Книга - My Little Boy

My Little Boy
Carl Ewald




Carl Ewald

My Little Boy





I


My little boy is beginning to live.

Carefully, stumbling now and then on his little knock-kneed legs, he makes his way over the paving-stones, looks at everything that there is to look at and bites at every apple, both those which are his due and those which are forbidden him.

He is not a pretty child and is the more likely to grow into a fine lad. But he is charming.

His face can light up suddenly and become radiant; he can look at you with quite cold eyes. He has a strong intuition and he is incorruptible. He has never yet bartered a kiss for barley-sugar. There are people whom he likes and people whom he dislikes. There is one who has long courted his favour indefatigably and in vain; and, the other day, he formed a close friendship with another who had not so much as said "Good day" to him before he had crept into her lap and nestled there with glowing resolution.

He has a habit which I love.

When we are walking together and there is anything that impresses him, he lets go my hand for a moment. Then, when he has investigated the phenomenon and arrived at a result, I feel his little fist in mine again.

He has bad habits too.

He is apt, for instance, suddenly and without the slightest reason, to go up to people whom he meets in the street and hit them with his little stick. What is in his mind, when he does so, I do not know; and, so long as he does not hit me, it remains a matter between himself and the people concerned.

He has an odd trick of seizing big words in a grown-up conversation, storing them up for a while and then asking me for an explanation:

"Father," he says, "what is life?"

I give him a tap in his little stomach, roll him over on the carpet and conceal my emotion under a mighty romp. Then, when we sit breathless and tired, I answer, gravely:

"Life is delightful, my little boy. Don't you be afraid of it!"




II


Today my little boy gave me my first lesson.

It was in the garden.

I was writing in the shade of the big chestnut-tree, close to where the brook flows past. He was sitting a little way off, on the grass, in the sun, with Hans Christian Andersen in his lap.

Of course, he does not know how to read, but he lets you read to him, likes to hear the same tales over and over again. The better he knows them, the better he is pleased. He follows the story page by page, knows exactly where everything comes and catches you up immediately should you skip a line.

There are two tales which he loves more than anything in the world.

These are Grimm's Faithful John and Andersen's The Little Mermaid. When anyone comes whom he likes, he fetches the big Grimm, with those heaps of pictures, and asks for Faithful John. Then, if the reader stops, because it is so terribly sad, with all those little dead children, a bright smile lights up his small, long face and he says, reassuringly and pleased at "knowing better":

"Yes, but they come to life again."

Today, however, it is The Little Mermaid.

"Is that the sort of stories you write?" he asks.

"Yes," I say, "but I am afraid mine will not be so pretty."

"You must take pains," he says.

And I promise.

For a time he makes no sound. I go on writing and forget about him.

"Is there a little mermaid down there, in the water?" he asks.

"Yes, she swims up to the top in the summer."

He nods and looks out across the brook, which ripples so softly and smoothly that one can hardly see the water flow. On the opposite side, the rushes grow green and thick and there is also a bird, hidden in the rushes, which sings. The dragon-flies are whirling and humming. I am sitting with my head in my hand, absorbed in my work.

Suddenly, I hear a splash.

I jump from my chair, upset the table, dart forward and see that my little boy is gone. The brook is billowing and foaming; there are wide circles on the surface.

In a moment, I am in the water and find him and catch hold of him.

He stands on the grass, dripping with wet, spluttering and coughing. His thin clothes are clinging to his thin body, his face is black with mud. But out of the mud gleams a pair of angry eyes:

"There was no mermaid," he says.

I do not at once know what to reply and I have no time to think.

"Do you write that sort of stories?" he asks.

"Yes," I say, shamefaced.

"I don't like any of you," he says. "You make fun of a little boy."

He turns his back on me and, proud and wet, goes indoors without once looking round.

This evening, Grimm and Hans Christian Andersen disappear in a mysterious manner, which is never explained. He will miss them greatly, at first; but he will never be fooled again, not if I were to give him the sun and moon in his hand.




III


My little boy and I have had an exceedingly interesting walk in the Frederiksberg Park.

There was a mouse, which was irresistible. There were two chaffinches, husband and wife, which built their nest right before our eyes, and a snail, which had no secrets for us. And there were flowers, yellow and white, and there were green leaves, which told us the oddest adventures: in fact, as much as we can find room for in our little head.

Now we are sitting on a bench and digesting our impressions.

Suddenly the air is shaken by a tremendous roar:

"What was that?" asks my little boy.

"That was the lion in the Zoological Gardens," I reply.

No sooner have I said this than I curse my own stupidity.

I might have said that it was a gunshot announcing the birth of a prince; or an earthquake; or a china dish falling from the sky and breaking into pieces: anything whatever, rather than the truth.

For now my little boy wants to know what sort of thing the Zoological Gardens is.

I tell him.

