BOOKS.
AMBROSIUS STUB.* THERE is nothing more characteristic of our generation than the zeal with which it goes about to resuscitate forgotten worthies. Whether among poets or painters, obscure dramatists of the reign of Elizabeth, or neglected sculptors of the common- wealth of Tuscany, wherever merit lurks, somebody is sure to findand to cherish it. These newly-found objects of admira- tion are usually rather delicate than strong, wood-flowers with a faint charm of perfume, rather than the gay trophies of the gardener. In the general revival, Denmark also has been busy in rediscovering her old poets, and among them all there is none more delightful than Ambrosius Stub, the fragments of whose work, mostly lost, have been very carefully collected and put together by Dr. Barfod. Stub was a poor student, in the beginning of the last century. He was born in 1705, at a hamlet called Gummerup, in Funen, where his father held the respect- able but not lofty station of village tailor. He was taught his rudiments in the grammar-school of Odense, and in. 1725 went up to the University of Copenhagen. He seems to have been obliged by poverty to quit the city before taking his degree, and simple student he remained to the end of his days. In 1733 we find him again in Copenhagen, as skriverkarl, or secretary, to some gentleman, eking out his pittance by teaching music. Almost the only contemporary writer who has mentioned him briefly remarks that he was "a very queer creature, but had a devilish good head." In 1735 he married a wife, but by the autumn of 1743 she and the four children she bore him were all dead. In 1749 the unfortunate man found rest at last for the sole of his foot in the house of a, certain rich Lieutenant Nils Juel, on the beautiful wooded. island of Taasinge. This personage was famous for his patron- age of the Fine-arts, and for his love of surrounding himself with poets, actors, painters, and musicians. Ambrosins Stub was settled as secretary in his library, and was very happy there for three years. His wit gave him the power of saying things to his master which could by no means be endured from any one else,. and it seems that in Juel he found a genuine admirer of his poetical genius. But one day, when strangers were being re- ceived at Taasinge, the familiar Ambrosins allowed himself to go too far. Juel was excessively angry, but the poet had ob- tained such ascendancy over him that he was afraid to show it to his face. He sent him up to the library to find a certain book, and then ordered his servants to follow and secure him. They did so, put him into a boat, carried him over to Funen, and left him on the shore. Stub survived this. cruel humiliation only six years ; he never recovered him- • Ambrosia,: a Play. By Christian LIP. Molbech. From the Danish, by Alice Berry. Edinburgh: David Douglas. Samlede Digle af Amfrosiat Stub. relate tragave. Bourget Ted Frederik Barted. Copenhagen: Gad.
self at all, and died at Ribe, on July 15th, 1758, in the deepest poverty, being buried as a pauper by the parish authorities. This unfortunate child of genius, who printed nothing but a single elegy during his life-time, and whose best works are believed to be lost, was in fact the first great lyrist of Denmark. Thirteen years after his death a little collection of his poems, very inaccurately printed, was issued, and his name has gradu- ally taken its present high position in Scandinavian literature. This assured reputation among literary persons has suddenly developed into a general public fame by the almost unpre- cedented success of the drama, which stands first on our list. Professor Molbech, director of the Danish National Theatre, has used the incident of Stub's dismissal from Taasinge, has given it romantic colouring, and has founded upon it a very beautiful and entertaining play. He has taken many liberties with the story, and above all, he has represented the incidents as taking place in 1731, twenty years earlier than they really occurred, and when Stub was twenty-six years of age. The dramatist introduces us to a fair maiden named Abigael, the heiress and only child of an old Baron, who lives on his estate in Funen. The Lady Abigael has been betrothed in infancy to a Count Claus, a young man of her own age, whom she has met from time to time, only to be increasingly disgusted by his con- ventionality and his vapid airs. When the play opens, Abigael and her maid Bodil are waiting in the private garden of the castle, ready to receive Count Claus and his mother, who, under the convoy of the Baron, are coming to arrange her final betrothal. While they wait, Bodil converses about the new secretary, a young student from Copenhagen, whom the priest, to whom she herself is to be married, has introduced to the Baron, and who is hourly expected. At this moment he arrives, and of course, it is the poet, Ambrosius Stub. He speaks to Bodil over the gate, and then lightly leaps over into the private garden, not per- ceiving Bodil's mistress. But his good looks and sprightly fashion of talking interest Abigael, and instead of sending him out of the garden, she encourages him to talk. He tells her that he can sing, and he is in the act of singing one of his own songs when the Baron arrives, in a towering rage, because no one was on the out-look to welcome his guests. He treats Ambrosius with over- bearing insolence, but the poet's wit and tact disarm him also. Meanwhile, Abigael has been fascinated by the new secretary, and is desirous that he may teach her singing ; the interest she takes in him being suddenly increased by Bodil's innocent remark that the lady has evidently roused the pride of Ambrosius by her haughty speech. Abigael is little used to suffer from the pride of others, and she lays a wager with Bodil that before a month is out she will bring him to her feet.
