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He feels as if he were passing through life with a sharper accent which stirs his personal energies. The usual make-up of the photoplay must strengthen this effect inasmuch as the wordlessness of the picture drama favors a certain simplification of the social conflicts. The subtler shades of the motives naturally demand speech. The later plays of Ibsen could hardly be transformed into photoplays.
All interest in the authorship of the article of the Ibsen crank, all interest in Godolphin's apparent forgetfulness of his solemn promises to give the rest of his natural life to the performance of the piece, was lost in amaze at the fact that he was going to revise it to please himself, and to fashion Maxwell's careful work over in his own ideal of the figure he should make in it to the public.
When the poet-philosopher has suggested to the playwright one of these essentially dramatic themes, Ibsen handles it with a directness which intensifies its force and which is in itself evidence of his poetic power.
Here for the first time, however, Ibsen perfected his peculiar gift of imparting tense dramatic interest to the unveiling of the past.
Molière was popular with the ordinary parterre of his day: yet his plays have endured for over two centuries, and the end of their vitality does not seem to be in sight. Ibsen did not write for a coterie, though special and regrettable circumstances have made him, in England, something of a coterie-poet.
Ibsen, flown with anger as with wine, could find no outrageous offences to lash, and all he could invite the age to do was to laugh at certain conventions and to reconsider some prejudicated opinions. He had to be pungent, not openly ferocious; he had to be sarcastic and to treat the current code of morals as a jest.
Unfortunately, the people laughed at will never consent to think the way well mannered, and Ibsen was bitterly blamed for "want of taste," that vaguest and most insidious of accusations. In writing satire, it is all-important that the form should be adequate, and at this time Ibsen had not reached the impeccable perfection of his later colloquial prose.
I like far more to remember the Christmas dinner eaten here only, alas, in fancy, yet with all the illusion of fact by Browning and a Scandinavian dramatist named Ibsen, brought together for the purpose by the assiduous Mr. Gosse, as related with such skill and mischief by Mr. Max Beerbohm.
We see in the Porter scene in Macbeth a suspension of this nature; but Shakespeare used it sparingly, unless, indeed, we are to consider as a deliberate point of art the retardation of movement commonly observable in the fourth acts of his tragedies. Ibsen, on the other hand, deliberately employed this device on three conspicuous occasions. The entrance of Dr.
She does not always have the chance to act the woman written in her face, the tart, thinking, handsome creature that Ibsen prefers. Nigel Debrullier looks the buttoned-up Pastor Manders, even to caricature. But the crawling, bootlicking carpenter, Jacob Engstrand, is changed into a respectable, guileless man with an income. And his wife and daughter are helpless, conventional, upper-class rabbits.
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