If anything could excuse the coolness of Norwegian criticism towards The Pretenders, it was the great and flagrant artistic blemish of the Ghost Scene in the last act. This outburst of prophetico-topical satire is a sheer excrescence on the play, indefensible, but, at the same time, fortunately negligible. It is, however, of interest as a symptom of Ibsen's mood in the last months before he left Norway, and also as one of the links in that chain which binds all his works together. Just as Skule's attempt to plagiarise Håkon's king's-thought points backwards to Gunnar's moral lapse in taking advantage of the fraud on Hiördis, so the ironic rhymes of the Bagler-Bishop's ghost point forwards to the lyric indignation and irony of Brand and Peer Gynt.
W. A.
