and parties. I, at any rate, shall never be able to join a party which has the majority on its side. Björnson says, ‘The majority is always right’; and as a practical politician he is bound, I suppose, to say so. I, on the contrary, of necessity say, ‘The minority is always right.’”
In order to place this view clearly before his countrymen, he set about composing the extremely vivid and successful play, perhaps the most successful pamphlet-play that ever was written, which was to put forward in the clearest light the claim of the minority. He was very busy with preparations for it all through the summer of 1882, which he spent at what was now to be for many years his favorite summer resort, Gossensass in the Tyrol, a place which is consecrated to the memory of Ibsen in the way that Pornic belongs to Robert Browning and the Bel Alp to Tyndall, holiday homes in foreign countries, dedicated to blissful work without disturbance. Here, at a spot now officially named the “Ibsenplatz,” he composed The Enemy of the People, engrossed in his invention as was his wont, reading nothing and thinking of nothing but of the persons whose history he was weaving. Oddly enough, he thought that this, too, was to be a “placable” play, written to amuse and stimulate, but calculated to wound nobody’s feelings. The fact was that Ibsen, like some ocelot or panther of the rocks, had
