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Gundersen, no doubt the most gifted of all Ibsen's original interpreters. It was a matter of course that the poet was greatly cheered by the acceptance of his play, and he immediately set to work on another, Olaf Liljekrans; but this he put aside when Kaempehöien practically failed. He wrote a satirical comedy called Norma.
John's Night, 1853, a piece which has not been printed; in 1854 he revived The Warrior's Barrow; in 1855 he made an immense although irregular advance with Lady Inger at Östraat; in 1856 he produced The Feast at Solhoug; in 1857 a rewritten version of the early Olaf Liljekrans. These are the juvenile works of Ibsen, which are scarcely counted in the recognized canon of his writings.
There can be no doubt whatever that, while he was anxiously questioning his own future, and conscious of crude faults in Lady Inger, he set himself, as a task, to write in the manner of Hertz. It is difficult to doubt that it was a deliberate exercise, and we see the results in The Feast at Solhoug and in Olaf Liljekrans.
However, literary history must be built on the evidence before it, and the actual text of The Feast at Solhoug, and of Olaf Liljekrans must be taken in spite of anything their author chose to say nearly thirty years afterwards. Great poets, without the least wish to mystify, often, in the cant phrase, "cover their tracks."
On the boards at Bergen, The Feast at Solhoug was a success, while Olaf Liljekrans was a failure; but neither incident could have meant very much to Ibsen, who, if there ever was a poet who lived in the future, was waiting and watching for the development of his own genius.
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