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ity fell upon his shoulders, and that there was no part of stage-life that it was not his duty to look after. The dresses of the actresses, the furniture, the scene-painting, the instruction of raw Norwegian actors and actresses, the selection of plays, now to please himself, now to please the bourgeois of Bergen, all this must be done by the poet or not done at all. Just so, two hundred years earlier, we may imagine Moliere, at Carcassonne or Albi, bearing up in his arms, a weary Titan, all the frivolities and anxieties and misdeeds of a whole company of comedians. So far as our very scanty evidence goes, we find the poet isolated from his fellows, so far as isolation was possible, during his long stay at Bergen. He was not accused, and if there had been a chance he would have been accused, of dereliction. No doubt he pushed through the work of the theatre doggedly, but certainly not in a convivial spirit. The Norwegians are a hospitable and festal people, and there is no question that the manager of the theatre would have unusual opportunities of being jolly with his friends. But it does not appear that Ibsen made friends; if so, they were few, and they were as quiet as himself. Even in these early years he did not invite confidences, and no one found him wearing his heart upon his sleeve. He went through his work without effusion, and there is no doubt that what leisure he enjoyed he spent in study, mainly of dramatic literature. His reading must have been limited by his insensibility to foreign languages. All through his life he forgot the tongues of other countries almost faster than he gained them. Probably, at this time, he had begun to know German, a language in which he did ultimately achieve a fluency which was, it appears, always ungrammatical. But, as is not unfrequent with a man who is fond of reading but no linguist, Ibsen's French and English came and went in a trembling uncertainty. As time passed on, he gave up the effort to read, even a newspaper, in either language. The mile-stones in this otherwise blank time are the original plays which, perhaps in accordance with some clause in his agreement, he produced at his theatre in the first week of January in each year. A list of them cannot be spared in this place to the most indolent of readers, since it offers, in a nutshell, a resume of what the busy imagination of Ibsen was at work upon up to his thirtieth year. His earliest new-year's gift to the
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