Also by Pär Lagerkvist, available from Vintage
The Sibyl
FIRST VINTAGE INTERNATIONAL EDITION, OCTOBER 1989
Copyright 1951 by Random House, Inc.
Copyright renewed 1979 by Pierry Maury, Alan Blair and
Madame Catherine Gide
All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Vintage Books, a division of Random House, Inc., New York, and simultaneously in Canada by Random House of Canada Limited, Toronto.
Originally published in Swedish by Albert Bonniers Forlag in 1950. Copyright 1950 by Albert Bonniers Forlag. This translation, preface by Lucien Maury and letter by André Gide, was originally published in hardcover by Random House, Inc. in 1951.
Library of Congress Cataloging-in-Publication Data
Lagerkvist, Pär, 1891–1974
[Barabbas. English]
Barabbas / by Pär Lagerkvist; translated
by Alan Blair; with a preface by
Lucien Maury; and a letter by André
Gide.—1st Vintage International ed.
p. cm.—(Vintage international)
Translation of: Barabbas.
“Originally published, in hardcover,
by Random House, Inc., in
1951”—T.p. verso.
eISBN: 978-0-307-80712-0
1. Barabbas (Biblical figure)—
Fiction. I. Title.
PT9875.L2B313 1989
839.7’372—dc20 89-40100
v3.1
Contents
Cover
Other Books by This Author
Title Page
Copyright
Preface
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
Chapter 7
Chapter 8
Chapter 9
Chapter 10
Chapter 11
Chapter 12
Chapter 13
Chapter 14
Chapter 15
About the Author
PREFACE
In a body of literature which has been for the most part preoccupied with national background, with painting the manners of Stockholm and of the Swedish countryside, and—apart from its exploitation of a rich lyric strain—with folklore and epic fantasy, Pär Lagerkvist, since his early “Expressionist” days, has stood as representative of an intellectualism which, like himself, has remained somewhat remote and dignified, somewhat unresponsive to the noisy methods of modern publicity.
In the world of Swedish and Scandinavian letters, Lagerkvist occupies, as poet and thinker, a position of eminence which has long been recognized by his compatriots and by the educated public in the countries which adjoin his own. To paint the portrait of this remarkable man, whose work takes rank with the most significant productions of contemporary Scandinavia, is as tempting as it would be difficult.
Except for a few short stories, and one piece of dramatic narrative, The Dwarf, which was highly praised by our literary critics, the French public knows next to nothing of his writings.
Before saying anything else, it is well to draw attention to characteristics which are pre-eminent in the whole body of his work—to a nobility of tone and of style, to an unquestioning devotion to independence of mind, to an unequivocal sense of vocation which, for half a century, has assured for him a deserved reputation as one of the “advance guard.”
There is scarcely a single æsthetic problem in the realm of literature which Lagerkvist has not striven to define and resolve—not only theoretically, but in the practice of his art—whether in the theatre, the short story, or works of meditation, and verse. He has passed through many stages, from his early concern with the art of the theatre at a time when Copeau and Gordon Craig were making their first experiments, a concern which led to conclusions as daring and as relevant now as they ever were, to those hybrid productions, sometimes published simultaneously in the form of narratives or plays—The Man Who Lived Again; The Dwarf; The Man Without a Soul; The Hangman; Victory in Darkness; The Philosopher’s Stone. He has travelled far from the Tales of Cruelty—which has only a title in common with the stories of Villiers de l’Isle-Adam—or the deeply moving short pieces marked by an eloquent simplicity which the French writer Louis Philippe would not have disowned; from those chapters of autobiography which reveal a meditative childhood already haunted by strange presentiments, and a curious hankering after death, to those essays and poems marked by a thrilling tenseness of unease, and filled with metaphysical ardour. It has been a far cry with him from anguish to serenity, to that interior joy which triumphs over all despair; from early revolt to an acceptance which has never been mere resignation, though often it is not far removed from a mood of burning adoration, from a religious sense at one with reason, from faith in the existence of a principle to be found at the source of all our human destiny. Many phases mark his pilgrimage, and the victories he has won are numerous in battles joined on the fields of ethics and æsthetics, in the perpetual struggle to attain to those realms of thought where the spirit can find its ultimate well-being.
Had Pär Lagerkvist written in a language more easily accessible to Western readers, he would undoubtedly have been acclaimed as one of the leaders of our time, as one of those few, those necessary, men who can hold aloft a light to guide our footsteps through the obsessive darkness of our world.
The little work here offered in translation proves abundantly that he has never lost touch with the tragedy of the contemporary mind, that, in spite of his philosophy, he is familiar with the devastating terrors of our problems, and has been brought face to face with the insoluble problem of Man’s predicament, with the horror of that blindness in which we are compelled to face the problem of the universe and of ourselves.
In this enigmatic and unforgettable Barabbas, with its sense of spiritual torment, its deep stirrings of faith, its sure response to the movements of the human mind, is expressed the riddle of Man and his destiny, the contrasted aspects of his fundamental drama, and the cry of humanity in its death throes, bequeathing its spirit to the night.
