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Updated: June 6, 2025
The protagonists were two poets of undoubted talent, whose temperaments and tendencies were so diametrically opposed that it seemed as though Providence must have set them down in that raw and inflammable civilization for the express purpose of setting the standing corn of thought on fire. It is difficult, from the sources of Scandinavian opinion, to obtain a sensible impression of Wergeland.
In them the poet scourges, without mercy, the one-sided, narrow-minded patriotism of his time, and exposes, in striking and unmistakable words, the hollowness and shortcomings of the Wergeland party. Welhaven points out, with emphasis, that he is not only going to espouse the cause of good taste, which his adversary has outraged, but that he is also about to discuss problems of general interest.
When, in the words of The Cask of Amontillado, Wergeland "ventured upon insult," Welhaven "vowed he would be avenged." Welhaven formed as complete a contrast to his antagonist as could be imagined. He was of the class of Sully Prudhomme, of Matthew Arnold, of Lowell, to name three of his younger contemporaries.
Winkel Horn, "had been early developed, and when the war once broke out between him and Wergeland, he had reached a high point of intellectual culture, and thus was in every way a match for his opponent."
It was not unnatural that Welhaven should look upon the corybantic music of Wergeland as the source and origin of an evil of which it was really the symptom; he gathered his powers together to crush it, and he published a thunderbolt of sonnets.
He was so much the victim of his inspiration that it would come upon him like a descending wind, and leave him physically prostrate. In Wergeland we see an instance of the poetical temper in its most unbridled form. A glance through the enormous range of his collected works is like an excursion into chaos.
Among his works may be named Hasselnödder, Jöden, "The Jew," Jodinden, "The Jewess," Jan van Huysum's Blomsterstykke, "Jan van Huysum's Flowerpiece," Den Engleske Lods, "The English Pilot," and a great number of lyric poems. The poems of his last five years are as popular to-day as ever. Wergeland died in 1845.
But these amendments met the most ardent opposition in the Storthing, and were unanimously rejected. The result of this was that "Independence Day" was celebrated with so much greater eagerness. The students at the university especially took an active part under the leadership of that champion of liberty, the poet Henrik Wergeland, who died in 1845.
His early songs and complimentary pieces are all in the Danish taste, and if they show any native influence at all, it is that of Welhaven. The extreme superficiality of Wergeland would naturally be hateful to so arduous a craftsman as Ibsen, and it is a fact that so far as his writings reveal his mind to us, the all-popular poet of his youth appears to be absolutely unknown to him.
The lovers of Wergeland were told that politics and brandy were their only pleasures, but those of Welhaven were warned that they were known to be fed with bribes from Copenhagen. Meanwhile Welhaven himself, in successive publications, calmly analyzed the writings of his antagonist, and proved them to be "in complete rebellion against sound thought and the laws of beauty."
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