Chapter 13

The second and third courses of lectures (printed, like the first, and translated into German by Strodtmann) dealt with "The Literature of the French Emigrés" and "The Reaction in France." Here the critic is less unsympathetic, not because he regards the mental attitude of the fugitives from the Revolution with approbation, but because he has an intellectual bias in favor of everything French. Besides having a certain constitutional sympathy with the clearness and vigor of style and thought which distinguish the French, Dr. Brandes is so largely indebted to French science, philosophy, and art that it would be strange if he did not betray an occasional _soupçon_ of partisanship. His treatment of Chateaubriand, Benjamin Constant, Madame de Staël, Oberman, Madame de Krüdener, and all the queer saints and scribbling sinners of that period is as entertaining as it is instructive. It gives one the spiritual complexion of the period in clear lines and vivid colors, which can never be forgotten. Nearly all that makes France France is to be found in these volumes--its wit, its frivolity, its bright daylight sense, contrasting so strikingly with the moonshiny mysticism of German romanticism. And yet France has its romanticism too, which finds vent in a supercredulous religiosity, in a pictorial sentimentalized Christianity, such as we encounter in Chateaubriand's "Génie du Christianisme" and "Les Martyrs." It is with literary phenomena of this order that "The Reaction in France" particularly deals.

The fourth course of lectures, entitled "Byron and his Group," though no less entertaining than the rest, appears to me less satisfactory. It is a clever presentation of Byron's case against the British public; but the case of the British against Byron is inadequately presented. It is the pleading of an able advocate, not the charge of an impartial judge. Dr. Brandes has so profound an admiration for the man who dares to rebel that he fails to do justice to the motives of society in protecting itself against him. It is not to be denied that the iconoclast may be in the right and society in the wrong; but it is by no means a foregone conclusion that such is the case. If society did not, with the fierce instinct of self-preservation, guard its traditional morality against such assailants as Byron and Shelley, civilization would suffer. The conservative bias of the Philistine (though not so outwardly attractive) is no less valuable as a factor in civilization than the iconoclastic zeal of the reformer. If the centrifugal force had full sway in human society, without being counteracted by a centripetal tendency, anarchy would soon prevail. I cannot (as Dr. Brandes appears to do) discover any startling merit in outraging the moral sense of the community in which one lives; and though I may admit that a man who was capable of doing this was a great poet, I cannot concede that the fact of his being a great poet justified the outrage. Nor am I sure that Dr. Brandes means to imply so much; but in all of his writings there is manifested a deep sympathy with the law-breaker whose Titanic soul refuses to be bound by the obligations of morality which limit the freedom of ordinary mortals. Only petty and pusillanimous souls, according to him, submit to these restraints; the heroic soul breaks them, as did Byron and Shelley, because he has outgrown them, or because he is too great to recognize the right of any power to limit his freedom of action or restrain him in the free assertion of his individuality. This is the undertone in everything Dr. Brandes has written; but nowhere does it ring out more boldly than in his treatment of Byron and Shelley, unless it be in the fifth course of his "Main Currents" dealing with "Young Germany."

These four courses of lectures have been published under the collective title "The Main Literary Currents in the Nineteenth Century" (_Hovedströmningerne i det Nittende Aarhundredes Litteratur_). The German translation is entitled _Hauptströmungen in der Litteratur des Neunzehnten Jahrhunderts_. Barring the strictures which I have made, I know no work of contemporary criticism which is more luminous in its statements, more striking in its judgments, and more replete with interesting information. It reminds one in its style of Taine's "Lectures on Art" and the "History of English Literature." The intellectual bias is kindred, if not the same; as is also the pictorial vigor of the language, the subtle deductions of psychical from physical facts, and a certain lusty realism, which lays hold of external nature with a firm grip.

