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Medd. 1997, Mortensen DEMONS OF THE GOLDEN AGE HANS CHRISTIAN ANDERSEN AND SOREN KIERKEGAARD BY KLAUS P. MORTENSEN l. The Danish Golden Age, also known as Romanti- subsumed under the nation (the flag), which again is cism, falls in the first half of the 19th century. It is subsumed in natural scenery, a natural scenery, to be actually somewhat paradoxical to call this period a sure, that does not merely include plants and trees, "golden age», for it was not exactly a glorious era in but also the sky, to which the flag points and which the history of Denmark. On the contrary, this was the cross on the flag defines as the spiritual and when Denmark lost her position as a medium-sized Christian reality to which all earthly things are sub­ European power, partly through becoming involved ject. This basic attitude with all its pervasive charac­ in the Napoleonic Wars and joining on the losing ter of intimacy and quiet harmony has been called side. In 1807 the British confiscated our fleet; in 1813 optimistic dualism or - with a term taken from Ger­ the State went bankrupt; and in 1814 we lost Norway. man cultural history - Biedermeier. Biedermeier cul­ From the 1830S things improved again, and the peri­ ture emerges in the first decades of the 19th century od can be said to come to an end with the abolition and dominates the scene from the 1820S and of the absolute monarchy and the introduction of throughout the rest of the period, and it has left an parliamentary democracy in the Constitution of indelible mark on Danish culture right up to the 1849· present day. So it was in an impoverished community that the But we should not become hypnotised by this Danish Golden Age blossomed within the Copen­ idealising art. The leading artists were fully aware . hagen ramparts, borne by the Copenhagen bourgeoi­ that they were transforming reality FIG. 68. Christen in their work - K0bke (1810-1848): A . View of One of the Lake5 m. Copenhagen, Museum for 1838. all on canvas. 53 x sie and its way of life, which for a good reason was not in order to escape from it, but with the long­ Kunst, Copenhagen. Inv. no. 359. 71.5 cm. Statens quite modest. This can be taken as a demonstration term goal of fashioning, transforming and ennobling of the widespread - but also extremely dubious - the behaviour of the individual and people's dealings shoots of the future adult that are to be found in the theory that culture and creative artists fare best in with each other. beginning in inorganic nature individuality of the child. and continuing up Breeding thus means not through organic nature, times of adversity. There is, meanwhile, no doubt In broad terms, this way of thinking, encompass- flora and only that a person will behave then fauna, and well and follow the culminating that impoverishment had a decisive influence on the ing many levels and forms, could be called the idea of in mankind. In mankind norms, but that he can be fashioned, formed through nature characteristics of the becomes conscious of arts in Denmark in the firsthalf culture and breeding. And although - not least for us a proper upbringing itself. This interpretation - in in the family, which is the essen­ of the 19th century, with their search for harmony, reality a psychological interpretation the great-great-great grandchildren of that idea - it tial unit in society. - of nature as a But lastly - and not least - it their restraint, and their idealistic character. It was a does formative, culture-producing not seem particularly noteworthy, but rather a means that the individual process also encom­ can fashion himself and passes case of deriving as much as possible from the limited little old-fashioned and redolent of lavender, was human history, which proceeds it release his own innate spiritual in a similar potential. number scope available. Consider, for instance, this picture revolutionary in all its modesty. Not in its immediate of stages, though not in a gradually It is with this fashioning of (God-given) rising human curve as does from 1838 by the greatest painter of the Golden Age, expression, but in its long-term consequences. In nature nature. The history of mankind that the art of the time is so concerned is both ·shaped as a fall Christen K0bke (1810-1848) representing a view from Romanticism we see the continuation of the bour­ in an from an original totality, the individual and a collective, i.e. child­ national, �ense. hood of mankind, the Embankment along the Sortedam Lake, then sit­ geois revolution's notion of the individual, the ego as This when the gods still walked procedural nature-based way the of thinking earth. This was uated in the flat terrain outside the Copenhagen something of value in itself. Slowly and impercept­ became the Golden