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Since then the film has been furiously denounced by the literati. Floyd Dell's discriminating assault upon it is quoted in Current Opinion, October, 1915, and Margaret Anderson prints a denunciation of it in a recent number of The Little Review. But it is not such a bad film in itself. It is not Ibsen.
Altho he is ever seeking to awaken curiosity, to arouse the interest of expectancy, and to excite in the spectators a desire to see the thing through, Ibsen refrains from any mere mystery-mongering for its own sake.
Kitty listened to him with an amused smile, and then told him a few things about Ibsen, quoted a few enlightening pages from Hauptmann, routed him, slaughtered him gently as he fled from position to position, and ended by asking him if he had ever read anything of Ibsen's. It was very trying to Billy. This girl evidently had no respect for the superior brain of man whatever.
This eminent authority gave it as his unhesitating opinion that the Wenuses were not fit persons to associate with actors, actresses, or dramatic critics, and that if, as was announced, they had been engaged at Covent Garden to lend realistic verisimilitude to the Venusberg scene in Tannhäuser, it was his firm resolve to give up his long crusade against Ibsen, emigrate to Norway, and change his name to that of John Gabriel Borkman.
One was more beautiful and more lively, but "the Miss Schlegels" still remained a composite Indian god, whose waving arms and contradictory speeches were the product of a single mind. "One can but see," he remarked, adding, "as Ibsen says, 'things happen." He was itching to talk about books and make the most of his romantic hour.
With the publication of Hedda Gabler Ibsen passed 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.
Unfortunately, "the progress of knowledge," as Hazlitt would say, exposed the falsity of this conception. A closer inspection of the documents, and further analysis of the condition of Norway in 1528, destroyed the fair illusion, and showed Ibsen in the light of an indulgent idealist.
The Weltgeist had appealed to him with its irresistible behest, just as it appealed at about the same time to Ibsen and Tolstoy and Ruskin, and had made him a man of new interests and ideals.
The watchword of Brand, with his cry of "All or Nothing," his absolute repudiation of compromise, was not a literary conception, but was founded, without the help of books, on a profound contemplation of human nature, mainly, no doubt, as Ibsen found it in himself. But in these days of the tyranny of literature it is curious to meet with an author of the first rank who worked without a library.
In his later and more poetic plays Ibsen seems to be appealing more especially to the mystic and the moralist; whereas in the earlier social dramas he was able to grip the attention of the mere instinctive spectator, while also satisfying the unexprest desires of the thinker.
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