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life-work. It was not long before his thoughts reverted to his early experiences in Nordland. After several years of subjection to the stern reality of legal and commercial enterprise, the Finn was again asserting himself. His first novel, Second Sight, was the result. He read it to his wife; she thought it magnificent, but later applied the pruning-knife drastically. Then Björnson was called in. He concurred in the wife’s opinion, and immediately wrote the great Copenhagen publisher, Hegel, pronouncing the novel a “sea-mew” that would fly over all the Scandinavian North, and urging hasty publication. This was in November, 1870. By Christmas the book was in the shops. In large part it purports to be the autobiography of a visionary Nordlander, who tells of his beloved home, and recounts marvellous stories of the Arctic north; but through this bead-string of episodes and descriptions there is interwoven a pathetic tale of love, love so tender, so delicate, that the words describing it seem to come tripping on tiptoe. Unpromising as the novel seems in the beginning, when one almost expects a study in the pathology of second sight, it nevertheless develops into such beauty as to make it the Romeo and Juliet of Scandinavian literature.

      Every step of Jonas Lie’s development from this first novel to “The Family at Gilje (1883) is of interest to the student of literature. It was a period of hard study, careful, conscientious work, and high resolve to master his powers and to utilize his varied experiences for literary purposes, in order to be able to serve Mother Norway—for one must never forget the intense patriotic ardor of all Norway’s great writers, artists, and musicians. By the aid of a government stipend, Lie was enabled to visit Nordland and the western coast to promote his literary production, and soon afterward a second and larger stipend for the purpose of foreign travel made it possible for him to visit Rome, the Mecca of all Scandinavian artists and literati of the period. There he remained more than three years, a time of fruitful toil and stimulating experience. In 1872 he sent home two books relating to life on the western and northern coast, The Good Ship Future, and a collection of short stories.

      Lie was not content, however, to be “the poet of Nordland,” as he at once had been named. His ambition was to be more national. In the broader realms of literary activity, the giant figures of Ibsen and Björnson towered. They were deep in the problems of the day. How could he become national and modern? Instinct led him on in paths that unconsciously he had already trodden. In this nation of seafarers, he was the first in modern literature to discover the coast-dwellers and to portray their struggles on the sea. His first book contained a description of a storm in northern waters that makes the reader hold his breath. In the volume of short stories, which in their scenes sweep along the western coast, and in The Good Ship Future as well, there was a distinct odor of the sea. This was natural enough: he had spent his early years in Nordland and in Bergen, the centre of Norwegian shipping, and he loved the sea passionately. In his next novel, The Pilot and his Wife, he put to sea with sails hoisted to the top.

      The critics apparently had not felt the sea-breezes in his first books; but in the last there blew such a lusty gale that all, both critics and public, sniffed its fresh and salty breath with keenest relish. The book was a success, which his previous novel had not quite been, and it marks the beginning of Lie’s sane and natural realism as consciously applied, in its main problem, to a modern social question, making the story, in its essence, a novel of character, a psychological study of the relation of man and wife, and not primarily a novel of adventure, which assumption gave Lie the designation “novelist of the sea.” The success of the book brought the author, in 1874, by vote of the Storting, a life stipend known as a “poet’s salary,” which recognition put him in a class with Ibsen and Björnson. The great honor seems to have had a depressing effect, for Lie now scored four failures in succession. He was back in Norway, trying to portray social phenomena of the Capital city. The reviewers were most irritating and offensive, and he felt obliged temporarily to desert the field. With the novel Rutland (1881), he returned to the sea. This story surpasses The Pilot in every respect. The sea is described with the fondness of a lover. Like The Pilot, it also deals with a problem of the home, but what chiefly impressed the public in reading the book was that the seamen, that important element of the Norwegian people, had found an adequate interpreter.

      His next book. Forward (Gaa Paa) (1882), was likewise a maritime novel, with panoramas in the life of the fisher folk on the western coast. At the same time it forecast the new age of industrial development, and revealed growing sympathy and increased understanding in matters of national import. The author seems to have become convinced that a novelist, too, might be able to lend a hand in paving the way for progress. In this book he had by his vivid portrayal attacked stagnation, superstition, sluggishness, and had proclaimed the new gospel of work, activity, enterprise. It had been begun during the latter part of a three years’ sojourn in Germany. It was completed in Norway during the autumn of 1882, after which Lie took up his abode in Paris, where he made his home for many years.

      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

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