e elder pupils came for a two-years' course to prepare them
for taking their degree. This place, known familiarly as "the Student
Factory," holds quite a prominent place in Norwegian literary history,
Ibsen, Bjoernson, Vinje and Jonas Lie having attended its classes and
passed from it to the University.

Between these young men, the leading force of literature in the coming
age, a generous friendship sprang up, despite the disparity in their
ages. Vinje, a peasant from Thelemark, was thirty-two; he had been a
village schoolmaster and had only now, in 1850, contrived to reach
the University. With Vinje, the founder of the movement for writing
exclusively in Norwegian patois, Ibsen had a warm personal sympathy,
while he gave no intellectual adherence to his theories. Between the
births of Vinje and Bjoernson there stretched a period of fourteen years,
yet Bjoernson was a student before either Ibsen or Vinje. That Ibsen
immediately formed Bjoernson's acquaintance seems to be proved from the
fact that they both signed a protest against the deportation of a Dane
called Harring on May 29, 1850. It was a fortunate chance which threw
Ibsen thus suddenly into the midst of a group of those in whom the
hopes of the new generation were centred. But we are left largely to
conjecture in what manner their acquaintanceship acted upon his mind.

His material life during the next year is obscure. Driven by the
extremity of need, it is plain that he adopted every means open to him
by which he could add a few dollars to Schulerud's little store. He
wrote for the poor and fugitive journals of the day, in prose and verse;
but the payment of the Norwegian press in those days was almost nothing.
It is difficult to know how he subsisted, yet he continued to exist.
Although none of his letters of this period seem to have been preserved,
a few landmarks are left us. The little play called _Kaempehoeien_
(The Warrior's Barrow), which he had brought unfinished with him from
Grimstad, was completed and put into shape in May, 1850, accepted at the
Christiania Theatre, and acted three times during the following autumn.
Perhaps the most interesting fact connected with this performance
was that the only female part, that of Blanka, was taken by a young
debutante, Laura Svendsen; this was the actress afterwards to rise to
the height of eminence as the celebrated Mrs. Gundersen, no doubt the
most gifted of all Ibsen's original interpreters.

It was a ma