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Karsten Bernick has married into a family whose gradations put something of a strain on the apprehension and memory of an audience. We have to bear in mind that Mrs. Then Bernick has an unmarried sister, Martha; another relationship, however simple, to be borne in mind.
He introduces a "sewing-bee" of tattling women, one of whom happens to be a stranger to the town, and unfamiliar with its gossip. Into her willing ear the others pour the popular version of the Bernick story; and, this impartment effected, the group of gossips disappears, to be heard of no more.
Whereupon Bernick, though he knows that the Indian Girl is hopelessly unseaworthy, replies, "The Indian Girl is to sail in spite of it." It had occurred to someone that the effect of this incident would be heightened if Krap, before knocking at the Consul's door, were to consult the barometer, and show by his demeanour that it was falling rapidly.
The sheer symbolism of the poet-philosopher is powerfully suggestive, and these later plays have an interest of their own, no doubt; but it is in the earlier social dramas that Ibsen most clearly reveals his dramaturgic genius, in the 'Pillars of Society, and the 'Doll's House, in 'Ghosts' and in 'Hedda Gabler. Dennery might envy the ingenuity with which Consul Bernick is tempted to insist on the fatal order that seems for a season to be the death-sentence of his own son; and Sardou would appreciate the irony of Nora's frantic dance at the very moment when she was tortured by deadly fear.
Consul Bernick, at the very height of his social and financial career, the benefactor of his town and the strongest pillar of the community, has reached the summit through the channel of lies, deception, and fraud. He has robbed his bosom friend, Johann, of his good name, and has betrayed Lona Hessel, the woman he loved, to marry her step-sister for the sake of her money.
And, finally, when we see Dina Dorf living in Bernick's house, and know that Bernick has had an intrigue with her mother, we are apt to fall into the error of supposing her to be Bernick's daughter. There is only one line which proves that this is not so a remark to the effect that, when Madam Dorf came to the town. Dina was already old enough to run about and play angels in the theatre.
It was, indeed as Dryden pointed out in a passage quoted above one of the foibles of our easy-going ancestors to treat character as practically reversible when the time approached for ringing down the curtain. The same convention survives to this day in certain forms of drama. Even Ibsen, in his earlier work, had not shaken it off; witness the sudden ennoblement of Bernick in Pillars of Society.
Consul Bernick is one of Ibsen's most veracious characters, with his cloaking morality, his unconscious egotism, and his unfaltering selfishness, disclosed so naïvely and so naturally. Less boldly drawn but not the less truthful is Helmer, that inexpugnable prig, with his shallow selfishness, his complacent conceit, and his morality for external use only.
The issue is not joined, the true substance of the drama is not clear to us, until, in the second act, Bernick makes sure there are no listeners, and then holds out both hands to Johan, saying: "Johan, now we are alone; now you must give me leave to thank you," and so forth. Why should not this scene have occurred in the first act? Materially, there is no reason whatever.
The social hypocrisy of Consul Bernick is condoned by a sort of death-bed repentance at the close, which is very much of the usual "bless-ye-my-children" order. The loss of the Indian Girl is miraculously prevented, and at the end the characters are solemnized and warned, yet are left essentially none the worse for their alarm.
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