but argumentative figments,[1] and that sort of thing I can do myself. It is facts that I require." His demand for more facts, even at this stage of the proceedings, shows that his work must still have been in a pretty fluid state.
Two months later (September 24, 1871) Ibsen wrote to Brandes, who had apparently been urging him to "hang out a banner" or nail his colours to the mast: "While I have been busied upon Julian, I have become, in a way, a fatalist; and yet this play will be a sort of a banner. Do not be afraid, however, of any tendency-nonsense: I look at the characters, at the conflicting designs, at history, and do not concern myself with the 'moral' of it all. Of course, you will not confound the moral of history with its philosophy; for that must inevitably shine forth as the final verdict on the conflicting and conquering forces." On December 27 (still from Dresden) he writes to Hegel: "My new work goes steadily forward. The first part, Julian and the Philosophers, in three acts, is already copied out. . . . I am busily at work upon the second part, which will go quicker and be considerably shorter; the third part, on the other hand, will be somewhat longer." To the same correspondent, on April 24, 1872, he reports the second part almost finished. "The third and last part," he says, "will be mere child's play. The spring has now come, and the warm season is my best time for working." To Brandes, on May 31, he writes, "I go on wrestling with Julian"; and on July 23 (from Berchtesgaden) "That monster Julian has still such a grip of me that I cannot shake him off." On August 8 he announces to Hegel that he
- ↑ It was, in fact, a pamphlet aimed at Frederick William IV. of Prussia, and entitled A Romanticist on the Throne of the Caesars.
