4

SE

‘plot.

imaster, he says:

‘personal,

atthe

“pad at-once; poetit jitstice does not exist

The ‘Women at the Pump
_ Knut Hamsun (Alfred A. Knopf)
It is always an amazing thing to find

‘again that the world is a very small place
after all.
setting we may have, but the situations

Differences in costume, and in

in which men find themSelyes remain a
a fairly steady point of rest.-.We have
just strolled through a Norwegian Main
S reet, and we felt pretty much -at' home.

Knut Hamsun’s. Women at the. Pump
is a man’s philosophy, expressed in terms
of the novel. These terms are %ntirely
‘comparableto’ those used- by Sinclair
Lewis; the philosophy. itself is quite an-

other thing. . Oliver Andersen, a cripple, |

is. the principal figure iti the book; it is
the story of his life and that of his fam-
ily which weaves together the portraits
‘of a town’s inhabitants, and, more inci-
identally, the rather meager fabric of the
These portraits. are remarkably
clearly painted, and through them the
author gives his reader a very. living
realizatién of ‘the atmosphere which per-
vades the town. ‘From Johnsen of the
Wharfside, Double Consul and a Danish
Knight, to Olaus the Grazier, we know
the inhabitants, and ‘their lives:
is able to summarize a character in a few
swift,’ and often ironic, lines. Writing
of Oliver Frank, who -becomes a Head-
“Some passion a man
must have; ‘there are those who brave
fire and water in order to be able to con-
_jugate verbs.”. Hamsun -is always im-
and never prejudiced; some-
times, though, he does indulge in a quiet
sort of laughter.
painted in the-rownd, and they stand out

‘with-the-strength: of -sculptured._figures,.|—

Theré~is no ‘smoothing’ of rough edges,
no exaggeration of virtues or of vices.
Hamsun's -method ‘is’ not that of the
caricaturist. one

We mentioned Hamsun’s \philosophy.
It is closely connected. to nse of
character portrayal. His actorS are
rarely loquacious; far more often is the
truly dramatic principle of | action em-
ployed. Situations are developed before
our very eyes, and we ‘are ‘allowed to
accept them for what we feel that they
are worth. Hamsun ~ himself never
moralizes, but he expresses himself quite
clearly on the subject of those who do,
“Some impatient peop!e try to interfere

with Providence and bring in ¢eforms;’

they -desigii a world very different from
this; they draw-up programs; they abol-
“ish all wickedness, - This-is not-done-with
arrogance; they don’t sit_up—and—crow
against Heaven; no, they advance with,
prayers and winhing ways; they» turn
over the music, and whisper fond words
to one another. But the orchestra does
not play from human scores.” So much
for reforming Babbitts! In all, there is
a kind of‘ sordid atmosphere behind the-
book. . No gloss of sophistication relieves
the harsh s'ns of the townspeople. They
are discovered, discussed by the women
pump, -andsoon__forgotten by.
younger people who grow. up with the
same desires and worldliness attributed
to their ‘elders. Humanity -is~ good and

here. ——

“As a novel, the book is “not particularly
well knit., One's attention is not con-'
tinually held to the point of deep inter-
est, ‘but it is always well rewarded by
some masterfully conceived bit of im-
pressionism. The last line rather typifies
for-us the spirit of the whole, “Small
things and great occur, a tooth falls out
of the jaw, a man out of the ranks; a
sparrow to the ground,”

S. R.

“



Collegians in the Air

Seven airplanes were used in bringing
football fans to the recent Georgia Tech-
University of N. C. game. One of the
planes was a large six-passenger Fok-
ker.—Richmond Collegian.

According to the pilot of the Pennco
Airport two trips were made carrying
ten Madison studerits to Iowa City for
the University of. Wisconsin-lowa game.
Madison students, according to Mr.
Morey, use air transportation to out-of-
town games more than any other student
body.—Daily Cardinal.

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Act III, Scene 4

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Certainly Macbeth meant
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