Book contents
- Frontmatter
- Contents
- Inledning – Strindberg och västerländsk kanon
- Observations on Strindberg and the Western Canon
- A Trace of Africa: Framing Empire in Strindberg’s The Roofing Ceremony
- ”Klostret i Lhassa liknar dessa molnborgar”. Öst möter Väst i Ockulta dagboken
- Patterns of Oppression: Post-Colonial Mies Julie
- Strindberg skönmålad – antisemitism, misogyni, personförföljelse och kanonisering
- Tolle lege – några synpunkter på läsning i Inferno
- Strindberg som folklivsforskare och europé
- Hån mot det heliga, hyllning av traditionen eller en ren formlek? August Strindberg och litanian
- Strindberg, Schering och Luther
- ”Han hade allt detta: driv, skärpa, mod, kraft och demon…” Halldór Laxness – en författarbana i Strindbergs efterföljd?
- August Strindbergs I havsbandet och Victor Hugos Havets arbetare: Inspiration med modifikation
- ”Marie Grubbe var en vision, men Nils Lyhne var söndrig.” Strindberg and J. P. Jacobsen
- Riddar Toggenburg i teaterkorridoren. Om Strindbergs skuld till Tjernysjevskijs Vad bör göras?
- En författares trovärdighet: Exemplet Zola i August Strindbergs En blå bok
- Siste Riddaren över eller utanför nuets strider – Strindberg och traditionen
- Strindbergs Intima teatern, svensk dramatik och Sveriges Dramatikers Studio
- Strindberg and Misogyny in Theatre
- Musical Heterotopias and Melodic Nightmares—Ture Rangström’s Opera The Crown Bride (Kronbruden)
- ”The Life of the Mind.” Den kreativa processen i Stanislav Barabáš’ Inferno och bröderna Coens Barton Fink
- Remote Control: Telecommunication in Plays by August Strindberg
- Biographical Notes
”Marie Grubbe var en vision, men Nils Lyhne var söndrig.” Strindberg and J. P. Jacobsen
Published online by Cambridge University Press: 16 July 2022
- Frontmatter
- Contents
- Inledning – Strindberg och västerländsk kanon
- Observations on Strindberg and the Western Canon
- A Trace of Africa: Framing Empire in Strindberg’s The Roofing Ceremony
- ”Klostret i Lhassa liknar dessa molnborgar”. Öst möter Väst i Ockulta dagboken
- Patterns of Oppression: Post-Colonial Mies Julie
- Strindberg skönmålad – antisemitism, misogyni, personförföljelse och kanonisering
- Tolle lege – några synpunkter på läsning i Inferno
- Strindberg som folklivsforskare och europé
- Hån mot det heliga, hyllning av traditionen eller en ren formlek? August Strindberg och litanian
- Strindberg, Schering och Luther
- ”Han hade allt detta: driv, skärpa, mod, kraft och demon…” Halldór Laxness – en författarbana i Strindbergs efterföljd?
- August Strindbergs I havsbandet och Victor Hugos Havets arbetare: Inspiration med modifikation
- ”Marie Grubbe var en vision, men Nils Lyhne var söndrig.” Strindberg and J. P. Jacobsen
- Riddar Toggenburg i teaterkorridoren. Om Strindbergs skuld till Tjernysjevskijs Vad bör göras?
- En författares trovärdighet: Exemplet Zola i August Strindbergs En blå bok
- Siste Riddaren över eller utanför nuets strider – Strindberg och traditionen
- Strindbergs Intima teatern, svensk dramatik och Sveriges Dramatikers Studio
- Strindberg and Misogyny in Theatre
- Musical Heterotopias and Melodic Nightmares—Ture Rangström’s Opera The Crown Bride (Kronbruden)
- ”The Life of the Mind.” Den kreativa processen i Stanislav Barabáš’ Inferno och bröderna Coens Barton Fink
- Remote Control: Telecommunication in Plays by August Strindberg
- Biographical Notes
Summary
The relationship between Strindberg and Jens Peter Jacobsen is probably not among the most relevant when considering Strindberg's Western canon. Nonetheless, Jacobsen's presence in Strindberg's works has been investigated more than once by scholars (e.g. Stensgård 1960; Bergholz 1972; Vinge 1985), whose suggestions have been at times surprising, as we will soon see.
The quotation I have chosen for my paper's title appears in a letter to Edvard Brandes on July 25, 1881, and, as far as I know, it is the only passage where Strindberg mentions both of Jacobsen's novels. Despite its conciseness, this document—which is not the first on Jacobsen, rather one of the last—displays some important features regarding Strindberg's reception of Jacobsen's work. First, his relation with the Danish author was mediated by Edvard Brandes, a key figure in Strindberg's experience of Danish culture and society: as we know, together with his brother Georg, he was one of the most prominent and innovative intellectuals in Denmark at that time (in 1884, he was among the founders of the pioneering social liberal newspaper Politiken); on the contrary, we do not have letters between Strindberg and Jacobsen. Second, it is Fru Marie Grubbe (1876) the work—or, more precisely, the character—whose literary potential Strindberg seems to perceive, whereas Niels Lyhne (1880), Jacobsen's most famous and appreciated creation until now, is left aside. Finally, we could reflect on the different, quite contrary connotations given by Strindberg to Jacobsen's works: if his first novel turns into a sort of epiphany, and this “vision” might even express the sense of an incomplete experience, Niels Lyhne, on the contrary, is not as pleasant, and it rather reveals all its limits in the protagonist's inner contradictions. I would already dare say that Strindberg's attitude towards Jacobsen generally varies between these two antithetical reactions. By the way, words like “söndring” (fragmentation) or “skef” (crooked) appeared in the first Swedish reviews of Niels Lyhne, certainly read by Strindberg.
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- Strindberg and the Western Canon , pp. 165 - 178Publisher: Jagiellonian University PressPrint publication year: 2022