It has often been observed that of all Ibsen's thoroughly mature works, from A Doll's House to John Gabriel Borkman, The Lady from the Sea is the loosest in texture, the least masterly in construction. The fact that it leaves this impression on the mind is largely due, I think, to a single fault. The conclusion of the play--Ellida's clinging to Wangel and rejection of the Stranger--depends entirely on a change in Wangel's mental attitude, of which we have no proof whatever beyond his bare assertion. Ellida, in her overwrought mood, is evidently inclining to yield to the uncanny allurement of the Stranger's claim upon her, when Wangel, realizing that her sanity is threatened, says:
WANGEL: It shall not come to that. There is no other way of
deliverance for you--at least I see none. And therefore--therefore
I--cancel our bargain on the spot. Now you can choose your own path,
in full--full freedom.
ELLIDA (
Gazes at him awhile, as if speechless
): Is this
true--true--what you say? Do you mean it--from your inmost heart?
WANGEL: Yes--from the inmost depths of my tortured heart, I mean