stirring up a bitter war between the two literary languages or the two
dialects of the same language, but it has imposed no bonds on the
literary or intellectual powers of a large part of the people, for the
simple reason that these people have long used the language as their
own. And because they live in Norway they have made the speech
Norwegian. Despite its Danish origin, Dano-Norwegian is today as truly
Norwegian as any other Norwegian dialect, and in its literary form it
is, in a sense, more Norwegian than the literary Landsmaal, for the
language of Bjørnson has grown up gradually on Norwegian soil; the
language of Ivar Aasen is not yet acclimatized.

[27. William Shakespeare: _Macbeth_. I norsk Umskrift ved Olav
Madhus. Kristiania. 1901. H. Aschehoug & Co.]

For these reasons it will not do to let Madhus' calm assertion go
unchallenged. The fact is that to a large part of the Norwegian people
Lassen's translations represent merely a slightly Danicized form of
their own language, while to the same people the language of Madhus is
at least as foreign as Swedish. This is not the place for a discussion
of "Sprogstriden." We may give full recognition to Landsmaal without
subscribing to the creed of enthusiasts. And it is still easier to give
credit to the excellence of the Shakespeare translations in Landsmaal
without concerning ourselves with the partisanship of the translator.
What shall we say, then, of the _Macbeth_ of Olav Madhus?

First, that it is decidedly good. The tragedy of Macbeth is stark, grim,
stern, and the vigorous, resonant Norwegian fits admirably. There is
little opportunity, as in Aasen's selections from _Romeo and Juliet_ for
those unfortunate contrasts between the homespun of the modern dialect
and the exquisite silk and gossamer of the vocabulary of romance of