Complete Works of Henrik Ibsen (737 page)

Ibsen turned his back on all such vexatious themes, and set himself to the collecting and polishing of a series of lyrical poems, the
Digte
of 1871, the earliest, and, indeed, the only such collection that he published. We may recollect that, at the very same moment, with far less cause to isolate himself from the horrors of war, Théophile Gautier was giving the last touches to
Emaux et Camées
. In December, 1870, Ibsen addressed to Fru Limnell, a lady in Stockholm, his “Balloon-Letter,” a Hudibrastic rhymed epistle in nearly 400 lines, containing, with a good deal that is trivial, some striking symbolical reminiscences of his trip through Egypt, and some powerful ironic references to the caravan of German invaders, with its Hathor and its Horus, which was then rushing to the assault of Paris under the doleful colors of the Prussian flag. Ibsen’s sarcasms are all at the ugliness and prosaic utilitarianism of the Germans; “Moltke,” he says, “has killed the poetry of battles.”

Ibsen was now greatly developing and expanding his views, and forming a world-policy of his own. The success of German discipline deeply impressed him, and he thought that the day had probably dawned which would be fatal to all revolt and “liberal rebellion” for the future. More than ever he dreaded the revolutionary doctrines of men like Jaabaek and Björnson, which would lead, he thought, to bloodshed and national disaster. The very same events were impressing Goldwin Smith at the very same moment with his famous prophecy that the abolition of all dynastic and aristocratic institutions was at hand, with “the tranquil inauguration” of elective industrial governments throughout the world. So history moves doggedly on,
propheten rechts, propheten links
, a perfectly impassive
welt-kind
in the middle of them. In Copenhagen Ibsen had, after all, missed Brandes, delayed in Rome by a long and dangerous illness; and all he could do was to exchange letters with this still unseen but increasingly sympathetic and beloved young friend. To Brandes Ibsen wrote more freely than to any one else about the great events which were shaking the face of Europe and occupying so much of both their thoughts: —

The old, illusory France has collapsed [he wrote to Brandes on December 20, 1870, two days after the engagement at Nuits]; and as soon as the new, real Prussia does the same, we shall be with one bound in a new age. How ideas will then come tumbling about our ears! And it is high time they did. Up till now we have been living on nothing but the crumbs from the revolutionary table of last century, a food out of which all nutriment has long been chewed. The old terms require to have a new meaning infused into them. Liberty, equality and fraternity are no longer the things they were in the days of the late-lamented Guillotine. This is what the politicians will not understand, and therefore, I hate them. They want their own special revolutions — revolutions in externals, in politics and so forth. But all this is mere trifling. What is all-important is the revolution of the Spirit of Man.

This revolution, as exemplified by the Commune in Paris, did not satisfy the anticipations which Ibsen had formed, and Brandes took advantage of this to tell him that he had not yet studied politics minutely enough from the scientific standpoint. Ibsen replied that what he did not possess as knowledge came to him, to a certain degree, as intuition or instinct. “Let this be as it may, the poet’s essential task is to see, not to reflect. For me in particular there would be danger in too much reflection.” Ibsen seems, at this time, to be in an oscillating frame of mind, now bent on forming some positive theory of life out of which his imaginative works shall crystallize, harmoniously explanatory; at another time, anxious to be unhampered by theories and principles, and to represent individuals and exceptions exactly as experience presents them to him. In neither attitude, however, is there discernible any trace of the moral physician, and this is the central distinction between Tolstoi and Ibsen, whose methods, at first sight, sometimes appear so similar. Tolstoi analyzes a morbid condition, but always with the purpose, if he can, of curing it; Ibsen gives it even closer clinical attention, but he leaves to others the care of removing a disease which his business is solely to diagnose.

