onsdag den 5. oktober 2011


Triptykon i anledning af uddelingen af Albertine-Prisen til René Jean Jensen 5. oktober, 2011 på Forfatterskolen

Motto af Jean Paul (muligvis eneste tyskskrivende digter, der hedder Jean):
Jeder Mensch glaubt, er sei unter allen der wichtigste, der beste; aber nur der Narr und der Dummkopf haben den Mut, es zu sagen.

1. JEAN DE FRANCE af Ludvig Holberg (hidtil navnkundigste Jean i dansk litteratur) – 3. scene, 1. akt

JEAN : La la la la la la. Nu kommer jeg ikke ihu den bougre de pagrad, som jeg lærte sidst af Monsieur Blondis; pardi, det er en grand malleur. Mais voilá mon père et mon Sviger-Père; bon matin, Messieurs ! comment vive ma chere Isabelle?

JERONIMUS : Hør, min god Hans Frandsen! Jeg er fød i Christen Bernikovs Stræde, min Fader ligesaa. Der har aldrig nogen Isabelle eller Fidelle været i vort Huus; jeg hedder Jeronimus Christophersen og min Datter Elsebeth med Gud og Æren.

JEAN: Det er alt det samme, mon cher Sviger-Papa: Elsebet, Isabelle eller Belle; alene det sidste er det meer fornemme.

JERONIMUS: Hvo der kalder min Datter Belle, skal have med mig at bestille; thi det er et Hundenavn. Vil I ikke kalde os ved vore Christne-Navne, kan I see Jer om et andet Svogerskab. Jeg er en gammeldags ærlig Borger, og lider ikke saadanne nye Allamoder, forstaar mig heller ikke paa saadan høitraven Parlering.

JEAN: Pardonnez moi! Mon cher Sviger-Papa! Man siger aldrig nye Allamoder (…) c’est ne pas bon Parisisk, c’est Bas-Breton, pardi, La la la la. Dette er det nyeste Menuet, composé par le Sieur Blondis. Pardi, det er en habile homme, le plus grand Dantze-maitre en Europa. Hedder ikke Dantze-Maitre paa Dansk ogsaa Dantze-Maitre ? Jeg oublieret ganske mit Dansk dans Paris.

JERONIMUS: Det er Skade, at I har ikke glemt hvert Bogstav; thi nu kan hverken Dansk eller Fransk forstaa Jer. Havde I biet 14 Dage længer i Paris, havde I vel ogsaa glemt Jer Navn.

JEAN: No ma foi, jeg glemmer aldrig saa let, at jeg hedder Jean de France, non pardi non.

FRANDS; Jean de France nong Paradis nong, er det Hans Frandsen på Dansk? Det Sprog maa være mere rigt end vores.

JERONIMUS: Det var bedre, i Steden for at spørge mig om Saadant, at I gav Eders Søn et par Ørefigen paa hans Pandebrask.

JEAN: Messieurs! Je demande pardon, jeg maa gaae ; vi Parisiens kan ikke være længe paa eet Steds. La la la la la la. Jeg maa hen og see mig lidt om á la Greve. Adieu si long!

[Gaaer ud.]

2. Jean vs. Jean, en navneremse

Jean-Luc Godard

Jean Harlow

Wyclef Jean

Jean M. Auel

Jean Baudrillard

Jean Seberg

Jean Renoir

Jean Rhys

Jean Sibelius

Jean Smart

Jean-Paul Sartre

Jean Stapleton

Jean Racine

Jean Shrimpton

Jean Cocteau

Jean Simmons

Jean Genet

Jean Genie

3. H.C.. Andersens eventyr HJERTESORG oversat til engelsk af Jean Hersholt (1886-1956, dansk skuespiller i Hollywood, der  oversatte samtlige HCA’s eventyr)


The story we have for you here is really divided into two parts. The first part could be omitted, but it gives us some preliminary information which is useful.
  We were staying at a manor house in the country, and it happened that the owner was absent for a day or so. Meanwhile a lady with a pug dog arrived from the next town; come, she explained, to dispose of the shares in her tannery. She had her certificates with her, and we advised her to seal them in an envelope and to write on it the address of the proprietor of the estate, "General War Commissary, Knight," etc.
  She listened to us, took up the pen, then hesitated, and begged us to repeat the address slowly. We complied and she wrote, but in the middle of the "General War--" she stopped, sighed, and said, "I'm only a woman!" While she wrote, she had placed her Puggie on the floor, and he was growling, for the dog had come with her for pleasure and health's sake, and a visitor shouldn't be placed on the floor. He was characterized outwardly by a snub nose and a fleshy back.
  "He doesn't bite," said the woman. "He hasn't any teeth. He's like one of the family, faithful and grouchy; but the latter is the fault of my grandchildren for teasing him. They play wedding, and want to make him the bridesmaid, and that's too strenuous for the poor old fellow."
  Then she delivered her certificates and took Puggie up in her arms. And that's the first part of the story, which could have been omitted.
  Puggie died! That's the second part.
  About a week later we arrived in the town and put up at the inn. Our windows looked out into the tannery yard, which was divided into two parts by a wooden fence; in one section were hides and skin caps, raw and tanned. Here was all the equipment for carrying on a tanning business, and it belonged to the widow. Puggie had died that morning and was to be buried in this section of the yard. The widow's grandchildren (that is, the tanner's widow's, for Puggie had never married) covered the grave-a grave so beautiful it must have been quite pleasant to lie there.
  The grave was bordered with broken flowerpots and strewn over with sand; at its head they had stuck up a small beer bottle with the neck upward, and that wasn't at all symbolic.
  The children danced around the grave, and then the oldest of the boys, a practical youngster of seven, proposed that there should be an exhibition of Puggie's grave for everybody living in the street. The price of admission would be one trouser button; that was something every boy would be sure to have and which he also could give to the little girls. This suggestion was adopted by acclamation.
  And all the children from the street, and even from the little lane behind, came, and each gave a button. Many were seen that afternoon going about with one suspender, but then they had seen Puggie's grave, and that sight was worth it.
  But outside the tannery yard, close to the entrance, stood a ragged little girl, very beautiful, with the prettiest curly hair, and eyes so clear and blue that it was a pleasure to look into them. She didn't say a word, nor did she cry, but every time the gate was opened she looked into the yard as long as she could. She had no button, as she knew very well, so she had to stand sorrowfully outside, until all the others had seen the grave and everyone had left. Then she sat down, put her little brown hands before her eyes, and burst into tears, for she alone hadn't seen Puggie's grave. It was a heartache as great as any grown-up can experience.
  We saw this from above-and seen from above, this, like many of our own and others' griefs could, made us smile! That's the story, and anyone who doesn't understand it can go and buy a share in the widow's tannery.

