[9] In the later acting version of the play, which ends with the throwing of the glove, this hope of reconciliation is definitely cut off. The author has evidently come to the conclusion that his argument is weakened by Svava's conciliatory attitude, and he enforces his moral by making the sin appear unpardonable. The acting version, which is more dramatically concise, differs in several other respects from the version here presented; but the other changes seem to be dictated by a stricter regard for the exigencies of theatrical representation. The play has been translated into English under the title, "A Gauntlet," London, 1894. It will be observed by every reader of "A Glove" that it is not a drama, according to our American notion. It has very little dramatic action. It might be styled a series of brilliant and searching debates concerning a theme of great moment. The same definition applies, though in a lesser degree, to "The New System" (1879), a five-act play of great power and beauty. By power I do not mean noise, but convincing impressiveness and concentration of interest. One could scarcely imagine anything farther removed from the ha! and ho! style of melodrama. "The New System" is primarily social satire. It is a psychological analysis of the effect of the "small state" upon its citizens. It is an expansion and exemplification of the proposition (Act I., 1) that "while the great states cannot subsist without sacrificing their small people by the thousands, small states cannot subsist without the sacrifice of many of their great men, nay of the very greatest." The smooth, crafty man, "who can smile ingratiatingly like a woman," rises to the higher heights; while the bold, strong, capable man, who is unversed in the arts of humility and intrigue, struggles hopelessly, and perhaps in the end goes to the dogs, because he is denied the proper field for his energy. Never has Bjoernson written anything more convincing, penetrating, subtly satirical. He cuts deep; every incision draws blood. A Norwegian who reads the play cannot well rid himself of a startled sense of exposure that is at first wounding to his patriotism. It is mortifying to have to admit that things are thus in Norway. And the worst of it is that there appears to be no remedy. The condition is, according to Bjoernson, inherent in all small states which cripple the souls of men, stunt their growth, and contract their horizon.