It must be apparent to those who have not read or seen the Ibsen plays that, despite this huddled and foreshortened account, they are in essence quite different from what has been reported of them. Idealistic, symbolistic, moral, and ennobling, the Ibsen drama was so vilified by malice and ignorance that its very name was a portent of evil. Mad or wicked Ibsen is not. His scheme of life and morals is often oblique and paradoxical, his interpretation of truths so elliptical that we are confused. But he is essentially sound. He believes in the moral continuity of the universe. His astounding energy is a moral energy. Salvation by good works is his burden. The chief thing is to be strong in your faith. He despises the weak, not the strong sinner. His Supermen are the bankrupts of romantic heroism. His strong man is frequently wrong-headed; but the weakling works the real mischief. Never admit you are beaten. Begin at the bottom twenty times, and when the top is achieved die, or else look for loftier peaks to climb. Ibsen exalts strength. His "ice-church" is chilly; the lungs drink in with difficulty the buffeting breezes on his heights; yet how bracing, how inspiring, is this austere place of worship. Bad as is mankind, Ibsen, who was ever in advance of his contemporaries, believed in its possibility for betterment. Here the optimist speaks. Brand's spiritual pride is his downfall; nevertheless, Ibsen, an aristocratic thinker, believes that of pride one cannot have too much. He recognised the selfish and hollow foundation of all "humanitarian" movements. He is a sign-post for the twentieth century when the aristocratic of spirit must enter into combat with the herd instinct of a depressing socialism. His influence has been tremendous. His plays teem with the general ideas of his century. His chief value lies in the beauty of his art; his is the rare case of the master-singer rounding a long life with his master works. He brought to the theatre new ideas; he changed forever the dramatic map of Europe; he originated a new method of surprising life, capturing it and forcing it to give up a moiety of its mystery for the uses of a difficult and recondite art. He fashioned character anew. And he pushed resolutely into the mist that surrounded the human soul, his Diogenes lantern glimmering, his brave, lonely heart undaunted by the silence and the solitude. His message? Who shall say? He asks questions, and, patterning after nature, he seldom answers them. When his ideas sicken and die--he asserted that the greatest truth outlives its usefulness in time, and it may not be denied that his drama is a dissolvent; already the early plays are in historical twilight and the woman question of his day is for us something quite different--his art will endure. Henrik Ibsen was a man of heroic fortitude. His plays are a bold and stimulating spectacle for the spirit. Should we ask more of a dramatic poet? X MAX STIRNER I