A Commentary OD Henrik Ibsen's Peer Gynt A Commentary, critical-and explanatory on the Norwegian text of Henrik Ibsen's Peer Gynt its language, literary associations and folklore by H. LOGEMAN, Ph. D., Hon. L. L. D. (Glasg.), PROFESSOR IN THE BELGIAN STATE UNIVERSITY OF GHENT. Nu kommer Raden till Gyntiana, mit unge LandI THE HAGUE, MARTIN US NljHOFF,9LANGE VOORHOUT~ 7 . 191 CHRISTIANIA, H. ASCHEHOUG & CO. (W. NYGAARD) ISBN 978-94-011-8155-6 ISBN 978-94-011-8784-8 (eBook) DOI 10.1007/978-94-011-8784-8 CONTENTS. Prefatory and Introductory ....................... p. VII To be observed .................................. XVI A Commentary on Henrik Ibsen's Peer Gynt ....... I Textual Criticism on Henrik Ibsen's Peer Gynt Preface ........................................ 367 Textual Criticism ............................... 373 Addenda and Corrigenda ...... . . . . . . . . . . . . . . . . . . . . 465 Abbreviations and Bibliography ... ................ 469 Index............................................ 477 PREFATORY AND INTRODUCTORY \Vhen a man like Georg Brandes, than whom few have better qualifications to understand Ibsen, writes that Peer Gynt is "difficult to understand i nit s I ate r par t s", the for eign student of the play is likely to read this with a sigh of re lief. At the same time many a reader will have been inclined so far as he himself is concerned, to make the sentiment his, om itt in g the f 0 urI a s two r d s. For, if there is any play of the Master's that requires for its understanding a special knowledge of the milieu and the circumstances that gave rise to it, it is this child of the poet's most exuberant fancy, written at one of the rare periods of his life and practi cally the first when everything smiled upon him, when, owing to the success of "Brand", some dissonants notwithstanding (n. to 1. 3179) he must have felt like the literary lion of the day, when his way seemed made and his life's dream to become a great poet was in a fair way to be realised. The allusions to contemporary events and currents, literary and ethic, certainly not less and perhaps much more frequent than even in Brand, the apparently inextricable interweaving of the play with the folklore of Norway, bewilder the student on first and no doubt even later readings and we do not wonder that, when the first translation of the -drama was announced to Ibsen, he himself expressed a mild doubt as to whether it would be possible to bring that undertaking to the desired end. It was in the early part: of 1880 that Ludvig Passarge had told the poet of his plan and in reply Ibsen (Breve, II, 79) wrote of his great surprise "when finding that you consider this work fit to be translated and published in German". He has his doubts whether this will in the end prove feasible. For, "among all my books, it is Peer Gynt that I look upon as least likely to be understood - VIII- (der mindst egner sig) outside Scandinavia". For in order to understand it, the reader must possss, Ibsen adds: "a very in timate knowledge of Norwegian nature and the life of the Nor wegian people (et meget nl1fjagtigt kendskab til den norske na tur og det norske folkeliv), the student must be familiar with Norwegian literature and Norwegian mentality (vor folkelige trenkemA.de) .. and "no doubt", you, Mr. Passarge, .. possess all this, but .. do your readers? And when a couple of years after this letter, he wrote once more to Passarge, who appears to have asked the poet to send him an explanation of all such passages as were likely to present difficulties to the foreign stu dent of the play - surely, no little order! - Ibsen answers that this he cannot undertake: much as he should like it, he does not see his way to give an explanation of the many allus ions that might require comment for German readers, - Pas sarge ;ias a German must know better than he as a-Norwegian J what the ~G erman looks upon as a difficulty. Hence'it is no use asking Prof. Dietrichson either, or any Norwegian for that matter; when in Norway, Passarge will be able to get all the in formation he wants. So Ibsen vouchsafes two explanations (to the adj. vA.set and the subst. pusselanker ,. cf. notes to 1.1.4488 and 4016) and that is all! Anyone who has even tried to penetrate into the dramatic poem at all, will have found how very clearly Ibsen has here fore seen the difficulties that beset the unfortunate student that, without any special knowledge of all this and without a big lib rary, tries to master its intricacies. There is the Norwegian folklore then in the first place, with which the play, more especially the earlier part of it, is soaked through if the expres sion may pass. And apart from the actual allusions to men and things that the play is full of, there is the much more subtle, much more elusive substratum of Ibsen's own ideas, concep tions, ideals, his longings and his disappointment that must be clear to the student in order to unable him to understand the play in all its bearings. "It is of no little moment to him that wishes to understand Ibsen and especially his relation to Nor way, to try and get to the bottom of all his associations with Norwegian spiritual life", Eitrem has written (Maal og Minne, - IX- 1910 p. 37). And this is not only of some moment, but absolute ly necessary. On the whole, Ibsen shared with his brethem authors an inclination towards a certain bewildering, mystic chiaroscuro and he seems even at times to have felt a mischiev ous sort of pleasure in leaving his utterances as obscure as J. they were. Paulsen in his Samliv med Ibsen (p. 74) tells us how Ibsen refused to explain a poem ac; he was asked to do. "A poem that is worth anything explains itself!" And, quoting Goethe, Ibsen is said to have added that "no doubt some day or other a commentator will come and tell me what I meant by it." And the cases where he tries to mystify his commentators or at least unintentionally does so, are legion. Think of his Strange Passenger being "only a caprice" and remember Eitrem's paper in the Samtiden of 1906 (n. to 1. 