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melodious «landsmaal», by his verse-cycle «Haugtussa» (Hill-folk)
(1895), which is considered one of the pearls of Norwegian lyric art.
Ivar Mortenson, the born lyric poet and dreamer, has
contributed splendid «landsmaal» poetry in his two cycles «Paa ymse
gjerdom» (ln Different Ways) (1890) und «Or duldo» (Out of the
Unknown). Per Sivle also sings in «landsmaal» his songs in praise
of national liberty. On the other hand, Kristofer Randers and
Theodor Caspari have kept up the Welhaven tradition in lyric
poetry. The former sings in praise of love, the latter in praise
of nature, and both of them lash the «spirit of the age». As an
epic poet in the style of the Finlander, Runeberg, J. B. Bull
has attempted to depict episodes from the history of our
nation’s wars.
Side by side with Sivle and Bull, in the field of prose, the
three «landsmaal» writers, Jens Tvedt, Vetle Vislie and Rasmus
Løland vie with one another as reliable painters of rustic life.
The drama has been, so to speak, monopolised by Ibsen and
Bjørnson for themselves. Both Lie and Kielland have written
plays, but without attaining the success worthy of their prestige
as novellists; and Garborgs two powerful plays have hitherto
been excluded from performance on the stage. Gunnar Heiberg,
however, an energetic dramatist, still in his prime, has achieved
real scenic triumphs. His bold choice of subject, and perhaps
still more his bold rebellion against the ordinary dramatic technique,
have, it is true, often caused the mass of the public to recoil
before his imperious talent. «Kong Midas», «Kunstnere» (Artists),
«Gerts have» (Gert’s Garden), «Balkonen» (The Balcony), and «Det
store Lod» (The Great Lottery Prize) (1888—1895) testify, each
in its peculiar way, to the dramatist’s clear knowledge of man’s
innermost being, and to his quickness to catch the under-tone in
the various subjects, and to adopt his language to it. A cuttingly
keen intelligence sparkles out everywhere, and a merciless
comprehension of every detail that raises dissension among people with
nerves. Of late years he has experimented with a revival of
Aristophanic comedy, and has tried, in broad caricature, to pour
a stream of laughter from the stage over such mighty social powers
as the party-politicians — «Folkeraadet» (The National Assembly)
and the press: »Harald Svans mor» (Harald Svan’s Mother).
This rare master of style, who is also a first-rate writer of
society articles in the daily press, stands, from an artistic point
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