Part 13

Then something extraordinary happened. This same autumn, after she had been living a couple of months amidst gray streets and house walls, she was walking one day up Malmskillnad Street with a bundle of books under her arm. She had just come from a lecture on the history of literature. The lecture must have been about Bellman and Runeberg, because she was thinking of them and of the characters that live in their verses. She said to herself that Runeberg's jolly warriors and Bellman's happy-go-lucky roisterers were the very best material a writer could have to work with. And suddenly this thought flashed upon her: Vermland, the world in which you have been living, is not less remarkable than that of Fredman or Fänrik Stål. If you can only learn how to handle it, you will find that your material is quite as good as theirs.

This is how it happened that she caught her first glimpse of the story. And the instant she saw it, the ground under her seemed to sway. The whole long Malmskillnad Street from Hamn Street Hill to the fire-house rose toward the skies and sank again--rose and sank. She stood still a long while, until the street had settled itself. She gazed with astonishment at the passers-by, who walked calmly along, apparently oblivious to the miracle that had taken place.

At that moment the girl determined that she would write the story of Vermland's Cavaliers, and never for an instant did she relinquish the thought of it; but many and long years elapsed before the determination was carried out.

In the first place she had entered upon a new field of labor, and she lacked the time needful for the carrying out of a great literary work. In the second place she had failed utterly in her first attempts to write the story.

During these years many things were constantly happening which helped mould it. One morning, on a school holiday, she was sitting at the breakfast-table with her father, and the two of them talked of old times. Then he began telling of an acquaintance of his youth, whom he described as the most fascinating of men. This man brought joy and cheer with him wherever he went. He could sing; he composed music; he improvised verse. If he struck up a dance, it was not alone the young folk who danced, but old men and old women, high and low. If he made a speech, one had to laugh or cry, whichever he wished. If he drank himself full, he could play and talk better than when he was sober, and when he fell in love with a woman, it was impossible for her to resist him. If he did foolish things, one forgave him; if he was sad at times, one wanted to do anything and everything to see him glad again. But any great success in life he had never had, despite his wealth of talents. He had lived mostly at the foundries in Vermland as private tutor. Finally he was ordained as a minister. This was the highest that he had attained.

After this conversation she could see the hero of her story better than heretofore, and with this a little life and action came into it. One fine day a name was given to the hero and he was called Gösta Berling. Whence he got the name she never knew. It was as if he had named himself.

Another time, she came home to spend the Christmas holidays. One evening the whole family went off to a Christmas party a good distance from home in a terrible blizzard. It turned out to be a longer drive than one would have thought. The horse ploughed his way ahead at a walking pace. For several hours she sat there in the sleigh in the blinding snowstorm and thought of the story. When they arrived finally, she had thought out her first chapter. It was the one about the Christmas night at the smithy.

What a chapter! It was her first and for many years her only one. It was first written in verse, for the original plan was that it should be a romance cycle, like "Fänrik Stål's Sagas." But by degrees this was changed, and for a time the idea was that it should be written as drama. Then the Christmas night was worked over to go in as the first act. But this attempt did not succeed, either; at last she decided to write the story as a novel. Then the chapter was written in prose. It grew enormously long, covering forty written pages. The last time it was rewritten it took up only nine.

After a few more years came a second chapter. It was the story of the Ball at Borg and of the wolves that hunted Gösta Berling and Anna Stjernhök.

In the beginning this chapter was not written with the thought that it could come into the story, but as a sort of chance composition to be read at a small social gathering. The reading, however, was postponed, and the novelette was sent to _Dagny_. After a time the story was returned as unavailable for the magazine. It was in reality not available anywhere. As yet it was altogether lacking in artistic smoothness.

Meanwhile the author wondered to what purpose this unluckily born novelette could be turned. Should she put it into the story? To be sure, it was an adventure by itself--and ended. It would look odd among the rest, which were better connected. Perhaps it wouldn't be such a bad idea, she thought then, if all the chapters of the story were like this one--almost finished adventures? This would be difficult to carry out, but it might possibly be done. There would doubtless be gaps in the continuity here and there, but that should give to the book great strength and variety.

Now two important matters were settled: The story was to be a novel, and each chapter should be complete in itself. But nothing much had been gained hereby. She who had been fired with the idea of writing the story of Vermland's Cavaliers when she was two-and-twenty, at this stage was nearing the thirties and had not been able to write more than two chapters. Where had the years gone? She had been graduated from the Teachers' College and for several years past had been a teacher at Landskrona. She had become interested in much and had been occupied with many things, but the story was just as unwritten. A mass of material had certainly been collected, but why was it so hard for her to write it down? Why did the inspiration never come to her? Why did the pen glide so slowly over the paper? She certainly had her dark moments at that time! She began to think that she never would finish her novel. She was that servant who buried his talent in the ground and never tried to use it.

