as possible. Now boisterous geniality, loquacity, irrepressible rashness of utterance, and a total absence of self-criticism and self-irony were the very contradiction of the poet's own characteristics—at any rate, after he had entered upon middle life. He doubtless looked round for models who should be his own antipodes in these respects. John Paulsen, as we have seen, thinks that he took many traits from Jonas Lie; others say[1] that one of his chief models was an old friend named Harald Thaulow, the father of the great painter. Be this as it may, the very effort to disguise himself naturally led him to attribute to his protagonist and mouthpiece a great superficial amiability. I am far from implying that Ibsen's own character was essentially unamiable; it would ill become one whom he always treated with the utmost kindness to say or think anything of the kind. But his amiability was not superficial, effusive, exuberant; it seldom reached that boiling-point which we call geniality; and for that very reason Thomas Stockmann became the most genial of his characters. He may be called Ibsen's Colonel Newcome. We have seen from the letter to Hegel (p. x.) that the poet regarded him with much the same ironic affection which Thackeray must have felt for that other Thomas who, amid many differences, had the same simple-minded, large-hearted, child-like nature.
In technical quality, An Enemy of the People is wholly admirable. We have only to compare it with Pillars of Society, the last play in which Ibsen had painted a broad satiric picture of the life of a Norwegian town, to feel how great an advance he had made in the intervening five years. In naturalness
- ↑ See article by Julius Elias in Die neue Rundschau, December 1906, p. 1461.
