Introduction

This introduction is from "The Wanderers", which published this work and "A wanderer plays on muted strings¹" as a single volume. — Editors note.

An autobiographical element is evident in practically everything that Hamsun has written. But it is particularly marked in the two volumes now published under the common title of “Wanderers,” as well as in the sequel named “The Last Joy.” These three works must be considered together. They have more in common than the central figure of “Knut Pedersen from the Northlands” through whose vision the fates of Captain Falkenberg and his wife are gradually unfolded to us. Not only do they refer undisguisedly to events known to be taken out of Hamsun’s own life, but they mirror his moods and thoughts and feelings during a certain period so closely that they may well be regarded as diaries of an unusually intimate character. It is as psychological documents of the utmost importance to the understanding of Hamsun himself that they have their chief significance. As a by-product², one might almost say, the reader gets the art which reveals the story of the Falkenbergs by a process of indirect approach equalled in its ingenuity³ and verisimilitude only by Conrad’s best efforts.

The line of Hamsun’s artistic⁴ evolution is easily traceable through certain stages which, however, are not separated by sharp breaks. It is impossible to say that one stage ended and the next one began in a certain year. Instead they overlap⁵ like tiles on a roof. Their respective characters are strikingly symbolized⁶ by the titles of the dramatic trilogy which Hamsun produced between 1895 and 1898 —“At the Gate of the Kingdom,” “The Game of Life,” and “Sunset Glow.”

“Hunger” opened the first period and “Pan” marked its climax⁷, but it came to an end only with the eight-act drama of “Vendt the Monk⁸” in 1902, and traces of it are to be found in everything that Hamsun ever wrote. Lieutenant⁹ Glahn might survive the passions and defiances of his youth and lapse¹¹ into the more or less wistful resignation of Knut Pedersen from the Northlands, but the cautious, puzzled Knut has moments when he shows not only the Glahn limp but the Glahn fire.

Just when the second stage found clear expression is a little hard to tell, but its most characteristic products are undoubtedly¹² the two volumes now offered to the American public, and it persists more or less until 1912, when “The Last Joy” appeared, although the first signs of Hamsun’s final and greatest development showed themselves as early as 1904, when “Dreamers” was published. The difference between the second and the third stages lies chiefly in a maturity¹³ and tolerance¹⁴ of vision that restores the narrator’s sense of humour and eliminates his own personality from the story he has to tell.

Hamsun was twenty-nine when he finished “Hunger,” and that was the age given to one after another of his central figures. Glahn is twenty-nine, of course, and so is the Monk Vendt. With Hamsun that age seemed to stand principally for the high water mark of passion. Because of the fire burning within themselves, his heroes had the supreme¹⁵ courage of being themselves in utter defiance¹⁰ of codes and customs. Because of that fire they were capable of rising above everything that life might bring — above everything but the passing of the life-giving passion itself. A Glahn dies, but does not grow old.

Life insists on its due course, however, and in reality passion may sink into neurasthenia without producing suicides. Ivar Kareno discovers it in “Sunset Glow,” when, at the age of fifty, he turns renegade in more senses than one. But even then his realization¹⁶ could not be fully¹⁷ accepted by the author himself, still only thirty-eight, and so Kareno steps down into the respectable and honoured sloth¹⁸ of age only to be succeeded, by another hero who has not yet passed the climacteric twenty-ninth year. Even Telegraph-Rolandsen in “Dreamers” retains the youthful glow and charm and irresponsibility that used to be thought inseparable from the true Hamsun character.

It is therefore with something of a shock one encounters the enigmatic Knut Pedersen from the Northlands, who has turned from literature to tramping, who speaks of old age as if he had reached the proverbial three-score and ten, and who time and again slips into something like actual whining¹⁹, as when he says of himself: “Time has worn me out so that I have grown stupid and sterile²⁰ and indifferent; now I look upon a woman merely as literature.” The two volumes named “Under the Autumn Star” and “A Wanderer Plays on Muted Strings” form an unbroken cry of regret, and the object of that regret is the hey-day of youth — that golden age of twenty-nine — when every woman regardless of age and colour and caste was a challenging fragment of life.