In Dr. Brandes's "Impressions of Poland" I found an observation which illustrates his extraordinary power of characterization. The temperament of the Polish people, he says, is not rational but fantastically heroic. When I recall the personalities of the various Poles I have known (and I have known a great many), I cannot conceive of a phrase more exquisitely descriptive. It makes all your haphazard knowledge about Poland significant and valuable by supplying you with a key to its interpretation. It is this faculty Dr. Brandes has displayed in an eminent degree in his many biographical and critical essays which have appeared in German and Danish periodicals; as also in his more elaborate biographies of Benjamin Disraeli (1878), Esaias Tegnér (1878), Sören Kierkegaard (1877), Ferdinand Lassalle (1882), and Ludwig Holberg. The first of these was translated into English, and was also published in the United States. A second volume, entitled "Eminent Writers of the Nineteenth Century," was translated some years ago by Professor R. B. Anderson. The greater number of these highly finished essays were selected from the Danish volumes "The Men of the New Transition" (1884) and "Men and Works in Recent European Literature" (1883), and one or two from "Danish Poets" (1877). They give in every instance the keynote to the personality with which they deal; they are not so much studies of books as studies of the men who are revealed in the books. Take, for instance, the essay on Björnstjerne Björnson, which I regard as one of the finest and most vital pieces of critical writing in recent times. What can be more subtly descriptive of the very innermost soul of this poet than the picture of him as the clansman, the Norse chieftain, who feels with the many and speaks for the many; and what more beautifully indicative of his external position than this phrase: "To mention his name is like running up the flag of Norway"?

It seems peculiarly appropriate to follow up this essay with one on Ibsen, who is as complete an antithesis to his great and popular rival as could well be conceived. There is no bugle-call in the name Henrik Ibsen. It is thin in sound, and can be spoken almost with closed lips. You have no broad vowels and large consonants to fill your mouth as when you say Björnstjerne Björnson. This difference in sound seems symbolic. Ibsen is the solitary man, a scathing critic of society, a delver in the depths of human nature, sceptical of all that men believe in and admire. He has not, like Björnson, any faith in majorities; nay, he believes that the indorsement of the majority is an argument against the wisdom of a course of action or the truth of a proposition. The summary of this poet's work and personality in Dr. Brandes's book is a masterpiece of analytical criticism. It enriches and expands the territory of one's thought. It is no less witty, no less epigrammatic, than Sainte-Beuve at his best; and it has flashes of deeper insight than I have ever found in Sainte-Beuve.

The last book of Dr. Brandes's that has been presented to the American public is his "Impressions of Russia." The motto of this work (which in the Danish edition is printed on the back of the title-page) is "Black Earth," the significance of which is thus explained in the concluding paragraph:

"Black earth, fertile soil, new soil, wheat soil ... the wide, rich, warm nature ... the infinite expanses, which fill the soul with melancholy and with hope ... the impenetrable, duskily mysterious ... the mother-womb of new realities and new mysticism ... Russia, the future."

The prophetic vagueness of this paragraph, big with dim possibilities, conveys the very impression to which all observations and experiences in Russia finally reduce themselves. It is the enduring residue which remains when all evanescent impressions have lapsed into the background. It expresses, too, the typical mental attitude of every Russian, be he ever so Frenchified and denationalized. The word "Virgin Soil" was a favorite phrase with Tourguéneff when speaking of his country, and he used it as the title of his last novel. It seemed to him to explain everything in Russian conditions that to the rest of the world appeared enigmatical. The whole of Dr. Brandes's book is interpenetrated with this consciousness of the vast possibilities hidden in the virgin bosom of the new earth, even though they may be too deeply hidden to sprout up into the daylight for centuries to come. The Russian literature, which is at present enchaining the attention of the civilized world, is a brilliant variation of this theme, an imaginative commentary on this text. The second half of Dr. Brandes's "Impressions" is devoted to the consideration of Puschkin, Gogol, Lermontoff, Dostojevski, Tourguéneff, and Tolstoï; of each of whom he gives, as it appears to me, a better account than M. de Vogüé in his book "Le Roman Russe," which gave him a seat among the Forty Immortals.

