[11]. In this story, however, he probably found the suggestion of the “cross-roads” which figure so largely in the fifth act. In Asbjörnsen, they are explicitly stated to be the point where the ways to Heaven and Hell diverge.
[12]. Further gleanings of legendary lore concerning Peer Gynt may be found in the Norwegian periodical Syn og Segn, 1903, pp. 119-130. The writer, Per Aasmundstad, is of opinion that Peer Gynt’s real name was Peer Haagaa (the owner of Haagaa farm) and that Gynt was either a name given him by the huldra-folk, or else a local nickname for humorists of his kind. According to this authority, he probably lived as far back as the seventeenth century. Per Aasmundstad’s article is written in the local dialect, with such ruthless phonetic accuracy that I read it with difficulty; but he does not seem to have discovered anything that has a definite bearing on Ibsen’s work. From the wording of Ibsen’s letters to Hegel, however (p. viii), it would seem that he had some knowledge of the Gynt legend over and above what was to be found in Asbjörnsen. (For access to Syn og Segn, and for other obliging assistance, I am indebted to Herr Halvdan Koht, the author of the excellent biographical introduction to Ibsen’s Letters.)
[13]. It is pretty clear that the poet designed Åse’s death as a deliberate contrast to the death of Brand’s mother.
[14]. In all these remarks I have in mind, of course, the scenes in their original form. The reader will easily understand the loss which they inevitably suffer in being deprived of the crowning grace of richly-elaborated rhyme.
[15]. London: Sonnenschein, 1892.
[16]. Henrik Ibsen et le Théâtre Contemporain. Paris, 1892.
[17]. Deeming it unnecessary to trouble our readers with niceties of pronunciation, we have represented the “Böig” of the original by the more easily pronounceable “Boyg.” The root-idea seems to be that of bending, of sinuousness; compare Norwegian böie, German biegen, to bend. In Aasmundstad’s version of the Peer Gynt legends (see Note, p. [xvii]) when the Boyg names itself, Peer answers “Antel du æ rak hell bògjë, saa fæ du sleppe mé fram”—“Whether you are straight or crooked, you must let me pass.” The German translator, both in the folk-tale and in the drama, renders “Böigen” by “der Krumme.” So far as we are aware, the name occurs in no other folk-tale save that of Peer Gynt. It is not generic, but denotes an individual troll-monster.
[18]. Dr. A. von Hanstein (Ibsen als Idealist, Leipzig, 1897, p. 67), states that Ibsen himself endorsed this interpretation; but I do not know on what evidence his statement is founded.
[19]. Henrik Ibsen 1828-1888. Et Literært Livsbillede, Copenhagen, 1888. English Translation, London, Heinemann, 1890.