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When the twelve sons of Andgrim were to fight with Hialmar and Oddur for Ingaborg, the beautiful daughter of King Inges, Angantyr bore the dangerous Tirfing, but all the brethren were slain in the combat, and were buried with their arms.

Grep's brethren, on challenge, twelve a side. Eric v. Alrec, by challenge. Hedin v. Hogni, the mythic everlasting battle. Arngrim v. Scalc, by challenge. Arngrim v. Egtheow, for truage of Permland. Arrow-Odd and Hialmar v. twelve sons of Arngrim Samsey fight. Ane Bow-swayer v. Beorn, by challenge. Starkad v. Wisin, by challenge. Starkad v. Tanlie, by challenge. Starkad v.

In fact, Hialmar and Arvarodd, whose ships had been damaged by a storm, which had torn off their rudders, went into a wood to hew another; and, going round the trunk with their axes, pared down the shapeless timber until the huge stock assumed the form of a marine implement.

But Ibsen, too, was a character-drawer when it suited him. One is tempted to say that there is no psychology in Brand he is a mere incarnation of intransigent idealism while Peer Gynt is as brilliant a psychological inspiration as Don Quixote. Dr. Stockmann is a vigorously-projected character, Hialmar Ekdal a piece of searching psychology.

The detestable Hialmar, in whom, by the looking-glass of a disordered liver, any man may see a picture of himself; the pitiable Gregers Werle, perpetually thirteenth at table, with his genius for making an utter mess of other people's lives; the vulgar Gina; the beautiful girlish figure of the little martyred Hedvig all are wholly real and living persons.

For all the sons of Eyfura were killed; Hialmar was slain by them, but Arvarodd gained the honours of victory, being the only survivor left by fate out of all that band of comrades. He, with an incredible effort, poised the still shapeless hulk of the rudder, and drove it so strongly against the bodies of his foes that, with a single thrust of it, he battered and crushed all twelve.

In plays of a more ambitious class, skill is often shown by the indication, in place of the formal presentment, even of an important scene which the audience may, or might, have expected to witness in full. We have already noted such a case in The Wild Duck: Ibsen knew that what we really required to witness was not the actual process of Gregers's disclosure to Hialmar, but its effects.