Three Comedies - Bjørnstjerne Bjørnson (best color ebook reader .TXT) 📗

he had always spent his winters, and was buried at home with every mark of honour and regret, a Norwegian warship having been sent to convey his remains back to his own land.

He was a man of very lovable personality and of the kindest heart; easily moved by any tale of oppression or injustice, and of wide-armed (albeit sometimes in judicious) generosity; more apt, in the affairs of everyday life, to be governed by his heart than by his head, and as simple as a child in many matters. His wife was an ideal helpmate to him, and their family life very happy.

The Newly-Married Couple (1865) offers a considerable contrast to the other two plays here presented. It belongs to the school of Scribe and the "soliloquy," and the author avails himself of the recognised dramatic conventions of the day. At the same time, though the characters may be conventional in type, they are, thanks to Bjornson's sense of humour, alive; and the theme of the estrangement and reconciliation of the "newly-married couple" is treated with delicacy and charm. It is true that it is almost unbelievable that the hero could be so stupid as to allow the "confidante" to accompany his young wife when he at last succeeds in wresting her from her parents' jealous clutches; but, on the other hand, that lady, with her anonymous novel that revealed the truth to the young couple, was necessary to the plot as a "dea ex machina." The play was, and is, immensely popular on the Scandinavian stage, and still holds the boards on others. It has been translated into Swedish, German, English, Dutch, Italian, Polish and Finnish.

Leonarda (1879) marks just as striking an advance upon Bjornson's early plays as the first of Ibsen's "social dramas" did upon his. Unreal stage conventions have disappeared, the characterisation is convincing, and the dialogue, if more prolix than Ibsen's (as is throughout the case with Bjornson), is always interesting and individual. The emotional theme of the play, the love of an older woman for her adopted daughter's young lover, is treated with the poetic touch that pervades all Bjornson's work; and the controversial theme, that of religious tolerance, with a sane restraint. It cannot be denied, however, that Bjornson's changed and unorthodox attitude towards religious matters--an attitude little expected except by those who knew him best--contributed a good deal towards the temporary waning of his popularity at this time. Leonarda is (like A Gauntlet) a good example of the root difference between Bjornson's and Ibsen's treatment of problems in their dramas. Ibsen contented himself with diagnosing social maladies; Bjornson's more genial nature hints also at the remedy, or at least at a palliative. Ibsen is a stern judge; Bjornson is, beyond that, a prophet of better things. Whereas Ibsen is first and foremost a dramatist, Bjornson is rather by instinct the novelist who casts his ideas in dramatic form, and is concerned to "round up" the whole. As Brandes says, in the course of his sympathetic criticism of the two writers, "Ibsen is in love with the idea, and its psychological and logical consequences.... Corresponding to this love of the abstract idea in Ibsen, we have in Bjornson the love of humankind." Bjornson, moreover, was a long way behind Ibsen in constructive skill. As regards the technical execution of Leonarda, its only obvious weakness is a slight want of vividness in the presentation of the thesis. The hiatuses between the acts leave perhaps too much to the imagination, and the play needs more than a cursory reading for us to grasp the full import of the actions and motives of its personages. Leonarda has not been previously translated into English; though Swedish, French, German and Finnish versions of it exist.

A Gauntlet (finished in 1883) shows a great advance in dramatic technique. The whole is closely knit and coherent, and the problems involved are treated with an exhaustiveness that is equally fair to both sides. As has been already said, the plays that had preceded it from Bjornson's pen aroused such active controversy that he found it at first impossible to get A Gauntlet produced in his own country. Its first performance was in Hamburg, in 1883, and for that the author modified and altered it greatly. Eventually it was played, in its original form, in the Scandinavian countries, and in its turn stirred up a bitter controversy on the ethics of male and female morality as regards marriage. It was currently said that hundreds of contemplated marriages were broken off in Norway as an effect of its statement of a vital problem. The remodelling the play originally underwent for its performance in Germany was drastic. The second and third acts were entirely recast, the character of Dr. Nordan was omitted and others introduced, and the ending was changed. The first version was, however, evidently the author's favourite, and it is that that is presented here. Bjornson never published the recast version, and in the "memorial edition" of his works it is the present version that is given. The recast version was translated into English by Mr. Osman Edwards and produced (in an "adapted" and mangled form, for which the translator was not responsible) at the Royalty Theatre in London in 1894.

R. FARQUHARSON SHARP.



BIBLIOGRAPHY

DRAMATIC AND POETIC WORKS.--Mellem Slagene (Between the Battles), 1857. Halte-Hulda (Lame Hulda), 1858. Kong Sverre (King Sverre), 1861. Sigurd Slembe (Sigurd the Bastard), 1862; translated by W. M. Payne, 1888. Maria Stuart i Skotland, 1864. De Nygifte (The Newly-Married Couple), 1865; translated by T. Soelfeldt, 1868; by S. and E. Hjerleid, 1870; as A Lesson in Marriage, by G. I. Colbron, 1911. Sigurd Jorsalfar (Sigurd the Crusader), 1872. Redaktoeren (The Editor), 1874. En Fallit (A Bankruptcy), 1874. Kongen (The King), 1877. Leonarda, 1879. Det ny System (The New System), 1879. En Hanske, 1883; translated as A Gauntlet, by H. L. Braekstad 1890; by Osman Edwards 1894. Over AEvne (Beyond our Strength), Part I., 1883; translated as Pastor Sang, by W. Wilson, 1893; Part II., 1895. Geografi og Kaerlighed (Geography and Love), 1885; Paul Lange og Tora Parsberg, 1898; translated by H. L. Braekstad, 1899. Laboremus, 1901; translation published by Chapman and Hall, 1901. Paa Storhove (At Storhove), 1904; Daglannet, 1904; Naar den ny Vin blomstrer (When the Vineyards are in Blossom), 1909.

