The Jonas Lie Megapack: 14 Classic Novels and Stories

by Jonas Lie

  For his next work, A Life Prisoner (1883), Lie found his theme in the slums of Christiania. The treatment was not naturalistic enough to satisfy the critics. Lie was of course not unmindful of the new literary movement, but he possessed then, as always, sufficient individual momentum to carry him through the ephemeral phases of literary fads. His novels are not barometers of the prevailing literary atmosphere. He believed in a realism of true naturalism, which has stood the test of time. In this last work he brings a waif of modern society close to the hearts of his readers, and needs no explosions of pent-up indignation, no spirit of class hatred, to make his readers understand this unfortunate product of a bad environment. In his reply to the critics, Lie spoke forcibly on the new literary method, summing up his views in these words: “The main thing is to picture life so that the reader sees, hears, feels, comprehends it; by what esthetic means this is accomplished must be the author’s own affair in each individual case. But experience has shown that of all methods direct ones are often the least effective. A single deft touch may save a dozen pages of detailed description.” Lie was not a student of the base; he did not even have an artistic liking for evil. There are few bad characters in his works.

  It was immediately after his controversy with the critics in 1883, that The Family at Gilje appeared—a superb illustration of Lie’s realism of naturalness. An American critic has said of good realistic writing that it does not so much arouse the pleasure of surprise as that of recognition. To intelligent Norwegian readers of the day that was strikingly true of The Family at Gilje, To many readers it seemed like living their lives over again. This may not be a very severe test of the greatness of a novel. Greatness will depend upon other things—the breadth and depth of its humanity. Another point: “The right understanding of men and women leads to the right relations of men and women, and in this way a novel may do good” (F. Marion Crawford).

  Most of Lie’s novels seem to have been written with this object in view. It is evident that in an attempt to portray life for this purpose, social and other questions are sure to appear—not thrust into the reader’s face as a problem demanding that he take sides, but brought to his attention naturally, as such things ordinarily come in life. Discreetly done, as Lie surely could do it, this may be a most effective way of revolutionizing conscience. In this artistic manner Lie was, and no doubt consciously, a reformer. To be sure, this is not art for art’s sake; it is something more human: art engaged in the pursuit of stimulating noble and healthful thought for the purpose of raising the average of human happiness.

  It was this calm and restrained realistic method that Lie now applied in a series of novels which succeeded The Family at Gilje. As in this work, the scenes are usually laid in a preceding generation, preferably among the official class in the country. In these homes, which Lie knew so well, we feel that we are with real and natural people among whom problems are not discussed, but experienced. Yet these novels were not so conservative as they seemed. They had persuasive power in behalf of modern ideas with respect to such fundamental things as marriage, home, and children. There was even something of the essence of social dynamite in some of them. “The Family at Gilje gave the champions of women new arguments, but they could not approve of the author’s advanced sympathies in The Commodore’s Daughters, one of the realistic novels which now flowed from Lie’s pen and which included A Maelstrom (1884), The Commodore’s Daughters (1885), A Wedded Life (1887), Maisa Jons ( 1888), and Evil Powers (1890). Suddenly there came a change in his literary method, seemingly induced by some unpleasant experience with good friends. He had learned that the conduct of the best of men is often swayed by primal instinct rather than by disciplined reason. In this mood he reverted to the trusty Finn of his bosom who so long had lain dormant, and let him discourse on life and human nature. He proved voluble, resourceful, and original. The result was published in two volumes (1891 and 1892), entitled Trold. They are, in part, phantasmagorias charged with the symbolism of Norse legendary lore, where trolls are the personified manifestation of evil forces in nature. The opening sentence of the illuminating introduction says: “That there are trolls in human beings every one knows who has an eye for that sort of thing.”

  In the most characteristic of these stories, of which there are a dozen in each volume, Lie has personified primal instincts—allegorized some of the strange facts and mystic forces of nature, man, and society. Others are in lighter vein and have a more human cast, being mere playful satires on social phenomena. They form a marvellous medley. At first it seems quite impossible to believe that the author of ‘The Family at Gilje can be the begetter of things so fantastic and grotesque. But when the reader thinks of the early Nordland stories, he understands, and then feels inclined to regret, that the Finn had so long lain dormant. One is tempted to believe that a little of the troll element could easily have been used to give a tinge of terror to his calm realism; and this is in fact what he has done most effectively in the novel Dyre Rein (1896), which in other respects much resembles ‘The Family at Gilje.

  After the publication of Trold, Lie, even where he does not introduce troll effects, is not hesitant about using more tragic methods and more dramatic scenes than during the period of the strictly realistic novels. There is, moreover, a decided trend toward a wider scope and more cosmopolitan aims, as in When the Iron Curtain Falls (1901), a bolder symbolism, as in Niobe (1893) and in his last work, East of the Sun, West of the Moon, and Beyond the Towers of Babylon (1905), in which, however, as the title indicates, the story is top-heavy with symbolism. It runs parallel with the main narrative as an introduction to each chapter. The whole is the tale of a genius, hampered and harassed by malicious trolls in human guise—evidently an adumbration of the author’s own personal experience. But he is, as always, charitable: “Human nature is so complex!”

