Growth of the Soil (51 page)

"Ho, you mean to say English thread's not prohibited?" said Aronsen,
looking wise.

"I know it is," answered Andresen. "But I'm not carrying any this way; I can sell that elsewhere. I haven't a reel in my pack; look for yourself, if you like."

"That's as it may be," says Aronsen. "Anyway, I know what's forbidden, and I've shown you, so don't try to teach me."

Aronsen stood it for a whole day, then he gave up Andresen, too, and went home. The pedlars had no one to watch them after that.

And then things began to go swimmingly. It was in the day when womenfolk used to wear loose plaits in their hair; and Andresen, he was the man to sell loose plaits. Ay, at a pinch he could sell fair plaits to dark girls, and be sorry he'd nothing lighter; no grey plaits, for instance, for that was the finest of all. And every evening the three young salesmen met at an appointed place and went over the day's trade, each borrowing from another anything he'd sold out of; and Andresen would sit down, often as not, and take out a file and file away the German trade-mark from a sportsman's whistle, or rub out "Faber" on the pens and pencils. Andresen was a trump, and always had been.

Sivert, on the other hand, was rather a disappointment. Not that he was any way slack, and failed to sell his goods--'twas he, indeed, sold most--but he did not get enough for them. "You don't put in enough patter with it," said Andresen.

No, Sivert was no hand at reeling off a lot of talk; he was a fieldworker, sure of what he said, and speaking calmly when he spoke at all. What was there to talk about here? Also, Sivert was anxious to be done with it and get back home, there was work to do in the fields.

"Tis that Jensine's calling him," Fredrik Ström explained. Fredrik, himself, by the way, had work on his own fields to be done that spring, and little time to waste; but for all that, he must look in on Aronsen the last day and get up an argument with him. "I'll sell him the empty sacks," said he.

Andresen and Sivert stayed outside while he went in. They heard grand goings-on inside the store, both talking at once, and Fredrik setting up a laugh now and again; then Aronsen threw open the door and showed his visitor out. Oh, but Fredrik didn't come out--no, he took his time, and talked a lot more. The last thing they heard from outside was Fredrik trying to sell Aronsen a lot of rocking-horses.

Then the caravan went home again--three young men full of life and health. They marched and sang, slept a few hours in the open, and went on again. When they got back to Sellanraa on the Monday, Isak had begun sowing. The weather was right for it; the air moist, with the sun peeping out now and again, and a mighty rainbow strung right across the heavens.

The caravan broke up--
Farvel, Farvel
....

* * * * *

Isak at his sowing; a stump of a man, a barge of a man to look at, nothing more. Clad in homespun--wool from his own sheep, boots from the hide of his own cows and calves. Sowing--and he walks religiously bareheaded to that work; his head is bald just at the very top, but all the rest of him shamefully hairy; a fan, a wheel of hair and beard, stands out from his face. 'Tis Isak, the Margrave.

'Twas rarely he knew the day of the month--what need had he of that? He had no bills to be met on a certain date; the marks on his almanac were to show the time when each of the cows should bear. But he knew St. Olaf's Day in the autumn, that by then his hay must be in, and he knew Candlemas in spring, and that three weeks after then the bears came out of their winter quarters; all seed must be in the earth by then. He knew what was needful.

A tiller of the ground, body and soul; a worker on the land without respite. A ghost risen out of the past to point the future, a man from the earliest days of cultivation, a settler in the wilds, nine hundred years old, and, withal, a man of the day.

Nay, there was nothing left to him now of the copper mine and its riches--the money had vanished into air. And who had anything left of all that wealth when the working stopped, and the hills lay dead and deserted? But the
Almenning
was there still, and ten new holdings on that land, beckoning a hundred more.

Nothing growing there? All things growing there; men and beasts and fruit of the soil. Isak sowing his corn. The evening sunlight falls on the corn that flashes out in an arc from his hand, and falls like a dropping of gold to the ground. Here comes Sivert to the harrowing; after that the roller, and then the harrow again. Forest and field look on. All is majesty and power--a sequence and purpose of things.

