Wanderers.

by Knut Hamsun.

INTRODUCTION

An autobiographical element is evident in practically everything that Hamsun has written. But it is particularly marked in the two volumes now published under the common t.i.tle of "Wanderers," as well as in the sequel named "The Last Joy." These three works must be considered together. They have more in common than the central figure of "Knut Pedersen from the Northlands" through whose vision the fates of Captain Falkenberg and his wife are gradually unfolded to us. Not only do they refer undisguisedly to events known to be taken out of Hamsun's own life, but they mirror his moods and thoughts and feelings during a certain period so closely that they may well be regarded as diaries of an unusually intimate character. It is as psychological doc.u.ments of the utmost importance to the understanding of Hamsun himself that they have their chief significance. As a by-product, one might almost say, the reader gets the art which reveals the story of the Falkenbergs by a process of indirect approach equalled in its ingenuity and verisimilitude only by Conrad's best efforts.

The line of Hamsun's artistic evolution is easily traceable through certain stages which, however, are not separated by sharp breaks. It is impossible to say that one stage ended and the next one began in a certain year. Instead they overlap like tiles on a roof. Their respective characters are strikingly symbolized by the t.i.tles of the dramatic trilogy which Hamsun produced between 1895 and 1898--"At the Gate of the Kingdom," "The Game of Life," and "Sunset Glow."

"Hunger" opened the first period and "Pan" marked its climax, but it came to an end only with the eight-act drama of "Vendt the Monk" in 1902, and traces of it are to be found in everything that Hamsun ever wrote. Lieutenant Glahn might survive the pa.s.sions and defiances of his youth and lapse into the more or less wistful resignation of Knut Pedersen from the Northlands, but the cautious, puzzled Knut has moments when he shows not only the Glahn limp but the Glahn fire.

Just when the second stage found clear expression is a little hard to tell, but its most characteristic products are undoubtedly the two volumes now offered to the American public, and it persists more or less until 1912, when "The Last Joy" appeared, although the first signs of Hamsun's final and greatest development showed themselves as early as 1904, when "Dreamers" was published. The difference between the second and the third stages lies chiefly in a maturity and tolerance of vision that restores the narrator's sense of humour and eliminates his own personality from the story he has to tell.

Hamsun was twenty-nine when he finished "Hunger," and that was the age given to one after another of his central figures. Glahn is twenty-nine, of course, and so is the Monk Vendt. With Hamsun that age seemed to stand princ.i.p.ally for the high water mark of pa.s.sion. Because of the fire burning within themselves, his heroes had the supreme courage of being themselves in utter defiance of codes and customs. Because of that fire they were capable of rising above everything that life might bring--above everything but the pa.s.sing of the life-giving pa.s.sion itself. A Glahn dies, but does not grow old.

Life insists on its due course, however, and in reality pa.s.sion may sink into neurasthenia without producing suicides. Ivar Kareno discovers it in "Sunset Glow," when, at the age of fifty, he turns renegade in more senses than one. But even then his realization could not be fully accepted by the author himself, still only thirty-eight, and so Kareno steps down into the respectable and honoured sloth of age only to be succeeded, by another hero who has not yet pa.s.sed the climacteric twenty-ninth year. Even Telegraph-Rolandsen in "Dreamers" retains the youthful glow and charm and irresponsibility that used to be thought inseparable from the true Hamsun character.

It is therefore with something of a shock one encounters the enigmatic Knut Pedersen from the Northlands, who has turned from literature to tramping, who speaks of old age as if he had reached the proverbial three-score and ten, and who time and again slips into something like actual whining, as when he says of himself: "Time has worn me out so that I have grown stupid and sterile and indifferent; now I look upon a woman merely as literature." The two volumes named "Under the Autumn Star" and "A Wanderer Plays on Muted Strings" form an unbroken cry of regret, and the object of that regret is the hey-day of youth--that golden age of twenty-nine--when every woman regardless of age and colour and caste was a challenging fragment of life.

