6 Paul H. Grummann 



to his ideal. This experience is so typical for artists that we may 

 look upon it as symbolical. Whether Ibsen succeeds in completely 

 harmonizing typical characters with typical experiences is a ques- 

 tion which can hardly be discussed adequately in the present 

 paper. There is little difference between The Master Builder 

 and When We Dead Awaken, except that in the latter play the 

 problem stands out more clearly. Ibsen had learned not to over- 

 load his play with unessentials to a still greater degree than in the 

 earlier play. As for surface reality, the latter play is superior to 

 the former. The development of Rubek's statue into a group is 

 far more plausible than Solnesz's home with the nurseries. Irene 

 in the flesh is far more plausible than Hilde in the flesh. 



If we apply the theory of psychological symbolism to both 

 plays we find a solution which is absolutely satisfactory, one that 

 does not break down at any point. 



The distinction involved may be brought out by a significant 

 example. Rubek speaks of the railroad employees at the stations 

 through which they have been passing. " No one got out or in ; 

 but all the same the train stopped an endless time. And at every 

 station I could make out that there were two railway men walk- 

 ing up and down the platform — one with a lantern in his hand — 

 and they said things to each other in the night, low and toneless 

 and meaningless." When, as has been done, we attach a sym- 

 bolical meaning to these men and this lantern we lose ourselves 

 in meaningless surmises. If, on the other hand, we conclude that 

 Rubek interprets a meaning into them that answers to his own 

 state of mind we are on solid ground. The men were really there 

 for a very definite purpose, they spoke in low tones for a very 

 good reason not always observed by our railroad men at night, 

 their lantern served a very practical end, yet to this morbid Rubek 

 the whole scene became symbolical of the aimlessness of his 

 activity. 



But to return to Archer. He calls When We Dead Awaken 

 a piece of self-caricature. If Ibsen has caricatured himself in 

 this drama, he has at some time turned his back on his ideals and 

 has produced nothing but spurious art. This indeed would be 



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