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But it ought not to be forgotten that early in his life
Rydberg turned his eyes toward the Acropolis and the
race that had erected its shining marble colonnades,
and that he keenly appreciated all that this little
people had done for the Occidental culture in its seeking
after the same ideal that is everywhere apparent in his
own writings, that of a beautiful, free, and wise
mankind.
In “The Last Athenian,” Rydberg has revealed
qualities which prove that his authorship is not confined
within the limits of a single land or nation, and which
place him in the foremost rank of writers for the world.
These high qualities he has also shown in a Swedish
translation of Goethe’s Faust and a discursive
commentary on that work. We know no equal to this
translation in any language, unless it be Bayard Taylor’s
English rendering of the world-renowned drama.
Rydberg’s great power of thought, his profound knowledge
of human nature, his poetic imagination, and his
brilliancy and versatility of diction have here combined to
produce what is truly a masterpiece in translation of
this wonderful production of modern thought and
poetry. Alike are to be admired the rare understanding
of Goethe and the perfect manner in which the spirit
of the great poet is breathed into another language.
In 1873, Viktor Rydberg made a journey via Paris to
Italy, where he stayed until the summer of the
following year. It is a fruit of this visit to the city on the
Tiber, “once the city of the world,” that now is offered
in this translation, under the title of “Roman Days.” I
shall not dwell at any length on this work of the
eminent writer. The reader may judge it for himself. I
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