In this article I show how Taoist philosophy has influenced the Swedish poet, essayist and aphorist Vilhelm Ekelund. I note that the author mentions the Taoist philosophers Lao Tzu and Chuang Tzu and discusses their ideas on a couple of occasions in his later works (Atticism – Humanism, 1943; Plus salis–, 1945). Examples of such explicit influence can also be found in Ekelund’s private notebooks, posthumously published in two volumes: Hemkomst och flykt (1972) and Ur en scholaris’ verkstad (1974). I argue that Taoist philosophy implicitly influenced the Swedish author as early as the second part of the 1910’s – when he started to emphasize such principles as moderation, composure, dispassion and non-desire in his writing. I also discuss other important ideals which Ekelund shared with the Taoist philosophers, such as poverty, humility, simplicity and dishonour. Finally, I see a parallel in the anti-intellectual aspects of Taoist thinking and Ekelund’s use of the term misologi (misology), a word which often has positive connotations in his works. In Ekelund’s prose, as well as in the famous Taoist text Tao Te Ching, excessive intellectualism is frequently criticized.
Vilhelm Ekelund och den fransk-italienska kultursfären: Några nedslag i de tidiga prosaverken – från Antikt ideal (1909) till Attiskt i fågelperspektiv (1919). (Vilhelm Ekelund and the French and Italian cultural heritage: A study of his early prose – from Antikt ideal (1909) to Attiskt i fågelperspektiv (1919)). The Swedish poet, essayist and aphorist Vilhelm Ekelund was not only influenced by German literature and philosophy, he also wrote extensive literary criticism on the subject of Romance language authors. This article discusses Ekelund’s relationship to some of the most influential French and Italian writers – as it can be seen in his work during the period 1909-1919. This relationship was ambiguous: he paid homage to French authors such as Montaigne, Montesquieu, Stendhal and Comte – as well as to the Italian poet and philosopher Leopardi – but he also severely criticized such distinguished writers as Baudelaire, Rousseau and Maupassant. One conclusion of this article is that the authors praised by Ekelund all venerate the Greek and Roman cultural heritage, whereas the despised novelists and poets were, in his opinion, either too “modern” or too “feminine” – both highly pejorative adjectives in the author’s terminology. It is also noted that Ekelund’s most ferocious attacks date from the first part of the decade, before he entered a more harmonic period with the works Metron (1918) and Attiskt i fågelperspektiv (1919).