  In other words: the last fifteen years of Lie’s authorship reveal him in full possession of the realistic powers of the preceding period, illuminated by a profound comprehension of the mystic forces of life that so often determine human fates.

  * * * *

  Like Ibsen, Lie lived abroad for many years, mainly in Paris, but usually spending his summers in the Bavarian Alps, where most of his writing was done. There were too many distractions in Paris, where his home was a centre of the colony of Scandinavian artists and literary workers. In the summer of 1893, after an absence of ten years, he felt the need of visiting Norway again. An intense feeling of homesickness had seized him, as the following incident will indicate. He had called on a Norwegian family in Paris who had just received a plant from Norway in Norwegian earth. “Thinking himself unobserved,” one of his daughters tells, “I saw him turn from the company, take a pinch of that earth and put it to his mouth. Whether he kissed it or ate it I do not know. But he looked very solemn.”

  In Norway he was received most cordially. On the occasion of his sixtieth birthday, Brandes proclaimed him “the most amiable of geniuses.” He was interviewed, banqueted, and serenaded almost to distraction, and was glad to get back to Paris, happy, however, in having experienced the touching devotion of his countrymen. A decade of arduous toil followed, after which he began to make plans for returning to Norway to spend the last years of his life. A cozy home was built at Fredriksvaern, on the southern coast, and in 1906 the family took possession of it. The next year, however, his faithful wife, the guardian of his genius, passed away. Dependent upon her companionship and solicitous care, he did not long survive her. He died July 5, 1908.

  The Norwegian Storting took fitting cognizance of his death, and, as had been done at Ibsen’s demise, decreed that interment should be made at the expense of the State.

  “Blessed are the merciful,” said the pastor at his bier.

  “Be merciful!” is the sentiment that echoes and reechoes throughout Jonas Lie’s pages.

  —Julius E. Olson

  The University of Wisconsi
n

  February, 1920

  [1] A peasant poet, kindred in spirit to both Burns and Heine.

  [2] The composer of, among other notable things, the melody to Björnson’s well-known national song. Before his death, at the age of twenty-four, he had given Edvard Grieg an electric spark from the dynamo of his Norse enthusiasm, which fired Grieg’s imagination, and made him par excellence the representative of Norse melody

  INTRODUCTION TO WEIRD TALES FROM THE NORTHERN SEAS, by R. Nisbet Bain

  Jonas Lie is sufficiently famous to need but a very few words of introduction. Ever since 1870, when he made his reputation by his first novel, “Den Fremsynte,” he has been a prime favourite with the Scandinavian public, and of late years his principal romances have gone the round of Europe. He has written novels of all kinds, but he excels when he describes the wild seas of Northern Norway, and the stern and hardy race of sailors and fishers who seek their fortunes, and so often find their graves, on those dangerous waters. Such tales, for instance, as “Tremasteren Fremtid,” “Lodsen og hans Hustru,” “Gaa Paa!” and “Den Fremsynte” are unique of their kind, and give far truer pictures of Norwegian life and character in the rough than anything that can be found elsewhere in the literature. Indeed, Lie’s skippers and mates are as superior to Kjelland’s, for instance, as the peasants of Jens Tvedt (a writer, by the way, still unknown beyond his native land) are superior to the much-vaunted peasants of Björnstjerne Björnson.

  But it is when Lie tells us some of the wild legends of his native province, Nordland, some of the grim tales on which he himself was brought up, so to speak, that he is perhaps most vivid and enthralling. The folk-lore of those lonely sub-arctic tracts is in keeping with the savagery of nature. We rarely, if ever, hear of friendly elves or companionable gnomes there. The supernatural beings that haunt those shores and seas are, for the most part, malignant and malefic. They seem to hate man. They love to mock his toils, and sport with his despair. In his very first romance, “Den Fremsynte,” Lie relates two of these weird tales (Nos. 1 and 3 of the present selection). Another tale, in which many of the superstitious beliefs and wild imaginings of the Nordland fishermen are skilfully grouped together to form the background of a charming love-story, entitled “Finn Blood,” I have borrowed from the volume of “Fortællinger og Skildringer,” published in 1872. The remaining eight stories are selected from the book “Trold,” which was the event of the Christmas publishing season at Christiania in 1891. Last Christmas a second series of “Trold” came out, but it is distinctly inferior to the former one.

  THE FISHERMAN AND THE DRAUG

  On Kvalholm, down in Helgeland,[1] dwelt a poor fisherman, Elias by name, with his wife Karen, who had been in service at the parson’s over at Alstad. They had built them a hut here, and he used to go out fishing by the day about the Lofotens.

  There could be very little doubt that the lonely Kvalholm was haunted. Whenever her husband was away, Karen heard all manner of uncanny shrieks and noises, which could mean no good. One day, when she was up on the hillside, mowing grass to serve as winter fodder for their couple of sheep, she heard, quite plainly, a chattering on the strand beneath the hill, but look over she durst not.

