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      Three Comedies

      INTRODUCTION

      BJÖRNSTJERNE BJÖRNSON—poet, dramatist, novelist, and politician, and the most notable figure in contemporary Norwegian history—was born, in December 1832, at Kvikne in the north of Norway. His father was pastor at Kvikne, a remote village in the Österdal district, some sixty miles south of Trondhiem; a lonely spot, whose atmosphere and surroundings Björnson afterwards described in one of his short sketches ("Blakken"). The pastor's house lay so high up on the "fjeld" that corn would not grow on its meadows, where the relentless northern winter seemed to begin so early and end so late. The Österdal folk were a wild, turbulent lot in those days—so much so, that his predecessor (who had never ventured into the church without his pistol in his pocket) had eventually run away and flatly refused to return, with the result that the district was pastorless for some years until the elder Björnson came to it.

      It was in surroundings such as this, and with scarcely any playfellows, that Björnstjerne Björnson spent the first six years of his life; and the sturdy independence of his nature may have owed something to the unaccommodating life of his earliest days, just as the poetical impulse that was so strong in his developed character probably had its beginnings in the impressions of beauty he received in the years that immediately followed. For, when he was six, a welcome change came. His father was transferred to the tranquil pastorate of Naes, at the mouth of the Romsdal, one of the fairest spots in Norway. Here Björnson spent the rest of his childhood, in surroundings of beauty and peacefulness, going to school first at Molde and afterwards at Christiania, to pass on later to the Christiania University where he graduated in 1852. As a boy, his earliest biographer tells us, he was fully determined to be a poet—and, naturally, the foremost poet of his time!—but, as years passed, he gained a soberer estimate of his possibilities. At the University he was one of a group of kindred spirits with eager literary leanings, and it did not take him long to gain a certain footing in the world of journalism. His work for the first year or two was mainly in the domain of dramatic criticism, but the creative instinct was growing in him. A youthful effort of his—a drama entitled Valborg—was actually accepted for production at the Christiania theatre, and the author, according to custom, was put on the "free list" at once. The experience he gained, however, by assiduous attendance at the theatre so convinced him of the defects in his own bantling, that he withdrew it before performance—a heroic act of self-criticism rare amongst young authors.

      His first serious literary efforts were some peasant tales, whose freshness and vividness made an immediate and remarkable impression and practically ensured his future as a writer, while their success inspired him with the desire to create a kind of peasant "saga." He wrote of what he knew, and a delicate sense of style seemed inborn in him. The best known of these tales are Synnöve Solbakken (1857) and Arne (1858). They were hailed as giving a revelation of the Norwegian character, and the first-named was translated into English as early as 1858. He was thus made known to (or, at any rate, accessible to) English readers many years before Ibsen, though his renown was subsequently overshadowed, out of their own country, by the enormous vogue of the latter's works. Ibsen, too, has been far more widely translated (and is easier to translate) into English than Björnson. Much of the latter's finest work, especially in his lyrical poetry and his peasant stories, has a charm of diction that it is almost impossible to reproduce in translation. Ibsen and Björnson, who inevitably suggest comparison when either's work is dealt with, were closely bound by friendship as well as admiration until a breach was caused by Björnson's taking offence at a supposed attack on him in Ibsen's early play The League of Youth, Björnson considering himself to be lampooned in the delineation of one of the characters thereof. The breach, however, was healed many years later, when, at the time of the bitter attacks that were made upon Ibsen in consequence of the publication of Ghosts, Björnson came into the field of controversy with a vigorous and generous championing of his rival.

      Björnson's dramatic energies, as was the case with Ibsen in his early days, first took the form of a series of historical dramas—Sigurd Slembe, Konge Sverre, and others; and he was intimately connected with the theatre by being for two periods theatrical director, from 1857 to 1859 at Bergen and from 1865 to 1867 at Christiania. Previous to the latter engagement a stipend granted to him by the Norwegian government enabled him to travel for two or three years in Europe; and during those years his pen was never idle—poems, prose sketches, and tales flowing from it in abundance. De Nygifte (The Newly-Married Couple), the first of the three plays in the present volume, was produced at the Christiania theatre in the first year of his directorship there.

