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The time about the year 1820 is reckoned as the beginning of the new Norwegian literature, and Henrik Wergeland is called its creator. Henrik Arnold Wergeland was born in 1808. His father, Nicolai Wergeland, a clergyman, was a member of the Constitutional Convention at Eidsvold. Henrik studied theology, but did not care to become a clergyman.
Welhaven, who had moved in the circle of the friends of Rahbek, instinctively referred every literary problem to the tribunal of Danish taste. He saw that with the enthusiasm with which the poetry of Wergeland was received in Norway was connected a suspicion of mental discipline, a growing worship of the peasant and a hatred and scorn of Denmark, with all of which he had no sympathy.
The critics of Norway as persistently overrate his talents as those of Denmark neglect and ridicule his pretensions. Neither view commends itself to a foreign reader of the poet. The fact, internationally stated, seems rather to be this. In Wergeland we have a typical example of the effects of excess of fancy in a violently productive but essential uncritical nature.
In the period of about a dozen years following the death of Wergeland, the life, manners, and characteristics of the Norwegian people were given the especial attention of literary writers. Moe also published three little volumes of graceful and attractive poems.
Each of these parties found a vigorous leader, the cause of ultra-Norwegianism being championed by Wergeland, an erratic person in whom the spark of genius burned, but who never found himself, artistically speaking.
The enthusiastic nationalism of Henrik Wergeland and his young following brought conflict with the conservative element, which was not ready to accept everything as good simply because it was Norwegian.
Consequently, Canute's education was only of the kind afforded by the public school; but his father's library had early inspired him with a desire for knowledge, which was increased by association with his friend Henrik Wergeland, who often visited him or sent him books, seeds for his farm, and much good counsel.
In his nature all was based upon equilibrium; his spirit, though full of graceful and philosophical intuitions, was critical rather than creative. He wrote little, and with difficulty, and in exquisite form. His life was as blamelessly correct as his literary art was harmonious. Wergeland knew nothing of the Danish tradition of his day, which he treated with violent and bitter contempt.
Welhaven endured the rationalist and republican rhetoric of Wergeland as long as he could, although with growing exasperation, until the rhapsodical author of Creation, transgressing all moderation, accused those who held reasonable views in literature and politics of being traitors. Then it became necessary to deal with this raw and local parody of Victor Hugo.
Canute Aakre, the chairman, would certainly have approved this, had he been guided by his better judgment; but, in the first place, the motion was made by the Foged, whom Wergeland did not like, consequently, neither did Canute; secondly, the grain-magazine had been erected by his powerful paternal grandfather, by whom it was presented to the parish.
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