The king's bosom friend, the Minister of the Interior, Gran, who is largely responsible for his liberalism, and whose whole policy it has been to rejuvenate and revitalize the monarchy, is challenged and shot by his old teacher, the Republican Flink; and the king himself, convinced of the futility of all his efforts to realize his idea of a democratic monarchy, commits suicide.

As a piece of sanguinary satire on royalty as an institution "The King" is most interesting—that is, royalty logically and speculatively considered, without reference to its historical basis and development. To me the postulate that it had its origin in a kind of conspiracy (for mutual benefit) of the priest and the king seems shallow and unphilosophical. Bjoernson's fanatical partisanship has evidently carried him a little too far. For surely he would himself admit that every free nation is governed about as well as it deserves to be—that its political institutions are a reflection of its maturity and capacity for self-government. A certain allowance must, indeed, be made for the vis inertiae of whatever exists, which makes it exert a stubborn and not unwholesome resistance to the reformer's zeal. This conservatism (which may, however, have more laudable motives than mere self-interest) Bjoernson has happily satirized in the scene before the Noblemen's Club in the third act. But, I fancy, it looks to him only as a sinister power, which for its own base purposes has smitten humanity with blindness to its own welfare. Though not intending to enter into a discussion, I am also tempted to put a respectful little interrogation mark after the statement that the republic is so very much cheaper than the monarchy. If the experience of the two largest republics in the world counts for anything, I should say that in point of economy there was not much to choose.

Strange as it may seem, Bjoernson did not intend "The King" as an argument in favor of the republic. In his preface to the third edition he distinctly repudiates the idea. The recent development of the Norwegian people, has, he says, made the republic a remoter possibility than it was ten years before (1875). But he qualifies this statement with the significant condition, "If we are not checked by fraud." And I fancy that he would have a perfect right to justify his present position by demonstrating the fraud, trickery, if not treason, by which Norway has during the last decade been thwarted in her aspirations and checked in her development. That preface, by the way, dated Paris, October, 1885, is one of the most forceful and luminous of his political pronunciamientos. It rings from beginning to end with conviction and a manly indignation. His chief purpose, he says, in writing this drama was, "to extend the boundaries of free discussion." His polemics against the clergy are not attacks upon Christianity, though he contends that religion is subject to growth as well as other things. The ultimate form of government he believes to be the republic, on the journey toward which all European states are proceeding fast, or slow, and in various stages of progress. There is something abrupt, gnarled, Carlylese, in his urgent admonitions and appeals for fair-play. The personal note is so distinct that I cannot read the play without unconsciously supplying the very cadence of Bjoernson's voice.

A further attempt to extend the boundaries of free discussion is made in the two dramas, "Leonarda" (1879) and "A Glove" (1883), which both deal with interesting phases of the woman question, and both wage war against conventional notions of right and wrong. The former elucidates the attitude of society toward the woman who has been compromised (whether justly or not), and the latter its attitude toward the man. I confess there is something a trifle hazy in his exposition of the problem in "Leonarda;" and I am unable to determine whether Leonarda really has anything to reproach herself with or not. In her conversation with the bishop in the second act, she appears to admit that she has much to regret. She begs him "help her atone for her past." She practically throws herself upon his mercy, reminding him that his Master, Christ, was the friend of sinners. But in the last act she appears suddenly with the halo of martyrdom. General Rosen, who has been the cause of her social ostracism, turns out to be her husband, whom she has divorced on account of his dissipated habits, and now keeps, in the hope of saving him, on a sort of probation. She believes that without her he would go straight to perdition, and from a sense of duty she tolerates him, not daring to shirk her responsibility for the old reprobate's soul. Truth to tell, she treats him like a naughty boy, punishing him, when he has been drunk, with a denial of favors; and when he has been good, rewarding him with her company. I suppose there are men who might be saved by such treatment, but I venture to doubt whether they are worth saving. As for Leonarda, she has apparently no cause for encouragement. But she perseveres, heedless of obloquy, as long as her own affections are disengaged. She presently falls in love, however, with a young man named Hagbart Tallhaug, who has insulted her and is now engaged to her niece, Agot. Hagbart is the nephew of the bishop of the diocese, who, after much persuasion is induced to receive Agot, on condition that her aunt will remove from the district and demand no recognition from the family. Having been informed of these conditions, Leonarda calls upon the bishop, uninvited, and vainly remonstrates with him. The young people are, however, unwilling to accept happiness on the terms offered by his reverence. At this point a new complication arises. Hagbart who had loved in Agot a kind of reflection of her aunt's character and manner, being now thrown into the company of the latter, discovers his mistake and transfers his affection to Leonarda. Exactly wherein the newness of Leonarda's type consists we are not fully informed, but we are led to infer that she represents a purer and truer humanity than the women bred in the traditions of feudalism, with their hypocritical arts and conventions. She is not meant to be seductive, but radiant, ravishing.

There is a candor in her speech, and an almost boyish straightforwardness, for which she is not indebted to nature but to the stanch idealism of her creator. She is, however, on that account no less impressionable, no less ready to respond to the call of love. She struggles manfully (or ought I not, in deference to the author's contention, to say "womanfully") against her love for Hagbart, and at last has no choice but to escape from the cruel dilemma by accepting the bishop's demand. Though she cannot conquer her affection for the young man, she believes that he will, in the course of time, return to Agot, as soon as she is out of his way. The author evidently believes the same. It is a hard lot to be a man in these later dramas of Bjoernson.

With a slight violation of the chronological sequence I shall discuss "A Glove" in this connection, because of its organic coherence with "Leonarda." They are the obverse and reverse of the same subject—the cruelty of society to the woman of a blemished reputation, and its leniency to the man.

To those who worship the conventional ideal of womanly innocence "A Glove" will seem a very shocking book, for it fearlessly discusses, and, what is more, makes a young girl discuss—the standards of sexual purity as applied to men and women. The sentiments which she utters are, to be sure, elevated and of an almost Utopian idealism; and the author obviously means to raise, not to lower, her in the eyes of the reader by her passionate frankness.

The problem of the drama is briefly this: Society demands of women an absolute chastity, and refuses to condone the least lapse, either before or after marriage. But toward men it is indulgent. It readily overlooks a plenteous seed of wild oats, and would regard it as the sheerest Quixotism to judge the bridegroom by the same standard of purity as it does the bride. It is easy enough, and perhaps also legitimate, to exclaim with Bjoernson that this is all wrong, and that a man has no right to ask any more than he gives. As a mere matter of equity a wife owes her husband no more fidelity than he owes her, and may exact of him, if she chooses, the same prematrimonial purity that he exacts of her. But questions of this kind are never settled on the basis of equity. The sentiments by which they are determined have long and intricate roots in the prehistoric past; and we are yet very far from the millennial condition of absolute equality between the sexes. According to Herbert Spencer there is a hereditary transmission of qualities which are confined exclusively to the male, and of others which are confined to the female; and these are the results of the primitive environments and conditions which were peculiar to each sex. Even the best of us have a reminiscent sense of proprietorship in our wives, dating from the time when she was obtained by purchase or capture and could be disposed of like any other chattel. Wives, whose prehistoric discipline has disposed them to humility and submission (I am speaking of the European, not the American species, of course), have not yet in the same degree acquired this sense of ownership in their husbands, involving the same strict accountability for affectional aberrations. And for this there is a very good reason, which is no less valid now than it was in the hoariest antiquity. A husband's infidelity, though morally as reprehensible as that of the wife, does not entail quite such monstrous consequences. For if she deceives him, he may ignorantly bring up another man's children, toil for them, bestow his name and affection upon them, and leave them his property. One can scarcely conceive of a more outrageous wrong than this; and it is in order to guard against such a possibility that society from remote ages has watched over the chastity of women far more jealously than over that of men. It is as a result of this vigilance of centuries that women have, among civilized nations, a finer sense of modesty than men, and a higher standard of personal purity. Men are, as yet, as Mr. Howells remarks, "imperfectly monogamous;" and Bjoernson is, no doubt, in the main right in the tremendous indictment he frames against them in the present drama.

It may be expedient to give a brief outline of the action. Svava Riis, the daughter of prosperous and refined parents, becomes engaged to Alf Christensen, the son of a great commercial magnate.

Her father and mother are overjoyed at the happy event; she is herself no less delighted. Her fiance has an excellent reputation, shares her interest in social questions, and supports her in her efforts to found kindergartens and to ameliorate the lot of the poor. Each glories in the exclusive possession of the other's love, and with the retrospective jealousy of lovers, fancies that he has had no predecessors in the affection of the beloved. Alf can scarcely endure to have any one touch Svava, and is almost ill when any one dances with her.

"When I see you among all the others," he exclaims, "and catch, for instance, a glimpse of your arm, then I think: That arm has been wound about my neck, and about no one else's in the whole world. She is mine! She belongs to me, and to no one, no one else!"

Svava finds this feeling perfectly natural, and reciprocates it. She ardently believes that he brings her as fresh a heart as she brings him; that his past is as free from contaminating experience as is her own. When, therefore, she obtains proof to the contrary, in an indignant revulsion of feeling, she hurls her glove in his face and breaks the engagement. This act is, I fancy, intended to be half symbolic. The young girl expresses not only her personal sense of outrage; but she flings a challenge in the face of the whole community, which by its indulgence made his transgression easy. She discovers that what in her would have been a crime is in him a lapse, readily forgiven. Her whole soul revolts against this inequality of conditions; and in terminating their relation, which has lost all its beauty, she wishes to cut off all chance of its future resumption.

