Abstract
FROM LOVE'S COMEDY TO WHEN WE DEAD A WAKEN, Henrik Ibsen frequently centered his dramatic works on an artist-protagonist. Such a structure enabled him to mine his own experience as he explored the relationship between the artist and the family and society which sometimes accepted him but often forced him to question his endeavor. Most major modern dramatists have followed Ibsen's lead. August Strindberg, Anton Chekhov, Luigi Pirandello and Eugene O'Neill have all revealed the artist's private anguish as impetus toward creativity.
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