But now the Norse students determined to do all in their power to give him the desired public approval; with the aid of citizens, representing all classes of society and interests, they arranged a great musical festival in Christiania for the benefit of the Bergen Theatre. This gave Ole Bull a new impulse. He composed a chorus for male voices, which was sung after the prologue, and played several numbers on that occasion with brilliant success. Later in the evening a “Sexa” was given in his honor, and those present were touched to see the happiness he felt in the acknowledgment and acceptance of his pet idea in the Norwegian capital. On his return to Bergen a dramatic performance was given at his suggestion for the University Building Fund in Christiania, in recognition of the sympathy the students had so substantially shown the theatre.[17]
Winter Hjelm, who has supplied many of these details, continues:—
It was not alone the Norse Theatre to which Ole Bull gave thousands of dollars, but every public enterprise of importance was aided liberally by him. He assisted Tidemand and Gude at this time in a series of entertainments given for the benefit of young artists kept at home by the troubles abroad.
The theatre was too great an undertaking for one man to carry. Ole Bull not only lost much money, but he became involved in controversies and lawsuits with the authorities. It will be readily understood that the Norse national feeling he worked for and inspired was unpopular with those who represented the established order of things, and that every possible advantage was seized upon to annoy and harass him. He, as usual, left points open to his adversaries.
On the opening of the theatre the police officials thought that not only they themselves but their assistants (a term which they would have interpreted broadly enough to include their families) should have had tickets presented to them; and they threatened to take measures for closing the theatre if their claims were not conceded. Ole Bull then asked and received their demands in writing. They claimed three permanent, reserved seats for the master, adjutant, and attorney of the police, and more when desired for their assistants; the seats to have a view of stage and audience, and to be chosen before the sale was open to the public. This stupid demand the violinist met with ridicule. He reserved the seats asked for, but hung above them a placard with the inscription in large black letters, “Seats for the Police,” and over this a large green lantern to light the placard. For this offense the officials called him to answer in court; and the case being decided against him he carried it up to the Supreme Court. The distinguished advocate to the crown, Mr. Duncker, an intimate friend of Ole Bull, asked the privilege of acting as his counsel. The appeal was argued in Christiania. Mr. Duncker took the ground that the granting of the seats was a courtesy and not a legal obligation. He indulged in much sarcasm and ridicule at the expense of the complaining officials, and concluded thus: “Who does not feel that in Ole Bull’s person art and genius have been offered a grievous insult for which the police of Bergen will never be able to atone? But the satisfaction which the court can give will, I am confident, be granted to Ole Bull.” The case was decided in his favor, but not a newspaper in the kingdom dared report the defeat of a government official; and the able defense of Mr. Duncker was printed in Copenhagen by the North and South, which said: “We gladly offer our columns to print Mr. Duncker’s defense for circulation in Norway, that such a man as Ole Bull may receive the satisfaction due him.”
The police officials were naturally irritated at the result of this suit, and watched for opportunities of annoying him. On one occasion he was called upon, under an obsolete municipal regulation, to answer the charge of smoking a cigar in the street in Bergen, as the law allowed only covered pipes to be smoked on the streets. The judge and officers of the court being most of them old friends or former school comrades, the trial was very amusing. The violinist entered the court room, and having in the most courteous and natural manner offered the judge and officers each a cigar, which of course each declined, he lighted his own, remarking that he had not had time at so early an hour to enjoy his regular morning smoke. He was soon acquitted, as it was found that the indictment against him was for smoking “in the square,” whereas the regulation forbade it only on the streets.
On another occasion, when he was called to answer a charge of the same trivial character, he happened to be summoned to appear in court on the morning of his birthday, the 5th of February, an occasion for visits of congratulation in Norway. A great crowd of his friends, not finding him at home and learning where he was, assembled outside the court–house. Among the number were many peasants who had come in from the country to express their good wishes. During the forenoon the thousands in the streets became so clamorous for his appearance, to tell them what treatment he was receiving, that the officials were much disturbed. Although requested by the judge to speak to the crowd, the artist declined to do so; but at last the excitement became so intense that at the urgent entreaty of this official he took his arm and walked home to dinner with him, to satisfy and quiet the people.
The children even were interested in these contests, and would accompany Ole Bull to and from the theatre by hundreds, while they took every occasion to torment his annoyers. The affection always shown him by the children of Bergen touched him more than any demonstration on the part of their elders.
Jonas Lie, referring to the establishment of the theatre, says:—
The culture of the country which had fostered his Norse violin was not yet sufficiently advanced for the new step. After two years the theatre passed into other hands, but the 2d of January, 1850, will always be regarded as the birthday of the Norse National Drama and a memorable day in Ole Bull’s life. Johannes Brun, Mrs. Gundersen, Mrs. Brun, Mrs. Wolf, and Mrs. Juel,—these artists who have since shed so much lustre on our National Theatre at the capital,—all began their artistic careers in Ole Bull’s theatre.