In a few days, Ambrosius so completely wins the confidence of the testy, but amiable, old Baron, that he is raised to the dignity of librarian, and placed in a pleasanter position than any of the other servants. This rouses the jealousy of the latter, and even of the Countess and her son, who remark with annoyance that Abigael is never so happy as when taking lessons in singing or botany from the Secretary. In order to put an end to this embarrassment, the Countess pushes on the formal betrothal, and it is finally fixed that it shall take place on the Baron's birthday, which is at hand. But Ambrosius, unable to understand the wayward advances of the Lady Abigael, has fallen passionately in lov4 with her, and flutters round her dangerous beauty like a moth round a flame. Count Claus at last discovers them in a condition of great agitation. Ambrosius, with tears in his eyes, has been reciting to Abigael a poem of his own, in which his love for her is plainly shadowed forth, and she is overcome with confusion and a sort of sym- pathetic affection. When Claus enters, Ambrosius suddenly leaves the room, and the noble youth finds it impossible to arrest his lady-love's attention by any of his fine compliments. He determines, in a rage, to revenge himself upon Ambrosius, and for this purpose bribes one of the servants to ply the secretary with drink, so that he may forget himself, and bring disgrace upon his own head: At this time, some friends in Copenhagen, assiduous for the welfare of the clever young student, secure for him a most advantageous opening. He is to accompany a wealthy young nobleman, of polite tastes, on the "grand tour." Nothing could be more suited to the inclin- ations of Ambrosius, but he declines the offer, solely in conse- quence of his mad infatuation for Abigael. He fancies that he cannot live out of her sight. At length the day of the festivity arrives, and every one in the castle, except Ambrosius, knows that it is also the day of the betrothal of Claus and Abigael.
The servants take care to make the poet drink too much, but when he is called before the company to sing and improvise, he is still able to do so. But as he drinks more, his talk becomes wild, and Abigael, fearing that he will compromise her, bends down and whispers to him to drink no more, for her sake, but to meet her an hour later in the garden. He does drink, however, on being told of her betrothal ; and when he meets her in the garden he is frantically excited, clasps her hand, and throws himself at her feet. She lays her other hand upon his head, in a sort of kindly distress, and at this juncture her father and all the company enter and discover them. Abigael boldly and heartlessly explains that her flirtation has been merely the consequence of her wager, and Ambrosius, discovering too late her perfidy, de- nounces her with great dignity. But the Baron commands his servants to seize him and turn him out of the gates. Abigael, left alone once more, falls into an agony of remorse, and the drama closes.
This romantic play, which admits of great theatrical art in representation, and of much careful study of character, has en- joyed an immense success, not merely in Denmark, but through- out the North of Europe. It is not impossible, we learn, that it may be performed in one of our London theatres. In conclu- sion, we offer our a readers a translation of one of the lyrics of the veritable Ambrosius Stub, " Skal Dahlens Lillie af Foragt :"—
" And shall the lily of the vale
Disdain the painted rose ?
Or he be proud that she is pale, While he in purple glows ? Both in the glory of their birth Spring from the lowly ground ; A little while they bloom on earth, And then no more are found.
A handful of brief, gusty wind Can snatch away their breath ; Storm comes with cruel rain behind, And they lie crushed in death ; Or if the worm about the root Be hungry for his prey, The promise of the kindly fruit Drops from the stem away.
So shalt thou also drop, 0 man !—
Bethink thee, what art thou ?- Naught, though thy little mortal span
Be clad in purple now.
To thy fair flower the gardener saith,— Short beauty shalt thou have ; Thy golden glory vanisheth, When thou art in the grave !"
Previous page
