There is the mystic as well as the realistic chord in the Ibsen drama. His Third Kingdom, not of the flesh (Pagan) nor of the spirit (Christian), yet partaking of both, has a ring of Hegel and also of that abbot of Flores called Joachim, who was a mediæval Franciscan. The grandiloquent silhouettes of the Romantic drama, the mouthers of rhetoric, the substitution of a bric-à-brac mirage for reality, have no place in Ibsen's art. For this avoidance of the banal he has been called a perverter of the heroic. His characters are in reality the bankruptcy of stale heroisms; he replaces the old formula with a new, vital one--Truth at all hazards He discerns a Fourth Dimension of the spirit. He has said that if mankind had time to think, there would be a new world. This opposer of current political and moral values declares that reality is itself a creation of art--each individual creates his picture of the world. An idealist he is in the best sense of the word, though some critics, after reading into the plays Socialism--picture Ibsen and "regimentation," as Huxley dubbed it!--claim the sturdy individualist as a mere unmasker of conventionalism. How far all this is from Ibsen's intention--who is much more than a satirist! and social reformer--may be seen in his Brand, with its austere watchword, "All or Nothing." A prophet and a seer he is, not a glib socialist exposing municipal evils and offering ready-made prophylactics. The curve of Ibsen's art comprises all these petty minor evils of life, it reaches across the edge of the human soul; while, ardent pilgrim that he is, he slowly mounts to the peaks from which he may see his Third Kingdom. But, like a second Moses, he has never descended into that country of ineffable visions or trod its broad and purifying landscapes.