Ibsen's Tale of the Button Molder in the Final Act of Peer Gynt

Henrik Ibsen

Sunday evening I listened to a lecture called Kierkegaard's Passion, from the Great Courses Series Philosophy as a Guide to Living. In this lecture Professor Stephen A. Erickson shared several keen insights from Kierkegaard. One of these had to do with boredom, which plays a bigger role in many of our lives than we realize. Kierkegaard viewed boredom as a symptom of existential despair, particularly in the "aesthetic" mode of existence, where individuals chase fleeting pleasures to avoid confronting life’s deeper questions. To illustrate this idea, Professor Erickson used the example of Peer Gynt's encounter with the Button Molder at the end of Ibsen's famous play.

Henrik Ibsen's Peer Gynt was a five act play based on a Norwegian fairy tale about a hunter. In Ibsen's play Peer is a self-absorbed dreamer who spends his life chasing fleeting ambitions. As a consequence he loses himself in the episodes of his life and never achieves authentic selfhood.

In Act V, after running over the world chasing adventures, the mysterious Button Molder appears as Peer’s life is unraveling, his grandiose illusions crumbling. A grim, almost bureaucratic character, the Button Molder explains that he’s been sent by a higher power (implied to be divine) to collect souls that have failed to fulfill their purpose. Peer, he says, has lived a life so lacking in authentic identity—neither truly good nor evil, just self-serving and scattered—that his soul qualifies for neither heaven nor hell. Instead, the Button Molder plans to melt Peer down in his ladle, like a defective button, to be remolded into something new, erasing his individuality entirely.

Peer, desperate to preserve himself, protests, arguing that his life’s adventures—his travels, schemes, and self-proclaimed greatness—prove he’s unique. The Button Molder counters that Peer has never truly been himself; he’s lived as a shapeshifter, adapting to please others or chase whims without committing to any higher purpose or moral core. 

To escape this fate, Peer must prove he’s been a distinct self, but his frantic attempts—seeking validation from others or clinging to past deeds—fail. The play ends ambiguously, with Peer facing the ladle’s threat, saved temporarily by the love of Solveig, a woman who represents the steadfast faith he’s squandered. The Button Molder warns he’ll return, leaving Peer’s ultimate fate unresolved.

Meaning for Us Today

The Button Molder’s encounter with Peer speaks powerfully to modern existential and societal concerns. At its core, the story is a warning about the dangers of living an inauthentic life—one driven by external validation, fleeting desires, or avoidance of responsibility. I'm reminded of the Aesop's Fable of the grasshopper and the ants. The ants spent the summer in preparation for winter, working to gather grain and other necessities. The grasshopper spent his summer fiddling and having fun. He was not ready for the coming winter, the moral being, "There's a time for work and a time for play."

The Button Molder represents a kind of existential reckoning, forcing us to confront whether our lives have meaning or if we’ve merely drifted, like Peer, through a series of roles without substance. Hence Kierkegaard's dismay that most people avoid thinking deeply about meaning, or as Gauguin put it, the title of his famous painting, "Where Do We Come From? What Are We? Where Are We Going?"

In today’s world, the Button Molder’s message resonates in this age of digital personas, endless distractions, and societal pressure to “perform” identity. Social media, for instance, encourages us to curate idealized versions of ourselves, much like Peer’s chameleon-like existence, prioritizing likes and trends over authentic selfhood. 

The threat of being “melted down” mirrors the modern fear of insignificance—being reduced to a faceless cog in a system, whether it’s corporate, cultural, or algorithmic. 

The Button Molder’s ladle evokes the erasure of individuality in a world that often rewards conformity or superficial success, or as Dylan suggests in Idiot Wind, "You'll find out when you reach the top You're on the bottom."

Yet, the story also offers hope. The Button Molder give Peer a little more time, and there is a possibility of redemption suggested by the presence of Solveig, the woman who has dedicated her life to waiting for him. Solveig's enduring faith and patience serves as a counterpoint to Peer's self-absorbed journey. (In a similar fashion Hermann Hesse explores this duality in his novel Narcissus and Goldmund, with Goldmund being the  self-absorbed adventurer living from episode to episode whichever way the wind blows.) Solveig's presence suggests that love, faith, or commitment to something greater can anchor us, helping us forge a true self. 

 

The Button Molder challenges us to ask: Are we living as ourselves, or are we just buttons, shapeless and ready to be remolded by the world’s demands? 

* * * * * 

Norwegian playwright Henrik Johan Ibsen is considered one of the world's pre-eminent writers of the 19th century. His plays are among the most performed plays in the world, second only to Shakespeare. He is often referred to as "the father of modern drama."  

Trivia: Norwegian composer Edvard Grieg wrote two suites for Peer Gynt. Opus 23 premiered along with the play on 24 February 1876 in what is now Oslo. My father used o ilisten to this album when I was growing up.