The significance of Dr. Brandes's literary activity, which has now extended over a quarter of a century, can hardly be estimated from our side of the Atlantic. The Danish horizon was, twenty years ago, hedged in on all sides by a patriotic prejudice which allowed few foreign ideas to enter. As previously stated, the people had, before the two Sleswick-Holstein wars, been in lively communication with Germany, and the intellectual currents of the Fatherland had found their way up to the Belts, and had pulsated there, though with some loss of vigor. But the disastrous defeat in the last war aroused such hostility to Germany that the intellectual intercourse almost ceased. German ideas became scarcely less obnoxious than German bayonets. Spiritual stagnation was the result. For no nation can with impunity cut itself off from the great life of the world. New connections might, perhaps, have been formed with France or England; but the obstacles in the way of such connections appeared too great to be readily overcome. Racial differences and consequent alienism in habits of thought made a _rapprochement_ seem hopeless. It seemed, for awhile, as if the war had cut down the intellectual territory of the Danes even more than it had curtailed their material area. They cultivated their little domestic virtues, talked enthusiastic nonsense on festive occasions, indulged in vain hopes of recovering their lost provinces, but rarely allowed their political reverses to interfere with their amusements. They let the world roar on past their gates, without troubling themselves much as to what interested or agitated it. A feeble, moonshiny late-romanticism was predominant in their literature; and in art, philosophy, and politics that sluggish conservatism which betokens a low vitality, incident upon intellectual isolation.

What was needed at such a time was a man who could re-attach the broken connection--a mediator and interpreter of foreign thought in such a form as to appeal to the Danish temperament and be capable of assimilation by the Danish intellect. Such a man was Georg Brandes. He undertook to put his people _en rapport_ with the nineteenth century, to open new avenues for the influx of modern thought, to take the place of those which had been closed. We have seen that he interpreted to his countrymen the significance of the literary and social movements both in England and in France. But a self-satisfied and virtuous little nation which regards its remoteness from the great world as a matter of congratulation is not apt to receive with favor such a champion of alien ideas. The more the Danes became absorbed in their national hallucinations, the more provincial, nay parochial, they became in their interests, the less did they feel the need of any intellectual stimulus from abroad; and when Dr. Brandes introduced them to modern realism, agnosticism, and positivism they thanked God that none of these dreadful isms were indigenous with them; and were disposed to take Dr. Brandes to task for disturbing their idyllic, orthodox peace by the promulgation of such dangerous heresies. When the time came to fill the professorship for which he was a candidate, he was passed by, and a safer but inferior man was appointed. A formal crusade was opened against him, and he was made the object of savage and bitter attacks. I am not positive, but am disposed to believe, that it was this crusade, not against his opinions only, but against the man himself, which drove Dr. Brandes from Copenhagen, and induced him, in October, 1877, to settle in Berlin. Here he continued his literary activity with unabated zeal, became a valued contributor to the most authoritative German periodicals, and gained a conspicuous position among German men of letters. But while he was sojourning abroad, the seed of ideas which he had left at home began to sprout, and in 1882 his friends in Copenhagen felt themselves strong enough to brave the antagonism which his æsthetical and religious heresies had aroused. At their invitation he returned to Denmark, having been guaranteed an income of four thousand crowns ($1,000) for ten years, with the single stipulation that he should deliver an annual course of public lectures in Copenhagen. Since then his reputation has spread rapidly throughout the civilized world; his books have been translated into many languages, and he would have won his way to a recognition, as the foremost of contemporary critics, if he had not in his later publications discredited himself by his open sympathy with anarchism.