In order to determine whether this sentiment of passionate virginity (which in effect makes the marriage vow of fidelity retroactive) is not, in the present condition of the world, a trifle overstrained, I have submitted the question to two refined women for whom I have a high regard. To my surprise they both declared that Svava, whatever she may have said to the contrary, did not love her fiance; that her sorrow and even her indignation were just and natural; but that her somewhat over-conscious purity—her virginite savante, as Balzac phrases it in "Modeste Mignon," and her inability to give due weight to ameliorating circumstances were unwomanly. I confess I am not without sympathy with this criticism. Svava, though she is right in her vehement protest against masculine immorality, is not charming—that is, according to our present notion of what constitutes womanly charm. It is not unlikely, however, that like Leonarda she is meant to anticipate a new type of womanhood, co-ordinate and coequal with man, whose charm shall be of a wholly different order. The coquetry, the sweet hypocrisy, nay, all the frivolous arts which exercise such a potent sway over the heart of man have their roots in the prehistoric capture and thraldom; and from the point of view of the woman suffragists, are so many reminiscences of degradation. I fancy that Bjoernson, sharing this view, has with full deliberation made Svava boldly and inexorably truthful, frank as a boy and as uncompromisingly honest as a man.

She has sufficient use for this masculine equipment (I am speaking in accordance with the effete standards) in the battle which is before her. Dr. Nordan, the family physician, her parents, and those of her fiance, take her to task and endeavor to demonstrate to her the consequences of her unprecedented demand. She learns in the course of this prolonged debate that she has been living in a fool's paradise. She has been purposely (and with the most benevolent intention) deceived in regard to this question from the very cradle. Her father, whom she has believed to be a model husband, proves to have been unworthy of her trust. The elder Christensen has also had a compromising intrigue of the same kind; and it becomes obvious that each male creature is so indulgent in this chapter toward every other male creature, because each knows himself to be equally vulnerable. There is a sort of tacit freemasonry among them, which takes its revenge upon him who tells tales out of school. It is a consciousness of this which makes Christensen, after having declared war to the knife against the Riises, withdraw his challenge and become doubly cordial toward his enemy. Alf, who in the second act has expressed the opinion that a man is responsible to his wife for his future, but not for his past, retracts, and does penance. Svava, in consideration of his penitence, gives him a vague hope of future reconciliation.[9]

[9] In the later acting version of the play, which ends with the throwing of the glove, this hope of reconciliation is definitely cut off. The author has evidently come to the conclusion that his argument is weakened by Svava's conciliatory attitude, and he enforces his moral by making the sin appear unpardonable. The acting version, which is more dramatically concise, differs in several other respects from the version here presented; but the other changes seem to be dictated by a stricter regard for the exigencies of theatrical representation. The play has been translated into English under the title, "A Gauntlet," London, 1894.

It will be observed by every reader of "A Glove" that it is not a drama, according to our American notion. It has very little dramatic action. It might be styled a series of brilliant and searching debates concerning a theme of great moment. The same definition applies, though in a lesser degree, to "The New System" (1879), a five-act play of great power and beauty. By power I do not mean noise, but convincing impressiveness and concentration of interest. One could scarcely imagine anything farther removed from the ha! and ho! style of melodrama.

"The New System" is primarily social satire. It is a psychological analysis of the effect of the "small state" upon its citizens. It is an expansion and exemplification of the proposition (Act I., 1) that "while the great states cannot subsist without sacrificing their small people by the thousands, small states cannot subsist without the sacrifice of many of their great men, nay of the very greatest." The smooth, crafty man, "who can smile ingratiatingly like a woman," rises to the higher heights; while the bold, strong, capable man, who is unversed in the arts of humility and intrigue, struggles hopelessly, and perhaps in the end goes to the dogs, because he is denied the proper field for his energy. Never has Bjoernson written anything more convincing, penetrating, subtly satirical. He cuts deep; every incision draws blood. A Norwegian who reads the play cannot well rid himself of a startled sense of exposure that is at first wounding to his patriotism. It is mortifying to have to admit that things are thus in Norway. And the worst of it is that there appears to be no remedy. The condition is, according to Bjoernson, inherent in all small states which cripple the souls of men, stunt their growth, and contract their horizon.

The first act opens with a conversation between the civil engineers Kampe and Ravn, and the former's son Hans, who has just returned from a prolonged sojourn abroad. The keynote is struck in the sarcastic remark of Ravn, that in a small society only small truths can be tolerated—of the kind that takes twenty to the inch; but great truths are apt to be explosive and should therefore be avoided, for they might burst the whole society. This is a propos of a book which Hans Kampe has written, exposing the wastefulness and antiquated condition of the so-called "new system" of railway management introduced, or supposed to have been introduced, by Kampe's and Ravn's brother-in-law, the supervisor-general Riis. The way for Hans to make a career, declares the worldly wise Ravn, is not to oppose the source of promotion and power, but to be silent and marry the supervisor-general's daughter. Ravn has learned this lesson by bitter experience, and hopes that his nephew will profit by it. All talk about duty to the state and society he pretends to regard as pure moonshine, and he professes not to see the connection between the elder Kampe's drunkenness and the artificial bottling up to which he has been subjected, the curbing and jailing of Titanic powers which once sought outlet in significant action. The same mighty force which in its repression drives the men to the brandy-bottle makes the women intoxicate themselves with fictitious narratives of high courage, daring rescues, and all kinds of melodramatic heroism. Extremely amusing is the scene in which Karen Riis (who loves Hans and is beloved by him) goes rowing with her friends Nora and Lisa, taking with her a stock of high-strung novels, and when a drowning man cries to them for help they row away posthaste, because the man is naked.

The second act shows us the type of the successful man of compromise, who takes the world as he finds it, and cleverly utilizes the foibles of his fellow-men. The supervisor-general is a sort of personification of public opinion. He is always correct, professes to believe what others believe, and conforms from prudent calculation to the religious customs of the community. He demands of his son Frederic that he shall abandon a young girl whom he loves and has seduced, and he requires of his daughter Karen that she shall, out of regard for her family, renounce her lover. He feigns all proper sentiments and emotions, while under the smooth, agreeable mask lurk malice and cunning. When Hans Kampe's book reaches him, it never occurs to him to examine it on its merits; his only thought is to make it harmless by inventing a scandalous motive. The elder Kampe has just resigned from the railway service; the supervisor-general (with infamous shrewdness) demands an official inquiry into the state of his accounts. Then all the world will say that Hans Kampe has been used as a cat's-paw by his father, who, knowing that an investigation is inevitable, wishes to throw dust in the eyes of the public and save his own reputation by attacking that of his superior. It is needless to say that he has not a shadow of suspicion regarding Kampe's honesty, but merely chooses for his own defence the weapon which he knows to be the most effective.

In order to fortify his position and sound the sentiment of the profession, Riis gives a grand dinner to the engineers of the city, to which Kampe and his son are also invited. The chairman of the committee on railways (of the national diet) is present, and when it appears that Hans Kampe makes a favorable impression upon him, the friends of Riis concoct a scheme to injure him. They inform his father that he is suspected of embezzlement, and get him drunk, whereupon the old man scandalizes the company by a burst of uncomplimentary candor. When Hans arrives the mischief is done; though the pathetic scene between father and son convinces the chairman that, whatever their failings, these men are true and genuine. Simply delicious is the satire in the scene where the ladies discuss the question at issue between Riis and Kampe. But this satire is deprived of much of its force by the subsequent development of the plot. The logical ending would seem to be the triumph of the supervisor-general's defensive tactics and the discomfiture of his critics. That would have given point to the criticism of the small state and invested the victims of progress with an almost tragic dignity. Bjoernson chooses, however, to let neither the one party nor the other triumph. In a small state, he says, no one is victorious; everything ends in compromise. If two parties championed two different plans of railway construction, the one of which was demonstrated to be superior in economy and safety to the other, such a demonstration would not be likely to result in its adoption. No, the two parties would come together, dicker and compromise, and in the end the diet would agree to build one road according to the one plan, and one according to the other. Agreeably to this principle Bjoernson leaves the honors between the combatants about easy; but Riis, deserted by his children, undergoes a partial change of heart and is seized with doubt as to the excellence of his philosophy of life.

That the satire of "The New System" struck home is obvious from the fierceness and virulence of the criticism with which it was hailed. It has never become fairly domesticated on the Scandinavian stages, and probably never will be. In Germany, France, and Holland it has received respectful attention, and (I am informed) has proved extremely effective upon the boards.

In the same year as "The New System" (1879) appeared the delightful novelette "Captain Mansana," dealing with Italian life, and throwing interesting side-lights upon the War of Liberation. There is an irresistible charm in the freshness, the vividness, the extreme modernness of this little tale. The mingled simplicity and sophistication of the Italian character, the histrionic touch which yet goes with perfect sincerity, the author has apprehended and presented with happy realism.

In "Beyond their Strength" (Over Aevne) (1883) Bjoernson has invaded the twilight realm of psycho-pathological phenomena, and refers the reader for further information to Lecons sur le systeme nerveux, faites par J. M. Charcot, and Etudes cliniques sur l'hystero-epilepsie ou grande hysterie, par le Dr. Richer. As a man is always in danger of talking nonsense in dealing with a subject concerning which his knowledge is superficial, I shall not undertake to pronounce upon the validity of the theory which is here advanced. The play is an inquiry into the significance and authenticity of miracles. Incidentally the theme is faith-healing, the hypnotic effect of prayer, and kindred phenomena.

