The Painting of Jerusalem (Symbol)
In Karin and Halvor's house hangs a painting depicting an idyllic version of the city of Jerusalem. The painting of Jerusalem symbolizes the fantasy the Hellgumists create of a utopian Christian community. As shown in the painting, their vision is unrealistic and includes cultural elements with which they are familiar and comfortable. For example, in the painting, the citizens of Jerusalem wear attire associated with the European aristocracy, like "knee breeches and buckled shoes" and " powdered wigs and...Watteau hats." The Hellgumists are unlikely to see this wealth and attire in Jerusalem, and the painting thus sets unrealistic expectations. Though the Hellgumists claim to be journeying to Jerusalem to ameliorate political violence and rampant poverty, they maintain a romantic vision of the city. The painting, long neglected in the Ingmar household, represents a reactionary return to traditional values and ideals in response to industrialization.
Signs and Omens (Motif)
Throughout the text, various characters interpret coincidences as signs and omens, which inform their worldview and choices. Some of these signs and omens are mystical and religious in nature. For example, when Gertrude crosses the stream and sees a vision of a man whom she interprets to be Christ, she takes this as a sign and chooses to withhold Ingmar's inheritance until after his marriage, devoting her entire life to the Hellgumists. Similarly, during the dance at Strong Ingmar's cottage, an avalanche or other weather phenomenon occurs and is interpreted as a sign from God that dancing and other joyous activities are unholy and should be prohibited. This cultural reliance on and reverence for signs and omens creates an environment where Hellgum easily rises to power, as the villagers are ready and willing to interpret coincidences surrounding his arrival and actions as signs from God that they should join his cause.
The Big Log (Symbol)
During a flood, Big Ingmar wades into the water to save a few village children. However, he is struck by a "big log" and killed. After Big Ingmar's death, the Ingmar Farm nearly goes bankrupt, and Young Ingmar's inheritance is stolen, separating him from his farm, heritage, and legacy. The "big log" that kills Big Ingmar represents the destructive force of change and the consequences of disunity. To further enforce the symbolic weight of the "big log," later in the text, in a chapter entitled "The Big Log," Gertrude and Ingmar observe the log Ingmar chopped down to serve as the foundation of their new home outside of the Ingmar Farm. Just as the "big log" that struck and killed Big Ingmar caused division in his family and an interruption to his legacy and reputation, the "big log" that Young Ingmar uses to begin his life symbolically represents the severance of his identity from the Ingmar legacy should he choose to marry Gertrude and give up the farm.
Biblical Imagery (Motif)
Christianity is a prominent force throughout the text as the characters determine their relationship to religion and the best way to express their faith. To illustrate the pervasiveness of Christianity, the text uses Christian and Biblical imagery throughout, creating analogies and comparisons to Biblical characters and stories. For example, Storm compares the sale of Ingmar Farm to the "destruction of the great city of Nineveh," a Biblical account of invasion and war; Storm believes the idyllic village was similarly destroyed by Hellgum's "invasion."
The villagers not only compare their life experiences to Biblical stories but also understand inexplicable events through a Biblical lens. For example, when a massive avalanche threatens the town, the villagers credit the disaster to the "prince of darkness himself coming, with all his demons," meaning Satan and other evil spirits. Thus, the Biblical motif not only contextualizes the narrative but also plays a direct role in it, as characters understand spirituality as an active force with agency in their lives.
The Loss of L'Univers (Allegory)
Book Three opens with a seemingly random chapter describing the lethal wreck of a French ship called L'Univers, meaning "the universe." The chapter is an allegory for the tragic consequences of the collision of modernity and tradition. L'Univers is a steamer ship, a new technology in the novel's historical context, bringing cosmopolitan passengers across the sea, connecting the world in a novel way. L'Univers, representing industrialism, modernity, and progress, is then struck by a "great three master," an older, traditional style of ship. The crew of L'Univers mistakenly believes that "a huge greyhound like L'Univers, with six hundred passengers and a crew of two hundred men, couldn't possibly go down." However, the traditional ship remains afloat while the steamer quickly sinks. This shocking turn of events is an allegory for the polarizing and often dangerous forces of industrialization and modernity. Just as the people of Ignmar's village cling to their traditions or embrace Hellgum to cope with changing times, causing division, the passengers aboard L'Univers are victimized by or commit acts of violence to save themselves from the rapidly sinking ship. In the end, Mrs. Gordon is rescued after experiencing a spiritual awakening, demonstrating the appeal of religious certainty and purpose for those who survive the confusing collision of tradition with modernity.