In order to substantiate this it is only necessary to call attention to the fifth volume of his lectures entitled "Young Germany" (_Det unge Tydskland_, 1890), which betrays extraordinary intellectual acumen but also a singular confusion of moral values. All revolt is lauded, all conformity derided. The former is noble, daring, Titanic; the latter is pusillanimous and weak. Conjugal irregularities are treated not with tolerance but with obvious approval. Those authors who dared be a law unto themselves are, by implication at least, praised for flinging down their gauntlets to the dull, moral Philistines who have shackled themselves with their own stupid traditions. That is the tone of Brandes's comment upon such relations as that of Immermann to Eliza von Lützow.

But nowhere has he unmasked so Mephistophelian a countenance as in his essays on Luther and on an obscure German iconoclast named Friedrich Nietschke (_Essays: Fremmede Personligheder_, pp. 151-244). It is difficult to understand how a man of well-balanced brain and a logical equipment second to none, can take _au sérieux_ a mere philosophical savage who dances a war-dance amid what he conceives to be the ruins of civilization, swings a reckless tomahawk and knocks down everybody and everything that comes in his way. There must lie a long history of disappointment and bitterness behind that endorsement of anarchy pure and simple. And it is the sadder to contemplate because it casts a sinister light upon Dr. Brandes's earlier activity and compels many an admirer of his literary art to revise his previous opinion of him. Can a man ever have been a sound thinker who at fifty practically hoists the standard of anarchy? A ship is scarcely to be trusted that flies such compromising colors.

That all development, in order to be rational, must have its roots in the past--must be in the nature of a slow organic growth--is certainly a fundamental proposition of the Spencerian sociology. It is the more to be wondered at that an evolutionist like Dr. Brandes, in his impatience at the tardiness of social progress, should lose his philosophic temper and make common cause with a crack-brained visionary. The kind of explosive radicalism which Nietschke betrays in his cynical questions and explanations is no evidence of profundity or sagacity, but is the equivalent of the dynamiter's activity, transferred to the world of thought. His pretended re-investigation of the foundations of the moral sentiments reminds one of the mud geysers of the Yellowstone, which break out periodically and envelop everything within reach in an indeterminate shower of mud. To me there is more of vanity than of philosophic acumen in his onslaught on well-nigh all human institutions. He would, like Ibsen, no doubt,

"Place 'neath the ark the torpedo most cheerfully;"

but torpedoes of his making would scarcely do the ark much harm. They have not the explosive power of Ibsen's. There are in every age men who, unable to achieve the fame of Dinocrates, who built the temple of the Ephesian Diana, aspire to that of Herostratos, who destroyed it. To admire these men is as compromising as to be admired by them.

In the essay on "Martin Luther on Celibacy and Marriage" Dr. Brandes derides with a satyr-like leer all traditional ideas of chastity, conjugal fidelity, and marital honor.

Though he pretends to fight behind Luther's shield the deftest thrusts are not the reformer's, but the essayist's own. Fundamentally, I fancy, this is an outbreak of that artistic paganism which is so prevalent among the so-called "advanced" Hebrews. The idea that obedience to law is degrading; that conformity to traditional morals is soul-crippling and unworthy of a free spirit; that only by giving sway to passion will the individual attain that joy which is his right, and that self-development which should be his highest aim, has found one of its ablest and most dangerous advocates in Georg Brandes.

