Page:History of the Literature of the Scandinavian North.djvu/323

Rh of Helgeland), a dramatic treatment of the myth of Sigurd and Brynhild, transferred to historical times, with a remarkably correct historical coloring. In this style of composition he reached the climax in the excellent historical drama "Köngsemnerne" (The Pretenders), in which the poet for the first time developed his whole power. Here the author has in King Hakon, who relies on his right and constantly holds fast to his "royal idea" of consolidating the Norwegian people, and in Duke Shule, who is lacking in self reliance, drawn two pictures that are executed with great psychological finish, and that in their reciprocal contrast produce a striking poetical effect. The exquisitely drawn secondary figures contribute their share to the perfection of the grand historical picture which is here presented to our view.

Before this play was published he had already entered a new field in his drama "Kjærlighedens Komedie" (Comedy of Love), namely that of the satirical and philosophical drama, to which his genius seems particularly fitted, and in which he, with scathing derision, yet with deep earnestness discusses the social questions of the day. Both his most important works "Brand" and "Peer Gynt," which are equally remarkable for their wealth of thought and for their masterly style, belong to this negative tendency in his work. These three comprehensive dramatical works are written in the most perfect ringing and characteristic verses, while "De Unges Forbund" and "Samfundets Stötter," and all his later works, are written in prose. In both the last named plays the poet pours his vials of satire upon his own times and country, putting hollowness and falsehood in the pillory with an amount of indignation, which by its very vehemence somewhat injures the poetical effect, though it is never devoid of humor. In the historical play, "Keiser og Gallilæer," Ibsen has once more returned to his earlier tendency and produced a work which in many of its passages shows that his dramatic powers have in no wise waned. This may safely be asserted in spite of all the objections that have been