Ballad, written in Bergen in the early months of 1857, Ibsen had condemned, as a medium for the treatment of Scandinavian themes, the iambic deca-*syllable (our blank verse) in which Oehlenschläger had written most of his plays, and which Ibsen himself had adopted in his early imitation of Oehlenschläger, The Hero's Grave. Blank verse Ibsen regarded as "entirely foreign" to Norwegian-Danish prosody, and, moreover, a product of Christian influences; whereas pagan antiquity, if treated in verse at all, ought to be treated in the pagan measure of the Greeks. At the same time we find him expressing a doubt whether Oehlenschläger's Hakon Jarl might not have been just as poetic in prose as in verse—a doubt which clearly shows in what direction his thoughts were turning. It must be regarded as a great mercy that he abandoned the iambic trimeter, which, in Oehlenschläger's hands, was nothing but an unrhymed Alexandrine with the cæsura displaced.
This same essay On the Heroic Ballad throws a curious light on the difficulties which occasioned the long delay between the conception and the execution of The Vikings. He lays it down that "the heroic ballad is much better fitted than the saga for dramatic treatment. The saga is a great, cold, rounded and self-contained epos, essentially objective, and exclusive of all lyricism. . . . If, now, the poet is to extract a dramatic work from this epic material, he must necessarily bring into it a foreign, a lyrical, element; for the drama is well known to be a higher blending of the lyric and the epos." This "well-known" dogma he probably accepted from the German æstheticians with whom, about this time, he seems to have busied himself. A little further on, he adds that the accommodating prosody of the ballads gives room for
