It can be very cozy on those winter evenings when everybody sits at home in the workshop and passes the time by doing nothing, because it is so dark and cold out of doors, and one has nowhere to go to. To stand about by the skating-ponds and to look on, frozen, while others go swinging past—well, Pelle has had enough of it; and as for strolling up the street toward the north, and then turning about and returning toward the south, and turning yet again, up and down the selfsame street—well, there is nothing in it unless one has good warm clothes and a girl whose waist one can hold. And Morten too is no fresh-air disciple; he is freezing, and wants to sit in the warmth.

So they slink into the workshop as soon as it begins to grow dark, and they take out the key and hang it on the nail in the entry, in order to deceive Jeppe, and then they secretly make a fire in the stove, placing a screen in front of it, so that Jeppe shall not see the light from it when he makes his rounds past the workshop windows. They crouch together on the ledge at the bottom of the stove, each with an arm round the other’s shoulder, and Morten tells Pelle about the books he has read.

“Why do you do nothing but read those stupid books?” asks Pelle, when he has listened for a time.

“Because I want to know something about life and about the world,” answers Morten, out of the darkness.

“Of the world?” says Pelle, in a contemptuous tone. “I want to go out into the world and see things—what’s in the books is only lies. But go on.”

And Morten goes on, good-natured as always. And in the midst of his narrative something suddenly occurs to him, and he pulls a paper packet from his breast-pocket: “That’s chocolate from Bodil,” he says, and breaks the stick in two.

“Where had she put it?” asks Pelle.

“Under the sheet—I felt something hard under my back when I lay down.”

The boys laugh, while they nibble at the chocolate. Suddenly Pelle says: “Bodil, she’s a child-seducer! She enticed Hans Peter away from Stone Farm—and he was only fifteen!”

Morten does not reply; but after a time his head sinks on Pelle’s shoulder—his body is twitching.

“Well, you are seventeen,” says Pelle, consoling. “But it’s silly all the same; she might well be your mother—apart from her age.” And they both laugh.

It can be still cozier on work-day evenings. Then the fire is burning openly in the stove, even after eight o’clock, and the lamp is shining, and Morten is there again. People come from all directions and look in for a moment’s visit, and the cold, an impediment to everything else, awakens all sorts of notable reminiscences. It is as though the world itself comes creeping into the workshop. Jeppe conjures up his apprentice years in the capital, and tells of the great bankruptcy; he goes right back to the beginning of the century, to a wonderful old capital where the old people wore wigs, and the rope’s-end was always at hand and the apprentices just kept body and soul together, begging on Sundays before the doors of the townsfolk. Ah, those were times! And he comes home and wants to settle down as master, but the guild won’t accept him; he is too young. So he goes to sea as cook, and comes to places down south where the sun burns so fiercely that the pitch melts in the seams and the deck scorches one’s feet. They are a merry band, and Jeppe, little as he is, by no means lags behind the rest. In Malaga they storm a tavern, throw all the Spaniards out of the window, and sport with the girls—until the whole town falls upon them and they have to fly to their boat. Jeppe cannot keep up with them, and the boat shoves off, so that he has to jump into the water and swim for it. Knives fall splashing about him in the water, and one sticks shivering in his shoulder-blades. When Jeppe comes to this he always begins to strip his back to show the scar, and Master Andres holds him back. Pelle and Morten have heard the story many a time, but they are willing always to hear it again.

And Baker Jorgen, who for the greater part of his life has been a seaman on the big vessels sailing the northern and southern oceans, talks about capstans and icebergs and beautiful black women from the West Indies. He sets the capstan turning, so that the great three-master makes sail out of the Havana roadstead, and all his hearers feel their hearts grow light.

So they walk round and round, twelve men with their breasts pressed against the heavy capstan-bars; the anchor is weighed, and the sail fills with the wind—and behind and through his words gleam the features of a sweetheart in every port. Bjerregrav cannot help crossing himself—he who has never accomplished anything, except to feel for the poor; but in the young master’s eyes everybody travels—round and round the world, round and round the world. And Wooden-leg Larsen, who in winter is quite the well-to-do pensioner, in blue pilot-coat and fur cap, leaves his pretty, solidly-built cottage when the Spring comes, and sallies forth into the world as a poor organ-grinder—he tells them of the Zoological Gardens on the hill, and the adventurous Holm-Street, and of extraordinary beings who live upon the dustbins in the back-yards of the capital.