The Zoological Gardens is a horrid place, where they lock up wild beasts who have done no wrong and who are accustomed to walk about freely in the distant foreign countries where they come from. The lion is there, whom we have just heard roaring. He is so strong that he can kill a policeman with one blow of his paw; he has great, haughty eyes and awfully sharp teeth. He lives in Africa and, at night, when he roars, all the other beasts tremble in their holes for fear. He is called the king of beasts. They caught him one day in a cunning trap and bound him and dragged him here and locked him up in a cage with iron bars to it. The cage is no more than half as big as Petrine's room. And there the king walks up and down, up and down, and gnashes his teeth with sorrow and rage and roars so that you can hear him ever so far away. Outside his cage stand cowardly people and laugh at him, because he can't get out and eat them up, and poke their sticks through the rails and tease him.

My little boy stands in front of me and looks at me with wide-open eyes:

"Would he eat them up, if he got out?" he asks.

"In a moment."

"But he can't get out, can he?"

"No. That's awfully sad. He can't get out."

"Father, let us go and look at the lion."

I pretend not to hear and go on to tell him of the strange birds there: great eagles, which used to fly over every church-steeple and over the highest trees and mountains and swoop down upon lambs and hares and carry them up to their young in the nest. Now they are sitting in cages, on a perch, like canaries, with clipped wings and blind eyes. I tell him of gulls, which used to fly all day long over the stormy sea: now they splash about in a puddle of water, screaming pitifully. I tell him of wonderful blue and red birds, which, in their youth, used to live among wonderful blue and red flowers, in balmy forests a thousand times bigger than the Frederiksberg Park, where it was as dark as night under the trees with the brightest sun shining down upon the tree-tops: now they sit there in very small cages and hang their beaks while they stare at tiresome boys in dark-blue suits and black stockings and waterproof boots and sailor-hats.

"Are those birds really blue?" asks my little boy.

"Sky-blue," I answer. "And utterly broken-hearted."

"Father, can't we go and look at the birds?"

I take my little boy's hands in mine:

"I don't think we will," I say. "Why should still more silly boys do so? You can't imagine how it goes to one's heart to look at those poor captive beasts."

"Father, I should so much like to go."

"Take my advice and don't. The animals there are not the real animals, you see. They are ill and ugly and angry because of their captivity and their longing and their pain."

"I should so much like to see them."

"Now let me tell you something. To go to the Zoological Gardens costs five cents for you and ten cents for me. That makes fifteen cents altogether, which is an awful lot of money. We won't go there now, but we'll buy the biggest money-box we can find: one of those money-boxes shaped like a pig. Then we'll put fifteen cents in it. And every Thursday we'll put fifteen cents in the pig. By-and-by, that will grow into quite a fortune: it will make such a lot of money that, when you are grown up, you can take a trip to Africa and go to the desert and hear the wild, the real lion roaring and tremble just like the people tremble down there. And you can go to the great, dark forests and see the real blue birds flying proud and free among the flowers. You can't think how glad you will be, how beautiful they will look and how they will sing to you.."

"Father, I would rather go to the Zoological Gardens now."

My little boy does not understand a word of what I say. And I am at my wits' end.

"Shall we go and have some cakes at Josty's?" I ask.

"I would rather go to the Zoological Gardens."

I can read in his eyes that he is thinking of the captive lion. Ugly human instincts are waking up in his soul. The mouse is forgotten and the snail; and the chaffinches have built their nest to no purpose.

At last I get up and say, bluntly, without any further explanation:

"You are not going to the Zoological Gardens. Now we'll go home."

And home we go. But we are not in a good temper.

Of course, I get over it and I buy an enormous money-box pig. Also we put the money into it and he thinks that most interesting.

But, later in the afternoon, I find him in the bed-room engaged in a piteous game.

He has built a cage, in which he has imprisoned the pig. He is teasing it and hitting it with his whip, while he keeps shouting to it:

"You can't get out and bite me, you stupid pig! You can't get out!"




IV


We have beer-soup and Aunt Anna to dinner. Now beer-soup is a nasty dish and Aunt Anna is not very nice either.

She has yellow teeth and a little hump and very severe eyes, which are not even both equally severe. She is nearly always scolding us and, when she sees a chance, she pinches us.

The worst of all, however, is that she is constantly setting us a good example, which can easily end by gradually and inevitably driving us to embrace wickedness.

Aunt Anna does not like beer-soup any more than we do. But of course she eats it with a voluptuous expression on her face and looks angrily at my little boy, who does not even make an attempt to behave nicely:

"Why doesn't the little boy eat his delicious beer-soup?" she asks.

A scornful silence.

"Such delicious beer-soup! I know a poor, wretched boy who would be awfully glad to have such delicious beer-soup."

My little boy looks with great interest at Auntie, who is swallowing her soup with eyes full of ecstatic bliss:

"Where is he?" he asks.

Aunt Anna pretends not to hear.

"Where is the poor boy?" he asks again.

"Yes, where is he?" I ask. "What's his name?"

Aunt Anna gives me a furious glance.

"What's his name, Aunt Anna?" asks my little boy. "Where does he live? He can have my beer-soup with pleasure."

"Mine too," I say, resolutely, and I push my plate from me.

My little boy never takes his great eyes off Aunt Anna's face. Meanwhile, she has recovered herself:

"There are many poor boys who would thank God if they could get such delicious beer-soup," she says. "Very many. Everywhere."

