Of three subsequent plays, "Vendt the Monk," (1903), "Queen Tamara" (1903) and "At the Mercy of Life" (1910), the first mentioned is by far the most remarkable. It is a verse drama in eight acts, centred about one of Hamsun's most typical vagabond heroes. The monk Vendt has much in common with Peer Gynt without being in any way an imitation or a duplicate. He is a dreamer in revolt against the world's alleged injustice, a rebel against the very powers that invisibly move the universe, and a passionate lover of life who in the end accepts it as a joyful battle and then dreams of the long peace to come. The vigor and charm of the verse proved a surprise to the critics when the play was published, as Hamsun until then had given no proof of any poetic gift in the narrower sense.
From 1897 to 1912 Hamsun produced a series of volumes that simply marked a further development of the tendencies shown in his first novels: "Siesta," short stories, 1897; "Victoria" a novel with a charming love story that embodies the tenderest note in his production, 1898; "In Wonderland," travelling sketches from the Caucasus, 1903; "Brushwood," short stories, 1903; "The Wild Choir," a collection of poems, 1904; "Dreamers," a novel, 1904; "Struggling Life," short stories and travelling sketches, 1905; "Beneath the Autumn Star" a novel, 1906; "Benoni," and "Rosa," two novels forming to some extent sequels to "Pan," 1908; "A Wanderer Plays with Muted Strings," a novel, 1909; and "The Last Joy," a shapeless work, half novel and half mere uncoordinated reflections, 1912.
The later part of this output seemed to indicate a lack of development, a failure to open up new vistas, that caused many to fear that the principal contributions of Hamsun already lay behind him. Then appeared in 1913 a big novel, "Children of the Time," which in many ways struck a new note, although led up to by "Rosa" and "Benoni." The horizon is now wider, the picture broader. There is still a central figure, and still he possesses many of the old Hamsun traits, but he has crossed the meridian at last and become an observer rather than a fighter and doer. Nor is he the central figure to the same extent as Lieutenant Glahn in "Pan" or Kareno in the trilogy. The life pictured is the life of a certain spot of ground--Segelfoss manor, and later the town of Segelfoss--rather than that of one or two isolated individuals. One might almost say that Hamsun's vision has become social at last, were it not for his continued accentuation of the irreconcilable conflict between the individual and the group.
"Segelfoss Town" in 1915 and "The Growth of the Soil"--the title ought to be "The Earth's Increase"--in 1918 continue along the path Hamsun entered by "Children of the Time." The scene is laid in his beloved Northland, but the old primitive life is going--going even in the outlying districts, where the pioneers are already breaking ground for new permanent settlements. Business of a modern type has arrived, and much of the quiet humor displayed in these the latest and maturest of Hamsun's works springs from the spectacle of its influence on the natives, whose hands used always to be in their pockets, and whose credulity in face of the improbable was only surpassed by their unwillingness to believe anything reasonable. Still the life he pictures is largely primitive, with nature as man's chief antagonist, and to us of the crowded cities it brings a charm of novelty rarely found in books today. With it goes an understanding of human nature which is no less deep-reaching because it is apt to find expression in whimsical or flagrantly paradoxical forms.
Hamsun has just celebrated his sixtieth birthday anniversary. He is as strong and active as ever, burying himself most of the time on his little estate in the heart of the country that has become to such a peculiar extent his own. There is every reason to expect from him works that may not only equal but surpass the best of his production so far. But even if such expectations should prove false, the body of his work already accomplished is such, both in quantity and quality, that he must perforce be placed in the very front rank of the world's living writers. To the English-speaking world he has so far been made known only through the casual publication at long intervals of a few of his books: "Hunger," "Fictoria" and "Shallow Soil" (rendered in the list above as "New Earth"). There is now reason to believe that this negligence will be remedied, and that soon the best of Hamsun's work will be available in English. To the American and English publics it ought to prove a welcome tonic because of its very divergence from what they commonly feed on. And they may safely look to Hamsun as a thinker as well as a poet and laughing dreamer, provided they realize from the start that his thinking is suggestive rather than conclusive, and that he never meant it to be anything else.
EDWIN BJÖRKMAN.
Part I
It was during the time I wandered about and starved in Christiania: Christiania, this singular city, from which no man departs without carrying away the traces of his sojourn there.
I was lying awake in my attic and I heard a clock below strike six. It was already broad daylight, and people had begun to go up and down the stairs. By the door where the wall of the room was papered with old numbers of the Morgenbladet, I could distinguish clearly a notice from the Director of Lighthouses, and a little to the left of that an inflated advertisement of Fabian Olsens' new-baked bread.