Henrik Ibsen Part 7

He appeared before them, the breast of his coat sparkling with foreign stars and crosses, the Urim and Thummim of general European recognition.

He was now in his sixtieth year, and he had out lived all the obscurity of his youth. In the three Scandinavian countries--even in recalcitrant Norway--he was universally hailed as the greatest dramatist of the age.

In Germany his fame was greater than that of any native writer of the sang cla.s.s. In Italy and Russia he was entering on a career of high and settled popularity. Even in France and England his work was now discussed with that pa.s.sionate interest which shows the vitality of what is even, for the moment, misinterpreted and disliked. His admirers at Stockholm told him that he had taken a foremost place in re-creating their sense of life, that he was a fashioner and a builder of new social forms, that he was, indeed, to thousands of them, the Master-Builder.

The reply he made to their enthusiasm was dignified and reserved, but it revealed a sense of high gratification. Skule's long doubt was over; he believed at last in his own kingdom, and that the world would be ultimately the better for the stamp of his masterful soul upon its surface.

It was in an unusually happy mood that he sat dreaming through the early part of the uneventful year 1889. But it gradually sank into melancholy when, in the following year, he settled down to the composition of a new play which was to treat of sad thoughts and tragic pa.s.sions. He told Snoilsky that for several reasons this work made very slow progress, "and it robbed him of his summer holidays." From May to November, 1890, he was uninterruptedly in Munich writing what is known to us now as _Hedda Gabler_. He finished it at last, saying as he did so, "It has not been my desire to deal in this play with so-called problems. What I princ.i.p.ally wanted to do was to depict human beings, human emotions and human destinies, upon a groundwork of certain of the social conditions and principles of the present day." It was a proof of the immense growth of Ibsen's celebrity that editions of _Hedda Gabler_ were called for almost simultaneously, in the winter of 1890, in London, New York, St. Petersburg, Leipzig, Berlin and Moscow, as well as in Copenhagen, Stockholm and Christiania. There was no other living author in the world at that moment who excited so much curiosity among the intellectual cla.s.ses, and none who exercised so much influence on the younger generation of authors and thinkers.

In _Hedda Gabler_ Ibsen returned, for the last time, but with concentrated vigor, to the prosaic ideal of his central period. He never succeeded in being more objective in drama, he never kept more closely to the bare facts of nature nor rejected more vigorously the ornaments of romance and rhetoric than in this amazing play. There is no poetic suggestion here, no species of symbol, white horse, or gnawing thing, or monster from the sea. I am wholly in agreement with Mr. Archer when he says that he finds it impossible to extract any sort of general idea from _Hedda Gabler_, or to accept it as a satire of any condition of society. Hedda is an individual, not a type, and it was as an individual that she interested Ibsen. We have been told, since the poet's death, that he was greatly struck by the case, which came under his notice at Munich, of a German lady who poisoned herself because she was bored with life, and had strayed into a false position. _Hedda Gabler_ is the realization of such an individual case. At first sight, it seemed as though Ibsen had been influenced by Dumas _fils_, which might have been true, in spite of the marked dislike which each expressed for the other; [Note: It is said that _La Route de Thebes_, which Dumas had begun when he died, was to have been a deliberate attack on the methods and influence of Ibsen. Ibsen, on his part, loathed Dumas.] but closer examination showed that Hedda Gabler had no sort of relation with the pamphlets of the master of Parisian problem-tragedy.

The attempt to show that _Hedda Gabler_ "proved" anything was annoying to Ibsen, who said, with more than his customary firmness, "It was not my purpose to deal with what people call problems in this play. What I chiefly tried to do was to paint human beings, human emotions and human fate, against a background of some of the conditions and laws of society as it exists to-day." The German critics, a little puzzled to find a longitude and lat.i.tude for Tesman's "tastefully decorated" villa, declared that this time Ibsen had written an "international," not a locally Norwegian, play. Nothing could be further from the truth. On the contrary, _Hedda Gabler_ is perhaps the most fatally local and Norwegian of all Ibsen's plays, and it presents, not of course the highly civilized Christiania of to-day, but the half-suburban, half-rural little straggling town of forty years ago. When I visited Norway as a lad, I received kind but sometimes rather stiff and raw hospitality in several tastefully decorated villas, which were as like that of the Tesmans as pea is like pea. Why Ibsen chose to paint a "west end of Christiania" of 1860 rather than of 1890 I cannot guess, unless it was that to so persistent an exile the former was far more familiar than the latter.