Something more than the passing of years must have characterized the period immediately proceeding²² the production of the two volumes just mentioned. They mark some sort of crisis reaching to the innermost depths of the soul it wracked with anguish²³ and pain. Perhaps a clue to this crisis may be found in the all too brief paragraph devoted²⁴ to Hamsun in the Norwegian “Who’s who.” There is a line that reads as follows: “Married, 1898, Bergljot Bass²⁵?e Bech (marriage dissolved); 1908, Marie Andersen.” The man that wrote “Under the Autumn Star” was unhappy. But he was also an artist. In that book the artist within him is struggling for his existence. In “A Wanderer Plays with Muted Strings” the artist is beginning to assert himself more and more, and that he had conquered in the meantime we know by “Benoni” and “Rosa” which appeared in 1908. The crisis was past, but echoes of it were heard as late as 1912, the year of “Last Joy,” which well may be called Hamsun’s most melancholy²⁶ book. Yet that is the book which seems to have paved the way and laid the foundation for “The Growth of the Soil”— just as “Dreamers” was a sketch²⁷ out of which in due time grew “Children of the Time” and “Segelfoss Town.”

Hamsun’s form is always fluid. In the two works now published it approaches formlessness. “Under the Autumn Star” is a mere²¹ sketch, seemingly lacking both plan and plot. Much of the time Knut Pedersen is merely thinking aloud. But out of his devious²⁸ musings a purpose finally shapes itself, and gradually we find ourselves the spectator of a marital²⁹ drama that becomes the dominant³⁰ note in the sequel. The development of this main theme is, as I have already suggested, distinctly Conradian in its method, and looking back from the ironical³¹ epilogue that closes “A Wanderer Plays on Muted Strings,” one marvels³² at the art that could work such a compelling totality out of such a miscellany of unrelated fragments.

There is a weakness common to both these works which cannot be passed up in silence. More than once the narrator falls out of his part as a tramp worker to rail journalistically at various things that have aroused his particular wrath³³, such as the tourist traffic, the city worker and everything relating to Switzerland. It is done very naively³⁴, too, but it is well to remember how frequently in the past this very kind of naiveté has associated with great genius. And whatever there be of such shortcomings is more than balanced by the wonderful feeling for and understanding of nature that most frequently tempt³⁵ Hamsun into straying from the straight and narrow path of conventional story telling. What cannot be forgiven to the man who writes of “faint whisperings that come from forest and river as if millions of nothingnesses kept streaming and streaming,” and who finds in those whisperings “one eternity³⁶ coming to an understanding with another eternity about something”?

EDWIN BJORKMAN

1 strings   

n.弦

参考例句：

• He sat on the bed,idly plucking the strings of his guitar.他坐在床上，随意地拨着吉他的弦。
• She swept her fingers over the strings of the harp.她用手指划过竖琴的琴弦。

2 by-product   

n.副产品，附带产生的结果

参考例句：

• Freedom is the by-product of economic surplus.自由是经济盈余的副产品。
• The raw material for the tyre is a by-product of petrol refining.制造轮胎的原材料是提炼汽油时产生的一种副产品。

3 ingenuity   

n.别出心裁；善于发明创造

参考例句：

• The boy showed ingenuity in making toys.那个小男孩做玩具很有创造力。
• I admire your ingenuity and perseverance.我钦佩你的别出心裁和毅力。

4 artistic   

adj.艺术(家)的，美术(家)的；善于艺术创作的

参考例句：

• The picture on this screen is a good artistic work.这屏风上的画是件很好的艺术品。
• These artistic handicrafts are very popular with foreign friends.外国朋友很喜欢这些美术工艺品。

5 overlap   

v.重叠，与…交叠；n.重叠

参考例句：

• The overlap between the jacket and the trousers is not good.夹克和裤子重叠的部分不好看。
• Tiles overlap each other.屋瓦相互叠盖。

6 symbolized   

v.象征，作为…的象征( symbolize的过去式和过去分词 )

参考例句：

• For Tigress, Joy symbolized the best a woman could expect from life. 在她看，小福子就足代表女人所应有的享受。 来自汉英文学 - 骆驼祥子
• A car symbolized distinction and achievement, and he was proud. 汽车象征着荣誉和成功，所以他很自豪。 来自辞典例句

