Notes and References Preface I. Shaw andIbsen: Bernard Shaw's 'The Quintessetlu of lbsenism' and Related Writings cd. and int ro. J. L. Wisenthal (Toronto, Buffalo, London: University of T oronto Press, 1979). I Stoic Leanings 1. Ihsen's fragment of autobiography was first puhlished in the biography hy Henrik Ja e~ e r , Henrik Ibsen: el liusbillede (Christiania, 1888). For modern translations sec Michael Meyer, Henrik Ibsen , Vol. I, The Making of a Dramatistl828-/864 (Rupert Hart-Davies, 196.7), pp. 22lf and Ibsen Lettersand Speeches, Evert Sprinchorn , (Macgibbon & Kay, the Colonial Press, Clint on, Massachusetts, 1965), pp. IIf. 2. See Meyer, p. 20. 3. Ibid ., p. 36. 4. Ihid ., p. 28. 5. Peer Gynt, Act On e, T he Oxfo rd Ibsen, Vol. III, ed. J ame s Walter McFarlane, trans.J am es Kirkup and C hristopher Fry (Oxford Univ ersity Press, 1972). All quotations from Ihsen's plays ar e tak en from the Oxford editions. 6. The Oxford Ibsen, Vol. IV, The League oj Youth , Act One, cd. and trans.James Walt er McFarlane and Gr aham Orton (Oxford Univ ersity Press, 1963). 7. The Oxford Ibsen, Vol. VI , The Wild Duck, Act On e, ed. and trans. James Walter McFarlane (O xford University Press, 1960). 8. Meyer, p. 30. 9. Hans Hei berg, Ibsen: A Portraitofthe Artist, tra ns.J oan T ate (George Allen & Unwin, 1969), p. 28. 10. See Heiberg, pp . 28 f. 11. See Th e Oxford Ibsen, Vol. VI , pp. 446f. 12. Ihsen once said in a speech to students at Christiania that 'to write is essentially to sec' . Henrik Ibsen : A Critical Anthology, ed. J ames Walter McFarlane (Harmondsworth, Penguin Books, 1970), p. 85. 13. Albert Camus,' The Myth of Sisyphus, trans. Justin O'B rien (H am ish Hamilton , 1955), p. 27. Originally Les Mythe de Sisyphe, (Paris, Gallim ard 1942). 14. Ibsen: Lettersand Speeches. Letter of 9 December 1867 to Bjernson. 15. Ibid. , pp. 9f. 214 Notes and References 215 16. Michael Moyer (p . 60) considers it likely that Ibsen was inllucnccd by Shakespcill'l"s}uliw Caesar. I think he might well han' been inllucnccd by AlltollY and Cleopatra. 17. Bcrghot Ibsen, the writer's daughu-r-in-Iaw, so reproduced a description of Suzannah as a young woman. 'But what was most deep-rooted in her nature was, and remained, her sense of the epic in life, her Ii.·eling ((II' ewrything that was intense and powerful like herself, her understanding of tlu -monumental and the tragic.' Meyer, p. 146. 2 The Poet-Dramatist: 'Catiline' to 'Peer Gynt' I. The Oxford Ibsen, Vol. I, Early Plays, cd . and trnnsjamcs \Valin McFarlane and Graham Orton (Oxford University Press, 1970), p. I. 2. See above, Chapter I, p. II . :1. See Chapter III, Book IV of.\ristotle's Ethic, and below p. 7'2 . 4. Early Plays, Catiline, Act Three, p. 106. 5. Early Plays, p. 151. This translation is ofthe first version of TheBurialMllulld. The second version is I ranslated p. IH:I as follows: The North shall also rise from out the tomb to purerdeeds ofspirit on seas orthought. 6. Ihsen at twenty-two told his sister that he wanted fulfilment 'in greatness and in love' and afierwards to die. See below p, 9B. 7. Meyer, p. 114!f. 8. It was Hcnrik .Iaeger in his biography, Henrik lbsen et liushillede , who first pointed out the historical inaccuracies. Harold Clurman in his Ibsen Macmillan, 1977) illustrates the modern tendency. He refers to l.adv III.I~er as 'an appeal to public patriotism, an effort characteristic or the Norwegian intelligentsia in the 1850s to renew their pride in their national identity and to arouse the people's former vitality' (p. 38) . This seems to me to describe Ibsen's subsidiary motive rather than his main one . 9. George Steiner, The Death of Tragedy (Faber & Faber, \961) . 10, Georg Brandes, Henrik Ibsen: A CriticalStudy, trans. Jessie Muir (New York, Benjamin Blom, 1964), p. 95 (first published by Macmillan, 1899). 11. Ronald Gray, Ibsen: A Dissenting View (Cambridge University Press, 1977). 12. La Rouchcfoucauld, Maxims, trans. and intro. Leonard Tancock tHurrnondsworth, Penguin Books, 1959), p. 119. 13. Early Plays, Appendix VII, p. 700. 14. See Early Plays, p. 372. 1:l. Brandes, p. 28. 16. For a discussion or this possihility sec Shaw and Ibsen, Note also that Ibsen may have taken the basic theme or Love's Cometly from a passage in Kierkegaard's Either-or imd/or lrom Camilla Collett's novel, The Sheriff', Daughter. See Meyer, p. 225 and Brandes, pp. HI: 17. See above p. 14. 18. For a discussion ofthe 'schizoid character' see Charles Rycroft's Allxiery and Neurosis (Allen Lane, The Penguin Press, 1961), pp. 531'. 