SKETCHES OF LIFE IN SWEDEN.
Reading edition
Hans Christian Anderson, the Danish poet and story-teller, whose Improvisatore is one of the most beautiful and intrinsically truthful of the myriad beautiful books upon Italian life, has published a new work, Pictures of Sweden. It is very genial summer reading, consisting of detached sketches of Swedish life and scenery, with interludes of poetic reverie. The London journals complain that it is not sufficiently well translated, but we quote the following characteristic passages in which the same weird child-likeness of feeling which his readers will recall, is expressed in the peculiar, subdued strain of northern sentimentalism, which is more the complexion, than the substance of his style. Here is the prelude to the book:
"It is a delightful spring: the birds warble, but you do not understand their song! Well, hear it in a free translation.
"'Get on my back,' says the stork, our green island's sacred bird, 'and I will carry thee over the Sound. Sweden also has fresh and fragrant beech woods, green meadows and cornfields. In Scania, with the flowering apple-trees behind the peasant's house, you will think that you are still in Denmark.'
"'Fly with me,' says the swallow; 'I fly over Holland's mountain ridge, where the beech-trees cease to grow; I fly further towards the north than the stork. You shall see the vegetable mould pass over into rocky ground; see snug, neat towns, old churches and mansions, where all is good and comfortable, where the family stand in a circle around the table and say grace at meals, where the least of the children says a prayer, and, morning and evening, sings a psalm. I have heard it, I have seen it, when little, from my nest under the eaves.'
"'Come with me! come with me!' screams the restless sea-gull, and flies in an expecting circle. 'Come with me to the Skjärgaards, where rocky isles by thousands, with fir and pine, lie like flower beds along the coast; where the fishermen draw the well-filled nets!'
"'Rest thee between our extended wings,' sing the wild swans. 'Let us bear thee up to the great lakes, the perpetually roaring elves (rivers), that rush on with arrowy swiftness; where the oak forest has long ceased, and the birch-tree becomes stunted. Rest thee between our extended wings: we fly up to Sulitelma, the island's eye, as the mountain is called; we fly from the vernal green valley, up over the snow-drifts, to the mountain's top, whence thou canst see the North Sea, on yonder side of Norway.
"'We fly to Jemteland, where the rocky mountains are high and blue; where the Foss roars and rushes; where the torches are lighted as budstikke, to announce that the ferryman is expected. Up to the deep, cold-running waters, where the midsummer sun does not set; where the rosy hue of eve is that of morn."
Stockholm is thus pictured, with an allusion, at the close, to a building dear to us all, now—as that which was first enriched by the voice, whose recent lapse into silence has made our hearts heavy:
"It is but the work of one night; the same night when Oluf Hakonson, with iron and with fire, burst his onward way through the stubborn ground; before the day breaks the waters of the Mälar roll there; the Norwegian prince, Oluf, sailed through the royal channel he had cut in the east. The stockades, where the iron chains hang, must bear the defences; the citizens from the burnt-down Sigtuna erect themselves a bulwark here, and build their new little town on stock-holms.[A] The clouds go, and the years go! Do you see how the gables grow? there rise towers and forts. Birger Jarl makes the town of Stockholm a fortress; the warders stand with bow and arrow on the walls, reconnoitring over lake and fiord, over Brunkaberg sand-ridge. There where the sand slopes upwards from Rörstrand's Lake they build Clara cloister, and between it and the town a street springs up: several more appear; they form an extensive city, which soon becomes the place of contest for different partisans, where Ladelaas's sons plant the banner, and where the German Albrecht's retainers burn the Swedes alive within its walls. Stockholm is, however, the heart of the kingdom: that the Danes know well; that the Swedes know too, and there is strife and bloody combating. Blood flows by the executioner's hand, Denmark's Christian the Second, Sweden's executioner, stands in the market-place. Roll, ye runes! see over Brunkaberg sand-ridge, where the Swedish people conquered the Danish host, there they raise the May-pole: it is midsummer-eve—Gustavus Vasa makes his entry into Stockholm. Around the May-pole there grow fruit and kitchen-gardens, houses and streets; they vanish in flames, they rise again; that gloomy fortress towards the tower is transformed into a palace, and the city stands magnificently with towers and draw-bridges. There grows a town by itself on the sand-ridge, a third springs up on the rock towards the south; the old walls fall at Gustavus Adolphus's command; the three towns are one, large and extensive, picturesquely varied with old stone houses, wooden shops, and grass-roofed huts; the sun shines on the brass balls of the towers, and a forest of masts stands in that secure harbor. * * *
"It is a very little semicircular island, on which the arches of the bridge rest: a garden full of flowers and trees, which we overlook from the high parapet of the bridge. Ladies and gentlemen promenade there; musicians play, families sit there in groups, and take refreshments in the vaulted halls under the bridge, and look out between the green trees over the open water, to the houses and mansions, and also to the woods and rocks: we forget that we are in the midst of the city. It is the bridge here that unites Stockholm with Nordmalen, where the greatest part of the fashionable world live, in two long Berlin-like streets; yet amongst all the great houses we will only visit one, and that is the theatre. We will go on the stage itself—it has an historical signification. Here by the third side-scene from the stage-lights, to the right, as we look down towards the audience, Gustavus the Third was assassinated at a masquerade; and he was borne into that little chamber there, close by the scene, whilst all the outlets were closed, and the motley group of harlequins, polichinellos, wild men, gods and goddesses, with unmasked faces, pale and terrified, crept together; the dancing ballet-farce had become a real tragedy. This theatre is Jenny Lind's childhood's home. Here she has sung in the choruses when a little girl; here she first made her appearance in public, and was cheeringly encouraged when a child; here, poor and sorrowful, she has shed tears, when her voice left her, and sent up pious prayers to her Maker. From hence the world's nightingale flew out over distant lands, and proclaimed the purity and holiness of art."
