is a representation of the youth of Julian as just as it is vivid. His character is very truly portrayed—his intellectual and moral earnestness, his superstition, his vanity, his bravery, his military genius. The individual scenes are full of poetic and dramatic inspiration. There may be some question, indeed, as to the artistic legitimacy of the employment of the supernatural in the third act; but of its imaginative power there can be no doubt. The drama progresses in an ever-ascending scale of interest, from the idyllic-spectacular opening, through the philosophic second act, the mystic third act, the stirring and terrible fourth act, up to the magnificent poetic melodrama of the fifth. In a slightly old-fashioned, romantic style, the play is as impressive to the imagination as it is, in all essentials, faithful to historic fact.
When Julian has ascended the throne, a wholly different method of treatment sets in. We could almost guess from internal evidence, what Ibsen's letters prove to be the fact—that he underwent a decisive change of mental attitude during the process of composition. The original first part, we see (that is to say the three-act play which was to have been called Julian and the Philosophers), was finished some time before January 18, 1871, on which date he tells Hegel that he is already at work on the second part. But January 18, 1871, was the very day on which, at Versailles, the King of Prussia was proclaimed German Emperor; so that the first part must have been written before the Imperialisation of Germany was even to be foreseen. While the poet was engaged upon the second part of the "trilogy" he then designed, he was doubtless brooding over the great event of January 18, and gradually realising its nature and consequences. That change in his mental attitude was
