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But he never felt the fatigue he anticipated, and, but for brief visits to Copenhagen or Stockholm, he left his native country no more after 1891, although he changed his abode in Christiania itself. For the first twelve months Ibsen enjoyed the pleasures of the prodigal returned, and fed with gusto on the fatted calf.
To a friend of mine, a young Norwegian man of letters, Ibsen said about this time: "Oh, you can always love, but I am happier than the happiest, for I am beloved." Long afterwards, on his seventieth birthday, when his own natural force was failing, he wrote to Miss Bardach, "That summer at Gossensass was the most beautiful and the most harmonious portion of my whole existence.
Björnson had seemed to slip ahead of Ibsen; his Sigurd Slembe was a riper work than the elder friend had produced; but Mary Stuart in Scotland had marked a step backward, and now Ibsen had once more shot far ahead of his rival.
You have remarkable powers, and you might realize some of your dreams if the prospect of initiatives did not alarm your secretly feminine soul. The two of us together could conquer the world. Now go ahead and dream until dreams pall and I have more time." "Ibsen will live, not as a dramaturgist, but as the greatest professor of dramaturgy the world has ever known."
Heiberg, herself the wittiest of talkers, said that to sit beside Ibsen was to peer into a gold-mine and not catch a glitter from the hidden treasure. But his dumbness was not so bitterly ironical as it was popularly supposed to be. It came largely from a very strange passivity which made definite action unwelcome to him.
If the harsh Priest be, in a measure, Ibsen as Norway made him, Agnes and Einar, and perhaps Gerd also, are the delicate offspring of Italy. Considerable postponements delayed the publication of Brand, which saw the light at length, in Copenhagen, in March, 1866.
There is, however, this radical difference that in Lady Inger there is nothing preternatural, and it is, indeed, in this play that Ibsen seems first to appreciate the value of a stiff attention to realism.
It was he who invented the modern dramatic method of seizing a situation at the point at which it can last be seized, and from there pushing it forward with imperturbable logic and not one divagation. As an artist Ibsen is to a considerable extent the master of Tchekov; but, as art is the last thing to which an English Intellectual pays attention, this fact has been overlooked.
He painted a more agreeable Ibsen when he spoke of his summer flights to the Alban Hills, planned on terms of the most prudent reference to resources which seemed ever to be expected and never to arrive.
Tolstoi, Turgeniev, Sienkiewicz, Ibsen, Maeterlinck, Fogazzaro, Jokai, Haeckel, Nietzsche I give the names at random as they come of any one of these there is immeasurably more of a "cult" in the United States than in England a far larger proportion of the population makes some effort to master what is worth mastering in each.
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