which all Ibsen’s dreams and dramas were woven. Concentration of attention on the vital play of character, this was his one interest.
Out of this he was roused by a sudden determination to go at last and see for himself what life in Norway was really like. A New England wit once denied that a certain brilliant and Europe-loving American author was a cosmopolitan. “No,” he said, “a cosmopolitan is at home even in his own country.” Ibsen began to doubt whether he was not too far off to follow events in Norway—and these were now beginning to be very exciting—well enough to form an independent judgment about them; and after twenty years of exile there is no doubt that the question was fairly put. The Wild Duck had been published in November, 1884, and had been acted everywhere in Scandinavia with great success. The critics and the public were agreed for the first time that Ibsen was a very great national genius, and that if Norway was not proud of him it would make a fool of itself in the eyes of Europe. Ibsen had said that Norway was a barbarous country, inhabited by two millions of cats and dogs, but so many agreeable and highly-civilized compliments found their way to him in Rome that he began to fancy that the human element was beginning to be introduced. At all events,
