Modern Swedish Masterpieces: Short Stories — John Shaqi
Modern Swedish Masterpieces: Short StoriesHeidenstam, Verner von
General
Modern Swedish Masterpieces: Short Stories
Heidenstam, Verner von
Short stories, Swedish -- Translations into English; Swedish fiction -- Translations into English
came upon the skull in a trunk. The actor who was playing Hamlet was so
glad that he promised to give me a supper at Stromsholm. He kept his
word, too: steak and vegetables and fizzy pearls. Afterwards it came out
that somebody had hid the skull on purpose. It was somebody who wanted
to have the rôle and was nearly bursting with jealousy. He certainly
needed to get out and fish a little, eh?
“Well, that was Hamlet. Afterwards I went over to the opera. I didn’t
regret it; music suited me better. That comes about as a man gets older,
you see. A man gets tired of the many words. But with music one can
think anything at all. I was with the opera upwards of twenty years, up
to last Christmas--Aye, aye, a man gets old.... Well, so now I get to
amuse myself with the boat here and tramping for the organ at Jacob’s
Church. Yes, that affair of the organ tramping is a special particular
story which we shan’t talk over now,” said Lundstrom, who seemed to
touch with some shyness his transition to the churchly vocation.
Hereupon the old man again grasped his crank, and up came another
splendid batch of fat breams. With friendly, approving comment he let
them vanish into the well.
Look here, today is turning out better than I supposed, thought Leonard,
who could hardly keep from rubbing his hands. My life and trade seem
really prosperous from the frog’s-eye view of this old fisherman.
But Lundstrom cast a knowing, sidelong look at him.
“No, I steal up into the theatre garret sometimes and hear a little of
this world’s music yet, as old as I am. Though it doesn’t give me
sleepless nights any more, you see. A man sleeps well when he has a big
organ to turn to.”
Leonard smiled more broadly and sat quiet, struck by the old man’s
repose. This contented frog’s-eye view of the drama of life spread out
into a wider perspective than he had supposed at the start.
The old man pointed to a paper sticking out of the artist’s pocket.
“Should you perhaps care to look what they’re giving up there tonight?
‘Tristan and Isolde.’ Indeed! that’s a fine thing. Then I’ll go up a
while. You see I’ve been with them and set scenes for that opera, so
it’s an old acquaintance. Well, and so I’ll thank you for your help.
It’s past eight and that will have to be enough of the breams till
tonight.”
It was in fact drawing on towards evening. Heaven’s great voyaging
clouds had ceased to move, saturated with the newly-won warmth of the
light, and had sunk nearer to earth. In the stealthy silence of the
early twilight the roaring of the river grew suddenly stronger, and its
whirlpools more suckingly mysterious. It was evident that the spring day
had determined to show the last and most dangerous phase of its power.
But Lundstrom cast loose from the ring unconcernedly. His craft was
slung some fifty yards down with the surge but glided neatly into the
smooth water under the River Terrace, where it was moored at its usual
place.
Public-domain text, read in full here on John Shaqi.
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