ABSTRACT
Our own drama and the French drama do not trouble much about that force or forces now so frequently and often so vaguely described as ‘life.’ Our notion of drama is still a conflict between the wills of two or more human beings; and, if they are like human beings and their circumstances are like the circumstances in which such human beings live, we ask little or nothing more. Underlying the life out of which such drama is made there is, of course, a very different life - the remote life of the soul or spirit, often strangely contradictory of the superficial life. It was into this that Ibsen probed, and this that is heard like the harmonies of each note he strikes.