7 climax   

n.顶点；高潮；v.(使)达到顶点

参考例句：

• The fifth scene was the climax of the play.第五场是全剧的高潮。
• His quarrel with his father brought matters to a climax.他与他父亲的争吵使得事态发展到了顶点。

8 monk   

n.和尚，僧侣，修道士

参考例句：

• The man was a monk from Emei Mountain.那人是峨眉山下来的和尚。
• Buddhist monk sat with folded palms.和尚合掌打坐。

9 lieutenant   

n.陆军中尉，海军上尉；代理官员，副职官员

参考例句：

• He was promoted to be a lieutenant in the army.他被提升为陆军中尉。
• He prevailed on the lieutenant to send in a short note.他说动那个副官，递上了一张简短的便条进去。

10 defiance   

n.挑战，挑衅，蔑视，违抗

参考例句：

• He climbed the ladder in defiance of the warning.他无视警告爬上了那架梯子。
• He slammed the door in a spirit of defiance.他以挑衅性的态度把门砰地一下关上。

11 lapse   

n.过失，流逝，失效，抛弃信仰，间隔；vi.堕落，停止，失效，流逝；vt.使失效

参考例句：

• The incident was being seen as a serious security lapse.这一事故被看作是一次严重的安全疏忽。
• I had a lapse of memory.我记错了。

12 undoubtedly   

adv.确实地，无疑地

参考例句：

• It is undoubtedly she who has said that.这话明明是她说的。
• He is undoubtedly the pride of China.毫无疑问他是中国的骄傲。

13 maturity   

n.成熟；完成；(支票、债券等)到期

参考例句：

• These plants ought to reach maturity after five years.这些植物五年后就该长成了。
• This is the period at which the body attains maturity.这是身体发育成熟的时期。

14 tolerance   

n.宽容；容忍，忍受；耐药力；公差

参考例句：

• Tolerance is one of his strengths.宽容是他的一个优点。
• Human beings have limited tolerance of noise.人类对噪音的忍耐力有限。

15 supreme   

adj.极度的，最重要的；至高的，最高的

参考例句：

• It was the supreme moment in his life.那是他一生中最重要的时刻。
• He handed up the indictment to the supreme court.他把起诉书送交最高法院。

16 realization   

n.实现；认识到，深刻了解

参考例句：

• We shall gladly lend every effort in our power toward its realization.我们将乐意为它的实现而竭尽全力。
• He came to the realization that he would never make a good teacher.他逐渐认识到自己永远不会成为好老师。

17 fully   

adv.完全地，全部地，彻底地；充分地

参考例句：

• The doctor asked me to breathe in,then to breathe out fully.医生让我先吸气，然后全部呼出。
• They soon became fully integrated into the local community.他们很快就完全融入了当地人的圈子。

18 sloth   

n.[动]树懒；懒惰，懒散

参考例句：

• Absence of competition makes for sloth.没有竞争会导致懒惰。
• The sloth spends most of its time hanging upside down from the branches.大部分时间里树懒都是倒挂在树枝上。

19 whining   

n. 抱怨，牢骚 v. 哭诉，发牢骚

参考例句：

• That's the way with you whining, puny, pitiful players. 你们这种又爱哭、又软弱、又可怜的赌棍就是这样。
• The dog sat outside the door whining (to be let in). 那条狗坐在门外狺狺叫着（要进来）。

20 sterile   

adj.不毛的，不孕的，无菌的，枯燥的，贫瘠的

参考例句：

• This top fits over the bottle and keeps the teat sterile.这个盖子严实地盖在奶瓶上，保持奶嘴无菌。
• The farmers turned the sterile land into high fields.农民们把不毛之地变成了高产田。

21 mere   

adj.纯粹的；仅仅，只不过

参考例句：

• That is a mere repetition of what you said before.那不过是重复了你以前讲的话。
• It's a mere waste of time waiting any longer.再等下去纯粹是浪费时间。

