strong>d. Christiania Theaters Repertoire, 1827-99. Oslo: Gyldendal, 1956.<br />
Berg, Thoralf. Tidlig teater i Trondheim. Gideå: Vildros, 1994.<br />
Bergman, Bo. “<strong>Ibsen</strong>s lyrik.” In his Från den långa resan. Stockholm: Bonnier, 1959.<br />
23-45.<br />
Bergwitz, Johan Kielland. Henrik <strong>Ibsen</strong> i s<strong>in</strong> Avstamn<strong>in</strong>g: Norsk eller Fremmed?<br />
Kristiania: n.p., 1916.<br />
- - - -. “Henrik <strong>Ibsen</strong>s ophold i Grimstad 1844-1850.” “Indledn<strong>in</strong>g” til Grimstad<br />
1800-1850 som Type paa norsk Smaaby. Kristiania: Gyldendal, 1916. 21 ff.<br />
Beyer, Edvard. Henrik <strong>Ibsen</strong>. Oslo: Cappelen, 1978.<br />
Beyer, Harald. “<strong>Ibsen</strong>’s Early Plays.” In his A History of Norwegian Literature. Trans.<br />
E<strong>in</strong>ar Haugen. New York: New York UP for the American-Scand<strong>in</strong>avian Foundation,<br />
1956. 171-85.<br />
503
- - - -. “<strong>Ibsen</strong>—Ungdomsårene.” In his Søren Kierkegaard og Norge. Kristiania:<br />
Aschehoug, 1924. 114-90.<br />
Beyer, Harald, and Edvard Beyer. “Om <strong>Ibsen</strong>.” Norsk Litteraturhistorie. 3 rd ed. Oslo:<br />
Aschehoug, 1970. 176-93.<br />
B<strong>in</strong>swanger, Ludwig. Henrik <strong>Ibsen</strong> und das Problem der Selbstrealisation <strong>in</strong> der Kunst.<br />
Heidelberg: L. Schneider, 1949.<br />
Blanc, T. Henrik <strong>Ibsen</strong> og Christiania Theater 1850-1899: Et Bidrag til den <strong>Ibsen</strong>ske<br />
Digtn<strong>in</strong>gs Scenehistorie. Kristiania: J. Dybwad, 1906.<br />
Blytt, Peter. “<strong>Ibsen</strong> som <strong>in</strong>struktør.” In his M<strong>in</strong>der fra den første norske Scene i Bergen i<br />
1850-Aarene: Et kulturhistorisk Forsøg. Bergen: F. Nygaard, 1907. 9-13.<br />
Brunsvig, J. Henrik <strong>Ibsen</strong>s barndom og fødebyen i hans diktn<strong>in</strong>g. Skien: Rasmussen,<br />
1952.<br />
Bryan, George G. An <strong>Ibsen</strong> Companion: a dictionary-guide to the life, works, and<br />
critical reception of Henrik <strong>Ibsen</strong>. Westport, Conn.: Greenwood, 1984.<br />
Buene, Arne Øyste<strong>in</strong>. “Otto Manns teorier i Poetikk der Tragedie, prøvd på <strong>Ibsen</strong>s<br />
Catil<strong>in</strong>a.” Diss. U of Bergen, 1964.<br />
Bull, Francis. “Henrik <strong>Ibsen</strong>.” Norsk litteraturhistorie. Ed. Francis Bull, et al. 2 vols.<br />
2 nd ed. Oslo: Aschehoug, 1957- . Vol. 4: Norges litteratur fra Februar-revolusjonen til<br />
Første verdenskrig. Ed. Francis Bull (1960). 267-452.<br />
- - - -. Henrik <strong>Ibsen</strong>. Oslo: Aschehoug, 1934. Særtrykk fra Norsk Litteratur historie,<br />
vol. 4. 1 st ed. Kristiania: Aschehoug, 1920.<br />
Bull, Francis, Halvdan Koht, Didrik Arup Seip. <strong>Ibsen</strong>s Drama: Innledn<strong>in</strong>ger til<br />
Hundreårsutgaven av Henrik <strong>Ibsen</strong>s Samlede Verker. Oslo: Gyldendal, 1972.<br />
Dahl, Herleiv. Bergmannen og Byggmesteren: Henrik <strong>Ibsen</strong> som lyriker. Oslo:<br />
Gyldendal, 1958.<br />
Dahl, Willy. “Henrik <strong>Ibsen</strong>.” Norges Litteratur. 2 vols. Oslo: Aschehoug, 1981. Vol.<br />
1: Tid og Tekst 1814-1884. 219-340.<br />
Deer Irv<strong>in</strong>g. “<strong>Ibsen</strong>’s search for dramatic form.” Diss. U of M<strong>in</strong>nesota, 1956.<br />
504
Dietrichson, L(orentz). “Samliv med Henrik <strong>Ibsen</strong>.” In his Svundne Tider. Af en<br />
