ich Malcolm tests the sincerity of Macduff is taken almost
verbatim from Holinshed. "In performing the play," he suggests, "it
should, perhaps, be omitted as it very well may be without injury to the
action since the complication which arises through Malcolm's suspicion
of Macduff is fully and satisfactorily resolved by the appearance of
Rosse." And his note to a passage in Act V is interesting as showing
that, wide and thorough as was Hauge's acquaintance with Shakespearean
criticism, he had, besides, a first-hand knowledge of the minor
Elizabethan dramatists. I give the note in full. "_The way to dusty
death--_

Til dette besynderlige Udtryk, kan foruden hvad Knight og Dyce
have at citere, endnu citeres af Fords _Perkin Warbeck_, II, 2,
"I take my leave to travel to my dust."

[13. This is, of course, incorrect. Cf. Macbeth, Variorum
Edition. Ed. Furness. Phila. 1903, p. 40. Note.]

Hauge was a careful and conscientious scholar. He knew his field and
worked with the painstaking fidelity of the man who realizes the
difficulty of his task. The translation he gave is of a piece with the
man--faithful, laborious, uninspired. But it is, at least, superior to
Rosenfeldt and Sander, and Hauge justified his work by giving to his
countrymen the best version of _Macbeth_ up to that time.

Monrad himself reviewed Hauge's _Macbeth_ in a careful and well-informed
article, in _Nordisk Tidsskrift for Videnskab og Literatur_, which I
shall review later.

D

One of the most significant elements in the intellectual life of modern
Norway is the so-called Landsmaal movement. It is probably unnecessary
to say that this movement is an effort on the part of many Norwegians to
substitute for the dominant Dano-Norwegian a new literary language based
on the "best" dialects. This language, commonly called the Landsmaal,
is, at all events in its origin, the creation of one man, Ivar Aasen.
Aasen published the first edition of his grammar in 1848, and the first
edition of his dictionary in 1850. But obviously it was not enough to
provide a grammar and a word-book. The literary powers of the new
language must be developed and disciplined and, accordingly, Aasen
published in 1853 _Prover af Landsmaalet i Norge_. The little volume
contains, besides other material, seven translations from foreign
classics; among these is Romeo's soliloquy in the balcony scene.[14]
(Act II, Sc. 1) This modest essay of Aasen's, then, antedates Ha