such popular stage successes as his earlier plays. Moreover, about this time, on his return from a visit to America, he plunged into the vortex of political controversy as an aggressive radical. He was a vigorous and very persuasive orator; and in that capacity, as well as in that of writer of political articles and essays, was an uncompromising foe to the opportunist theories which he held to be degrading the public life of his country. The opposition he aroused by his fearless championship of whatever he considered a rightful cause was so bitter that he was eventually obliged to retire from Norway for two or three years. So much did this temporarily affect his literary reputation at home, that when, in 1883, he had written En Hanske (A Gauntlet—the third play here translated) he found at first considerable difficulty in getting it performed. Later, however, he became a political hero to a large section of his compatriots, and by degrees won back fully the place he had occupied in their hearts. He enthusiastically espoused the cause of the projected separation from Sweden, though when that matter came to a crisis he exercised an invaluable influence on the side of moderation.
For the remainder of his life he continued to be prolific in literary production, with an ever increasing renown amongst European men of letters, and an ever deepening personal hold upon the affections of his fellow-countrymen. In 1903 he was awarded the Nobel prize for literature. During his later years he, like Ibsen, was a determined opponent of the movement to replace the Dano-Norwegian language, which had hitherto been the literary vehicle of Norwegian writers, by the "Bonde-Maal"—or "Ny Norsk" ("New Norwegian"), as it has lately been termed. This is an artificial hybrid composed from the Norwegian peasant dialects, by the use of which certain misguided patriots were (and unfortunately still are) anxious to dissociate their literature from that of Denmark. Björnson, and with him most of the soberer spirits amongst Norwegian writers, had realised that the door which had so long shut out Norway from the literature of Europe must be, as he put it, opened from the inside; and he rightly considered that the ill-judged "Bonde-Maal" movement could only have the result of wedging the door more tightly shut.
He died, in April 1910, in Paris, where for some years he had always spent his winters, and was buried at home with every mark of honour and regret, a Norwegian warship having been sent to convey his remains back to his own land.
He was a man of very lovable personality and of the kindest heart; easily moved by any tale of oppression or injustice, and of wide-armed (albeit sometimes in judicious) generosity; more apt, in the affairs of everyday life, to be governed by his heart than by his head, and as simple as a child in many matters. His wife was an ideal helpmate to him, and their family life very happy.
The Newly-Married Couple (1865) offers a considerable contrast to the other two plays here presented. It belongs to the school of Scribe and the "soliloquy," and the author avails himself of the recognised dramatic conventions of the day. At the same time, though the characters may be conventional in type, they are, thanks to Björnson's sense of humour, alive; and the theme of the estrangement and reconciliation of the "newly-married couple" is treated with delicacy and charm. It is true that it is almost unbelievable that the hero could be so stupid as to allow the "confidante" to accompany his young wife when he at last succeeds in wresting her from her parents' jealous clutches; but, on the other hand, that lady, with her anonymous novel that revealed the truth to the young couple, was necessary to the plot as a "dea ex machina." The play was, and is, immensely popular on the Scandinavian stage, and still holds the boards on others. It has been translated into Swedish, German, English, Dutch, Italian, Polish and Finnish.
