Page:The collected works of Henrik Ibsen (Volume 6).djvu/13

 Public feeling soon calmed down, and the play (the first prose comedy of any importance in Norwegian literature) became one of the most popular pieces in the repertory of the theatre. But it led to an estrangement from Björnson and the Liberal party, which was not healed for many a day—not, indeed, until Ghosts had shown the Norwegian public the folly of attempting to make party capital out of the works of a poet who stood far above party.

The estrangement from Björnson had begun some time before the play appeared. A certain misunderstanding had followed the appearance of Peer Gynt,[*] and had been deepened by political differences. Björnson had become an ardent National Liberal, with leanings towards Republicanism; Ibsen was not at all a Republican (he deeply offended Björnson by accepting orders and decorations), and his political sympathies, while not of a partisan nature, were mainly "Scandinavian"—that is to say, directed towards a closer union of the three Scandinavian kingdoms. Distance, and the evil offices of gossiping friends, played their part in begetting dissension. Ibsen's last friendly letter to Björnson (of these years) was written in the last days of 1867; in the first days of 1869, while he was actually busied with The League of Youth, we find him declining to contribute to a Danish magazine for the reason (among others) that Björnson was to be one of its joint editors.

The news of the stormy reception of his comedy reached Ibsen in Egypt, where, as the guest of the Khedive, he was attending the opening of the Suez Canal. He has recorded the incident in a poem, At Port Said. On his return to Dresden he wrote to


 * See Correspondence, Letters 44 and 45.