The principles which have guided us in the following transcript demand a few words of explanation. _Peer Gynt_ is written from first to last in rhymed verse. Six or eight different measures are employed in the various scenes, and the rhymes are exceedingly rich and complex. The frequency of final light syllables in Norwegian implies an exceptional abundance of double rhymes, and Ibsen has taken full advantage of this peculiarity. In the short first scene of the second act, for example, twenty-five out of the forty lines end in double rhymes, and there are three double-rhymed triplets. The tintinnabulation of these double rhymes, then, gives to most of the scenes a metrical character which it might puzzle Mr. Swinburne himself to reproduce in English. Moreover, the ordinary objections to rhymed translations seemed to apply with exceptional force in the case of _Peer Gynt_. The characteristic quality of its style is its vernacular ease and simplicity. It would have been heart-breaking work (apart from its extreme difficulty) to substitute for this racy terseness the conventional graces of English poetic diction, padding here and perverting there. To a prose translation, on the other hand, the objections seemed even greater. It is possible to give in prose some faint adumbration of epic dignity; but we had here no epic to deal with. We found (though the statement may at first seem paradoxical) that the same vernacular simplicity of style which forbade a translation in rhyme, was no less hostile to a translation in prose. The characteristic quality of the poet’s achievement lay precisely in his having, by the aid of rhythm and rhyme, transfigured the most easy and natural dialogue, without the least sacrifice of its naturalness. Entirely to eliminate these graces of form would have been to reduce the poem to prose indeed. It seemed little better than casting a silver statue into the crucible and asking the world to divine from the ingot something of the sculptor’s power. A prose translation, in short, could not but strip Fantasy of its pinions, rob Satire of its barbs. The poet himself, moreover, expressly declared that he would rather let _Peer Gynt_ remain untranslated than see it rendered in prose. After a good deal of reflection and experiment, we finally suggested to him a middle course between prose and rhyme: a translation as nearly as possible in the metres of the original, but with the rhymes suppressed. To this compromise he assented, and the following pages are the result.