dubious than that of Brand had been. We find even George Brandes writing of it: "What great and noble powers are wasted on this thankless material! Except in the fourth act, which has no connection with what goes before and after, and is witless in its satire, crude in its irony, and in its latter part scarcely comprehensible, there is almost throughout a wealth of poetry and a depth of thought such as we do not find, perhaps, in any of Ibsen's earlier works. . . . It would be unjust to deny that the book contains great beauties, or that it tells us all, and Norwegians in particular, some important truths; but beauties and truths are of far less value than beauty and truth in the singular, and Ibsen's poem is neither beautiful nor true. Contempt for humanity and self-hatred make a bad foundation on which to build a poetic work. What an unlovely and distorting view of life this is! What acrid pleasure can a poet find in thus sullying human nature?"[1] The friendship between Brandes and Ibsen was at this time just beginning, and—much to Ibsen's credit—it appears to have suffered no check by reason of this outspoken pronouncement.
On the other hand, he deeply resented a criticism by Clemens Petersen, who seems to have been at this time regarded as the æsthetic lawgiver of Copenhagen. Why he should have done so is not very clear; for Petersen professed to prefer Peer Gynt to Brand, and his criticism on Brand Ibsen had apparently accepted without demur. Most of Petersen's article is couched in a very heavy philosophic idiom; but the following extract, though it refers chiefly to Brand,
- ↑ Brandes: Ibsen and Björnson, p. 35. London, Heinemann, 1899. Except in regard to the fourth act, Dr. Brandes has, in the introduction to Peer Gynt in the German collected edition, recanted his early condemnation of the poem.
