Henrik Ibsen
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This article is about the Norwegian playwright and poet. For other persons named Ibsen, see Ibsen (disambiguation).
| Henrik Ibsen | |
|---|---|
 Ibsen in 1900 | |
| Born | Henrik Johan Ibsen 20 March 1828 Skien, Norway |
| Died | 23 May 1906 (aged 78) Christiania (Oslo), Norway |
| Occupation | Playwright, poet, theatre director |
| Nationality | Norwegian |
| Genres | Naturalism |
| Notable work(s) | Peer Gynt (1867) A Doll's House (1879) Ghosts (1881) An Enemy of the People (1882) The Wild Duck (1884) Hedda Gabler (1890) |
| Signature |  |
Contents[show] |
[edit] Family and youth
Ibsen was born to Knud Ibsen and Marichen Altenburg, a relatively well-to-do merchant family, in the small port town of Skien, Norway, which was primarily noted for shipping timber. He was a descendant of some of the oldest and most distinguished families of Norway, including the Paus family. Ibsen later pointed out his distinguished ancestors and relatives in a letter to critic and scholar Georg Brandes. Shortly after his birth his family's fortunes took a significant turn for the worse. His mother turned to religion for solace, and his father began to suffer from severe depression. The characters in his plays often mirror his parents, and his themes often deal with issues of financial difficulty as well as moral conflicts stemming from dark secrets hidden from society.[citation needed]At fifteen, Ibsen left home. He moved to the small town of Grimstad to become an apprentice pharmacist and began writing plays. In 1846, when Ibsen was age 18, a liaison with a servant produced an illegitimate child, whom he later rejected. While Ibsen did pay some child support for fourteen years, he never met his illegitimate son, who ended up in similar difficult circumstances. Ibsen went to Christiania (later renamed Oslo) intending to matriculate at the university. He soon rejected the idea (his earlier attempts at entering university were blocked as he did not pass all his entrance exams), preferring to commit himself to writing. His first play, the tragedy Catiline (1850), was published under the pseudonym "Brynjolf Bjarme", when he was only 20, but it was not performed. His first play to be staged, The Burial Mound (1850), received little attention. Still, Ibsen was determined to be a playwright, although the numerous plays he wrote in the following years remained unsuccessful.[citation needed] Ibsen's main inspiration in the early period, right up to Peer Gynt, is apparently Norwegian author Henrik Wergeland and the Norwegian folk tales as collected by Peter Christen Asbjørnsen and Jørgen Moe. In Ibsen's youth, Wergeland was the most acclaimed, and by far the most read Norwegian poet and playwright.
[edit] Life and writings
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Ibsen returned to Christiania in 1858 to become the creative director of the Christiania Theatre. He married Suzannah Thoresen the same year and she gave birth to their only child, a son, Sigurd in 1859. The couple lived in very poor financial circumstances and Ibsen became very disenchanted with life in Norway. In 1864, he left Christiania and went to Sorrento in Italy in self-imposed exile. He was not to return to his native land for the next 27 years, and when he returned it was as a noted, but controversial, playwright.