A Russian actress of extreme talent, Madame Alla n.a.z.imova, who has had special opportunities of studying the part of Hedda Gabler, has lately (1907) depicted her as "aristocratic and ill-mated, ambitious and doomed to a repulsive alliance with a man beneath her station, whom she had mistakenly hoped would give her position and wealth. In other circ.u.mstances, Hedda would have been a power for beauty and good." If this ingenious theory be correct, _Hedda Gabler_ must be considered as the leading example of Ibsen's often-repeated demonstration, that evil is produced by circ.u.mstances and not by character. The portrait becomes thrillingly vital if we realize that the stains upon it are the impact of accidental conditions on a nature which might otherwise have been useful and fleckless. Hedda Gabler is painted as Mr. Sargent might paint a lady of the London fashionable world; his brush would divine and emphasize, as Ibsen's pen does, the disorder of her nerves, and the ravaging concentration of her will in a sort of barren and impotent egotism, while doing justice to the superficial attractiveness of her cultivated physical beauty. He would show, as Ibsen shows, and with an equal lack of malice prepense, various detestable features which the mask of good manners had concealed. Each artist would be called a caricaturist because his instinctive penetration had taken him into regions where the powder-puff and the rouge-pot lose their power.

CHAPTER VIII

LAST YEARS

With the publication of _Hedda Gabler_ Ibsen pa.s.sed into what we may call his final glory. Almost insensibly, and to an accompaniment of his own growls of indignation, he had taken his place, not merely as the most eminent imaginative writer of the three Scandinavian countries, but as the type there of what literature should be and the prophet of what it would become. In 1880, Norway, the youngest and long the rawest of the three civilizations, was now the foremost in activity, and though the influence of Bjornson and Jonas Lie was significant, yet it was not to be compared for breadth and complexity with that of Ibsen. The nature of the revolution, exercised by the subject of this memoir between 1880 and 1890, that is to say from _Ghosts_ to _Hedda Gabler_, was destructive before it was constructive. The poetry, fiction and drama of the three Northern nations had become stagnant with commonplace and conventional matter, lumbered with the recognized, inevitable and sacrosanct forms of composition. This was particularly the case in Sweden, where the influence of Ibsen now proved more violent and catastrophic than anywhere else. Ibsen destroyed the attraction of the old ba.n.a.l poetry; his spirit breathed upon it in fire, and in all its faded elegance it withered up and vanished.

The next event was that the new generation in the three Northern countries, deprived of its traditional authorities, looked about for a prophet and a father, and they found what they wanted in the exceedingly uncompromising elderly gentleman who remained so silent in the cafes of Rome and of Munich. The zeal of the young for this unseen and unsympathetic personage was extraordinary, and took forms of amazing extravagance. Ibsen's impa.s.sivity merely heightened the enthusiasm of his countless admirers, who were found, it should be stated, almost entirely among persons who were born after his exile from Norway.

His writings supplied a challenge to character and intelligence which appealed to those who disliked the earlier system of morals and aesthetics against which he had so long fought single-handed.

Among writers in the North Ibsen began to hold very much the position that Whistler was taking among painters and etchers in this country, that is to say the abuse and ridicule of his works by a dwindling group of elderly conventional critics merely stung into more frenzied laudation an ever-widening circle of youthful admirers. Ibsen repented, for a time almost exclusively, "serious" aims in literature, and with those of Herbert Spencer, and in less measure of Zola, and a little later of Nietzsche, his books were the spiritual food of all youthful minds of any vigor or elasticity.

In Sweden, at this time, the admiration for Ibsen took forms of almost preposterous violence. The great Swedish novelist, Gustaf af Geijerstam, has given a curious and amusing account of the rage for Ibsen which came to its height about 1880. The question which every student asked his friend, every lover his mistress, was "What do you think of Ibsen?" Not to be a believer in the Norwegian master was a reef upon which love or friendship might easily be shipwrecked. It was quoted gravely as an insufferable incompatibility for the state of marriage. There was a curious and secret symbolism running through the whole of youthful Swedish society, from which their elders were cunningly excluded, by which the volumes of Ibsen, pa.s.sed from hand to hand, presented on solemn occasions, became the emblems of the problems interesting to generous youth, flags carried in the moral fight for liberty and truth.