The Farmer and the Serpent: A Series of Unfortunate Events

Photo by Museums Victoria on Unsplash

One of the things I inherited from my grandmother was her complete set of the Harvard Classics. Her 1937 version, which I now have, is 51 volumes in length. Volume 17 contains fables by Aesop plus tales by Hans Christian Andersen and the Grimm brothers. 

It's fascinating how relevant and timeless these stories are. This fable by Aesop can be found in Volume 17 of the Harvard Classics, 1937 edition. "The Countryman and the Serpent" is about a farmer whose son accidentally steps on a serpent's tail, which results in a series of unfortunate events for both the farmer and the serpent. Here's the story, followed by a few comments.

The Countryman and the Serpent

A Countryman’s son by accident trod upon a Serpent’s tail, which turned and bit him so that he died. The father in a rage got his axe, and pursuing the Serpent, cut off part of its tail. So the Serpent in revenge began stinging several of the Farmer’s cattle and caused him severe loss. Well, the Farmer thought it best to make it up with the Serpent, and brought food and honey to the mouth of its lair, and said to it: “Let’s forget and forgive; perhaps you were right to punish my son, and take vengeance on my cattle, but surely I was right in trying to revenge him; now that we are both satisfied why should not we be friends again?”

“No, no,” said the Serpent; “take away your gifts; you can never forget the death of your son, nor I the loss of my tail.”

Injuries may be forgiven, but not forgotten.

* * * 

Let's summarize.

• The serpent bites the farmer's son, killing him
• The farmer seeks revenge on the serpent by cutting off part of its tail with an ax
• The serpent retaliates by stinging the farmer's cattle
• The farmer tries to make amends with the serpent by bringing it food and honey, but the serpent refuses
• The serpent says that injuries can be forgiven but not forgotten 

Two thoughts come to mind. 

First: In the land of "an eye for an eye" everyone ends up blind.

Second: When will we see an end to this madness in Gaza? 

What will it take for this tsunami of sorrows to cease?

 

Timeless Lessons from Aesop's Fable about The Fox & the Grapes

Photo by Ray Hennessy on Unsplash

A Fox one day spied a beautiful bunch of ripe grapes hanging from a vine trained along the branches of a tree. The grapes seemed ready to burst with juice, and the Fox's mouth watered as he gazed longingly at them.

The bunch hung from a high branch, and the Fox had to jump for it. The first time he jumped he missed it by a long way. So he walked off a short distance and took a running leap at it, only to fall short once more. Again and again he tried, but in vain. Finally, he sat down and looked at the grapes in disgust.

"What a fool I am," he said. "Here I am wearing myself out to get a bunch of sour grapes that are not worth gaping for."

And off he walked very, very scornfully.

There are many who pretend to despise and belittle that which is beyond their reach.

*

I've been listening to a series of lectures called "No Excuses Existentialism" from the Great Courses Series. In one of Professor Robert C. Solomon's lectures about Sartre he noted how the Nobel Prize winner made use of this particular fable to underscore its relevance for people in the 20th century, which is what prompted me to share it here.

The fable has had a variety of applications and interpretations across different disciplines, much like the four blind men who try to describe an elephant. Here are some observations from philosophy, psychology, and the success motivation field.

From Philosophy:

Existentialist philosopher Jean-Paul Sartre offered an insightful interpretation of "The Fox and the Grapes." In his perspective, the fox's reaction to the unreachable grapes symbolizes the concept of "bad faith." Sartre argued that humans often engage in bad faith by denying their freedom and responsibility, choosing to adopt false ideas or excuses rather than confront difficult situations. The fox's dismissal of the grapes he can't reach is akin to individuals denying their potential and agency, blaming external circumstances instead of taking action. I think here of the proverb, "The lazy man says, 'There's a lion in the streets.'" (Prov. 26:13)    

From Psychology:

In psychology, "The Fox and the Grapes" can be associated with the phenomenon of cognitive dissonance. When the fox fails to attain the grapes, he justifies his disappointment by convincing himself that the grapes were sour and undesirable. This cognitive dissonance occurs when individuals experience conflicting beliefs or emotions. In real-life situations, people may downplay their desires or rationalize their failures to reduce the discomfort of unfulfilled goals.

From Success Motivation:

According to some, the fable also offers insights into the success motivation field. It teaches the importance of resilience and perseverance in the face of setbacks. Instead of giving up after failing to reach the grapes, successful individuals maintain their determination, learn from their experiences, and continue striving towards their goals. The idea is, "Persist and you will succeed."

Except the reality is, the fox failed. For a variety of reasons. He can't carry a ladder or climb a tree. He didn't own a cell phone so he can't phone a friend.

Owning up to one's limitations is a key part of this fable. Knowing when to move on is a key part of success. On Wall Street there's a saying in this regard: "Don't throw good money after bad." The same might apply to one's time as well. 

The story is also a warning against sour grapes mentality, where people belittle or devalue something they desire but cannot obtain. Nearly everyone involved at an early age in sports -- baseball, soccer, trank & field, football, etc.-- comes to a fork in the road where they must reflect on the reality that they will likely not make it to the Big Leagues, or be on the cover of Sports Illustrated. How we handle this is a reflection on our character. 

