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Updated: July 21, 2025
It was in the summer that Ibsen habitually composed with the greatest ease, and Peer Gynt did not trove smoothly until the poet settled in the Villa Pisani, at Casamicciola, on the island of Ischia. His own account was: "After Brand came Peer Gynt, as though of itself. It was written in Southern Italy, in Ischia and at Sorrento. So far away from one's readers one becomes reckless.
AEschylus in his 'Choephorae' and his 'Prometheus'; Sophocles in his 'OEdipus Tyrannus'; Euripides when he wrote 'The Trojan Women, 'Medea, and 'Hippolytus'; Shakespeare in his 'Leer'; Goethe in his 'Faust'; Ibsen in his 'Ghosts' and his 'Peer Gynt'; Tolstoy in 'The Powers of Darkness'; all all in those great works, must have satisfied their most comfortable and normal selves; all all must have given to the average human being, to the Public, what it wants; for to do that, we know, was the reason of their existence, and who shall say those noble artists were not true to it?
Bernard Shaw remarks that Ibsen, giving the rein to the creative impulse of his poetic nature, produced in "Brand" and "Peer Gynt" a "great puzzle for his intellect." Wagner, he says, "has expressly described how the intellectual activity which he brought to the analysis of his music dramas was in abeyance during their creation.
From Edinburgh came out the familiar furniture he had been brought up among, which had been the stage scenery of his chimney-corner days, when the back bed-room chairs became a ship, and the sofa-back was his hunter's camp. At Vailima he, like Ibsen's Peer Gynt, received "a race gift from his childhood's home."
His "Peer Gynt" was a thing which, I believe, no living English actor could have approached, and I gravely doubt whether England would have furnished a public who would have appreciated it in sufficient numbers to make its presentation a success if it had been achieved in London.
If I confess myself unable to see in Peer Gynt all that Weininger saw in it, the fault is doubtless mine. But in Ibsen, unquestionably, time will create profundities, as it has in Shakespeare. Ibsen's four years in Italy were years of rest, of solitude, of calm. The attitude of Ibsen to Italy was totally distinct from that of other illustrious exiles of his day and generation.
In truth his soul was not complicated. He could never have attacked the psychology of Zarathustra, Hamlet, or Peer Gynt. A Salome from him would have been a delightfully decorative minx, set blithely dancing in some many-hued and enchanted garden of Armida. She would never have worn the air of hieratic lasciviousness with which Gustave Moreau inevitably dowered her.
He would thoroughly sympathise with that passage in his favourite dramatic author in which the Button Moulder tells Peer Gynt that there is a sort of cosmic housekeeping; that God Himself is very economical, "and that is why He is so well to do."
If he read at all, it was poetry. His indifference to music was complete; he had, in fact, no ear whatever, and could not distinguish one tune from another. His efforts to appreciate the music which Grieg made for Peer Gynt were pathetic. But for verse his sense was exceedingly delicate, and the sound of poetry gave him acute pleasure.
Another story of the same type is that about Per Gynt, who, having been informed that a certain house is invaded by trolls every Christmas Eve so that the inmates must seek refuge elsewhere, decides to ask for lodging there overnight next Christmas Eve in order that he may put an end to the depredations of the trolls.
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