already beginning to feel more or less dissatisfied with their Danish surroundings. But the society, which contained several gifted members, gradually assumed a literary character. It undertook to criticise literary productions and to publish prize essays and poems. In this society particular homage was paid to French taste, and the German school was violently opposed. The Norwegian society's shafts were especially aimed at the worthless imitators of Klopstock, nor did they spare Ewald, whose admirers and friends in turn organized "The Danish Literary Society" and elected Ewald an honorary member. The struggle between these two schools exercised a wholesome influence on the masses by awakening among them an interest in literature and by helping them to appreciate the literary productions of the day. The Norwegian society particularly did a great deal of good by its sound criticism and pure taste. In this circle Wessel spent the greater part of his time, and outside of it he was but little known. Constantly embarrassed by poverty and not thoroughly appreciated by his contemporaries, he sought consolation in the wine-bottle and died prematurely in 1785, barely 43 years old.[1]
Several of the members of the Norwegian society made more or less successful attempts at poetry. In this connection it is worthy of notice that we find developed already at this time that national feeling which is so conspicuous in modern Norwegian literature, and the poets of the Norwegian society invariably sought their materials in Norway, in its natural scenery, in its popular life and traditions, etc. In their works they even occasionally made use of the popular dialects of Norway. Among the Norwegian poets of this period the following are to be mentioned:
Johan Nordal Brun (1745-1816). Besides "Zarine" referred to above, he wrote another tragedy, "Einer Tambarskjelver," in which we find an episode from old Norwegian
- ↑ Johan Herman Wessels Digte, edited by J. Levin (with a biography), 2d ed. Copenhagen, 1878.