The three Northern countries, in their long stagnation, had become clogged and deadened with spiritual humbug, which had sealed the sources of emotion. It seemed though, after the long frost of the seventies, spring had come and literature had budded a at last, and that it was Ibsen who had blown the clarion of the West Wind and heralded the emanc.i.p.ation.

The enthusiasm for the Norwegian dramatist was not always according to knowledge, and sometimes it took grotesque forms. Much of the abuse showered in England and France upon Ibsen at the time we are now describing was due to echoes of the extravagance of his Scandinavian and German idolaters. A Swedish satirist [Note: "Stella Kleve" (Mathilda Malling, in _Framat_ 1886)] said that if Ibsen could have foreseen how many "misunderstood" women would leave their homes in imitation of Nora, and how many lovesick housekeepers drink poison on account of Rebecca, he would have thrown ashes on his head and have retreated into the deserts of Tartary. The suicide of the novelist, Ernst Ahlgren, was the tragic circ.u.mstance where much was so purely comic. But if there were elements of tragicomedy in the Ibsen idolatry, there were far more important elements of vigorous and wholesome intellectual independence; and it was during this period of Ibsen's almost hectic popularity that the foundations of a new fiction and a new drama were laid in Sweden, Denmark and Norway. A whole generation sucked strength and energy from his early writings, since it is to be remarked that, from 1880 to 1890, the great prestige of Ibsen did not depend so much on the dramas he was then producing, as on the earlier works of his poetic youth, now reread with an unexampled fervor. So, with us, the tardy popularity of Robert Browning, which faintly resembles that of Ibsen, did not attract the younger generation to the volumes which succeed _The Ring and the Book_, but sent them back to the books which their fathers had despised, to _Pippa Pa.s.ses_ and _Men and Women_. To the generation of 1880, Ibsen was not so much the author of the realistic social dramas as of those old but now rediscovered miracles of poetry and wit, _The Pretenders_, _Brand_ and _Peer Gynt_.

In 1889 Ibsen had been made very pleasantly conscious of this strong personal feeling in his favor among young men and women. Nor did he find it confined to Scandinavia. He had travelled about in Germany, and everywhere his plays were being acted. Berlin was wild about him; at Weimar he was feted like a conqueror. He did not settle down at Munich until May, and here, as we have seen, he stayed all the summer, hard at work. After the success of _Hedda Gabler_, which overpowered all adverse comment, Ibsen began to long to be in Norway again, and this feeling was combined, in a curious way, with a very powerful emotion which now entered into his life. He had lived a retired and peaceful existence, mainly a spectator at the feast, as little occupied in helping himself to the dishes which he saw others enjoy as is an eremite in the desert in plucking the grape-cl.u.s.ters of his dreams. No adventure, of any prominent kind, had ever been seen to diversify Ibsen's perfectly decorous and domestic career. And now he was more than sixty, and the gray tones were gathering round him more thickly than ever, when a real ray of vermilion descended out of the sky and filled his horizon with color.

In the season of 1889, among the summer boarders at Gossensa.s.s, there appeared a young Viennese lady of eighteen, Miss Emilie Bardach. She used to sit on a certain bench in the Pferchthal, and when the poet, whom she adored from afar, pa.s.sed by, she had the courage to smile at him. Strange to say, her smile was returned, and soon Ibsen was on the bench at her side. He readily discovered where she lived; no less readily he gained an introduction to the family with whom she boarded.

There was a window-seat in the _salle a manger_; it was deep and shaded by odorous flowering shrubs; it lent itself to endless conversation.

The episode was strange, the pa.s.sion improbable, incomprehensible, profoundly natural and true. Perhaps, until they parted in the last days of September, neither the old man nor the young girl realized what their relations had meant to each. Youth secured its revenge, however; Miss Bardach soon wrote from Vienna that she was now more tranquil, more independent, happy at last. Ibsen, on the other hand, was heart-broken, quivering with ecstasy, overwhelmed with joy and despair.

