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cultural resources in henrik ibsen's early environment - Ibsen.net

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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

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