has lost the ability to love,’ he inwardly urged, ‘even if she, Judith Berg, doesn’t resemble the dream of the Air Hostess, but is a tired, middle-aged woman with a bad back and swollen feet and bitter wrinkles round her painted mouth, she nevertheless represents the Air Hostess, for whom we just have to fall, Jan Brynhildsen and I,’ thought Professor Andersen, then as now. ‘Jan Brynhildsen is ingenuous in his love, and for that I admire him, and he will surely be rewarded,’ Professor Andersen had thought. And he had been rewarded. On stage. On the main stage at the National Theatre. That was where he now had his success. First in small roles, which all of a sudden were played with a comic talent that aroused interest among theatregoers. Very minor roles from the pens of great playwrights often have great comic potential which is seldom exploited, either because minor roles are played by minor actors or, if they are given to good actors, they can easily overshadow major roles and more important scenic events, and thus damage the dramatic unity of the piece. But Jan Brynhildsen succeeded, and that was because he didn’t play the comic parts like a great actor, but like a minor one. He stood there in his minor role, completely devoid of dreams and ambitions. He didn’t try to show the comic nature inherent in the character by stealing the scene. He stood there on the fringe, playing the minor role as a minor actor, but with luminous, raw, indeed hoarse, comedy, which many in the audience experienced as a magic moment of silence and laughter. Soon he was getting larger comic roles, and now he was one of the theatre’s leading comic talents, who came to mind for a main part every time the theatre was to stage Molière, Holberg or a light comedy by Shakespeare. But although he gave a good performance in these classic comic roles – not least by continuing to preserve the minor actor in the garb of the leading role – it was the sweet (in the original meaning of the word) element of the character that was really touching, and one ought to be touched when seeing a comedy performed, but it was nevertheless Professor Andersen’s opinion that it was in the minor parts that Jan Brynhildsen had carried out remarkable feats, and there were many people who were of the same opinion, even if this wasn’t expressed publicly or privately by Professor Andersen, because he didn’t want to hurt Jan Brynhildsen, even though Jan Brynhildsen himself wouldn’t have heard what he said.
They ate rakfisk. Drank beer with a chaser. Skolled and laughed, and chatted cheerfully. They all belonged to the same generation, and they were linked to each other by strong ties, even Professor Andersen, who, tonight in particular, struggled with a disturbing feeling that he had now parted from them for good. He still felt bowled over at being unable to confide in his friend Bernt, their host, when he had come to this dinner party an hour and a quarter early for the sole purpose of doing so. He now sensed that he was not just about to be, but already was tangled up in something which had consequences he couldn’t imagine, and which were such that they threatened for one thing to leave him friendless, since it was now impossible for him to deny that the strong urge he had felt to confide in a friend, frankly, baring his soul, in reality couldn’t be fulfilled when standing face to face with Bernt. This distracted Professor Andersen somewhat, and in this distracted frame of mind it would have been easy for him not to take part in this dinner group and to regard it from the position of an outsider, as if it were a remote event which didn’t concern him, with gestures and rituals performed by strangers who didn’t concern him, but that wasn’t the outcome. Whether he wanted to or not, he belonged in the company of these successful intellectuals in their fifties in the capital of Norway towards the end of the twentieth century. They were linked