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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.
How little his greatness was perceived in the Christiania literary coteries may be gathered from the little fact that the species of official anthology of Modern Norwegian Poets, published in 1859, though it netted the shallows of national song very closely, contained not a line by the author of the lovely lyrics in The Feast at Solhoug.
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.
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.
As a proof that the similarity between The Feast at Solhoug and Svend Dyring's House is accidental, it has been pointed out that Ibsen produced his own play on the Bergen stage in January, 1856, and revived Hertz's a month later. It might, surely, be more sensibly urged that this fact shows how much he was captivated by the charm of the Danish dramatist.
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."
There is nothing of the lyrical triviality of the verse in The Feast at Solhoug about the trenchant prose of The Vikings, and the crepuscular dimness of Lady Inger is exchanged for a perfect lucidity and directness. Whatever we may think about the theatrical propriety of the conductor of the vikings, there is no question at all as to what it is they do and mean.
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