Bjornstjerne Bjornson | Page 4

never, never go Over the lofty mountains! Must all my thoughts and wishes so Held in these walls of ice and snow Here be imprisoned forever? Till death shall I flee them never? "Hence! I will hence! Oh, so far from here, Over the lofty mountains! Here 't is so dull, so unspeakably drear; Young is my heart and free from fear-- Better the walls to be scaling Than here in my prison lie wailing. "One day, I know, shall my soul free roam Over the lofty mountains. Oh, my God, fair is thy home, Ajar is the door for all who come; Guard it for me yet longer, Till my soul through striving grows stronger."
At the age of eleven Bj?rnson's school days began at Molde, and were continued at Christiania in a famous preparatory school, where he had Ibsen for a comrade. He entered the university in his twentieth year, but his career was not brilliant from a scholastic point of view, and he was too much occupied with his own intellectual concerns to be a model student. From his matriculation in 1852, to the appearance of his first book in 1857, he was occupied with many sorts of literary experiments, and became actively engaged in journalism. The theatre, in particular, attracted him, for the theatre was one of the chief foci of the intellectual life of his country (as it should be in every country), and he plunged into dramatic criticism as the avowed partisan of Norwegian ideals, holding himself, in some sort, the successor of Wergeland, Who had died about ten years earlier. Before becoming a dramatic critic, he had essayed dramatic authorship, and the acceptance by the theatre of his juvenile play, "Valborg," had led to a somewhat unusual result. He was given a free ticket of admission, and a few weeks of theatre-going opened his eyes to the defects of his own accepted work, which he withdrew before it had been inflicted upon the public. The full consciousness of his poetical calling came to him upon his return from a student gathering at the university town of Upsala, whither he had gone as a special correspondent. "When I came home from the journey," 'he says, "I slept three whole days with a few brief intervals for eating and conversation. Then I wrote down my impressions of the journey, but just because I had first lived and then written, the account got style and color; it attracted attention, and made me all the more certain that the hour had come. I packed up, went home, thought it all over, wrote and rewrote `Between the Battles' in a fortnight, and travelled to Copenhagen with the completed piece in my trunk; I would be a poet." He then set to writing "Synn?ve Solbakken," published it in part as a newspaper serial, and then in book form, in the autumn of 1857. He had "commenced author" in good earnest.
The next fifteen years of Bj?rnson's life were richly productive. Within a single year he had published "Arne," the second of his peasant idyls and perhaps the most remarkable of them all, and had also published two brief dramas, "Halte-Hulda" and the one already mentioned as the achievement of fourteen feverish days. The remaining product of the fifteen years includes two more prose idyls, "A Happy Boy" and "The Fisher Maiden" (with a considerable number of small pieces similar in character); three more plays drawn from the treasury of old Norse history, "King Sverre," "Sigurd Slembe," and "Sigurd Jorsalfar"; a dramatic setting of the story of "Mary Stuart in Scotland"; a little social comedy, "The Newly Married Couple," which offers a foretaste of his later exclusive preoccupation with modern life; "Arnljot Gelline," his only long poem, a wild narrative of the clash between heathendom and the Christian faith in the days of Olaf the Holy; and, last but by no means least, the collection of his "Poems and Songs." Thus at the age of forty, Bj?rnson found himself with a dozen books to his credit books which had stirred his fellow countrymen as no other books had ever stirred them, arousing them to the full consciousness of their own nature and of its roots in their own heroic past. He had become the voice of his people as no one had been before him, the singer of all that was noble in Norwegian aspiration, the sympathetic delineator of all that was essential in Norwegian Character. He had, in short, created a national literature where none had before existed, and he was still in his early prime.
The collected edition of Bj?rnson's "Tales," published in 1872, together with "The Bridal March," separately published in the following year, gives us a complete representation of that phase of his genius which is best known to