But Pelle’s body creaks whenever he moves; his bones are growing and seeking to stretch themselves; he feels growth and restlessness in every part and corner of his being. He is the first to whom the Spring comes; one day it announces itself in him in the form of a curiosity as to what his appearance is like. Pelle has never asked himself this question before; and the scrap of looking-glass which he begged from the glazier from whom he fetches the glass scrapers tells him nothing truly. He has at bottom a feeling that he is an impossible person.

He begins to give heed to the opinions of others respecting his outward appearance; now and again a girl looks after him, and his cheeks are no longer so fat that people can chaff him about them. His fair hair is wavy; the lucky curl on his forehead is still visible as an obstinate little streak; but his ears are still terribly big, and it is of no use to pull his cap over them, in order to press them close to his head. But he is tall and well-grown for his age, and the air of the workshop has been powerless to spoil his ruddy complexion; and he is afraid of nothing in the world—particularly when he is angry. He thinks out a hundred different kinds of exercise in order to satisfy the demands of his body, but it is of no use. If he only bends over his hammer-work he feels it in every joint of his body.

And then one day the ice breaks and goes out to sea. Ships are fitted out again, and provisioned, and follow the ice, and the people of the town awake to the idea of a new life, and begin to think of green woods and summer clothing.

And one day the fishing-boats arrive! They come gliding across from Hellavik and Nogesund on the Swedish coast. They cut swiftly through the water, heeling far over under their queer lateen sails, like hungry sea-birds that sweep the waves with one wing-tip in their search for booty. A mile to seaward the fishermen of the town receive them with gunshots; they have no permission to anchor in the fishing port, but have to rent moorings for themselves in the old ship’s harbor, and to spread out the gear to dry toward the north. The craftsmen of the town come flocking down to the harbor, discussing the foreign thieves who have come from a poorer country in order to take the bread out of the mouths of the townsfolk; for they are inured to all weathers, and full of courage, and are successful in their fishing. They say the same things every Spring, but when they want to buy herrings they deal with the Swedes, who sell more cheaply than the Bornholmers. “Perhaps our fishermen wear leather boots?” inquires Jeppe. “No, they wear wooden shoes week-days and Sunday alike. Let the wooden-shoe makers deal with them—I buy where the fish is cheapest!”

It is as though the Spring in person has arrived with these thin, sinewy figures, who go singing through the streets, challenging the petty envy of the town. There are women, too, on every boat, to mend and clean the gear, and they pass the workshop in crowds, searching for their old lodgings in the poor part of the town near the “Great Power’s” home. Pelle’s heart leaps at the sight of these young women, with pretty slippers on their feet, black shawls round their oval faces, and many fine colors in their dress. His mind is full of shadowy memories of his childhood, which have lain as quiet as though they were indeed extinguished; vague traditions of a time that he has experienced but can no longer remember; it is like a warm breath of air from another and unknown existence.

If it happens that one or another of these girls has a little child on her arm, then the town has something to talk about. Is it Merchant Lund again, as it was last year? Lund, who since then had been known only as “the Herring Merchant”? Or is it some sixteen-year-old apprentice, a scandal to his pastor and schoolmaster, whose hands he has only just left?

Then Jens goes forth with his concertina, and Pelle makes haste with his tidying up, and he and Morten hurry up to Gallows Hill, hand-in-hand, for Morten finds it difficult to run so quickly. All that the town possesses of reckless youth is there; but the Swedish girls take the lead. They dance and whirl until their slippers fly off, and little battles are fought over them. But on Saturdays the boats do not go to sea; then the men turn up, with smouldering brows, and claim their women, and then there is great slaughter.

