Genre
Morality Tale
Setting and Context
Swedish Countryside, late 19th century
Narrator and Point of View
Close-third person focusing on the vagabond
Tone and Mood
The tone is neutral and measured, giving credence to the vagabond's pessimism without outright condoning it. The mood, however, is somewhat hopeful, especially through the second half of the story, as the vagabond begins to be swayed by Edla's kindness.
Protagonist and Antagonist
The vagabond is the protagonist, but there is not a character who strictly fulfils the role of "antagonist." The vagabond redeems himself after stealing from the crofter, but no one in the story acts against him (except, one could argue, the vagabond himself).
Major Conflict
The vagabond steals kronor from a crofter and gets lost in the woods when he tries to flee the town. When he takes refuge in a local iron mill, he is mistaken for an old friend of the owner's, and the owner insists he join him for Christmas. The major conflict is that the vagabond does not want to be caught for stealing the kronor. Ultimately the moral conflict becomes whether or not the vagabond should return the kronor or keep them for himself.
Climax
The climax occurs when the Ironmaster and Edla return home to find the vagabond's gift, which defies their expectations after they learn that he stole money from the crofter.
Foreshadowing
When Lagerlöf focuses on the vagabond's theory about the world being a giant rat-trap in the introductory paragraphs, it clearly foreshadows the scenario that the vagabond finds himself in by the middle of the story.
Understatement
Allusions
By setting the story during Christmas, and by drawing clear situational parallels to the gospel stories of the birth of Christ, Lagerlöf alludes to the New Testament.
Imagery
Lagerlöf largely relies on pastoral imagery and spare descriptions of the Swedish countryside to create atmosphere.
Paradox
Parallelism
There are clear parallels to the biblical story of Jesus's birth in that the vagabond is searching for a place to take shelter. A large part of Edla's motivation to host the vagabond is that it is Christmastime, and she feels obliged to open up their house and offer the stranger some respite from his constant struggles.
Metonymy and Synecdoche
Personification
Lagerlöf sweepingly personifies "the world" as "never [having] been very kind to" the vagabond (64), ascribing emotions and preferences to the world.
