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on the other hand, had his programme ready. Egged on by his
ambitious wife, the German princess Sofie Amalie, he succeeded
in making himself an absolute autocrat and the crown hereditary in
his line. He used his unlimited power wisely, checked the
nobility, and unified and strengthened the kingdom. His policy was
continued by his son, Christian the Fifth (1670—1699).
All the important characters in Marie Grubbe are historical, and
Jacobsen has followed the facts when known. Regarding the
heroine herself, we have few data beyond what may be gleaned from
the documents in connection with her three marriages and two
divorces; indeed, it seems strange that a career so extraordinary should
have elicited so little comment from contemporaries. We do not
even know how she met her first husband, Ulrik Frederik
Gyldenlöve, but the fact that she, a little country maiden from Jutland,
could charm this experienced gallant is sufficient testimony to her
beauty. The bridegroom’s royal father, Frederik the Third, was so
pleased with the marriage that he wrote a congratulatory poem in
German, which was printed on white satin. We are told that she
was clever in repartee, and that even in her old age she spoke French
fluently. She died in 1718 “at a great age, but in a very poor and
miserable condition.” Her history has been written by Severin Kjær
in his Erik Grubbe til Tjele og ha/is tre Dötre (1904), to which the
translator is indebted for the notes relating to the Grubbes and their
connections. The notes about the various old songs that occur in the
text are condensed from those of the author.
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