NORWEGIAN LITERATURE. Norwegian literature is commonly considered to have begun with the separation of Norway from Denmark and the adoption of the Norwegian Constitution in 1814. The history of literature in Norway, however, reaches back a thousand years before t his time to Bragi (e.S00 I. the first skald who is historically known to have composed poi.try in the Ohl Norse language. Ills principal poem is the lea g na rsd ra pa. which owes its preservation, in common with now]] of the skaldic poetry of old Norway, to the Icelander SII0Tri Sturluson, who incorporated it in his Simms Edda.
There are a number of other poets in this and the succeeding period in Norway. After Bragi, the next in importance is Thjodolf of thin (e.855-930), whose principal poem is the thrust Ging. also contained in the Xnorra Edda Besides thk poetry by known authors. most of the anony mous poems of the Eider Edda. composed, it is hetween 87Z and 11125, are doubt lea ultimately of Norwegian origin. To the Old Norse prose literature of the thirteenth century Norway also made important. contributions. .\t the head of these works stands the Th rekssaga, the story of Dietrich of Bern. written about 12:10 by an unknown author, and extremely valuable as a storehouse of Germanic legend. The arta gaussaga, I he story of liarleinagne. from this same century, and the narrative of Barlaam and Jos:what. Barbramrsaga ok osa pha s. are also by Norwegian authors. There are in addi tion to these several old law codes of value as historical material, and the unique dialogue be tween father and con, the Tionungsskuggsja, or regale, written in the reign of Stern (1181-1202), and possibly by the King himself.
After the accession of Olaf, the son of i\larga ret, in 1380, Norwegian history for four centuries becomes Danish history. Under Danish rule Nor way underwent CoMplete national extinction and became but a province of lk-nniark. Even the Reformation failed to arouse her from this lethargy, and not until 1814. when Norway was ceded to Sweden by the Peace of Kiel, was there evidence of a national awakening. The literary history of this whole period in Norway coincides with the history of Danish literature, with which it is inseparably connected.
fter the E f emir! risur of about 1300, so called from the German queen of liaakon Alagmusson, who had these paraphrases of German originals ltecht, Duke Frederick of Sormandy, and Fiore and Munchefltc—made in the Norwegian lan guage, there is no poetry until the period of learning subsequent to the Reformation. The
first names at this time are Peder Dass (1047 1708), and Dorthe Engelbrechtsdatter ( 1035 1716). The former, a Norwegian clergyman, wrote secular and religious poems which have made hint to this day the favorite poet of the common people of Norway. The names that fol are those of Norwegians. but, as has been indicated, their place is in Danish and not in Norwegian literature. This is true of Ludwig Holberg (1084-1754), the father cif the Danish drama; of Kristian Bianmann Tullis ( 1728 1763 ), the poet of nature; of Johan Ilerman Wes sel (1742-1785), the dramatist and poet. after Ewald. the second great name in the literature of the so-called 'Age of Enlightenment.' An important factor in the development of a national Norwegian literature. as it was a matter of the greatest significance for Danish literature itself. was the formation of the Norske Sclskab, or 'Norwegian Society,' in Copenhagen, in 1772. The intentions of the 'Society' were by no means to make propaganda for things Norwegian, as opposed to things Danish, but it is interesting to note that among its members are :1 number of poets who already exhibited a distinctly national feeling, whieb in choice of material and natural environment, and in inherent spirit, is not Dan ish, but Norwegian. The Norwegian poets of the period—Johan Nordal Brun (1745-1810). who wrote Zarin°, the first Danish tragedy produced on the stage, and some of the most popular of the patriotic songs of Norway; Claus Fasting (1740-91), distinguished for his epigrams and criticism; Claus Frimann (174)i-1829) ; Envold Falser (1755-1808)—important as they were, have but little meaning at the present time. Edvard Storm (1749-94). who wrote ballads and songs in Norwegian peasant dialect, some of which are known throughout Norway to this day, was the only Norwegian writer of importance who held to the Danish side of this controversy, which so strikingly marks the last days of what may be called the Danish period in the literary history of Norway.