III
It must be apparent to those who have not read or seen the Ibsen plays that, despite this huddled and foreshortened account, they are in essence quite different from what has been reported of them. Idealistic, symbolistic, moral, and ennobling, the Ibsen drama was so vilified by malice and ignorance that its very name was a portent of evil. Mad or wicked Ibsen is not. His scheme of life and morals is often oblique and paradoxical, his interpretation of truths so elliptical that we are confused. But he is essentially sound. He believes in the moral continuity of the universe. His astounding energy is a moral energy. Salvation by good works is his burden. The chief thing is to be strong in your faith. He despises the weak, not the strong sinner. His Supermen are the bankrupts of romantic heroism. His strong man is frequently wrong-headed; but the weakling works the real mischief. Never admit you are beaten. Begin at the bottom twenty times, and when the top is achieved die, or else look for loftier peaks to climb. Ibsen exalts strength. His "ice-church" is chilly; the lungs drink in with difficulty the buffeting breezes on his heights; yet how bracing, how inspiring, is this austere place of worship. Bad as is mankind, Ibsen, who was ever in advance of his contemporaries, believed in its possibility for betterment. Here the optimist speaks. Brand's spiritual pride is his downfall; nevertheless, Ibsen, an aristocratic thinker, believes that of pride one cannot have too much. He recognised the selfish and hollow foundation of all "humanitarian" movements. He is a sign-post for the twentieth century when the aristocratic of spirit must enter into combat with the herd instinct of a depressing socialism. His influence has been tremendous. His plays teem with the general ideas of his century. His chief value lies in the beauty of his art; his is the rare case of the master-singer rounding a long life with his master works. He brought to the theatre new ideas; he changed forever the dramatic map of Europe; he originated a new method of surprising life, capturing it and forcing it to give up a moiety of its mystery for the uses of a difficult and recondite art. He fashioned character anew. And he pushed resolutely into the mist that surrounded the human soul, his Diogenes lantern glimmering, his brave, lonely heart undaunted by the silence and the solitude. His message? Who shall say? He asks questions, and, patterning after nature, he seldom answers them. When his ideas sicken and die—he asserted that the greatest truth outlives its usefulness in time, and it may not be denied that his drama is a dissolvent; already the early plays are in historical twilight and the woman question of his day is for us something quite different—his art will endure. Henrik Ibsen was a man of heroic fortitude. His plays are a bold and stimulating spectacle for the spirit. Should we ask more of a dramatic poet?
[X]
MAX STIRNER
I
In 1888 John Henry Mackay, the Scottish-German poet, while at the British Museum reading Lange's History of Materialism, encountered the name of Max Stirner and a brief criticism of his forgotten book, Der Einzige und sein Eigenthum (The Only One and His Property; in French translated L'Unique et sa Propriété, and in the first English translation more aptly and euphoniously entitled The Ego and His Own). His curiosity excited, Mackay, who is an anarchist, procured after some difficulty a copy of the work, and so greatly was he stirred that for ten years he gave himself up to the study of Stirner and his teachings, and after incredible painstaking published in 1898 the story of his life. (Max Stirner: Sein Leben und sein Werk: John Henry Mackay.) To Mackay's labours we owe all we know of a man who was as absolutely swallowed up by the years as if he had never existed. But some advanced spirits had read Stirner's book, the most revolutionary ever written, and had felt its influence. Let us name two: Henrik Ibsen and Frederick Nietzsche. Though the name of Stirner is not quoted by Nietzsche, he nevertheless recommended Stirner to a favourite pupil of his, Professor Baumgartner at Basel University. This was in 1874.
One hot August afternoon in the year 1896 at Bayreuth, I was standing in the Marktplatz when a member of the Wagner Theatre pointed out to me a house opposite, at the corner of the Maximilianstrasse, and said: "Do you see that house with the double gables? A man was born there whose name will be green when Jean Paul and Richard Wagner are forgotten." It was too large a draught upon my credulity, so I asked the name. "Max Stirner," he replied. "The crazy Hegelian," I retorted. "You have read him, then?" "No; but you haven't read Nordau." It was true. All fire and flame at that time for Nietzsche, I did not realise that the poet and rhapsodist had forerunners. My friend sniffed at Nietzsche's name; Nietzsche for him was an aristocrat, not an Individualist—in reality, a lyric expounder of Bismarck's gospel of blood and iron. Wagner's adversary would, with Renan, place mankind under the yoke of a more exacting tyranny than Socialism, the tyranny of Culture, of the Superman. Ibsen, who had studied both Kierkegaard and Stirner—witness Brand and Peer Gynt—Ibsen was much nearer to the champion of the Ego than Nietzsche. Yet it is the dithyrambic author of Zarathustra who is responsible, with Mackay, for the recrudescence of Stirner's teachings.
Nietzsche is the poet of the doctrine, Stirner its prophet, or, if you will, its philosopher. Later I secured the book, which had been reprinted in the cheap edition of Reclam (1882). It seemed colourless, or rather gray, set against the glory and gorgeous rhetoric of Nietzsche. I could not see then what I saw a decade later—that Nietzsche had used Stirner as a springboard, as a point of departure, and that the Individual had vastly different meanings to those diverse temperaments. But Stirner displayed the courage of an explorer in search of the north pole of the Ego.
The man whose theories would make a tabula rasa of civilisation, was born at Bayreuth, October 25, 1806, and died at Berlin June 25, 1856. His right name was Johann Caspar Schmidt, Max Stirner being a nickname bestowed upon him by his lively comrades in Berlin because of his very high and massive forehead. His father was a maker of wind instruments, who died six months after his son's birth. His mother remarried, and his stepfather proved a kind protector. Nothing of external importance occurred in the life of Max Stirner that might place him apart from his fellow-students. He was very industrious over his books at Bayreuth, and when he became a student at the Berlin University he attended the lectures regularly, preparing himself for a teacher's profession. He mastered the classics, modern philosophy, and modern languages. But he did not win a doctor's degree; just before examinations his mother became ill with a mental malady (a fact his critics have noted) and the son dutifully gave up everything so as to be near her. After her death he married a girl who died within a short time. Later, in 1843, his second wife was Marie Dähnhardt, a very "advanced" young woman, who came from Schwerin to Berlin to lead a "free" life. She met Stirner in the Hippel circle, at a Weinstube in the Friedrichstrasse, where radical young thinkers gathered: Bruno Bauer, Feuerbach, Karl Marx, Moses Hess, Jordan, Julius Faucher, and other stormy insurgents. She had, it is said, about 10,000 thalers. She was married with the ring wrenched from a witness's purse—her bridegroom had forgotten to provide one. He was not a practical man; if he had been he would hardly have written The Ego and His Own.