Complete Works of James Joyce

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  But, says Rubek, our love is not dead in us, it is active, fervent and strong.

  IRENE. The love that belongs to the life of earth — the beautiful, miraculous life of earth — the inscrutable life of earth — that is dead in both of us.

  There are, moreover, the difficulties of their former lives. Even here, at the sublimest part of his play, Ibsen is master of himself and his facts. His genius as an artist faces all, shirks nothing. At the close of The Master Builder, the greatest touch of all was the horrifying exclamation of one without, ‘O! the head is all crushed in.’ A lesser artist would have cast a spiritual glamour over the tragedy of Bygmester Solness. In like manner here Irene objects that she has exposed herself as a nude before the vulgar gaze, that Society has cast her out, that all is too late. But Rubek cares for such considerations no more. He flings them all to the wind and decides.

  RUBEK (throwing his arms violently around her). Then let two of the dead - — us two — for once live life to its uttermost, before we go down to our graves again. irene (with a shriek). Arnold!

  RUBEK. But not here in the half-darkness. Not here with this hideous dank shroud flapping around us!

  IRENE (carried away by passion). No, no — up in the light and in all the glittering glory! Up to the Peak of Promise!

  RUBEK. There we will hold our marriage-feast, Irene — oh! my beloved!

  IRENE (proudly). The sun may freely look on us, Arnold. rubek. All the powers of light may freely look on us — and all the powers of darkness too [seizes her hand] — will you then follow me, oh my grace-given bride!

  IRENE (as though transfigured). I follow you, freely and gladly, my lord and master!

  RUBEK (drawing her along with him). We must first pass through the mists, Irene, and then

  IRENE. Yes, through all the mists, and then right up to the summit of the tower that shines in the sunrise.

  The mist-clouds close in over the scene, rubek and irene, hand in hand, climb up over the snowfield to the right and soon disappear among the lower clouds. Keen storm-gusts hurtle and whistle through the air. The sister of mercy appears upon the rubble-slope to the left. She stops and looks around silently and searchingly. maja can be heard singing triumphantly far in the depths below.

  MAJA. I am free! I am free! I am free!

  No more life in the prison for me!

  I am free as a bird! I am free! Suddenly a sound like thunder is heard from high up on the snowfield, which glides and whirls downwards with rushing speed, rubek and irene can be dimly discerned as they are whirled along with the masses of snow and buried in them.

  THE SISTER OF MERCY (gives a shriek, stretches out her arms towards them, and cries), Irene! [Starids silent a moment, then makes the sign of the cross before her in the air, and says], Pax Vobiscum! maja’s triumphant song sounds from still further down below.

  Such is the plot, in a crude and incoherent way, of this new drama. Ibsen’s plays do not depend for their interest on the action, or on the incidents. Even the characters, faultlessly drawn though they be, are not the first thing in his plays. But the naked drama — either the perception of a great truth, or the opening up of a great question, or a great conflict which is almost independent of the conflicting actors, and has been and is of far-reaching importance — this is what primarily rivets our attention. Ibsen has chosen the average lives in their uncompromising truth for the groundwork of all his later plays. He has abandoned the verse form, and has never sought to embellish his work after the conventional fashion. Even when his dramatic theme reached its zenith he has not sought to trick it out in gawds or tawdriness. How easy it would have been to have written An Enemy of the People on a speciously loftier level — to have replaced the bourgeois by the legitimate hero! Critics might then have extolled as grand what they have so often condemned as banal. But the surroundings are nothing to Ibsen. The play is the thing. By the force of his genius, and the indisputable skill which he brings to all his efforts, Ibsen has, for many years, engrossed the attention of the civilized world. Many years more, however, must pass before he will enter his kingdom in jubilation, although, as he stands to-day, all has been done on his part to ensure his own worthiness to enter therein. I do not propose here to examine into every detail of dramaturgy connected with this play, but merely to outline the characterization.