19. See above, p. 20. 20. Brandes, p. 24. 216 Notes and References 21. Harold Clurman,lbsen (Macmillan, New York, 1977, London, 1978), p. 86. 22. The remarks in this paragraph arc abhrcviarious ofinformntion given in the following places: The (hllmllbsen, Vol. III, p. 21; F. L. Lucas, Ibsen and Strindberg ; p. 95; Brandes, p. 34, and Meyer, Henrik Ibsen, Vol. 2, TheFarewell to Poetry 1864-1882 (1971), p. 67 . 23. The Oxford Ibsen, Vol. III, p. 21. Letter 01'28 October 1870. 24. This phrase is often quoted. See The Oxford Ibsen, Vol. VI, pp . 4461'and below p. 72. 3 'The League of Youth' to 'The Wild Duck' I. For a fuller account of Ibsen's mood and purposes sec the Introduction to The Oxford Ibsen, Vol. IV, cd . and trans. .lames Walter McFarlane and Graham Orton (Oxford University Press, 1963), pp. 2f. Note especially the letter to Bjarnson: 'IfI am not a poet, I have nothing to lose. I shall try my hand as a photographer.' 2. The Oxford Ibsen, Vol. IV. All translations arc from this edition. 3. The Oxford Ibsen, Vol. IV. Translations are from this edition. 4. Brandes, p. 74. 5. Sec The Oxford Ibsen, Vol. V, pp . 127-57 and 423-34, where these are reproduced hy the editorJames Walter McFarlane. 6. For details sec Meyer, Vol. I, pp. 461'. 7. Heiberg, p. 43. 8. Meyer, p. 476. 9. For dear expressions of this pervasive view in Lawrence see especially Chapter XV of The Rainbow and the essay 'Reflections on the Death of a Porcupine'. 10. This and similar remarks are reproduced in Meyer, Vol. II, p. 263 . II . For a convincing argument that Oswald's illness would now be diagnosed as schizophrenia see Derek Russell Davis's 'A Reappraisal oflbsen's Ghosts', Family Process, Volume No. I, 1963. 12. The Oxford Ibsen, Vol. V, p. 477 . Letter to Sophie Adlersparre, 24 June 1882. 13. Daniel Dervin, Bernard Shaw: A Psychological Study (Cranbury, New Jersey, Lewisburg Bucknell University Press, Associated University Presses, 1975), pp. 1901'. 14. The Oxford Ibsen , Vol. V, p. 468 . IS. See above, p. 42. 16. Karl Marx and Frederick Engels, Collected Works, Vol. 3, 'On the Jewish Question', (Moscow, Progress Publishers, 1975 and London Laurence and Wishart, 1975), pp . 1461[ 17. For further details see The Oxford Ibsen, Vol. VI, trans. and ed . James Walter McFarlane, p. 3. 18. F. 1. Lucas, The Drama ofIbsen and Strindberg (Cassell, 1962), pp. 1791'. 19. M.C. Bradbrook, Ibsen the Norwegian (Chatto & Windus, New Edition, 1966), p. 103 (first published, (946). 20. See Lucas, p. 184. Notes and References 217 21. See the ' Notes and .lot rings' n-lcvant to The'Vild Duck in Appendix II ol'I 'h« Oxford Ibsen , Vol. VI , pp . 492lf. 22. Ibid., p. 437. 23. Clunnan, p, 136. 24. Sec above, p. 10. 25. The Oxford Ibsen, Vol. VI , p. 9. 4 'Rosmersholm' to 'When We Dead Awaken' I. The Ox ford Ibsen, Vol. VI, pp . 446f. 2. F. Nietzsche, Beyond Good and Euil, Pari 9, and The Eshics rifAristotle, trans..!. A. K. T homson, Book 4, C ha pter Ill, (George Allen & Unwin, 195:\), pp . 103lf. 3. S. Freud, 'So me Character-Types Met with in Psycho-Analytical Work' , The CompletePsychological WorksojSigmund Freud , Vol. 14, cd..!ames Struchcy (The Hogarth Press, 1953). 4. T he Oxford HUe1I , Vol. VII, cd . James Walt er McFarlane, tran s. .Jcns Arup, 1966. 5. The Oxfo rd Ibsen , p. 449. 6. Ibid ., p. 450. 7. See Meyer, Vol. I, p. 130. 8. Quotat ions are from T he O xford Ibsen , Vol. VII. 9. See Heiberg, p. 255. 10. The Ox ford Ibsen, Vol. VII , p. 482. II. See above, p. :\3 . 12. Michael Meyer, Henrik Ibsen, Vol. 3, The Top oja Cold Mountain 1881 -1 906 (1971), p. 216n. 13. Quotati ons arc from The O xford Ibsen, Vol. VII. 14. Meyer, Vol. II, p. 305. 15. Meyer, Vol. III, p. 334. 16. Qu oted by Heib erg, p. 261. 17. See Meyer, Vol. III, p. 127. Hel ene Ralfwas a German paint er whom Ibsen met in Sept ember 1891 at the time he was so friendly with Emilie Bardach. Both girls were staying at Gossensass. In the autumn Ibsen and Helene renewed their aeq uaintance in Munich. 18. An extract from this leit er is qu oted in Hellrick Ibsen: A Critical Anthologycd. J am es McFarlan e, (H armondsworth, Penguin Books, 1970), p. 171. 19. In various biographical comments concerned with this play there are referen ces to Ibsen's parent s, his sister Hedvig, his broth er Nikolai (injured by being d ropped on the 11001' as an infant) and his son Sigurd. But nothing positively resembling a Lillie Eyolf theme has emerged. 20. Quotat ions are from The Oxford Ibsen , Vol.