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Project Gutenberg's Mogens and Other Stories, by Jens Peter Jacobsen This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Mogens and Other Stories Mogens; The Plague At Bergamo; There Should Have Been Roses; Mrs. Fonss Author: Jens Peter Jacobsen Translator: Anna Grabow, 1921 Release Date: October, 2004 [EBook #6765] Posting Date: April 21, 2009 Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK MOGENS AND OTHER STORIES *** Produced by Eric Eldred MOGENS AND OTHER STORIES (1882) By Jens Peter Jacobsen (1847-1885) Translated from the Danish By Anna Grabow (1921) CONTENTS INTRODUCTION MOGENS THE PLAGUE AT BERGAMO THERE SHOULD HAVE BEEN ROSES MRS. FONSS INTRODUCTION In the decade from 1870 to 1880 a new spirit was stirring in the intellectual and literary world of Denmark. George Brandes was delivering his lectures on the _Main Currents of Nineteenth Century Literature_; from Norway came the deeply probing questionings of the granitic Ibsen; from across the North Sea from England echoes of the evolutionary theory and Darwinism. It was a time of controversy and bitterness, of a conflict joined between the old and the new, both going to extremes, in which nearly every one had a share. How many of the works of that period are already out-worn, and how old-fashioned the theories that were then so violently defended and attacked! Too much logic, too much contention for its own sake, one might say, and too little art. This was the period when Jens Peter Jacobsen began to write, but he stood aside from the conflict, content to be merely artist, a creator of beauty and a seeker after truth, eager to bring into the realm of literature "the eternal laws of nature, its glories, its riddles, its miracles," as he once put it. That is why his work has retained its living colors until to-day, without the least trace of fading. There is in his work something of the passion for form and style that one finds in Flaubert and Pater, but where they are often hard, percussive, like a piano, he is soft and strong and intimate like a violin on which he plays his reading of life. Such an
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