attention, although in the Twilight Welhaven adroitly avoided mentioning Wergeland by name. Fanaticism gathered in an angry army around the outraged standard of the republican poet, but the lovers of order and discipline had found a voice, and they clustered about Welhaven with their support. Language was not minced by the assailants, and still less by the defenders. The lovers of Wergeland were told that politics and brandy were their only pleasures, but those of Welhaven were warned that they were known to be fed with bribes from Copenhagen. Meanwhile Welhaven himself, in successive publications, calmly analyzed the writings of his antagonist, and proved them to be “in complete rebellion against sound thought and the laws of beauty.” The feud raged from 1834 to 1838, and left Norway divided into two rival camps of taste.
Although the “Twilight Feud” had passed away before Ibsen ceased to be a boy, the effect of it was too widely spread not to affect him. In point of fact, we see by the earliest of his lyric poems that while he was at Grimstad he had fully made up his mind. His early songs and complimentary pieces are all in the Danish taste, and if they show any native influence at all, it is that of Welhaven. The extreme superficiality of Wergeland would naturally be hateful to so arduous a