Pastor Sang, a clergyman in a remote parish of Northern Norway, is famed far and wide as the miracle-priest, and it is popularly believed that he can work wonders, as the apostles did of old. He has given away his large fortune to the poor; in a fervor of faith he plunges into every danger, and comes out unscathed; he lives constantly in an overstrained ecstasy, and by his mere presence, and the atmosphere which surrounds him, forces his wife and children to live in the same state of high nervous tension and unnatural abstraction from mundane reality and all its concerns. His wife, Clara, who loves him ardently, is gradually worn out by this perpetual strain, which involves a daily overdraft upon her vitality; and finally the break comes, and she is paralyzed. For, like everyone who comes in contact with Sang, she has had to live "beyond her strength." She does not fully share her husband's faith, and though she feels his influence and admires his lofty devotion, there is a half-suppressed criticism in her mind. She feels the unwholesomeness of thus "living by inspiration, and not by reason." When he comes to her, "beaming always with a Sabbath joy," she would fain tune him down, if she could, into a lower key, "the C-major of every-day life," as Browning calls it. But in this effort she has had no success, for Sang's ecstatic elevation above the concerns of earth is not only temperamental; nature itself, in the extreme North, favors it. As Clara expresses it:

"Nature here exceeds the limits of the ordinary. We have night nearly all winter; we have day nearly all summer—and then the sun is above the horizon, both day and night. Have you seen it in the night? Do you know that behind the ocean vapors it often looks three or four times as large as usual? And then the color-effects upon sky, sea, and mountain! From the deepest glow of red to the finest, tenderest, golden white. And the colors of the aurora upon the wintry sky!" etc.

It is the most ardent desire of Sang to heal his wife, as he has healed many others. But the doubt in her mind baffles him, and for a long time he is unsuccessful. At last, however, he resolves to make a mighty effort—to besiege the Lord with his prayer, to wrestle with him, as Jacob did of old, and not to release him, until he has granted his petition. While he lies thus before the altar calling upon the Lord in sacred rapture, a tremendous avalanche sweeps down the mountainside, but divides, leaving the church and parsonage unharmed. The rumor of this new wonder spreads like fire in withered grass, and among thousands of others a number of clergymen, with their bishop, on their way to some convention, stop to convince themselves of the authenticity of the miracle, and to determine the attitude which they are to assume toward it. Then follows a long discussion between the bishop and the clergy regarding the value of miracles, some maintaining that the church has outgrown the need of them, others that they are indispensable—that Christianity cannot survive without them. For has not Christ promised that "even greater things than these shall ye do?" Is not this a case of the faith which verily can say to the mountain, "Rise up and cast thyself into the sea?"

The other miracle, scarcely less marvellous than the deflection of the avalanche, is that Clara, who has slept for the first time in a month, now rises from her bed and goes forth to meet her husband, and falls upon his neck amid the ringing of the church-bells and the hallelujahs of the assembled multitudes. But when he tries to raise her she is dead, and he himself, overwhelmed by his emotion, falls dead at her side.

This is so obviously a closet-drama that it is difficult to imagine how it would look under the illumination of the foot-lights. For all that, I see a recent announcement that the trial is soon to be made at the Theatre Libre in Paris.[10] No Scandinavian theatre, as far as I know, has as yet had the courage to risk the experiment. In his next play, however, "Love and Geography" (1885), Bjoernson reconquered the stage and repeated his early triumphs. From the scientific seriousness of "Beyond their Strength" his pendulum swung to the opposite extreme of light comedy, almost bordering on farce. Not that "Love and Geography" is without a Bjoernsonian moral, but it is amusingly, jocosely enforced in scenes of great vivacity and theatrical effect. This time it is himself the author has chosen to satirize. The unconscious tyranny of a man who has a mission, a life-work, is delightfully illustrated in the person of the geographer, Professor Tygesen, to whom Bjoern Bjoernson, the actor, when he played the part at the Christiania Theatre, had the boldness to give his father's mask. Professor Tygesen is engaged upon a great geographical opus, and gradually takes possession of the whole house with his maps, globes, and books, driving his wife from the parlor floor and his daughter to boarding-school. So absorbed is he in his work that he can talk and think of nothing else. He neglects the social forms from sheer abstraction and becomes almost a boor, because all the world outside of his book pales into insignificance, and all persons and events are merely interesting in so far as they can stimulate inquiry or furnish information bearing upon the immortal opus. The inevitable consequence follows. The professor alienates all who come in contact with him. He is on the point of losing the affection of his wife, and his daughter comes near going astray for want of paternal supervision. Both these calamities are, however, averted, though in an arbitrary and highly eccentric manner. The professor's eyes are opened to the error of his ways, he does penance, and the curtain falls upon a reunited family.

[10] July, 1894.

The unpretentious little story "Dust" (Stoev, 1882) undertakes to demonstrate the unwholesomeness of the religious ideas regarding the life to come usually impressed upon children by parents and teachers. By dust Bjoernson means all obsolete, lifeless matter in the world of thought which settles upon, and often impairs, the vitality of the living growth, or even chokes it outright. "When children are taught that the life here is nothing compared to the life to come—that to be visible is nothing compared to being invisible—that to be a man is nothing compared to being an angel—that to be alive is nothing compared to being dead—then that is not the way to give them the right view of life; not the way to teach them to love life; not the way to inspire them with courage, energy, and patriotism."

In his novel "Flags in City and Harbor" (1884), the English translation of which is entitled "The Heritage of the Kurts," Bjoernson has attacked a tremendous problem. He has attempted to illustrate the force of heredity, and the exact extent to which it may be modified by environment—to what extent an unfavorable heredity may be counteracted by a favorable environment. The family of Kurt, whose history is here traced through five generations, inherits a temperament which would have secured its survival and raised it to distinction in barbaric ages, but which will as surely, unless powerfully modified, necessitate its extinction in the present age. For the Kurts are incapable of assimilating civilization. An excess of physical vigor in the first Kurt who settled in Norway takes the form of lawlessness and an entire absence of moral restraint.

Violence of the most atrocious kind goes unpunished because Kurt is powerful and has friends at court. In his two legitimate sons, Adler and Max (he has a host of illegitimate ones), the family temperament is modified, though in Max, who perpetuates the race, the modification is not radical. Adler is a weakling of enormous vanity, silent and moody, and addicted to the pleasures of the table. Max, on the other hand, is a man of inexhaustible vitality, violent like his father, but possessed of a gift of speech and a tremendous voice which serve to establish his authority over the simple inhabitants of the little coast town. Moreover, he is endowed with great shrewdness and practical sense, and is an expert in ship-building, agriculture, and other pursuits. But he is the terror of women, and his sensual excesses so undermine his strength that he becomes insane, and believes that he is continually pursued by the spirit of his brother, whose death he had caused. Konrad Kurt, the son of Max, runs away from home because he cannot endure to see his mother maltreated by his father. He inherits a shattered constitution and poor nerves; outwardly he is quite a respectable man, but he has a strong physical need of drink, and every night he goes to bed intoxicated. It is the author's purpose to show how the sins of his fathers, by a physiological necessity, predisposed Konrad Kurt to drink. His son, John Kurt, who is the result of a criminal relation, is the complete incarnation of the genius of the family. The fresh blood which he has derived from his English mother has postponed the doom of the race and enabled him to repeat, in a modified form, the excesses of his ancestors. He first distinguishes himself as a virtuoso in swearing. The magnificent redundance and originality of his oaths make him famous in the army, which he chooses as the first field of his exploits. Later he roams aimlessly about the world, merely to satisfy a wild need of adventure. On his return to his native town he signalizes himself by his vices as a genuine Kurt. The little town, however, cannot find it in its heart to condemn a man of so distinguished a race, and society, though it is fully cognizant of his mode of life, not only tolerates but even pets him. He is entertaining, has been everywhere and seen everything. He meets a young girl, named Thomasine Rendalen, the daughter of an educated peasant, who occupies a position as a teacher. She is large, ruddy, full of health and uncorrupted vigor. John Kurt takes a violent fancy to her, and moves heaven and earth to induce her to marry him. He goes even to the length of bribing all her female friends, and they by degrees begin to sing his praises. At last she yields; a net of subtle influences surrounds her, and unconsciously she comes to reflect the view of society. Her moral prudery begins to appear ridiculous to her, and the so-called common-sense view predominates. The author here, with great earnestness, emphasizes the responsibility of society in weakening the moral resistance of the individual rather than strengthening it. Thomasine Rendalen would not have married John Kurt if society had not condoned his offences; and society in condoning such offences undermines its own foundations.

After his marriage Kurt endeavors to hold his exuberant nature in check, and for a while is moderately successful. But an uneasy suspicion haunts him that his wife's friends, in a confidential moment, may expose his delinquencies, and destroy her confidence in him. He watches her like a lynx, surprises her at all hours and places, and thereby produces the suspicion which he is endeavoring to avert. The relation develops with inevitable logic toward an awful crisis. This is brought about by a mere trifle. John Kurt, failing to humble his wife, strikes her. The baleful forces that lurk in the depths of the Kurt temperament rise to the surface; the whole terrible heritage of savagery overwhelms the feeble civilization which the last scion has acquired. If Thomasine had been weak, she would have been killed; but she defends herself with fierce persistency, and though it seems as if she must succumb, her compact frame, strengthened by generations of healthful toil, possesses an endurance which in the end must prevail over the paroxysmal rage of John Kurt. When the combatants part there is not a whole piece of furniture in the room. John Kurt retires a conquered man. But with cowardly viciousness he locks the door and leaves his wife for hours despairing, while he himself goes to a dinner-party. There he is stricken down by apoplexy.

The terror with which Thomasine contemplates her approaching maternity is one of the finest points in the book. Has she the right to perpetuate such a race, which will be a curse to itself and to future generations? Would she not confer a boon upon mankind if, by destroying herself, she sweetened the life-blood of humanity? For by self-destruction she would forever cut off the turbid current of the Kurt blood which had darkened the vital stream of the race for centuries. The moral exaltation which manifests itself in this struggle is most vividly portrayed. She clings to life desperately; she is young and strong, unsentimental, and averse to ascetic enthusiasm. It finally occurs to her that her own race, too, will assert itself in this child; that the pure and vigorous strain which her own blood will infuse may redeem it from the dark destiny of the Kurts. She finally resolves upon a compromise; if the child is dark, like the Kurts, both it and its mother shall die. If it is blue-eyed and light-haired, like the Rendalens, she will devote her life to obliterating in it, or transforming into useful activities, the destructive vigor of the paternal character. Thomas, when he is born, chooses a golden mean between these two extremes, and perversely makes his appearance as a red-haired, gray-eyed infant, in which both a Kurt and a Rendalen might have made comforting observations. He is accordingly permitted to live, and to become the hero of one of the most remarkable novels which has ever been published in Scandinavia.