As a matter of fact, all this occurred during the eighties, when stern Realism was at its height. She admired the great masters of that time, never thinking that one could use any other style in writing than the one they employed. For her own part, she liked the Romanticists better, but Romanticism was dead, and she was hardly the one to think of reviving its form and expression! Although her brain was filled to overflowing with stories of ghosts and mad love, of wondrously beautiful women and adventure-loving cavaliers, she tried to write about it in calm, realistic prose. She was not very clear-visioned. Another would have seen that the impossible was impossible.

Once she wrote a couple of chapters in another style. One was a scene from Svartsjö churchyard; the other was about the old philosopher, Uncle Eberhard, and his infidel manuscripts. She scribbled them mostly in fun, with many ohs and ahs in the prose, which made it almost rhythmical. She perceived that in this vein she could write. There was inspiration in this--she could feel it. But when the two short chapters were finished, she laid them aside. They were only written in fun. One could not write a whole book in that vein.

But now the story had been waiting long enough. It thought, no doubt, as it did at the time when it sent her out in the world: "Again I must send this blinded person a great longing which will open her eyes."

The longing came over her in this manner: The homestead where she had grown up was sold. She journeyed to the home of her childhood to see it once again before strangers should occupy it.

The evening before she left there, perhaps nevermore to see the dear old place, she concluded in all meekness and humility to write the book in her own way and according to her own poor abilities. It was not going to be any great masterwork, as she had hoped. It might be a book at which people would laugh, but anyway she would write it--write it for herself, to save for herself what she could still save of the home--the dear old stories, the sweet peace of the care-free days, and the beautiful landscape with the long lakes and the many-hued blue hills.

But for her, who had hoped that she might yet learn to write a book people would care to read, it seemed as though she had relinquished the very thing in life she had been most eager to win. It was the hardest sacrifice she had made thus far.

A few weeks later, she was again at her home in Landskrona, seated at her writing-desk. She began writing--she didn't know exactly what it was to be--but she was not going to be afraid of the strong words, the exclamations, the interrogations, nor would she be afraid to give herself with all her childishness and all her dreams! After she had come to this decision, the pen began to move almost by itself. This made her quite delirious. She was carried away with enthusiasm. Ah, this was writing! Unfamiliar thoughts and things, or, rather, things she never had surmised were stored away in her brain, crowded down upon the paper. The pages were filled with a haste of which she had never dreamed. What had hitherto required months--no, years--to work out, was now accomplished in a couple of hours. That evening she wrote the story of the young countess' tramp over the ice on River Löven, and the flood at Ekeby.

The following afternoon she wrote the scene in which the gouty ensign, Rutger von Örneclou, tries to raise himself in bed to dance the Cachuca, and the evening of the next day appeared the story of the old _Mamsell_ who went off to visit the parsimonious Broby clergyman.

Now she knew for certain that in this style she could write the book; but she was just as certain that no one would have the patience to read it through.

However, not many chapters let themselves be written like this--in one breath. Most of them required long and arduous labor, and there were only little snatches of time in the afternoons which she could devote to authorship. When she had been writing about half a year, reckoning from the day when she had gone in for romanticism with a vengeance, about a dozen chapters were written. At this rate the book would be finished in three or four years.

It was in the spring of this year, 1890, that _Idun_ invited prize competitors to send in short novelettes of about one hundred printed pages. This was an outlet for a story that wanted to be told and sent into the world. It must have been the story itself that prompted her sister to suggest to her that she make use of this opportunity. Here, at last, was a way of finding out if her story was so hopelessly bad! If it received the prize, much would be gained; if it didn't, she simply stood in exactly the same position as before.

She had nothing against the idea, but she had so little faith in herself that she couldn't come to any conclusion.

Finally, just eight days before the time for submitting manuscripts had expired, she decided to take from the novel five chapters which were sufficiently well connected to pass for a novelette, and chance it with these. But the chapters were far from ready. Three of them were loosely written, but of the remaining two there was barely an outline. Then the whole thing must be legibly copied, of course. To add to this, she was not at home just then, but was visiting her sister and brother-in-law, who still lived in Vermland. And one who has come to visit with dear friends for a short time cannot spend the days at a writing-desk. She wrote therefore at night, sitting up the whole week until four in the mornings.