It was the enigma in his "princess," as he called her; that completed Miss Bardach's sorcery over the old poet. She seems to have been no coquette; she flung her dangerous fascinations at his feet; she broke the thread which bound the charms of her spirit and poured them over him. He, for his part, remaining discreet and respectful, was shattered with happiness. To a friend of mine, a young Norwegian man of letters, Ibsen said about this time: "Oh, you can always love, but I am happier than the happiest, for I am beloved." Long afterwards, on his seventieth birthday, when his own natural force was failing, he wrote to Miss Bardach, "That summer at Gossensa.s.s was the most beautiful and the most harmonious portion of my whole existence. I scarcely venture to think of it, and yet I think of nothing else. Ah! forever!" He did not dare to send her _The Master-Builder_, since her presence interpenetrated every line of it like a perfume, and when, we are told, she sent him her photograph, signed "Princess of Orangia," her too-bold identification of herself with Hilda w.a.n.gel hurt him as a rough touch, that finer tact would have avoided. There can be no doubt at all that while she was now largely absorbed by the compliment to her own vanity, he was still absolutely enthralled and bewitched, and that what was fun to her made life and death to him.

This very curious episode [Note: It was quite unknown until the correspondence--which has not been translated into English--was published by Georg Brandes at the desire of the lady herself (September, 1906).], which modifies in several important respects our conception of the dramatist's character, is a.n.a.logous with the apparent change of disposition which made Renan surprise his unthinking admirers so suddenly at the epoch of _L'Eau de Jouvence_ and _L'Abbesse de Jouarre_.

It was founded, of course, on that dangerous susceptibility to which an elderly man of genius, whose life had been spent in labor and reflection, may be inclined to resign himself, as he sees the sands running out of the hour-gla.s.s, and realizes that in a.n.a.lyzing and dissecting emotion he has never had time to enjoy it. Time is so short, the nerves so fragile and so finite, the dreadful illusion, the _maia_, so irresistible, that the old man gives way to it, and would sooner die at once than not make one grasp at happiness.

It will have been remarked that Ibsen's habit was to store up an impression, but not to use it immediately on creative work. We need, therefore, feel no surprise that there is not a trace of the Bardach episode in _Hedda Gabler_, although the composition of that play immediately followed the _hohes, schmerzliches Gluck_ at Gossensa.s.s. He was, too, no moonlight serenader, and his intense emotion is perfectly compatible with the outline of some of the gossip which was repeated at the time of his death; Ibsen being reported to have said of the Viennese girl: "She did not get hold of me, but I got hold of her--for my play." These things are very complex, and not to be hastily dismissed, especially on the rough and ready English system. There would be give and take in such a complicated situation, when the object was, as Ibsen himself says, out of reach _unversichtbar_. There is no question that for every pang which Hilda made her ancient lover suffer, he would enrich his imagination with a dozen points of experience. There is no paradox in saying that the poet was overwhelmed with a pa.s.sion and yet consciously made it serve as material for his plays. From this time onwards every dramatic work of his bears the stamp of those hours among the roses at Gossensa.s.s.

To the spring of 1891 belongs Ibsen's somewhat momentous visit to Vienna, where he was invited by Dr. Max Burckhard, the director of the Burg Theatre, to superintend the performance of his _Pretenders_. Ibsen had already, in strict privacy, visited Vienna, where his plays enjoyed an increasing success, but this was his first public entrance into a city which he admired on the whole more than any other city of Europe.

"Mein schoner Wien!" he used to murmur, with quite a clan of affection.

In April, 1891, after the triumph of his tragedy on the stage, Ibsen was the guest at a public banquet at Vienna, when the ovations were overwhelming and were extended until four o'clock next morning. A performance of _The Wild Duck_ produced, what was almost as dear to Ibsen as praise, a violent polemic, and he pa.s.sed on out of a world of storm and pa.s.sion to Buda-Pesth, where he saw _A Doll's House_ acted in Hungarian, amid thunders of applause, and where he was the guest of Count Albert Apponyi. These were the happy and fruitful years which consoled the heart of the poet for the bitter time when

"Hate's decree Dwelt in his thoughts intolerable."