He is by no means a good boy, but his mother, by a kind of heroic conscientiousness and rationality, slowly conquers him and secures his attachment. She has solemnly abjured her connection with her husband's family, assumed her maiden name, and has consecrated her life to what she regards as the highest utility—the work of education. She wishes to atone to the race for her guilt in having perpetuated the race of the Kurts. The scene in which she makes a bonfire of all the ancestral portraits in the Hall of Knights, and the smell of all the burning Kurts is blown far and wide over city and harbor, would, in the hands of another novelist, have been made the central scene in the book. But Bjoernson is so tremendously in earnest that he cannot afford to stop and note picturesque effect. Therefore he relates the burning of the Kurts quite incidentally, and proceeds at once to talk of more serious things.

By turning the great, dusky, ancestral mansion into a school, Mrs. Rendalen believes that she can best settle the account of the Kurts with humanity. All the latest, improved methods of education are introduced. The Hall of Knights is turned into a chemical laboratory, and the daylight is allowed to pour unobscured into all its murky recesses. Through the dim and lofty passage-ways resounds the laughter of children; on the scenes of so many hoary crimes the prattle of innocent girls is heard; a multitude of scientific instruments labor to demonstrate the laws of nature, and to simplify the problem of existence which the crimes of the Kurts had tended to complicate. Thomas Rendalen, profoundly impressed as he is with his responsibility as the last descendant of such a race, takes up this educational mission with a lofty humanitarian enthusiasm. He has spent many years abroad in preparing himself for this work, and possesses, like his great-grandfather, the gift of lucid exposition. But his perpetual and conscious struggle with his heritage makes him nervous and ill-balanced. He conceives the idea, fostered both by observation and by the study of his own family history, that unchastity is the chief curse of humanity, and the primal cause of the degeneracy of races. He believes that the false modesty which leaves young people in ignorance of one of the most important natural functions is largely responsible for the prevailing immorality, and he advocates, as a remedy, fearless and searching physiological study. His inaugural address as superintendent of the school deals uncompromisingly with this subject, and excites such universal indignation that it comes near wrecking the promising enterprise. A great speech in a small town, Bjoernson hints, is always more or less risky. But we are also given to understand that though Rendalen obviously speaks out of the author's heart, this very speech is in itself a subtle manifestation of the Kurt heritage. Rendalen is as immoderate in virtue as his ancestors have been in vice. The violent energy which formerly expended itself in lawless acts now expends itself in an excessive, ascetic enthusiasm for self-conquest and lofty humanitarian ideals. As a piece of psychology this is admirable. Prudent, well adapted or adaptable to the civilization in which he lives, the scion of the Kurts is not yet; but as a promise of the redemption of the race he represents the first upward step. It is highly characteristic of Bjoernson's respect for reality that he makes Rendalen neither agreeable, handsome, nor lovable; nay, he dwells again and again on the bad relations which temporarily exist between him and his mother, between him and the teachers, between him and the town. For all that we are filled with a profound respect for a man who can fight in himself so great a fight, and win so great a victory. It is the sturdy peasant blood which he derived from his mother that enables him to wrestle thus mightily with the Lord, and extort at last the tardy blessing; for we are assured in the last pages of the book that he makes a marriage, which is a further step toward health and virtue. We are not assured that he conquers happiness either for himself or for his wife; and there is not a syllable to betray that he cherishes for her any romantic attachment. But the chances are that, in transforming and ennobling the Kurt heritage, he insures vigor and usefulness to his descendants. He bequeathes to them a more wholesome mixture of blood than he himself possesses, and an energy, nay, perhaps a genius, derived from the Kurts, which, with an upward instead of a downward tendency, may be a redeeming force in society instead of a corrupting one.

In order not to miss any phase of his problem, Bjoernson also takes up briefly the illegitimate line of the Kurts, which, being unsupplied with any favorable environment, sinks deeper and deeper into the mire of vice. The inevitable result is insanity and ultimate extinction. Mrs. Rendalen's visit to the slums, and her recognition of the peculiar scream of her own son in a terrible little ragamuffin, is one of the most remarkable incidents in this remarkable book.

One thing that especially strikes the reader in this novel is the author's fierce indignation against all shams, deceits, and social lies. Therefore he calls a spade a spade, and leaves you to blush if you are so inclined. The young girls whom he introduces are mostly misses in their teens, and his portrayal of them is physiological rather than pictorial. The points which he selects for comment are those which would particularly be noted by their medical advisers; and the progress of their histories, as he follows them, is characterized by this same scientific minuteness of observation. Zola's ideal of scientific realism (which Bjoernson has repudiated) has nevertheless found its most brilliant exponent in him. Here the sordid and cruel facts of life are not dwelt upon by preference; nor are they optimistically glossed over. I doubt if a great and vital problem has ever been more vigorously, unflinchingly, and convincingly treated in a work of fiction.

"Paa Guds Veje" ("In the Ways of God"), (1889), in which Thomas Rendalen again figures, though not as hero, is another indictment of conventional morality. It is a very powerful but scarcely an agreeable book. The abrupt, laconic style has no flux, no continuity, and gives the reader the sensation of being pulled up sharply with a curb bit, whenever he fancies that he has a free rein. Though every page is crowded with trenchant and often admirable observations, they have not the coherence of an organic structure, but rather that of a mosaic. The design is obvious, striking, and impressive. It is neither distorted nor overdrawn. It is unquestionably thus we treat moral non-conformists, even though it be in pure self-preservation that they broke the bond which we are agreed to enforce. The question resolves itself into this: Has society, in its effort to uphold its moral standards, the right to exact the sacrifice of life itself and every hope of happiness from the victims of its own ignorance and injustice? When the young physician, Edward Kallem, rescues the eighteen-year old Ragni Kule from the degradation of her marriage to a husband afflicted with a most loathsome disease, and afterward marries her—does he deserve censure or praise? Bjoernson's answer is unmistakable. It is exactly the situation, depicted five years later, by Madame Sarah Grand in the relation of Edith to the young rake, Sir Moseley Menteith. Only, Bjoernson rescues the victim, while the author of "The Heavenly Twins" makes her perish. In both instances it is the pious ignorance of clerical parents which precipitates the tragedy. Ragni's deliverance is, however, only an apparent one. Society, which without indignation had witnessed her sale to the corrupt old libertine, is frightfully shocked by her marriage to Dr. Kallem, and manifests its disapproval with an emphasis which takes no account of ameliorating circumstances. The sanguinary ingenuity in the constant slights and stabs to which she is exposed makes her life a martyrdom and finally kills her. "Contempt will pierce the armor of a tortoise," says an oriental proverb; and poor Ragni had no chelonian armor. When her most harmless remarks are misinterpreted and her most generous acts become weapons wherewith to slay her, she loses all heart for resistance, and merely lies down to die. Very subtile and beautiful is the manner in which Bjoernson indicates the interaction of psychical and physical conditions. The "soul-frost" which chills the very marrow of her bones is so vividly conveyed that you shiver sympathetically. The self-righteous and brutally censorious attitude of the community lowers the temperature and makes the atmosphere deadly. And the fact that it is Ragni's unsuspicious innocence, and even her love of her husband, which expose her to this condemnation is made plain with much delicate art. Her residence of five years in the United States after her divorce, and before her second marriage, had, no doubt, accustomed her to a greater freedom of intercourse between man and woman, and thereby disposed her to trip rather lightly over the stumbling-blocks of prudence.

The history of Kallem's sister, Josephine, and her husband, the Reverend Ole Tuft, which is closely interwoven with the above, furnishes us with two more characters deeply felt and strongly realized. It is they who are the chief instruments of Ragni's martyrdom. As the upholders of social purity, and, as it were, professional guardians of morals, it would seem that Tuft and his wife had scarcely any choice but to condemn marriage with a divorcee. When, however, after Ragni's death, they discover whom they have slain—how much purer, nobler, and of more delicate nature she was than either of them—they are dissolved in shame and remorse. A tremendous crisis in their spiritual lives is produced by the mortal peril of their only child, whom Kallem saves by a skilful operation. Out of the ancient religion of dogmas which judges and damns, Tuft is by these experiences led into a new religion of love, which values life above faith, and charity above all. The reconciliation of brother and sister in the last chapter is profoundly moving. The moral is emphasized in the phrase with which the story closes: "Wherever good men walk, there are the ways of God."

The charm of this novel is, to me, that it is strong, virile, instinct with vital thought. There are blemishes in it, too, which no one will be likely to overlook. Several chapters read like the reports of a clinic in a medical journal, so extremely minute and circumstantial are the accounts of Kallem's operations and hypnotic experiments. An excursion into botany, a propos of Ragni's walk in the woods, is likewise overloaded with details and teems with scientific terms. But the greatest blemish is the outbreak in Kallem (who has the author's fullest sympathy) of a certain barbaric violence which to civilized people is well-nigh incomprehensible. Thus, when, after an absence of six years, he calls upon his brother-in-law, the pastor, he proceeds to turn handsprings about the latter's study. When, after his marriage, his sister meets him in the street for the purpose of informing him of the scandalous rumors concerning his wife, he gives her a box on the ear.

In Bjoernson's last book, "New Tales" (Nye Fortaellinger) (1894), this tendency to vehemence is even more marked. In the masterly story, "Absalom's Hair" (than which the author has never written anything more boldly original) old Harold Kaas literally spanks his young wife in the presence of his servants. And the matter is in nowise minced, but described with an unblushing zest which makes the impression of naivete. It is obvious that in his delight in the exhibition of a healthy, primitive wrath, Bjoernson half forgets how such barbarism must affect his readers. We hear, to be sure, that the servants were filled with indignation and horror, and that Harold Kaas, having expected laughter and applause, "went away a defeated and irremediably crushed man." But for all that the incident is crude, harsh, and needlessly revolting. In Russia it might have happened; but I am inclined to doubt if a Norwegian gentleman, even though he were descended from the untamable Kurts, would have been capable of so outrageous a breach of decency.

