By Keith M. May (auth.)
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Example text
Yet the dialogue often seems convincing, Arne in particular is a successful portrait and a few of the scenes (for example, the fourth scen e of Act II when Olaf and Alfhild contemplate a child's funeral) are impressive. But the most notable feature for us is the character of Alfhild . As a fire-raiser and near-simpleton she is scarcely admirable, but she is meant to be a real if eccentric heroine. Perhaps she should also be recognised as an early sketch oflbsen's last heroine, a forerunner of the pale Irene in When We Dead Awaken, and indeed of other women in Ibsen who, for all their peculiarities, are alike in standing outside the normal social range.
Nevertheless, he still seems if not a fine fellow at least plcasanter than Brattsb crg and Lundrstad. Whatever weakn esses co me to light (fel l' exa mple, an earlie r a tte m p t, now disown ed, to mak e friends with the Brattsb erg family) may be exc usa ble: he is only young. It happens that C ha m be rla in Brattsb crg assum es that Str nsgaard 's speech was an a ttac k, not upon him but upon Mon sen . In Act Two Lundestad takes adva n tage ofStens ga ard hy sugges ting th at he might stand for parli am ent with th e backing of the local rich men .
H ow acc ur a te Ibsen was a bout this! In a se nse luna cy is a resu lt of excess ive malleabil ity not of rigid scl fhoo d . It is not th e inevita ble result , fell' one ca n resemble Pee r Gy n t in bein g a sa ne but onion- like crea tu re with no orga nic core. The im age of th e o nion is not exac t becau se its core is a bso lutely missin g, whil e Peer , so th e implication runs, might still acq uire a 'co re' of'selfhoo d . But as th e pl a y draw s to a close it see ms too late for him to cha nge .