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Updated: May 28, 2025
But even Bernard Shaw grew tired after a time of discussing Ibsen only in connection with the current pantomime or the latest musical comedy. It was felt that so much sincerity and fertility of explanation justified a concentrated attack; and in 1891 appeared the brilliant book called The Quintessence of Ibsenism, which some have declared to be merely the quintessence of Shaw.
Shaw's nimble essay on The Quintessence of Ibsenism, the collection which the author has made of the adverse notices of Ghosts which appeared in the London newspapers on the occasion of the first performance of the play in England. Unanimously they commit the fallacy of condemning the piece as immoral because of the subject that it deals with.
This is the whole contention of The Quintessence of Ibsenism, put better than the book puts it; it is a really sharp exposition of the dangers of "idealism," the sacrifice of people to principles, and Shaw is even wiser in his suggestion that this excessive idealism exists nowhere so strongly as in the world of physical science.
She came closer to him, and very quietly, but with an accent that was the very quintessence of Ibsenism, made the somewhat mercantile statement: 'I have come for my half-profits! 'Half-profits! What do you mean? Are you mad? 'Not in the least!
Had he lived longer, he probably would have sung us something in a cautionary strain; just as it can never be sufficiently regretted that he did not live long enough to handle Ibsenism.
Shaw's old and recognized philosophy was that powerfully presented in "The Quintessence of Ibsenism." It was, in brief, that conservative ideals were bad, not because They were conservative, but because they were ideals. Every ideal prevented men from judging justly the particular case; every moral generalization oppressed the individual; the golden rule was there was no golden rule.
Now why is it that when I also deal in the tragi-comic irony of the conflict between real life and the romantic imagination, no critic ever affiliates me to my countryman and immediate forerunner, Charles Lever, whilst they confidently derive me from a Norwegian author of whose language I do not know three words, and of whom I knew nothing until years after the Shavian Anschauung was already unequivocally declared in books full of what came, ten years later, to be perfunctorily labelled Ibsenism.
I had introduced her to the house some time before, and she and my cousin had struck up a close acquaintance immediately. Their temperaments were sympathetic; Daphne admired Hilda's depth and reserve, while Hilda admired Daphne's grave grace and self-control, her perfect freedom from current affectations. She neither giggled nor aped Ibsenism.
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