  They had a child every year, but that was no burden, for they were both thrifty, hard-working folks. When seven years had gone by, there were six children in the house; but that same autumn Elias had scraped together so much that he thought he might now venture to buy a Sexæring,[2] and henceforward go fishing in his own boat.

  One day, as he was walking along with a Kvejtepig[3] in his hand, and thinking the matter over, he unexpectedly came upon a monstrous seal, which lay sunning itself right behind a rock on the strand, and was as much surprised to see the man as the man was to see the seal. But Elias was not slack; from the top of the rock on which he stood, he hurled the long heavy Kvejtepig right into the monster’s back, just below the neck.

  The seal immediately rose up on its tail right into the air as high as a boat’s mast, and looked so evilly and viciously at him with its bloodshot eyes, at the same time showing its grinning teeth, that Elias thought he should have died on the spot for sheer fright. Then it plunged into the sea, and lashed the water into bloody foam behind it. Elias didn’t stop to see more, but that same evening there drifted into the boat place on Kvalcreek, on which his house stood, a Kvejtepole, with the hooked iron head snapped off.

  Elias thought no more about it, but in the course of the autumn he bought his Sexæring, for which he had been building a little boat-shed the whole summer.

  One night as he lay awake, thinking of his new Sexæring, it occurred to him that his boat would balance better, perhaps, if he stuck an extra log of wood on each side of it. He was so absurdly fond of the boat that it was a mere pastime for him to light a lantern and go down to have a look at it.

  Now as he stood looking at it there by the light of the lantern, he suddenly caught a glimpse in the corner opposite, on a coil of nets, of a face which exactly resembled the seal’s. For an instant it grinned savagely at him and the light, its mouth all the time growing larger and larger; and then a big man whisked out of the door, not so quickly, however, but that Elias could catch a glimpse, by the light of the lantern, of a long iron hooked spike sticking out of his back. And now he began to put one and two together. Still he was less anxious about his life than about his boat; so he there and then sat him down in it with the lantern, and kept watch. When his wife came in the morning, she found him sleeping there, with the burnt-out lantern by his side.

  One morning in January, while he was out fishing in his boat with two other men, he heard, in the dark, a voice from a skerry at the very entrance of the creek. It laughed scornfully, and said, “When it comes to a Femböring,[4] Elias, look to thyself!”

  But there was many a long year yet before it did come to that; but one autumn, when his son Bernt was sixteen, Elias knew he could manage it, so he took his whole family with him in his boat to Ranen, [5]to exchange his Sexæring for a Femböring. The only person left at home was a little Finn girl, whom they had taken into service some few years before, and who had only lately been confirmed.

  Now there was a boat, a little Femböring, for four men and a boy, that Elias just then had his eye upon—a boat which the best boat-builder in the place had finished and tarred over that very autumn. Elias had a very good notion of what a boat should be, and it seemed to him that he had never seen a Femböring so well built below the water-line. Above the water-line, indeed, it looked only middling, so that, to one of less experience than himself, the boat would have seemed rather a heavy goer than otherwise, and anything but a smart craft.

  Now the boat-master knew all this just as well as Elias. He said he thought it would be the swiftest sailer in Ranen, but that Elias should have it cheap, all the same, if only he would promise one thing, and that was, to make no alteration whatever in the boat, nay, not so much as adding a fresh coat of tar. Only when Elias had expressly given his word upon it did he get the boat.

  But “yon laddie”[6] who had taught the boat-master how to build his boats so cunningly below the water-line—above the water-line he had had to use his native wits, and they were scant enough—must surely have been there beforehand, and bidden him both sell it cheaply, so that Elias might get it, and stipulate besides that the boat should not be looked at too closely. In this way it escaped the usual tarring fore and aft.

  Elias now thought about sailing home, but went first into the town, provided himself and family with provisions against Christmas, and indulged in a little nip of brandy besides. Glad as he was over the day’s bargain, he, and his wife too, took an extra drop in their e’en, and their son Bernt had a taste of it too.

  After that they sailed off homewards in their new boat. There was no other ballast in the boat but himself, his old woman, the children, and the Christmas provisions. His
son Bernt sat by the main-sheet; his wife, helped by her next eldest son, held the sail-ropes; Elias himself sat at the rudder, while the two younger brothers of twelve and fourteen were to take it in turns to bail out.

  They had eight miles of sea to sail over, and when they got into the open, it was plain that the boat would be tested pretty stiffly on its first voyage. A gale was gradually blowing up, and crests of foam began to break upon the heavy sea.

  And now Elias saw what sort of a boat he really had. She skipped over the waves like a sea-mew; not so much as a splash came into the boat, and he therefore calculated that he would have no need to take in all his clews[7] against the wind, which an ordinary Femböring would have been forced to do in such weather.

  Out on the sea, not very far away from him, he saw another Femböring, with a full crew, and four clews in the sail, just like his own. It lay on the same course, and he thought it rather odd that he had not noticed it before. It made as if it would race him, and when Elias perceived that, he could not for the life of him help letting out a clew again.