Kling
...
eling
... say the cow bells far up on the hillside, coming nearer and nearer; the cattle are coming home for the night. Fifteen head of them, and five-and-forty sheep and goats besides; threescore in all. There go the women out with their milk-pails, carried on yokes from the shoulder: Leopoldine, Jensine, and little Rebecca. All three barefooted. The Margravine, Inger herself, is not with them; she is indoors preparing the meal. Tall and stately, as she moves about her house, a Vestal tending the fire of a kitchen stove. Inger has made her stormy voyage, 'tis true, has lived in a city a while, but now she is home; the world is wide, swarming with tiny specks--Inger has been one of them. All but nothing in all humanity, only one speck.

Then comes the evening.

Knut Hamsun

by

W.W. Worster

Knut Hamsun [Footnote: December, 1920.]

By W.W. Worster

Knut Hamsun is now sixty. For years past he has been regarded as the greatest of living Norwegian writers, but he is still little known in England. One or two attempts have been made previously to introduce Hamsun's work into this country, but it was not until this year, with the publication of
Growth of the Soil
, that he achieved any real success, or became at all generally known, among English readers.

Growth of the Soil
(Markens Gröde) is Hamsun's latest work. Its reception here was one of immediate and unstinted appreciation, such as is rarely accorded to a translated work by an alien author practically unknown even to the critics. A noticeable feature was the frankness with which experienced bookmen laid aside stock phrases, and dealt with this book as in response to a strong personal appeal. To the reviewer, aged with much knowledge, hardened by much handling of mediocrity, it is a relief to meet with a book that can and must be dealt with so.

Those readers are, perhaps, most fortunate who come upon such a book as this without foretaste or preparation. To the mind under spell of an aesthetic or emotional appeal, the steps that went to make it, the stages whereby the author passed, are as irrelevant as the logarithms that went to build an aeroplane. Yet it is only by knowledge of such steps that the achievement can be fully understood.

Growth of the Soil
is very far indeed from Hamsun's earliest beginnings: far even from the books of his early middle period, which made his name. It is the life story of a man in the wilds, the genesis and gradual development of a homestead, the unit of humanity, in the unfilled, uncleared tracts that still remain in the Norwegian Highlands. It is an epic of earth; the history of a microcosm. Its dominant note is one of patient strength and simplicity; the mainstay of its working is the tacit, stern, yet loving alliance between Nature and the Man who faces her himself, trusting to himself and her for the physical means of life, and the spiritual contentment with life which she must grant if he be worthy. Modern man faces Nature only by proxy, or as proxy, through others or for others, and the intimacy is lost. In the wilds the contact is direct and immediate; it is the foothold upon earth, the touch of the soil itself, that gives strength.

The story is epic in its magnitude, in its calm, steady progress and unhurrying rhythm, in its vast and intimate humanity. The author looks upon his characters with a great, all-tolerant sympathy, aloof yet kindly, as a god. A more objective work of fiction it would be hard to find--certainly in what used to be called "the neurasthenic North."

And this from the pen of the man who wrote
Sult
,
Mysterier
, and
Pan
.

Hamsun's early work was subjective in the extreme; so much so, indeed, as almost to lie outside the limits of aesthetic composition. As a boy he wrote verse under difficulties--he was born in Gudbrandsdalen, but came as a child to Bodö in Lofoten, and worked with a shoemaker there for some years, saving up money for the publication of his juvenile efforts. He had little education to speak of, and after a period of varying casual occupations, mostly of the humblest sort, he came to Christiania with the object of studying there, but failed to make his way. Twice he essayed his fortune in America, but without success. For three years he worked as a fisherman on the Newfoundland Banks.

His Nordland origin is in itself significant; it means an environment of month-long nights and concentrated summers, in which all feelings are intensified, and love and dread and gratitude and longing are nearer and deeper than in milder and more temperate regions, where elemental opposites are, as it were, reciprocally diluted.

In 1890, at the age of thirty, Hamsun attracted attention by the publication of
Sult
(Hunger).
Sult
is a record of weeks of starvation in a city; the semi-delirious confession of a man whose physical and mental faculties have slipped beyond control. He speaks and acts irrationally, and knows it, watches himself at his mental antics and takes himself to task for the same. And he asks himself: Is it a sign of madness?

