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Updated: May 2, 2025
Shaw came nearer to the truth with his famous paradox that the only golden rule in Ibsen's dramas is that there is no golden rule. It must, however, be admitted that the dramatists themselves are not entirely guiltless of this current critical misconception. Most of them happen to be realists, and in devising their situations they aim to be narrowly natural as well as broadly true.
But in 'Rosmersholm, strong as the drama is and fine as its technic is, Ibsen's method seems to be at fault in that we learn too late what it would have interested us greatly to know earlier. It is only at the end almost that we are allowed to perceive what were Rebecca West's real intentions in coming to Rosmersholm and how the influence of the house itself has transformed her.
How to swing the sword he taught you, And, ye plunged it in his bosom. While he routed trolls of darkness, With your shields you tripped and bruised him. Ibsen's native biographers have not found much to record, and still less that deserves to recorded, about his life during the next five years.
Then comes the conclusion, which reminds one somewhat of the close of Ibsen's Lady from the Sea. The young husband throws wide the door, and addresses his wife as follows: The door is open; you are free to go. Why do you tarry? Are you not afraid? Go, ere I hate you. I'll not hinder you. I would not have you bound to me by fear.
D:r IBSEN'S aforesaid inquiry plainly hinted that Norwegian opposition would be raised against the Swedish Minister for Foreign affairs having direct control over the Norwegian Consuls, a stipulation that was absolutely necessary both from a Swedish and a Union point of view.
Moreover, he found his brilliant antagonist, Björnson, at Bergen on a like errand, and renewed an old friendship with this warm-hearted and powerful man of genius, destined to play through life the part of Håkon to Ibsen's Skule. They spent much of the subsequent winter together.
This work was composed with more than Ibsen's customary care, and was published at the beginning of December, in an edition of ten thousand copies. Before the end of 1881 Ibsen was aware of the terrific turmoil which Ghosts had begun to occasion. He wrote to Passarge: "My new play has now appeared, and has occasioned a terrible uproar in the Scandinavian press.
We have grown used to a presentment of human life such as Ibsen's in which the customary morality is regarded as a thin veneer of convention which hardly covers the selfishness in grain, or to the description of life as a tangled mass of animal passions, a description which, in spite of the genius of Zola, does not fail to weary and disgust, or perhaps as only a spectacle in which what men call good and evil are the light and shade of a picture which may serve to produce some artistic emotion.
At the present moment any one conversant with Norwegian society who will ask a priest or a schoolmaster, an officer or a doctor, what has been the effect of Ibsen's influence, will be surprised at the unanimity of the reply. Opinions may differ as to the attractiveness of the poet's art or of its skill, but there is an almost universal admission of its beneficial tendency.
Lady Inger at Östraat, written in the winter of 1854 but not published until 1857, is unique among Ibsen's works as a romantic exercise in the manner of Scribe. It is the sole example of a theme taken by him directly from comparatively modern history, and treated purely for its value as a study of contemporary intrigue.
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