His next play, Brand (1865), was to bring him the critical acclaim he sought, along with a measure of financial success, as was the following play, Peer Gynt (1867), to which Edvard Grieg famously composed incidental music and songs. Although Ibsen read excerpts of the Danish philosopher Søren Kierkegaard and traces of the latter's influence are evident in Brand, it was not until after Brand that Ibsen came to take Kierkegaard seriously. Initially annoyed with his friend Georg Brandes for comparing Brand to Kierkegaard, Ibsen nevertheless read Either/Or and Fear and Trembling. Ibsen's next play Peer Gynt was consciously informed by Kierkegaard.[2][3]
With success, Ibsen became more confident and began to introduce more and more of his own beliefs and judgments into the drama, exploring what he termed the "drama of ideas". His next series of plays are often considered his Golden Age, when he entered the height of his power and influence, becoming the center of dramatic controversy across Europe.[citation needed]
Ghosts followed in 1881, another scathing commentary on the morality of Ibsen's society, in which a widow reveals to her pastor that she had hidden the evils of her marriage for its duration. The pastor had advised her to marry her fiancé despite his philandering, and she did so in the belief that her love would reform him. But his philandering continued right up until his death, and his vices are passed on to their son in the form of syphilis. The mention of venereal disease alone was scandalous, but to show how it could poison a respectable family was considered intolerable.[citation needed]
In An Enemy of the People (1882), Ibsen went even further. In earlier plays, controversial elements were important and even pivotal components of the action, but they were on the small scale of individual households. In An Enemy, controversy became the primary focus, and the antagonist was the entire community. One primary message of the play is that the individual, who stands alone, is more often "right" than the mass of people, who are portrayed as ignorant and sheeplike. Contemporary society's belief was that the community was a noble institution that could be trusted, a notion Ibsen challenged. In An Enemy of the People, Ibsen chastised not only the conservatism of society, but also the liberalism of the time. He illustrated how people on both sides of the social spectrum could be equally self-serving. An Enemy of the People was written as a response to the people who had rejected his previous work, Ghosts. The plot of the play is a veiled look at the way people reacted to the plot of Ghosts. The protagonist is a physician in a vacation spot whose primary draw is a public bath. The doctor discovers that the water is contaminated by the local tannery. He expects to be acclaimed for saving the town from the nightmare of infecting visitors with disease, but instead he is declared an 'enemy of the people' by the locals, who band against him and even throw stones through his windows. The play ends with his complete ostracism. It is obvious to the reader that disaster is in store for the town as well as for the doctor.
As audiences by now expected of him, his next play again attacked entrenched beliefs and assumptions; but this time, his attack was not against society's mores, but against overeager reformers and their idealism. Always an iconoclast, Ibsen was equally willing to tear down the ideologies of any part of the political spectrum, including his own.[citation needed]
The Wild Duck (1884) is by many considered Ibsen's finest work, and it is certainly the most complex. It tells the story of Gregers Werle, a young man who returns to his hometown after an extended exile and is reunited with his boyhood friend Hjalmar Ekdal. Over the course of the play the many secrets that lie behind the Ekdals' apparently happy home are revealed to Gregers, who insists on pursuing the absolute truth, or the "Summons of the Ideal". Among these truths: Gregers' father impregnated his servant Gina, then married her off to Hjalmar to legitimize the child. Another man has been disgraced and imprisoned for a crime the elder Werle committed. Furthermore, while Hjalmar spends his days working on a wholly imaginary "invention", his wife is earning the household income.[citation needed]
