For the most part written in blank verse, _Catilina_ towards the close breaks into rhyming trochaic lines of thirteen and fifteen syllables. It is an extremely youthful production, very interesting from the biographical point of view, but of small substantive merit. What is chiefly notable in it, perhaps, is the fact that it already shows Ibsen occupied with the theme which was to run through so many of his works—the contrast between two types of womanhood, one strong and resolute, even to criminality, the other comparatively weak, clinging, and “feminine” in the conventional sense of the word. In Christiania Ibsen shared Schulerud’s lodgings, and his poverty. There is a significant sentence in his preface to the re-written _Catilina_, in which he tells how the bulk of the first edition was sold as waste paper, and adds: “In the days immediately following we lacked none of the first necessities of life.” He went to a “student-factory,” or, as we should say, a “crammer’s,” managed by one Heltberg; and there he fell in with several of the leading spirits of his generation—notably with Björnson, A. O. Vinje, and Jonas Lie. In the early summer of 1850 he wrote a one-act play, _Kiæmpehöien_ (_The Warrior’s Barrow_), entirely in the sentimental and somewhat verbose manner of the Danish poet Oehlenschläger. It was accepted by the Christiania Theatre, and performed three times, but cannot have put much money in the poet’s purse. With Paul Botten-Hansen and A. O. Vinje he co-operated in the production of a weekly satirical paper, at first entitled _Manden_ (_The Man_), but afterwards _Andhrimner_, after the cook of the gods in Valhalla. To this journal, which lasted only from January to September 1851, he contributed, among other things, a satirical “music-tragedy,” entitled _Norma, or a Politician’s Love_. As the circulation of the paper is said to have been something under a hundred, it cannot have paid its contributors very lavishly. About this time, too, he narrowly escaped arrest on account of some political agitation, in which, however, he had not been very deeply concerned. Meanwhile a movement had been going forward in the capital of Western Norway, Bergen, which was to have a determining influence on Ibsen’s destinies.