  In his characters Ibsen does not repeat himself. In this drama — the last of a long catalogue — he has drawn and differentiated with his customary skill. What a novel creation is Ulfheim! Surely the hand which has drawn him has not yet lost her cunning. Ulfheim is, I think, the newest character in the play. He is a kind of surprise-packet. It is as a result of his novelty that he seems to leap, at first mention, into bodily form. He is superbly wild, primitively impressive. His fierce eyes roll and glare as those of Yégof or Heme. As for Lars, we may dismiss him, for he never opens his mouth. The Sister of Mercy speaks only once in the play, but then with good effect. In silence she follows Irene like a retribution, a voiceless shadow with her own symbolic majesty.

  Irene, too, is worthy of her place in the gallery of her compeers. Ibsen’s knowledge of humanity is nowhere more obvious than in his portrayal of women. He amazes one by his painful introspection; he seems to know them better than they know themselves. Indeed, if one may say so of an eminently virile man, there is a curious admixture of the woman in his nature. His marvellous accuracy, his faint traces of femininity, his delicacy of swift touch, are perhaps attributable to this admixture. But that he knows women is an incontrovertible fact. He appears to have sounded them to almost unfathomable depths. Beside his portraits the psychological studies of Hardy and Turgénieff, or the exhaustive elaborations of Meredith, seem no more than sciolism. With a deft stroke, in a phrase, in a word, he does what costs them chapters, and does it better. Irene, then, has to face great comparison; but it must be acknowledged that she comes forth of it bravely. Although Ibsen’s women are uniformly true, they, of course, present themselves in various lights. Thus Gina Ekdal is, before all else, a comic figure, and Hedda Gabier a tragic one — if such old-world terms may be employed without incongruity. But Irene cannot be so readily classified; the very aloofness from passion, which is not separable from her, forbids classification. She interests us strangely — magnetically, because of her inner power of character. However perfect Ibsen’s former creations may be, it is questionable whether any of his women reach to the depth of soul of Irene. She holds our gaze for the sheer force of her intellectual capacity. She is, moreover, an intensely spiritual creation — in the truest and widest sense of that. At times she is liable to get beyond us, to soar above us, as she does with Rubek. It will be considered by some as a blemish that she — a woman of fine spirituality — is made an artist’s model, and some may even regret that such an episode mars the harmony of the drama. I cannot altogether see the force of this contention; it seems pure irrelevancy. But whatever may be thought of the fact, there is small room for complaint as to the handling of it. Ibsen treats it, as indeed he treats all things, with large insight, artistic restraint, and sympathy. He sees it steadily and whole, as from a great height, with perfect vision and an angelic dispassionateness, with the sight of one who may look on the sun with open eyes. Ibsen is different from the clever purveyor.

  Maja fulfills a certain technical function in the play, apart from her individual character. Into the sustained tension she comes as a relief. Her airy freshness is as a breath of keen air. The sense of free, almost flamboyant, life, which is her chief note, counterbalances the austerity of Irene and the dullness of Rubek. Maja has practically the same effect on this play, as Hilda Wangel has on The Master Builder. But she does not capture our sympathy so much as Nora Helmer. She is not meant to capture it.

  Rubek himself is the chief figure in this drama, and, strangely enough, the most conventional. Certainly, when contrasted with his Napoleonic predecessor, John Gabriel Borkman, lie is a mere shadow. It must be borne in mind, however, that Borkman is alive,
actively, energetically, restlessly alive, all through the play to the end, when he dies; whereas Arnold Rubek is dead, almost hopelessly dead, until the end, when he comes to life. Notwithstanding this, he is supremely interesting, not because of himself, but because of his dramatic significance. Ibsen’s drama, as I have said, is wholly independent of his characters. They may be bores, but the drama in which they live and move is invariably powerful. Not that Rubek is a bore by any means! He is infinitely more interesting in himself than Torvald Helmer or Tesman, both of whom possess certain strongly-marked characteristics. Arnold Rubek is, on the other hand, not intended to be a genius, as perhaps Eljert Lovborg is. Had he been a genius like Eljert he would have understood in a truer way the value of his life. But, as we are to suppose, the facts that he is devoted to his art and that he has attained to a degree of mastery in it — mastery of hand linked with limitation of thought — tell us that there may be lying dormant in him a capacity for greater life, which may be exercised when he, a dead man, shall have risen from among the dead.

