Further, that species of criticism which calls itself dramatic criticism is a needless adjunct to his plays. When the art of a dramatist is perfect the critic is superfluous. Life is not to be criticized, but to be faced and lived. Again, if any plays demand a stage they are the plays of Ibsen. Not merely is this so because his plays have so much in common with the plays of other men that they were not written to cumber the shelves of a library, but because they are so packed with thought. At some chance expression the mind is tortured with some question, and in a flash long reaches of life are opened up in vista, yet the vision is momentary unless we stay to ponder on it. It is just to prevent excessive pondering that Ibsen requires to be acted.

Finally, it is foolish to expect that a problem, which has occupied Ibsen for nearly three years, will unroll smoothly before our eyes on a first or second reading. So it is better to leave the drama to plead for itself. But this at least is clear, that in this play Ibsen has given us nearly the very best of himself. The action is neither hindered by many complexities, as in “The Pillars of Society”, nor harrowing in its simplicity, as in “Ghosts”. We have whimsicality, bordering on extravagance, in the wild Ulfheim, and subtle humour in the sly contempt which Rubek and Maj a entertain for each other. But Ibsen has striven to let the drama have perfectly free action. So he has not bestowed his wonted pains on the minor characters. In many of his plays these minor characters are matchless creations. Witness Jacob Engstrand, Tonnesen, and the demonic Molvik! But in this play the minor characters are not allowed to divert our attention.

On the whole, “When We Dead Awaken” may rank with the greatest of the author’s work — if, indeed, it be not the greatest. It is described as the last of the series, which began with “A Doll’s House” — a grand epilogue to its ten predecessors. Than these dramas, excellent alike in dramaturgic skill, characterization, and supreme interest, the long roll of drama, ancient or modern, has few things better to show.