Pelle enters into it all eagerly; here he finds an opportunity of that exercise of which his handicraft deprives his body. He hungers for heroic deeds, and presses so close to the fighters that now and again he gets a blow himself. He dances with Morten, and plucks up courage to ask one of the girls to dance with him; he is shy, and dances like a leaping kid in order to banish his shyness; and in the midst of the dance he takes to his heels and leaves the girl standing there. “Damned silly!” say the onlookers, and he hears them laughing behind him. He has a peculiar manner of entering into all this recklessness which lets the body claim its due without thought for the following day and the following year. If some man-hunting young woman tries to capture his youth he lashes out behind, and with a few wanton leaps he is off and away. But he loves to join in the singing when the men and women go homeward with closely-twined arms, and he and Morten follow them, they too with their arms about each other. Then the moon builds her bridge of light across the sea, and in the pinewood, where a white mist lies over the tree-tops, a song rises from every path, heard as a lulling music in the haunts of the wandering couples; insistently melancholy in its meaning, but issuing from the lightest hearts. It is just the kind of song to express their happiness.

And the song continues as they go through the town, couple after couple, wandering as they list. The quiet winding closes ring with songs of love and death, so that the old townsfolk lift their heads from their pillows, and, their nightcaps pushed to one side, wag gravely at all this frivolity. But youth knows nothing of this; it plunges reveling onward, with its surging blood. And one day the old people have the best of it; the blood surges no longer, but there they are, and there are the consequences, and the consequences demand paternity and maintenance. “Didn’t we say so?” cry the old folk; but the young ones hang their heads, and foresee a long, crippled existence, with a hasty marriage or continual payments to a strange woman, while all through their lives a shadow of degradation and ridicule clings to them; both their wives and their company must be taken from beneath them. They talk no longer of going out into the world and making their way; they used to strut arrogantly before the old folk and demand free play for their youth, but now they go meekly in harness with hanging heads, and blink shamefacedly at the mention of their one heroic deed. And those who cannot endure their fate must leave the country secretly and by night, or swear themselves free.

The young master has his own way of enjoying himself. He takes no part in the chase after the girls; but when the sunlight is really warm, he sits before the workshop window and lets it warm his back. “Ah, that’s glorious!” he says, shaking himself. Pelle has to feel his fur jacket to see how powerful the sun is. “Thank God, now we have the spring here!”

Inside the workshop they whistle and sing to the hammer-strokes; there are times when the dark room sounds like a bird-shop. “Thank God, now we have the spring!” says Master Andres over and over again, “but the messenger of spring doesn’t seem to be coming this year.”

“Perhaps he is dead,” says little Nikas.

“Garibaldi dead? Good Lord! he won’t die just yet. All the years I can remember he has looked just as he does now and has drunk just as hard. Lord of my body! but how he has boozed in his time, the rascal! But you won’t find his equal as a shoemaker all the world over.”

One morning, soon after the arrival of the steamer, a thin, tall, sharp-shouldered man comes ducking through the workshop door. His hands and face are blue with the cold of the morning and his cheeks are rather baggy, but in his eyes burns an undying fire. “Morning, comrades!” he says, with a genial wave of the hand. “Well, how’s life treating us? Master well?” He dances into the workshop, his hat pressed flat under his left arm. His coat and trousers flap against his body, revealing the fact that he is wearing nothing beneath them; his feet are thrust bare into his shoes, and he wears a thick kerchief round his neck. But such a manner and a carriage in a craftsman Pelle has never seen in all his days; and Garibaldi’s voice alone is like a bell.

“Now, my son,” he says, and strikes Pelle lightly on the shoulder, “can you fetch me something to drink? Just a little, now at once, for I’m murderously thirsty. The master has credit! Pst! We’ll have the bottleful—then you needn’t go twice.”

Pelle runs. In half a minute he is back again. Garibaldi knows how to do things quickly; he has already tied his apron, and is on the point of passing his opinion on the work in the workshop. He takes the bottle from Pelle, throws it over his shoulder, catches it with the other hand, sets his thumb against the middle of the bottle, and drinks. Then he shows the bottle to the others. “Just to the thumbnail, eh?”

“I call that smart drinking!” says little Nikas.

“It can be done though the night is black as a crow”; Garibaldi waves his hand in a superior manner. “And old Jeppe is alive still? A smart fellow!”