In the ensuing summer, in July, 1891, Ibsen left Munich with every intention of returning to it, but with the plan of a long summer trip in Norway, where the triumphant success of _Hedda Gabler_ had been very agreeable to his feelings. Once more he pushed up through the country to Trondhjem, a city which had always attracted him and pleased him. Here he presently embarked on one of the summer coasting-steamers, and saw the sh.o.r.es of Nordland and Finmark for the first time, visiting the North Cape itself. He came back to Christiania for the rest of the season, with no prospect of staying. But he enjoyed a most flattering reception; he was begged to resume his practical citizenship, and he was a.s.sured that life in Norway would be made very pleasant to him. In the autumn, therefore, in his abrupt way, he took an apartment in Viktoria Terra.s.se, and sent to Munich for his furniture. He said to a friend who expressed surprise at this settlement: "I may just as well make Christiania my headquarters as Munich. The railway takes me in a very short time wherever I want to go; and when I am bored with Norway I can travel elsewhere." But he never felt the fatigue he antic.i.p.ated, and, but for brief visits to Copenhagen or Stockholm, he left his native country no more after 1891, although he changed his abode in Christiania itself.

For the first twelve months Ibsen enjoyed the pleasures of the prodigal returned, and fed with gusto on the fatted calf. Then, when three years separated him from the illuminating soul-adventures of Gossensa.s.s, he began to turn them into a play. It proved to be _The Master-Builder_, and was published before the close of December, 1892, with the date 1893 on the t.i.tle-page. This play was running for some time in Germany and England before it was played in Scandinavia. But on the evening of March 8, 1893, it was simultaneously given at the National Theatre in Christiania and at the Royal Theatre in Copenhagen. It was a work which greatly puzzled the critics, and its meaning was scarcely apparent until it had been seen on the stage, for which the oddity of its arrangements are singularly well adapted. It was, however, almost immediately noticed that it marked a new departure in Ibsen's writings. Here was an end of the purely realistic and prosaic social dramas, which had reigned from _The League of Youth_ to _Hedda Gabler_, and here was a return to the strange and haunting beauty of the old imaginative pieces. Mr. Archer was happily inspired when he spoke of "the pure melody" of the piece, and the best scenes of _The Master-Builder_ were heroically and almost recklessly poetical.

This remarkable composition is full of what, for want of a better word, we must call "symbolism." In the conversations between Solness and Hilda much is introduced which is really almost unintelligible unless we take it to be autobiographical. The Master-Builder is one who constructs, not houses, but poems and plays. It is the poet himself who gives expression, in the pathetic and erratic confessions of Solness, to his doubts, his craven timidities, his selfish secrets, and his terror at the uniformity of his "luck." It is less easy to see exactly what Ibsen believed himself to be presenting to us in the enigmatical figure of Hilda, so attractive and genial, so exquisitely refreshing, and yet radically so cruel and superficial. She is perhaps conceived as a symbol of Youth, arriving too late within the circle which Age has trodden for its steps to walk in, and luring it too rashly, by the mirage of happiness, into paths no longer within its physical and moral capacity.

"Hypnotism," Mr. Archer tells us, "is the first and last word of the dramatic action"; perhaps thought-transference more exactly expresses the idea, but I should not have stated even this quite so strongly. The ground of the dramatic action seems to me to be the balance of Nemesis, the fatal necessity that those who enjoy exceptional advantages in life shall pay for them by not less exceptional, but perhaps less obvious, disadvantages. The motto of the piece--at least of the first two of its acts--might be the couplet of the French tragedian:--

C'est un ordre des dieux qui jamais ne se rompt De nous vendre bien cher les grands biens qu'ils nous font.

Beneath this, which we may call the transcendental aspect of the play, we find a solid and objective study of the self-made man, the headstrong amateur, who has never submitted to the wholesome discipline of professional training, but who has trusted to the help of those trolls or mascots, his native talent and his unfailing "luck." Upon such a man descends Hilda, the disorganizer, who pierces the armor of his conceit by a direct appeal to his pa.s.sions. Solness has been the irresistible sorcerer, through his good fortune, but he is not protected in his climacteric against this unexpected attack upon the senses. Samson philanders with Delila, and discovers that his strength is shorn from him. There is no doubt that Ibsen intended in _The Master-Builder_ a searching examination of "luck" and the tyranny of it, the terrible effects of it on the Broviks and the Kajas whom n.o.body remembers, but whose bodies lie under the wheels of its car. The dramatic situation is here extremely interesting; it consists in the fact that Solness, who breaks every one else, is broken by Hilda. The inherent hardness of youth, which makes no allowances, which demands its kingdom here and now upon the table, was never more powerfully depicted. Solness is smashed by his impact with Hilda, as china is against a stone. In all this it would be a mistake to see anything directly autobiographical, although so much in the character and position of Solness may remind us, legitimately enough, of Ibsen himself, and his adventures.

