The history of these islands is entertaining. One of the devil's younger brothers, who lived in this district, went on a visit to his seven sisters, who, like himself, were of giant growth. The sisters had with them a female cousin. With this Jutula their brother fell in love, and, as is customary in such cases, they swore eternal fidelity to each other. Business called the Jutul home; his beloved cousin was sent for to nurse a sick brother. She fulfilled this duty to admiration, and in the weakness of his convalescence her brother listened to the story of her love and promised her that she should wed her Jutul cousin. On his complete recovery he became less amenable, and, ignoring his promise, insisted that his sister should wed one of his dissolute companions. It is said that the Jutula's chief objection to this man was that he smelt strongly of tobacco; but I think that this must be embroidery, as my story is older than the use of tobacco. In any case, her refusal was absolute, and the brother was obliged to employ malignant magic. All the messengers from the Jutul, loving and beloved by his sister, were turned into rocks before they could reach her ear. The amorous Jutul was not aware that his beloved had a brother, or any other relation, and, concluding that she was the last of her race, believed also that it was she who had petrified his messengers. Wrathful, and having as his birthright an unerring aim, he mounted his steed and shot from his cross-bow a bolt at the dwelling of the Jutula. The perfidious brother was bathing at the time, and, presumably for the purposes of the story, he wore a sou'wester. The bolt, shot from seventy miles' distance, passed through the hat, and carried away a portion of the victim's skull; then, skimming the water, it pierced the heart of the fair one. She knew that only her lover had this unerring aim, and, thinking him faithless and cruel, used her dying moments in the exercise of her hereditary power, and petrified herself, her lover, his horse, and the floating sou'wester. There they remain to this day. Overlooking the scene of sorrow stand the seven sisters of the misguided lover, petrified with horror at the fate of their relations. The distance between the various islands is considerable; but it must be remembered that we tell of giants.
HENRIK IBSEN
Norwegian geography abounds in spots such as these, to which are attached legends; and in no country is the folk-lore more rich and varied. The charming story-teller, Asbjornsen, and his friend Bishop Moe, collected many delightful fairy-tales, mostly traditional, but eked out by their own imaginations. These stories are entrancing, and at the time when they were first given to the public they awoke a romantic tendency in Norwegian literature. They had a great influence on the work of Joseph Welhaven, contemporary with the great Weigeland, who died at this time. Welhaven had been rather overshadowed by his rival, who, for the part he had played in political struggles, was idolised as the people's hero. Also, his work had been too much influenced by the great Germans who were his contemporaries. The charming figures in the fairy-tales of his country gave him inspiration for wonderful romances with the genuine Norwegian ring and subjects taken from national life. Asbjornsen, however, is more than a retailer of folk-lore. He frames his tales in description of the country in which he has found them on the lips of the people, and thus produces vivid pictures of peasant life. The sister of Henrik Weigeland, Camille Collett, during her widowhood burst forth as a literary genius. Apart from her talents as a writer, she was one of the pioneers of the women's movement in Norway, which country has been more influenced by this agitation than any other European State. Immense importance is attached to it; the great geniuses Ibsen and Bjornson show much interest in the moral side of the question; and all Norwegians are very eager to discuss the subject, which is far too large and complicated for myself.
BJORNSTJERNE BJORNSON
Ibsen is best known as a playwright. Indeed, from the time he succeeded in drama all other interests were put aside. The Norwegian Government provided him, at the age of thirty-six, with pecuniary aid to enable him to travel. It was in Rome that he wrote two of his greatest plays, Peer Gynt and Brand. To-day his literary activity has ceased, and all who will may see the great man seated at a window of his flat in Christiania almost any time during the livelong day.
Bjornstjerne Bjornson is still producing. He has written delightful romances; but for the last few years he, like Ibsen, has devoted himself to the stage. It is interesting to note that the splendid National Theatre in Christiania is managed by the writer's eldest son. His plays and those of Ibsen are magnificently acted, and always received with enthusiastic appreciation by the Norwegian public, which gives all its great men a splendid meed of appreciative recognition—how well deserved it is, the whole world will acknowledge. The translated commentary on the Norwegian literature of the last fifty years makes me feel that I would give everything for a knowledge of the language sufficient to let me enter into the treasure-house of untranslated genius.