Yes, I dreamed of being a Big League ballplayer, but it was apparent that I had shortcomings. Nevertheless, I learned a lot of good lessons from my years in Little League and on through high school. These experiences gave me insights about teamwork, the importance of practice and sacrifice, as well as life.

A sour grapes attitude can lead to a root of bitterness and a sense of victimhood. Successful individuals avoid this trap by accepting the reality of their situation, focusing on personal growth, and adapting their strategies to achieve their aspirations. 

In reflecting on this tale I find myself wanting to take a deeper dive into more of Aesop's fables... as time permits.

Here's another fable by Aesop that I've written about. The moral of this story has been a favorite of mine for ages. Who Will Bell the Cat? A Fable of Aesop That Still Speaks Today

Grapes photo: Creative Commons. © Vyacheslav Argenberg, 

An Aesop Fable On Authenticity: The Monkey and the Camel

Photo by Vivek Sharma on Unsplash

Something I'd been reading recently triggered the recollection of the Aesop Fable, the Monkey and the Camel. The way I remembered it, the story took place near an oasis in the desert, hence the presence of the camel in this story. When I Googled it for this blog post, I found several versions of the story. This one here is told most efficiently, the way that I recall Aesop's tales usually being told.

This version comes from an unknown translator, copyright 1881, Wm. L. Allison, New York

The beasts of the forest gave a splendid entertainment, at which the Monkey stood up and danced. Having vastly delighted the assembly, he sat down amidst universal applause. The Camel, envious of the praises bestowed on the Monkey and desirous to divert to himself the favor of the guests, proposed to stand up in his turn, and dance for their amusement. He moved about in so very ridiculous a manner that the Beasts, in a fit of indignation, set upon him with clubs, and drove him out of the assembly. 

Moral: It is absurd to ape our betters.

The Library of Congress has a version which someone embellished, describing the Camel's knotty knees and other such details, which don't really strengthen the story in my opinion. In this versions the writer adds a sentence describing refreshments served afterwards, "mostly of camel's hump and ribs."

Yikes! As if it weren't enough simply bad enough to be shamed and laughed at. Making a fool of yourself can get you killed?

This InfoPlease version doesn't even include the moral of the story, an almost unforgivable oversight, since the pithy "moral of the story" endings are what make Aesop's Fables so delightful.

Photo by Andre Iv on Unsplash

The Monkey and the Camel
At a gathering of all the beasts the Monkey gave an exhibition of dancing and entertained the company vastly. There was great applause at the finish, which excited the envy of the Camel and made him desire to win the favour of the assembly by the same means. So he got up from his place and began dancing, but he cut such a ridiculous figure as he plunged about, and made such a grotesque exhibition of his ungainly person, that the beasts all fell upon him with ridicule and drove him away.

* * * *

I quickly found a couple versions identical to the first one above, but once again, this Heritage History variation adds embellishments. The first is the addition of the reason for this celebration, and then it says the Monkey was asked to dance.

At a great celebration in honor of King Lion, the Monkey was asked to dance for the company. His dancing was very clever indeed, and the animals were all highly pleased with his grace and lightness.


Now the way I remembered it, it was just another night at the oasis and when the music started playing the Monkey did what he loves to do, and does well. He danced.

Then the Camel gets into the spotlight, but this storyteller once again goes too far. The only detail he or she does correctly note is the Camel's motivation. He was consumed with envy.

The praise that was showered on the Monkey made the Camel envious. He was very sure that he could dance quite as well as the Monkey, if not better, so he pushed his way into the crowd that was gathered around the Monkey, and rising on his hind legs, began to dance. But the big hulking Camel made himself very ridiculous as he kicked out his knotty legs and twisted his long clumsy neck. Besides, the animals found it hard to keep their toes from under his heavy hoofs.

What's curious is this next detail. Instead of being laughed at and shamed, this version suggests that the camel got punished for something altogether different.

At last, when one of his huge feet came within an inch of King Lion's nose, the animals were so disgusted that they set upon the Camel in a rage and drove him out into the desert.

Shortly afterward, refreshments, consisting mostly of Camel's hump and ribs, were served to the company.

Do not try to ape your betters.

My vote is a thumbs down on this version, too. Aesop had it right, as did Hemingway centuries later. Less is more.

* * * *

The point of the story is lost when we go too far. Envy gets people in trouble. And trying to be something you're not makes it that much worse.

We all have different strengths. Through self-understanding we're better able to play to those strengths. Karen Horney, Freud's first female student, wrote extensively on neurosis, pointing out the psychological origin of our neuroses being due to a split between our real self and idealized self. In other words, when who we are is out of sync with who we think we are, we're going to have problems.

Our lack of awareness with regards to how we come across can result in our making fools of ourselves. I've done that. It's worse than embarrassing.

Hence, the Oracle at Delphi has this inscription above the door: Know Thyself.

Self understanding is fundamental to living authentically in a world half mad with projecting images of whom we're not. Be real, be true and you will be happier.