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Adam Gottlob Oehlenschläger
Portrait of Adam Oehlenschläger by Christian Albrecht Jensen (1825)
|Born||14 November 1779|
|Died||20 January 1850 (aged 70)|
Adam Gottlob Oehlenschläger[note 1](Danish pronunciation: [ˈɛːtɑm ˈkʌtlʌp ˈøˀln̩ˌsleːjɐ]; 14 November 1779 – 20 January 1850) was a Danish poet and playwright. He introduced romanticism into Danish literature.
He was born in Vesterbro, then a suburb of Copenhagen, on 14 November 1779. His father, a Schleswiger by birth, was at that time organist and later, keeper of the royal palace of Frederiksberg; a very brisk and cheerful man. The poet's mother, on the other hand, partly German by extraction, suffered from depression, which afterwards deepened into melancholy madness.[note 2]
Oehlenschläger and his sister Sophie were allowed their own way throughout their childhood, and were taught only to read and write, until their twelfth year. At the age of nine, Oehlenschläger began to write fluent verses. Three years later, while walking in Frederiksberg Gardens, he attracted the notice of the poet Edvard Storm, and as a result of their conversation he received nomination to the college called Posterity's High School, an important institution of which Storm was the principal. Storm himself taught the class of Scandinavian mythology, and thus Oehlenschläger received his introduction to the poetical inspiration of his ancestors. [note 2]
Oehlenschläger was confirmed in 1795, and was to have been apprenticed to a tradesman in Copenhagen. To his great delight there was a hitch in the preliminaries, and he returned to his father's house. Now in his eighteenth year, he suddenly took up study with great zeal, but soon abandoned his books for the stage, where he was offered a small position. In 1797 he made his appearance on the boards in several successive parts, but soon discovered that he possessed no real histrionic talent. The brothers Ørsted, with whom he had formed an intimacy that proved quite profitable to him, persuaded him to quit the theatre, and in 1800 he entered the University of Copenhagen. He was disturbed in his studies by the death of his mother, by his inveterate occupation with poetry, and finally by the First Battle of Copenhagen in April 1801, which, however, inspired a dramatic sketch (April the Second 1801), is the first work of the kind by his pen that we possess.[note 2]
In the summer of 1802, when Oehlenschläger had an old Scandinavian romance, as well as a volume of lyrics in the press, the young Norse philosopher, Henrik Steffens, returned to Copenhagen after a long visit to Schelling in Germany, full of new romantic ideas. His lectures at the university, in which Goethe and Schiller were revealed to the Danish public for the first time, created a great sensation. Steffens and Oehlenschläger met one day at Dreier's Club. After a conversation of sixteen hours the latter went home, suppressed his two coming volumes, and wrote at a sitting his splendid poem Guldhornene, in a manner totally new to Danish literature. The result of his new enthusiasm speedily showed itself in a somewhat hasty volume of poems, published in 1803, now chiefly remembered as containing the lovely piece called Sanct Hansaften-Spil.[note 2]
The next two years saw the production of several exquisite works, in particular the epic of Thors Reise til Jotunheim, the charming poem in hexameters called Langelandsreisen, and the bewitching fantasy Aladdin (1805). At the age of twenty-six, Oehlenschläger was universally recognised, even by the opponents of the romantic revival, as the leading poet of Denmark. He now collected his Poetical Writings in two volumes. He found no difficulty in obtaining a grant for foreign travel from the government, and he left his native country for the first time, joining Steffens at Halle in August 1805. Here he wrote the first of his great historical tragedies, Hakon Jarl, which he sent off to Copenhagen, and then proceeded for the winter months to Berlin, where he associated with Humboldt, Fichte, and the leading men of the day, and met Goethe for the first time.[note 2]
In the spring of 1806 he went on to Weimar, where he spent several months in daily intercourse with Goethe. Autumn of that year was passed with Tieck in Dresden, and he proceeded in December to Paris. Here he resided eighteen months and wrote his three famous masterpieces, Baldur hin Gode (1808), Palnatoke (1809), and Axel og Valborg (1810).[note 2] Oehlenschläger had also made his own translation of Aladdin into German, adding some new material which does not appear in the 1805 edition; this revised version was published in Amsterdam in 1808. Ferruccio Busoni later used the text of this translation for the last (choral) movement of his Piano Concerto Op. 39. Later editions of Oehlenschläger's play do not contain this text.
