Christmas 1876, he gave his wife a copy of the German translation of Lady Inger, with the following inscription on the fly-leaf:
"This book is by right indefeasible thine,
Who in spirit art born of the Östråt line."
In Lady Inger Ibsen has chosen a theme from the very darkest hour of Norwegian history. King Sverre's democratic monarchy, dating from the beginning of the thirteenth century, had paralysed the old Norwegian nobility. One by one the great families died out, their possessions being concentrated in the hands of the few survivors, who regarded their wealth as a privilege unhampered by obligations. At the beginning of the sixteenth century, then, patriotism and public spirit were almost dead among the nobles, while the monarchy, before which the old aristocracy had fallen, was itself dead, or rather merged (since 1380) in the Crown of Denmark. The peasantry, too, had long ago lost all effective voice in political affairs; so that Norway lay prone and inert at the mercy of her Danish rulers. It is at the moment of deepest national degradation that Ibsen has placed his tragedy; and the degradation was, in fact, even deeper than he represents it, for the longings for freedom, the stirrings of revolt, which form the motive-power of the action, are invented, or at any rate idealised, by the poet. Fru Inger Ottisdatter Gyldenlöve was, in fact, the greatest personage of her day in Norway. She was the best-born, the wealthiest, and probably the ablest woman in the land. At the time when Ibsen wrote, little more than this seems to have been known of her; so that in making her the victim of a struggle between patriotic duty and maternal love, he was perhaps poetising in the absence of positive
