of An Enemy of the People; or, looking at it from a slightly different angle, we might see in the scene an illustration in action of that despairing cry of Schiller's Talbot: "Mit der Dummheit kämpfen Götter selbst vergebens." The truth probably is that the poet vaguely intended this vague monster to be as elusive in its symbolism as in its physical constitution. But when, in Act IV. Sc. 12, he formally identifies the Boyg with the Sphinx, we may surely conclude that one of the interpretations present to his mind was metaphysical. In this aspect, the Boyg would typify the riddle of existence, with which we grapple in vain, and which we have to "get round" as best we can.
The fourth act contains a good many special allusions, in addition to the general, and somewhat crude, satire in the opening scene on the characteristics of different nationalities, with particular reference to their conduct in the Dano-German crisis. Peer's dreams of African colonisation (Act IV. Sc. 5) are said to refer to certain projects which Ole Bull had about this time been ventilating. But it is especially in the madhouse scene (Act IV. Sc. 13) that satiric sallies abound. "The Fellah with the royal mummy on his back," says Henrik Jæger,[1] "is—like Trumpeterstråle—a cut at the Swedes, the mummy being Charles the Twelfth. Like the Fellah, it is implied, the Swedes are extremely proud of their 'Hero-king,' and yet during the Dano-German war they showed not the smallest sign of having anything in common with him, unless it were that they, like him, 'kept still and completely dead.' In the delusion of the minister Hussein, who imagines himself a pen, there is a general reference
- ↑ Henrik Ibsen 1828-1888. Et Literært Livsbillede, Copenhagen, 1888. English Translation, London, Heinemann, 1890.
