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34
IBSEN
the precepts of Aristotle, but because, like
Sophocles, who had the misfortune to predecease
the Stagirite, he knew precisely what
he wanted to say, and addressed himself
exclusively to the task of saying
it. To
achieve great form is needed neither science
nor tradition, but intense feeling, vigorous
thinking, and imagination. Formlessness is
not a sign of spirited revolt against superstition
; it is a mere indication of muddleheadedness.
The subject-matter of Ibsen's plays
is
reality ; unfortunately, his imagination was
not always strong enough to keep a sure hold
on it. When the vision faded he took refuge
in symbolism or literality. There was a
commonplace background to his mind, of
which we see too much in such plays as An
Enemy of the People and Pillars of Society.
It is this commonplace and rather suburban
quality that tempts us occasionally to explain
Ibsen's popularity by the fact that he represented
the revolt of the supremelyunimportant,
of whom there happen to be quite a number
in the world. With the symbolism of The
Master-Builder no fault can be found. It is
a legitimate and effective means of expressing
a sense of reality. The theme is never lost.
The artist who sacrifices his human relations,
but dare not give all, dare not give his vanity