problem was solved of how to fashion a metre akin to that of the heroic ballads, a metre possessing as great mobility as the verse of the Niebelungenlied, along with a dramatic value not inferior to that of the iambic pentameter. Henrik Ibsen, it is true, has justly pointed out that, as regards the mutual relations of the principal characters, Svend Dyring's House owes more to Kleist's Käthchen von Heilbronn than The Feast at Solhoug owes to Svend Dyring's House. But the fact remains that the versified parts of the dialogue of both The Feast at Solhoug and Olaf Liliekrans are written in that imitation of the tone and style of the heroic ballad, of which Hertz was the happily-inspired originator. There seems to me to be no depreciation whatever of Ibsen in the assertion of Hertz's right to rank as his model. Even the greatest must have learnt from some one."
The question is, to put it in a nutshell: Supposing Hertz had never adapted the ballad measures to dramatic purposes, would Ibsen have written The Feast at Solhoug, at any rate in its present form? I think we must answer: Almost certainly, no.
But while the influence of Danish lyrical romanticism is apparent in the style of the play, the structure, as it seems to me, shows no less clearly that influence of the French plot-manipulators which we found so unmistakably at work in Lady Inger. Despite its lyrical dialogue, The Feast at Solhoug has that crispness of dramatic action which marks the French plays of the period. It may indeed be called Scribe's Bataille de Dames writ tragic. Here, as in the Bataille de Dames (one of the earliest plays produced under Ibsen's supervision), we have the rivalry of an older and a younger woman for the love of a man who is proscribed on an unjust accusation, and pursued by
