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In the pages which follow I have made no attempt to tamper with the work of the bygone man of thirty-five who wrote them. I have never admitted the right of an elderly author to alter the work of a young author, even when the young author happens to be his former self. In the case of a work which is a mere exhibition of skill in conventional art, there may be some excuse for the delusion that the longer the artist works on it the nearer he will bring it to perfection. Yet even the victims of this delusion must see that there is an age limit to the process, and that though a man of forty-five may improve the workmanship of a man of thirty-five, it does not follow that a man of fifty-five can do the same.

When we come to creative art, to the living word of a man delivering a message to his own time, it is clear that any attempt to alter this later on is simply fraud and forgery. As I read the old Quintessence of Ibsenism I may find things that I see now at a different angle, or correlate with so many things then unnoted by me that they take on a different aspect. But though this may be a reason for writing another book, it is not a reason for altering an existing one. What I have written I have written, said Pilate, thinking (rightly, as it turned out) that his blunder might prove truer than its revision by the elders; and what he said after a lapse of twenty-one seconds I may very well say after a lapse of twenty-one years.

However, I should not hesitate to criticize my earlier work if I thought it likely to do any mischief that criticism can avert. But on reading it through I have no doubt that it is as much needed in its old form as ever it was. Now that Ibsen is no longer frantically abused, and is safe in the Pantheon, his message is in worse danger of being forgotten or ignored than when he was in the pillory. Nobody now dreams of calling me a “muck ferreting dog” because I think Ibsen a great teacher. I will not go so far as to say I wish they did; but I do say that the most effective way of shutting our minds against a great man’s ideas is to take them for granted and admit he was great and have done with him. It really matters very little whether Ibsen was a great man or not: what does matter is his message and the need of it.

That people are still interested in the message is proved by the history of this book. It has long been out of print in England; but it has never been out of demand. In spite of the smuggling of unauthorized American editions, which I have winked at because the absence of an English reprint was my own fault (if it be a fault not to be able to do more than a dozen things at a time), the average price of copies of the original edition stood at twenty-four shillings some years ago, and is no doubt higher now. But it was not possible to reprint it without additions. When it was issued in 1891 Ibsen was still alive, and had not yet produced The Master Builder, or Little Eyolf, or John Gabriel Borkman, or When We Dead Awaken. Without an account of these four final masterpieces, a book entitled The Quintessence of Ibsenism would have been a fraud on its purchasers; and it was the difficulty of finding time to write the additional chapters on these plays, and review Ibsen’s position from the point of view reached when his work ended with his death and his canonization as an admitted grand master of European literature, that has prevented me for twenty years from complying with the demand for a second edition. Also, perhaps, some relics of my old, or rather my young conscience, which revolted against hasty work. Now that my own stream is nearer the sea, I am more inclined to encourage myself in haste and recklessness by reminding myself that Je mieux est l’emiemi du bien, and that I had better cobble up a new edition as best I can than not supply it at all.

I have taken all possible precautions to keep the reader’s mind free from verbal confusion in following Ibsen’s attack on ideals and idealism, a confusion that might have been avoided could his plays, without losing the naturalness of their dialogue, have been translated into the language of the English Bible. It is not too much to say that the works of Ibsen furnish one of the best modem keys to the prophecies of Scripture. Read the prophets, major and minor, from Isaiah to Malachi, without such a key, and you will be puzzled and bored by the almost continuous protest against and denunciation of idolatry and prostitution. Simpletons read all this passionate invective with sleepy unconcern, concluding thoughtlessly that idolatry means praying to stocks and stones instead of to brass lectern eagles and the new reredos presented by the local distiller in search of a title; and as to prostitution, they think of it as “the social evil,” and regret that the translators of the Bible used a much blunter word. But nobody who has ever heard real live men talking about graven images and traders in sex can for a moment suppose them to be the things the prophets denounced so earnestly. For idols and idolatry read ideals and idealism; for the prostitution of Piccadilly Circus read not only the prostitution of the journalist, the political lawyer, the parson selling his soul to the squire, the ambitious politician selling his soul for office, but the much more intimate and widespread idolatries and prostitutions of the private snob, the domestic tyrant and voluptuary, and the industrial adventurer. At once the prophetic warnings and curses take on meaning and proportion, and lose that air of exaggerated righteousness and tiresome conventional rant which repels readers who do not possess Ibsen’s clue. I have sometimes thought of reversing the operation, and substituting in this book the words idol and idolatry for ideal and idealism; but it would be impossible without spoiling the actuality of Ibsen’s criticism of society. If you call a man a rascally idealist, he is not only shocked and indignant but puzzled: in which condition you can rely on his attention. If you call him a rascally idolater, he concludes calmly that you do not know that he is a member of the Church of England. I have therefore left the old wording. Save for certain adaptations made necessary by the lapse of time and the hand of death, the book stands as it did, with a few elucidations which I might have made in 1891 had I given the text a couple of extra revisions. Also, of course, the section dealing with the last four plays. The two concluding chapters are new. There is no fundamental change: above all, no dilution.