The personal record of Ibsen in these years is almost silent. He was growing old and set in his habits. He was growing rich, too, and he surrounded himself with sedentary comforts. His wealth, it may here be said, was founded entirely upon the success of his works, but was fostered by his extreme adroitness as a man of business. Those who are so fond of saying that any man of genius might have excelled in some other capacity are fully justified if they like to imagine Ibsen as the model financier. He certainly possessed a remarkable apt.i.tude for affairs, and we learn that his speculations were at once daring and crafty. People who are weary of commiserating the poverty of poets may be pleased to learn that when Ibsen died he was one of the wealthiest private citizens of Christiania, and this was wholly in consequence of the care he had taken in protecting his copyrights and administering his receipts. If the melancholy couplet is correct which tells us that

Aux pet.i.ts des oiseaux Dieu donne la pature, Mais sa bonte s'arrkete a la litterature,

we must believe, with Ibsen's enemies, that his fortunes were not under the divine protection.

The actual numbers of each of his works printed since he first published with Hegel in Copenhagen--a connection which he preserved without a breach until the end--have been stated since his death. They contain some points of interest. After 1876 Hegel ventured on large editions of each new play, but they went off at first slowly. _The Lady from the Sea_ was the earliest to appear, at once, in an issue of 10,000 copies, which was soon exhausted. So great, however, had the public interest in Ibsen become in 1894 that the edition of 10,000 copies of _Little Eyolf_ was found quite inadequate to meet the first order, and it was enlarged to 15,000, all of which were gone in a fortnight. This circulation in so small a reading public as that of Denmark and Norway was unprecedented, and it must be remembered that the simultaneous translations into most of the languages of Europe are not included.

_Little Eyolf_, which was written in Christiania during the spring and summer of 1894, was issued, according to Ibsen's cometary custom, as the second week of December rolled round. The reception of it was stormy, even in Scandinavia, and led to violent outbursts of controversy. No work from the master's pen had roused more difference of opinion among the critics since the bl.u.s.ter over _Ghosts_ fourteen years before. Those who prefer to absolute success in the creation of a work of art the personal flavor or perfume of the artist himself were predisposed to place _Little Eyolf_ very high among his writings. Nowhere is he more independent of all other influences, nowhere more intensely, it may even be said more distressingly, himself. From many points of view this play may fairly be considered in the light of a _tour de force_. Ibsen--one would conjecture--is trying to see to what extremities of agile independence he can force his genius. The word "force" has escaped me; but it may be retained as reproducing that sense of a difficulty not quite easily or completely overcome which _Little Eyolf_ produces.

To mention but one technical matter; there are but four characters, properly speaking, in the play--since Eyolf himself and the Rat-Wife are but ill.u.s.trations or symbolic properties--and of these four, one (Borgheim) is wholly subsidiary. Ibsen, then, may be said to have challenged imitation by composing a drama of pa.s.sion with only three characters in it. By a process of elimination this has been done by Aeschylus (in the _Agamemnon_), by Racine (in _Phe*dre_ and _Andromaque_), and in our own day by Maeterlinck (in _Pelle*as et Me*lisande_). But Ibsen was accustomed to a wider field, and his experiment seems not wholly successful. _Little Eyolf_, at least, is, from all points of view, an exercise on the tight-rope. We may hazard the conjecture that no drama gave Ibsen more satisfaction to write, but for enjoyment the reader may prefer less prodigious agility on the trapeze.

If we turn from the technical virtuosity of _Little Eyolf_ to its moral aspects, we find it a very dreadful play, set in darkness which nothing illuminates but the twinkling sweetness of Asta. The mysterious symbol of the Rat-Wife breaks in upon the pair whose love is turning to hate, the man waxing cold as the wife grows hot. The Angel of G.o.d, in the guise of an old beggar-woman, descends into their garden, and she drags away, by an invisible chain, "the little gnawing thing," the pathetic lame child. The effect on the pair of Eyolf's death by drowning is the subject of the subsequent acts. In Rita jealousy is incarnate, and she seems the most vigorous, and, it must be added, the most repulsive, of Ibsen's feminine creations. The reckless violence of Rita's energy, indeed, interpreted by a competent actress--played, for instance, as it was in London most admirably by Miss Achurch--is almost too painful for a public exhibition, and to the old criticism, "nec pueros coram populo Medea trucidet," if a pedant chooses to press it, there teems no reply.