It might seem so. The extraordinary associations, the weird fancies and bizarre impulses that are here laid bare give an air of convincing verisimilitude to the supposed confessions of a starving journalist. But, as a matter of fact, Hamsun has no need of extraneous influences to invest his characters with originality. Starving or fed, they can be equally erratic. This is seen in his next book,
Mysterier
.

Here we have actions and reactions as fantastic as in
Sult
, though the hero has here no such excuse as in the former case. The "mysteries," or mystifications, of Nagel, a stranger who comes, for no particular reason apparent, to stay in a little Norwegian town, arise entirely out of Nagel's own personality.

Mysterier
is one of the most exasperating books that a publisher's reader, or a conscientious reviewer, could be given to deal with. An analysis of the principal character is a most baffling task. One is tempted to call him mad, and have done with it. But, as a matter of fact, he is uncompromisingly, unrestrainedly human; he goes about constantly saying and doing things that we, ordinary and respectable people, are trained and accustomed to refrain from saying or doing at all. He has the self-consciousness of a sensitive child; he is for ever thinking of what people think of him, and trying to create an impression. Then, with a paradoxical sincerity, he confesses that the motive of this or that action
was
simply to create an impression, and thereby destroys the impression. Sometimes he caps this by wilfully letting it appear that the double move was carefully designed to produce the reverse impression of the first--until the person concerned is utterly bewildered, and the reader likewise.

Mysterier
appeared in 1893. In the following year Hamsun astonished his critics with two books,
Ny Jord
(New Ground) and
Redaktör Lynge
, both equally unlike his previous work. With these he passes at a bound from one-man stories, portrait studies of eccentric characters in a remote or restricted environment, to group subjects, chosen from centres of life and culture in Christiania.
Redaktör Lynge
--
redaktör
, of course, means "editor"--deals largely with political manoeuvres and intrigues, the bitter controversial politics of Norway prior to the dissolution of the Union with Sweden.
Ny Jord
gives an unflattering picture of the academic, literary, and artistic youth of the capital, idlers for the most part, arrogant, unscrupulous, self-important, and full of disdain for the mere citizens and merchants whose simple honesty and kindliness are laughed at or exploited by the newly dominant representatives of culture.

Both these books are technically superior to the first two, inasmuch as they show mastery of a more difficult form. But their appeal is not so great; there is lacking a something that might be inspiration, personal sympathy--some indefinable essential that the author himself has taught us to expect. They are less
hamsunsk
than most of Hamsun's work. Hamsun is at his best among the scenes and characters he loves; tenderness and sympathy make up so great a part of his charm that he is hardly recognizable in surroundings or society uncongenial to himself.

It would almost seem as if he realized something of this. For in his next work he turns from the capital to the Nordland coast, reverting also, in some degree, to the subjective, keenly sensitive manner of
Sult
, though now with more restraint and concentration.

Pan
(1894) is probably Hamsun's best-known work. It is a love-story, but of an extraordinary type, and is, moreover, important from the fact that we are here introduced to some of the characters and types that are destined to reappear again and again in his later works.

Nagel, the exasperating irresponsible of
Mysterier
, is at his maddest in his behaviour towards the woman he loves. It is natural that this should be so. When a man is intoxicated his essential qualities are emphasized. If he have wit, he will be witty; if a brutal nature, he will be a brute; if he be of a melancholy temper, he will be disposed to sit upon the ground and tell sad stories of the death of kings.

We see this in
Pan
. The love-making of the hero is characterized by the same irrational impulses, the same extravagant actions, as in
Sult
and
Mysterier
. But they are now less frequent and less involved. The book as a whole is toned down, so to speak, from the bewildering tangle of unrestraint in the first two. There is quite sufficient of the erratic and unusual in the character of Glahn, the hero, but the tone is more subdued. The madcap youth of genius has realized that the world looks frigidly at its vagaries, and the secretly proud "
au moins
je suis autre"--more a boast than a confession--gives place to a wistful, apologetic admission of the difference as a fault. Here already we have something of that resignation which comes later to its fulness in the story of the Wanderer with the Mute.