(We may say that Shakespeare in them and their train has endowed the demons of the New Testament with flesh and blood).  Again, he would change the word incarnadine to incarnate on the ground that Twelfth Night V offers a similar instance of the corrupt use of incardinate for incarnate.  The word occurs, moreover, in English only in this passage.[13] Again, in his note to Act IV, he points out that the dialogue in which Malcolm tests the sincerity of Macduff is taken almost verbatim from Holinshed.  “In performing the play,” he suggests, “it should, perhaps, be omitted as it very well may be without injury to the action since the complication which arises through Malcolm’s suspicion of Macduff is fully and satisfactorily resolved by the appearance of Rosse.”  And his note to a passage in Act V is interesting as showing that, wide and thorough as was Hauge’s acquaintance with Shakespearean criticism, he had, besides, a first-hand knowledge of the minor Elizabethan dramatists.  I give the note in full. “The way to dusty death—­

  Til dette besynderlige Udtryk, kan foruden hvad Knight og Dyce
  have at citere, endnu citeres af Fords Perkin Warbeck, II, 2,
  “I take my leave to travel to my dust.”

    [13.  This is, of course, incorrect.  Cf.  Macbeth, Variorum
    Edition.  Ed. Furness.  Phila. 1903, p. 40.  Note.]

Hauge was a careful and conscientious scholar.  He knew his field and worked with the painstaking fidelity of the man who realizes the difficulty of his task.  The translation he gave is of a piece with the man—­faithful, laborious, uninspired.  But it is, at least, superior to Rosenfeldt and Sander, and Hauge justified his work by giving to his countrymen the best version of Macbeth up to that time.

Monrad himself reviewed Hauge’s Macbeth in a careful and well-informed article, in Nordisk Tidsskrift for Videnskab og Literatur, which I shall review later.

D

One of the most significant elements in the intellectual life of modern Norway is the so-called Landsmaal movement.  It is probably unnecessary to say that this movement is an effort on the part of many Norwegians to substitute for the dominant Dano-Norwegian a new literary language based on the “best” dialects.  This language, commonly called the Landsmaal, is, at all events in its origin, the creation of one man, Ivar Aasen.  Aasen published the first edition of his grammar in 1848, and the first edition of his dictionary in 1850.  But obviously it was not enough to provide a grammar and a word-book.  The literary powers of the new language must be developed and disciplined and, accordingly, Aasen published in 1853 Prover af Landsmaalet i Norge.  The little volume contains, besides other material, seven translations from foreign classics; among these is Romeo’s soliloquy in the balcony scene.[14] (Act II, Sc. 1) This modest essay of Aasen’s, then, antedates Hauge’s rendering of Macbeth and constitutes the first bit of Shakespeare translation in Norway since the Coriolanus of 1818.