”I will do everything in order to smash it here.”
So speaks the young August Strindberg in P O Enquist’s fine script for the television series ”Strindberg – a life”. He looks out over the water where the fireworks have just been fired to honour Following honour. It he wants to destroy is the oscarianska Sweden in the klang – and jubelfesternas time. It is the way we are accustomed to think of the young August. It is also the restless side of his person that led to that recorded not less than three Swedish series about his life.
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Viktor Rydberg has not received any tv series. Forgotten, he is not – almost all can any passage from ”the Plot” or ”gläns över sjö och strand” – but his great novels, as ”Fribytaren on the Baltic sea” (1857) or ”The last athenaren” (1859) have fallen by the wayside. Also his life ran well otherwise a certain amount of drama that could fit on the screen. But in a few decades, against the nineteenth-century end of the discussions certainly be about who was the great Swedish had become the author – Strindberg, or Rydberg.
Michael has devoted much time and effort to Viktor Rydberg, and in several books shown on the radical idékampen in his novels. Now, she comes back to the subject in the comprehensive ”Dialogue or dynamite: Viktor Rydberg and August Strindberg – oppressing enemies”. You already understand from the beginning that it is He who stands for dialogue and Strindberg for the dynamite. Sjöberg put a lot of forskarmöda and many pages on the details of both of their works, in order to find correspondences and similarities, not least in the authors ‘ critical attitudes.
Rydberg was born in 1828, He twenty-one years later. After a number of difficult youth to become Rydberg during his time at Göteborgs Handels – and Sjöfartstidning a with the emergent ”Göteborgsliberalismen” and make skandalsuccé with ”the Bible’s teachings about Christ” (1862), where he, inspired by the international religionsdebatten, questioning the dogma of Jesus ‘ divinity. Through the entire Rydberg’s writing, then a line of criticism against the church, rather than against christianity. In his novels, the church representatives often cynical hårdingar, but there is also always a subordinate and ”gentle” voice that wants to bring the ”true” christianity of action.
He goes much further in both its social criticism and criticism of religion (as well as in his misogyni) than ever Rydberg.
part of the Rydberg teologikritik shows Sjöberg clearly, as well as parts of the follow you into the ”Mäster Olof”. He says later that He borrowed back from his play; it is to see them jump like a frog. But He then goes much further in both its social criticism and criticism of religion (as well as in his misogyni) than ever Rydberg. When Strindberg for a period of time in Nietzsche follower criticises the christianity he will leave a easily disgusted Rydberg behind him.
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Sjöberg want to show that Rydberg’s critique of society from the vänsterliberalt hold – against class society, against the monarchy, religionsförtryck and the exploitation of the emerging working class – is actually intact through the entire oeuvre, though he goes from skandalskrivare in Gothenburg, sweden, professor and expats in Stockholm. But at the same time shows Sjöberg to Rydberg deletions in the subsequent editions of, for example, ”Singoalla” mitigated attacks on the church and how he even presents the king sets an example in the last novel to ”Be” (1891). Reform, not revolt.
But in the same year, late in his writing, so the radical pièce de résistance came to be read on many arbetarmöten, and Ernst Wigforss mean made him a socialist – tendensdikten ”The New Grottesången”.
the young Strindberg took the impression of ”Kucku-Rydberg”, which he later did not want to acknowledge, shows Sjöberg convincing. As well as how to Rydberg, despite the fact that he looked upon Strindberg as unstable saw his talent, and seemed for a scholarship from the Swedish Academy, the funds – which the secretary af Wirsén, of course, did not want to hear anything about.
He saw, however, that Rydberg was one of the gatekeepers that kept him away from both recognition and resources for their writing – which he felt himself get confirmed then radikalliberalen Rydberg did not intervene in the ”Married”process.
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probably gained a little more of the dynamite. Over a period of time, there was a silent dialogue, we become convinced. But the real rabulistiska of Rydberg had been able to take more place, even if it was apparent in his youth. The mess-August will now proceed to rooting around in the English literature around the year, while the manicured Rydberg picked up for christmas. And so will it remain, in spite of Sjöberg’s sympathetic attempt to incite radical Rydberg.
The most gripping in the book is probably the anecdote about the cancellation of the meeting. They were both on the same dinner in Djursholm, in October 1891. He more or less asked to be presented for the Rydberg. He declined the card, took his hat and coat and disappeared out into the höstkvällen. It should he enough not to have done.
