disagreeable to their fellow-citizens, who demanded, as an imperative condition, the peculiar intonation and pronunciation cultivated at the Royal Theatre in Copenhagen, as well as an absence of all native peculiarities of language. The stage, therefore—and this is very important in a consideration of the career of Ibsen—had come to be the symbol of a certain bias in political feeling. Society in Norway was divided into two classes, the “Danomaniacs” and the “Patriots.” Neither of these had any desire to alter the constitutional balance of power, but while the latter wished Norway to be intellectually self-productive, and leaned to a further isolation in language, literature, art and manners, the former thought that danger of barbarism lay in every direction save that of keeping close to the tradition of Denmark, from which all that was witty, graceful and civilized had proceeded.
Accordingly the theatre, at which exclusively Danish plays were acted, in the Danish style, by Danish actors and actresses, was extremely popu- lar with the conservative class, who thought, by attendance on these performances, to preserve the distinction of language and the varnish of “high life” which came, with so much prestige, from Copenhagen. By the patriotic party, on the other hand, the stage was looked upon with grave suspicion as likely to undermine the purity of national feeling.