Master Andres strikes on the wall. “He has come in—he is there!” he says, with his wide-opened eyes. After a time he slips into his clothes and comes out into the workshop; he hangs about gossiping, but Garibaldi is sparing of his words; he is still rusty after the night voyage.

A certain feverishness has affected them all; an anxiety lest anything should escape them. No one regards his daily work with aversion to-day; everybody exerts his capacities to the utmost. Garibaldi comes from the great world, and the spirit of adventure and the wandering life exhales from his flimsy clothes.

“If he’ll only begin to tell us about it,” whispers Pelle to Jens; he cannot sit still. They hang upon his lips, gazing at him; if he is silent it is the will of Providence. Even the master does not bother him, but endures his taciturnity and little Nikas submits to being treated like an apprentice.

Garibaldi raises his head. “Well, one didn’t come here to sit about and idle!” he cries gaily. “Plenty to do, master?”

“There’s not much doing here, but we’ve always work for you,” replies Master Andres. “Besides, we’ve had an order for a pair of wedding-shoes, white satin with yellow stitching; but we haven’t properly tackled it.” He gives little Nikas a meaning glance.

“No yellow stitching with white satin, master; white silk, of course, and white edges.”

“Is that the Paris fashion?” asks Master Andres eagerly. Garibaldi shrugs his shoulders. “Don’t let us speak of Paris, Master Andres; here we have neither the leather nor the tools to make Parisian shoes; and we haven’t the legs to put into them, either.”

“The deuce! Are they so fashionable?”

“Fashionable! I should say so! I can hold the foot of a well-grown Parisian woman in the hollow of my hand. And when they walk they don’t touch the pavement! You could make shoes for a Parisian girl out of whipped cream, and they’d hold together! If you were to fit her with a pair of ordinary woman’s beetle-crushers she’d jump straight into the sewer!”

“Well, I’m damned!” The master is hastily cutting some leather to shape. “The devil she would!”

Never did any one make himself at home more easily; Garibaldi draws a seat up to the table and is at once in full swing. No rummaging about after tools; his hand finds his way to the exact spot where the thing required lies, as though an invisible track lay between them. These hands do everything of themselves, quietly, with gentle movements, while the eyes are elsewhere; gazing out into the garden, or examining the young master, or the work of the apprentices. To Pelle and the others, who always have to look at everything from every side in turn, this is absolutely marvelous. And before they have had time to look round Garibaldi has put everything in order, and is sitting there working and looking across the room at the master, who is himself sewing to-day.

And then Jeppe comes tumbling in, annoyed that no one has told him of Garibaldi’s arrival. “‘Day, master—‘day, craft-master!” says Garibaldi, who stands up and bows.

“Yes,” says Jeppe self-consciously, “if there were craft-masters still, I should be one. But manual work is in a wretched case to-day; there’s no respect for it, and where shall a man look for respect if he doesn’t respect himself?”

“That’s meant for the young master, eh?” says Garibaldi laughing. “But times have altered, Master Jeppe; knee-straps and respect have given out; yes, those days are over! Begin at seven, and at six off and away! So it is in the big cities!”

“Is that this sosherlism?” says Jeppe disdainfully.

“It’s all the same to me what it is—Garibaldi begins and leaves off when it pleases him! And if he wants more for his work he asks for it! And if that doesn’t please them—then adieu, master, adieu! There are slaves enough, said the boy, when he got no bread.”

The others did not get very much done; they have enough to do to watch Garibaldi’s manner of working. He has emptied the bottle, and now his tongue is oiled; the young master questions him, and Garibaldi talks and talks, with continual gestures. Not for a moment do his hands persist at their work; and yet the work progresses so quickly it is a revelation to watch it; it is as though it were proceeding of itself. His attention is directed upon their work, and he always interferes at the right moment; he criticizes their way of holding their tools, and works out the various fashions of cut which lend beauty to the heel and sole. It is as though he feels it when they do anything wrongly; his spirit pervades the whole workshop. “That’s how one does it in Paris,” he says, or “this is Nuremberg fashion.” He speaks of Vienna and Greece in as matter-of-fact a way as though they lay yonder under Skipper Elleby’s trees. In Athens he went to the castle to shake the king by the hand, for countrymen should always stand by one another in foreign parts.

