Although the plays are interesting for their social message, Ibsenite drama would not survive today were it not for his consummate skill as a technician. Each drama is carefully wrought into a tight logical construction where characters are clearly delineated and interrelated, and where events have a symbolic as well as actual significance. The symbolism in Ibsen's plays is rarely overworked. Carefully integrated to unify the setting, events, and character portrayals, the symbols are incidental and subordinate to the truth and consistency of his picture of life.
Having been interested in studying painting as a youth, Ibsen was always conscious of making accurate observations. As a dramatist, he considered himself a photographer as well, using his powers of observation as a lens, while his finished plays represented the proofs of a skilled darkroom technician. The realism of his plays, the credibility of his characters, the immediacy of his themes attest to these photographic skills at which Ibsen so consciously worked. Among his countless revisions for each drama, he paid special heed to the accuracy of his dialogue. Through constant rewriting, he brought out the maximum meaning in the fewest words, attempting to fit each speech into the character of the speaker. In addition, Ibsen's ability as a poet contributed a special beauty to his terse prose.
The problems of Ibsen's social dramas are consistent throughout all his works. George Brandes, a contemporary critic, said of Ibsen, as early as the 1860s, that "his progress from one work to the other is not due to a rich variety of themes and ideas, but on the contrary to a perpetual scrutiny of the same general questions, regarded from different points of view." In A Doll's House, he especially probed the problems of the social passivity assigned to women in a male-oriented society. After considering the plight of Nora Helmer, he then investigated what would happen had she remained at home. The consequence of his thoughts appears as Ghosts. Going one step further, Ibsen investigated the fallacies inherent in his own idealism. Much as Pastor Manders applies empty principles to actual situations Gregers Werle is shown trying to impose an idealistic viewpoint when circumstances demand that individuals can only accept their lives by clinging to "life-lies." Although The Wild Duck differs in treatment from Hedda Gabler, the plays both have protagonists who find in their imaginations an outlet for their frustrations. Hedda Gabler, however, with its emphasis on individual psychology, is a close scrutiny of a woman like Nora Helmer or Mrs. Alving who searches for personal meaning in a society which denies freedom of expression.
Professor Koht sums up the dramatist's investigations:
The thing which filled [Ibsen's] mind was the individual man, and he measured the worth of a community according as it helped or hindered a man in being himself. He had an ideal standard which he placed upon the community and it was from this measuring that his social criticism proceeded.
Secondary to, and in connection with, his idea that the individual is of supreme importance, Ibsen believed that the final personal tragedy comes from a denial of love. From this viewpoint we see that Torvald is an incomplete individual because he attaches more importance to a crime against society than a sin against love. The same is true for Pastor Manders. Hedda Gabler is doomed to a dissatisfied life because she too is unable to love, and Hedvig's tragic suicide is the result of her pathetic attempt to recall her father's affections. In Ibsen's other plays, particularly Brand, this theme is of primary importance.
In an age when nations were striving for independence, Ibsen's sense of democracy was politically prophetic. He believed, not that "right" was the prerogative of the mass majority, but that it resided among the educated minority. In the development and enrichment of the individual, he saw the only hope of a really cultured and enlightened society.