or visiting friends, reading, and pursuing hobbies such as gardening and the like. Obviously the home ideal cannot be tested fully under these conditions, which enable a married pair to see less and know less of one another than they do of those who work side by side with them. It is in the propertied class only that two people can really live together and devote themselves to one another if they want to. There are certain businesses which men and women can conduct jointly, and certain professions which men can pursue at home; and in these the strain of idealism on marriage is more severe than when the two work separately. But the full strain comes on with the modern unearned income from investments, which does not involve even the management of an estate. And it is under this full strain that Ibsen tests it in Little Eyolf.
Shakespear, in a flash of insight which has puzzled many commentators, and even set them proposing alterations of a passage which they found unthinkable, has described one of his characters as “a fellow almost damned in a fair wife.” There is no difficulty or obscurity about this phrase at all: you have only to look round at the men who have ventured to marry very fascinating women to see that most of them are not merely “almost damned” but wholly damned. Allmers, in Little Eyolf, is a fellow almost damned in a fair wife. She, Rita Allmers, has brought him “gold and green forests” (a reminiscence from an early play called The Feast at Solhoug), and not only troubles and uncentres him as only a woman can trouble and uncentre a man who is susceptible to her bodily attraction, but is herself furiously and jealously in love with him. In short, they form the ideal home of romance; and it would be hard to find a compacter or more effective formula for a small private hell. The “almost damned” are commonly saved by the fact that the devotion is usually on one side only, and that the lovely lady (or gentleman; for a woman almost damned in a fair husband is also a common object in domestic civilization), if she has only one husband, relieves the boredom of his devotion by having fifty courtiers. But Rita will neither share Allmers with anyone else nor be shared. He must be wholly and exclusively hers; and she must be wholly and exclusively his. By her gold and green forests she snatches him from his work as a schoolmaster and imprisons him in their house, where the poor wretch pretends to occupy himself by writing a book on Human Responsibility, and forming the character of their son, little Eyolf. For your male sultana takes himself very seriously indeed, as do most sultanas and others who are so closely shut up with their own vanities and appetites that they think the world a little thing to be moulded and arranged at their silly pleasure like a lump of plasticine. Rita is jealous of the book, and hates it not only because Allmers occupies himself with it instead of with her, but talks about it to his halfsister Asta, of whom she is of course also jealous. She is jealous of little Eyolf, and hates him too, because he comes between her and her prey.
One day, when the baby child is lying on the table, they have an amorous fit and forget all about him. He falls off the table and is crippled for life. He and his crutch become thenceforth a standing reproach to them. They hate themselves; they hate each other; they hate him; their atmosphere of ideal conjugal love breeds hate at every turn: hatred masquerading as a loving bond that has been drawn closer and sanctified by their common misfortune. After ten years of this hideous slavery the man breaks loose: actually insists on going for a short trip into the mountains by himself. It is true that he reassures Rita by coming back before his time; but her conclusion that this was because he could not abstain from her society is rudely shattered by his conduct on his return. She dresses herself beautifully to receive him, and makes the seraglio as delightful as possible for their reunion; but he purposely arrives tired out, and takes refuge in the sleep of exhaustion, without a caress. As she says, quoting a popular poem when reproaching him for this afterwards, “There stood your champagne and you tasted it not.” It soon appears that he has come to loathe his champagne, and that the escape into the mountains has helped him to loathe his situation to some extent, even to discovering the absurdity of his book on Human Responsibility, and the cruelty of his educational experiments on Eyolf. In future he is going to make Eyolf “an open air little boy,” which of course involves being a good deal in the open air with him, and out of the seraglio. Then the woman’s hatred of the child unveils itself; and she openly declares what she really feels as to this little creature, with its “evil eyes,” that has come between them.
At this point, very opportunely, comes the Rat Wife, who, like the Pied Piper, clears away rats for a consideration. Has Rita any little gnawing things she wants to get rid of? Here, it seems, is a helper and server for Rita. The Rat Wife’s method is to bewitch the rats so that when she rows out to sea they follow her and are drowned. She describes this with a heartbreaking poetry that frightens Rita, who makes Allmers send her away. But a helper and server is not so easily exorcized. Rita’s little gnawing thing, Eyolf, has come under the spell; and when the Rat Wife rows out to sea, he follows her and is drowned.
The family takes the event in a very proper spirit. Horror, lamentation, shrieks and tears, and all the customary homages to death and attestations of bereavement are duly and even sincerely gone through; for the shock of such an accident makes us all human for a moment. But next morning Allmers finds some difficulty in keeping it up, miserable as he is. He finds himself forgetting about Eyolf for several minutes, and thinking about other things, even about his breakfast; and in his idealistic self-devotion to artificial attitudes he reproaches himself and tries to force himself to keep thinking of Eyolf and being overwhelmed with grief about him. Besides, it is an excuse for avoiding his wife. The revulsion against his slavery to her has made her presence unbearable to him. He can bear nobody but his halfsister Asta, whose relation to him is a most blessed comfort and relief because their blood kinship excludes from it all the torment and slavery of his relation to Rita. But this consolation is presently withdrawn; for Asta has just discovered, in some old correspondence, convincing proofs that she is not related to him at all; and the effect of the discovery has been to remove the inhibition which has hitherto limited her strong affection for him; so that she now perceives that she must leave him. Hitherto, she has refused, for his sake, the offers of Borgheim, an engineer who wants to marry her, but who, like Rita, wants to take her away and make her exclusively his own; for he, too, cannot share with anyone. And though both Allmers and Rita implore her to stay, dreading now nothing so much as being left alone with one another, she knows that she cannot stay innocently, and accepts the engineer and vanishes lest a worse thing should befall.
And now Rita has her man all to herself. Eyolf dead, Asta gone, the Book on Human Responsibility thrown into the waste paper basket: there are no more rivals now, no more distractions: the field is clear for the ideal union of “two souls with but a single thought, two hearts that beat as one.” The result may be imagined.
The situation is insufferable from the beginning. Allmers’ attempts to avoid seeing or speaking to Rita are of course impracticable. Equally impracticable are their efforts to behave kindly to one another. They are presently at it hammer and tongs, each tearing the mask from the other’s grief for the child, and leaving it exposed as their remorse: hers for having jealously hated Eyolf: his for having sacrificed him to his passion for Rita, and to the schoolmasterly vanity and folly which sees in the child nothing more than the vivisector sees in a guinea-pig: something to experiment on with a view to rearranging the world to suit his own little ideas. If ever two cultivated souls of the propertied middle class were stripped naked and left bankrupt, these two are. They cannot bear to live; and yet they are forced to confess that they dare not kill themselves.
The solution of their problem, as far as it is solved, is, as coming from Ibsen, very remarkable. It is not, as might have been expected after his long propaganda of Individualism, that they should break up the seraglio and go out into the world until they have learnt to stand alone, and through that to accept companionship on honorable conditions only. Ibsen here explicitly insists for the first time that “we are members one of another,” and that though the strongest man is he who stands alone, the man who is standing alone for his own sake solely is literally an idiot. It is indeed a staring fact in history and contemporary life that nothing is so gregarious as selfishness, and nothing so solitary as the selflessness that loathes the word Altruism because to it there are no “others”: it sees and feels in every man’s case the image of its own. “Inasmuch as ye have done it unto one of the least of these my brethren