“He was very nice, by the by; but he had had his breakfast already. And otherwise it’s a damned bad country for traveling; there are no shoemakers there. No, there I recommend you Italy—there are shoemakers there, but no work; however, you can safely risk it and beg your way from place to place. They aren’t like those industrious Germans; every time you ask them for a little present they come and say, ‘Come in, please, there is some work you can do!’ And it is so warm there a man can sleep on the bare ground. Wine flows in every gutter there, but otherwise it’s no joke.” Garibaldi raises the empty bottle high in the air and peeps wonderingly up at the shelves; the young master winks at Pelle, and the latter fetches another supply of drink at the gallop.

The hot blood is seething in Pelle’s ears. He must go away, far away from here, and live the wandering life, like Garibaldi, who hid himself in the vineyards from the gendarmes, and stole the bacon from the chimneys while the people were in the fields. A spirit is working in him and the others; the spirit of their craft. They touch their tools and their material caressingly with their fingers; everything one handles has an inward color of its own; which tells one something. All the dustiness and familiarity of the workshop is swept away; the objects standing on the shelves glow with interest; the most tedious things contain a radiant life of their own.

The world rises before them like a cloudy wonder, traversed by endless highways deep in white dust, and Garibaldi treads them all. He has sold his journeyman’s pass to a comrade for a slice of bread and butter, and is left without papers; German policemen give chase to him, and he creeps through the vineyards for fourteen days, on hands and knees, getting nothing for his pains but grapes and a shocking attack of summer cholera. Finally his clothes are so very much alive that he no longer needs to move of himself; he simply lies quiet, and lets himself be carried along until he comes to a little town. “An inn?” asks Garibaldi. Yes, there is an inn. There he tells a story to the effect that he has been robbed; and the good people put him to bed, and warm and dry his clothes. Garibaldi snores, and pushes the chair nearer the stove; snores, and pushes it a little further; and as his clothes burst into a blaze he starts up roaring and scolding and weeping, and is inconsolable. So then he is given fine new clothes and new papers, and is out on the road again, and the begging begins afresh; mountains rise and pass him by, and great cities too, cities with wide rivers. There are towns in which the wandering journeyman can get no money, but is forced to work; damnable places, and there are German hostels where one is treated like a prisoner; all clothes must be taken off in a long corridor, even to one’s shirt; a handful of men examine them, and then everything is put safely away. Thirty or forty naked men are admitted, one after another, to the great bare dormitory.

Paris—the name is like a bubble bursting in one’s ear! There Garibaldi has worked for two years, and he has been there a score of times on passing visits. Paris is the glory of the whole world massed together, and all the convenient contrivances of the world brought to a state of perfection. Here in the town no respectable shoemaker will mend the dirty shoes of the “Top-galeass”; she goes about in down-trodden top-boots, or, if the snipping season has been poor, she wears wooden shoes. In Paris there are women who wear shoes at twenty guineas a pair, who carry themselves like queens, earn forty thousand pounds a year, and are yet nothing but prostitutes. Forty thousand! If another than Garibaldi had said it he would have had all the lasts thrown at his head!

Pelle does not hear what the master says to him, and Jens is in a great hurry for the cobbler’s wax; he has cut the upper of the shoe he is soling. They are quite irresponsible; as though bewitched by this wonderful being, who goes on pouring brandy down his throat, and turning the accursed drink into a many-colored panorama of the whole world, and work that is like a miracle.

