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Updated: June 2, 2025
One more saga drama was to be written by Bjoernson, but "Sigurd Slembe" remains his greatest achievement in this field of activity. Its single successor, "Sigurd Jorsalfar," was not published until ten years later, and may not be compared with it for either strength or poetic inspiration.
Bjoernson has had the rare fortune of having his lyrics set to music by three composers Nordraak, Kjerulf, and Grieg as intensely national in spirit as himself, and no festal occasion among Norwegians is celebrated without singing the national hymn, "Yes, We Love This Land of Ours," or the noble choral setting of "Olaf Trygvason."
In one of the rooms there was a tea-kettle hanging on a crane in the fireplace. "So begins a new household. But Miss Neilson's death has saddened me, and yesterday Mrs. Horsford came with letters from Norway, giving particulars of Ole Bull's last days, his death and burial. The account was very touching. All Bergen's flags at half-mast; telegrams from the King; funeral oration by Bjoernson.
The whirligig of time has brought in its revenges of late years, and the long neglected older author has had more than the proportional share of our attention than is fairly his due. In his delineation of the Norwegian peasant character, Bjoernson was greatly aided by the study of the sagas, which he had read with enthusiasm from his earliest boyhood.
Drive slowly: Thus drove Ejnar ever; Soon enough shall we reach home." It was also to the "Heimskringla" that Bjoernson turned for the subject of his epic cycle, "Arnljot Gelline."
Julius Lange A New Master Inadaption to the Law The University Prize Competition An Interview with the Judges Meeting of Scandinavian Students The Paludan-Muellers Bjoernstjerne Bjoernson Magdalene Thoresen The Gold Medal The Death of King Frederik VII The Political Situation My Master of Arts Examination War Admissus cum laude praecipua Academical Attention Lecturing Music Nature A Walking Tour In Print Philosophical Life in Denmark Death of Ludwig David Stockholm.
When writing this, I was thinking of the obscure final speech about God in Heaven in Bjoernson's Mary Stuart, which I still regard as quite vague, pretentious though it be as it stands there; however, it was an exaggeration to generalise the grievance, as I had done, and Bjoernson was right to reply.
One might have found foreshadowings of this transformation in certain of his earlier works, in "The Newly Married Couple," for example, with its delicate analysis, of a common domestic relation, or in "The Fisher Maiden," with its touch of modernity, but from these suggestions one could hardly have prophesied the enthusiasm and the genial force with which Bjoernson was to project his personality into the controversial arena of modern life.
The other is that while Tolstoy and Ibsen presently became, the one indifferent to artistic expression, and the other baldly prosaic where he was once deeply poetical, Bjoernson preserved the poetic impulse of his youth, and continued to give it play even in his envisagement of the most practical modern problems. Let us enlarge a little upon these two themes.
Bjoernson's peasant novels, which are a continuation of Grundtvig and Blicher, are, by their harmony and their peaceable relations to all that is, an outcome of love of common sense; they have the same anti-Byronic stamp as the School of Common Sense. The movement comes to us ten years later. But Bjoernson has simultaneously something of Romanticism and something of Realism.
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