Iconoclasts: A Book of Dramatists: Ibsen, Strindberg, Becque, Hauptmann, Sudermann, Hervieu, Gorky, Duse and D'Annunzio, Maeterlinck and Bernard ShawHuneker, James
History
Iconoclasts: A Book of Dramatists: Ibsen, Strindberg, Becque, Hauptmann, Sudermann, Hervieu, Gorky, Duse and D'Annunzio, Maeterlinck and Bernard Shaw
Huneker, James
Dramatists; European drama -- 19th century -- History and criticism; European drama -- 20th century -- History and criticism
Max Stirner's radical and defiant egoism, expressed in his pithy
axiom, "My truth is the truth," might be answered by Ibsen with the
contradictory "Le moi est haïssable" of Pascal. Indeed, an ironic
self-contradiction may be gleaned from a study of Ibsen; each play
seems to deny the conclusions of the previous one. But when the
entire field is surveyed in retrospect the smaller irregularities
and deflections from the level melt into a harmonious picture. Ibsen
is complex. Ibsen is confusing. In Ibsen there rage the thinker, the
artist, the critic. These sometimes fail to amalgamate, and so the
artistic precipitation is cloudy. He is a true Viking who always loves
stormy weather; and, as Brandes said, "God is in his heart, but the
devil is in his body." His is an emotional logic, if one may frame such
an expression; and it would be in vain to search in his works for the
_ataraxia_ of the tranquil Greek philosopher. A dynamic grumbler, like
Carlyle, he eventually contrives to orient himself; his dramas are only
an escape from the ugly labyrinth of existence. If his characters are
sick, so is latter-day life. The thinker often overrides the poet in
him; and at times the dramatist, the pure _Theatermensch_, gets the bit
between his teeth and nearly wrecks the psychologist. He acknowledges
the existence of evil in the world, knows the house of evil, but has
not tarried in it. Good must prevail in the end is the burden of his
message, else he would not urge upon his fellow-beings the necessity of
willing and doing.
The cold glamour of his moods is supplemented by the strong, sincere
purpose underlying them. He feels, with Kierkegaard, that the average
sensual man will ever "parry the ethical claim"; and if, in Flaubert's
eyes, "man is bad because he is stupid," in Ibsen's "he is stupid
because he is bad." "To will is to have to will," says his Maximus
in Emperor and Galilean. This phrase is the capstone of the Ibsen
structure. If he abhors the inflated phraseology of altruism, he is one
with Herbert Spencer, who spoke of a relapse into egotism as the only
thing which could make altruism enduring.
Public-domain text, read in full here on John Shaqi.
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