"Yes, but tell us of one, Auntie," I say.

My little boy has slipped down from his chair. He stands with his chin just above the table and both his hands round his plate, ready to march off with the beer-soup to the poor boy, if only he can get his address.

But Aunt Anna does not allow herself to be played with:

"Heaps of poor boys," she says again. "Hun-dreds! And therefore another little boy, whom I will not name, but who is in this room, ought to be ashamed that he is not thankful for his beer-soup."

My little boy stares at Aunt Anna like the bird fascinated by the snake.

"Such delicious beer-soup!" she says. "I must really ask for another little helping."

Aunt Anna revels in her martyrdom. My little boy stands speechless, with open mouth and round eyes.

I push my chair back and say, with genuine exasperation:

"Now, look here, Aunt Anna, this is really too bad! Here we are, with a whole lot of beer-soup, which we don't care about in the least and which we would be very glad to get rid of, if we only knew someone who would have it. You are the only one that knows of anybody. You know a poor boy who would dance for joy if he got some beer-soup. You know hundreds. But you won't tell us their names or where they live."

"Why, what do you mean?"

"And you yourself sit quite calmly eating two whole helpings, though you know quite well that you're going to have an omelette to follow. That's really very naughty of you, Aunt Anna."

Aunt Anna chokes with annoyance. My little boy locks his teeth with a snap and looks with every mark of disgust at that wicked old woman.

And I turn with calm earnestness to his mother and say:

"After this, it would be most improper for us ever to have beer-soup here again. We don't care for it and there are hundreds of little boys who love it. If it must be made, then Aunt Anna must come every Saturday and fetch it. She knows where the boys live."

The omelette is eaten in silence, after which Aunt Anna shakes the dust from her shoes. She won't have any coffee today.

While she is standing in the hall and putting on her endless wraps, a last doubt arises in my little boy's soul. He opens his green eyes wide before her face and whispers:

"Aunt Anna, where do the boys live?"

Aunt Anna pinches him and is shocked and goes off, having suffered a greater defeat than she can ever repair.




V


My little boy comes into my room and tells me, with a very long face, that Jean is dead. And we put all nonsense on one side and hurry away to the Klampenborg train, to go where Jean is.

For Jean is the biggest dog that has lived for some time.

He once bit a boy so hard that the boy still walks lame. He once bit his own master. He could give such a look out of his eyes and open such a mouth that there was no more horrible sight in the world. And then he would be the mildest of the mild: my little boy could put his hand in his mouth and ride on his back and pull his tail.

When we get there, we hear that Jean is already buried.

We look at each other in dismay, to think how quickly that happens! And we go to the grave, which is in the grounds of the factory, where the tall chimneys stand.

We sit down and can't understand it.

We tell each other all the stories that we know of Jean's wonderful size and strength. The one remembers this, the other that. And, as each story is told, the whole thing becomes only more awful and obscure.

At last we go home by train.

Besides ourselves, there is a kind old gentleman in the compartment, who would like to make friends with my little boy. But the boy has nothing to talk about to the kind old gentleman. He stands at the window, which comes just under his chin, and stares out.

His eyes light upon some tall chimneys:

"That's where Jean is buried," he says.

"Yes."

The landscape flies past. He can think only of that and see only that and, when some more chimneys appear, he says again:

"That's where Jean is buried."

"No, my little friend," says the kind old gentleman. "That was over there."

The boy looks at him with surprise. I hasten to reassure him:

"Those are Jean's chimneys," I say.

And, while he is looking out again, I take the old gentleman to the further corner of the compartment and tell him the state of the case.

I tell him that, if I live, I hope, in years to come, to explain to the boy the difference between Petersen's and Hansen's factories and, should I die, I will confidently leave that part of his education to others. Yes, even if he should never learn this difference, I would still be resigned. Today it is a question of other and more important matters. The strongest, the most living thing he knew is dead..

"Really?" says the old gentleman, sympathetically. "A relation, perhaps?"

"Yes," I say. "Jean is dead, a dog.."

"A dog?"

"It is not because of the dog– don't you understand? – but of death, which he sees for the first time: death, with all its might, its mystery.."

"Father," says my little boy and turns his head towards us. "When do we die?"

"When we grow old," says the kind old gentleman.

"No," says the boy. "Einar has a brother, at home, in the courtyard, and he is dead. And he was only a little boy."

"Then Einar's brother was so good and learnt such a lot that he was already fit to go to Heaven," says the old gentleman.

"Mind you don't become too good," I say and laugh and tap my little boy in the stomach.

And my little boy laughs too and goes back to his window, where new chimneys rise over Jean's grave.

But I take the old gentleman by the shoulders and forbid him most strictly to talk to my little boy again. I give up trying to make him understand me. I just shake him. He eyes the communication-cord and, when we reach the station, hurries away.

I go with my little boy, holding his hand, through the streets full of live people. In the evening, I sit on the edge of his bed and talk with him about that incomprehensible thing: Jean, who is dead; Jean, who was so much alive, so strong, so big..





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