[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"detail-sidebar-cat-0-en-105":3,"doc-seo-636936-105":59,"doc-detail-636936-en":121},{"code":4,"msg":5,"data":6},0,"success",[7,13,18,23,28,33,38,43,48,51,55],{"id":8,"doc_module":4,"doc_module_name":9,"category_name":10,"show_sort_weight":11,"slug":12},1,"Document","Story & Novel",90,"story-novel",{"id":14,"doc_module":4,"doc_module_name":9,"category_name":15,"show_sort_weight":16,"slug":17},2,"Literature",80,"literature",{"id":19,"doc_module":4,"doc_module_name":9,"category_name":20,"show_sort_weight":21,"slug":22},4,"Exam",70,"exam",{"id":24,"doc_module":4,"doc_module_name":9,"category_name":25,"show_sort_weight":26,"slug":27},5,"Comic",60,"comic",{"id":29,"doc_module":4,"doc_module_name":9,"category_name":30,"show_sort_weight":31,"slug":32},6,"Technology",50,"technology",{"id":34,"doc_module":4,"doc_module_name":9,"category_name":35,"show_sort_weight":36,"slug":37},7,"Healthcare",40,"healthcare",{"id":39,"doc_module":4,"doc_module_name":9,"category_name":40,"show_sort_weight":41,"slug":42},8,"Research & Report",30,"research-report",{"id":44,"doc_module":4,"doc_module_name":9,"category_name":45,"show_sort_weight":46,"slug":47},9,"Religion & Spirituality",20,"religion-spirituality",{"id":46,"doc_module":4,"doc_module_name":9,"category_name":49,"show_sort_weight":46,"slug":50},"World Cup","world-cup",{"id":52,"doc_module":4,"doc_module_name":9,"category_name":53,"show_sort_weight":52,"slug":54},10,"Lifestyle","lifestyle",{"id":56,"doc_module":4,"doc_module_name":9,"category_name":57,"show_sort_weight":24,"slug":58},19,"General","general",{"code":4,"msg":60,"data":61},"ok",{"site_id":62,"language":63,"slug":64,"title":65,"keywords":66,"description":67,"schema_data":68,"social_meta":114,"head_meta":116,"extra_data":118,"updated_unix":120},105,"en","the-collected-poems-of-henrik-ibsen-preface","THE COLLECTED POEMS OF HENRIK IBSEN - Preface","","A preface to The Collected Poems of Henrik Ibsen translated by John Northam, arguing that Ibsen’s poetic output deserves renewed attention beyond its limited reception in Norway. It traces how early, conventional melancholy gives way to more personal engagement with real life, including romantic, satirical, and realistic impulses. The text discusses representative poems and highlights stylistic development toward later prose works, situating poems within Ibsen’s changing environments and cultural independence.",{"@graph":69,"@context":113},[70,84,104],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":15,"@type":76,"position":81},"https://docshare.wps.com/document/literature/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/the-collected-poems-of-henrik-ibsen-preface/636936/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":98,"encodingFormat":97,"isAccessibleForFree":99,"interactionStatistic":100},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/the-collected-poems-of-henrik-ibsen-preface/636936.png","ImageObject",300,407,{"name":92,"@type":93},"PakDamar76","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-22",true,{"@type":101,"interactionType":102,"userInteractionCount":4},"InteractionCounter",{"@type":103},"ViewAction",{"@type":105,"mainEntity":106},"FAQPage",[107],{"name":108,"@type":109,"acceptedAnswer":110},"Why does the preface analyze specific poems like Memories of a Ball or Helge Hundingsbane?","Question",{"text":111,"@type":112},"It uses these examples to show shifts in Ibsen’s approach—moving from conventional posturing toward realism, satire, and more adult definitions of heroism.","Answer","https://schema.org",{"og:url":83,"og:type":115,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":117,"canonical":83},"index,follow",{"doc_id":119,"site_id":62},636936,1792679423,{"code":4,"msg":5,"data":122},{"doc_id":119,"user_id":123,"nickname":92,"user_avatar":124,"doc_module":4,"category_id":14,"category_name":15,"doc_title":65,"doc_description":67,"doc_content":125,"file_id":126,"file_url":127,"file_type":128,"file_size":129,"view_count":4,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":130,"language":131,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":132,"faqs":133,"seo_title":134,"seo_description":67,"update_tm":120,"read_time":135},962090893057,"https://ap-avatar.wpscdn.com/davatar_155a257f0dc6eb9ab79c44ca47cae57d","1  \nTHE COLLECTED POEMS OF HENRIK IBSEN  \nTranslated by John Northam  \n2  \nPREFACE  \nWith the exception of a relatively small number of pieces, Ibsenís copious output as a poet has been little regarded, even in Norway. The English-reading public has been denied access to the whole corpus. That is regrettable, because in it can be traced interesting developments, in style, material and ideas related to the later prose works, and there are several poems, witty, moving, thought provoking, that are attractive in their own right.  \nThe earliest poems, written in Grimstad, where Ibsen worked as an assistant to the local apothecary, are what one would expect of a novice. Resignation, Doubt and Hope, Moonlight Voyage on the Sea are, as their titles suggest, exercises in the conventional, introverted melancholy of the unrecognised young poet. Moonlight Mood, To the Star express a yearning for the typically ethereal, unattainable beloved. In The Giant Oak and To Hungary Ibsen exhorts Norway and Hungary to resist the actual and immediate threat of Prussian aggression, but does so in the entirely conventional imagery of the heroic Viking past.  \nFrom early on, however, signs begin to appear of a more personal and immediate engagement with real life. There is, for instance, a telling juxtaposition of two poems, each of them inspired by a female visitation. It is Over is undeviatinglyan exercise in romantic glamour: the poet, wandering by moonlight mid the ruins of a great palace, is visited by the wraith of the noble lady once its occupant; whereupon the ruins are restored to their old splendour. The next poem, Room to Let, draws, as its title implies, on a wholly different source of inspiration: Ibsenís own desperate need, as a sex-starved youngster, to persuade a girl, any girl, to move into his untidy lodgings and help transform their squalor into a treasure house. Ibsen is beginning to tackle real life.  \nAnother piece, Memories of a Ball, provides a more complex and explicit indication of Ibsenís impulse to reject convention for realism. Part poem, part prose, the piece is a long one because Ibsen needs not merely to express a subjective mood but to argue a case. It begins conventionally enough with a prologue, a tribute to the ethereal beloved, Stella, whom Ibsen borrows, as it were, from the famous poet Wergeland. But the poem quickly modulates, after a hint or two of parody, into a refutation of such posturing and a robust counter-assertion that the true facts of the sexual game are to be found closer to home, at a dance. ìThat may ring a little flat / and moreover unpoeticî Ibsen writes, but he proceeds to an amusing and acutely observed account of the goings-on at such an event. The prose ending, the last page of a disappointed loverís diary, may revert to the old-style suicidal gloom, but the gloom is so extreme and Ibsenís use of emotive dashes so excessive as to invite ridicule for an outworn romantic attitudinising.  \nIbsen entered a new world when he moved to the capital, Christiania, as a would-be student in the Medical Faculty. The University, a recent foundation, was an exciting assertion of Norwayís cultural independence from Denmark. Although he failed, in Greek, to gain admission, he was accorded the status of ìstudentî and was thus able to play some part in undergraduate life. The change is reflected in the general tone of the poems written during this period. The frustrated gloom manifests itself still in, for instance, The Miner and Bird and Bird-Catcher, but even there Ibsen begins to draw inspiration from a real-life occupation and from his own boyhood  \n3  \nrecollections. In The Lad in the Bilberry Patch he punctures the facile sentimentality of a city poet by revealing the real facts, of poverty and sickness, that motivate the ladís industry; The Tear stems from vivid memories of his own boyhood grief when he could not join his toboganning friends because his boots had come apart. A Saturday Evening in Hardanger","cbCaigVnKCfsm3vQ","https://ap.wps.com/l/cbCaigVnKCfsm3vQ","pdf",1364052,287,"English","# Preface\n## Reception and overall value of Ibsen’s poetry\n## Early poems: convention and melancholic themes\n## Turning points: personal experience and realism\n## Analysis of selected poems and shifts in style","[{\"question\":\"Why does the preface analyze specific poems like Memories of a Ball or Helge Hundingsbane?\",\"answer\":\"It uses these examples to show shifts in Ibsen’s approach—moving from conventional posturing toward realism, satire, and more adult definitions of heroism.\"}]","THE COLLECTED POEMS OF HENRIK IBSEN - Preface | PDF",442]