An Essay Toward a History of Shakespeare in Norway - Martin Brown Ruud (book club reads .TXT) 📗
- Author: Martin Brown Ruud
Book online «An Essay Toward a History of Shakespeare in Norway - Martin Brown Ruud (book club reads .TXT) 📗». Author Martin Brown Ruud
and critically read, but no one turned his attention to criticism or
scholarly investigation. Indeed, I have searched Norwegian periodical
literature in vain for any allusion to Shakespeare between 1782 and
Finally, in the latter year _Den Norske Husven_ adorns itstitle-page with a motto from Shakespeare. _Christiania Aftenbladet_
for July 19, 1828, reprints Carl Bagger's clever poem on Shakespeare's
reputed love-affair with "Fanny," an adventure which got him into
trouble and gave rise to the bon-mot, "William the Conqueror ruled
before Richard III." The poem was reprinted from _Kjöbenhavns Flyvende
Post_ (1828); we shall speak of it again in connection with our study of
Shakespeare in Denmark.
After this there is another break. Not even a reference to Shakespeare
occurs in the hundreds of periodicals I have examined, until the long
silence is broken by a short, fourth-hand article on Shakespeare's life
in _Skilling Magazinet_ for Sept. 23, 1843. The same magazine gives a
similar popular account in its issue for Sept. 4, 1844. Indeed, several
such articles and sketches may be found in popular periodicals of the
years following.
In 1855, however, appeared Niels Hauge's afore mentioned translation of
_Macbeth_, and shortly afterward Professor Monrad, who, according to
Hauge himself, had at least given him valuable counsel in his work,
wrote a review in _Nordisk Tidsskrift for Videnskab og Literatur_.[3]
Monrad was a pedant, stiff and inflexible, but he was a man of good
sense, and when he was dealing with acknowledged masterpieces he could
be depended upon to say the conventional things well.
[3. See Vol. III (1855), pp. 378 ff.]
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 aquitted 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_[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[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."
[4. Vol. XII (1863), pp. 199 ff.]
[5. Vol. XIII (1864), pp. 65 ff.]
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_,[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.
[6. Vol. V, p. 572.]
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_[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
Botten Hansen took his task very lightly. If he had read Foersom'snotes 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_.
[7. Vol. XIV, p. 96.]
Lembcke's revision, which is the occasion of the article, is greeted
with approval and encouragement. There is no need for Norwegians to go
about preparing an independent translation. Quite the contrary. The
article closes: "Whether or not Lembcke has the strength and endurance
for such a gigantic task, time alone will tell. At any rate, it is the
duty of the public to encourage the undertaking and make possible its
completion."
We come now to the most interesting chapter in the history of
Shakespeare in Norway. This is a performance of _A Midsummer Night's
Dream_ under the direction of Bjørnstjerne Bjørnson at Christiania
Theater, April 17, 1865. The story belongs rather to the history of
Shakespeare on the Norwegian stage, but the documents of the affair are
contributions to Shakespearean criticism and must, accordingly, be
discussed here. Bjørnson's fiery reply to his critics of April 28
is especially valuable as an analysis of his own attitude toward
Shakespeare.
Bjørnson became director of Christiania Theater in January, 1865, and
the first important performance under his direction was _A Midsummer
Night's Dream_ (Skjärsommernatsdrömmen) in Oehlenschläger's translation,
with music by Mendelssohn.[8] Bjørnson had strained the resources
of the theater to the utmost to give the performance distinction.
But the success was doubtful. _Aftenposten_ found it tiresome, and
_Morgenbladet_, in two long articles, tore it to shreds.[9] It is
worth while to review the controversy in some detail.
[8. Blanc. _Christianias Theaters Historie_, p. 196.]
[9. April 26-27, 1865.]
The reviewer begins by saying that the play is so well known that it
is needless to give an account of it. "But what is the meaning," he
exclaims, "of this bold and poetic mixture of clowns and fairies, of
mythology, and superstition, of high and low, of the earthly and
the supernatural? And the scene is neither Athens nor Greece, but
Shakespeare's own England; it is his own time and his own spirit." We
are transported to an English grove in early summer with birds, flowers,
soft breezes, and cooling shadows. What wonder that a man coming in from
the hunt or the society of men should fill such a place with fairies and
lovely ladies and people it with sighs, and passions, and stories? And
all this has been brought together by a poet's fine feeling. This it is
which separates the play from so many others of its kind now so common
and often so well presented. Here a master's spirit pervades all, unites
all in lovely romance. Other plays are mere displays of scenery and
costume by comparison. Even the sport of the clowns throws the whole
into stronger relief.
Now, how should such a play be given? Obviously, by actors of the first
order and with costumes and scenery the most splendid. This goes without
saying, for the play is intended quite as much to be seen as to be
heard. To do it justice, the performance must bring out some of the
splendor and the fantasy with which it was conceived. As we read
_A
Comments (0)