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Updated: June 28, 2025
Georg Brandes, whose instinct in such matters was almost infallible, when he read the First Part shortly after its composition, entreated Ibsen to give this, as it stood, to the public, and to let The Emperor Julian's End follow independently.
When a man possesses qualities that call forth the wonder of Heine, Humboldt, Bismarck, and Brandes, when Bakounin calls him a "giant," and even George Meredith turns to him as a personality almost unequaled in fiction and makes a novel out of his career, the plain ordinary world may gain some conception of this "father of the German labor movement."
He threw much of himself into his hero, and yet he was careful to remain outside. Ibsen, as we have already pointed out, was ready in later life to discuss his own writings, and what he said about them is often dangerously mystifying. He told Georg Brandes that the religious vocation of Brand was not essential.
Yet it must not be forgotten that the publication of it, in that hide-bound time, was an act of extraordinary courage. Georg Brandes, always clearsighted, was alone in being able to perceive at once that Ghosts was no attack on society, but an effort to place the responsibilities of men and women on a wholesomer and surer footing, by direct reference to the relation of both to the child.
If you can only get a place in our establishment, you will be all right. Step by step you will rise, till you come to stand where I do." "That would satisfy me. Has Mr. Brandes got another daughter?" "No, there is only one." "Then I shall have to be content with the forty dollars a week. If I ever get it, I will save half." "I wish I could." "You can if you try.
Then the average college critic of the arts, with his balderdash about inspiration and moral purpose, is greater than Georg Brandes or Saint-Beuve. Then Éugene Brieux, with his Y. M. C. A. platitudinizing, is greater than Molière, with his ethical agnosticism, his ironical determinism.
Brandes the singular carelessness with which great parts of them were obviously written. Could anything drag more wretchedly than the dénouement of Cymbeline? And with what perversity is the great pastoral scene in The Winter's Tale interspersed with long-winded intrigues, and disguises, and homilies!
The year of 1870 drove him out of Dresden, as the French occupation had driven him out of Rome. It was essential for him to be at rest in the midst of a quiet and alien population. He was drawn towards Denmark, partly for the sake of talk with Brandes, who had now become a factor in his life, partly to arrange about the performance of one of his early works, and in particular of The Pretenders.
Brandes turned to his comrades. "Go ahead; I'll follow directly." When one by one they had disappeared in the thicket, Brandes stepped close up to the boy. "Frederick," he said in tones of suppressed rage, "my patience is worn out; I'd like to thrash you like a dog, and that's no worse than you deserve. You bundle of rags, without a tile in your roof to call your own!
This revolution, as exemplified by the Commune in Paris, did not satisfy the anticipations which Ibsen had formed, and Brandes took advantage of this to tell him that he had not yet studied politics minutely enough from the scientific standpoint. Ibsen replied that what he did not possess as knowledge came to him, to a certain degree, as intuition or instinct.
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