Something more than the pa.s.sing of years must have characterized the period immediately proceeding the production of the two volumes just mentioned. They mark some sort of crisis reaching to the innermost depths of the soul it wracked with anguish and pain. Perhaps a clue to this crisis may be found in the all too brief paragraph devoted to Hamsun in the Norwegian "Who's who." There is a line that reads as follows: "Married, 1898, Bergljot Ba.s.soe Bech (marriage dissolved); 1908, Marie Andersen." The man that wrote "Under the Autumn Star" was unhappy. But he was also an artist. In that book the artist within him is struggling for his existence. In "A Wanderer Plays with Muted Strings" the artist is beginning to a.s.sert himself more and more, and that he had conquered in the meantime we know by "Benoni" and "Rosa"

which appeared in 1908. The crisis was past, but echoes of it were heard as late as 1912, the year of "Last Joy," which well may be called Hamsun's most melancholy book. Yet that is the book which seems to have paved the way and laid the foundation for "The Growth of the Soil"--just as "Dreamers" was a sketch out of which in due time grew "Children of the Time" and "Segelfoss Town."

Hamsun's form is always fluid. In the two works now published it approaches formlessness. "Under the Autumn Star" is a mere sketch, seemingly lacking both plan and plot. Much of the time Knut Pedersen is merely thinking aloud. But out of his devious musings a purpose finally shapes itself, and gradually we find ourselves the spectator of a marital drama that becomes the dominant note in the sequel. The development of this main theme is, as I have already suggested, distinctly Conradian in its method, and looking back from the ironical epilogue that closes "A Wanderer Plays on Muted Strings," one marvels at the art that could work such a compelling totality out of such a miscellany of unrelated fragments.

There is a weakness common to both these works which cannot be pa.s.sed up in silence. More than once the narrator falls out of his part as a tramp worker to rail journalistically at various things that have aroused his particular wrath, such as the tourist traffic, the city worker and everything relating to Switzerland. It is done very naively, too, but it is well to remember how frequently in the past this very kind of naivete has a.s.sociated with great genius. And whatever there be of such shortcomings is more than balanced by the wonderful feeling for and understanding of nature that most frequently tempt Hamsun into straying from the straight and narrow path of conventional story telling. What cannot be forgiven to the man who writes of "faint whisperings that come from forest and river as if millions of nothingnesses kept streaming and streaming," and who finds in those whisperings "one eternity coming to an understanding with another eternity about something"?

EDWIN BJORKMAN

UNDER THE AUTUMN STAR

I.

Smooth as gla.s.s the water was yesterday, and smooth as gla.s.s it is again today. Indian summer on the island, mild and warm--ah! But there is no sun.

It is many years now since I knew such peace. Twenty or thirty years, maybe; or maybe it was in another life. But I have felt it some time, surely, since I go about now humming a little tune; go about rejoicing, loving every straw and every stone, and feeling as if they cared for me in return.

When I go by the overgrown path, in through the woods, my heart quivers with an unearthly joy. I call to mind a spot on the eastern sh.o.r.es of the Caspian, where I once stood. All just as it is here, with the water still and heavy and iron-grey as now. I walked through the woods, touched to the heart, and verging on tears for sheer happiness' sake, and saying to myself all the time: G.o.d in heaven. To be here again....

As if I had been there before.

Ah well, I may have been there once before, perhaps, coming from another time and another land, where the woods and the woodland paths were the same. Perhaps I was a flower then, in the woods, or perhaps a beetle, with its home in some acacia tree.

And now I have come to this place. Perhaps I was a bird and flew all that long way. Or the kernel in some fruit sent by a Persian trader.

See, now I am well away from the rush and crowd of the city, from people and newspapers; I have fled away from it all, because of the calling that came to me once more from the quiet, lonely tracts where I belong.

"It will all come right this time," I tell myself, and am full of hope. Alas, I have fled from the city like this before, and afterwards returned. And fled away again.

But this time I am resolved. Peace I will have, at any cost. And for the present I have taken a room in a cottage here, with Old Gunhild to look after me.