The s.e.x question, as treated in _Little Eyolf_, recalls _The Kreutzer Sonata_ (1889) of Tolstoi. When, however, I ventured to ask Ibsen whether there was anything in this, he was displeased, and stoutly denied it. What, an author denies, however, is not always evidence.

Nothing further of general interest happened to Ibsen until 1896, when he sat down to compose another drama, _John Gabriel Borkman_. This was a study of the mental adventures of a man of high commercial imagination, who is artificially parted from all that contact with real affairs which keeps such energy on the track, and who goes mad with dreams of incalculable power, a study, in fact, of financial megalomania. It was said, at the time, that Ibsen was originally led to make this a.n.a.lysis of character from reading in the Christiania newspapers a report of the failure and trial of a notorious speculator convicted of fraud in 1895, and sentenced to a long period of penal servitude.

Whether this be so or not, we have in the person of John Gabriel Borkman a prominent example of the ninteenth century type of criminous speculator, in whom the vastness of view and the splendidly altruistic audacity present themselves as elements which render it exceedingly difficult to say how far the malefactor is morally responsible for his crime. He has imagined, and to a certain point has carried out, a monster metal "trust," for the success of which he lacks neither courage nor knowledge nor practical administrative capacity, but only that trifling concomitant, sufficiency of capital. To keep the fires blazing until his vast model is molten into the mould, he helps himself to money here, there, and everywhere, scarcely giving a thought to his responsibilities, so certain is he of ultimate and beneficent triumph.

He will make rich beyond the dreams of avarice all these his involuntary supporters. Unhappily, just before his scheme is ready and the metal runs, he is stopped by the stupidity of the law, and finds himself in prison.

Side by side with this study of commercial madness runs a thread of that new sense of the preciousness of vital joy which had occupied Ibsen so much ever since the last of the summers at Gossensa.s.s. The figure of Erhart Borkman is a very interesting one to the theatrical student. In the ruin of the family, all hopes concentre in him. Every one claims him, and in the bosoms of each of his shattered parents a secret hope is born, Mrs. Borkman believing that by a brilliant career of commercial rect.i.tude her son will wipe out the memory of his father's crime; Borkman, who has never given up the ambition of returning to business, reposing his own hopes on the co-operation of his son.

But Erhart Borkman disappoints them all. He will be himself, he will enjoy his life, he will throw off all the burdens both of responsibility and of rest.i.tution. He has no ambition and little natural feeling; he simply must be happy, and he suddenly elopes, leaving all their antic.i.p.ations bankrupt, with a certain joyous Mrs. Wilton, who has nothing but her beauty to recommend her. Deserted thus by the _ignis fatuus_ of youth, the collapse of the three old people is complete.

Under the shock the brain of Borkman gives way, and he wanders out into the winter's night, full of vague dreams of what he can still do in the world, if he can only break from his bondage and shatter his dream. He dies there in the snow, and the two old sisters, who have followed him in an anxiety which overcomes their mutual hatred, arrive in time to see him pa.s.s away. We leave them in the wood, "a dead man and two shadows"--so Ella Rentheim puts it--"for _that_ is what the cold has made of us"; the central moral of the piece being that all the errors of humanity spring from cold-heartedness and neglect of the natural heat of love. That Borkman embezzled money, and reduced hundreds of innocent people to beggary, might be condoned; but there is no pardon for his cruel bargaining for wealth with the soul of Ella Rentheim, since that is the unpardonable sin against the Holy Spirit. There are points of obscurity, and one or two of positive and even regrettable whimsicality, about _John Gabriel Borkman_, but on the whole it is a work of lofty originality and of poignant human interest.

The veteran was now beginning to be conscious of the approaches of old age, but they were made agreeable to him by many tokens of national homage.

On his seventieth birthday, March 20, 1898, Ibsen received the felicitations of the world. It is pleasing to relate that a group of admirers in England, a group which included Mr. Asquith, Mr. J. M.

