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In 1879, Ibsen sent Nora Helmer out into the world with a demandthat a woman too must have the freedom to develop as an adult, independent,and responsible person. The playwright was now over 50, and had finallybeen recognized outside of the Nordic countries. .had admittedly opened the German borders for him, but it was . and (1881) which in the1880s led him into the European avant-garde.

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It is from this perspective we view his contribution to theatricalhistory. His realistic contemporary drama was a continuation of the Europeantradition of tragic plays. In these works he portrays people from the middleclass of his day. These are people whose routines are suddenly upset asthey are confronted with a deep crisis in their lives. They have been blindlyfollowing a way of life leading to the troubles and are themselves responsiblefor the crisis. Looking back on their lives, they are forced to confrontthemselves. However, Ibsen created another type of drama as well. In fact,he had been writing for 25 years before he, in 1877, created his firstcontemporary drama, .

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Shakespeare's accomplishments are apparent when studied against of this age. His company was the most successful in London in his day. He had plays published and sold in octavo editions, or "penny-copies" to the more literate of his audiences. Never before had a playwright enjoyed sufficient acclaim to see his works published and sold as popular literature in the midst of his career. In addition, Shakespeare's ownership share in both the theatrical company and itself made him as much an entrepeneur as artist. While Shakespeare might not be accounted wealthy by London standards, his success allowed him to purchase New House and retire in comfort to Stratford in 1611.

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Scribe could teach him how a drama's plot should be structured ina logically motivated progression of scenes. Hebbel provided him with anexample of the way drama could be based on life's contemporary dialectics,creating a modern conceptual drama. Hebbel's pioneering work was his conveyanceof the ideologicalconflicts of his day into the theater where he created"a drama of issues" pointing forward. He also knew how the Greektragedy's retrospective technique could be used by a modern dramatist.

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In other words, Ibsen was in close contact with the art of the stagefor a long uninterrupted period. His six years at the theater in Bergen(1851-57) and the following four or five years at the theater in Kristianiafrom 1857 were not easy. But he acquired a sharp eye for theatrical techniquesand possibilities.

"Ibsen's drama is the Rome of modern drama: all roads lead toit - and from it."

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For all his fame and celebration, William Shakespeare remains a mysterious figure with regards to personal history. There are just two primary sources for information on the Bard: his works, and various legal and church documents that have survived from times. Naturally, there are many gaps in this body of information, which tells us little about Shakespeare the man.

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Ibsen's apprenticeship was long, lasting about 15 years, and includedtheater work he later would claim to be as difficult as "having anabortion every day." There was a strong pressure to produce hangingover him; one that led to fumbling attempts in many directions. He experienceda few minor artistic victories - and numerous defeats. Very few believedthat he had the necessary gift to become more than a minor theatrical writerwith a modicum of talent.