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Gyldendal. What Björnson thought of this criticism may be seen
from a letter to his publisher, Gyldendal, in which he says:
“It seems a shame to me that, with the exception of Dr.
Rosenberg, one of the few Norse souls in Copenhagen,
there have come to my ears from Denmark only the most
perverse judgments of Arnljot Gelline. They deal either with
the orthography or the rhythms, or concern themselves
with what is merely trivial.” In the matters of orthography
and vocabulary, the poem exhibited many innovations,
although it by no means went to the lengths advocated by
the maalstræver, or champions of a distinctively national
form of speech. It was written, as most Norwegian works
were and still are, in the literary language of Denmark,
but the controversy over the use of Norwegian
dialect-forms waxed very fierce about 1870, and orthodox
philologists were zealous in their defence of the accepted
standards. The poem offers a great variety of rhythms, each
of the fifteen Songs having its own characteristic form of
verse. Only three of them—the first, the fourth, and the
seventh—are rhymed throughout, although Olaf’s final
exhortation to his followers on the morning of the day of
Stiklestad, in the twelfth Song, is also rhymed. The rest of
the poem is in what it is now the fashion to call vers libre,
irregular and rugged, the lines having stresses varying from
one to five. The general movement of the verse is trochaic,
with the latitude and flexibility offered by a liberal use of
dactyls. Alliteration is frequently employed, but not
systematically. Careful observation will disclose the fact that
the rhythms, however lawless they may seem at times,
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