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Updated: July 21, 2025
This latter has been compared to Ibsen's Brand: I do not know whether any one has noticed other odd, though slight, resemblances between Peer Gynt and Beddoes' chief work. The Crimean War had a strong influence on Dobell, and besides joining Smith in Sonnets on the War , he wrote by himself England in Time of War, next year.
"Who the hell he is and where he comes from is past me. Had I better fix him and take his key?" "Yess," nodded one of the other men, "it iss perhaps better that we search now his luggage in his room." "I guess that's all we can hope for from this guy. Say! He's a clam. And he may be only a jazzer at that." "He comes on the Peer Gynt this morning.
Ibsen may seem to have little relation with the drama of the world, but in reality he is linked with it at every step. There is something of Shakespeare in John Gabriel Borkman, something Molière in Ghosts, something of Goethe in Peer Gynt. We may go further and say, though it would have made Ibsen wince, that there is something of Scribe in An Enemy of the People.
A literary artist who writes for the individual may produce a great work of literature that is cast in the dramatic form; but the work will not be, in the practical sense, a play. Samson Agonistes, Faust, Pippa Passes, Peer Gynt, and the early dream-dramas of Maurice Maeterlinck, are something else than plays. They are not devised to be presented by actors on a stage before an audience.
This last was deservedly hissed by the audience as a palpable absurdity being foisted on the half-stunned intelligentsia of Berlin. At the Lessing Theatre a few days later, "Peer Gynt," that poetical drama of the Teuton's destiny much better done because really nearer to the German soul than Shakespeare.
But he would reopen the door to allegory and symbol, and especially to fantastic beauty of landscape. The landscape of Rosmersholm has all, or at least much, of the old enchantment. The scene at the mill-dam links us once more with the woods and the waters which we had lost sight of since Peer Gynt. But this element was still more evident in The Lady from the Sea, which was. published in 1888.
Clemens Petersen, who, since the decease of Heiberg, had been looked upon as the doyen of Danish critics had pronounced against the poetry of Peer Gynt, and Ibsen, in one of his worst moods, in a bearish letter, had thrown the blame of this judgment upon Björnson. All through these last months in Rome we find Ibsen in the worst of humors.
Indeed it was more cordially received than the drama, as is indicated by this criticism by Hanslick: "Perhaps in a few years Ibsen's Peer Gynt will live only through Grieg's music, which, to my taste, has more poetry and artistic intelligence in every number than the whole five-act monstrosity of Ibsen."
Peer Gynt was received in the North with some critical bewilderment, and it has never been so great a favorite with the general public as Brand. But Ibsen, with triumphant arrogance, when he was told that it did not conform to the rules of poetic art, asserted that the rules must be altered, not Peer Gynt. "My book," he wrote, "is poetry; and if it is not, then it shall be.
There is some dissension between a man who likes music and another who prefers rag-time. Number one leads off with the Peer Gynt Suite, and number two counters with the record that choruses: "Hello, how are you?" From the babel of yarning emerges the voice of our licensed liar "So I told the General he was the sort of bloke who ate tripe and gargled with his beer." "Flush," calls a poker player.
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