], which modifies in several important respects our conception of
the dramatist's character, is analogous with the apparent change of
disposition which made Renan surprise his unthinking admirers so
suddenly at the epoch of _L'Eau de Jouvence_ and _L'Abbesse de Jouarre_.
It was founded, of course, on that dangerous susceptibility to which an
elderly man of genius, whose life had been spent in labor and
reflection, may be inclined to resign himself, as he sees the sands
running out of the hour-glass, and realizes that in analyzing and
dissecting emotion he has never had time to enjoy it. Time is so short,
the nerves so fragile and so finite, the dreadful illusion, the _maia_,
so irresistible, that the old man gives way to it, and would sooner die
at once than not make one grasp at happiness.
It will have been remarked that Ibsen's habit was to store up an
impression, but not to use it immediately on creative work. We need,
therefore, feel no surprise that there is not a trace of the Bardach
episode in _Hedda Gabler_, although the composition of that play
immediately followed the _hohes, schmerzliches Glueck_ at Gossensass.
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