Apart from this incident, "Absalom's Hair" is so interpenetrated with a sense of reality that we seem to live the story rather than read it. I verily believe it to be a type of what the fiction of the future will be, when scientific education shall have been largely substituted for the classical; and even the novelists will be expected to know something about the world in which they live and the sublime and inexorable laws which govern it. At present the majority of them spin irresponsible yarns, and play Providence ad libitum to their characters. Man's vital coherence with his environment is but loosely indicated. Chance reigns supreme. They have observed carefully enough the external phenomena of life—and chiefly for their picturesque or dramatic interest—but of the causes which underlie them they rarely give us a glimpse.

It is in this respect that Bjoernson's last tales offer so grateful a contrast to conventional fiction. Here is a man who has resolutely aroused himself from the old romantic doze, cleared his eyes of the film of dreams, and with a sharp, wide-awake intensity focussed them to the actual aspect of the actual world. He has sat down with his windows wide open, and allowed the sounds and sights and smells of reality to pour in upon him. And the magic spectacles are his which enable him to gauge the significance of the phenomena and divine the causes which lurk behind them. Therefore his characterizations are often extremely unconventional, and amid all their picturesque vigor of phrase hint at the kind of knowledge which could only be possessed by a family physician. In "Absalom's Hair" we have no mere agglomeration of half-digested scientific data, but a scientific view of life. The story moves, from beginning to end, with a beautiful epic calm and a grand inevitableness which remind one of Tolstoi, and reaches far toward the high-water mark of modern realism. Take, for instance, the characterization of Kirsten Ravn (pp. 11-15), and I wonder where in contemporary fiction so large and deep a comprehension is shown both of psychic and of physical forces. Emma, the heroine of Flaubert's "Madame Bovary" is the only parallel I can recall, as regards the kind and method of portraiture, though there is no resemblance between the characters. In the development of the character of Rafael Kaas, there is the same beautiful respect for human nature, the same unshrinking statement of "shocking" facts, and the same undeviating adherence to the logic of reality. The hair by which Rafael, as his prototype, the son of David, is arrested and suspended in the midst of his triumphant race is sensuality. His life is on the point of being wrecked, and his splendid powers are dissipated by his inability to restrain his passions. The tragic fate which hovers over him from the moment of his birth is admirably hinted at, but not emphasized, in the sketch of his parents. The carnal overbalance, supplied by the blood of the Kurts, wellnigh neutralizes the mechanical genius which is hereditary in the blood of the Ravns.

It is reported that "Absalom's Hair" has aroused great indignation in Christiania, because it is claimed that the characters are drawn, with scarcely an attempt at disguise, from well-known persons in the Norwegian capital.

The remaining stories of the volume, "An Ugly Reminiscence of Childhood," "Mother's Hands," and "One Day" betray the same contempt for romantic standards, the same capacity for making acquaintance with life at first hand. The first-named is an account of a murder and execution, and extremely painful. The second is a bit of pathological psychology a propos of intemperance. Tastes imprisoned, genius cramped and perverted, joy of life (joie de vivre) denied, will avenge themselves. They will break out in drunkenness. The hero of "One Day" is afflicted with the same vice, and apparently for the same reason. The cruel disillusion which in consequence overtakes the poor little soul-starved heroine rises almost to the height of tragedy. It is an every-day tale, full of "deep and blood-veined humanity," and deriving its interest and significance from the very fact of its commonness.

What distinguishes the Norsemen above other nations is, generally speaking, an indestructible self-respect and force of individuality. The old Norse sagas abound in illustrations of this untamable vigor and ruthless self-assertion. It was the looseness of the social structure, resulting from this sense of independence and consequent jealousy and internecine warfare, which destroyed the Icelandic republic and made Norway for four centuries a province of Denmark. In all the great men of Norway we recognize something of the rampant individualism of their Viking forefathers. Ibsen is the modern apostle par excellence of philosophic anarchism; and Bjoernson, too, has his full share of the national aggressiveness and pugnacity. For all that there is a radical difference between the two. The sense of social obligation which Ibsen lacks, Bjoernson possesses in a high degree. He fights, not as a daring guerilla, but as the spokesman and leader of thousands. He is the chieftain who looms a head above all the people. He wields a heavy sword, and he deals mighty blows. The wrath that possesses him is, however, born of love. He fights man in the name of humanity. It is not for himself, primarily, that he demands larger liberties, securer rights, more humanizing conditions of life; but it is for his fellow-men. The many, the small and down-trodden, the dumb millions, whom Ibsen despises, Bjoernson loves. As Dr. Brandes[11] has so happily said:

[11] Det Moderne Gjennembruds Maend, p. 60.

"Ibsen is a judge, stern as the old judges of Israel. Bjoernson is a prophet, the hopeful herald of a better day. Ibsen is, in the depth of his mind, a great revolutionist. In 'The Comedy of Love,' 'A Doll's House,' and 'Ghosts,' he scourges marriage; in 'Brand,' the State Church; in the 'Pillars of Society,' the dominant bourgeoisie. Whatever he attacks is shivered into splinters by his profound and superior criticism. Only the shattered ruins remain, and we are unable to espy the new social institutions beyond them. Bjoernson is a conciliatory spirit who wages war without bitterness. April sunshine glints and gleams through all his works, while those of Ibsen, with their sombre seriousness, lie in deep shadow. Ibsen loves the idea—the logical and psychological consistency which drives Brand out of the church and Nora out of the marital relation. To Ibsen's love of the idea corresponds Bjoernson's love of man."

BIBLIOGRAPHY.

As Bjoernson's works have been translated not only into English, French, and German, but also largely into Russian, Italian, Spanish, Bohemian, and even remoter tongues, a bibliography, including all translations, would demand a volume by itself. I shall therefore only enumerate the more important English translations; but would warn my readers not to judge Bjoernson's style by that of his translators. Arne: Translated by Augusta Plesner and S. R. Powers (Boston, 1872). The Happy Boy: Translated by H. R. G. (Boston, 1872). The Railroad and the Churchyard, The Eagle's Nest, and The Father are contained in the volume to which Goldschmidt's The Flying Mail gives the title (Sever, Francis & Co., Boston and Cambridge, 1870). The following volumes are translated by Professor R. B. Anderson, and published in a uniform edition by Houghton, Mifflin & Co. (Boston, 1881): Synnoeve Solbakken, Arne, A Happy Boy, The Fisher Maiden, The Bridal March, Magnhild, Captain Mansana and other Stories. Sigurd Slembe: A Dramatic Trilogy: Translated by William Morton Payne (Boston and New York, 1888). Arne and The Fisher Lassie: Translated, with an Introduction, by W. H. Low (Bohn Library, London). Pastor Sang (Over Aevne): Translated by Wm. Wilson (London, 1893). In God's Way (Heinemann's International Library, London, 1891). The Heritage of the Kurts, 1892. A Gauntlet. A Play. London, 1894. A new translation of all Bjoernson's novels and tales has just been announced by Messrs. Macmillan & Co., and the first volume, Synnoeve Solbakken (New York and London, 1895), has appeared. The translation is rather slipshod.



ALEXANDER KIELLAND

In June, 1867, about a hundred enthusiastic youths were vociferously celebrating their attainment of the baccalaureate degree at the University of Norway. The orator on this occasion was a tall, handsome, distinguished-looking young man named Alexander Kielland, from the little coast town of Stavanger. There was none of the crudity of a provincial either in his manners or his appearance. He spoke with a quiet self-possession and a pithy incisiveness which were altogether phenomenal.

"That young man will be heard from one of these days," was the unanimous verdict of those who listened to his clear-cut and finished sentences, and noted the maturity of his opinions.

But ten years passed, and outside of Stavanger no one ever heard of Alexander Kielland. His friends were aware that he had studied law, spent some winters in France, married, and settled himself as a dignitary in his native town. It was understood that he had bought a large brick and tile factory, and that as a manufacturer of these useful articles he bid fair to become a provincial magnate, as his fathers had been before him. People had almost forgotten that great things had been expected of him, and some fancied perhaps that he had been spoiled by prosperity. Remembering him, as I did, as the most brilliant and notable personality among my university friends, I began to apply to him Mallock's epigrammatic damnation of the man of whom it was said at twenty that he would do great things, at thirty that he might do great things, and at forty that he might have done great things.

This was the frame of mind of those who remembered Alexander Kielland (and he was an extremely difficult man to forget), when in the year 1879 a modest volume of "Novelettes" appeared, bearing his name. It was, to all appearances, a light performance, but it revealed a sense of style which made it, nevertheless, notable. No man had ever written the Norwegian language as this man wrote it. There was a lightness of touch, a perspicacity, an epigrammatic sparkle, and occasional flashes of wit which seemed altogether un-Norwegian. It was obvious that this author was familiar with the best French writers, and had acquired through them that clear and crisp incisiveness of utterance which was supposed, hitherto, to be untransferable to any other tongue.

