Andrews 71 II, 60 ff. (1837). On positive and negative compare the Lean One's remarks on positive and negative of photograph. III, 154 f. (1827). "Berlinsk eller malabarisk"; in Peer Gynt Huhu speaks of the Malebar language as "malebarisk," while Peer recognizes in the language of Begriffenfeldt the Berlin dialect. IX, 8 f . (1843) . The difference between the thorough and superficial dilettante : the latter skims off the cream (and throws away the milk). X, 213 (1834). "qua Mening"-, 241. "qua modsigende "compare Peer in Act V, "qua grynt. " In this same article there is considerable about the "absolute," that is of Hegelianism. It can hardly be otherwise than that Ibsen in his Begriffenfeldt, who celebrates the death of "absolute reason, " has definite reference to Hegelianism, which must have become accessible to him primarily through Heiberg. It is noteworthy that, though admiring Heiberg in many respects, Ibsen evidently did not share his enthusiasm for the Hegelian philosophy, or as much of it as he may have understood. 13 X, 271 (1834). "paaholden Pen"-, such Hussejn fancies himself to be in the madhouse scene of Peer Gynt. 1 * X, 462 (1830). "Bedemandsstil." As to the whole significance of Ibsen's reaction to Heiberg's poem, there is a marked difference from the cases previously con- sidered in that Ibsen here does not at all place himself in opposition to the work that has deeply occupied his mind. On the contrary he has made Heiberg' s satirical method his own, this together with the Danish author's fine aesthetic sense and bold idealism having obviously made a powerful appeal. A. LE ROY ANDREWS. Cornell University. 13 Cf. the note of A. Aall, H. Ibsen als Dichter und Denker, 91. 1906.
14 Cf. Logeman, Commentary, 270 f.