Leonarda (1879) marks just as striking an advance upon Björnson's early plays as the first of Ibsen's "social dramas" did upon his. Unreal stage conventions have disappeared, the characterisation is convincing, and the dialogue, if more prolix than Ibsen's (as is throughout the case with Björnson), is always interesting and individual. The emotional theme of the play, the love of an older woman for her adopted daughter's young lover, is treated with the poetic touch that pervades all Björnson's work; and the controversial theme, that of religious tolerance, with a sane restraint. It cannot be denied, however, that Björnson's changed and unorthodox attitude towards religious matters—an attitude little expected except by those who knew him best—contributed a good deal towards the temporary waning of his popularity at this time. Leonarda is (like A Gauntlet) a good example of the root difference between Björnson's and Ibsen's treatment of problems in their dramas. Ibsen contented himself with diagnosing social maladies; Björnson's more genial nature hints also at the remedy, or at least at a palliative. Ibsen is a stern judge; Björnson is, beyond that, a prophet of better things. Whereas Ibsen is first and foremost a dramatist, Björnson is rather by instinct the novelist who casts his ideas in dramatic form, and is concerned to "round up" the whole. As Brandes says, in the course of his sympathetic criticism of the two writers, "Ibsen is in love with the idea, and its psychological and logical consequences.... Corresponding to this love of the abstract idea in Ibsen, we have in Björnson the love of humankind." Björnson, moreover, was a long way behind Ibsen in constructive skill. As regards the technical execution of Leonarda, its only obvious weakness is a slight want of vividness in the presentation of the thesis. The hiatuses between the acts leave perhaps too much to the imagination, and the play needs more than a cursory reading for us to grasp the full import of the actions and motives of its personages. Leonarda has not been previously translated into English; though Swedish, French, German and Finnish versions of it exist.
A Gauntlet (finished in 1883) shows a great advance in dramatic technique. The whole is closely knit and coherent, and the problems involved are treated with an exhaustiveness that is equally fair to both sides. As has been already said, the plays that had preceded it from Björnson's pen aroused such active controversy that he found it at first impossible to get A Gauntlet produced in his own country. Its first performance was in Hamburg, in 1883, and for that the author modified and altered it greatly. Eventually it was played, in its original form, in the Scandinavian countries, and in its turn stirred up a bitter controversy on the ethics of male and female morality as regards marriage. It was currently said that hundreds of contemplated marriages were broken off in Norway as an effect of its statement of a vital problem. The remodelling the play originally underwent for its performance in Germany was drastic. The second and third acts were entirely recast, the character of Dr. Nordan was omitted and others introduced, and the ending was changed. The first version was, however, evidently the author's favourite, and it is that that is presented here. Björnson never published the recast version, and in the "memorial edition" of his works it is the present version that is given. The recast version was translated into English by Mr. Osman Edwards and produced (in an "adapted" and mangled form, for which the translator was not responsible) at the Royalty Theatre in London in 1894.
R. FARQUHARSON SHARP.
BIBLIOGRAPHY
DRAMATIC AND POETIC WORKS.—Mellem Slagene (Between the Battles), 1857. Halte-Hulda (Lame Hulda), 1858. Kong Sverre (King Sverre), 1861. Sigurd Slembe (Sigurd the Bastard), 1862; translated by W. M. Payne, 1888. Maria Stuart i Skotland, 1864. De Nygifte (The Newly-Married Couple), 1865; translated by T. Soelfeldt, 1868; by S. and E. Hjerleid, 1870; as A Lesson in Marriage, by G. I. Colbron, 1911. Sigurd Jorsalfar (Sigurd the Crusader), 1872. Redaktören (The Editor), 1874. En Fallit (A Bankruptcy), 1874. Kongen (The King), 1877. Leonarda, 1879. Det ny System (The New System), 1879. En Hanske, 1883; translated as A Gauntlet, by H. L. Braekstad 1890; by Osman Edwards 1894. Over AEvne (Beyond our Strength), Part I., 1883; translated as Pastor Sang, by W. Wilson, 1893; Part II., 1895. Geografi og Kaerlighed (Geography and Love), 1885; Paul Lange og Tora Parsberg, 1898; translated by H. L. Braekstad, 1899. Laboremus, 1901; translation published by Chapman and Hall, 1901. Paa Storhove (At Storhove), 1904; Daglannet, 1904; Naar den ny Vin blomstrer (When the Vineyards are in Blossom), 1909.
Digte og Sange (Poems and Songs), 1870; Arnljot Gelline, 1870.
FICTION.—Synnöve Solbakken 1857; translated as Trust and Trial, by Mary Howitt, 1858; as Love and Life in Norway, by Hon. Augusta Bethell and A. Plesner, 1870; as The Betrothal, in H. and A. Zimmern's Half-hours with Foreign Novelists, 1880; also translated by Julie Sutter, 1881; by R. B. Anderson, 1881. Arne, 1858; translated by T. Krag,
