17 April 2014
What price freedom? An author’s thoughts
In a guest post for European Literature Night, featured author Jonas T. Bengtsson from Denmark muses on society and freedom, concepts which inform his latest novel.
Has anybody ever met society? Shaken hands with society, yelled at society. Gone on a three day bender with society, or made sweet love to society?
Coming from the cold north one of the themes that so often pops up when books are being discussed or reviewed is the author’s take on society. Or criticism towards society. Like the author’s main job is to scrutinize society, thinly veiled and in a slightly more entertaining way than an angry letter to a newspaper.
A friend asked me if he should sell his apartment, his small boat, his car. If I thought that was the right thing to do. He and his girlfriend were considering travelling the world for as long as the money would last.
I asked him to stay put. When they returned from Goa or Vegas or the Australian outback they would feel just as constricted and unfree as before the trip. They would continue life in much the same way as they had done previously.
I asked him to find freedom where he was. By realizing that where he was in life was a choice. And that if there was anything he wanted to change he should probably just do it. Everything he did would come with a price, and if he wasn’t willing to pay it, that would be a choice as well.
So why this rant?
In my latest novel A Fairy Tale I write about a father who couldn’t care less about society. Or put in a different way, he is not at all concerned about changing it. He knows that freedom is not something that will be granted him by anybody else. It is something he has to take for him self. So what is the price for freedom, and is it too high?
A Fairy Tale was originally published as Et eventyr in Copenhagen in 2011 (British Library shelfmark YF.2013.a.5667). The translation is published by House of Anansi Press. The British Library also holds Jonas T. Bengtsson’s first novel Aminas breve (‘Amina’s Letters’, Copenhagen, 2005; YF.2006.a.28994).
09 April 2014
Who or what were ‘the Vikings’?
Interest in ‘the Vikings’ seems boundless, and the current Vikings exhibition at the British Museum makes the subject particularly topical. Googling ‘Viking’ produces forty-seven million hits – though most of them may be for computer games or brand names – and a search on our catalogue under vernacular forms of the term produces over 250 titles in Scandinavian languages and thousands more in English, with dozens of the latter published this year already in the BL catalogue. Beyond that narrow focus, however, the holdings of the British Library are very rich in printed materials, from the 16th century to date, relating to pre-Christian Scandinavia.
A recent article in the Evening Standard by the great medievalist David Dumville aimed to counter the ‘revisionist’ and ‘politically correct’ views that have “covered up the crimes of a bloody era” during the past half-century. He admitted that “Vikings are in general not coterminous with Scandinavians” yet capitalised the word as if it were an ethnic label – as misleading as using ‘Cowboy’ or ‘Cossack’ to describe the entire cultures of the USA or Russia, from their art forms and technology to their political systems and modes of warfare. The ancient Scandinavians’ name for themselves was ‘Northmen’ and for their language and culture ‘Norse’ (norrœn).
Of the two Old Norse nouns víkingr (m.) and víking (f.), the first meant ‘pirate or sea-rover’ (OED), the second an overseas plundering expedition. Their etymology is contested but related to the noun vík, ‘bay’, or the verb víkja, ‘to turn away’ etc., referring either to people from a bay area – such as the Vik region around the Oslofjord (though its inhabitants were called víkverjar, not víkingar) – or to those who ‘set out’ on raiding voyages. But such ‘vikings’ formed only a fraction of the Norse peoples. Overseas trading voyages had been undertaken long before then, for instance by the peaceful ‘farbönder’ of Gotland, while the fact that travel by boat was so much faster than overland was the basic reason why so many Norse groups lived near and moved around on water. Will scholars ever agree to stop using the over-worked term ‘viking’?
Carelian raiders. Illustration from Olaus Magnus, Historia de gentibus Septentrionalibus, bk 11, ch. 7 (Rome, 1555) 152.e.9.
The causes of the increase in overseas raiding around 800 were both external and internal. The main external one was the expansion of the Carolingian empire, its threatening proximity provoking aggressive reactions. The major internal factor was technological, the rapid development of open-sea sailing ships at that time. (The best surviving examples are the beautiful Gokstad and Oseberg vessels – displayed in the Viking Ship Museum in Oslo.) Another was the breakdown of a centuries-old social system in increasingly violent power struggles among the elites that eventually reduced the number of kingdoms in Scandinavia from dozens to the three still existing ones.