We ramble a moment in the garden of Linnæus, and contemplate his monument. It is withered and wasted now; it appears not unlike that grave garden of Ferney, with the close bower in which Voltaire used to walk and meditate:
"The walls shine brightly, and with varied hues, in the great chapel behind the high altar. The fresco paintings present to us the most eventful circumstances of Gustavus Vasa's life. Here his clay moulders, with that of his three consorts. Yonder, a work in marble, by Sargel, solicits our attention: it adorns the burial-chapel of the De Geers; and here, in the centre aisle, under that flat stone, rests Linnæus. In the side chapel, is his monument, erected by amici and discipuli; a sufficient sum was quickly raised for its erection, and the King, Gustavus the Third, himself brought his royal gift. The projector of the subscription then explained to him, that the purposed inscription was, that the monument was erected only by friends and disciples, and King Gustavus answered: 'And am not I also one of Linnæus's disciples?' The monument was raised, and a hall built in the botanical garden, under splendid trees. There stands his bust; but the remembrance of himself, his home, his own little garden—where is it most vivid? Lead us thither. On yonder side of Fyri's rivulet, where the street forms a declivity, where red-painted wooden houses boast their living grass roofs, as fresh as if they were planted terraces, lies Linnæus's garden. We stand within it. How solitary! how overgrown! Tall nettles shoot up between the old, untrimmed, rank hedges. No water-plants appear more in that little dried-up basin; the hedges that were formerly clipped, put forth fresh leaves without being checked by the gardener's shears. It was between these hedges that Linnæus at times saw his own double—that optical illusion which presents the express image of a second self—from the hat to the boots. Where a great man has lived and worked, the place itself becomes, as it were, a part and parcel of him: the whole, as well as a part, has mirrored itself in his eye; it has entered into his soul, and becomes linked with it and the whole world. We enter the orangeries: they are now transformed into assembly-rooms; the blooming winter-garden has disappeared; but the walls yet show a sort of herbarium. They are hung round with the portraits of learned Swedes—a herbarium from the garden of science and knowledge. Unknown faces—and, to the stranger, the greatest part are unknown names—meet us here."
A palace of Gustavus Vasa's:
"There yet stands a stone outline of Vadstene's rich palace which he (Gustavus Vasa) erected, with towers and spires, close by the cloister. At a far distance on the Vettern, it looks as if it still stood in all its splendor; near, in moonlight nights, it appears the same unchanged edifice, for the fathom-thick walls yet remain; the carvings over the windows and gates stand forth in light and shade, and the moat round about, which is only separated from the Vettern by the narrow carriage road, takes the reflection of the immense building as a mirrored image.
"We now stand before it in daylight. Not a pane of glass is to be found in it; planks and old doors are nailed fast to the window frames; the balls alone still stand on the two towers, broad, heavy, and resembling colossal toadstools. The iron spire of the one still towers aloft in the air; the other spire is bent: like the hands on a sundial it shows the time—the time that is gone. The other two balls are half fallen down; lambs frisk about between the beams, and the space below is used as a cow-stall.
"The arms over the gateway have neither spot nor blemish: they seem as if carved yesterday; the walls are firm, and the stairs look like new. In the palace yard, far above the gateway, the great folding door was opened, whence once the minstrels stepped out and played a welcome greeting from the balcony, but even this is broken down: we go through the spacious kitchen, from whose white walls, a sketch of Vadstene palace, ships, and flowering trees, in red chalk, still attract the eye.
"Here where they cooked and roasted, is now a large empty space; even the chimney is gone; and from the ceiling where thick, heavy beams of timber have been placed close to one another, there hangs the dust-covered cobweb, as if the whole were a mass of dark gray dropping stones.
"We walk from hall to hall, and the wooden shutters are opened to admit daylight. All is vast, lofty, spacious, and adorned with antique chimney-pieces, and from every window there is a charming prospect over the clear, deep Vettern. In one of the chambers in the ground floor sat the insane Duke Magnus (whose stone image we lately saw conspicuous in the church), horrified at having signed his own brother's death-warrant; dreamingly in love with the portrait of Scotland's Queen, Mary Stuart; paying court to her and expecting to see the ship, with her, glide over the sea towards Vadstene. And she came—he thought she came—in the form of a mermaid, raising herself aloft on the water: she nodded and called to him, and the unfortunate Duke sprang out of the window down to her. We gazed out of this window, and below it we saw the deep moat in which he sank."