Jean Hersholt

2 kommentarer:

  1. (fra Oscars hjemmeside)

    The Jean Hersholt Award is given from time to time at Academy Award ceremonies for outstanding contributions to humanitarian causes.

    The Jean Hersholt Humanitarian Award, an Oscar statuette, is given to an “individual in the motion picture industry whose humanitarian efforts have brought credit to the industry.” The award is named for the Danish actor and translator who co-founded the Motion Picture Relief Fund and served as Academy president during a crucial time in the organization’s history.
    About the Award’s Namesake

    Born on July 12, 1886, Jean Hersholt grew up in Denmark and toured theaters throughout Europe with his performer parents. He appeared in two 1906 Danish films, “Konfirmanden” and “Oplob Pa Frederiksberg.”

    In 1913, he emigrated to the U.S., beginning his American film career as an extra in 1915's “The Disciple.” Larger parts followed in 1916's “The Desert” and in three 1917 productions, “Black Orchids,” “The Terror” and “The Showdown.” By the 1920s Hersholt worked under contract to Paramount-Famous Players-Lasky, becoming one of the film industry’s most prolific actors. He was cast as the lead villain in countless films, including Erich von Stroheim’s classic “Greed.”

  2. When “talkies” were introduced, Hersholt managed to overcome his strong Danish accent by becoming a character actor (known for applying his own makeup) in films such as “The Climax,” “Susan Lenox - Her Fall and Rise,” “The Mask of Fu Manchu,” “Emma,” “Grand Hotel,” “The Painted Veil,” “Reunion,” “Dinner at Eight” and “Heidi” (as the grandfather of the title character, played by Shirley Temple).

    In 1936, Hersholt portrayed Dr. Allan Roy Dafoe, the real-life obstetrician who delivered the then-world-famous Dionne quintuplets, in “The Country Doctor.” RKO was so pleased with his performance, they wanted to develop a series of films based on the character; but when Dafoe nixed the idea, Hersholt invented the character Dr. Paul Christian, named after his favorite author, Hans Christian Andersen. By 1937 Hersholt (and his once-maligned voice) began what was to become a 17-year-long career portraying the kind, generous and ethical doctor on radio, and in 1939 RKO produced “Meet Dr. Christian,” which led to a six-film series for himself.

    That same year, Hersholt followed in the footsteps of the fictional Dr. Christian by helping to form the Motion Picture Relief Fund, designed to provide support and medical care for motion picture industry employees unable to care for themselves. These efforts led to an honorary Academy Award, which Hersholt shared with Fund co-founders Ralph Morgan, Ralph Block and Conrad Nagel. The Fund also led to the creation of the Motion Picture Country House and Hospital in Woodland Hills, California.

    From 1945 to 1949, Hersholt deepened his relationship with the Academy by serving as its president. It was during his tenure that the Hollywood studios stopped financing the annual awards ceremony, and Hersholt fought to keep the organization thriving.

    In addition to his film work, Hersholt’s Danish background and love of Hans Christian Andersen led to his English translation of over 160 of Andersen’s fairy tales. These efforts were lauded by King Christian X of Denmark, who knighted Hersholt in 1948, and the translations were published in 1949 as a six-volume set entitled “The Complete Andersen.” That same year, he appeared in 20th Century Fox’s “Dancing in the Dark” as himself, and he received a second honorary Academy Award for “distinguished service to the motion picture industry.”

    In 1955, Hersholt received his final film credit, in Nicholas Ray’s Western “Run for Cover.” The next year, although he was dying of cancer, he graciously agreed to appear on the first episode of television’s new “Dr. Christian” program, bestowing his “practice” on the new Dr. Christian (portrayed by MacDonald Carey). Hersholt died on June 2, 1956, and almost immediately the Academy established the Jean Hersholt Humanitarian Award.

    Hersholt’s grave in Glendale’s Forest Lawn Memorial Park is marked with a statue of Klods Hans, a Hans Christian Anderson hero who went forth from Denmark into the world, hoping to win the heart of a princess. Hersholt went forth from Denmark as well, and he won the heart of an entire industry. The Jean Hersholt Humanitarian Award is the Academy’s ongoing tribute to Jean Hersholt, a humanitarian whose efforts indeed brought credit to the industry.