As regards the themes of these "Novelettes," it was remarked at the time of their first appearance that they hinted at a more serious purpose than their style seemed to imply. Who can read, for instance, "Pharaoh" (which in the original is entitled "A Ball Mood") without detecting the revolutionary note that trembles quite audibly through the calm and unimpassioned language? There is, by the way, a little touch of melodrama in this tale which is very unusual with Kielland. "Romance and Reality," too, is glaringly at variance with conventional romanticism in its satirical contrasting of the prematrimonial and the postmatrimonial view of love and marriage. The same persistent tendency to present the wrong side as well as the right side—and not, as literary good manners are supposed to prescribe, ignore the former—is obvious in the charming tale, "At the Fair," where a little spice of wholesome truth spoils the thoughtlessly festive mood; and the squalor, the want, the envy, hate, and greed which prudence and a regard for business compel the performers to disguise to the public, become the more cruelly visible to the visitors of the little alley-way at the rear of the tents. In "A Good Conscience" the satirical note has a still more serious ring; but the same admirable self-restraint which, next to the power of thought and expression, is the happiest gift an author's fairy godmother can bestow upon him, saves Kielland from saying too much—from enforcing his lesson by marginal comments, a la George Eliot. But he must be obtuse indeed to whom this reticence is not more eloquent and effective than a page of philosophical moralizing.

"Hope's Clad in April Green" and "The Battle of Waterloo" (the first and the last tale in the Norwegian edition) are more untinged with a moral tendency than any of the foregoing. The former is a mere jeu d'esprit, full of good-natured satire on the calf-love of very young people, and the amusing over-estimate of our importance to which we are all, at that age, peculiarly liable.

As an organist with vaguely melodious hints foreshadows in his prelude the musical motifs which he means to vary and elaborate in his fugue, so Kielland lightly touched in these "Novelettes" the themes which in his later works he has struck with a fuller volume and power. What he gave in this little book was a light sketch of his mental physiognomy, from which, perhaps, his horoscope might be cast and his literary future predicted.

Though a patrician by birth and training, he revealed a strong sympathy with the toiling masses. But it was a democracy of the brain, I should fancy, rather than of the heart. As I read the book, sixteen years ago, its tendency puzzled me considerably, remembering, as I did, with the greatest vividness, the fastidious and distingue personality of the author. I found it difficult to believe that he was in earnest. The book seemed to me to betray the whimsical sans-culottism of a man of pleasure who, when the ball is at an end, sits down with his gloves on, and philosophizes on the artificiality of civilization and the wholesomeness of honest toil. An indigestion makes him a temporary communist; but a bottle of seltzer presently reconciles him to his lot, and restores the equilibrium of the universe. He loves the people at a distance, can talk prettily about the sturdy son of the soil, who is the core and marrow of the nation, etc.; but he avoids contact with him, and, if chance brings them into contact, he loves him with his handkerchief to his nose.

I may be pardoned for having identified Alexander Kielland with this type, with which I am very familiar; and he convinced me presently that I had done him injustice. In his next book, the admirable novel "Garman and Worse," he showed that his democratic proclivities were something more than a mood. He showed that he took himself seriously, and he compelled the public to take him seriously. The tendency which had only flashed forth here and there in the "Novelettes" now revealed its whole countenance. The author's theme was the life of the prosperous bourgeoisie in the western coast towns; and he drew their types with a hand that gave evidence of intimate knowledge. He had himself sprung from one of these rich ship-owning, patrician families, had been given every opportunity to study life both at home and abroad, and had accumulated a fund of knowledge of the world, which he had allowed quietly to grow before making literary draughts upon it. The same Gallic perspicacity of style which had charmed in his first book was here in a heightened degree; and there was, besides, the same underlying sympathy with progress and what is called the ideas of the age. What mastery of description, what rich and vigorous colors, Kielland had at his disposal was demonstrated in such scenes as the funeral of Consul Garman and the burning of the ship. There was, moreover, a delightful autobiographical note in the book, particularly in the boyish experiences of Gabriel Garman. Such things no man invents, however clever; such material no imagination supplies, however fertile. Except Fritz Reuter's Stavenhagen, I know no small town in fiction which is so vividly and completely individualized, and populated with such living and credible characters. Take, for instance, the two clergymen, Archdeacon Sparre and the Rev. Mr. Martens, and it is not necessary to have lived in Norway in order to recognize and enjoy the faithfulness and the artistic subtlety of these portraits. If they have a dash of satire (which I will not undertake to deny), it is such delicate and well-bred satire that no one, except the originals, would think of taking offence. People are willing, for the sake of the entertainment which it affords, to forgive a little quiet malice at their neighbors' expense. The members of the provincial bureaucracy are drawn with the same firm but delicate touch, and everything has that beautiful air of reality which proves the world akin.

It was by no means a departure from his previous style and tendency which Kielland signalized in his next novel, "Laboring People" (1881). He only emphasizes, as it were, the heavy, serious bass chords in the composite theme which expresses his complex personality, and allows the lighter treble notes to be momentarily drowned. His theme is the corrupting influence of the upper upon the lower class. He has in this book made some appalling, soul-searching studies in the pathology as well as the psychology of vice.

Kielland's third novel, "Skipper Worse," marked a distinct step in his development. It was less of a social satire and more of a social study. It was not merely a series of brilliant, exquisitely finished scenes, loosely strung together on a slender thread of narrative, but was a concise and well-constructed story, full of beautiful scenes and admirable portraits. The theme is akin to that of Daudet's "L'Evangeliste;" but Kielland, as it appears to me, has in this instance outdone his French confrere, as regards insight into the peculiar character and poetry of the pietistic movement. He has dealt with it as a psychological and not primarily as a pathological phenomenon. A comparison with Daudet suggests itself constantly in reading Kielland. Their methods of workmanship and their attitude toward life have many points in common. The charm of style, the delicacy of touch, and felicity of phrase, are in both cases pre-eminent. Daudet has, however, the advantage (or, as he himself asserts, the disadvantage) of working in a flexible and highly finished language, which bears the impress of the labors of a hundred masters; while Kielland has to produce his effects of style in a poorer and less pliable language, which often pants and groans in its efforts to render a subtle thought. To have polished this tongue and sharpened its capacity for refined and incisive utterance, is one—and not the least—of his merits.

Though he has by nature no more sympathy with the pietistic movement than Daudet, Kielland yet manages to get psychologically closer to his problem. His pietists are more humanly interesting than those of Daudet, and the little drama which they set in motion is more genuinely pathetic. Two superb figures—the lay preacher Hans Nilsen and Skipper Worse—surpass all that the author had hitherto produced in depth of conception and brilliancy of execution. The marriage of that delightful, profane old sea-dog Jacob Worse with the pious Sara Torvestad, and the attempts of his mother-in-law to convert him, are described not with the merely superficial drollery to which the subject invites, but with a sweet and delicate humor which trembles on the verge of pathos. In the Christmas tale, "Elsie," Kielland has produced a little classic of almost flawless perfection. With what exquisite art he paints the life of a small Norwegian coast-town in all its vivid details! While Bjoernson, in "The Heritage of the Kurts," primarily emphasizes the responsibility of the individual to society, Kielland chooses to emphasize the responsibility of society to the individual. The former selects a hero with vicious inherited tendencies, redeemed by wise education and favorable environment; the latter portrays a heroine with no corrupt predisposition, destroyed by a corrupting environment. Elsie could not be good, because the world was once so constituted that girls of her kind were not expected to be good. Temptations, perpetually thronging in her way, broke down the moral bulwarks of her nature; resistance seemed in vain. In the end, there is scarcely one who, having read the book, will have the heart to condemn her.

Incomparably clever is the satire on the benevolent societies which exist to furnish a kind of officious sense of virtue to their aristocratic members. "The Society for the Redemption of the Abandoned Women of St. Peter's Parish" is presided over by a gentleman who is responsible for the abandoned condition of a goodly number of them. However, it turns out that those miserable creatures who need to be redeemed belong to another parish, and accordingly cannot be reached by St. Peter's. St. Peter's parish is aristocratic, exclusive, and keeps its wickedness discreetly veiled. The horror of the secretary of the society, when she hears that "the abandoned woman" who calls upon her for aid, has a child without being married, is both comic and pathetic. In fact, there is not a scene in the book which is not instinct with life and admirably characteristic.

Besides being the author of some minor comedies and a full-grown drama ("The Professor"), Kielland has published several novels, the more recent being "Poison" (1883), "Fortuna" (1884), "Snow" (1886), and "St. John's Eve" (1887).

The note of promise and suspense with which "Snow" ends is meant to be symbolic. From Kielland's point of view, Norway is yet wrapped in the wintry winding-sheet of a tyrannical orthodoxy, and all he dares assert is that the chains of frost and snow seem to be loosening. There is a spring feeling in the air.

This spring feeling is scarcely perceptible in his last book, "Jacob" (1890), which is written in anything but a hopeful mood. It is rather a protest against that optimism which in fiction we call poetic justice. The harsh and unsentimental logic of reality is emphasized with a ruthless disregard of rose-colored traditions.

From the pedagogic point of view, I have no doubt that "Jacob" would be classed as an immoral book. But the question of its morality is of less consequence than the question of its truth. The most modern literature, which is interpenetrated with the spirit of the age, has a way of asking dangerous questions—questions before which the reader, when he perceives their full scope, stands aghast. Our old idyllic faith in the goodness and wisdom of all mundane arrangements has undoubtedly received a shock. Our attitude toward the universe is changing with the change of its attitude toward us. What the thinking part of humanity is now largely engaged in doing is readjusting itself toward the world and the world toward it. Success is but adaptation to environment, and success is the supreme aim of the modern man. The authors who, by their fearless thinking and speaking, help us toward this readjustment should, in my opinion, whether we choose to accept their conclusions or not, be hailed as benefactors. It is in the ranks of these that Alexander Kielland has taken his place, and occupies a conspicuous position.



