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dust, remind us of some of the finest things in the “Cid.” Then the Holy Land, the brilliant East, the magnificent Himalayas, and the ocean paradise of Avalon, add ever fresh colours of enchantment to the wondrous story. From a host of beautiful lyrics we take :



I looked alone behind me. My life's joy seemed to cease ; When through my soul there sounded a song so full of peace : Look onward, not behind thee. Perchance may yet be won That which thy soul yearns after, once more beneath the sun. Let ebb the rolling billows, let the green


grow sere, Anon the tide will flow and the green leaf reappear. Let the sun be darkened, let the full moon wane, Brightly o’er the sea will rise both sun and moon again. Let the past be buried in the waves of time; That life which doth not perish is the soul sublime. Has the soul's life no ending? then being no more dies, And we are, as it were, born into Paradise. There, where a fountain springeth beneath life's mighty tree, The immortal river floweth into the world's wide sea; The sea it grows not older, and in living green comes forth, With each returning summer, the island of the earth. One drop but from the fountain where first its waters flow; One flower but from the branch whereon life's apples grow; And the hair will ne'er be hoary, nor the wearied mind need rest, For a blissful heart and youthful shall ever fill the breast. Where springs of life the fountain, there are my wishes swayed ; Where the tree of life was blooming, still blooms it undecayed. Look forward, not behind thee. Perchance may yet be won That which thy soul yearns after, once more beneath the sun. And if beneath the sun the soul wins not what it will, Yet other suns and other stars are brightly shining still. And even should be quenchéd all suns and stars that shone, Yet as it over flowed, life's fountain will flow on.

Ingemann did not any more than other authors escape the attacks of the critics, and these he repayed in his “Elfin Gifts, or the story of Ole Nameless,” related by himself. Besides this and the works already mentioned, his “Leaves from the Pocket-book of the Jerusalem Shoemaker," deserves to be distinguished amongst his later works, 1833; a dramatic poem, “The Renegade," 1838 ; and “Solomon's Ring,” a dramatic story with a lyrical prelude, also 1838, in which he returned to the more sentimental style of his earlier career.

As a devotional poet, Ingemann is distinguished by the cordial tone and the pure and dignified expression of his compositions. Of these compositions there are several collections, as “Morning Psalms, for the Children of the Academy's School ;” “High-Mass Psalms, for the Holidays of the Ecclesiastical Year;" “Morning and Evening Hymns for Children,” 1838. In 1840, he published the

Symbolism of the Constellations,” and “Cloud-growth, or Luke Howard's Theory of the Formation of Clouds with reference to Imagery for the Poetry of Nature,” which may be regarded, perhaps, rather as pleasant poetical phantasies, than as likely to result in anything practical. In 1842, he published “Kannuk and Naja, or the Greenlanders,” a story evidencing much study of that remote people. Add to this list of his works a liberal quantity of lyric poems, short romances, cantata and occasional poems, and you have a tolerable idea of the incessant activity and prolific character of Ingemann. Since 1843, he has been engaged on a uniform edition of his works.

About the time that Ingemann was appointed Lecturer in Sorö, he married Lucie Marie Mandix, a daughter of the Conference Counsellor Mandix. In 1833, he made a tour in Sweden and Norway, in which he acquired many literary connexions. In 1838, he was named a Knight of

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Dannebrog; in 1840, he received the badge of honour of the Dannebrog's Men; and in 1842, was appointed Director of Sorö Academy. Here, in the romantic Sorö, Ingemann leads an idyllic and poetic life by the side of a gifted wife, beloved and respected by all for his noble, open and amiable character. All strangers who visit him find a generous and cordial reception; and the translation of various of his works, particularly his romances, into several of the languages of Europe, have made him widely known beyond the limits of Scandinavia.



HEIBERG is one of the most justly prominent writers of the present age in Denmark. Highly accomplished, soundly and variously educated, profoundly versed in philosophical inquiry, and having had ample opportunities, by foreign travel and intimate acquaintance with all ranks of society, to study human nature, he was admirably qualified to develop his natural genius in whatever direction it might show itself. It has manifested itself in more than one direction--in many. As å dramatist, a poet, an able and discriminating critic, and a fascinating novelist, Heiberg is deservedly admired. We owe to him, perhaps, the very best criticism on Oehlenschläger which has appeared; but his fame rests most decidedly on his dramatic works. He has not only introduced the vaudeville into Denmark, but given it there a more elevated and permanent character than it possesses in France. He is the Holberg of the present day, but with more feeling and imagination than Holberg, more genial, and infinitely superior to Holberg in regard to his estimation of female character. Holberg did not respect women,

. and the ladies do not respect Holberg; but Heiberg both respects and loves the sister-half of the race, and places their charms and virtues in their true eminence. In his plays, under their various names of vaudevilles, puppetplays, and regular five-act comedies, there is a union of wit, knowledge of life, interest of plot, strength of representation and vivacity of action, which would give them a welcome reception on any stage of Europe.

Heiberg is the son of Peter Andreas Heiberg, the wellknown dramatic poet and satirical writer, who was banished in January, 1800, from Denmark, for offending against the laws of the press, and continued ever afterwards to reside in Paris, where he was, under the government of Buonaparte, employed as translator in the foreign department. He became a complete Frenchman in manner, habit and sentiment, and died in 1841. The young Johan Ludvig was left, by this circumstance, at the age of nine years, with his mother, who did not care to accompany her husband into exile. She was Thomasiné Christine Buntsen, a native of Copenhagen. Probably there had not been a very thorough union of feeling between Heiberg's parents previous to the banishment of the father, for we find the mother soon procuring a separation from her husband, and marrying again Baron Ehrensvärd, well known as a co-conspirator against Gustavus III. of Sweden, with Counts Horn and Ribbing. The conspirators found a refuge in Denmark, which the Swedish Government did not appear to care to disturb. Here, therefore, Ehrensvärd assumed the name of Gyllembourg, from the family name of his mother.

Before this marriage took place, young Heiberg was placed under the care of the Rahbeks, and spent two years in their pleasant Bakkehuus, which always afterwards was a sort of second hoine to him. In his stepfather's house, he found himself in the midst of many distinguished people, especially foreigners of similar

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