From the very start of his career, Henrik Ibsen learned the compulsions of working to a rigorous deadline. When in the autumn of 1851 he was offered a post at the newly established theatre in Bergen, his contract stipulated that he was to 'assist the theatre as dramatic author'. The unwritten assumption was that he would be expected to come forward with an original dramatic work, all ready and rehearsed for performance, every 2 January - the anniversary of the founding of the theatre. This, as he soon discovered, was to be achieved alongside a punishing regime of daily practical work in the theatre as 'Instructeur'.

His first 'anniversary' occasion, on 2 January 1852, clearly allowed him insufficient time to compose a new full-scale dramatic work; but he did go some way towards meeting his obligations by writing a 'Prologue', partly in rhymed and partly in unrhymed verse, the sentiments of which placed the young author very firmly behind the nationalistic endeavours of the new theatre [i, 619-20].

The succeeding five anniversary occasions — and the nature and quality of the works performed — clearly testify that during these years Ibsen found himself having to work at the composition of his dramas under severe time pressure. On the first of these, in 1853, St John's Night flopped, running for only two performances; although at the time he was quite ready to acknowledge the play as having come from his pen, in later life he tried to disown it [see i, 686].