PER DANIEL AMADEUS ATTERBOM (1790-1855) تا MONG the leaders of the romantic movement which affected Swedish literature in the earlier half of the nineteenth century was P. D. A. Atterbom, one of the greatest lyric poets of his country. He was born in Østergöthland, in 1790, and at the age of fifteen was already so advanced in his studies that he entered the University of Upsala. There in 1807 he helped to found the "Musis Amici," a students' society of literature and art; its membership included Hedbom, who is remembered for his beautiful hymns, and the able and laborious Palmblad,-author of several popular books, including the well-known novel 'Aurora Königsmark.' This society soon assumed the name of the Aurora League, and set itself to free Swedish literature from French influence. The means chosen were the study of German romanticism, and a treatment of the higher branches of literature in direct opposition to the course decreed by the Academical school. The leaders of this revolution were Atterbom, eighteen years old, and Palmblad, twenty! The first organ of the League was the Polyfem, soon replaced by the Phosphorus (1810-1813), from which the young enthusiasts received their sobriquet of "Phosphorists." Theoretically this sheet was given to the discussion of Schelling's philosophy, and of metaphysical problems in general; practically, to the publication of the original poetry of the new school. The Phosphorists did a good work in calling attention to the old Swedish folk-lore, and awakening a new interest in its imaginative treasures. But their best service lay in their forcible and earnest treatment of religious questions, which at that time were most superficially dealt with. When the 'Phosphorus' was in its third year the Romanticists united in bringing out two new organs the Poetical Calendar (1812-1822), which published poetry only, and the Swedish Literary News (1813-1824), containing critical essays of great scientific value. The Phosphorists, who had shown themselves ardent but not always sagacious fighters, now appeared at their best, and dashed into the controversy which was engaging the attention of the Swedish reading public. This included not only literature, but philosophy and religion, as well as art. The odds were now on one side, now on the other. The Academicians might easily have conquered their youthful opponents, however, had not their bitterness continually forged new weapons against themselves. In 1820 the Phosphorists wrote the 934 excellent satire, 'Markall's Sleepless Nights,' aimed at Wallmark, leader of the Academicians. Gradually the strife died out, and the man who carried off the palm, and for a time became the leader of Swedish poetry, was Tegnèr, who was hardly a partisan of either side. In 1817 Atterbom had gone abroad, broken down in health by his uninterrupted studies. While in Germany he entered into a warm friendship with Schelling and Steffens, and in Naples he met the Danish sculptor Thorwaldsen, to whose circle of friends he became attached. On his return he was made tutor of German and literature to the Crown Prince. In 1828 the Chair of Logics and Metaphysics at Upsala was offered him, and he held this for seven years, when he exchanged it for that of Esthetics. In 1839 he was elected a member of the Academy whose bitterest enemy he had been, and so the peace was signed. Atterbom is undoubtedly the greatest lyrical poet in the ranks of the Phosphorists. His verses are wonderfully melodious and full of charm, in spite of the fact that his tendency to the mystical at times makes him obscure. Among the best of his productions are a cycle of lyrics entitled 'The Flowers'; 'The Isle of Blessedness,' a romantic drama of great beauty, published in 1823; and a fragment of a fairy drama, 'The Blue Bird.' He introduced the sonnet into Swedish poetry, and did a great service to the national literature by his critical work, 'Swedish Seers and Poets,' a collection of biographies and criticisms of poets and philosophers before and during the reign of Gustavus III. Atterbom's life may be accounted long in the way of service, though he died at the age of sixty-five. IT THE GENIUS OF THE NORTH Is true that our Northern nature is lofty and strong. Its characteristics may well awaken deep meditation and emotion. When the Goddess of Song has grown up in these surroundings, her view of life is like that mirrored in our lakes, where, between the dark shadows of mountain and trees on the shore, a light-blue sky looks down. Over this mirror the Northern morning and the Northern day, the Northern evening and the Northern night, rise in a glorious beauty. Our Muse kindles a lofty hero's flame, a lofty seer's flame, and always the flame of a lofty immortality. In this sombre North we experience an immense joyousness and an immense melancholy, moods of earth-coveting and of earth-renunciation. With equal mind we behold the fleet, charming dream of her summers, her early harvest with its quickly falling splendor, and the darkness and silence of the long winter's sleep. For if the gem-like green of the verdure proclaims its short life, it proclaims at the same time its richness,— and in winter the very darkness seems made to let the starry vault shine through with a glory of Valhalla and Gimle. Indeed, in our North, the winter possesses an impressiveness, a freshness, which only we Norsemen understand. Add to these strong effects of nature the loneliness of life in a wide tract of land, sparingly populated by a still sparingly educated people, and then think of the poet's soul which must beat against these barriers of circumstance and barriers of spirit! Yet the barriers that hold him in as often help as hinder his striving. These conditions explain what our literature amply proves; that so far, the only poetical form which has reached perfection in Sweden is the lyrical. This will be otherwise only as the northern mind, through a growing familiarity with contemporaneous Europe, will consent to be drawn from its forest solitude into the whirl of the motley World's Fair outside its boundaries. It is probable that the lyrical gift will always be the true possession of the Swedish poet. His genius is such that it needs only a beautiful moment's exaltation (blissful, whether the experience be called joy or sorrow) to rise on full, free wings, suddenly singing out his very inmost being. Whether the poet makes this inmost being his subject, or quite forgets himself in a richer and higher theme, is of little consequence. If, again, no true lyric can express a narrow egoism, least of all could the Swedish, in spite of the indivisible relation between nature and man. The entire Sämunds-Edda shows us that Scandinavian poetry was originally lyrical-didactic, as much religious as heroic. Not only in lyrical impression, but also in lyrical contemplation and lyrical expression, will the Swedish heroic poem still follow its earliest trend. Yes, let us believe that this impulse will some day lead Swedish poetry into the only path of true progress, to the point where dramatic expression will attain perfection of artistic form. This development is foreshadowed already in the high tragic drama, in the view of the world taken by the old Swedish didactic poem; and in some of the songs of the Edda, as well as in many an old folk-song and folk-play. O THE LILY OF THE VALLEY 'ER hill and dale the welcome news is flying Out of my thicket cool, my cranny hidden, He will not notice me, this guest resplendent, Content to live if of his banquet royal Behold! Behold! His banquet hall's before me, Lo! as he feasts, a thousand sunbeams sparkle, Hail to thee, brilliant world! Ye heavens fretted Ye waves of mighty ocean, tossing, tossing, Far in the past (if years my life has numbered, Came to me silently the truth eternal- Thus, in return for life's abundant dower, A spotless soul, from whose unseen recesses Strong is the power in gentle souls indwelling, Theirs is a sphere untrod by creatures earthly, Fragile and small, and set in quiet places, Some one who seeks friend, counselor, or lover, Thou lovely maid, through mossy pathways straying, Hearing the while the brook which downward leaping. Lifts up its merry voice, Pluck me; and as a rich reward I'll whisper The name of him who comes to win thy favor SVANHVIT'S COLLOQUY From The Islands of the Blest' SVANHVIT (alone in her chamber) o ASDOLF yet, in vain and everywhere N° Hath he been sought for, since his foaming steed, At morn, with vacant saddle, stood before The lofty staircase in the castle yard. His drooping crest and wildly rolling eye, All seemed as though the midnight fiends had urged [She goes to the window.] And yet what childish fears are these! How oft [She breathes on the window.] Become transparent, thou fair Asdolf flower, |