The most consummate work in the landsmaal lyric during the '9os is, however, Garborg's Haugtussa (1895), inspired by the strange and impressive scenery of the Jaeren. Thus, at the end of the 19th century, there was a revival both in the riksmaal and in the landsmaal literature.
The first decade of the loth century will for ever be memorable for the passing away of the f our great classics of the preceding age : Ibsen, Bjornson, Lie and Kielland. Thereby the field of fiction was thrown open to a new generation of authors, who found themselves confronted with problems essentially different from those which had taxed the attention of the former genera tion. Norway was no longer the country of consuls, shipowners, vicars, rectors, chamberlains and estate owners, representing offi cial views and opinions against which persons not "made of that self metal" occasionally revolted, and always with deplorable result to their own social interests; nor was Norway the country of women suffering in silence under slow torture of an apparently correct marriage, or a country of workers imbued by a patriar chal respect for their employers, based on personal connections from generation to generation. She was a community in which democracy had established itself on a broad basis.
Kinck, who is by all critics admitted to be an author of rare gifts, has not yet received general recognition either at home or abroad. Yet by his daring metaphors, his exuberant passions, his deep psychology supported by extensive historical studies, he is one of the most intimate guides to the depths of the Norwegian mind. His Hardanger novel, The Avalanche (1919-20), is con sidered his greatest work, but generally speaking he is at his best in the short story. Another classic writer is Trygve Andersen (1867-192o), a self-controlled author with a limited production.
Besides these three poet-artists and classics should be men tioned Johan Bojer (b. 1872), whose novels, notwithstanding their fame in the English-speaking world and elsewhere, are not considered by Norwegian critics as revealing any particular fea ture typical of the Norwegian mind. A more intimate author is Peter Egge (b. 1869), a conscientious writer with an artistic style which adds to his original gifts as a narrator and psycholo gist. These qualities are happily displayed in Hanna Solstad
(1926), one of the finest novels written in recent years.
The most remarkable figure in recent Norwegian literature is, however, Madame Sigrid Undset (b. 1882) (q.v.), who holds a position of her own by her mighty cycles of historical novels, of which Kristin Lavransdattar, i.–iii., shows a remarkable psycho logical insight and a rare power of appreciating bygone ages.
One of the chief characteristics of Norwegian literature during the last generation is the ever-increasing number of local authors who, substituting particular districts for the country as a whole, have given rise to local literature, partly written in the literary tongue of the country known as the riksmaal, partly in the landsmaal, or in a riksmaal coloured to a marked degree by local dialects. The most conspicuous of these authors are Oskar Braaten, Hans Aanrud (b. 1863), who scored success as a play wright of broad humour in the '9os, and Johan Falkberget (b. 1879)—all typical East Norway novelists. Braaten's literary domain, not only as a playwright but as a novelist, is the indus trial quarters of Oslo and its surrounding districts. Aanrud is a keen observer of life and manners in the midland countries round Lake Mjosen. Falkberget is intimately acquainted with the miners of the mountain districts of the valley of Osterdalen.
Gabriel Scott has, in an idyllic novel, The Source (1918), found an exquisite expression of the typical Sorland (literally Southerland) nature and Sorland temper as they reveal themselves all through the charming coastland. West Norway country life has been ably sketched by Jens Tvedt (b. 1857), who writes in the landsmaal. The particular district of the North Trondhjem country, known as the valley of Namdalen, has in Olav Duun (b. 1876), whose works all deal with life and manners in his native valley, produced the most gifted author of modern times writing in the landsmaal. Another significant author in the same language is Kristofer Uppdal (b. 1878), originally a navvy, whose works are imbued by the ideals of the labour movement.
In poetry Niels Collett Vogt has continued to proclaim his emotions in stanzas of vigorous and beautiful metaphors. Olaf Bull (b. 1882) combines to a rare degree a refined versification with silent resignation and lofty enthusiasm. Herman Wildenvey (b. 1885), a genial troubadour talent, sings out his joys, his cares and his whims in easy verses and metaphors, striking for felicity of phrase. Simultaneously with this lyric flourishing in the riksmaal, no adequate revival has taken place in the lands maal. The gem of lyric poetry in that tongue is still Haugtussa, a lasting tribute to the genius of Arne Garborg, by whose death the landsmaal literature lost its first rate lyric poet.