In this, his latest work, we see the final development of an art which has reached the limits of elliptic suggestion, of austerity, and of a form that has been pared down to essentials.
Barabbas is the last phase in a process of thought which has moved beyond mere literature, of an art which, with its admirable sobriety, embodies the emotional climate of our times.
LUCIEN MAURY
My Dear Lucien Maury:
Pär Lagerkvist’s Barabbas is, beyond all possibility of doubt, a remarkable book. I am deeply grateful to you for giving me an early opportunity to read it, as you did in the case of the same author’s The Dwarf which received, last year, so enthusiastic a welcome from critics and public alike.
When you brought me the translation of Barabbas, you spoke of it in such a way as to make me feel the liveliest desire to read it. But I had no idea then how deeply it would interest me. I was, as it so happened, marvellously (I dare not say, providentially) prepared for the experience of its perusal owing to the fact that I had been buried, for the past month, in a study of l’Histoire des Origines du Christianisme. Renan had, in masterly fashion, made it possible for me to realize with what intelligent precision Pär Lagerkvist has shown the mysterious springs of an emerging conscience secretly tormented by the problem of Christ at a time when the Christian doctrine was still in the process of formation, when the dogma of the Resurrection still depended on the uncertain evidence of a few credulous witnesses who had not yet bridged the gap between superstition and faith.
From what you told me then, my dear Maury, I derived a very im
perfect idea of the extent to which the adventure of Barabbas was involved in the story of Our Lord’s crucifixion, of the degree to which the troubled movements of the robber’s mind were bound up with what he had seen, or thought he had seen, at Golgotha, and with the various rumours which followed hard upon the Divine Tragedy—an event upon which the destiny of well-nigh the whole of humanity was, eventually, to hang.
It is the measure of Lagerkvist’s success that he has managed so admirably to maintain his balance on a tightrope which stretches across the dark abyss that lies between the world of reality and the world of faith. The closing sentence of the book remains (no doubt deliberately) ambiguous: “When he felt death approaching, that which he had always been so afraid of, he said out into the darkness, as though he were speaking to it:—To thee I deliver up my soul.” That “as though” leaves me wondering whether, without realizing it, he was, in fact, addressing Christ, whether the Galilean did not “get him” at the end. Vicisti Galileus, as Julian the Apostate said.
I have your word for it, dear Maury, that this ambiguity exists also in the original text. The Swedish language has given us, and is still giving, works of such outstanding value, that knowledge of it will soon form part of the equipment of any man calling himself well-educated. We need to be in the position to appreciate the important part likely to be played by Sweden in the Concert of Europe.
ANDRÉ GIDE
Everyone knows how they hung there on the crosses, and who they were that stood gathered around him: Mary his mother and Mary Magdalene, Veronica, Simon of Cyrene, who carried the cross, and Joseph of Arimathea, who shrouded him. But a little further down the slope, rather to one side, a man was standing with his eyes riveted on the dying man in the middle, watching his death-throes from the first moment to the last. His name was Barabbas. This book is about him.
He was about thirty, powerfully built, with a sallow complexion, a reddish beard and black hair. His eyebrows also were black, his eyes too deep-set, as though they wanted to hide. Under one of them he had a deep scar that was lost to sight in his beard. But a man’s appearance is of little consequence.
He had followed the mob through the streets all the way from the governor’s palace, but at a distance, somewhat behind the others. When the exhausted rabbi had collapsed beneath his cross, he had stopped and stood still for a while to avoid catching up with the cross, and then they had got hold of that man Simon and forced him to carry it instead. There were not many men in the crowd, except the Roman soldiers, of course; they were mostly women following the condemned man and a flock of urchins who were always there when anyone was led out along their street to be crucified—it made a change for them. But they soon tired and went back to their games, pausing a moment to glance at the man with the long scar down his cheek who was walking behind the others.
Now he was standing up here on the gallows-hill looking at the man on the middle cross, unable to tear his eyes away. Actually he had not wanted to come up here at all, for everything was unclean, full of contagion; if a man set foot in this potent and accursed place part of him would surely remain, and he could be forced back there, never to leave it again. Skulls and bones lay scattered about everywhere, together with fallen, half-mouldering crosses, no longer of any use but left to lie there all the same, because no one would touch anything. Why was he standing here? He did not know this man, had nothing to do with him. What was he doing at Golgotha, he who had been released?
The crucified man’s head hung down and he was breathing heavily; it would not be long now. There was nothing vigorous about the fellow. His body was lean and spindly, the arms slender as though they had never been put to any use. A queer man. The beard was sparse and the chest quite hairless, like a boy’s. He did not like him.