Whether this edition will change people’s minds to the extent to which the first did (to my own great astonishment) I do not know. In the eighteen-nineties one jested about the revolt of the daughters, and of the wives who slammed the front door like Nora. At present the revolt has become so general that even the feeblest and oldest after-dinner jesters dare no longer keep Votes for Women on their list of stale pleasantries about mothers-in-law, rational dress, and mixed bathing. Men are waking up to the perception that in killing women’s souls they have killed their own. Mr. Granville-Barker’s worthy father of six unmarriageable daughters in The Madras House, ruefully exclaiming, “It seems to me I’ve been made a convenience of all my life,” has taken away the excited attention that Nora once commanded when she said, “I have been living all these years with a strange man.” When she meets Helmer’s “No man sacrifices his honor for a woman” with her “Thousands of women have done that for men,” there is no longer the old impressed assent: men fiercely protest that it is not true; that, on the contrary, for every woman who has sacrificed her honor for a man’s sake, ten men have sacrificed their honor for a woman’s. In the plays of Gorki and Tchekov, against which all the imbecilities and outrages of the old anti-Ibsen campaign are being revived (for the Press never learns anything by experience), the men appear as more tragically sacrificed by evil social conditions and their romantic and idealistic disguises than the women. Now it may be that into this new atmosphere my book will come with quite an oldfashioned air. As I write these lines the terrible play with which Strindberg wreaked the revenge of the male for A Doll’s House has just been performed for the first time in London under the title of Creditors. In that, as in Brieux’s Les Hannetons, it is the man who is the victim of domesticity, and the woman who is the tyrant and soul destroyer. Thus A Doll’s House did not dispose of the question: it only brought on the stage the endless recriminations of idealistic marriage. And how has Strindberg, Ibsen’s twin giant, been received? With an even idler stupidity than Ibsen himself, because Ibsen appealed to the rising energy of the revolt of women against idealism; but Strindberg attacks women ruthlessly, trying to rouse men from the sloth and sensuality of their idealized addiction to them; and as the men, unlike the women, do not want to be roused, whilst the women do not like to be attacked, there is no conscious Strindberg movement to relieve the indifference, the dull belittlement, the spiteful hostility against which the devotees of Ibsen fought so slashingly in the nineties. But the unconscious movement is violent enough. As I write, it is only two days since an eminent bacteriologist filled three columns of The Times with a wild Strindbergian letter in which he declared that women must be politically and professionally secluded and indeed excluded, because their presence and influence inflict on men an obsession so disabling and dangerous that men and women can work together or legislate together only on the same conditions as horses and mares: that is, by the surgical destruction of the male’s sex. The Times and The Pall Mall Gazette gravely accept this outburst as “scientific,” and heartily endorse it; though only a few weeks have elapsed since The Times dismissed Strindberg’s play and Strindberg himself with curt superciliousness as uninteresting and negligible. Not many years ago, a performance of a play by myself, the action of which was placed in an imaginary Ibsen Club, in which the comedy of the bewilderment of conventional people when brought suddenly into contact with the Ibsenist movement (both understood and misunderstood) formed the atmosphere of the piece, was criticized in terms which shewed that our critics are just as hopelessly in the rear of Ibsen as they were in 1891. The only difference was that whereas in 1891 they would have insulted Ibsen, they now accept him as a classic. But understanding of the change of mind produced by Ibsen, or notion that they live in a world which is seething with the reaction of Ibsen’s ideas against the ideas of Sardou and Tom Taylor, they have none. They stare with equal unintelligence at the sieges and stormings of separate homesteads by Ibsen or Strindberg, and at the attack all along the front of refined society into which these sieges and stormings have now developed. Whether the attack is exquisite, touching, delicate, as in Tchekov’s Cherry Orchard, Galsworthy’s Silver Box, and Granville-Barker’s Anne Leete, or ruthless, with every trick of intellectual ruffianism and ribaldry, and every engine of dramatic controversy, there is the same pettish disappointment at the absence of the old conventions, the same gaping unconsciousness of the meaning and purpose of the warfare in which each play is a battle, as in the days when this book was new.

Our political journalists are even blinder than our artistic ones in this matter. The credit of our domestic ideals having been shaken to their foundations, as through a couple of earthquake shocks, by Ibsen and Strindberg (the Arch-Individualists of the nineteenth century) whilst the Socialists have been idealizing, sentimentalizing, denouncing Capitalism for sacrificing Love and Home and Domestic Happiness and Children and Duty to money, greed and ambition, yet it remains a commonplace of political journalism to assume that Socialism is the deadliest enemy of the domestic ideals and Unsocialism their only hope and refuge. In the same breath the world-grasping commercial synthesis we call Capitalism, built up by generations of Scotch Rationalists and English Utilitarians, Atheists, Agnostics and Natural-Selectionists, with Malthus as the one churchman among all its prophets, is proclaimed the bulwark of the Christian Churches. We used to be told that the people that walked in darkness have seen a great light. When our people see the heavens blazing with suns, they simply keep their eyes shut, and walk on in darkness until they have led us into the pit. No matter: I am not a domestic idealist; and it pleases me to think that the Life Force may have providential aims in thus keeping my opponents off the trail.

But for all that I must not darken counsel. I therefore, without further apology, launch my old torpedo with the old charge in it, leaving to the new chapters at the end what I have to say about the change in the theatre since Ibsen set his potent leaven to work there.

Ayot St. Lawrence, 1912-13.