Essays on Scandinavian Literature by Hjalmar Hjorth Boyesen (e book reader online .txt) 📖

Holland it has received respectful attention, and (I am informed) has proved extremely effective upon the boards.

In the same year as "The New System" (1879) appeared the delightful novelette "Captain Mansana," dealing with Italian life, and throwing interesting side-lights upon the War of Liberation. There is an irresistible charm in the freshness, the vividness, the extreme modernness of this little tale. The mingled simplicity and sophistication of the Italian character, the histrionic touch which yet goes with perfect sincerity, the author has apprehended and presented with happy realism.

In "Beyond their Strength" (_Over Aevne_) (1883) Björnson has invaded the twilight realm of psycho-pathological phenomena, and refers the reader for further information to _Leçons sur le système nerveux, faites par J. M. Charcot_, and _Études cliniques sur l'hystéro-épilepsie ou grande hystérie, par le Dr. Richer_. As a man is always in danger of talking nonsense in dealing with a subject concerning which his knowledge is superficial, I shall not undertake to pronounce upon the validity of the theory which is here advanced. The play is an inquiry into the significance and authenticity of miracles. Incidentally the theme is faith-healing, the hypnotic effect of prayer, and kindred phenomena.

Pastor Sang, a clergyman in a remote parish of Northern Norway, is famed far and wide as the miracle-priest, and it is popularly believed that he can work wonders, as the apostles did of old. He has given away his large fortune to the poor; in a fervor of faith he plunges into every danger, and comes out unscathed; he lives constantly in an overstrained ecstasy, and by his mere presence, and the atmosphere which surrounds him, forces his wife and children to live in the same state of high nervous tension and unnatural abstraction from mundane reality and all its concerns. His wife, Clara, who loves him ardently, is gradually worn out by this perpetual strain, which involves a daily overdraft upon her vitality; and finally the break comes, and she is paralyzed. For, like everyone who comes in contact with Sang, she has had to live "beyond her strength." She does not fully share her husband's faith, and though she feels his influence and admires his lofty devotion, there is a half-suppressed criticism in her mind. She feels the unwholesomeness of thus "living by inspiration, and not by reason." When he comes to her, "beaming always with a Sabbath joy," she would fain tune him down, if she could, into a lower key, "the C-major of every-day life," as Browning calls it. But in this effort she has had no success, for Sang's ecstatic elevation above the concerns of earth is not only temperamental; nature itself, in the extreme North, favors it. As Clara expresses it:

"Nature here exceeds the limits of the ordinary. We have night nearly all winter; we have day nearly all summer--and then the sun is above the horizon, both day and night. Have you seen it in the night? Do you know that behind the ocean vapors it often looks three or four times as large as usual? And then the color-effects upon sky, sea, and mountain! From the deepest glow of red to the finest, tenderest, golden white. And the colors of the aurora upon the wintry sky!" etc.

It is the most ardent desire of Sang to heal his wife, as he has healed many others. But the doubt in her mind baffles him, and for a long time he is unsuccessful. At last, however, he resolves to make a mighty effort--to besiege the Lord with his prayer, to wrestle with him, as Jacob did of old, and not to release him, until he has granted his petition. While he lies thus before the altar calling upon the Lord in sacred rapture, a tremendous avalanche sweeps down the mountainside, but divides, leaving the church and parsonage unharmed. The rumor of this new wonder spreads like fire in withered grass, and among thousands of others a number of clergymen, with their bishop, on their way to some convention, stop to convince themselves of the authenticity of the miracle, and to determine the attitude which they are to assume toward it. Then follows a long discussion between the bishop and the clergy regarding the value of miracles, some maintaining that the church has outgrown the need of them, others that they are indispensable--that Christianity cannot survive without them. For has not Christ promised that "even greater things than these shall ye do?" Is not this a case of the faith which verily can say to the mountain, "Rise up and cast thyself into the sea?"

The other miracle, scarcely less marvellous than the deflection of the avalanche, is that Clara, who has slept for the first time in a month, now rises from her bed and goes forth to meet her husband, and falls upon his neck amid the ringing of the church-bells and the hallelujahs of the assembled multitudes. But when he tries to raise her she is dead, and he himself, overwhelmed by his emotion, falls dead at her side.

