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The action, vehement and tumultuous as it is, takes place entirely within the walls of Östraat castle, a mysterious edifice, sombre and ancient, built on a crag over the ocean, and dimly lighted by Magic casements opening on the foam Of perilous seas in fairy lands forlorn.

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.

No doubt a pious commentator can successfully unravel all the threads of the plot, but the spectator demands that a play should be clearly and easily intelligible. The audience, however, is sorely puzzled by the events of this awful third night after Martinmas, and resents the obscurity of all this intrigue by candlelight. Why do the various persons meet at Östraat? Who sends them?

It was while he was engaged in producing the plays of others that he brought out also his own 'Mistress Inger at Ostraat' , and the 'Vikings at Helgeland' , both of them actable and often acted. They are romanticist in temper, suggesting now Schiller and now Hugo.

Lady Inger at Östraat, written in the winter of 1854 but not published until 1857, is unique among Ibsen's works as a romantic exercise in the manner of Scribe. It is the sole example of a theme taken by him directly from comparatively modern history, and treated purely for its value as a study of contemporary intrigue.

This situation in one or another of its subdivisions we find in 'Nicholas Nickleby, as well as in 'OEdipus the King' and in 'Lady Inger of Ostraat'; in Sophocles it is a son who murders his unknown father, and in Ibsen it is a mother who murders her unknown son.