the problems of heredity and the influence of early surroundings are more than touched upon; and both alike culminate in the doctrine that the only redeeming power on earth or in heaven is the power of love.
"Peer Gynt, as already stated, stands for the Norwegian people, much as they are sketched in Brand, though with more brightness of colouring. Hence his perpetual 'hedging' and determination never so to commit himself that he cannot draw back. Hence his fragmentary life of smatterings. Hence his perpetual brooding over the former grandeur of his family, his idle dreams of the future, and his neglect of every present duty. Hence his deep-rooted selfishness and cynical indifference to all higher motives; and hence, above all, his sordid and superstitious religion; for to him religion is the apotheosis of the art of 'hedging.' "But Ibsen's allegories are never stiffly or pedantically worked out. His characters, though typical, are personal. We could read Brand, and could feel the tragedy and learn the lessons of the drama without any knowledge whatever of the circumstances or feelings under which it was written, or the references to the Norwegian character and conduct with which it teems. "So, too, with Peer Gynt. We may forget the national significance of the sketch, except where special allusions recall it to our minds, and may think only of the universal problems with which the poem deals, and which will retain their awful interest when Ibsen's polemic against his countrymen has sunk into oblivion. The study of Peer Gynt as an occasional poem should be strictly subsidiary and introductory to its study as the tragedy of a lost soul. "What is it to be one's self? God meant something
