W. A.
Footnotes:
1. One of Holberg’s most famous comedies.
1. One of Holberg’s most famous comedies.
2. SeeThe Lady from the Sea.
2. SeeThe Lady from the Sea.
3. Brandes:Ibsen and Björnson, p. 35. London, Heinemann, 1899. Except in regard to the fourth act, Dr. Brandes has, in the introduction toPeer Gyntin the German collected edition, recanted his early condemnation of the poem.
3. Brandes:Ibsen and Björnson, p. 35. London, Heinemann, 1899. Except in regard to the fourth act, Dr. Brandes has, in the introduction toPeer Gyntin the German collected edition, recanted his early condemnation of the poem.
4. The last words are “deus caritatis.”
4. The last words are “deus caritatis.”
5.Norske Huldre-Eventyr og Folkesagn, Christiania, 1848, p. 47. See also Copenhagen edition, 1896, p. 163.
5.Norske Huldre-Eventyr og Folkesagn, Christiania, 1848, p. 47. See also Copenhagen edition, 1896, p. 163.
6.Norske Folke-og Huldre-Eventyr, Copenhagen, 1896, p. 48.
6.Norske Folke-og Huldre-Eventyr, Copenhagen, 1896, p. 48.
7.Ibid., p. 129.
7.Ibid., p. 129.
8.Ibid., p. 259.
8.Ibid., p. 259.
9. Not included in the Copenhagen edition. See edition, Christiania, 1866, p. 115. See also Sir George Webbe Dasent’sPopular Tales from the Norse, Edinburgh, 1859; new ed. 1903, p. 396. More or less representative selections from the storehouse of Asbjörnsen and Moe may also be found inTales from the Fjeld, by G. W. Dasent, London, 1874, and inRound the Yule Log, by H. L. Brækstad, London 1881.
9. Not included in the Copenhagen edition. See edition, Christiania, 1866, p. 115. See also Sir George Webbe Dasent’sPopular Tales from the Norse, Edinburgh, 1859; new ed. 1903, p. 396. More or less representative selections from the storehouse of Asbjörnsen and Moe may also be found inTales from the Fjeld, by G. W. Dasent, London, 1874, and inRound the Yule Log, by H. L. Brækstad, London 1881.
10. Copenhagen ed. 1896, p. 148.
10. Copenhagen ed. 1896, p. 148.
11. In this story, however, he probably found the suggestion of the “cross-roads” which figure so largely in the fifth act. In Asbjörnsen, they are explicitly stated to be the point where the ways to Heaven and Hell diverge.
11. In this story, however, he probably found the suggestion of the “cross-roads” which figure so largely in the fifth act. In Asbjörnsen, they are explicitly stated to be the point where the ways to Heaven and Hell diverge.
12. Further gleanings of legendary lore concerning Peer Gynt may be found in the Norwegian periodicalSyn og Segn, 1903, pp. 119-130. The writer, Per Aasmundstad, is of opinion that Peer Gynt’s real name was Peer Haagaa (the owner of Haagaa farm) and that Gynt was either a name given him by the huldra-folk, or else a local nickname for humorists of his kind. According to this authority, he probably lived as far back as the seventeenth century. Per Aasmundstad’s article is written in the local dialect, with such ruthless phonetic accuracy that I read it with difficulty; but he does not seem to have discovered anything that has a definite bearing on Ibsen’s work. From the wording of Ibsen’s letters to Hegel, however (p. viii), it would seem that he had some knowledge of the Gynt legend over and above what was to be found in Asbjörnsen. (For access toSyn og Segn, and for other obliging assistance, I am indebted to Herr Halvdan Koht, the author of the excellent biographical introduction to Ibsen’s Letters.)
12. Further gleanings of legendary lore concerning Peer Gynt may be found in the Norwegian periodicalSyn og Segn, 1903, pp. 119-130. The writer, Per Aasmundstad, is of opinion that Peer Gynt’s real name was Peer Haagaa (the owner of Haagaa farm) and that Gynt was either a name given him by the huldra-folk, or else a local nickname for humorists of his kind. According to this authority, he probably lived as far back as the seventeenth century. Per Aasmundstad’s article is written in the local dialect, with such ruthless phonetic accuracy that I read it with difficulty; but he does not seem to have discovered anything that has a definite bearing on Ibsen’s work. From the wording of Ibsen’s letters to Hegel, however (p. viii), it would seem that he had some knowledge of the Gynt legend over and above what was to be found in Asbjörnsen. (For access toSyn og Segn, and for other obliging assistance, I am indebted to Herr Halvdan Koht, the author of the excellent biographical introduction to Ibsen’s Letters.)
13. It is pretty clear that the poet designed Åse’s death as a deliberate contrast to the death of Brand’s mother.
13. It is pretty clear that the poet designed Åse’s death as a deliberate contrast to the death of Brand’s mother.
14. In all these remarks I have in mind, of course, the scenes in their original form. The reader will easily understand the loss which they inevitably suffer in being deprived of the crowning grace of richly-elaborated rhyme.
14. In all these remarks I have in mind, of course, the scenes in their original form. The reader will easily understand the loss which they inevitably suffer in being deprived of the crowning grace of richly-elaborated rhyme.
15. London: Sonnenschein, 1892.
15. London: Sonnenschein, 1892.
16.Henrik Ibsen et le Théâtre Contemporain.Paris, 1892.
16.Henrik Ibsen et le Théâtre Contemporain.Paris, 1892.
17. Deeming it unnecessary to trouble our readers with niceties of pronunciation, we have represented the “Böig” of the original by the more easily pronounceable “Boyg.” The root-idea seems to be that of bending, of sinuousness; compare Norwegianböie, Germanbiegen, to bend. In Aasmundstad’s version of thePeer Gyntlegends (see Note, p.xvii) when the Boyg names itself, Peer answers“Antel du æ rak hell bògjë, saa fæ du sleppe mé fram”—“Whether you are straight or crooked, you must let me pass.” The German translator, both in the folk-tale and in the drama, renders“Böigen”by“der Krumme.”So far as we are aware, the name occurs in no other folk-tale save that ofPeer Gynt. It is not generic, but denotes an individual troll-monster.
17. Deeming it unnecessary to trouble our readers with niceties of pronunciation, we have represented the “Böig” of the original by the more easily pronounceable “Boyg.” The root-idea seems to be that of bending, of sinuousness; compare Norwegianböie, Germanbiegen, to bend. In Aasmundstad’s version of thePeer Gyntlegends (see Note, p.xvii) when the Boyg names itself, Peer answers“Antel du æ rak hell bògjë, saa fæ du sleppe mé fram”—“Whether you are straight or crooked, you must let me pass.” The German translator, both in the folk-tale and in the drama, renders“Böigen”by“der Krumme.”So far as we are aware, the name occurs in no other folk-tale save that ofPeer Gynt. It is not generic, but denotes an individual troll-monster.
18. Dr. A. von Hanstein (Ibsen als Idealist, Leipzig, 1897, p. 67), states that Ibsen himself endorsed this interpretation; but I do not know on what evidence his statement is founded.
18. Dr. A. von Hanstein (Ibsen als Idealist, Leipzig, 1897, p. 67), states that Ibsen himself endorsed this interpretation; but I do not know on what evidence his statement is founded.
19.Henrik Ibsen1828-1888.Et Literært Livsbillede, Copenhagen, 1888. English Translation, London, Heinemann, 1890.
19.Henrik Ibsen1828-1888.Et Literært Livsbillede, Copenhagen, 1888. English Translation, London, Heinemann, 1890.