Barrie, Mr. Thomas Hardy, Mr. Henry Arthur Jones, Mr. Pinero and Mr. Bernard Shaw took part in these congratulations and sent Ibsen a handsome set of silver plate, this being an act which, it had been discovered, he particularly appreciated. The bearer of this gift was the earliest of the long stream of visitors to arrive on the morning of the poet's birthday, and he found Ibsen in company with his wife, his son, his son's wife (Bjornson's daughter), and his little grandson, Tankred.

The poet's surprise and pleasure were emphatic. A deputation from the Storthing, headed by the Leader of the House, deputations representing the University, the various Christiania Theatres, and other official or academic bodies arrived at intervals during the course of the day; and all the afternoon Ibsen was occupied in taking these hundreds of visitors, in parties, up to the case containing the English tribute, in showing the objects and in explaining their origin. There could be no question that the gift gave genuine pleasure to the recipient; it was the first, as it was to be the last, occasion on which any public testimony to English appreciation of his genius found its way to Ibsen's door.

Immediately after the birthday festivities, which it was observed had fatigued him, Ibsen started on a visit to Copenhagen, where he was received by the aged King of Denmark, and to Stockholm, where he was overpowered with ovations from all cla.s.ses. There can be no doubt that this triumphal progress, though deeply grateful to the aged poet's susceptibilities, made a heavy drain upon his nervous resources. When he returned to Norway, indeed, he was concealed from all visitors at his physician's orders, and it is understood that he had some kind of seizure. It was whispered that he would write no more, and the biennial drama, due in December, 1898, did not make its appearance. His stores of health, however, were not easily exhausted; he rested for several months, and then he was seen once more in Carl Johans Gade, smiling; in his usual way, and entirely recovered. It was announced that winter that he was writing his reminiscences, but nothing more was heard of any such book.

He was able to take a vivid interest in the preparations for the National Norwegian Theatre in Christiania, which was finally opened by the King of Sweden and Norway on September 1, 1899. Early in the morning, colossal bronze statues of Ibsen and Bjornson were unveiled in front of the theatre, and the poets, now, unfortunately, again not on the best of terms, were seen making vast de*tours for the purpose of satisfying their curiosity, and yet not meeting one another in flesh or in metal. The first night, to prevent rivalry, was devoted to antiquarianism, and to the performance of extracts from the plays of Holberg. Ibsen and Bjornson occupied the centre of the dress circle, sitting uplifted in two gilded fauteuils and segregated by a vast garland of red and white roses. They were the objects of universal attention, and the King seemed never to have done smiling and bowing to the two most famous of his Norwegian subjects.

The next night was Ibsen's fete, and he occupied, alone, the manager's box. A poem in his honor, by Niels Collet Vogt, was recited by the leading actor, who retired, and then rushed down the empty stage, with his arms extended, shouting "Long live Henrik Ibsen." The immense audience started to its feet and repeated the words over and over again with deafening fervor. The poet appeared to be almost overwhelmed with emotion and pleasure; at length, with a gesture which was quite pathetic, smiling through his tears, he seemed to beg his friends to spare him, and the plaudits slowly ceased. _An Enemy of the People_ was then admirably performed. At the close of every act Ibsen was called to the front of his box, and when the performance was over, and the actors had been thanked, the audience turned to him again with a sort of affectionate ferocity. Ibsen was found to have stolen from his box, but he was waylaid and forcibly carried back to it. On his reappearance, the whole theatre rose in a roar of welcome, and it was with difficulty that the aged poet, now painfully exhausted from the strain of an evening of such prolonged excitement, could persuade the public to allow him to withdraw. At length he left the theatre, walking slowly, bowing and smiling, down a lane cleared for him, far into the street, through the dense crowd of his admirers. This astonishing night, September 2, 1899, was the climax of Ibsen's career.

During all this time Ibsen was secretly at work on another drama, which he intended as the epilogue to his earlier dramatic work, or at least to all that he had written since _The Pillars of Society_. This play, which was his latest, appeared, under the t.i.tle of _When We Dead Awaken_, in December, 1899 (with 1900 on the t.i.tle-page). It was simultaneously published, in very large editions, in all the princ.i.p.al languages of Europe, and it was acted also, but it is impossible to deny that, whether in the study or on the boards, it proved a disappointment.

It displayed, especially in its later acts, many obvious signs of the weakness incident on old age.