In July 1808 he left Paris and spent the autumn and winter in Switzerland as the guest of Madame de Staël at Coppet, in the midst of her salon. In the spring of 1809 Oehlenschläger went to Rome to visit Bertel Thorvaldsen, and in his house wrote the tragedy of Correggio. He hurriedly returned to Denmark in the spring of 1810, partly to take the chair of aesthetics at the University of Copenhagen, partly to marry the sister-in-law of Rahbek, to whom he had been long betrothed. His first course of lectures dealt with his Danish predecessor Johannes Ewald, the second with Schiller. From this time forward his literary activity became very great; in 1811 he published the Oriental tale of Ali og Gulhyndi, and in 1812 the last of his great tragedies, Stærkodder.[note 2]
From 1814 to 1819 he, or rather his admirers, were engaged in a long and angry controversy with Baggesen, who represented the old didactic school. This contest seems to have disturbed the peace of Oehlenschläger's mind and to have undermined his genius. His talent may be said to have culminated in the glorious cycle of verse-romances called Helge, published in 1814. The tragedy of Hagbarth og Signe, (1815), showed a distinct diminution of his powers. In 1817 he returned to Paris, and published Hroars Saga and the tragedy of Fostbrødrene. In 1818 he was again in Copenhagen, and wrote the idyll of Den lille Hyrdedreng and the Eddaic cycle called Nordens Guder. His next productions were the tragedies of Erik og Abel (1820) and Væringerne i Miklagaard (1826), and the epic of Hrolf Krake (1829). His last volumes were Tordenskjold (1833), Dronning Margrethe (1833), Sokrates (1835), Olaf den Hellige (1836), Knud den Store (1838), Dina (1842), Erik Glipping (1843), and Kiartan og Gudrun (1847). On his seventieth birthday, 14 November 1849, a public festival was arranged in his honour, and he was decorated by the king of Denmark in a grand ceremony. He died 20 January 1850 and was buried in the cemetery of Frederiksberg. Immediately after his death his Recollections were published in two volumes.[note 2]
With the exception of Ludvig Holberg, no Danish writer before 1870 has exercised so wide an influence as Oehlenschläger. His great work was to awaken in the breasts of his countrymen an enthusiasm for the poetry and religion of their ancestors, and this he performed to so complete an extent that his name remains to this day synonymous with Scandinavian romance. He supplied his countrymen with romantic tragedies at the very moment when all eyes were turned to the stage, and when the old-fashioned pieces were felt to be inadequate. His plays, influenced by his early familiarity with acting, fulfilled the stage requirements of the day, and were popular beyond all expectation. The earliest are the best: Oehlenschlager's dramatic masterpiece being, without doubt, his first tragedy, Hakon Jarl. In his poems and plays alike his style is limpid, elevated, profuse; his flight is sustained at a high pitch without visible excitement. His fluent tenderness and romantic zest have been the secrets of his extreme popularity. Although his inspiration came from Germany, he is not much like a German poet, except when he is consciously following Goethe; his analogy is rather to be found among English poets than his contemporaries. The root of his inspiration stemming from antiquity reminds us of Scott. There are sometimes touches of exquisite diction and overwrought sensibility which recall Coleridge. The breadth of his ambition and facundity are similar in their way to Robert Southey, although his style has far more vitality. With all his faults he was a very great writer, and one of the principal pioneers of the romantic movement in Europe.[note 2]
In 1829 he was publicly laurel-crowned in Lund Cathedral as the "king of Nordic Poetry Poetry" and the "Scandinavian King of Song" [note 2] (by Bishop Esaias Tegnér, his Swedish parallel). His vast production of poetry, plays and prose, was inspired by Johann Wolfgang von Goethe, Gottlieb Fichte, and Friedrich von Schelling. (See also Jens Immanuel Baggesen)
- Oehlenschläger's name is written with Oe and a-umlaut (ä), not with the usual Danish Ø and æ.
- One or more of the preceding sentences incorporates text from a publication now in the public domain: Gosse, Edmund (1911). "Öhlenschläger, Adam Gottlob". In Chisholm, Hugh (ed.). Encyclopædia Britannica. 20 (11th ed.). Cambridge University Press. pp. 33–34.
- Beaumont, Antony (1985). Busoni the Composer. London: Faber and Faber. ISBN 0-571-13149-2.CS1 maint: ref=harv (link)
|Wikisource has original works written by or about:|
|Wikimedia Commons has media related to Adam Oehlenschläger.|
- Works by Adam Oehlenschläger at Project Gutenberg
- Works by or about Adam Oehlenschläger at Internet Archive
- Works by Adam Oehlenschläger at LibriVox (public domain audiobooks)
- Oehlenschläger, author presentation in Project Runeberg
- Aladdin, or, The wonderful lamp, by Adam Gottlob Oehlenschläger, William Blackwood & Sons, 1863
Jens Wilken Hornemann
| Rector of University of Copenhagen