Forfatters Ungdomser<strong>in</strong>dr<strong>in</strong>ger. 4 vols. Kristiania: Cappelen, 1899-1907. Vol. 1:<br />
Bergen og Christiania i 40- og 50-Aarene (2 nd ed., 1913). 327-70.<br />
Downs, Brian. <strong>Ibsen</strong>. The Intellectual Background. Cambridge: Cambridge U Press,<br />
1946.<br />
Due, Chr(istopher). Er<strong>in</strong>dr<strong>in</strong>ger fra Henrik <strong>Ibsen</strong> Ungdomsaar. København: Græbes<br />
Bogtrykkeri, 1909.<br />
Duve, Arne. Henrik <strong>Ibsen</strong>s hemmeligheter? Oslo: Lanser, 1977; ny omarb. utg., 1979.<br />
- - - -. The Real Drama of Henrik <strong>Ibsen</strong>? Oslo: Lanser, 1977.<br />
Ebbell, Clara Thue. I ungdomsbyen med Henrik <strong>Ibsen</strong>. Grimstad: Grimstad Bymuseum,<br />
1966.<br />
Eitrem, Hans. <strong>Ibsen</strong> og Grimstad. [Utg. av Hallvard Lie.] Oslo: Aschehoug, 1940.<br />
Elster, Kristian, d.y. “<strong>Ibsen</strong>s digte.” In his Fra tid til anden, bøker og dikter. Kristiania:<br />
Aschehoug, 1920. 1-47.<br />
Enna, A. Alexander. “Henrik <strong>Ibsen</strong> and Friedrich Hebbel, a comparative study.” Diss. U<br />
of Oregon, 1929.<br />
Faaland, Josef. Henrik <strong>Ibsen</strong> og antikken. Oslo: Tanum, 1943.<br />
Far<strong>in</strong>elli, Arturo. Byron e <strong>Ibsen</strong>. Milano: Fratelli Bocca, 1944.<br />
Firk<strong>in</strong>s, Ina Ten Eyck. Henrik <strong>Ibsen</strong>. A Bibliography of criticism and biography. With<br />
an <strong>in</strong>dex to characters. New York: H. W. Wilson, 1921; repr<strong>in</strong>ted Folcroft, Pa.:<br />
Folcroft Library Editions, 1972.<br />
Flottorp, Haakon. “Kierkegaard and Norway, a study <strong>in</strong> ‘Inwardness’ <strong>in</strong> history with<br />
illustrative examples from religion, literature and philosophy.” Diss. U of Michigan,<br />
1955.<br />
Foss, Knut. “Morgenbladet og Henrik <strong>Ibsen</strong>.” Diss. U of Oslo, 1951.<br />
Fraenkl, Pavel. <strong>Ibsen</strong>s vei til drama: en undersøkelse av dramatikerens genesis. Oslo:<br />
Gyldendal, 1955.<br />
Gosse, Edmund W. <strong>Ibsen</strong>. New York: Scribner, 1907.<br />
Gran, Gerhard. Henrik <strong>Ibsen</strong>. Liv og verker. 2 vols. Kristiania: Aschehoug, 1918.<br />
505
Grimstad Bys Historie. Paa Kommunal Foranstaltn<strong>in</strong>g. Utgit ved en Komité. Grimstad:<br />
I Hovedkommission hos Grimstad Bymuseum, Grøndahl, 1927.<br />
Grummann, Paul Henry. Henrik <strong>Ibsen</strong>. An <strong>in</strong>troduction to his life and works. L<strong>in</strong>coln,<br />
Neb.: The University Publish<strong>in</strong>g Company, 1928.<br />
Haakonsen, Daniel. Henrik <strong>Ibsen</strong>: Mennesket og Kunstneren. Oslo: Aschehoug, 1981.<br />
Halvorsen, Jens Bragge. Bibliografiske oplysn<strong>in</strong>ger til Henrik <strong>Ibsen</strong>s Samlede Værker.<br />
København: Gyldendal, 1901.<br />
- - - -. “Henrik <strong>Ibsen</strong>.” In his Norsk Forfatter-Lexikon 1814-1880. 6 vols. <strong>in</strong> 3.<br />
Kristiania: Den Norske forlagsforen<strong>in</strong>g, 1885-1908. Vol. 3 (1892), 1-89.<br />
Heiberg, Hans. “. . . født til kunstner”: et <strong>Ibsen</strong>-portrett. Oslo: Aschehoug, 1967; 3 rd<br />
ed., 1976.<br />
- - - -. <strong>Ibsen</strong>: a portrait of the artist. Trans. Joan Tate. London: Allen & Unw<strong>in</strong>, 1969.<br />
Heldal, Halldor. “<strong>Ibsen</strong> og Skand<strong>in</strong>avismen.” Diss. U of Oslo, 1947.<br />
