What is true of Hioerdis is true in less degree of all the characters in
_The Vikings_. They are "great beautiful half-witted men," as Mr.
Chesterton would say:

Our sea was dark with dreadful ships
Full of strange spoil and fire,
And hairy men, as strange as sin,
With horrid heads, came wading in
Through the long low sea-mire.

This is the other side of the picture; this is how Oernulf and his seven
terrible sons must have appeared to Kaare the peasant, and this is how,
to tell the truth, they would in real life appear to us. The persons in
_The Vikings at Helgeland_ are so primitive that they scarcely appeal to
our sense of reality. In spite of all the romantic color that the poet
has lavished upon them, and the majestic sentiments which he has put
into their mouths, we feel that the inhabitants of Helgeland must have
regarded them as those of Surbiton regarded the beings who were shot
down from Mars in Mr. Wells' blood-curdling story.

_The Vikings at Helgeland_ is a work of extraordinary violence and
agitation. The personages bark at one another like seals and roar like
sea-lions; they "cry for blood, like beasts at night." Oernulf, the aged
father of a grim and speechless clan, is sorely wounded at the beginning
of the play, but it makes no difference to him; no one binds up his arm,
but he talks, fights, travels as before. We may see here foreshadowed
various features of Ibsen's more mannered work. Here is his favorite
conventional tame man, since, among the shouting heroes, Gunnar whimpers
like a Tesman. Here is Ibsen's favorite trick of unrequited self-
sacrifice; it is Sigurd, in Gunnar's armor, who kills the mystical white