Absalom's Hair. Bjørnstjerne Bjørnson
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know, too, how the other rooms are to be done," she added. And she went from one to the other, remaining a little while in each. He followed, like an old horse led by the bridle.
Before their visit was half over he most coolly neglected three out of his four guests.
His deep-set eyes twinkled with the liveliest admiration whenever she approached. He sought in the faces of the others the admiration which he himself felt: he would amble round her like an old photographic camera which had the power of setting itself up.
But from the day when she took down from his bookshelf a French work on mechanics, a subject with which she was evidently acquainted and for which she declared that she had a natural aptitude, it was all over with him. From that day forward, if she were present, he effaced himself both in word and action.
In the mornings when he met her in one of her characteristic costumes he laughed softly, or gazed and gazed at her, and then glanced towards the others. She did not talk much, but every word that she uttered aroused his admiration. But he was most of all captivated when she sat quietly apart, heedless of every one: at such times he resembled an old parrot expectant of sugar.
His linen had always been snowy white, but beyond this he had taken no special pains with his toilet; but now he strutted about in a Tussore silk coat, which he had bought in Algiers, but had at once put aside because it was too tight—he looked like a clipt box hedge in it.
Now, who was this lion-tamer of twenty-one, who, without in the least wishing to do so, unconsciously even (she was the quietest of the party), had made the monarch of the forest crouch at her feet and gaze at her in abject humility?
Look at her, as she sits there, with her loose shining hair of the prettiest shade of dark red; look at her broad forehead and prominent nose, but more than all at those large wondering eyes; look at her throat and neck, her tall slight figure; notice especially the Renaissance dress which she wears, its style and colour, and your curiosity will still remain unsatisfied, for she has an individuality all her own.
Kristen Ravn had lost her mother at her birth and her father when she was five years old. The latter left her a handsome fortune, with the express condition that the investments should not be changed, and that the income should be for her own use whether she married or not. He hoped by this means to form her character. She was brought up by three different members of her wide-branching family, a family which might more properly be termed a clan, although they had no common characteristics beyond a desire to go their own way.
When two Ravns meet they, as a rule, differ on every subject; but as a race they hold religiously together—indeed, in their eyes there is no other family which is "amusing," the favourite adjective of the Ravns.
Kristen had a receptive nature; she read everything, and remembered what she read; that is say, she had a logical mind, for a retentive memory implies an orderly brain. She was consequently NUMBER ONE in everything which she took up. This, coupled with the fact that she lived among those who regarded her somewhat as a speculation, and consequently flattered her, had early made an impression on her nature, quite as great, indeed, as the possession of money.
She was by no means proud, it was not in the Ravn nature to be so; but at ten years old she had left off playing; she preferred to wander in the woods and compose ballads. At twelve she insisted on wearing silk dresses, and, in the teeth of an aunt all curls and lace and with a terrible flow of words, she carried her point. She held herself erect and prim in her silks, and still remained NUMBER ONE. She composed verses about Sir Adge and Maid Else, about birds and flowers and sad things.
On reaching the age at which other girls, who have the means, begin to wear silk dresses, she left them off. She was tired, she said, of the "smooth and glossy."
She now grew enthusiastic for fine wool and expensive velvet of every shade. Dresses in the Renaissance style became her favourites, and the subject of her studies. She puffed out her bodices like those in Leonardo's and Rafael's portraits of women, and tried in other ways as well to resemble them.
She left off writing verses, and wrote stories instead; the style was good, though they were anything rather than spontaneous.
They were short, with a more or less clear pointe. Stories by a girl of eighteen do not as a general rule make a sensation, but these were particularly audacious. It was evident that their only object was to scandalise. Instead of her own name she used the nom-de-plume of "Puss." This, however, was only to postpone the announcement that the author who scandalised her readers most, and that at a time when every author strove to do so, was a girl of eighteen belonging to one of the first families in the country.
Soon every one knew that "Puss" was she of the tumbled red locks, "the tall Renaissance figure with the Titian hair."
Her hair was abundant, glossy, and slightly curling; she still wore it hanging loose over her neck and shoulders, as she had done as a child. Her great eyes seemed to look out upon a new world; but one felt that the lower part of her face was scarcely in harmony with the upper. The cheeks fell in a little; the prominent nose made the mouth look smaller than it actually was; her neck seemed only to lead the eye downward to her bosom, which almost appeared to caress her throat, especially when her head was bent forward, as was generally the case. And very beautiful the throat was, delicate in colour, superb in contour, and admirably set upon the bust. For this reason she could never find in her heart to hide this full white neck, but always kept it uncovered. Her finely moulded bust surmounting a slender waist and small hips, her rounded arms, her long hands, her graceful carriage, in her tightly-fitting dress, formed such a striking picture that one did more than look—one was obliged to study her, When the elegance and beauty of her dress were taken into account, one realised how much intelligence and artistic taste had here been exercised.
She was friendly in society, natural and composed, always occupied with something, always with that wondering expression. She spoke very little, but her words were always well chosen.
All this, and her general disposition, made people chary of opposing her, more especially those who knew how intelligent she was and how much knowledge she possessed.
She had no friends of her own, but her innumerable relations supplied her with society, gossip, and flattery, and were at once her friends and body-guard. She would have had to go abroad to be alone.
Among these relations she was a princess: they not only paid her homage, but had sworn by "Life and Death" that she must marry without more ado, which was absolutely against her wish.
From her childhood she had been laying by money, but the amount of her savings was far less than her relations supposed. This rather mythical fortune contributed not a little to the fact that "every one" was in love with her. Not only the bachelors of the family, that was a matter of course, but artists and amateurs, even the most blase, swarmed round her, la jeunesse doree (which is homely enough in Norway), without an exception. A living work of art, worth more or less money, piquante and admired, how each longed to carry her home, to gloat over her, to call her his own!
There was surely more intensity of feeling near her than near others, a losing of oneself in one only; that unattainable dream of the world-weary.
With her one could lead a thoroughly stylish life, full of art and taste and comfort. She was highly cultivated, and absolutely emancipated—our little country did not, in those days, possess a more alluring expression.
When face to face with her they were uncertain how to act, whether to approach her diffidently or boldly, smile or look serious, talk or be silent.
What these idle wooers gleaned from her stories, her characteristic dress, her wondering eyes, and her quiet dreaminess, was not the highest, but they expended their energy thereon; so that their unbounded discomfiture may be imagined when, in the autumn, the news spread that Fruken Kristen Ravn was married to Harald Kaas.
They burst into peals of derisive laughter they scoffed, they exclaimed; the only explanation they could offer was that they had too long hesitated to try their fortune.
There were others, who both knew and admired her, who were no less dismayed. They were more than disappointed—the word is too weak; to many of them it seemed simply deplorable. How on earth could it have happened? Every one, herself excepted,