2995) where quite a number of what Eitrem looks upon as Ibsen's conscious mystifications of his public will be found discussed. And yet that same Ibsen at one time eame~tly meditated a sort of running commentary on the "inner and outer history of his plays". "What if I were to write a little book", he writes in the May of that same year to Hegel the publisher, "on the outer and inner conditions under which my literary products saw the light" (om de ydre og indre forhold, hvorunder hvert enkelt af samtli ge mine literrere arbejder er blevet til), in which he would give a plain account of the genesis of his work, (at) fortrelle jrevnt om de omstrendigheder og vilkAr, hvorunder jeg har dig tet" and what follows bears out in a remarkable way what was observed. just now about his somewhat unfortunate pro pensities to the 'oscuro'. For not only does he add that he will not venture to give an in t e r pre tat ion of his works (pa nogen fortolkning af mine b0ger viI jeg naturligvis ikke indlade mig) because it is better that public and critics should be allow ed to rio t about according to their own sweet pleasure in this respect (fAr lov til at tumle sig after eget behag pa. det felt) but he winds up openly by saying that he "wishes to leave open a wide range for all sort of guesses". (Breve II, So, 81). Very much in the same way, Goethe wrote to Schiller that he was trying to re-write some tragical prose-scenes of his Fau'>t in verse "da denn die Idee wie durch einen Flor erscheint, die un- -x- mittelbare Wirkung des.... Stoffes aber gedampft wird" (Witkowski, Goethes Faust, II, p. 278). We can only regret that Ibsen admitted Hegel's scruples (ib. p. 84: betrenkelighe der) and gave up the plan, for precisely this account of the "in dre forhold" would have been of the utmost interest to the stud ent, especially the foreign student who, not being to the man neT born, must laboriously gather such knowledge in bits and scraps as his more fortunate Norwegian colleague has im bibed so to speak with the mother milk,-a consideration that holds of course of much more than of these "indre forhold". This explains not only satisfactorily why on the whole a com mentary is necessary, but we have here reached the very point that accounts for the apparent foolhardiness of the present writer, a foreign student too, taking upon himself to write such a running commentary on this most Norwegian of Nor wegian works. When, some little time after the idea of under taking this work had taken a more definite shape in my mind, I heard that two accomplished Norwegian scholars each of them independently of the other, had been collecting materials for a commentary of this play, I must confess, apart from this im pression of my extreme boldness in tackling the work at all, to a feeling of considerable disappointment at the idea that my labours might thus prove in vain. But reason soon asserted it self and gave me the hope that there might be room for my work by the side of the others, considering that the point of view, the starting point must needs be totally different in their case and mine. The present work, containing as it inevitably does, very little that your average Norwegian is not thoroughly conversant or at least acquainted with, may for all that supply the almost proverbial want for those students to whom it is in the first place if not exclusively designed, viz. the non Scandinavian ones. And such a commentary I make bold to say, only a non-Scandinavian can write. This must have been at the bottom of Ibsen's mind wh~n he wrote to Passarge (Breve II, 80) that no Norwegian could help him with any in formation which he, Passarge himself, had not expressly asked for, - indeed: no one but a foreigner can appreciate which diffi culties your non-Scandinavian student meets with and will want - XI- explained. And as to the broader issues, the part of the commentary that will necessarily be touched on by my succes sors too, I can only say that my work may prove not wholly in vain for them either, when remembering that generally speak ing, nothing is so useful as the making of a mistake, provided the master be there to point them out and correct them. It is therefore my earnest wish that Ibsenians will not have to wait too long for the works in question, which however, so far as I know, have not yet advanced beyond the stage of conception. This commentary then is destined to incite and, it is hoped, enable foreign lovers of the drama to become students of it without the aid of a voluminous library which the fewest may be supposed to have at their disposal. The author does not wish to conceal from his readers as little as he does from himself, the grave defects his work must necessarily suffer from. For en tirely apart from the question of his competency for the work, a consideration which it is not for him to enter upon, he should be allowed to explain the scrappiness of the material by the fact that no systematic study has been possible under the cir cumstances. A labour of love in the midst of the work of desolati on in a world gone mad, composed under the frequent booming of the distant guns, it was entirely written under the enforced leisure from professorial work by the enervating circumstances of the hour, when for the most part correspondence was, when not absolutely impossible, at least extremely difficult, when books could only be procured very exceptionally, when reviews and periodicals were only accessible during a stay in my happily not very distant fatherland, and when the writer was depen dent on the haphazard aid that devoted friends in Scandinavia continued, whenever possible, to encourage and cheer him up with. And when at last the work had to be written out for the press and corrected, the author was exiled from his adopted fatherland by the authority of the Occupant and thus cut off from his library and thereb y from the means of verifying quo tations and re-adjusting others. And it should in this connec tion be added that if the work will prove useful at all and not too ful of gaps, this is owing to a very great extent to these very collaborators who when helping in my need, proved