“Jeppe of the Hill” is a very old story The original version is found in the “Arabian Nights,” and it has been told over and over again.  Shakespeare embodies it in “The Taming of the Shrew,” and seven other versions occur in Elizabethan literature alone.  This hackneyed farce, amplified by material from Biedermann’s “Utopia,” Holberg made the vehicle of profound delineation of character Dr. Georg Brandes says of Jeppe, “All that we should like to know of a man when we become acquainted with him, and much more than we usually do know of men with whom we become acquainted in real life or in drama, we know of Jeppe.  All our questions are answered.” [Footnote:  “Om Ludvig Holbergs Jeppe paa Bjerget,”] We know not only how he has lived, but even how he will meet death.  Jeppe possesses enough of the common stuff of human nature always to awaken comprehension and delight; yet he is more than an extraordinarily complete and convincing individual, and his story is more than an amusing farce.  Widely prevalent social conditions of a past time are here expressed in human terms of lasting truth and vitality.  In Jeppe the peasant of the eighteenth-century Sjaelland lives for all time.

The Political Tinker, while it contains no such deep study of personality as Jeppe of the Hill, is no less clearly a comedy of character and no less obviously a good human satire.  In it the foibles of the central figure are displayed more definitely in their relation to the rest of his family. [Footnote:  The play is probably founded upon the story of the political upholsterer which appears in an essay of The Tatler.  For a general discussion of Holberg’s relations to foreign literature, the reader is referred to The Comedies of Holberg, by O. J. Campbell, Jr. (Harvard Studies in Comparative Literature, vol. iii, Harvard University Press, 1914).  This is the only full treatment of Holberg in English.  Ed.] “The satire,” says Holberg, in his introduction to the first published edition of the play, “is directed against those boasters among common people in free cities who sit in taverns and criticise the mayor and Council; they know everything and yet nothing....  I doubt if any one can show me a comedy more honorable and more moral....  The comedy, besides, is not less merry than moral, for it has kept spectators laughing from beginning to end, and for that reason, of all my comedies, it is played with the greatest profit for those concerned.”  The word “moral” as applied to this work illustrates the somewhat unusual meaning which Holberg attaches to it.  Though he is continually at pains to speak of his “moral” comedies, it is manners and not morals that he satirizes.  He is interested, not so much in effecting a fundamental reform in the lives of his characters, as in giving them a little social sense.  He preaches, not against distinct moral turpitude like hypocrisy and avarice, but against inordinate affection for lap-dogs (Melampe), pietistic objections to masked balls {Masquerades}, and superstitious belief in legerdemain (Witchcraft).  Holberg voices the urbane humanistic spirit that characterized the eighteenth century at its best.