At the farm that the family lived, his grandfather also resided, in an arrangement called aftægt, which was where the parents cede ownership of the farm/business in trade for room and board until death.

This also influenced him, as in later years he would rail against the system in his writing, in particular in Paa Aftægt: En Fortælling (In Retirement: A Story, 1907), Vredens Børn: Et Tyendes Saga (Children of Wrath: A Servant's Saga, 1907), and Bondens Søn: Skildringer fra Fjends Herred (The Peasant's Son: Pictures from the Fjend District, 1899)[5] Schooling, whereas the government of Denmark had made it mandatory for all children, was not important to most rural families, his being no exception.

[5] He also submitted names for Evald to research more on her own and he shared his success by sending him copies of the journals for many years.

His book Po fir glowend Pæl: Fra jen si bitte Tid: En Sagnsamling (On Four Glowing Posts: From My Childhood: A Myth Collection, 1923) was a compilation of 26 of these legends, set on a foggy night in Davbjærg Pass.

[6] He continued to study history at the University of Copenhagen for the next two years, after which he abandoned his academic career due to the economics of his life and started writing professionally.

In this piece, he attacks the concept of Christianity in general, and in particular goes after the Lutheran movement of Vilhelm Beck, called the Inner Mission.

In 1899, after switching again, this time to Provinspresse, a social democratic publication, he became a parliamentary correspondent and started to make more of a name for himself.

In 1899, he wrote his first major literary piece, Bondens Søn (The Peasant's Son), in which in an autobiographical manner relates the story of a poor Jutlander, Jens.

In time Jens returns home with a girlfriend in tow, but rather than a glorious homecoming, he receives instead the feelings of provincialism and negativity towards the freedoms of the big city.

[7] Aakjær tried to get the publishing firm of Gyldendal to partner with him, but was initially rebuffed, even though he was sought after by one of its editors, Peter Nansen.

[nb 1] The collection, Vadmelsfolk: Hedefortællinger (Homespunfolk: Heath Stories, 1900) was released around Christmas 1900, but saw lackluster sales which forced Jeppe to seek a new publisher.

[8] A lot of the inspiration came from Robert Burns, who Jeppe felt was able to capture the nuances of rural dialect, the beauty of the land, the emotions of the farmers life, and the day-to-day rhythms of the existence.

1907, also saw him branch into the dramatic, as he wrote the piece, Livet paa Hegnsgaard: Bondekomedie i fire Akter (Life at Hegns Farm: Rural Comedy in Four Acts).

When a friend convinced him to finish in it 1907, it became a commercial success, even though he was not very happy with the actor's ability to capture the nuances of Jutland.

[10] In 1911, he published his most controversial work, Af Gammel Jehannes hans Bivelskistaarri: En bette Bog om stur' Folk (From Old Jehanne's Bible Stories: A Little Book about Big Folk, 1911), where he retells biblical stories per a narrator who changes them to suit the Jutlandic dialect and also to fit the social and cultural environment.

[10] He continued to write with religious and socially critical themes with, among others, Hvor der er gjærende Kræfter: Landarbejderroman (Where There are Fermenting Powers: Farmworker Novel, 1916), Af min Hjemstavns Saga: Lidt Bondehistorie (From My Provincial Sage: Little Farmer Story, 1919).

His memoirs filled four volumes, Fra min Bitte-Tid: En Kulturhistorisk Sevbiografi (From My Childhood: A Cultural Historical Autobiography, 1928), Drengeaar og Knøseaar: Kilderne Springer og Bækken gaar (Boyhood Years and Laddish Years: The Wells Spring and the Stream Flows, 1929), Før det dages: Minder fra Halvfemserne (Before Dawn: Memories from the Nineties, 1929), and Efterladte Erindringer: Fra Tiden Omkring Aarhundred-Skiflet og Fremefter (Posthumous Memories: From Times around the Turn of the Century and Afterwards, 1934).

He states in his memoirs', Alle de andre Litteraturretninger havde fra første Færd haft en Fører.

Halvfemsernes Maaneskindsmænd havde C. E. Jensen ... Men den jydske Retning fik ikke sin egen Kritiker.

That man never came forward and still has not to this very day, who understood the inner nerve in the Jutland School's Literature.Aakjær's notable novels, including Bondens Søn ("The Peasant's Son") (1899) and Vredens børn, et tyendes saga ("Children of Wrath: A Hired Man's Saga") (1904), reveal his staunch social commitment.

[2] He also wrote Hvor Bønder bor ("Where Farmers Live") (1908), Arbejdets Glæde ("The Joy of Work") (1914),[1] and Jens Langkniv (1915), about a Danish highwayman becoming a guerrilla fighter against the Germans in the 17th century.

Many tales and short stories tell about the humble, bad life of farm boys and grooms and are written with a visceral anger and a fighting spirit.

He also wrote some plays, such as Livet paa Hegnsgaard, ("Life at the Hegn Farm") (1907), and a biography on his predecessor, Steen Steensen Blicher.

His poems, including the famous Fri felt ("Free Fields"; 1905), the Rugens sange ("Songs of the Rye"; 1906) and Heimdal's Wanderings (1924),[11] reveal his appreciation for the harvest.

[nb 2] In these songs he sings of the moors of his region, the areas of his childhood and the poor life in the country, often switching between harsh realism, a fresh love of nature and sentimental nostalgia.

Among his best known are the beloved Jeg er Havren ("I am the Oats"); Jens Vejmand, a tribute to the worn-out roadmender; Jutland (English translation by J.

Jeg blev saaet, mens glade Lærker sang over grønne Banker Dagen lang; Humlen brumled dybt sin Melodi, og et Rylefløjt gled ind deri.

Det kan kolde Hjærner ej forstaa Jeg er Lærkesangen paa et Straa, Livets Rytme døbt i Sommerdræ, mer end Gumlekost for Øg og Fæ.

Jeg blev sået, mens glade lærker sang over grønne banker dagen lang; humlen brumled dybt sin melodi, og et rylefløjt gled ind deri.

Det kan kolde hjerner ej forstå: Jeg er lærkesangen på et strå, livets rytme døbt i sommerdræ, mer end gumlekost for øg og fæ.