"many freedoms which are of great importance to dramatic dialogue," and consequently prophesies a great future for the drama drawn from this source. It was a luckless prophecy. He himself, though apparently he little guessed it, had done his last work in lyrical romance; and though it has survived, sporadically, in Danish and even in German literature, it can count but few masterpieces during the past half-century. Perhaps, however, Hauptmann's Sunken Bell might be taken as justifying Ibsen's forecast.[1]
It must have been very soon after this essay was published (May 1857) that Ibsen discovered how to impose dramatic form upon the epic material of the sagas, without dragging in any foreign lyrical element. He suddenly saw his way, it would seem, to reproducing in dialogue the terse, unvarnished prose of the sagas themselves, eloquent in reticence rather than in rhetorical or lyrical abundance.
Had he, or had he not, in the meantime read Björnson's one-act play, Between the Battles? It was not produced until October 27, 1857, by which time The Vikings must have been almost, if not quite, finished. But Ibsen may have seen it in manuscript several months earlier, and it may have put him on the track of the form in which to cast his saga-material. The style of The Vikings is incomparably firmer, purer, more homogeneous and clear-cut than that of Between the Battles; but Björnson's mediæval comedietta (it is really little more) may quite well have given Ibsen a valuable impulse towards the adaptation of the saga-style to drama. The point, however, is of little moment. It is much more important to
- ↑ Though he himself wrote no more plays in the key of The Feast at Solhoug, the "accommodating prosody" of the ballads had doubtless its influence on the metres of Peer Gynt.