Finally there were only twenty-four hours of the precious time left, and there were still twenty pages to be written.

On this the last day they were invited out. The whole family were going on a little journey to be gone for the night. Naturally, she had to accompany the rest. When the party was over and the guests dispersed, she sat up all night writing in the strange place.

At times she felt very queer. The place where she was visiting was the very estate on which the wicked Sintram had lived. Fate, in a singular way, had brought her there on the very night when she must write about him who sat in the rocker and rocked.

Now and then she looked up from her work and listened in the direction of the drawing-room for the possible sound of a pair of rockers in motion. But nothing was heard. When the clock struck six the next morning, the five chapters were finished.

Along in the forenoon they travelled home on a little freight steamer. There her sister did up the parcel, sealed it with sealing-wax, which had been brought from home for this purpose, wrote the address, and sent off the novelette.

This happened on one of the last days in July. Toward the end of August _Idun_ contained a notice to the effect that something over twenty manuscripts had been received by the editors, but that one or two among them were so confusedly written they could not be counted in.

Then she gave up waiting for results. She knew, of course, which novelette was so confusedly written that it could not be counted in.

One afternoon in November she received a curious telegram. It contained simply the words "Hearty Congratulations," and was signed by three of her college classmates.

For her it was a terribly long wait until dinner-time of the following day, when the Stockholm papers were distributed. When the paper was in her hands, she had to search long without finding anything. Finally, on the last page she found a little notice in fine print which told that the prize had been awarded to her.

To another it might not have meant so much, perhaps, but for her it meant that she could devote herself to the calling which all her life she had longed to follow.

There is but little to add to this: The story that wanted to be told and sent out in the world was now fairly near its destination. Now it was to be written, at least, even though it might take a few years more before it was finished.

She who was writing it had gone up to Stockholm around Christmas time, after she had received the prize.

The editor of _Idun_ volunteered to print the book as soon as it was finished.

If she could ever find time to write it!

The evening before she was to return to Landskrona, she spent with her loyal friend, Baroness Adlersparre[1], to whom she read a few chapters aloud.

[Footnote 1: Baroness Adlersparre--pen name, Esselde--was a noted Swedish writer, publisher, and philanthropist, and a contemporary of Fredrika Bremer.]

"Esselde" listened, as only she could listen, and she became interested. After the reading she sat silently and pondered. "How long will it be before all of it is ready?" she asked finally.

"Three or four years."

Then they parted.

The next morning, two hours before she was to leave Stockholm, a message came from Esselde bidding her come to her before the departure.

The old Baroness was in her most positive and determined mood. "Now you must take a leave of absence for a year and finish the book. I shall procure the money."

Fifteen minutes later the girl was on her way to the Principal of the Teachers' College to ask her assistance in securing a substitute.

At one o'clock she was happily seated in the railway carriage. But now she was going no farther than Sörmland, where she had good friends who lived in a charming villa.

And so they--Otto Gumaelius and his wife--gave her the freedom of their home--freedom to work, and peace, and the best of care for nearly a year, until the book was finished.

Now, at last, she could write from morning till night. It was the happiest time of her life.

But when the story was finished at the close of the summer, it looked queer. It was wild and disordered, and the connecting threads were so loose that all the parts seemed bent upon following their old inclination to wander off, each in its own way.

It never became what it should have been. Its misfortune was that it had been compelled to wait so long to be told. If it was not properly disciplined and restrained, it was mostly because the author was so overjoyed in the thought that at last she had been privileged to write it.

* * * * *

BOOKS BY THE SAME AUTHOR

JERUSALEM, A Novel (_Trans. from Swedish by Velma Swanston Howard_)

CHRIST LEGENDS (_Trans. from Swedish by Velma Swanston Howard_)

WONDERFUL ADVENTURES OF NILS (_Trans. from Swedish by Velma Swanston Howard_)

FURTHER ADVENTURES OF NILS (_Trans. from Swedish by Velma Swanston Howard_)

GIRL FROM THE MARSH CROFT (_Trans. from Swedish by Velma Swanston Howard_)

LEGEND OF THE SACRED IMAGE (_Trans. from Swedish by Velma Swanston Howard_)

MIRACLES OF ANTICHRIST (_Trans. from Swedish by Pauline Bancroft Flach_)

STORY OF GÖSTA BERLING (_Trans. from Swedish by Pauline Bancroft Flach_)

FROM A SWEDISH HOMESTEAD (_Trans. from Swedish by Jessie Bröchner_)

End of Project Gutenberg's The Girl From the Marsh Croft, by Selma Lagerlöf