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Editorial Preface
NO series of Scandinavian Classics would be
complete without a romance representing the
genius of Selma Lagerlöf. Two chief reasons have
influenced the Committee on Publications of the
American Scandinavian Foundation in choosing
Gösta Berling’s Saga for whatever distinction may
accrue from its inclusion in the Classics. In the
first place, it is the author’s earliest work. If she
had written no other, her place in Swedish letters
would have been assured for all time. In Gösta are
consummated the story-telling aspirations of her
youth and a literary ambition which for thirty-three
years found no outlet. In the second place, whatever
may be the judgment of posterity, Gösta
Berling’s Saga, in the popular estimate of Swedes to-day,
is Selma Lagerlöf’s masterpiece. On this point, to
be sure, the critics are divided. It is justly held that
The Emperor of Portugallia is a more skilfully
constructed book, and Jerusalem more profoundly
inspired, while other novels are found to excel in
particular features. Gösta is in truth loosely put
together, and sometimes as prolix as Arthurian
romance, the very prototype of this long narrative
of twelve vagrant Swedish cavaliers. But here
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