Eminent Authors of the Nineteenth Century: Literary PortraitsBrandes, Georg
History
Eminent Authors of the Nineteenth Century: Literary Portraits
Brandes, Georg
Literature, Modern -- 19th century -- History and criticism
He seemed to take a certain naïve pleasure in making use of terse,
sportive sentences of this kind. There might also be detected in his
conversation at times, an interesting antithesis; he would now employ
certain abstract and solemn phrases that have become foreign to the
younger generation; would speak, for instance, of the "worshippers of
beauty," and more to like effect; and again, he would amuse himself by
clothing his thoughts in some extravagantly cynical expression. This
changeful attitude of tone may be recognized in his humoristic poetry.
In his discourse it produced a peculiar effect, much as when a swan
interrupts its calm, royal flight, to thrust its tail upward in the
air. This, however, was only the first impression; it was entirely
effaced by a more intimate acquaintance with him. To those who knew him
well, it was very evident that the ermine-like purity of his nature
and his aversion to the uncleanness and flatness of the daily life of
the period, which had made him a hermit, found their complement in the
witty, sportively polemic tendency of his mind, in his scorn for much
that was excessively admired by others, and in the keen sense of the
comic which had made him the poet of satire.
II.
He passed his summers in Fredensborg, and his winters in the
"Ny-Adelgade" in Copenhagen, and it sometimes occurred to me that this
double place of residence corresponded with the different phases of
his character and his poetry. He was well adapted to his summer home.
There was something in his nature that was akin to the slender, proud
alleys, and the pure air and perfect order of the regularly laid out
gardens. The white statues of the un-Grecian Greek gods and goddesses
among the trees were reminders of his mythologic poems, and harmonized
with the character of the poet who has so often surprised and portrayed
Venus and Aurora at their morning toilets. With all his great and rare
poetic gifts, Paludan-Müller, in his poetry, lacked naïveté; he was
never, properly speaking, the poet of nature; and, therefore, a garden
was much better adapted to his poetic mood than a forest. The little
castle, of which the new royal family promptly took possession, was
very dear to him. He was devoted to royalty, as were but few of his
contemporaries; he was as loyal as a citizen of the days of Frederick
VI. He was rejoiced and felt honored when he received an occasional
visit from the young princesses, whose amiability and simple manners
won his heart; he was put in an especially good humor one day when the
Princess Dagmar[1] sent him her portrait with a few friendly lines.
Finally, the spot suited his need of living in retirement. He went to
Fredensborg long before the other guests from Copenhagen, and remained
there long after they had all departed; he always left the city when
the calendar promised spring, and did not return until the last leaves
had fallen. Thus he had an opportunity of enjoying profound solitude in
his favorite retreat.
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Elsewhere in the archive
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account