  The only character whom I have neglected is the inspector of the baths, and I hasten to do him tardy, but scant, justice. He is neither more nor less than the average inspector of baths. But he is that.

  So much for the characterization, which is at all times profound and interesting. But apart from the characters in the play, there are some noteworthy points in the frequent and extensive side- issues of the line of thought. The most salient of these is what seems, at first sight, nothing more than an accidental scenic feature. I allude to the environment of the drama. One cannot but observe in Ibsen’s later work a tendency to get out of closed rooms. Since Hedda Gabier this tendency is most marked. The last act of The Master Builder and the last act of John Gabriel Borkman take place in the open air. But in this play the three acts are al fresco. To give heed to such details as these in the drama may be deemed ultra-Boswellian fanaticism. As a matter of fact it is what is barely due to the work of a great artist. And this feature, which is so prominent, does not seem to me altogether without its significance.

  Again, there has not been lacking in the last few social dramas a fine pity for men — a note nowhere audible in the uncompromising rigour of the early eighties. Thus in the conversion of Rubek’s views as to the girl-figure in his masterpiece, The Resurrection Day’, there is involved an all-embracing philosophy, a deep sympathy with the cross-purposes and contradictions of life, as they may be reconcilable with a hopeful awakening — when the manifold travail of our poor humanity may have a glorious issue. As to the drama itself, it is doubtful if any good purpose can be served by attempting to criticize it. Many things would tend to prove this. Henrik Ibsen is one of the world’s great men before whom criticism can make but feeble show. Appreciation, hearkening is the only true criticism. Further, that species of criticism which calls itself dramatic criticism is a needless adjunct to his plays. When the art of a dramatist is perfect the critic is superfluous. Life is not to be criticized, but to be faced and lived. Again, if any plays demand a stage they are the plays of Ibsen. Not merely is this so because his plays have so much in common with the plays of other men that they were not written to cumber the shelves of a library, but because they are so packed with thought. At some chance expression the mind is tortured with some question, and in a flash long reaches of life are opened up in vista, yet the vision is momentary unless we stay to ponder on it. It is just to prevent excessive pondering that Ibsen requires to be acted. Finally, it is foolish to expect that a problem, which has occupied Ibsen for nearly three years, will unroll smoothly before our eyes on a first or second reading. So it is better to leave the drama to plead for itself. But this at least is clear, that in this play Ibsen has given us nearly the very best of himself. The action is neither hindered by many complexities, as in The Pillars of Society, nor harrowing in its simplicity, as in Ghosts. We have whimsicality, bordering on extravagance, in the wild Ulfheim, and subtle humour in the sly contempt which Rubek and Maja entertain for each other. But Ibsen has striven to let the drama have perfectly free action. So he has not bestowed his wonted pains on the minor characters. In many of his plays these minor characters are matchless creations. Witness Jacob Engstrand, Tônnesen, and the demonic Molvik! But in this play the minor characters are not allowed to divert our attention.

  On the whole, When We Dead A waken may rank with the greatest of the author’s work — if, indeed, it be not the greatest. It is described as the last of the series, which began with A Doll’s House — a grand epilogue to its ten predecessors. Than these dramas, excellent alike in dramaturgic skill, characterization, and supreme interest, the long roll of drama, ancient or modern, has few things better to show.

  James A. Joyce

  The Day of the Rabblement

  1901

  No man, said the Nolan, can be a lover of the true or the good unless he abhors the multitude: and the artist, though he may employ the crowd, is very careful to isolate himself. This radical principle of artistic economy applies specially to a time of crisis, and today when the highest form of art has been just preserved by desperate sacrifices, it is strange to see the artist making terms with the rabblement. The Irish Literary Theatre is the latest movement of protest against the sterility and falsehood of themodern stage. Half a century ago the note of protest was uttered in Norway, and since then in several countries long and disheartening battles have been fought against the hosts of prejudice and misinterpretation and ridicule. What triumph there has been here and there is due to stubborn conviction, and every movement that has set out heroically has achieved a little. The Irish Literary Theatre gave out that it was the champion of progress, and proclaimed war against commercialism and vulgarity. It had partly made good its word and was expelling the old devil, when after the first encounter it surrendered to the popular will. Now, your popular devil is more dangerous than your vulgar devil. Bulk and lungs count for something, and he can gild his speech aptly. He has prevailed once more, and the Irish Literary Theatre must now be considered the property of the rabblement of the most belated race in Europe.