Age. It was - in the words truly universally accepted in Denmark ramparts (fig. 68). as a of that time itself as formulated ibly, the Christian and feudal static view of Man is result of the lectures by Adam Oehlen­ delivered during the winter of This is no grandiose or wild Romantic scene, schlreger, the godfather of but broken down. The individual becomes a dynamic 1802-1803 by the the Danish Romanticism: Norwegian scientist and philoso­ an intimate, "the peak from which secure, low-key piece of nature in which entity with his own special course of development pher Henrich we have fallen and to which we Steffens (see fig. I, p. 9), lectures in shall again ascend». everything contributes to a harmonious whole. I shall and his own potential for development. In this way which h e created a major sensation in the Copenhag­ On the basis not go into details about this picture, but limit of thinking childhood is accorded a positive statuS en publIc. of this formula, the fundamental on account of his provocative introduction structure of history myself to arguing that both in its basic mood and in hitherto inconceivable. The child is no longer of the German is described as being in three philosophy of nature and subject. phases. First its motif it encompasses the key concepts of bour­ assessed from without and from above as an imper­ Steffens an original golden age, then a attempts to describe the world gradual as the overall fall and then geois Romantic culture: the family, which again is fect and wayward adult. It is now the natural tender expression a similar gradual approach to re-estab­ of a gigantic process of individualisation lishing the lost golden age - of which Steffensrightly 96 KLAUS P. MORTENSEN DEMONS OF THE GOLDEN AGE · HANS CHRISTIAN ANDERSEN AND S0REN KIERKEGAARD 97 or wrongly saw himself to be a herald. He was at least consequently also as being conscious of a crisis: the right insofar as we really do talk of the period today notion of unity presupposes its antithesis - disunity as the Golden Age. exists as a latent possibility. The dimension of infin­ The fascinating thing about this model is of ity residing in the fact that subjectivity continues to course that it is not only a secularisation of the develop, and that new layers of the personality are Christian view of history as expressed in the concepts for ever opening, is meanwhile a possibility that is of Paradise, the Fall and the Redemption, but also meticulously encapsulated and muted by a great that, as suggested above, this secularisation expresses many of the artists of the day. Not because of exter­ itself in a psychological interpretation of nature and nal compulsion, but as a result of the self-restraint or history. This psychology is now transferred from the self-censorship that was built into the bourgeoisie's great, universal history (of nature) to the individual. understanding of itself and its insistence on its view Just as every Christian repeats the phases of the of breeding and culture as having validity for all essential story in his own life, so, according to the mankind. idea of the formative process, each representative of the bourgeoisie repeats the three phases in his own The view that the Danish Golden Age was primarily life: first the innocence of childhood when the gods seeking harmony is well founded. But culture was walk the earth - i.e. when the ego has not yet become more complicated than it seemed at first sight. A conscious of itself as an individual, a reflecting being; number of artists fall either wholly or partly outside then the fall into the self-consciousness of youth and the theory - for instance Hans Christian Andersen the reflective, critical division, and finally the restora­ and S0ren Kierkegaard. But even if we limit ourselves tion of unity via the self-knowledge resulting from to art that can be classified as Biedermeier, it is still consciousness in manhood. true that harmony is achieved in the awareness that In this model of mankind's formative process, a something else exists which of necessity must be completely new and potentially non-ecclesiastical toned down or kept out if that harmony is to be view of mankind appears. It is characterised by a ensured. Thus, to use two of Schiller's concepts, the dual interest: on the one hand in the individual as literature of the time was not naive, but sentimental something distinctive, and on the other in the indi­ ("sentimentalisch "), i.e. reflective. vidual as part of a higher order. This interest is mani­ There is a conscious covering up, a re-writing or fested as two fundamental forces in Steffens' cosmic an exclusion of forces that can threaten the harmony model: the universal, centrifugal urge for the distinc­ in Biedermeier culture.
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