He begins by saying that if any author deserves translation it is Shakespeare, for in him the whole poetic, romantic ideal of Protestantism finds expression. He is the Luther of poetry, though between Luther and Shakespeare there is all the difference between religious zeal and the quiet contemplation of the beautiful. Both belong to the whole world, Shakespeare because his characters, humor, art, reflections, are universal in their validity and their appeal. Wherever he is read he becomes the spokesman against narrowness, dogmatism, and intolerance. To translate Shakespeare, he points out, is difficult because of the archaic language, the obscure allusions, and the intense originality of the expression. Shakespeare, indeed, is as much the creator as the user of his mother-tongue. The one translation of Macbeth in existence, Foersom's, is good, but it is only in part Shakespeare, and the times require something more adequate and "something more distinctly our own." Monrad feels that this should not be altogether impossible "when we consider the intimate relations between England and Norway, and the further coincidence that the Norwegian language today is in the same state of flux and transition, as was Elizabethan English." All translations at present, he continues, can be but experiments, and should aim primarily at a faithful rendering of the text. Monrad calls attention to the fact—in which he was, of course, mistaken—that this is the first translation of the original Macbeth into Dano-Norwegian or into Danish. It is a work of undoubted merit, though here and there a little stiff and hazy, "but Shakespeare is not easily clarified." The humorous passages, thinks the reviewer, are a severe test of a translator's powers and this test Hauge has met with conspicuous success. Also he has acquitted himself well in the difficult matter of putting Shakespeare's meter into Norwegian.
The last two pages are taken up with a detailed study of single passages. The only serious error Monrad has noticed is the following: In Act II, 3 one of the murderers calls out "A light! A light!" Regarding this passage Monrad remarks: "It is certainly a mistake to have the second murderer call out, "Bring a light here!" (Lys hid!) The murderer does not demand a light, but he detects a shimmer from Banquo's approaching torch." The rest of the section is devoted to mere trifles.
This is the sort of review which we should expect from an intelligent and well-informed man. Monrad was not a scholar, nor even a man of delicate and penetrating reactions. But he had sound sense and perfect self-assurance, which made him something of a Samuel Johnson in the little provincial Kristiania of his day. At any rate, he was the only one who took the trouble to review Hauge's translation, and even he was doubtless led to the task because of his personal interest in the translator. If we may judge from the stir it made in periodical literature, Macbeth fell dead from the press.
The tercentenary of Shakespeare's birth (1864) aroused a certain interest in Norway, and little notes and articles are not infrequent in the newspapers and periodicals about that time. Illustreret Nyhedsblad[II.4] has a short, popular article on Stratford-on-Avon. It contains the usual Shakespeare apocrypha—the Sir Thomas Lucy story, the story of the apple tree under which Shakespeare and his companions slept off the effects of too much Bedford ale—and all the rest of it. It makes no pretense of being anything but an interesting hodge-podge for popular consumption. The next year, 1864, the same periodical published[II.5] on the traditional day of Shakespeare's birth a rather long and suggestive article on the English drama before Shakespeare. If this article had been original, it might have had a certain significance, but, unfortunately, it is taken from the German of Bodenstedt. The only significant thing about it is the line following the title: "Til Erindring paa Trehundredsaarsdagen efter Shakespeares Födsel, d. 23 April, 1563."
More interesting than this, however, are the verses written by the then highly esteemed poet, Andreas Munch, and published in his own magazine, For Hjemmet,[II.6] in April, 1864. Munch rarely rises above mediocrity and his tribute to the bard of Avon is the very essence of it. He begins:
I disse Dage gaar et vældigt Navn
Fra Mund til Mund, fra Kyst til Kyst rundt Jorden—
Det straaler festligt over fjernest Havn,
Og klinger selv igjennem Krigens Torden,
Det slutter alle Folk i Aandens Favn,
Og er et Eenheds Tegn i Striden vorden—
I Stjerneskrift det staaer paa Tidens Bue,
Og leder Slægterne med Hjertelue.
and, after four more stanzas, he concludes:
Hos os har ingen ydre Fest betegnet
Vort Folks Tribut til denne store Mand.
Er vi af Hav og Fjelde saa omhegnet,
At ei hans Straaler trænge til os kan?
Nei,—Nordisk var hans Aand og netop egnet
Til at opfattes af vort Norden-Land,
Og mer maaske end selv vi tro og tænke,
Har Shakespeare brudt for os en fremmed Lænke.
One has a feeling that Munch awoke one morning, discovered from his calendar that Shakespeare's birthday was approaching, and ground out this poem to fill space in Hjemmet. But his intentions are good. No one can quarrel with the content. And when all is said, he probably expressed, with a fair degree of accuracy, the feeling of his time. It remains but to note a detail or two. First, that the poet, even in dealing with Shakespeare, found it necessary to draw upon the prevailing "Skandinavisme" and label Shakespeare "Nordisk"; second, the accidental truth of the closing couplet. If we could interpret this as referring to Wergeland, who did break the chains of foreign bondage, and gave Norway a place in the literature of the world, we should have the first reference to an interesting fact in Norwegian literary history. But doubtless we have no right to credit Munch with any such acumen. The couplet was put into the poem merely because it sounded well.
More important than this effusion of bad verse from the poet of fashion was a little article which Paul Botten Hansen wrote in Illustreret Nyhedsblad[II.7] in 1865. Botten Hansen had a fine literary appreciation and a profound knowledge of books. The effort, therefore, to give Denmark and Norway a complete translation of Shakespeare was sure to meet with his sympathy. In 1861 Lembcke began his revision of Foersom's work, and, although it must have come up to Norway from Copenhagen almost immediately, no allusion to it is found in periodical literature till Botten Hansen wrote his review of Part (Hefte) XI. This part contains King John. The reviewer, however, does not enter upon any criticism of the play or of the translation; he gives merely a short account of Shakespearean translation in the two countries before Lembcke. Apparently the notice is written without special research, for it is far from complete, but it gives, at any rate, the best outline of the subject which we have had up to the present. Save for a few lines of praise for Foersom and a word for Hauge, "who gave the first accurate translation of this masterpiece (Macbeth) of which Dano-Norwegian literature can boast before 1861," the review is simply a loosely connected string of titles. Toward the close Botten Hansen writes: "When to these plays (the standard Danish translations) we add (certain others, which are given), we believe that we have enumerated all the Danish translations of Shakespeare." This investigation has shown, however, that there are serious gaps in the list. Botten Hansen calls Foersom's the first Danish translation of Shakespeare. It is curious that he should have overlooked Johannes Boye's Hamlet of 1777, or Rosenfeldt's translation of six plays (1790-1792). It is less strange that he did not know Sander and Rahbek's translation of the unaltered Macbeth of 1801—which preceded Hauge by half a century—for this was buried in Sander's lectures. Nor is he greatly to be blamed for his ignorance of the numerous Shakespearean fragments which the student may find tucked away in Danish reviews, from M.C. Brun's Svada (1796) and on. Botten Hansen took his task very lightly. If he had read Foersom's notes to his translation he would have found a clue of interest to him as a Norwegian. For Foersom specifically refers to a translation of a scene from Julius Caesar in Trondhjems Allehaande.