Handbook of Universal Literature, From the Best and Latest Authorities

by Anne C. Lynch Botta

The first author who marks the new era is Arreboe (1587-1637), who has been called the Chaucer of Denmark. His chief work was the "Hexameron," or "The World's First Week." It abounds with learning, and displays great poetic beauty. The religious psalms and hymns of Kingo (1634-1703) are characterized by a simple yet powerfully expressed spirit of piety, and are still held in high esteem. His Morning and Evening Prayers, or, as he beautifully terms them, "Sighs," are admirable.

Many other names of note are found in the literature of this period, but the only one who achieved a world-wide celebrity, was Tycho Brahe (1546- 1601), who, for a time, was the centre of a brilliant world of science and literature. The learned and celebrated, from all countries, visited him, and he was loaded with gifts and honors, in return for the honor which he conferred upon his native land. But at length, through the machinations of his enemies, he lost the favor of the king, and was forced to exile himself forever from his country. The services rendered to astronomy by Tycho Brahe were great, although his theory of the universe, in which our own planet constituted the centre, has given way before the more profound one of Copernicus.

Holberg (1684-1754), a native of Norway, is commonly styled the creator of the modern literature of Denmark, and would take a high place in that of any country. In the field of satire and comedy he was a great and unquestionable master. All his actors are types, and are as real and existent at the present hour as they were actual when he sketched them. Besides satires and numerous comedies, Holberg was the author of various histories, several volumes of letters, and a book of fables.

The principal names which appear in Danish literature, from Holberg to Evald, are those of Stub, Sneedorf, Tullin, and Sheersen. Evald (1743- 1780) was the first who perceived the superb treasury of poetic wealth which lay in the far antiquity of Scandinavia, among the gods of the Odinic mythology, and who showed to his nation the grandeur and beauty which the national history had reserved for the true poetic souls who should dare to appropriate them. But the sound which he drew from the old heroic harp startled his contemporaries, while it did not fascinate them. The august figures which he brought before them seemed monstrous and uncouth. Neglected in life, and doomed to an early death, the history of this poet was painfully interesting; a strangely brilliant web of mingled gold and ordinary thread—a strangely blended fabric of glory and of grief. Solitary, poor, bowed down with physical and mental suffering, from his heart's wound, as out of a dark cleft in a rock, swelled the clear stream of song. The poem of "Adam and Eve," "Rolf Krage," the first original Danish tragedy, "Balder's Death," and "The Fishermen," are his principal productions. "Rolf Krage" is the outpouring of a noble heart, in which the most generous and exalted sentiments revel in all the inexperience of youth. "Balder's Death" is a masterpiece of beauty, sentiment, and eloquence of diction. It is full of the passion of an unhappy love, and thus expresses the burning emotions of the poet's own heart. The old northern gods and mythic personages are introduced, and the lyric element is blended with the dramatic. The lyrical drama of "The Fishermen" is perhaps the most perfect and powerful of all Evald's works. The intense interest it excites testifies to the power of the writer, while the music of the versification delights the ear. His lyric of "King Christian," now the national song of Denmark, is a masterly production of its kind.

During the forty years which succeeded the death of Evald, Denmark produced a great number of poets and authors of various kinds, who advanced the fame of their country; but the chief of those who closed the eighteenth century are Baggesen (1764-1826) and Rahbek (1760-1830). Though they still wrote in the nineteenth century, they belonged in spirit essentially to the eighteenth. The life of Baggesen was a genuine romance, with all its sunshine and shade. He was born in poverty and obscurity, and when a child of seven years old, on one occasion, attracted the momentary attention of the young and lovely Queen Caroline, who took him in her arms and kissed him. "Still, after half a century," he writes, "glows the memory of that kiss; to all eternity I shall never forget it. From that kiss sprang the germ of my entire succeeding fate." After a long and severe struggle with poverty, he suddenly found himself the most popular poet of the country, and for a quarter of a century he was the petted favorite of the nation. Supplanted in public favor by the rising glory of Oehlenschläger, he had the misfortune to see the poetic crown of Denmark placed on the head of his rival; and the last years of his life were embittered by disappointment and care. The works of Baggesen fill twelve volumes, and consist of comic stories, numerous letters, satires and impassioned lyrics, songs and ballads, besides dramas and operas. His "Poems to Nanna," who, in the northern mythology, is the bride of Balder, are among the most beautiful in the Danish language, and no poet could have written them until he had gone through the deep and ennobling baptism of suffering. In these, Nanna is the symbol of the pure and eternal principle of love, and Balder is the type of the human heart, perpetually yearning after it in sorrow, yet in hope. Nanna appears lost—departed into a higher and invisible world; and Balder, while forever seeking after her, bears with him an internal consciousness that there he shall overtake her, and possess her eternally. One of Baggesen's characteristics was the projection of great schemes, which were never accomplished. He was too fond of living in the present—in the charmed circle of admiring friends— to achieve works otherwise within the limit of his powers. Bat with all his faults, his works will always remain brilliant and beautiful amid the literary wealth of his country.

In the early part of the nineteenth century the new light which radiated from Germany found its way into Denmark, and in no country was the result so rapid or so brilliant. There soon arose a school of poets who created for themselves a reputation in all parts of Europe that would have done honor to any age or country. A new epoch in the language began with Oehlenschläger (1779-1856), the greatest poet of Denmark, and the representative, not only of the North, but, like Scott, Byron, Goethe, and Schiller, the outgrowth of a great era as well, and the incarnation of the broader and more natural spirit of his time. In 1819 he published the "Gods of the North," in which he combines all the legends of the Edda into one connected whole. He entered fully into the spirit of these grand old poems, and condensed and elaborated them into one. In the various regions of gods, giants, dwarfs, and men, in the striking variety of characters, the great and wise Odin, the mighty Thor, the good Balder, the malicious Loke, the queenly Frigga, the genial Freya, the lovely Iduna, the gentle Nanna—in all the magnificent scenery of Midgard, Asgard, and Nifelheim, with the glorious tree Yggdrasil and the rainbow bridge, the poet found inexhaustible scope for poetical embellishment, and he availed himself of it all with a genuine poet's power. The dramas of Oehlenschläger are his masterpieces, but they form only a small portion of his works. His prose stories and romances fill several volumes, and his smaller poems would of themselves have established almost a greater reputation than that of any Danish poet who went before him.

Grundtvig (b. 1783) is one of the most original and independent minds of the North. As a preacher he was fervid and eloquent; as a writer on the Scandinavian mythology and hero-life, he gave, perhaps, the truest idea of the spirit of the northern myths.

Blicher (1782-1868) was a stern realist, who made his native province of Jutland the scene of his poems and stories, which in many respects resemble those of Crabbe.

Ingemann (1789-1862) is a voluminous writer in every department of literature. His historical romances are the delight of the people, who, by their winter firesides, forget their snow-barricaded woods and mountains in listening to his pages.

Heiberg (1791-1860) as a critic ruled the Danish world of taste for many years, and by his writings did much to elevate dramatic art and public sentiment. The greatest authoress that Denmark has produced is the Countess Gyllenbourg (1773-1856). Her knowledge of life, sparkling wit, and faultless style, make her stories, the authorship of which was unknown before her death, masterpieces of their kind.