may be found in the Saturday Review of that period. At the Deutsches Volkstheater in Vienna, in May 1902, two performances of Peer Gynt were given by the "Akademisch-Litterarische Verein." I can find no record of any other German production of the play. The first production in the English language took place at the Grand Opera House, Chicago, on October 29, 1906, when Mr. Richard Mansfield appeared as Peer Gynt. Mr. Mansfield would seem to have acted the greater part of the play, but to have omitted the Sæter-Girl scene and the madhouse scene.
We have seen that the name, Peer Gynt, was suggested to Ibsen by a folk-tale in Asbjörnsen and Moe's invaluable collection. It is one of a group of tales entitled Reindeer-Hunting in the Rondë Hills;[1] and in the same group occurs the adventure of Gudbrand Glesnë on the Gendin-Edge, which Peer Gynt works up so unblushingly in Act I. Sc. 1. The text of both these tales will be found in the Appendix, and the reader will recognise how very slight are the hints which set the poet's imagination to work. The encounter with the Sæter-Girls (Act II. Sc. 3) and the struggle with the Boyg (Act II. Sc. 7) are foreshadowed in Asbjörnsen, and the concluding remark of Anders Ulsvolden evidently suggested to Ibsen the idea of incarnating Fantasy in Peer Gynt, as in Brand he had given us incarnate Will. But the Peer Gynt of the drama has really nothing in common with the Peer Gynt of the story, and the rest of the characters are not even remotely suggested. Many scattered traits and allusions, however, are borrowed from other legends in the same storehouse of grotesque and
- ↑ Norske Huldre-Eventyr og Folkesagn, Christiania, 1848, p. 47. See also Copenhagen edition, 1896, p. 163.