JONAS LIE

The last Norwegian novelist who is in the Parisian sense arrive is Jonas Lie.[12] The Figaro has occupied itself with him of late; and before long, I venture to predict, London and New York will also have discovered him. English versions of a few of his earlier novels appeared, to be sure, twenty years ago—in very bad translations—and accordingly attracted no great attention. "The Visionary," which has recently been published in London, has had better luck, having been accorded a flattering reception. Of its popular success it is yet too early to speak. But even if Jonas Lie were not about to knock at our gates, I venture to say that I shall earn the gratitude of many a reader by making him acquainted with this rare, complex, and exceedingly modern spirit. For Jonas Lie is not (like so many of his brethren of the quill) a mere inoffensive gentleman who spins yarns for a living, but he is a forceful personality of bright perceptions and keen sensations, which has chosen to express itself through the medium of the novel. He dwells in a many-windowed house, with a large outlook upon the world and its manifold concerns. In a score of novels of varying degrees of excellence he has given us vividly realized bits of the views which his windows command. But what lends their chief charm to these uncompromising specimens of modern realism is a certain richness of temperament on the author's part, which suffuses even the harshest narrative with a rosy glow of hope. Though, generally speaking, there is no very close kinship between him and the French realists, I am tempted to apply to him Zola's beautiful characterization of Daudet: "Benevolent Nature placed him at that exquisite point where reality ends and poetry begins." Before he had yet written a single book, except a volume of flamboyant verse, Bjoernson said of him in a public speech: "His friends know that he only has to plunge his landing-net down into himself in order to bring it up full."

[12] Pronounced Lee.

The man who, in anticipation of his achievements, impressed Bjoernson so deeply with his genius, was, however, by others, who felt themselves to be no less entitled to an opinion, regarded as an "original," not to say a fool. That he was decidedly queer, his biography by Arne Garborg amply testifies.

"Two souls, alas, abide within my breast, The one forever strives against the other,"

says Faust; and Jonas Lie's life and literary activity are apparently, in a very real sense, the result of a similar warfare. There was, indeed, a good ancestral reason for the duality of his nature. His father, a judge of sterling ability and uprightness, was descended, but a few generations back, from sturdy, blond, Norwegian peasants; while his mother was of Finnish, or possibly Gypsy, descent. I remember well this black-eyed, eccentric little lady, with her queer ways, extraordinary costumes, and still more extraordinary conversation. It is from her Jonas Lie has inherited the fantastic strain in his blood, the strange, superstitious terrors, and the luxuriant wealth of color which he lavished upon his poems and his first novel, "The Visionary." From his paternal ancestors, who were for three generations judges and judicial functionaries, he has derived his good sense, his intense appreciation of detail, and his strong grip on reality. His career represents at its two poles a progression from the adventurous romanticism of his maternal heritage to the severe, wide-awake realism of the paternal—the emancipation of the Norseman from the Finn.

"Jonas Lie has a good memory," writes his biographer. "Thus he remembers—even though it be as through a haze—that he was once in the world as the son of a laborer, a carpenter, or something in that line, and that he went with food in a tin-pail to his father, when he was at work. During this incarnation he must have behaved rather shabbily; for in the next he found himself degraded to a fox—a silver fox—and in this capacity he was shot one moonlight night on the snow. After that he emerged, according to his recollection, as Jonas Lauritz Idemil, son of the lawyer Mons Lie, at Hougsund, in Eker. This took place November 6, 1833."

When he was but a few years old his father removed, in various official capacities, to Mandal, Soendhordland, and, finally, to the city of Tromsoe, in Nordland. It was here, in the extreme north, that Jonas spent the years of his boyhood, and it was this wild, enchanted region which put the deepest impress upon his spirit.

"In Nordland," he says in "The Visionary," the hero of which is essentially the Finnish half of himself, "all natural phenomena are intense, and appear in colossal contrasts. There is an endless, stony-gray desert as in primeval times, before men dwelt there; but in the midst of this are also endless natural riches. There is sun and glory of summer, the day of which is not only twelve hours, but lasts continuously, day and night, for three months—a warm, bright, fragrance-laden summer, with an infinite wealth of color and changing beauty. Distances of seventy to eighty miles across the mirror of the sea approach, as it were, within earshot. The mountains clothe themselves up to the very top with greenish-brown grass, and in the glens and ravines the little birches join hands for play, like white, sixteen-year-old girls; while the fragrance of the strawberry and raspberry fills the air as nowhere else; and the day is so hot that you feel a need to bathe yourself in the sun-steeped, plashing sea, so wondrously clear to the very bottom.... Myriads of birds are surging through the air, like white breakers about the cliffs, and like a screaming snow-storm about their brooding-places...."

But "as a contrast there is a night of darkness and terror which lasts nine months."

In this arctic gloom, during which the yellow candle-light struggled all day long through the frost-covered window-panes, the Finn grew big in Jonas Lie, and the Norseman shrank and was almost dwarfed. The air was teeming with superstitions which he could not help imbibing. His fancy fed eagerly on stories of Draugen, the terrible sea-bogie who yells heartrendingly in the storm, and the sight of whom means death; on blood-curdling tales of Finnish sorcery and all sorts of uncanny mysteries; on folk-legends of trolds, nixies, and foul-weather sprites. He had his full share of that craving for horrors which is common to boyhood; and he had also the most exceptional facilities for satisfying it. Truth to tell, if it had not been for the Norse Jekyll in his nature the Finnish Hyde might have run away with him altogether. They were mighty queer things which often invaded his brain, taking possession of his thought, paralyzing his will, and refusing to budge, no matter how earnestly he pleaded. There were times when he grew afraid of himself; when his imagination got the upper hand, blowing him hither and thither like a weather-cock. Then the Norse Jekyll came to his rescue and routed his uncomfortable yoke-fellow. Hence that very curious phenomenon that the same man who has given us sternly and soberly realistic novels like "The Family at Gilje" and "The Commodore's Daughters," is also the author of the collection of tales called "Trold," in which his fancy runs riot in a phantasmagoria of the grotesquest imaginings. The same Jonas Lie who comports himself so properly in the parlor is quite capable, it appears, of joining nocturnally the witches' dance at the Brocken and cutting up the wildest antics under the pale glimpses of the moon.

Throughout his boyhood he struggled rather ineffectually against his Hyde, who made him kill roosters, buy cakes on credit, go on forbidden expeditions by land and sea, and shamefully neglect his lessons. Accordingly, he made an early acquaintance with the rod, and was regarded as well-nigh incorrigible. He accepted with boyish stoicism the castigations which fell pretty regularly to his lot, bore no one any grudge for them, but rarely thought of mending his ways, in order to avoid them. They were somehow part of the established order of things which it was useless to criticise. In his reminiscences from his early years, which he published some years ago, he is so delightfully boy, that no one who has any recollection of that barbaric period in his own life can withhold his sympathy. The following, for instance, seems to me charming:

"I can still feel how she (Kvaen Marja, the maid) pulled us, cowering and reluctant, out of our warm beds, where we lay snug like birds in their nests, between the reindeer skin and the sheepskin covering. I remember how I stood asleep and tottering on the floor, until I got a shower of cold water from the bathing-sponge over my back and became wide awake. Then to jump into our clothes! And now for the lessons! It was a problem how to get a peep at them during the scant quarter hour, while the breakfast was being devoured down in the dining-room with mother, who sat and poured out tea before the big astral lamp, while darkness and snow-drift lay black upon the window-panes. Then up and away!...

"There (in the school) I sat and perspired in the sultry heat of the stove, and with a studiously unconcerned face watched with strained anxiety every expression and gesture of the teacher. Was he in good-humor to-day? Would that I might escape reciting! He began at the top.... That was a perfect millstone lifted from my breast, though, as yet, nothing could be sure. Now for a surreptitious peep at the end of the lesson."

It was Jonas Lie's ambition at that time to become a gunsmith. He had a profound respect for the ingenuity and skill required for such a curious bit of mechanism. But his father, who could not afford to have a member of his family descend into the rank of artisans, promptly strangled that ambition. Then the sea, which has been "the Norseman's path to praise and power," no less than the Dane's, lured the adventurous lad; and his parent, who had no exalted expectations regarding him, gave his consent to his entering the Naval Academy at Fredericksvaern. But here he was rejected on account of near-sightedness. Nothing remained, then, but to resume the odious books and prepare to enter the University. But to a boy whose heroes were the two master-thieves, Ola Hoeiland and Gjest Baardsen, that must have been a terribly arduous necessity. However, he submitted with bad grace, and was enrolled as a pupil at the gymnasium in Bergen. Here his Finnish Hyde promptly got him into trouble. Having by sheer ill luck been cheated of his chances of a heroic career, he began to imagine in detail the potentialities of greatness for the loss of which Fate owed him reparation. And so absorbed did he become in this game of fancy, and so enamored was he of his own imaginary deeds, that he lost sight of the fact that they were of the stuff that dreams are made of. With frank and innocent trustfulness he told them to his friends, both young and old, and soon earned a reputation as a most unblushing liar. But if any one dared call him that to his face, he had to reckon with an awe-inspiring pair of fists which were wielded with equal precision and force. The youth, being at variance with the world, lived in a state of intermittent warfare, and he gave and received valiant blows, upon which he yet looks back with satisfaction.

In spite of his distaste for books Jonas Lie managed, when he was eighteen years old, to pass the entrance examination to the University. Among his schoolmates during his last year of preparation at Heltberg's Gymnasium, in Christiania, were Bjoernstjerne Bjoernson and Henrik Ibsen. The former took a great interest in the odd, naive, near-sighted Nordlander who walked his own ways, thought his own thoughts, and accepted ridicule with crushing indifference.

"I was going about there in Christiania," he says in a published letter to Bjoernson, "as a young student, undeveloped, dim, and unclear—a kind of poetic visionary, a Nordland twilight nature—which after a fashion espied what was abroad in the age, but indistinctly in the dusk, as through a water telescope—when I met a young, clear, full-born force, pregnant with the nation's new day, the blue steel-flash of determination in his eyes and the happily found national form—pugnacious to the very point of his pen. I gazed and stared, fascinated, and took this new thing aboard along the whole gunwale. Here, I felt, were definite forms, no mere dusk and fantastic haze—something to fashion into poetry.... From the first hour you knew how to look straight into this strange twilight of mine, and you espied flashes of the aurora there when no one else did, like the true and faithful friend you are. You helped and guided and found grains of gold, where others saw mostly nonsense, and perhaps half a screw loose. While I was straying in search of the spiritual tinsel, with which the esprits forts of the age were glittering, you taught me, and impressed upon me, again and again, that I had to seek in myself for whatever I might possess of sentiment and simplicity—and that it was out of this I would have to build my fiction."

