In 1893 a single performance of the Fourth Act, in the present version, was given in London.
Together with its still more splendid and various, yet completely dissimilar successor, Peer Gynt, Brand marks an epoch in Scandinavian literature. A large majority of those who know the original believe that it marks an epoch in the literature of Europe. Nothing in English literature in the least resembles a work, which is nevertheless peculiarly fitted to impress and to fascinate the English nature.[1] But those who can imagine the prophetic fire of Carlyle fused with the genial verve and the intellectual athleticism of Browning, and expressed by aid of a dramatic faculty to parallel which we must go two centuries backward, may in some degree understand that fascination.
Primarily, however, Brand was addressed to Norway and to Norway alone. It was the passionate cry—at once invective and appeal—of a Norwegian, to the mother-country, of which, grievous as her failings are, he cannot bring himself to despair. The situation must be recalled. When the Danish King, in November 1863, supported by the King of Sweden, declared Slesvig an integral part of Denmark, there was much loud jubilation in Norway at the extension of "Scandinavian" rule, even among people not at all prepared to allow that the cause of Denmark and of Norway were one; while the more ardent spirits pledged themselves over flowing cups to support their "brothers" in the field. The actual invasion of Denmark by Prussia and Austria which followed (February 1864) was, in Ibsen's eyes, for
- ↑ Mr. Gosse has, however, pointed out that it has points of likeness, striking rather than important, to Dobell's dramatic poem Balder (1854).