Oseberg ship, built around 820, buried 834, now in the Viking Ship Museum, Oslo (Picture by Daderot from Wikimedia Commons)
An aggressive warrior ethos – already vividly described in the Old English Beowulf poem, preserved in the British Library – saw raiding and pillaging as a perfectly honourable pursuit, enriching the participants. Change came only with the adoption of continental Christianity and feudalism, which no longer permitted unprovoked attacks on co-religionists. When the neighbouring Slavic, Finno-Ugrian and Baltic peoples likewise converted, the now christianised Norse elites – after a short period of ‘crusading’ around the Baltic – simply ran out of legitimate targets.
Peter Hogg, former Head of Scandinavian Collections
Recommended reading:
Stefan Brink and Neil Price (eds), The Viking world (London, 2008) YC.2009.b.524
Gareth Williams, Vikings: life and legend (London, 2014) Catalogue of the British Museum exhibition
Saga book of the Viking Society for Northern Research (London, 1892- ) Ac.9939; volumes over three years old are also available online at http://vsnrweb-publications.org.uk/
Proceedings of the Viking Congresses (quadrennial since 1950). Volumes catalogued separately. See also: http://www.vikingcongress.com/
Viking and Medieval Scandinavia (Turnhout, 2005- ) 9236.374400
31 January 2014
Libraries can change your life: the peregrinations of Ludvig Holberg
There is no surer way to arouse controversy in theatrical circles than to adapt a well-loved work of literature for another medium, as the heated response of Tolstoy, for example, to Tchaikovsky’s Eugene Onegin indicates. The uproar which greeted a similar endeavour in Denmark in the early 20th century is perhaps less well known in British circles. However, when it was revealed in 1906 that Vilhelm Andersen, a literary historian, was working with the composer Carl Nielsen on an opera based on Ludvig Holberg’s comedy Mascarade, the project was regarded by many as sacrilege.
Holberg (3 December 1684-28 January 1754) is one of the foremost figures in the history of Scandinavian literature, and, as the creator of the classic character comedy, might be termed the Molière of the Danish theatre. Several of his comedies remain in the Danish standard repertoire, including Mascarade, his contribution to a debate on public masquerades in the newly-built playhouse in Copenhagen’s Grønnegade, which opened in 1721 under his directorship.
A scene from Abracadabra, one of Holberg’s many comedies. Image from Holbergs Gallerie. Förste Hefte (Copenhagen, 1828). British Library 1601/650.
Holberg was not, however, only a playwright, though the humour of many of his plays, such as Kjærlighed uden Strømper (‘Love without Stockings’) and Jeppe paa Bjerget(‘Jeppe of the Hill’) still retains its freshness and vigour. Born in Bergen, Norway, he was orphaned by the age of eleven and, after studying in Copenhagen, earned his living as a private tutor and by giving lessons on the flute and violin during his travels which, in 1706, took him to London and Oxford.
His visits to Oxford University’s libraries inspired him to become an author, and in 1711 he published his first work, Introduction til de Europœiske Rigers Historier (‘Introduction to the history of the nations of Europe’), of which the British Library possesses a copy of the expanded 1757 edition (shelfmark 1308.a.7).
Funded by a grant from King Frederick IV, he travelled throughout Europe (1714-16), but the title of Professor which accompanied the award did not guarantee him an income, and it was only in 1718, after years of poverty, that he was appointed Professor of Metaphysics and subsequently of Public Oratory at the University of Copenhagen. He had previously written only on law, philology and history, but in 1719 he published his heroic-comic poem Peder Paars, widely regarded as the first classic of Danish literature (the British Library holds the 1772 edition at 85.g.11).
Until the 1720s French and German had been the only languages in which plays were performed in Denmark, but in 1722 a Danish translation of Molière’s L’Avare was staged at the new theatre, rapidly followed by a series of original comedies by Holberg himself – concluding, alas, with a ‘funeral of Danish comedy’ which he composed for the final performance before the theatre closed in 1727 as a result of financial problems. The great fire of 1728 put an end to his hopes of seeing any of his later plays performed in Copenhagen, and he returned to prose works, including the satirical fantasy Nicolai Klimii iter subterraneum (‘The underground journey of Niels Klim’).
Titlepage and frontispiece from Holberg’s, Nicolai Klimii Iter subterraneum novam telluris theoriam ac historiam quintæ Monarchiæ adhuc nobis incognitæ exhibens e Bibliotheca B. Abelini (Copenhagen, 1741) 1079.g.14.
Nielsen’s Mascarade is now famous as Denmark’s national opera, which would have delighted Holberg, a strong believer in the potential of comedy as a means of spreading Enlightenment ideas about equality in the language of the people: ‘as long as the masquerade lasts, the servant is as good as his master’.
Susan Halstead Curator Czech, Slovak and Lusatian.
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