The news has soon spread, and people come hurrying in to see Garibaldi, and perhaps to venture to shake him by the hand; Klausen wants to borrow some pegs, and Marker, quite unabashed, looks in to borrow the biggest last. The old cobbler Drejer stands modestly in a corner and says “Yes, yes!” to the other’s remarks. Garibaldi has reached him his hand, and now he can go home to his gloomy shop and his dirty stock and his old man’s solitude. The genius of the craft has touched him, and for the rest of his days has shed a light upon his wretched work of patching and repairing; he has exchanged a handshake with the man who made the cork-soled boots for the Emperor of Germany himself when he went out to fight the French. And the crazy Anker is there too; but does not come in, as he is shy of strangers. He walks up and down the yard before the workshop window, and keeps on peeping in. Garibaldi points his finger to his forehead and nods, and Anker does the same; he is shaking with suppressed laughter, as over some excellent joke, and runs off like a child who must hide himself in a corner in order to savor his delight. Baker Jorgen is there, bending down with his hands on his thighs, and his mouth wide open. “Lor’ Jiminy!” he cries from time to time; “did ever one hear the like!” He watches the white silk run through the sole and form itself into glistening pearls along the edge. Pearl after pearl appears; Garibaldi’s arms fly about him, and presently he touches the baker on the hip. “Am I in the way?” asks old Jorgen. “No, God forbid—stay where you are!” And his arms fly out again, and the butt of the bodkin touches the baker with a little click. “I’m certainly in the way,” says Jorgen, and moves a few inches. “Not in the least!” replies Garibaldi, stitching away. Then out fly his arms again, but this time the point of the bodkin is turned toward the baker. “Now, good Lord, I can see I’m in the way!” says Jorgen, rubbing himself behind. “Not at all!” replies Garibaldi courteously, with an inviting flourish of his hand. “Pray come nearer.” “No, thank you! No, thank you!” Old Jorgen gives a forced laugh, and hobbles away.

Otherwise Garibaldi lets them come and stare and go as they like. It does not trouble him that he is an eminent and remarkable person; quite unperturbed, he puts the brandy-bottle to his lips and drinks just as long as he is thirsty. He sits there, playing thoughtlessly with knife and leather and silk, as though he had sat on the stool all his life, instead of having just fallen from the moon. And about the middle of the afternoon the incomparable result is completed; a pair of wonderful satin shoes, slender as a neat’s tongue, dazzling in their white brilliance, as though they had just walked out of the fairy-tale and were waiting for the feet of the Princess.

“Look at them, damn it all!” says the master, and passes them to little Nikas, who passes them round the circle. Garibaldi throws back his close-cropped gray head.

“You need not say who has made them—everybody can see that. Suppose now the shoes go to Jutland and are worn there and are thrown on the rubbish-heap. One day, years hence, some porridge-eater goes ploughing; a scrap of the instep comes to the surface; and a wandering journeyman, who is sitting in the ditch nibbling at his supper, rakes it toward him with his stick. That bit of instep, he says, that, or the Devil may fry me else, was part of a shoe made by Garibaldi—deuce take me, he says, but that’s what it was. And in that case the journeyman must be from Paris, or Nuremberg, or Hamburg—one or the other, that’s certain. Or am I talking nonsense, master?”

No; Master Andres can asseverate this is no nonsense—he who from childhood lived with Garibaldi on the highways and in great cities, who followed him so impetuously with that lame leg of his that he remembers Garibaldi’s heroic feats better than Garibaldi himself. “But now you will stay here,” he says persuasively. “Now we’ll work up the business—we’ll get all the fine work of the whole island.” Garibaldi has nothing against this; he has had enough of toiling through the world.

Klausen will gladly make one of the company; in the eyes of all those present this proposal is a dream which will once more raise the craft to its proper level; will perhaps improve it until the little town can compete with Copenhagen. “How many medals have you really received?” says Jeppe, as he stands there with a great framed diploma in his hand. Garibaldi shrugs his shoulders. “I don’t know, old master; one gets old, and one’s hand gets unsteady. But what is this? Has Master Jeppe got the silver medal?”

Jeppe laughs. “For this I have to thank a tramp by the name of Garibaldi. He was here four years ago and won the silver medal for me!” Well—that is a thing Garibaldi has long forgotten! But medals are scattered about wherever he has been.

