Abstract
Ibsen eliminates almost all soliloquies from his later plays except some short, broken utterances. But, how does he convey to the audience thought which should form part of soliloquies? He employs a number of means, among which the most important are some peculiar kinds of dialogue and stage directions or visual suggestions. Ibsen's later plays may be perfect from the technical point of view, yet they cannot give us the pure beauty and depth of tragedy which are often discovered in the Elizabethan plays. The age of 'the modern drama' represented by Ibsen is over, and a new different type of drama which accepts openly some convention such as soliloquy or chorus is now expected to come.