The
Poems
, after infinite revision, were published at length, in a very large edition, on May 3, 1871. One reason why Ibsen was glad to get this book off his hands was that it enabled him to concentrate his thoughts on the great drama he had been projecting, at intervals, for seven years past, the trilogy (as he then planned it) on the story of Julian the Apostate. At last Brandes came to Dresden (July, 1871) and found the tenebrous poet plunged in the study of Neander and Strauss, Gibbon unfortunately being a sealed book to him. All through the autumn and winter he was kept in a chronic state of irritability by the intrigues and the menaces of a Norwegian pirate, who threatened to reprint, for his own profit, Ibsen’s early and insufficiently protected writings. This exacerbated the poet’s dislike to his own country, where the very law courts, he thought, were hostile to him. On this subject he used language of tiresome over-emphasis. “From Sweden, from Denmark, from Germany, I hear nothing but what gives me pleasure; it is from Norway that everything bad comes upon me.” It was indicated to would-be Norwegian visitors that they were not welcome at Dresden. Norwegian friends, he said, were “a costly luxury” which he was obliged to deny himself.

The First Part of
Julian
was finished on Christmas Day, but it took over a year more before the entire work, as we now possess it, was completed. “A Herculean labor,” the author called it, when he finally laid down a weary pen in February, 1873. The year 1872 had been very quietly spent in unremitting literary labor, tempered by genial visits from some illustrious Danes of the older generation, as particularly Hans Christian Andersen and Meyer Aron Goldschmidt, and by more formal intercourse with a few Germans such as Konrad Maurer and Paul Heyse; all this time, let us remember, no Norwegians—”by request.” The summer was spent in long rambles over the mountains of Austria, ending up with a month of deep repose in Berchtesgaden. The next year was like unto this, except that its roaming, restless summer closed with several months in Vienna; and on October 17, 1873,
nonum in annum
, after the Horatian counsel, the prodigious masterpiece,
Emperor and Galilean
, was published in Copenhagen at last.

Of all the writings of Ibsen, his huge double drama on the rise and fall of Julian is the most extensive and the most ambitious. It is not difficult to understand what it was about the most subtle and the most speculative of the figures which animate the decline of antiquity that fascinated the imagination of Ibsen. Successive historians have celebrated the flexibility of intelligence and firmness of purpose which were combined in the brain of Julian with a passion for abstract beauty and an enthusiasm for a restored system of pagan Hellenic worship. There was an individuality about Julian, an absence of the common purple convention, of the imperial rhetoric, which strongly commended him to Ibsen, and in his perverse ascetic revolt against Christianity he offered a fascinating originality to one who thought the modern world all out of joint. As a revolutionary, Julian presented ideas of character which could not but passionately attract the Norwegian poet. His attitude to his emperor and to his God, sceptical, in each case, in each case inspired by no vulgar motive but by a species of lofty and melancholy fatalism, promised a theme of the most entrancing complexity. But there are curious traces in Ibsen’s correspondence of the difficulty, very strange in his case, which he experienced in forming a concrete idea of Julian in his own mind. He had been vaguely drawn to the theme, and when it was too late to recede, he found himself baffled by the paradoxes which he encountered, and by the contradictions of a figure seen darkly through a mist of historical detraction.

He met these difficulties as well as he could, and as a prudent dramatic poet should, by close and observant study of the document. He endeavored to reconcile the evident superiority of Julian with the absurd eccentricities of his private manners and with the futility of his public acts. He noted all the Apostate’s foibles by the side of his virtues and his magnanimities. He traced without hesitation the course of that strange insurrection which hurled a coarse fanatic from the throne, only to place in his room a literary pedant with inked fingers and populous beard. He accepted everything, from the parasites to the purple slippers. The dangers of so humble an attendance upon history were escaped with success in the first instalment of his “world drama.” In the strong and mounting scenes of
Caesar’s Apostacy
, the rapidity with which the incidents succeed one another, their inherent significance, the innocent splendor of Julian’s mind in its first emancipation from the chains of false faith, combine to produce an effect of high dramatic beauty. Georg Brandes, whose instinct in such matters was almost infallible, when he read the First Part shortly after its composition, entreated Ibsen to give this, as it stood, to the public, and to let
The Emperor Julian’s End
follow independently. Had Ibsen consented to do this,
Caesar’s Fall
would certainly take a higher place among his works than it does at present, when its effect is somewhat amputated and its meaning threatened with incoherence by the author’s apparent
volteface
in the Second Part.