  It will be interesting to examine here. The official organ of the movement spoke of producing European masterpieces, but the matter went no further. Such a project was absolutely necessary. The censorship is powerless in Dublin, and the directors could have produced Ghosts or The Dominion of Darkness if they chose. Nothing can be done until the forces that dictate public judgement are calmly confronted. But, of course, the directors are shy of presenting Ibsen, Tolstoy or Hauptmann, where even Countess Cathleen is pronounced vicious and damnable. Even for a technical reason this project was necessary. A nation which never advanced so far as a miracle-play affords no literary model to the artist, and he must look abroad. Earnest dramatists of the second rank, Sudermann, Bjôrnson, and Giacosa, can write very much better plays than the Irish Literary Theatre has staged. But, of course, the directors would not like to present such improper writers to the uncultivated, much less to the cultivated, rabblement. Accordingly, the rabblement, placid and intensely moral, is enthroned in boxes and galleries amid a hum of approval — la bestia Trionfante — and those who think that Echegaray is ‘morbid’, and titter coyly when Mélisande lets down her hair, are not sure but they are the trustees of every intellectual and poetic treasure.

  Meanwhile, what of the artists? It is equally unsafe at present to say of Mr. Yeats that he has or has not genius. In aim and form The Wind among the Reeds is poetry of the highest order, and The Adoration of the Magi (a story which one of the great Russians might have written) shows what Mr. Yeats can do when he breaks with the half-gods. But an aesthete has a floating will, and Mr. Yeats’s treacherous instinct of adaptability must be blamed for his recent association with a platform from which even self-respect should have urged him to refrain. Mr. Martyn and Mr. Moore are not writers of much originality. Mr. Martyn, disabled as he is by an incorrigible style, has none of the fierce, hysterical power of Strindberg, whom he suggests at times
; and with him one is conscious of a lack of breadth and distinction which outweighs the nobility of certain passages. Mr. Moore, however, has wonderful mimetic ability, and some years ago his books might have entitled him to the place of honour among English novelists. But though Vain Fortune (perhaps one should add some of Esther Waters) is fine, original work, Mr. Moore is really struggling in the backwash of that tide which has advanced from Flaubert through Jakobsen to D’Annunzio: for two entire eras lie between Madame Bovary and II Fuoco. It is plain from Celibates and the later novels that Mr. Moore is beginning to draw upon his literary account, and the quest of a new impulse may explain his recent startling conversion. Converts are in the movement now, and Mr. Moore and his island have been fitly admired. But however frankly Mr. Moore may misquote Pater and Turgenieff to defend himself, his new impulse has no kind of relation to the future of art.

  In such circumstances it has become imperative to define the position. If an artist courts the favour of the multitude he cannot escape the contagion of its fetichism and deliberate self-deception, and if he joins in a popular movement he does so at his own risk. Therefore, the Irish Literary Theatre by its surrender to the trolls has cut itself adrift from the line of advancement. Until he has freed himself from the mean influences about him — sodden enthusiasm and clever insinuation and every flattering influence of vanity and low ambition — - no man is an artist at all. But his true servitude is that he inherits a will broken by doubt and a soul that yields up all its hate to a caress; and the most seeming-independent are those who are the first to reassume their bonds. But Truth deals largely with us. Elsewhere there are men who are worthy to carry on the tradition of the old master who is dying in Christiania. He has already found his successor in the writer of Michael Kramer, and the third minister will not be wanting when his hour comes. Even now that hour may be standing by the door.