Fiction > Harvard Classics > Alexander L. Kielland > Skipper Worse > Criticisms and Interpretations > I
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Alexander L. Kielland (1849–1906).  Skipper Worse.
The Harvard Classics Shelf of Fiction.  1917.
  
Criticisms and Interpretations
I. By H. H. Boyesen
  
KIELLAND’S third novel, “Skipper Worse,” marked a distinct step in his development. It was less of a social satire and more of a social study. It was not merely a series of brilliant, exquisitely finished scenes, loosely strung together on a slender thread of narrative, but was a concise and well-constructed story, full of admirable portraits. The theme is akin to that of Daudet’s “L’Évangéliste”; but Kielland, as it appears to me, has in this instance outdone his French confrère, as regards insight into the peculiar character and poetry of the pietistic movement. He has dealt with it as a psychological and not primarily as a pathological phenomenon. A comparison with Daudet suggests itself constantly in reading Kielland. Their methods of workmanship and their attitude toward life have many points in common. The charm of style, the delicacy of touch, and felicity of phrase, are in both cases preeminent. Daudet has, however, the advantage (or, as he himself asserts, the disadvantage) of working in a flexible and highly finished language, which bears the impress of the labors of a hundred masters; while Kielland has to produce his effects of style in a poorer and less pliable language, which often pants and groans in its efforts to render a subtle thought. To have polished this tongue and sharpened its capacity for refined and incisive utterance, is one—and not the least—of his merits.   1
  Though he has by nature no more sympathy with the pietistic movement than Daudet, Kielland yet manages to get psychologically closer to his problem. His pietists are more humanly interesting than those of Daudet, and the little drama which they set in motion is more genuinely pathetic. Two superb figures—the lay preacher Hans Nilsen and Skipper Worse—surpass all that the author had hitherto produced in depth of conception and brilliancy of execution. The marriage of that delightful, profane old sea-dog, Jacob Worse, with the pious Sara Torvestad, and the attempts of his mother-in-law to convert him, are described not with the merely superficial drollery to which the subject invites, but with a sweet and delicate humor which trembles on the verge of pathos.—From “Essays on Scandinavian Literature”(1895).   2

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