United States or Costa Rica ? Vote for the TOP Country of the Week !


It does not matter whether they are ministers or actors, lawyers or doctors they are all tarred with the same brush. Their common characteristic is their rootlessness. They have no real home, because to Hamsun a home is unthinkable apart from a space of soil possessed in continuity by successive generations.

Something pleasantly futile, deliciously unprofitable foolish lovers, hovering like moths about a lamp. But there is more than this that is untranslatable in the title. As a title it suggests an attitude of gentleness, tenderness, sympathy, toward whomsoever it describes. It is a new note in Hamsun; the opening of a new motif.

Hamsun is at his best among the scenes and characters he loves; tenderness and sympathy make up so great a part of his charm that he is hardly recognizable in surroundings or society uncongenial to himself. It would almost seem as if he realized something of this.

But Hamsun now is a greater soul than in the days when Glahn, the solitary dweller in the woods, picked up a broken twig from the ground and held it lovingly, because it looked poor and forsaken; or thanked the hillock of stone outside his hut because it stood there faithfully, as a friend that waited his return.

The cast is increased, the milieu lightly drawn in Pan is now shown more comprehensively and in detail, making us gradually acquainted with a whole little community, a village world, knowing little of any world beyond, and forming a microcosm in itself. Hamsun has returned, as it were, to the scene of his passionate youth, but in altered guise.

Sonya's mother sat in the drawing-room and discussed women's rights and the works of Knut Hamsun. Sonya's mother liked this writer intensely, and loved to tell about her meeting with him abroad. There was an autographed portrait of Knut Hamsun upon her table and it was the object of much pride for the whole Svetilovitch family.

If something of the kind happened, the seed thus sown was nourished plentifully afterwards, when, as a young man, Hamsun pitted his ambitions against the indifference first of Christiania and then of Chicago. The result was a defeat that seemed the more bitter because it looked like punishment incurred by straying after false gods.

Hamsun has here moved up a step in the social scale, from villagers of the Benoni type to the land-owning class. There is the same conflict of temperaments that we have seen before, but less violent now; the poet's late-won calm of mind, and the level of culture from which his characters now are drawn perhaps by instinctive selection make for restraint.

But I have felt it some time, surely, since I go about now humming a little tune; go about rejoicing, loving every straw and every stone, and feeling as if they cared for me in return...." This is the Hamsun of Pan.

Perhaps, if I am right, he is the first genuine peasant who has risen to such artistic mastery, reaching its ultimate heights through a belated recognition of his own proper settings. Hamsun was sixty when he wrote "Growth of the Soil."