Although he has invented a great deal, his inventions supplement rather than contradict the records. Chronology, indeed, he treats with considerable freedom, and at the same time with ingenious vagueness. The general impression one receives in reading the play is that the action covers a space of four or five years; as a matter of fact it covers twenty-two years, between the folkmote in Bergen, 1218, and Skule's death, 1240. All the leading characters are historical; and although much is read into them which history does not warrant, there is little that history absolutely forbids us to conceive. The general features of the struggle between the two factions—Håkon's Birkebeiner, or Birchlegs, and Skule's Vargbælgs—are correctly enough reproduced. In his treatment of this period, the Norwegian historian, J. E. Sars, writing thirteen years after the appearance of The Pretenders, uses terms which might almost have been suggested by Ibsen's play. "On the one side," he says, "we find strength and certainty, on the other lameness and lack of confidence. The old Birchlegs[1] go to work openly and straightforwardly, like men who are immovably convinced of the justice of their cause, and unwaveringly assured of its ultimate victory. Skule's adherents, on the other hand, are ever seeking by intrigues and chicanery to place stumbling-blocks in the way of their opponents' enthusiasm." Håkon represented Sverre's ideal of a democratic kingship, independent of the oligarchy of bishops and barons. "He was," says Sars, "reared in the firm conviction of his right to the Throne; he grew up among the veterans of his grandfather's time, men imbued with Sverre's principles, from whom he accepted them as a ready-made system, the realisation
- ↑ The followers of Håkon's grandfather, King Sverre. See Note, p. 125.