Digte og Sange (Poems and Songs), 1870; Arnljot Gelline, 1870.

FICTION.--Synnoeve Solbakken 1857; translated as Trust and Trial, by Mary Howitt, 1858; as Love and Life in Norway, by Hon. Augusta Bethell and A. Plesner, 1870; as The Betrothal, in H. and A. Zimmern's Half-hours with Foreign Novelists, 1880; also translated by Julie Sutter, 1881; by R. B. Anderson, 1881. Arne, 1858; translated by T. Krag, 1861; by A. Plesner and S. Rugeley-Powers, 1866; by R. B. Anderson, 1881; by W. Low (Bohn's Library), 1890. Smaastykker (Sketches), 1860. En glad Gut, 1860; translated as Ovind, by S. and E. Hjerleid 1869; as The Happy Boy, by R. B. Anderson, 1881; as The Happy Lad (published by Blackie), 1882. Fiskerjenten, 1868 translated as The Fisher Maiden, by M. E. Niles, 1869; as The Fishing Girl, by A. Plesner and F. Richardson, 1870; as The Fishing Girl, by S. and E. Hjerleid, 1871; as The Fisher Maiden, by R. B. Anderson, 1882. Brude-Slaatten, 1873; translated as The Bridal March, by R. B. Anderson, 1882; by J. E. Williams, 1893. Fortaellinger (Tales), 1872. Magnhild, 1877; translated by R. B. Anderson, 1883. Kaptejn Mansana, 1879; translated as Captain Mansana by R. B. Anderson, 1882. Det flager i Byen og paa Havnen (Flags are Flying in Town and Port), 1884; translated as The Heritage of the Kurts, by C Fairfax 1892. Paa Guds Veje, 1889; translated as In God's Way, by E. Carmichael, 1890. Nye Fortaellinger (New Tales), 1894; To Fortaelinger (Two Tales), 1901; Mary, 1906. Collected edition of the Novels, translated into English, edited by E. Gosse, 13 vols., 1895-1909.

[See Life of Bjornson by W. M. Payne, 1910; E. Gosse's Study of the Writings of Bjornson, in edition of Novels, 1895; H. H. Boyesen's Essays on Scandinavian Literature, 1895; G. Brandes' Critical Studies of Ibsen and Bjornson, 1899.]

CONTENTS

THE NEWLY-MARRIED COUPLE

LEONARDA

A GAUNTLET




THE NEWLY-MARRIED COUPLE

DRAMATIS PERSONAE

The FATHER.
The MOTHER.
LAURA, their daughter.
AXEL, her husband.
MATHILDE, her friend.


ACT I


(SCENE.--A handsomely furnished, carpeted room, with a door at the back leading to a lobby. The FATHER is sitting on a couch on the left-hand side, in the foreground, reading a newspaper. Other papers are lying on a small table in front of him. AXEL is on another couch drawn up in a similar position on the right-hand side. A newspaper, which he is not reading, is lying on his knee. The MOTHER is sitting, sewing, in an easy-chair drawn up beside a table in the middle of the room.)

[LAURA enters.]

Laura. Good morning, mother! (Kisses her.)

Mother. Good morning, dear. Have you slept well?

Laura. Very well, thanks. Good morning, dad! (Kisses him.)

Father. Good morning, little one, good morning. Happy and in good spirits?

Laura. Very. (Passes in front of AXEL.) Good morning, Axel! (Sits down at the table, opposite her mother.)

Axel. Good morning.

Mother. I am very sorry to say, my child, that I must give up going to the ball with you to-night. It is such a long way to go, in this cold spring weather.

Father (without looking up from his paper). Your mother is not well. She was coughing in the night.

Laura. Coughing again?

Father. Twice. (The MOTHER coughs, and he looks up.) There, do you hear that? Your mother must not go out, on any account.

Laura. Then I won't go, either.

Father. That will be just as well; it is such raw weather. (To the MOTHER.) But you have no shawl on, my love; where is your shawl?

Laura. Axel, fetch mother's shawl; it is hanging in the lobby. (AXEL goes out into the lobby.)

Mother. We are not really into spring yet. I am surprised the stove is not lit in here.

Laura (to AXEL, who is arranging the shawl over the MOTHER'S shoulders). Axel, ring the bell and let us have a fire. (He does so, and gives the necessary instructions to the Servant.)

Mother. If none of us are going to the ball, we ought to send them a note. Perhaps you would see to that, Axel?

Axel. Certainly--but will it do for us to stay away from this ball?

Laura. Surely you heard father say that mother has been coughing in the night.

Axel. Yes, I heard; but the ball is being given by the only friend I have in these parts, in your honour and mine. We are the reason of the whole entertainment--surely we cannot stay away from it?

Laura. But it wouldn't be any pleasure to us to go without mother.

Axel. One often has to do what is not any pleasure.

Laura. When it is a matter of duty, certainly. But our first duty is to mother, and we cannot possibly leave her alone at home when she is ill.

Axel. I had no idea she was ill.

Father (as he reads). She coughed twice in the night. She coughed only a moment ago.

Mother. Axel means that a cough or two isn't illness, and he is quite right.

Father (still reading). A cough may be a sign of something very serious. (Clears his throat.) The chest--or the lungs. (Clears his throat again.) I don't think I feel quite the thing myself, either.

Laura. Daddy dear, you are too