It was a lifelong disappointment to Ibsen that
Emperor and Galilean
, on which he expended far more consideration and labor than on any other of his works, was never a favorite either with the public or among the critics. With the best will in the world, however, it is not easy to find full enjoyment in this gigantic work, which by some caprice of style defiant of analysis, lacks the vitality which is usually characteristic of Ibsen’s least production. The speeches put into the mouths of antique characters are appropriate, but they are seldom vivid; as Bentley said of the epistles of Julian’s own teacher Libanius, “You feel by the emptiness and deadness of them, that you converse with some dreaming pedant, his elbow on his desk.” The scheme of Ibsen’s drama was too vast for the very minute and meticulous method he chose to adopt. What he gives us is an immense canvas, on which he has painted here and there in miniature. It is a pity that he chose for dramatic representation so enormous a field. It would have suited his genius far better to have abandoned any attempt to write a conclusive history, and have selected some critical moment in the life of Julian. He should rather have concentrated his energies, independent of the chroniclers, on the resuscitation of that episode, and in the course of it have trembled less humbly under the uplifted finger of Ammianus.

Of
Emperor and Galilean
Ibsen afterwards said: “It was the first” (but he might have added “the only”) “poem which I have written under the influence of German ideas.” He was aware of the danger of living too long away from his own order of thought and language. But it was always difficult for him, once planted in a place, to pull up his roots. A weariness took possession of him after the publication of his double drama, and he did practically nothing for four years. This marks a central joint in the structure of his career, what the architects call a “channel” in it, adding to the general retrospect of Ibsen’s work an aspect of solidity and resource. During these years he revised some of his early writings, made a closer study of the arts of sculpture and painting, and essayed, without satisfaction, a very brief sojourn in Norway. In the spring of 1875 he definitely moved with his family from Dresden to Munich.

The brief visit to Christiania in 1874 proved very unfortunate. Ibsen was suspicious, the Norwegians of that generation were constitutionally stiff and reserved; long years among Southern races had accustomed him to a plenitude in gesture and emphasis. He suffered, all the brief time he was in Norway, from an intolerable
malaise
. Ten years afterwards, in writing to Björnson, the discomfort of that experience was still unallayed. “I have not yet saved nearly enough,” he said, “to support myself and my family in the case of my discontinuing my literary work. And I should be obliged to discontinue it if I lived in Christiania. ... This simply means that I should not write at all. When, ten years ago, after an absence of ten years, I sailed up the fjord, I felt a weight settling down on my breast, a feeling of actual physical oppression. And this feeling lasted all the time I was at home; I was not myself under the stare of all those cold, uncomprehending Norwegian eyes at the windows and in the streets.”

Ibsen had now been more than ten years am exile from Norway, and his sentiments with regard to his own people were still what they were when, in July, 1872, he had sent home his
Ode for the Millenary Festival
. That very striking poem, one of the most solid of Ibsen’s lyrical performances, had opened in the key of unmitigated defiance to popular opinion at home. It was intended to show Norwegians that they must alter their attitude towards him, as he would never change his behavior towards them. “My countrymen,” he said: —

   My countrymen, who filled for me deep bowls
      Of wholesome bitter medicine, such as gave
      The poet, on the margin of his grave,
    Fresh force to fight where broken twilight rolls, —
      My countrymen, who sped me o’er the wave,
    An exile, with my griefs for pilgrim-soles,
    My fears for burdens, doubts for staff, to roam, —
    From the wide world I send you greeting home.

   I send you thanks for gifts that help and harden,
      Thanks for each hour of purifying pain;
    Each plant that springs in my poetic garden
       Is rooted where your harshness poured its rain;
    Each shoot in which it blooms and burgeons forth
    It owes to that gray weather from the North;
    The sun relaxes, but the fog secures!
    My country, thanks! My life’s best gifts were yours.