Henrik <strong>Ibsen</strong>s Ordskatt: Vokabular over hans Diktn<strong>in</strong>g. Ed. Harald Noreng, Knut<br />
Hofland, Krist<strong>in</strong> Natvig. Oslo: Universitetsforlaget, 1987.<br />
Holsen, Sigvald. “Livsvilkår, Mennesketypet og Gudsforhold: en problemanalyse i<br />
<strong>Ibsen</strong>s ungdomsdiktn<strong>in</strong>g sett mot psykologisk, sosial og religiøs bakgrunn.” Diss. U of<br />
Bergen, 1977.<br />
Hurt, James. Catil<strong>in</strong>e’s Dream: an essay on <strong>Ibsen</strong>’s plays. Urbana, Ill.: Southern<br />
Ill<strong>in</strong>ois UP, 1972.<br />
Iversen, Ragnvald. “Noen stildrag i <strong>Ibsen</strong>s lyrikk.” In his Med Munn og penn.<br />
Trondheim: F. Brun, 1957. 45-64.<br />
Jacobs, Barry. “The Master Builder and <strong>Ibsen</strong>’s <strong>early</strong> plays: the call of the wild <strong>in</strong><br />
<strong>Ibsen</strong>.” Proceed<strong>in</strong>gs of the Seventh International <strong>Ibsen</strong> Conference, Grimstad 1993.<br />
Oslo: Center for <strong>Ibsen</strong> Studies, 1994. 89-98.<br />
Jaeger, Henrik. Henrik <strong>Ibsen</strong>: a critical biography. Trans. William Morton Payne.<br />
Chicago: A. C. McClurg, 1890. 2 nd ed. 1901, with a supplementary chapter by the<br />
translator. Repr. New York: Haskell House, 1972.<br />
- - - -. Henrik <strong>Ibsen</strong> 1828-1888. Et literært livsbillede. København: Gyldendal, 1888.<br />
506
- - -. The life of Henrik <strong>Ibsen</strong>. Trans. Clara Bell. “With the verse done <strong>in</strong>to English<br />
from the Norwegian orig<strong>in</strong>al by Edmund Gosse.” London: He<strong>in</strong>emann, 1890.<br />
- - - -. “Fra Henrik <strong>Ibsen</strong>s Rusaar.” In his Norske Forfattere. Literaturbilleder.<br />
København: Gyldendal, 1883. 160-207.<br />
Jensen, Jens Per. Snipetorp og Søndre Brekke: borgerhus og herregård i Skien. Skien:<br />
Selskapet for Skien Bys Vel, 1965.<br />
Johnsbraaten, Magnus Arnold. “<strong>Ibsen</strong> og Welhaven. Studier i <strong>Ibsen</strong>s Lyrikk.” Diss. U<br />
of Oslo, 1930.<br />
Johnston, Brian. To the Third Empire: <strong>Ibsen</strong>’s Early Drama. M<strong>in</strong>neapolis: U of<br />
M<strong>in</strong>nesota Press, 1980.<br />
Jorgenson, Theodore. Henrik <strong>Ibsen</strong>. A Study <strong>in</strong> Art and Personality. Northfield, M<strong>in</strong>n.:<br />
St. Olaf College Norwegian Institute, 1945.<br />
- - - -. “In the Mounta<strong>in</strong> Wilderness” and other works. “Translations [from <strong>Ibsen</strong>] and<br />
comments by Theodore Jorgenson.” Northfield, M<strong>in</strong>n.: St. Olaf College Norwegian<br />
Institute, 1957.<br />
Joyce, James. “Catil<strong>in</strong>a.” In James Joyce: The Critical Writ<strong>in</strong>gs. Ed. Ellworth Mason<br />
and Richard Ellmann. (New York: Vik<strong>in</strong>g, 1959) 98-101.<br />
Jud<strong>in</strong>e, Sister. Goethe to <strong>Ibsen</strong>. New York: Macmillan, 1962.<br />
Kihlman, Erik. Ur <strong>Ibsen</strong> dramatikens idéhistoria. En studie i dansk-norsk litteratur.<br />
Hels<strong>in</strong>gfors: Söderström, 1921.<br />
Koht, Halvdan. Henrik <strong>Ibsen</strong>. Eit diktarliv. 2 vols. Oslo: Aschehoug, 1928. Ny omarb.<br />
utg., 1954.<br />
- - - -. Henrik <strong>Ibsen</strong> i Manden. Oslo: I kommisjon hos J. Dybwad, 1928.<br />
- - - -. The Life of <strong>Ibsen</strong>. Trans. Ruth L. McMahon and Hannah Astrup Larsen. 2 vols.<br />
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