XXIII.
Together with a practical training in the use of the language, the Danish lessons afforded a presentment of the history of our national literature, given intelligently and in a very instructive manner by a master named Driebein, who, though undoubtedly one of the many Heibergians of the time, did not in any way deviate from what might be termed the orthodoxy of literary history. Protestantism carried it against Roman Catholicism, the young Oehlenschläger against Baggesen, Romanticism against Rationalism; Oehlenschläger as the Northern poet of human nature against a certain Björnson, who, it was said, claimed to be more truly Norse than he. In Mr. Driebein's presentment, no recognised great name was ever attacked. And in his course, as in Thortsen's History of Literature, literature which might be regarded as historic stopped with the year 1814.
The order in which in my private reading I became acquainted with Danish authors was as follows: Ingemann, Oehlenschläger, Grundtvig, Poul Möller, many books by these authors having been given me at Christmas and on birthdays. At my grandfather's, I eagerly devoured Heiberg's vaudevilles as well. As a child, of course, I read uncritically, merely accepting and enjoying. But when I heard at school of Baggesen's treatment of Oehlenschläger, thus realising that there had been various tendencies in literature at that time, and various opinions as to which was preferable, I read with enthusiasm a volume of selected poems by Baggesen, which I had had one Christmas, and the treatment of language in it fascinated me exceedingly, with its gracefulness and light, conversational tone. Then, when Hertz's [Footnote: Henrik Hertz, a Danish poet (1797-1870), published "Ghost Letters" anonymously, and called them thus because in language and spirit they were a kind of continuation of the long-deceased Baggesen's rhymed contribution to a literary dispute of his day. Hertz, like the much greater Baggesen, laid great stress upon precise and elegant form.--[Translator's note.] Ghost Letters fell into my hands one day, and the diction of them appealed to me almost more, I felt myself, first secretly, afterwards more consciously, drawn towards the school of form in Danish literature, and rather enjoyed being a heretic on this point. For to entertain kindly sentiments for the man who had dared to profane Oehlenschläger was like siding with Loki against Thor. Poul Möller's Collected Works I had received at my confirmation, and read again and again with such enthusiasm that I almost wore the pages out, and did not skip a line, even of the philosophical parts, which I did not understand at all. But Hertz's Lyrical Poems, which I read in a borrowed copy, gave me as much pleasure as Poul Möller's Verses had done. And for a few years, grace and charm, and the perfect control of language and poetic form, were in my estimation the supreme thing until, on entering upon my eighteenth year, a violent reaction took place, and resonance, power and grandeur alone seemed to have value. From Hertz my sympathies went over to Christian Winther, from Baggesen to Homer, Aeschylus, the Bible, Shakespeare, Goethe. One of the first things I did as a student was to read the Bible through in Danish and the Odyssey in Greek.