Here and there among the pines are rowans, with ripe coral berries; now the berries are falling, heavy cl.u.s.ters striking the earth. So they reap themselves and sow themselves again, an inconceivable abundance to be squandered every single year. Over three hundred cl.u.s.ters I can count on a single tree. And here and there about are flowers still in bloom, obstinate things that will not die, though their time is really past.

But Old Gunhild's time is past as well--and think you she will die?

She goes about as if death were a thing did not concern her. When the fishermen are down on the beach, painting their boats or darning nets, comes Gunhild with her vacant eyes, but with a mind as keen as any to a bargain.

"And what is the price of mackerel today?" she asks.

"The same as yesterday."

"Then you can keep it, for all I care."

And Gunhild goes back home.

But the fishermen know that Gunhild is not one of those that only pretend to go away; she has gone off like that before now, up to her cottage, without once looking back. So, "Hey" they call to her, and say they'll make it seven to the half-dozen today, seeing she is an old customer.

And Gunhild buys her fish.

Washing hangs on the lines to dry; red petticoats and blue shirts, and under-things of preposterous thickness, all spun and woven on the island by the old women still left alive. But there is washing, too, of another sort: those fine chemises without sleeves, the very thing to make a body blue with cold, and mauve woollen undervests that pull out to no more than the thickness of a string. And how did these abominations get there? Why, 'tis the daughters, to be sure, the young girls of the present day, who've been in service in the towns, and earned such finery that way. Wash them carefully, and not too often, and the things will last for just a month. And then there is a lovely naked feeling when the holes begin to spread.

But there is none of that sort of nonsense, now, about Gunhild's shoes, for instance. At suitable intervals, she goes round to one of the fishermen, her like in age and mind, and gets the uppers and the soles done in thoroughly with a powerful mess of stuff that leaves the water simply helpless. I've seen that dubbin boiling on the beach; there's tallow in it, and tar and resin as well.

Wandering idly along the beach yesterday, looking at driftwood and scales and stones, I came upon a tiny bit of plate gla.s.s. How it ever got there, is more than I can make out; but the thing seems a mistake, a very lie, to look at. Would any fisherman, now, have rowed out here with it and laid it down and rowed away again? I left it where it lay; it was thick and common and vulgar; perhaps a bit of a tramcar window. Once on a time gla.s.s was rare, and bottle-green. G.o.d's blessing on the old days, when something could be rare!

Smoke rising now from the fisher-huts on the southern point of the island. Evening time, and porridge cooking for supper. And when supper's done, decent folk go to their beds, to be up again with the dawn. Only young and foolish creatures still go trapesing round from house to house, putting off their bedtime, not knowing what is best for themselves.

II

A man landed here this morning--come to paint the house. But Old Gunhild, being very old indeed, and perishing with gout most times, gets him to cut up a few days' firewood for her cooking before he starts.

I've offered many a time to cut that wood myself, but she thinks my clothes too fine, and would not let me have the ax on any account.

This painter, now, is a short, thick-set fellow with red hair and no beard. I watch him from behind a window as he works, to see how he handles the ax. Then, noticing that he is talking to himself, I steal out of the house to listen. If he makes a false stroke, he takes it patiently, and does not trouble himself; but whenever he knocks his knuckles, he turns irritable and says: "_Fan! Fansmagt_!" [Footnote: "The Devil! Power of the Devil!"]--and then looks round suddenly and starts humming a tune to cover his words.

Yes; I recognize that painter man. Only, he's not a painter at all, the rascal, but Grindhusen, one of the men I worked with when I was roadmaking at Skreia.

I go up to him, and ask if he remembers me, and we talk a bit.

Many, many years it is now since we were roadmenders together, Grindhusen and I; we were youngsters then, and danced along the roads in the sorriest of shoes, and ate what we could get as long as we had money enough for that. But when we'd money to spare, then there would be dancing with the girls all Sat.u.r.day night, and a crowd of our fellow-workers would come along, and the old woman in the house sold us coffee till she must have made a little fortune. Then we worked on heart and soul another week through, looking forward to the Sat.u.r.day again.

But Grindhusen, he was as a red-headed wolf after the girls.