This is so obviously a closet-drama that it is difficult to imagine how it would look under the illumination of the foot-lights. For all that, I see a recent announcement that the trial is soon to be made at the _Théâtre Libre_ in Paris.[10] No Scandinavian theatre, as far as I know, has as yet had the courage to risk the experiment. In his next play, however, "Love and Geography" (1885), Björnson reconquered the stage and repeated his early triumphs. From the scientific seriousness of "Beyond their Strength" his pendulum swung to the opposite extreme of light comedy, almost bordering on farce. Not that "Love and Geography" is without a Björnsonian moral, but it is amusingly, jocosely enforced in scenes of great vivacity and theatrical effect. This time it is himself the author has chosen to satirize. The unconscious tyranny of a man who has a mission, a life-work, is delightfully illustrated in the person of the geographer, Professor Tygesen, to whom Björn Björnson, the actor, when he played the part at the Christiania Theatre, had the boldness to give his father's mask. Professor Tygesen is engaged upon a great geographical opus, and gradually takes possession of the whole house with his maps, globes, and books, driving his wife from the parlor floor and his daughter to boarding-school. So absorbed is he in his work that he can talk and think of nothing else. He neglects the social forms from sheer abstraction and becomes almost a boor, because all the world outside of his book pales into insignificance, and all persons and events are merely interesting in so far as they can stimulate inquiry or furnish information bearing upon the immortal opus. The inevitable consequence follows. The professor alienates all who come in contact with him. He is on the point of losing the affection of his wife, and his daughter comes near going astray for want of paternal supervision. Both these calamities are, however, averted, though in an arbitrary and highly eccentric manner. The professor's eyes are opened to the error of his ways, he does penance, and the curtain falls upon a reunited family.


[10] July, 1894.


The unpretentious little story "Dust" (_Stöv_, 1882) undertakes to demonstrate the unwholesomeness of the religious ideas regarding the life to come usually impressed upon children by parents and teachers. By dust Björnson means all obsolete, lifeless matter in the world of thought which settles upon, and often impairs, the vitality of the living growth, or even chokes it outright. "When children are taught that the life here is nothing compared to the life to come--that to be visible is nothing compared to being invisible--that to be a man is nothing compared to being an angel--that to be alive is nothing compared to being dead--then that is not the way to give them the right view of life; not the way to teach them to love life; not the way to inspire them with courage, energy, and patriotism."

In his novel "Flags in City and Harbor" (1884), the English translation of which is entitled "The Heritage of the Kurts," Björnson has attacked a tremendous problem. He has attempted to illustrate the force of heredity, and the exact extent to which it may be modified by environment--to what extent an unfavorable heredity may be counteracted by a favorable environment. The family of Kurt, whose history is here traced through five generations, inherits a temperament which would have secured its survival and raised it to distinction in barbaric ages, but which will as surely, unless powerfully modified, necessitate its extinction in the present age. For the Kurts are incapable of assimilating civilization. An excess of physical vigor in the first Kurt who settled in Norway takes the form of lawlessness and an entire absence of moral restraint.

Violence of the most atrocious kind goes unpunished because Kurt is powerful and has friends at court. In his two legitimate sons, Adler and Max (he has a host of illegitimate ones), the family temperament is modified, though in Max, who perpetuates the race, the modification is not radical. Adler is a weakling of enormous vanity, silent and moody, and addicted to the pleasures of the table. Max, on the other hand, is a man of inexhaustible vitality, violent like his father, but possessed of a gift of speech and a tremendous voice which serve to establish his authority over the simple inhabitants of the little coast town. Moreover, he is endowed with great shrewdness and practical sense, and is an expert in ship-building, agriculture, and other pursuits. But he is the terror of women, and his sensual excesses so undermine his strength that he becomes insane, and believes that he is continually pursued by the spirit of his brother, whose death he had caused. Konrad Kurt, the son of Max, runs away from home because he cannot endure to see his mother maltreated by his father. He inherits a shattered constitution and poor nerves; outwardly he is quite a respectable man, but he has a strong physical need of drink, and every night he goes to bed intoxicated. It is the author's purpose to show how the sins of his fathers, by a physiological necessity, predisposed Konrad Kurt to drink. His son, John Kurt, who is the result of a criminal relation, is the complete incarnation of the genius of the family. The fresh blood which he has derived from his English mother has postponed the doom of the race and enabled him to repeat, in a modified form, the excesses of his ancestors. He first distinguishes himself as a virtuoso in swearing. The magnificent redundance and originality of his oaths make him famous in the army, which he chooses as the first field of his exploits. Later he roams aimlessly about the world, merely to satisfy a wild need of adventure. On his return to his native town he signalizes himself by his vices as a genuine Kurt. The little town, however, cannot find it in its heart to condemn a man of so distinguished a race, and society, though it is fully cognizant of his mode of life, not only tolerates but even pets him. He is entertaining, has been everywhere and seen everything. He meets a young girl, named Thomasine Rendalen, the daughter of an educated peasant, who occupies a position as a teacher. She is large, ruddy, full of health and uncorrupted vigor. John Kurt takes a violent fancy to her, and moves heaven and earth to induce her to marry him. He goes even to the length of bribing all her female friends, and they by degrees begin to sing his praises. At last she yields; a net of subtle influences surrounds her, and unconsciously she comes to reflect the view of society. Her moral prudery begins to appear ridiculous to her,