22 proceeding   

n.行动，进行，(pl.)会议录，学报

参考例句：

• This train is now proceeding from Paris to London.这次列车从巴黎开往伦敦。
• The work is proceeding briskly.工作很有生气地进展着。

23 anguish   

n.(尤指心灵上的)极度痛苦，烦恼

参考例句：

• She cried out for anguish at parting.分手时，她由于痛苦而失声大哭。
• The unspeakable anguish wrung his heart.难言的痛苦折磨着他的心。

24 devoted   

adj.忠诚的，忠实的，热心的，献身于...的

参考例句：

• He devoted his life to the educational cause of the motherland.他为祖国的教育事业贡献了一生。
• We devoted a lengthy and full discussion to this topic.我们对这个题目进行了长时间的充分讨论。

25 bass   

n.男低音(歌手)；低音乐器；低音大提琴

参考例句：

• He answered my question in a surprisingly deep bass.他用一种低得出奇的声音回答我的问题。
• The bass was to give a concert in the park.那位男低音歌唱家将在公园中举行音乐会。

26 melancholy   

n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的

参考例句：

• All at once he fell into a state of profound melancholy.他立即陷入无尽的忧思之中。
• He felt melancholy after he failed the exam.这次考试没通过，他感到很郁闷。

27 sketch   

n.草图；梗概；素描；v.素描；概述

参考例句：

• My sister often goes into the country to sketch. 我姐姐常到乡间去写生。
• I will send you a slight sketch of the house.我将给你寄去房屋的草图。

28 devious   

adj.不坦率的，狡猾的；迂回的，曲折的

参考例句：

• Susan is a devious person and we can't depend on her.苏姗是个狡猾的人，我们不能依赖她。
• He is a man who achieves success by devious means.他这个人通过不正当手段获取成功。

29 marital   

adj.婚姻的，夫妻的

参考例句：

• Her son had no marital problems.她的儿子没有婚姻问题。
• I regret getting involved with my daughter's marital problems;all its done is to bring trouble about my ears.我后悔干涉我女儿的婚姻问题, 现在我所做的一切将给我带来无穷的烦恼。

30 dominant   

adj.支配的，统治的；占优势的；显性的；n.主因，要素，主要的人(或物)；显性基因

参考例句：

• The British were formerly dominant in India.英国人从前统治印度。
• She was a dominant figure in the French film industry.她在法国电影界是个举足轻重的人物。

31 ironical   

adj.讽刺的，冷嘲的

参考例句：

• That is a summary and ironical end.那是一个具有概括性和讽刺意味的结局。
• From his general demeanour I didn't get the impression that he was being ironical.从他整体的行为来看，我不觉得他是在讲反话。

32 marvels   

n.奇迹( marvel的名词复数 )；令人惊奇的事物（或事例）；不平凡的成果；成就v.惊奇，对…感到惊奇( marvel的第三人称单数 )

参考例句：

• The doctor's treatment has worked marvels : the patient has recovered completely. 该医生妙手回春，病人已完全康复。 来自辞典例句
• Nevertheless he revels in a catalogue of marvels. 可他还是兴致勃勃地罗列了一堆怪诞不经的事物。 来自辞典例句

33 wrath   

n.愤怒，愤慨，暴怒

参考例句：

• His silence marked his wrath. 他的沉默表明了他的愤怒。
• The wrath of the people is now aroused. 人们被激怒了。

34 naively   

adv. 天真地

参考例句：

• They naively assume things can only get better. 他们天真地以为情况只会变好。
• In short, Knox's proposal was ill conceived and naively made. 总而言之，诺克斯的建议考虑不周，显示幼稚。

35 tempt   

vt.引诱，勾引，吸引，引起…的兴趣

参考例句：

• Nothing could tempt him to such a course of action.什么都不能诱使他去那样做。
• The fact that she had become wealthy did not tempt her to alter her frugal way of life.她有钱了，可这丝毫没能让她改变节俭的生活习惯。

36 eternity   

n.不朽，来世；永恒，无穷

参考例句：

• The dull play seemed to last an eternity.这场乏味的剧似乎演个没完没了。
• Finally,Ying Tai and Shan Bo could be together for all of eternity.英台和山伯终能双宿双飞，永世相随。