Abstract
Peer Gynt very probably will always be thought of as Ibsen's greatest work. Certainly, it is his most national and also his most universal drama. A great deal has been written about this poetic drama, and with so complex a work there are of necessity differences of view and differences of emphasis among the critics. I believe, however, that some of the differences of interpretation might well be reconciled if Peer Gynt were studied in relation to Ibsen's other “will” plays, if attention were given to the play's structure, and, above all, if its rich symbolism were considered as an integral part of the play's composition and not just as extraneous decoration or embellishment. The distinction that Ibsen makes between the Gyntish Self and the true Self attains clarity only when the symbolism has been elucidated. It is the true Self, not the Gyntish Self, that carries the principal theme of the play. I believe there will proceed from this approach to Peer Gynt an unequivocal statement of what Ibsen intended to convey in it.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
