Iconoclasts. James Huneker

Church on the high hills. Only Hamlet and Faust are recalled to the reader as they see this soul warped by its ideal of "All or Nothing," and in the spiritual throes of doubt, even despair. His God is the merciless Jahveh of the later Hebraic dispensation, not the Eloihim of the earlier. Weakness of will is the one unpardonable sin. Heroic as a Viking, he stands for all the Norwegian race was not when Ibsen wrote his poem. Life broken into tiny fragments, waverers and compromisers, he lashes his countrymen so that across these pages you seem to hear the whistle of the knotted thongs. Conventional religion comes in for its share of abuse from the tongue of this new Elijah. The wife Agnes, one of the poet's most charming creations, is at first attracted by the shallow, artistic Einar. When she meets Brand her soul goes out to him. "Did you see him tower as he talked?" she asks her companion. Bat as he sacrificed his mother to his ideal, so he sacrifices his wife. Their child does not thrive in the gloomy valley where this cure of souls abides. No matter. He remains. God's will be done. The child dies. His clothes are sold to a gypsy because Agnes has shed tears over them—a human weakness. She opens her window in the evenings so that the lamplight will fall across the grave of her child. That consolation, too, is denied her. Be hard! might be the Nietzschean motto of her husband. And so she dies. His mother died saying, "God is not so hard as my son," because he refused her the sacraments. She had ill-gotten wealth. To make restitution was his demand—All or Nothing. He would not make bargains, be a paltry go-between for God and man. His nobility of character repels. People feel his power but find him unapproachable. The laissez-faire policy, the easy-going philosophy of the official servants of God, raises wrath in his bosom. He would drive these blasphemers from the sacred precincts of the temple. It is his realization of the hopelessness of reforming men by the old means that sends him to the mountains. He has built a church, for the old church is too small. But the new, a symbol of the soaring soul, is misunderstood. It is a gift from Brand to his people, and so horrified is he with his failure to stir these petty souls that he throws the church key in the river and summons the multitude to follow him upward, up there in the clouds, where the true God abides away from the vileness of mart and palace. Some follow, many mock, and he is finally stoned and deserted. A crazy creature, Gerd, who symbolizes wildness, an egotist who scorns human ties; she it is who is appointed by the poet to open Brand's eyes. His spiritual pride has been his downfall, for while thinking of others he has not "found salvation for his own soul." The avalanche which she starts overwhelms them both, but not before he hears a voice answer his prayer—does mankind's will, then, count for nothing. "He is the God of Love," is the reply.

      Havelock Ellis thinks that "we have to look back to the scene in the death of Lear" to attain a like imaginative height in literature. Ibsen has set his character in a most life-like milieu. His people are painted with a broad, firm hand. The mayor, the schoolmaster, the doctor, the sexton, are living men, and their worldly natures are clearly indicated. Prophet Brand is, though Ibsen told Georg Brandes that he could have made him sculptor or politician, as well as priest. Sören Kierkegaard and his revolt from orthodoxy may have supplied the poet for his portrait. He, however, more than half hints that it was Gustav Lammers who was the original of Brand, a fiery nonconformist man who built his own church and seceded from the current evangelicism.

      But, after all, Brand is Ibsen's own portrait, is a mask for Ibsen himself. The beauty, grim as it is, and the picturesque variety of this great poem almost match its ethical grandeur.

      The Ice Church is too cold for humanity, Brand's ideal too inhuman. Yet he has willed, he has not wholly failed. His error was in its application—in not willing enough for himself. "Be what you are," he exhorts the weak Einar, "whatever it is, but be it out and out" No compromise with the powers of evil—yet Brand's doctrine led to his destruction. Not to will is a crime, to will too much leads to madness. What is the answer to this perplexing problem? Ibsen does not give it. In his phraseology "to be oneself is to lose oneself." And Brand, who was for "All or Nothing," severed his dearest ties and finally was destroyed himself.

      The complexity must not repel the student. Mr. C. H. Herford's translation with the illuminating introduction is well worth the reading. He thinks that the "Norwegian priest is tortured … as was Hamlet; Hamlet's power of resolve is depleted by the restless discursiveness of his intellect; Brand's failure in sympathetic insight hangs together with his peremptory self-assertion. … Unless appearances wholly deceive, Shakespeare drew in Hamlet the triumph of impulses which agitated without dominating his nature." Ibsen had lived Brand, he confesses it.

      But as a stage play, and it has been played, it is not a success. It lacks condensation. A battle-field of two tense souls—for Agnes's almost matches Brand's at times—it is too long and too loosely constructed in its joints for effective dramatic representation. Dr. Wicksteed makes an acute point when he shows that Einar's smug conversion—which fills Brand with loathing—is missed by the priest, for "only a man whose heart is dead can live by that destroying phrase, 'All or Nothing.' The principle which slays the saintly Agnes, and drives her heroic husband mad, fits the miserable Einar like a glove; he is happy and at home with it."

      Self-realization through self-surrender is the fundamental organ-tone of the masterly, overarching epic. And note the symbolism of the church, the church in the valley, and Gerd's Ice Church! This symbol of architecture reappears in The Master Builder, just as the avalanche motive reappears in When We Dead Awaken. The mountain-tops are the abodes of Ibsen's heroes—who are his thoughts—and there he scourges the human soul on this lofty Inferno.