ESAIAS TEGNÉR

The genius of the Scandinavian north has never found a more complete and brilliant incarnation than the Swedish poet Esaias Tegnér. Strong, cheerful, thoroughly wholesome, with a boyish delight in prowess, adventure, and daring deeds, he presents a most agreeable contrast to the moonshine singers and graveyard bards of the phosphoristic school, who were his contemporaries. To Tegnér, in his prime, life was a brisk and exhilarating sail, with a fresh breeze, over sunny waters; and he had no patience with those who described it as a painful and troublous groping through the valley of the shadow of death. There was, in other words, a certain charming juvenility in his attitude toward existence, which presented to him no riddles that a man with a strong arm and an honest heart might not solve with comparative ease. All problems were to him soluble with the sword; and Alexander, when he cut the Gordian knot, must have appeared to him wiser, as he was surely more admirable, than either Plato or Socrates. This scorn of all metaphysical subtleties, and reliance upon strength and Swedish manhood, are, perhaps (from an advanced European point of view), indicative of a little intellectual immaturity; but they are thoroughly characteristic of the Scandinavian nationalities. The love of brave words and brave deeds, the exaltation of the man of action above the man of thought, the pleasure in reckless gallantry and foolhardy adventure, are, however, not confined to Swedes and Norwegians, but are characteristic of the boyhood of every nation. In the Scotchman, Robert Louis Stevenson, this jaunty juvenility, this rich enjoyment of bloody buccaneers and profane sea-dogs, is carried to far greater lengths, and the great juvenile public of England and America, both young and old, rises up and calls him blessed.

There is, however, a vast difference between Tegnér's youthfulness and that of Stevenson. The latter (in spite of the charm of his style, which is irresistible) strikes me as a sort of mediæval survival--a boyish feudal sixteenth-century spirit astray in the nineteenth. I am by no means insensible to the fascination of his capricious confidences, his beautiful insight, and his exquisite humor; but for all that, he always leaves me with a vague regret at his whimsicality and a certain lack of robustness in his intellectual equipment. In Tegnér, on the other hand, it is primarily the man who is impressive; and the author is interesting as the revelation of the man. He has no literary airs and graces, but speaks with a splendid authority, _e plena pectore_, from the fulness of his manly conviction. He seems a very personification of the national genius--fair, vigorous, and beautiful--with the glow of health in his cheeks and the light of courage in his eye. His vision of the world is bright and vivid, and he swims with a joyous ease in the high-tide of the moment, like a beautiful fish in the luminous summer sea.

As a specimen of magnificent manhood Tegnér had few equals in his day. Tall, robust, and finely proportioned as he was, with a profile of almost classic purity, he was equally irresistible to men and women. There was a breezy, out-of-door air about him, and a genial straightforwardness and affability in his manner which took all hearts captive. His was not only the beauty of perfect health, but a certain splendid virility in his demeanor and appearance heightened the charm of his personality.

It is a matter of wonder that a man in whom the race-type had reached such perfection was but two generations removed from the soil. Tegnér's grandfathers on both sides were peasants; and his father, Esaias Lucasson, was a peasant lad who by industry and ambition had obtained an education and become a clergyman. He owed his aristocratic name to the custom, prevalent in those days, to Latinize all vulgar appellations. Esaias Lucasson, of Tegnaby (the little Småland village where he was born), became, in the Latin school, Esaias Tegnerus. He married in the course of time a clergyman's daughter, Sara Maria Seidelius, who bore him a large family of sons and daughters. The fifth son, named Esaias after his father, first saw the light of day in the parsonage of Kyrkerud, in Wermland, November 13, 1782. When he was nine years old his father died, leaving behind him poverty and sorrow. Happily a friend of the family, the Assessor Branting, took a fancy to the handsome and clever boy and offered him a home in his house. Esaias wrote a very clear, good hand, and soon got a desk and a high three-legged stool in the assessor's office. So far from rebelling against this tedious discipline, he applied himself with zeal to his task, and became, in a short time, an excellent clerk. And a clerk he might have remained if his patron had not had the wit to discover that very unusual talents slumbered in the lad. Being fond of his society, Mr. Branting got into the habit of taking him along on his official journeys; and from the back seat of his chaise Esaias made the acquaintance of the beautiful rivers, heights, and valleys of Wermland. The unconscious impressions which a boy absorbs at this period of his life are apt to play a decisive part in fashioning his future. Nature, however picturesque, never yet made a poet of a dullard; but many a time has she aroused to poetic consciousness a soul which without this stimulating influence might never have discovered its calling, might never have felt that strange, tremulous exaltation which demands utterance in song.