“Yes, there are a hundred masters knocking about who boast of their distinctions: first-class workshop—you can see it for yourself—‘a silver medal.’ But who did the work? Who got his day’s wages and an extra drop of drink and then—good-bye, Garibaldi! What has one to show for it, master? There are plenty of trees a man can change his clothes behind—but the shirt?” For a moment he seems dejected. “Lorrain in Paris gave me two hundred francs for the golden medal I won for him; but otherwise it was always—Look in my waistcoat pocket! or—I’ve an old pair of trousers for you, Garibaldi! But now there’s an end to that, I tell you; Garibaldi has done with bringing water to the mill for the rich townsfolk; for now he’s a sosherlist!” He strikes the table so that the glass scrapers jingle. “That last was Franz in Cologne—gent’s boots with cork socks. He was a stingy fellow; he annoyed Garibaldi. I’m afraid this isn’t enough for the medal, master, I said; there’s too much unrest in the air. Then he bid me more and yet more—but it won’t run to the medal—that’s all I will say. At last he sends Madame to me with coffee and Vienna bread—and she was in other respects a lady, who drove with a lackey on the box. But we were furious by that time! Well, it was a glorious distinction—to please Madame.”

“Had he many journeymen?” asks Jeppe.

“Oh, quite thirty or forty.”

“Then he must have been somebody.” Jeppe speaks in a reproving tone.

“Somebody—yes—he was a rascal! What did it matter to me that he had a lot of journeymen? I didn’t cheat them out of their wages!”

Now Garibaldi is annoyed; he takes off his apron, puts his hat on sideways, and he goes into the town.

“Now he’s going to look for a sweetheart!” says the young master; “he has a sweetheart in every town.”

At eight he comes sailing into the workshop again. “What, still sitting here?” he says to the apprentices. “In other parts of the world they have knocked off work two hours ago. What sort of slaves are you to sit crouching here for fourteen hours? Strike, damn it all!”

They look at one another stupidly. “Strike—what is that?”

Then comes the young master. “Now it would do one good to warm one’s eyes a bit,” says Garibaldi.

“There’s a bed made up for you in the cutting-out room,” says the master. But Garibaldi rolls his coat under his head and lies down on the window-bench. “If I snore, just pull my nose,” he says to Pelle, and goes to sleep. Next day he makes two pairs of kid boots with yellow stitching—for little Nikas this would be a three days’ job. Master Andres has all his plans ready—Garibaldi is to be a partner. “We’ll knock out a bit of wall and put in a big shop-window!” Garibaldi agrees—he really does for once feel a desire to settle down. “But we mustn’t begin too big,” he says: “this isn’t Paris.” He drinks a little more and does not talk much; his eyes stray to the wandering clouds outside.

On the third day Garibaldi begins to show his capacities. He does not do much more work, but he breaks a heavy stick in two with one blow as it flies through the air, and jumps over a stick which he holds in both hands. “One must have exercise,” he says restlessly. He balances an awl on the face of a hammer and strikes it into a hole in the sole of a boot.

And suddenly he throws down his work. “Lend me ten kroner, master,” he says; “I must go and buy myself a proper suit. Now I’m settled and a partner in a business I can’t go about looking like a pig.”

“It will be better for you to get that finished,” says the master quietly, pushing Garibaldi’s work across to little Nikas. “We shan’t see him again!”

This is really the case. He will go into the town with the honorable intentions, to buy something, and then he will be caught and whirled out into the great world, far away, quite at hazard. “He’s on the way to Germany with some skipper already,” says the master.

“But he hasn’t even said good-bye!” The master shrugs his shoulders.

He was like a falling star! But for Pelle and the others he signified more than that; they learned more in three days than in the whole course of their apprenticeship. And they saw brilliant prospects for the craft; it was no hole-and-corner business after all; with Garibaldi, they traveled the whole wonderful world. Pelle’s blood burned with the desire to wander; he knew now what he wanted. To be capable as Garibaldi—that genius personified; and to enter the great cities with stick and knapsack as though to a flourish of trumpets.

They all retained traces of his fleeting visit. Something inside them had broken with a snap; they gripped their tools more freely, more courageously; and they had seen their handicraft pass before their eyes like a species of technical pageant. For a long time the wind of the passage of the great bird hung about the little workshop with its atmosphere of respectable citizenship.

And this fresh wind in one’s ears was the spirit of handicraft itself which hovered above their heads—borne upon its two mighty pinions—genius and debauchery.

But one thing remained in Pelle’s mind as a meaningless fragment—the word “strike.” What did it mean?