By Keith M. May (auth.)
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Extra resources for Ibsen and Shaw
Of course the audience merely hears mention of this death-flight which could be a piece of fantasy: that is Ibsen's suggestion. But what did he mean by the episode, indeed by the playas a whole? Hjordis is more 'real' than Catilinc's Furia: she is supposed to belong to the actual world, albeit the unfamiliar world of northern Norway in the tenth century. The Viking code still reigns hut is weakening, while Christianity is beginning to infiltrate the region. The play is not an example of realism in the nineteenth-century sense because the language is too formal; nevertheless, the characters are developed well beyond the simplicities of Saga characterisation.
In Act On e a n d th e fir st pa rt of Ac t T wo we find so me ro ug h resem b la nce to the c ircu ms ta n ces o f I bscn 's yo u th . T h e rel a tion s of'Aasc a nd Peer ca n no t he o th er th an a flippan t reco n stru ction of the rel ations of Marichen Ibsen a nd H cnrik , Th e m other, h ab ituall y fru strated a nd so me ti mes s p itefu l, grum b les about her povert y a nd her sca peg race so n . Pee r brags a nd da yd reams, a nd , wh ile th ere is no reco rd of the you n~ I bs en d oing likew ise, we a re no d oubt rig h t to imagine th e o lde r Ibsen recalling , a nd p resum abl y exaggera ting, th e cl u ms ine ss of his yo u th .
T o ada p t J atgei r's terms in Act Four, Ib sen is now a 'sound' d ou bt er, one wh o acce pts his un certainties as pa rt of himself. We should not e fin all y th at Skul e is 'co m pleted ' as it wer e, his hum anity enha nce d by th e presen ce of a n adm iring teen ag e so n who is in a n obv ious se nse mist ak en a bo ut his father , yet in a more gen erous se nse a bso lu tely right. ' The Pretenders has th e high qualities I ha ve mention ed but it was only the end of th e beginning for Ib sen.
Ibsen and Shaw by Keith M. May (auth.)