      The two volumes, Digte og Sange (Poems and Songs) and Arnljot Gelline, which comprise the greater proportion of Björnson's poetry, both appeared in 1870. Digte og Sange was republished, in an enlarged edition, ten years later. It contains the poem "Ja, vi elsker dette Landet" ("Yes, we love this land of ours"), which, set to inspiring music by Nordraak, became Norway's most favourite national song, as well as another of the same nature—"Fremad! Fremad!" ("Forward! Forward!")—which, sung to music of Grieg's, ran it hard in popularity. Of "Ja, vi elsker dette Landet," Björnson used to say that the greatest tribute he had ever had to its hold upon his fellow-countrymen's hearts was when, on one occasion during the poet's years of vigorous political activity, a crowd of fervid opponents came and broke his windows with stones; after which, turning to march away triumphantly, they felt the need (ever present to the Scandinavian in moments of stress) of singing, and burst out with one accord into the "Ja, vi elsker dette Landet" of their hated political adversary. "They couldn't help it; they had to sing it!" the poet used to relate delightedly.

      Of the birth of "Fremad! Fremad!" Grieg has left an account which gives an amusing picture of the infectious enthusiasm that was one of Björnson's strongest characteristics. Grieg had given him, as a Christmas present, the first series of his "Lyrical Pieces" for the pianoforte, and had afterwards played some of them to the poet, who was especially struck with one melody which Grieg had called "Fadrelandssang" ("Song of the Fatherland"). Björnson there and then, to the composer's great gratification, protested that he must write words to fit the air. (It must be mentioned that each strophe of the melody starts with a refrain consisting of two strongly accented notes, which suggest some vigorous dissyllabic word.) A day or two later Grieg met Björnson, who was in the full throes of composition, and exclaimed to him that the song was going splendidly, and that he believed all the youth of Norway would adopt it enthusiastically; but that he was still puzzled over the very necessary word to fit the strongly marked refrain. However, he was not going to give it up. Next morning, when Grieg was in his room peacefully giving a piano lesson to a young lady, a furious ringing was heard at his front-door bell, as if the ringer would tear the bell from its wires, followed by a wild shout of "'Fremad! Fremad!' Hurrah, I have got it! 'Fremad!'" Björnson, for of course the intruder was he, rushed into the house the moment the maid's trembling fingers could open the door, and triumphantly chanted the completed song to them, over and over again, amidst a din of laughter and congratulations.

      His first experiments in the "social drama," plays dealing with the tragedies and comedies of every-day life in his own country, were made at about the same time as Ibsen's; that is to say, in the seventies. Björnson's first successes in that field, which made him at once a popular dramatist, were Redaktören (The Editor) in 1874 and En Fallit (A Bankruptcy) in 1875. The latter especially was hailed as the earliest raising of the veil upon Norwegian domestic life, and as a remarkable effort in the detection of drama in the commonplace. Before he wrote these, Björnson had again been for some years out of Norway; and, as in the case of Ibsen, who began the writing of his "social dramas" when in voluntary exile, absence seemed to enable him to observe the familiar from a new standpoint and in the proper perspective.

      After his first successes in this line, when his plays (and his poems and tales to an equal extent) had made him popular and honoured among his own people, Björnson settled at Aulestad, which remained his home for the rest of his life. He also became a doughty controversialist in social and religious matters, and the first outcome of this phase was his play Leonarda (the second in this volume), which was first performed in 1879, to be followed by Det ny System (The New System) later in the same year. These works aroused keen controversy, but were not such popular stage successes as his earlier plays. Moreover, about this time, on his return from a visit to America, he plunged into the vortex of political controversy as an aggressive radical. He was a vigorous

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