to the futile address- and note-mongering which went on in Norwegian-Swedish officialdom during the Dano-German War, and a more special one to an eminent Swedish statesman [Grev Manderström], who, during the war, had been extremely proud of his official notes, and had imagined that by means of them he might exercise a decisive influence on the course of events."
Most prominent and unmistakable of all the satiric passages, however, is the attack on the language-reformers in the personage of Huhu. In the list of characters, Huhu is set down as a "Målstræver from Zanzibar." Now the Målstrævers are a party which desires to substitute a language compounded from the various local dialects, for the Norwegian of the townsfolk and of literature. This they call Danish, and declare to be practically a foreign tongue to the peasants, who form the backbone of the Norwegian nation. Ibsen's satire, it must be said, has had little or no effect on the movement, which has gone on slowly but steadily, and has of late years met with official and legislative recognition. There is a large and increasing literature in the "Mål"; it is taught in schools and it is spoken in the Storthing. Where the movement may end it is hard to say. It must seem to a foreigner, as it seemed to Ibsen, retrograde and obscurantist; but there is doubtless some genuine impulse behind it which the foreigner cannot appreciate.
The principles which have guided us in the following transcript demand a few words of explanation. Peer Gynt is written from first to last in rhymed verse. Six or eight different measures are employed in the various scenes, and the rhymes are exceedingly rich and complex. The frequency of final light syllables in