This bit of confession is extremely significant. The Finnish Hyde was evidently yet uppermost. Bjoernson taught Lie to distrust the tinsel glitter of mere rhetoric, and the fantastic exuberance of invention in which the young Nordlander believed that he had his forte. But the matter had even a more serious phase than this. It was about this time that Lie disappeared for a period of three months from his friends, and even his parents, and when again he emerged into the daylight, he could give no account of himself. He had simply sauntered about, moping and dreaming. He had been Hyde. The cold shudders which lurked in his blood from the long, legend-haunted arctic night could break into open terror on unforeseen occasions. Grown man though he was, he was afraid of being alone in the dark—a peculiarity which once got him into a comical predicament.

It was his habit when travelling to place his big top-boots at night within easy reach, so that he might use them as weapons against any ghost or suspicious-looking object that might be stirring in the gloom. One evening when he had gone to bed at a country inn, he was aroused from his sleep and saw indistinctly a white phenomenon fluttering to and fro along the opposite wall. Instantly he grabs a boot and hurls it with ferocious force at the goblin. A roar was heard followed by a salvo of blue profanity. It was a fellow-traveller—a lumber-dealer—who was to occupy the other bed in the room. He had undressed and was disporting himself in nocturnal attire before reposing, when Jonas Lie's well-aimed missile hit him in the stomach and doubled him up with pain.

A skeleton in the den of a medical friend caused Lie many a shiver, for he could never quite rid himself of the idea that it moved. All that lay beyond the range of the senses drew him with an irresistible, half-shuddering attraction; and he resented all attempts to explain it by ordinary mundane laws. As his first novel abundantly proves, he possesses in a marked degree the "sixth sense" that gropes eagerly and with a half-terrified fascination in the dusk that lies beyond the daylight of the other five.

The verses which Jonas Lie began about this time to produce are mostly written for patriotic and other festive occasions, and therefore arouse no creepy sensations. But they are so overladen with confusing imagery that they have to be read twice to be understood. In the poem "Solveig" (1855) he makes the heart "in its prison envy the free-born thoughts which fly to the beloved one's breast." His versification is gnarled and twisted, and a perpetual strain upon the ear. As Mr. Nordahl Rolfsen has remarked, one need not be a princess in order to be troubled by the peas in his verse.[13] Browning himself could scarcely have perpetrated more unmelodious lines than Jonas Lie is capable of. Nevertheless there is often in his patriotic songs a most inspiriting bugle-note, which is found nowhere in Browning, unless it be in the "Cavalier Tunes." The curiosities of his prosody are (according to his biographer) attributable to the Nordland accent in his speech. They would sound all right, he says, to a Nordland ear.

[13] Nordahl Rolfsen: Norske Digtere, p. 527.

At the risk of violating chronology I may as well speak here of his two collections of "Poems" (1867 and 1889) (the latter being an expurgated but enlarged edition of the earlier), to which the present criticisms particularly apply. Both editions contain notable things amid occasional bits of what scarcely rises above doggerel. The sailor songs, though rough, are true in tone and have a catching nautical swing; but of far deeper ring and more intensely felt are the poems which deal with the nocturnal sides of nature. These have at times a strange, shivering resonance, like an old violin whose notes ripple down your spine. I refer especially to such untranslatable poems as "Draugen," "Finn-Shot," "The Mermaid," and "Nightmare." The mood of these is heavy and uncanny, like that of the "Ancient Mariner." But they are indubitably poetry. It is by no means sure that the world has not lost a poet in Jonas Lie; but probably a lesser one than the novelist that it gained.

As Jonas had been voted by his kin the family dullard, it was decided to make a clergyman of him. But to this the young man objected, chiefly, according to his own story, because the clerical gown looks too much like a petticoat. At all events, after having equipped himself with a set of theological tomes, and peeped cursorily into them, he grew so discouraged that he went to the bookseller and exchanged them for a set of law-books. Not that the law had any peculiar attraction for him; he rather accepted it as a pis aller; for, of course, he had to study something. In due time he was graduated, but with such poor standing that he concluded to put in another year and try again. And this time he managed to acquit himself creditably. He then began (1859) the practice of the law in the little town of Kongsvinger, the centre of the richest lumber districts in Norway. But in the meanwhile he had had an experience of another kind which is worth recounting.

From his boyhood he had been a worshipper of the fair sex. Marriages (of other people) had been among the most tragic events in his life; and he rarely failed to shed tears at the thought that now this lovely charmer, too, was removed from the number of his possible selections. If things went on in this way he would have no choice but to be a bachelor. However, one fine day a most attractive-looking craft, bearing the name Thomasine Lie, appeared upon his horizon, sailed within speaking distance, and presently a great deal nearer. In fact, though they were cousins, it took a remarkably short time for the two young people to discover that they loved each other; and when that discovery was made, they acted upon it with laudable promptitude. They became engaged; and were subsequently married. And from that day the Finnish Hyde in Jonas was downed and reduced to permanent subjection. He never raised his head again. The more sober-minded, industrious, and sensible Norse Jekyll took command and steered with a steady hand, in fair weather and foul, and often through dangerous waters, the barque Jonas Lie, which came to carry more and more passengers the longer it proceeded on its voyage.

Truth to tell, I know among contemporary men of letters no more complete, happy, and altogether beautiful marriage than that of Jonas and Thomasine Lie. The nearest parallel to it that I can think of is that of John Stuart Mill and Mrs. Taylor, who later became Mrs. Mill.

Lie's friends accuse him of carrying his admiration of his wife to the verge of idolatry. He will leave himself but little merit, but with an air of candid conviction he attributes even his authorship to his Thomasine. "Her name ought to stand next to mine on the title-pages of my books," he has repeatedly declared. And again, "If I have written anything that is good, then my wife deserves as much credit for it as myself ... Without her nothing would have come of it except nonsense."

Even though that may be an exaggeration, pure delusion it is not. For Mrs. Lie is, in a certain way, the complement to her husband. She possesses what he has not; and he possesses what she, in her modest self-extinction, would never dream of laying claim to. The spirit of order, adjustment, and lucidity is strong in her; while he, in his fanciful exuberance, is often overwhelmed by his material, and is unable to get it into shape. Then she quietly steps in and separates the dry land from the water in his seething and struggling chaos. She is one of those rare women who, while apparently only listening, can give you back your own thoughts clarified. Mr. Garborg relates most charmingly how she straightens out the tangles in her husband's plots, and unobtrusively draws him back, when, as frequently happens, he has switched himself off on a side-line and is unable to recover his bearings. And this occurs as often in his conversation as in his manuscripts, which he never despatches to the publisher without her revision. She helps him condense. She knows just what to omit. Yet she does not pretend to be in the least literary. Her proper department, in which she is also a shining success, is the care of her children and the superintendence of her household. She understands to perfection the art of economy and has a keen practical sense, which makes her admirably competent in all the more difficult situations in life. And he, feeling her competence and his own deficiency, frankly leans on her. Hence a certain motherliness on her part (most beautiful to behold) has tinged their relation; and on his an admiring and affectionate dependence. Each prizes in the other what he himself lacks; and the husband's genius loses none of its brightness to the wife, because it is herself who trims the wick and adjusts the reflectors which send its light abroad.

I have again anticipated, because the subsequent career of Jonas Lie could not be properly understood without a full appreciation of the new factor which from this time enters into it. He developed signal ability as a lawyer during the years of his practice at Kongsvinger; became prosperous and influential, bought a considerable estate (called Sigridnaes) and began to dabble in politics. He still wrote occasional poems, and was the soul of all conviviality in the town. He entertained celebrities, wrote political leaders in the papers, earned a great deal of money, lived high, and unfolded a restless and widely ramified activity. Then came the great financial crisis of 1867-68, which swept away so many great fortunes in Norway. Lie became involved (chiefly by endorsement of commercial paper) to the extent of several hundred thousand dollars. He gave up everything he had, and moved to Christiania, resolved to pay the enormous debt, for which he had incurred legal responsibility, to the last farthing. Quixotic as it may seem, it was his intention to accomplish this by novel-writing. And to his honor be it said that for a long series of years he kept sending every penny he could spare, above the barest necessities, to his creditors, refusing to avail himself of the bankruptcy law and accept a compromise. But it was a bottomless pit into which he was throwing his hard-earned pennies, and in the end he had to yield to the persuasions of his family and abandon the hopeless enterprise.

In Christiania he spent some hard and penurious years, trying to make a livelihood as a journalist and man of letters. Some of his friends suspected that the Lie family were subsisting on very short rations; but they were proud, and there was no way to help them. The ex-lawyer developed ultra-democratic sympathies, and time and again his Thomasine led the dance at the balls of the Laborers' Union with Mr. Eilert Sundt.[14] A position as teacher of Norwegian in Heltberg's Gymnasium he lost because he only made orations to his pupils, but taught them no rhetoric. His volume of "Poems" (1867) had attracted no particular attention; but his political articles were much read and discussed. However, it was not in politics that he was to win his laurels.

[14] A well-known Norwegian philanthropist, whose work on the Gypsies is highly regarded.

A little before Christmas, 1870, there appeared from Gyldendal's publishing-house in Copenhagen a novel, entitled "The Visionary" (Den Fremsynte), by Jonas Lie. To analyze the impression which this strange book makes at the first reading is difficult. I thought, as I sat rejoicing in its vivid light and color, twenty-four years ago: "This Jonas Lie is a sort of century-plant, and 'The Visionary' is his one blossom. It is the one good novel which almost every life is said to contain. Only this is so strikingly good that it is a pity it will have no successors."