the passages in Faust to which the same epithets may be applied. On the other hand, the scenes of poignant and thrilling and haunting poetry are too many to be severally indicated. The first act, with its inimitable life and movement, Åse's death-scene, and the Pastor's speech in the last act, are usually cited as the culminating points of the poem; and there can be no doubt that Åse's death-scene, at any rate, is one of the supreme achievements of modern drama.[1] But there are several other scenes that I would place scarcely, if at all, lower than these. In point of weird intensity, there is nothing in the poem more marvellous than the Sæter-Girl scene (Act II. Sc. 3); in point of lyric movement, Peer Gynt's repudiation of Ingrid (Act II. Sc. 1) is incomparable; and in point of sheer beauty and pathos, Solveig's arrival at the hut (Act III. Sc. 3), with the whole of the scene that follows, stands supreme.[2] For my own part, I reckon the shipwreck scenes at the beginning of the fifth act among the most impressive, as they are certainly not the least characteristic, in the poem. And, in enumerating its traits of undeniable greatness, one must by no means forget the character of Åse, on which Ibsen himself dwelt with justified complacency. There is not a more life-like creation in the whole range of drama.
Having now warned the reader against allowing the search for symbolic or satiric meanings to impair his enjoyment of the pure poetry of Peer Gynt, I may proceed to point out some of the implications which do indubitably underlie the surface aspects of the poem.
- ↑ It is pretty clear that the poet designed Åse's death as a deliberate contrast to the death of Brand's mother.
- ↑ In all these remarks I have in mind, of course, the scenes in their original form. The reader will easily understand the loss which they inevitably suffer in being deprived of the crowning grace of richly-elaborated rhyme.
