If there was one class in Norwegian
society which was held to be above criticism it was the clerical. A
prominent character in Ibsen's comedy is the Rev. Mr. Strawman, a gross,
unctuous and uxorious priest, blameless and dull, upon whose inert body
the arrows of satire converge. This was never forgotten and long was
unforgiven. As late as 1866 the Storthing refused a grant to Ibsen
definitely on the ground of the scandal caused by his sarcastic portrait
of Pastor Strawman. But the gentler sex, to which every poet looks for
an audience, was not less deeply outraged by the want of indulgence
which he had shown for all forms of amorous sentiment, although Ibsen
had really, through his satire on the methods of betrothal, risen to
something like a philosophical examination of the essence of love
itself.
To Brandes, who reproached him for not recording the history of ideal
engagements, and who remarked, "You know, there are sound potatoes and
rotten potatoes in this world," Ibsen cynically replied, "I am afraid
none of the sound ones have come under my notice"; and when Guldstad
proves to the beautiful Svanhild the paramount importance of creature
comforts, the last word of distrust in the sustaining power of love had
been said.
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