Recollections of My Childhood and Youth

by Georg Brandes

He did not say: "The King."

The people now endured seven weeks of uninterrupted change and kaleidoscopic alteration of the political situation. Relations with all foreign powers, and even with Sweden and Norway, presented a different aspect to the Danish public every week. Sweden's withdrawal created a very bitter impression; the public had been induced to believe that an alliance was concluded. Then followed the "pressure" in Copenhagen by the emissaries of all the Powers, to induce the Government to recall the November Constitution, then the Czar's letter to the Duke of Augustenborg, finally the occupation of Holstein by German troops, with all the censure and disgrace that the Danish army had to endure, for Holstein was evacuated without a blow being struck, and the Duke, to the accompanyment of scorn and derision heaped on the Danes, was proclaimed in all the towns of Holstein.

On Christmas Eve came tidings of the convocation of the Senate, simultaneously with a change of Ministry which placed Monrad at the head of the country, and in connection with this a rumour that all young men of twenty-one were to be called out at once. This last proved to be incorrect, and the minds of the young men alternated between composure at the prospect of war and an enthusiastic desire for war, and a belief that there would be no war at all. The first few days in January, building on the rumour that the last note from England had promised help in the event of the Eider being passed, people began to hope that the war might be avoided, and pinned their faith to Monrad's dictatorship.

Frederik Nutzhorn, who did not believe there would be a war, started on a visit to Rome; Jens Paludan-Müller, who had been called out, was quartered at Rendsborg until the German troops marched in; Julius Lange, who, as he had just become engaged, did not wish to see his work interrupted and his future prospects delayed by the war, had gone to Islingen, where he had originally made the acquaintance of his fiancée. Under these circumstances, as a twenty-one-year-old student who had completed his university studies, I was anxious to get my examination over as quickly as possible. At the end of 1863 I wrote to my teacher, Professor Bröchner, who had promised me a short philosophical summary as a preparation for the University test: "I shall sit under a conjunction of all the most unfavourable circumstances possible, since for more than a month my head has been so full of the events of the day that I have been able neither to read nor think, while the time of the examination itself promises to be still more disquiet. Still, I dare not draw back, as I should then risk--which may possibly happen in any case--being hindered from my examination by being called out by the conscription and perhaps come to lie in my grave as Studiosus instead of candidatus magisterii, which latter looks infinitely more impressive and is more satisfying to a man as greedy of honour as Your respectful and heartily affectionate, etc."

XIV.

Shortly before, I had paid my first visit to Professor Rasmus Nielsen. He was exceedingly agreeable, recognised me, whom perhaps he remembered examining, and accorded me a whole hour's conversation. He was, as always, alert and fiery, not in the least blasé, but with a slight suggestion of charlatanism about him. His conversation was as lively and disconnected as his lectures; there was a charm in the clear glance of his green eyes, a look of genius about his face. He talked for a long time about Herbart, whose Aesthetics, for that matter, he betrayed little knowledge of, then of Hegel, Heiberg, and Kierkegaard. To my intense surprise, he opened up a prospect, conflicting with the opinions he had publicly advocated, that Science, "when analyses had been carried far enough," might come to prove the possibility of miracles. This was an offence against my most sacred convictions.

Nielsen had recently, from the cathedra, announced his renunciation of the Kierkegaard standpoint he had so long maintained, in the phrase: "The Kierkegaard theory is impracticable"; he had, perhaps influenced somewhat by the Queen Dowager, who about that time frequently invited him to meet Grundtvig, drawn nearer to Grundtvigian ways of thinking,-- as Bröchner sarcastically remarked about him: "The farther from Kierkegaard, the nearer to the Queen Dowager."

In the midst of my final preparations for the examination, I wrestled, as was my wont, with my attempts to come to a clear understanding over Duty and Life, and was startled by the indescribable irony in the word by which I was accustomed to interpret my ethically religious endeavours,--Himmelspraet. [Footnote: Word implying one who attempts to spring up to Heaven, and of course falls miserably to earth again. The word, in ordinary conversation, is applied to anyone tossed in a blanket.]

I handed in, then, my request to be allowed to sit for my Master of Arts examination; the indefatigable Bröchner had already mentioned the matter to the Dean of the University, who understood the examinee's reasons for haste. But the University moved so slowly that it was some weeks before I received the special paper set me, which, to my horror, ran as follows: "Determine the correlation between the pathetic and the symbolic in general, in order by that means to elucidate the contrast between Shakespeare's tragedies and Dante's Divina Commedia, together with the possible errors into which one might fall through a one-sided preponderance of either of these two elements."

This paper, which had been set by R. Nielsen, is characteristic of the purely speculative manner, indifferent to all study of history, in which Aesthetics were at that time pursued in Copenhagen. It was, moreover, worded with unpardonable carelessness; it was impossible to tell from it what was to be understood by the correlation on which it was based, and which was assumed to be a given conclusion. Even so speculative a thinker as Frederik Paludan-Müller called the question absolutely meaningless. It looked as though its author had imagined Shakespeare's dramas and Dante's epic were produced by a kind of artistic commingling of pathetic with symbolic elements, and as though he wished to call attention to the danger of reversing the correct proportions, for instance, by the symbolic obtaining the preponderance in tragedy, or pathos in the epopee, or to the danger of exaggerating these proportions, until there was too much tragic pathos, or too much epic symbolism. But a scientific definition of the expressions used was altogether lacking, and I had to devote a whole chapter to the examination of the meaning of the problem proposed to me.