Pelle the Conqueror by Martin Andersen Nexø (great novels to read .TXT) 📕
Description
Pelle is still just a young boy when his father decides to move them from Sweden to the Danish island of Bornholm in search of riches. Those riches—of course—being nonexistent, they fall into the life of farm laborers. As Pelle grows up among the other lowly and poor residents of the island, their cares and worries seep into him, and he finds himself part of a greater struggle for their dignity.
Pelle the Conqueror has been compared to Victor Hugo’s Les Misérables in its themes and scope. Nexø had become involved in the Social Democratic movement in Denmark that flourished after the turn of the 19th century, and this work closely follows his journalistic observations of the struggles of the people. It was published in four books between 1906 and 1910, and was immensely popular; the first book in particular is still widely read in Danish schools, and was made in to an award-winning 1987 film starring Max von Sydow as Father Lasse.
In this Standard Ebooks edition books one and four are translated by Jesse Muir, while books two and three are translated by Bernard Miall.
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- Author: Martin Andersen Nexø
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The young master was the only one who treated him precisely as before; and Pelle repaid him for that with the most limitless devotion. He bought on credit for him and saved him from blows where only he could. If the young master in his easygoing way had promised to have something completed and had then forgotten it, Pelle would sit in his place and work overtime on it. “What’s it matter to us?” Jens used to say. But Pelle would not have the customers coming to scold Master Andres, nor would he allow him to suffer the want of anything that would keep him on his feet.
He became more intimate than ever with Jens and Morten; they all suffered from the same disgrace; and he often accompanied them home, although no pleasure awaited them in their miserable cottage. They were among the very poorest, although the whole household worked. It was all of no avail.
“Nothing’s any use,” the “Great Power” himself would say when he was disposed to talk; “poverty is like a sieve: everything goes straight through it, and if we stop one hole, it’s running through ten others at the same time. They say I’m a swine, and why shouldn’t I be? I can do the work of three men—yes, but do I get the wages of three? I get my day’s wages and the rest goes into the pockets of those who employ me. Even if I wanted to keep myself decent, what should we gain by it? Can a family get decent lodging and decent food and decent clothing for nine kroner a week? Will the means of a laborer allow him to live anywhere but by the refuse-heaps, where only the pigs used to be kept? Why should I be housed like a pig and live like a pig and yet be no pig—is there any sense in that? My wife and children have to work as well as me, and how can things be decent with us when wife and children have to go out and make things decent for other people? No, look here! A peg of brandy, that makes everything seem decent, and if that doesn’t do it, why, then, a bottle!” So he would sit talking, when he had been drinking a little, but otherwise he was usually silent.
Pelle knew the story of the “Great Power” now, from the daily gossip of the townsfolk, and his career seemed to him sadder than all the rest; it was as though a fairytale of fortune had come to a sudden end.
Among the evil reports which were continually in circulation respecting Stonecutter Jörgensen—it seemed that there was never an end of them—it was said that in his youth he had strolled into town from across the cliffs, clad in canvas trousers, with cracked wooden shoes on his feet, but with his head in the clouds as though the whole town belonged to him. Brandy he did not touch. He had a better use for his energies, he said: he was full of great ideas of himself and would not content himself with ordinary things. And he was thoroughly capable—he was quite absurdly talented for a poor man. And at once he wanted to begin turning everything topsy-turvy. Just because he was begotten among the cliffs and crags by an old toil-worn stonecutter, he behaved like a deity of the rocks; he brushed long-established experience aside, and introduced novel methods of work which he evolved out of his own mind. The stone was as though bewitched in his hands. If one only put a sketch before him, he would make devils’ heads and subterranean monsters and sea-serpents—the sort of thing that before his time had to be ordered from the sculptors in Copenhagen. Old deserving stonemasons saw themselves suddenly set aside and had then and there to take to breaking stones; and this young fellow who had strayed into the town straightway ignored and discounted the experience of their many years. They tried, by the most ancient of all methods, to teach the young man modesty. But they gave it up. Peter Jörgensen had the strength of three men and the courage of ten. It was not good to meddle with one who had stolen his capacities from God himself, or perhaps was in league with Satan. So they resigned themselves, and avenged themselves by calling him the “Great Power”—and they put their trust in misfortune. To follow in his footsteps meant to risk a broken neck. And whenever the brave townsfolk made the journey, something of its dizzy quality remained with them.
In the night he would sit sketching and calculating, so that no one could understand when he slept; and on Sundays, when decent people went to church, he would stop at home and cut the queerest things out of stone—although he never got a penny for it.
It was at this time that the famous sculptor came from the capital of Germany to hew a great lion out of granite, in honor of Liberty. But he could not get forward with his toolbox full of butter-knives; the stone was too hard for one who was accustomed to stand scratching at marble. And when for once he really did succeed in knocking off a bit of granite, it was always in the wrong place.
Then the “Great Power” asserted himself, and undertook to hew the lion out of granite, according to a scale model of some sort which the sculptor slapped together for
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