I SHALL not attempt to confine him within the rigid lines of any literary circle; nor shall I press him into the narrow frame of school or party; nor stamp upon him the distinctive label of any particular ism. He would break such fetters; his free spirit, his great individuality would overflow the arbitrary confines of "the sole Truth," "the only true principle." The waves of his soul would break down all artificial barriers and rush out to join the ever-moving currents of life.

A seer has died.

He carried the flaming torch of his art behind the scenes of society—he found there nothing but corruption. He tested the strength of our social foundations—its pillars shook: they were rotten.

The rays of his genius penetrated the darkness of popular ideals; the hollow pretences of Philistinism filled his ardent soul with disgust, and pain. In this mood he wrote "The League of Youth," in which he exposed the pettiness of bourgeois aspirations and the poverty of their ideals.

In "The Enemy of the People" Ibsen thunders his powerful protest against the democracy of stupidity, the tyrannous vulgarity of majority rule. Doctor Stockmann—that is Ibsen himself. How willing and eager the pigmies and yahoos would have been to stone him.

"What shameless unconventionality, what shocking daring!" cried the Philistines when they beheld the characters portrayed in "Nora" (The Doll's House), "Wild Duck," and in "The Ghosts"—living pictures revealing all the evil hidden by the mask of "our sacred institutions," "our holy hearthstone." In "Rosmersholm" Ibsen ignored even the inviolability of conscience; for there Ibsen showed how the sick conscience of Rosmer worked the ruin of Rebecca and himself, by robbing them of the joy of life.

The moralists howled long and loud.

"Has Ibsen no ideals? Does the accursed Midas-touch of his mind dissolve everything, one very Holy of Holies, into the ashes of nothing?"

Thus spoke self-sufficient arrogance.

But can one read "Brand" or "Peer Gynt" and ask such questions? No heart so overflowed with human yearning, no soul ever breathed grander, nobler ideals than Henrik Ibsen. True, he did not prostrate himself before the idols of the conventional mob, nor did his sacrificial fires burn on the altar of mediocrity and cretinism. He did not bow the proud head before the craven images that the State and Church have created for the subjugation of the masses. To Ibsen's free soul the morality of slaves was a nightmare.

His ideal was Individuality, the development of character. He loved the man that was brave enough to be himself. He immeasurably hated all that was false; he abhorred all that was petty and small. He loved that true naturalness which, when most real, requires no effort.

The most severe critic of Ibsen and his art was Ibsen himself. His attitude towards himself in his last work, "When We Dead Awaken," is that of the most unprejudiced judge.

What is the result?

We long for life; yet we are eternally chasing will-o'-the-wisps. We sacrifice ourselves for things which rob us of our Self. The castles we build prove houses made of cards, upon the first touch falling down. Instead of living, we philosophize. Our life is an esthetic counterfeit.

A mind of great depth, a soul of prophetic vision has passed away; yet not without leaving its powerful impress—for Henrik Ibsen stood upon the heights, and from their loftiest peaks we beheld, with him, the heavy fogs of the present, and through the rifts we saw the bright rays of a new sun, the promise of the dawn of a freer, stronger Humanity.