effect which the poet made upon them. They had none of them liked him,
she said, "because"--she hesitated for the word--"because he was so
_spectral_." This gives us just the flash we want; it reveals to us for
a moment the distempered youth, almost incorporeal, displayed wandering
about at twilight and in lonely places, held in common esteem to be
malevolent, and expressing by gestures rather than by words sentiments
of a nature far from complimentary or agreeable.

Thus life at Grimstad seems to have proceeded until Ibsen reached his
twenty-first year. In this quiet backwater of a seaport village the
passage of time was deliberate, and the development of hard-worked
apothecaries was slow. Ibsen's nature was not in any sense precocious,
and even if he had not languished in so lost a corner of society, it is
unlikely that he would have started prematurely in life or literature.
The actual waking up, when it came at last, seems to have been almost an
accident. There had been some composing of verses, now happily lost, and
some more significant distribution of "epigrams" and "caricatures" to
the vexation of various worthy persons. The earliest trace of talent
seems to been in this direction, in the form of lampoons or
"characters," as people called them in the seventeenth century,
sarcastic descriptions of types in which certain individuals could be
recognized. No doubt if these could be recovered, we should find them
rough and artless, but containing germs of the future keenness of
portraiture. They were keen enough, it seems, to rouse great resentment
in Grimstad.

There is evidence to show that the lad had docility enough, at all
events, to look about for some aid in the composition of Norwegian
prose. We should know nothing of it but for a passage in Ibsen's later
polemic with Paul Jansenius Stub of Bergen. In 1848 Stub was an invalid