From the first moment Barabbas had seen him in the courtyard of the palace, he had felt there was something odd about him. What it was he could not say; it was just something he felt. He didn’t remember ever having seen anyone like him before. Though it must have been because he came straight from the dungeon and his eyes were still unused to the glare. That is why at first glance the man seemed to be surrounded by a dazzling light. Soon afterwards the light vanished, of course, and his sight grew normal again and took in other things besides the figure standing out there alone in the courtyard. But he still thought there was something very strange about him and that he was not like anyone else. It seemed quite incredible that he was a prisoner and had been condemned to death, just as he himself had been. He could not grasp it. Not that it concerned him—but how could they pass a sentence like that? It was obvious he was innocent.
Then the man had been led out to be crucified—and he himself had been unshackled and told he was free. It was none of his doing. It was their business. They were quite at liberty to choose whomever they liked, and it just turned out that way. They had both been sentenced to death, but one of them was to be released. He was amazed himself at their choice. As they were freeing him from his chains, he had seen the other man between the soldiers disappear through the archway, with the cross already on his back.
He had remained standing, looking out through the empty arch. Then the guard had given him a push and bellowed at him:—What are you standing there gaping for, get out of here, you’re free! And he had awakened and gone out through the same archway, and when he saw the other dragging his cross down the street he had followed behind him. Why, he did not know. Nor why he had stood there hour after hour watching the crucifixion and the long death agony, though it was nothing whatever to do with him.
Those standing around the cross up there surely need not have been here? Not unless they wanted to. Nothing was forcing them to come along and defile themselves with uncleanness. But they were no doubt relations and close friends. Odd that they didn’t seem to mind being made unclean.
That woman must be his mother. Though she was not like him. But who could be like him? She looked like a peasant woman, stern and morose, and she kept wiping the back of her hand across her mouth and nose, which was running because she was on the brink of tears. But she did not cry. She did not grieve in the same way as the others, nor did she look at him in the same way as they did. So it was evidently his mother. She probably felt far more sorry for him than they did, but even so she seemed to reproach him for hanging there, for having let himself be crucified. He must have done something to let himself in for it, however pure and innocent he was, and she just could not approve of it. She knew he was innocent because she was his mother. Whatever he had done she would have thought so.
He himself had no mother. And no father either, for that matter; he had never even heard one mentioned. And he had no relatives, as far as he knew. So if he had been the one to be crucified there would not have been many tears shed. Not like this. They were beating their breasts and carrying on as though they had never known the like of such grief, and there was an awful weeping and wailing the whole time.
He knew the one on the right-hand cross quite well. If by any chance the fellow saw him standing down here, he probably thought it was because of him, in order to see him suffer well and truly. He wasn’t, he was not here because of that at all. But he had nothing against seeing him crucified. If anyone deserved to die, it was that scoundrel. Though not because of what he had been sentenced for, but because of something quite different.
But why was he looking at him and not at the one in the middle who was hanging there in his stead? It was because of him he had come. This man had forced him up here, he had a strange power over him. Power? If anyone looked powerless, he did. Surely no one could look more wretched hanging on a cross. The other two didn’t look a bit like that and didn’t seem to be suffering as much as he was. They obviously had more strength left. He hadn’t even the strength to hold his head up; it had flopped right down.
Now he did raise it a bit, all the same; the lean, hairless chest heaved with panting, and his tongue licked his parched lips. He groaned something about being thirsty. The
soldiers who were sprawled over a game of dice a little further down the slope, bored because the men hanging there took so long to die, did not hear. But one of the relatives went down and told them. A soldier got up reluctantly and dipped a sponge in a pitcher, passing it up to him on a stick, but when he tasted the fusty, tainted liquid offered him he did not want it. The wretch just stood there grinning, and when he rejoined his companions they all lay grinning at what had happened. The bastards!
The relatives or whoever they were looked despairingly up at the crucified man, who was panting and panting; it was clear that he would soon give up the ghost. And just as well if the end came soon, Barabbas thought, so that the poor man would not have to suffer any more. If only the end would come! As soon as the end came he would hurry away and never think of this again.…
But all at once the whole hill grew dark, as though the light had gone out of the sun; it was almost pitch-dark, and in the darkness above, the crucified man cried out in a loud voice:
—My God, my God, why hast thou forsaken me?
It sounded horrible. Whatever did he mean? And why had it grown dark? It was the middle of the day. It was quite unaccountable. The three crosses were just faintly visible up there. It looked weird. Something terrible was surely going to happen. The soldiers had leapt to their feet and grabbed their weapons; whatever happened they always rushed for their weapons. They stood there around the crosses with their lances, and he heard them whispering together in alarm. Now they were frightened! Now they were not grinning any longer! They were superstitious, of course.
He was afraid himself. And glad when it began to get light and everything became a little more normal. It got light slowly, as it does at dawn. The daylight spread across the hill and the olive trees around about, and the birds that had been silent started twittering again. It was just like dawn.
The relatives up there were standing so still. There was no longer any sound of weeping and lamentation from them. They just stood looking up at the man on the cross; even the soldiers did so. Everything had grown so still.