There is a whole literature on Peder Paars in Norwegian and Danish, and it is only fair to say that opinions of the critics vary as to the intrinsic value of the different parts of the poem from a literary point of view. On the other hand, full credit is given to the poem from a cultural standpoint. Generally speaking, Peder Paars is not only the first dazzling display of Holberg's genius as a humorous and satirical writer; it also reveals him as the future playwright, who within a few years was to send pit, boxes and galleries into fits of laughter.
Indeed, we may ask the question: Was there ever in any country a professor of metaphysics with so adequate a store of humour and with a more irresistible fancy to display it?
IV.
Holberg as a dramatic author is certainly one of the most interesting chapters in the history of Norwegian and Danish literature, and none has been subjected to a more searching examination.
It is admitted by all critics that he is indebted to the famous playwrights of ancient Rome—Plautus and Terentius—and he certainly also owes something to the Italian comedy with which he had become acquainted both in Italy and in Paris. His relation to Molière whom he admired very much has been a matter of discussion, even in France, and there are in some of his plays characters and scenes which remind one of the English dramatists of the Restoration. But he never stooped to mere imitation. The comedies which have established his fame all bear the indelible stamp of his originality and of his genius.
Let us take a short review of some of the most famous of his comedies.
First you make the acquaintance of the Tinker Politician—a typical representative of the time, so occupied with speculations and discussions on public affairs that he has no time to look after his own trade. It consequently goes from bad to worse. He is the central figure in a self-appointed board of Blue-Apron Politicians—a saddler, a cutler, a wig-maker, and so on. They are over head and ears in politics, discussing the events of the Spanish War of Succession, giving advice to Prince Eugène and the Duke of Marlborough or denouncing their dispositions, while expounding the most startling historical theories and making the most absurd geographical assertions. They are also eagerly taking down their own authorities.
Holberg has been so cautious as to make Hamburg the scene of his comedy, for it would certainly not have been tolerated if the action had been made to take place at Copenhagen. Some of the remarks made by the characters of the play have, therefore, retained a wonderful actuality. By way of example: "Indeed, those people don't see what is to the true benefit of Germany." Replacing the word Germany by the word Denmark we see, however, the homely, eighteenth-century address quite clearly.
In the third act the Tinker Politician is most unexpectedly appointed Burgomaster of Hamburg—a sham appointment, of course, arranged by some persons who wish to play a practical joke on him in order to put his remarkable political qualities and his much-boasted administrative faculties to the test. It need hardly be said that his burgomastership which, by the way, only lasts twenty-four hours, filled up with constant embarrassments, disillusionments and mortifications, finally turns out a complete failure. He is just about to hang himself in a fit of despair when he is informed of the joke which has been played upon him. He rejoices in his good luck, denounces his political vanity in a verse which has become classic, and the moral of which may be expressed in the old proverb: "The shoemaker should stick to his last."