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It is not easy, I know, to free oneself wholly from traditional interpretation, for it often succeeds in reasserting its sway upon us at the very moment we strain every nerve to escape from our bondage. So has it happened with Ibsen, who, in his search for a new and almost scientific form of fatality, erected the veiled, majestic, tyrannical figure of heredity in the centre of the very best of his dramas. But it is not the scientific mystery of heredity which awakens within us those human fears that lie so much deeper than the mere animal fear; for heredity alone could no more achieve this result than could the scientific mystery of a dreaded disease, a stellar or marine phenomenon. No, the fear that differs so essentially from the one called forth by an imminent natural danger, is aroused within us by the obscure idea of justice which heredity assumes in the drama; by the daring pronouncement that the sins of the fathers are almost invariably visited on the children; by the suggestion that a sovereign Judge, a goddess of the species, is for ever watching our actions, inscribing them on her tablets of bronze, and balancing in her eternal hands rewards long deferred and never-ending punishment. In a word, even while we deny it, it is the face of God that reappears; and from beneath the flagstone one had believed to be sealed for ever comes once again the murmur of the very ancient flame of Hell.

This new form of fatality, or fatal justice, is less defensible, and less acceptable too, than the ancient and elementary power, which, being general and undefined, and offering no too strict explanation of its actions, lent itself to a far greater number of situations. In the special case selected by Ibsen, it is not impossible that some kind of accidental justice may be found, as it is not impossible that the arrow a blind man shoots into a crowd may chance to strike a parricide. But to found a law upon this accidental justice is a fresh perversion of mystery, for elements are thereby introduced into human morality which have no right to be there; elements which we would welcome, which would be of value, if they stood for definite truths; but seeing that they are as alien to truth as to actual life, they should be ruthlessly swept aside. I have shown elsewhere that our experience fails to detect the most minute trace of justice in the phenomena of heredity; or, in other words, that it fails to discover the slightest moral connection between the cause: the fault of the father, and the effect: the punishment or reward of the child.

The poet has the right to fashion hypotheses, and to forge his way ahead of reality. But it will often happen that when he imagines himself to be far in advance, he will truly have done no more than turn in a circle; that where he believes that he has discovered new truth, he has merely strayed on to the track of a buried illusion. In the case I have named, for the poet to have taught us more than experience teaches, he should have ventured still further, perhaps, in the negation of justice. But whatever our opinion may be on this point, it at least is clear that the poet who desires his hypotheses to be legitimate, and of service, must take heed that they be not too manifestly contrary to the experience of everyday life; for in that case they become useless and dangerous–scarcely honourable even, if the error be deliberately made.

And now, what are we to conclude from all this? Many things, if one will, but this above all: that it behoves the “interpreter of life,” no less than those who are living that life, to exercise greatest care in their manner of handling and admitting mystery, and to discard the belief that whatever is noblest and best in life or in drama must of necessity rest in the part that admits of no explanation. There are many most beautiful, most human, most admirable works which are almost entirely free from this “disquiet of universal mystery.” We derive no greatness, sublimity, or depth from unceasingly fixing our thoughts on the infinite and the unknown. Such meditation becomes truly helpful only when it is the unexpected reward of the mind that has loyally, unreservedly, given itself to the study of the finite and the knowable; and to such a mind it will soon be revealed how strangely different is the mystery which precedes what one does not know from the mystery that follows closely on what one has learned. The first would seem to contain many sorrows, but that is only because the sorrows are grouped there too closely, and have their home upon two of three peaks that stand too nearly together. In the second is far less sadness, for its area is vast; and when the horizon is wide, there exists no sorrow so great but it takes the form of a hope.