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Download Ghosts and Other Plays, by Henrik Ibsen
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Ghosts and Other Plays, by Henrik Ibsen
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About the Author
Henrik Ibsen was born at Skien in Norway in 1828. He was one of the earliest writers to dramatise the individual's alienation from society. Although never fully appreciated during his lifetime, he has since come to be recognised as one of the greatest dramatists and the 'Father of Modern Drama'.
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Product details
Series: Penguin Classics
Paperback: 304 pages
Publisher: Penguin Classics; New Impression edition (June 30, 1964)
Language: English
ISBN-10: 0140441352
ISBN-13: 978-0140441352
Product Dimensions:
5.1 x 0.7 x 7.8 inches
Shipping Weight: 7.8 ounces (View shipping rates and policies)
Average Customer Review:
4.5 out of 5 stars
2 customer reviews
Amazon Best Sellers Rank:
#1,310,275 in Books (See Top 100 in Books)
The best English translation I've read of "Public Enemy" aka "Enemy of the People". The other translations that I've read are by Le Galliene and by Meyer. I have not yet read the other two plays included.
This volume brings together three of Henrik Ibsen's most important plays: _Ghosts_, _A Public Enemy_ (also known as _An Enemy of the People_), and _When We Dead Wake_. Ibsen is one of those authors who almost require the reader to place himself or herself in the age during which the works were produced. An unsuspecting reader may dismiss these plays as uninteresting, but one must keep in mind that Ibsen's work represented in its time the most significant transformation of the theater since Shakespeare. We're talking about the move from poetry to prose (though Ibsen did produce several plays in verse at the beginning of his career), about the presentation of characters who have "ordinary" problems such as troubled marriages and debt, about the introduction of ideological/social discussion between the characters. While _A Doll's House_ (1879) is undoubtedly Ibsen's most famous play, the three works collected in this volume allow the reader to appreciate three different facets of Ibsen.Ibsen's career could be divided into three stages. He began writing plays in verse, of which modern readers generally read two: _Brand_ (1866) and _Peer Gynt_ (1867). The second stage begins with _The League of Youth_ (1869), which represents Ibsen's departure from dramatic verse and the beginning of his career as a realist/naturalist. His most famous plays (_A Doll's House_, _Ghosts_, _An Enemy of the People_, _The Wild Duck_) belong to this period. Finally, towards the end of his career Ibsen produced what he himself called "portrait plays;" instead of presenting the individual in conflict with society, these works tend to focus on a character's inner struggle. _The Master Builder_, _Little Eyolf_, and _John Gabriel Borkmann_ are examples of this last Ibsenian phase. The titles may not ring a bell, for the simple reason that very few people read these works. _When We Dead Wake_ is something else: as its subtitle indicates, it constitutes a "dramatic epilogue." It amounts to a summing up of Ibsen's career, and critics speculate that the author may not have meant for it to be performed on stage.Here's my take on the three plays collected in this volume:* _Ghosts_ (1881): A revolutionary and scandalous play when it came out, it may now seem a bit melodramatic, contrived, and even a bit clumsy. Here are some of the themes treated: incest, illegitimate children, venereal disease, euthanasia, free love, and marriage as hell on earth. We're not exactly walking on sunshine here. Mrs. Alving, who for years endured the torture of a loveless marriage, stands for modernity; Pastor Manders represents tradition. The action is concerned with the return of Mrs. Alving's son Osvald, who is suffering from a devastating illness. Also important are the maid Regina Engstrand and her father, a carpenter who dreams of setting up a lodging-house for seamen. The main theme of the play is summarized by the biblical dictum: "The sins of the fathers are visited on the children." (Naturalism tended to reduce human beings to products of the environment in which they lived.) One thing I liked about this play: the open, ambiguous ending. Incidentally, the title "Ghosts," as the translator Peter Watts points out, is not exactly accurate; "Revenants" is closer to the Norwegian "Gengangere," which means "those who walk again," "those who have come back."* _A Public Enemy_ (1882): A direct response to the outrage that _Ghosts_ provoked among audiences. While _Ghosts_ is an example of drama, _A Public Enemy_ has been called a comedy. I would call it a tragicomedy. It is also an allegory. The action concerns Dr. Thomas Stockmann who realizes that the water of the baths the town depends on for revenue is polluted. It is his moral responsibility to make this inconvenient truth public, but this would naturally cause great harm to the town's economy. To make matters more complicated, Dr. Stockmann is the mayor's brother; this is not only a social issue, but a family matter as well. The allegorical nature of the play is not difficult to perceive: Ibsen is the man exposing (with _Ghosts_) society's filth. He is doing it for the good of society, so that things will change for the better, but society doesn't see it that way. (Naturalism was often quite didactic.) _A Public Enemy_ is much more complex than _Ghosts_. It is a political as well as a social play. One of its messages is that people live in a system that is a web, and that everyone (the individual, the government, the media) is held together by interests. Few people dare go against the establishment. Like Plato, Ibsen speaks against the idea that the majority is always right. The play includes some harsh lines against the liberal majority (Arthur Miller altered some of this in his version of the same play), and describes the political party as a "sausage-machine" (I couldn't help thinking of Pink Floyd here.) _A Public Enemy_ contains some problematic ideas and quite a bit of self-pity, but then one has to understand what Ibsen was going through at the time. A famous Ibsen line comes from this play: "The strongest man in the world is the man who stands most alone."* _When We Dead Wake_ (1899): This "dramatic epilogue" is Ibsen's attempt at symbolism. Professor Arnold Rubek, a sculptor, is bored with his wife Maia. While both spend time at a mountain health resort, he comes across a woman from his past, Irena, who used to model for him. Thanks to her, Rubek produced his masterpiece, a sculpture titled "Resurrection Day." The sculpture, however, has changed with time: now Irena's figure does not occupy the central space, but has receded into the background. Rubek is fascinated by Irena and tries to get back with her, with his wife's permission (the three of them plan on living together, it seems), while Maia herself goes off on adventures with a bear hunter named Ulheim. Maia represents prose drama; Irena, verse drama, which Ibsen abandoned (or it deserted him). The play is thus an allegory of Ibsen's sense of guilt at not pursuing poetry, the initial phase of his work._A Public Enemy_ was my favorite of the three plays. I haven't given the book five stars because, as I said, (1) _Ghosts_ seems a little contrived to me and quite melodramatic, and (2) there's a considerable amount of self-victimization going on in _A Public Enemy_.I have read that several authors (George Bernard Shaw among them) and critics consider _The Wild Duck_ (1884) to be Ibsen's masterpiece. The less-known _Rosmersholm_ (1886) is also highly regarded. I will read these plays, hopefully soon, and offer my opinion in the appropriate place.Despite their imperfections, these plays represent Ibsen at his best. Ibsen is credited, along with August Strindberg, with the creation of modern drama; the former gave rise to the realist/naturalist tradition, while the latter was instrumental in the development of symbolism. (Eugene O'Neill is a good example of a playwright who learned much from both.) These dramatic movements ruled the stage at least until Luigi Pirandello and Samuel Beckett showed up. Interestingly enough, Ibsen did not receive the Nobel Prize for Literature. The honor went, instead, to his compatriot Bjornstjerne Bjornson. The entrance to the National Theatre in Oslo is guarded by two monuments: that of Bjornson to the right, and that of Ibsen to the left. Time has been much more generous to Ibsen. This does not necessarily mean anything in itself (the work of many mediocre authors survives, while many works of genius are forgotten), I'm just stating a fact.Thanks for reading, and enjoy the book!
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