The farmer and mechanic. [volume] (Raleigh, N.C.) 18??-19??, 1906-06-05

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derstand il, is merely TepOrtorial aud
Photographic humanity. 1t is an open
question whether the genius to report
and to photograph is not of as hlgf
a quality as that which is required L.
touch the inner thoughts Of men IN
either event the process is one OF frank
narration. Psychological d~ivinatioH is
the result Of an inner CONSCIOUSNESS
proving itself on the observation 81
action. Realism is the ability to see all
that happens and to arrange the de
tails in a method to bring out the "S-
scntiaI. The perfect result of eIther
method is the same revelation. In the
one case the artist furnishes tn
thought CLOTHED in its expression: N
the other he leaves it mute, its appear
perhaps the stronger because OF the
effort at utterance. But we must noi
confuse what might be termed the re
alistic application of mysticism to IRE
and life itself realistically depicted.
1t is there hat the superficial udG
ment of fLsen by the public goes as tar
astray in assuming him to be 4 mofbIh
pcSsimist catering to a cult, as the CUT
itself becomes e~XtraVaGanl III cohlu9
ing it's masters perceptions with ms
ideals.
Ibsen was neither pessimist nor seer.
First of all was he a work
man impressed with the habit of u
poet 8 nll1lU 10 IffI IBNISltI' hti'fiH'
and to note the impotence of the indi-
vidual in the clutch of the Circum-
stances out Of which he was born
These impulses he staged as motives,
disSecting the minds Of his actors ana
leading them immutably TO their pre-
conceived destinations in the clash or
personality. The result was "A drama
of inaction infinitely enmeshed in tie
widest flights of mystic emotion: yet
expressed. not as a poet on tlp-toe toi
inspiration. but as a COoI ana SYfnpa-
IhetiC d~pOIOgiSt confusing his CllelltS
guilt and interpOSing as Il uefenSe the
iron shirt of his history and his en-
virOnment. Because he was so terribly
true Ibsen seems unnatural. His art
is tina of the confessional. What ROuS-
&cau did for his own life. IbSen has
done for society. The fact that for
the of the drama the motives
and impulses with which he deals pro-
ceed to their logical conclusion, as
in life they so frequently do not, does
not detraCt from the verify Of the
lesson or the shock of personal rove
latiOn. Because his characters never
get far away from their personalities,
never have those moments of romantic
uplift which are expressed in sound
ing phrase. renders them none the less
complex and far more human The
OthelloS and the HamletS are in a
sense ~blOOdleSS creatures after ali, be-
cause they are the symbols, intensified
until they have become synonyms, but
symbols still instead of people. me
NOraS and the Mrs. AIvins and Rach-
els are people in the clutch of the So
called occult. living ordinary lives run
ming upon extraordinary disasters.
In the one case we have the man
an aDOtheOSiS of Il particular passion
or motive: i'm the other the human life,
pushed and tugged. this way and that.
nv hundreds Of small hands of still
reasons and emotion long huShed IN
death. In the more form
because the habit is to consider the
symbol play dramatic-the ultimate
tragedy arrives suddenly, coming to Il
climax like that of Il great orchestral
ton. In the other the end has crept
up into the foreground from "a shad-
OW i'll the distance. It's fingers OF mist
have long since begun to Wreathe the
shoulders of its victim, now tandln
for a moment clear With struggie'
again enVclOped in the inevitable.
There is a final effort. the loud
breaks for a moment. lowering over
head. we see the human creatures on
the stage looking out upon the world
with eyes appalled, and yet full OF
recognition of their fate. And the wet
curtain comes down and there is 81
enCe-silenCe and a question. a ques-
ton that is an indictment.
stop for a thought at the determi-
nation of any ordinary decision mad
in q moment. Dissect. if you will. the
tiaSh-like conflict of the hundreds of
impulses that come CroWding in with
counsel. You will be surprised to find
how many are totally at variance with
that which YOU esteem yourself to be.
For YOU, they are absurd, why? Be
cause the widest of them are merely
the most remote. the weakest survivals
of a ceaSeieSS conflict aging this way
and that. stronger or weaker with the
varying lifeS of the countless millions
whom YOU. strong in ill and person
alitv. do so imperfeCtly represent. Yet
whom YOU must so perfectly and so in
evitably recognize and respond to.
Whence else come these shadows drift
ing like high thin clouds etWeen that
which YOU recognize to be your will
and your life? You esteem yourself
to have conquered or lost as the case
may be. Yet it is neither a complete
victory nor an -tter defeat. BuShed
or ClanOrOuS each separate influence
still abideS q spectre of the past, wait
ing for reinforcement for the contest
Of the future of the which the mystic
YOU. though YOU die without issue. is
so rreCOnCilably the parent.
It is of these influences that IbSen
constructs his drama without action
and get of the tierCeSt antdgOniSmG.
Though a mystic in The sense outlined
he is not a dreamer except as the
exponent of q reform which shall be so
thorough as to reach back to first be-
ginnings. With all the passion of his
soul does he believe in Il liberty Of
action and of life far transcending any
known standard. To the certain Wis
ion of his mind. the obvious objections
are apparent. The demands of society
involving the sacrifice of self to Gus
tom rule-apprOVed, he comedies. The
very existence of the state itself he
perCeiVes to stand in the way. His sol
utiOn is illustrative of the mans sin
Cere audaCity: The State must go.
Nothing must conflict with the midi
Nidual. IbSen holds 10 peSSimiStiC view
of the value of a life. Rather he eX-
ats If. 1t is With the personal dig
nifty Of the soul that the tendencies of
heredity and of environment clash to
the making of q pitiable tragedy.
Through it all one sees a hope. couch
ed as it is in a terrible preachment.
All that is vain. unjust, hypocriticai
and immoral in society is dragged to
the surface unsparingly. 1t floats bel
ly up on the glitter of q stagnant
pool. The sight is distinctly unpleas-
ant Yet We rpcnpniZp the Shopn of