Ibsen displays masterful use of irony: despite his dogmatic insistence on truth, Gregers never says what he thinks but only insinuates, and is never understood until the play reaches its climax. Gregers hammers away at Hjalmar through innuendo and coded phrases until he realizes the truth; Gina's daughter, Hedvig, is not his child. Blinded by Gregers' insistence on absolute truth, he disavows the child. Seeing the damage he has wrought, Gregers determines to repair things, and suggests to Hedvig that she sacrifice the wild duck, her wounded pet, to prove her love for Hjalmar. Hedvig, alone among the characters, recognizes that Gregers always speaks in code, and looking for the deeper meaning in the first important statement Gregers makes which does not contain one, kills herself rather than the duck in order to prove her love for him in the ultimate act of self-sacrifice. Only too late do Hjalmar and Gregers realize that the absolute truth of the "ideal" is sometimes too much for the human heart to bear.[citation needed]
Ibsen had completely rewritten the rules of drama with a realism which was to be adopted by Chekhov and others and which we see in the theater to this day. From Ibsen forward, challenging assumptions and directly speaking about issues has been considered one of the factors that makes a play art rather than entertainment. He had a profound influence on the young James Joyce who venerates him in his early autobiographical novel "Stephen Hero". Ibsen returned to Norway in 1891, but it was in many ways not the Norway he had left. Indeed, he had played a major role in the changes that had happened across society. The Victorian Age was on its last legs, to be replaced by the rise of Modernism not only in the theater, but across public life.[citation needed]
[edit] Death
On 23 May 1906, Ibsen died in Christiania (now Oslo) after a series of strokes. When his nurse assured a visitor that he was a little better, Ibsen sputtered "On the contrary" and then died.[citation needed]Ibsen was buried in Vår Frelsers gravlund ("The Graveyard of Our Savior") in central Oslo.[citation needed]
[edit] Centenary
The 100th anniversary of Ibsen's death in 2006 was commemorated with an "Ibsen year" in Norway and other countries.[4][5]On 23 May 2006, The Ibsen Museum (Oslo) reopened to the public the house where Ibsen had spent his last eleven years, completely restored with the original interior, colors, and decor.[6]
[edit] Works
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[edit] See also
[edit] Notes
- ^ On Ibsen's role as "father of modern drama," see "Ibsen Celebration to Spotlight 'Father of Modern Drama'". Bowdoin College. 2007-01-23. http://www.bowdoin.edu/news/events/archives/003725.shtml. Retrieved 2007-03-27.; on Ibsen's relationship to modernism, see Moi (2006, 1-36)
- ^ Shapiro, Bruce. Divine Madness and the Absurd Paradox. (1990) ISBN 9780313272905
- ^ Downs, Brian. Ibsen: The Intellectual Background (1946)
- ^ http://www.norges-bank.no/templates/article____16310.aspx
- ^ http://www.norway.sk/ARKIV/Old_web/ibsen/year/gala/
- ^ http://www.ibsen.net/index.gan?id=11150148&subid=0
[edit] References
- Boyesen, Hjalmar Hjorth A Commentary on the Works of Henrik Ibsen (New York: Macmillan, 1894)
- Koht, Halvdan. The Life of Ibsen translated by Ruth Lima McMahon and Hanna Astrup Larsen. W. W. Norton & Company, Inc., New York, 1931.
- Lucas, F. L. The Drama of Ibsen and Strindberg, Cassell, London, 1962. A useful introduction, giving the biographical background to each play and detailed play-by-play summaries and discussion for the theatre-goer (including the less well-known plays).
- Ferguson, Robert. Henrik Ibsen: A New Biography. Richard Cohen Books, London, 1996.
- Meyer, Michael. Ibsen. History Press Ltd., Stroud, 2004.
- Moi, Toril. 2006. Henrik Ibsen and the Birth of Modernism: Art, Theater, Philosophy. Oxford and New York: Oxford UP. ISBN 9780199202591.
- Haugan, Jørgen. Henrik Ibsens Metode:Den Indre Utvikling Gjennem Ibsens Dramatikk ( Norwegian: Gyldendal Norsk Forlag. 1977)
[edit] Further reading
- Ibsen: The Complete Major Prose Plays ( Rolf G. Fjelde, translator. Plume: 1978)
- Ibsen - 3 Plays (Kenneth McLeish & Stephen Mulrine, translators. Nick Hern Books: 2005)
[edit] External links
 | Wikiquote has a collection of quotations related to: Henrik Ibsen |
 | Wikisource has original works written by or about: Henrik Ibsen |
 | Wikimedia Commons has media related to: Henrik Ibsen |
- The Ibsen Society of America Official Website
- Ibsen Studies The only international academic journal devoted to Ibsen
- Online course by Ibsen scholar Brian Johnston author of The Ibsen Cycle and To the Third Empire: Ibsen's Early Drama
- Extensive resource in several languages from the Norwegian Ministry of Foreign Affairs
- Works by or about Henrik Ibsen at Internet Archive (scanned books original editions color illustrated)
- Works by Henrik Ibsen at Project Gutenberg (plain text and HTML)
- Henrik Ibsen at Project Gutenberg (the biography by Edmund Gosse)
- Henrik Ibsen - A Bibliography of Criticism and Biography, by Ina Ten Eyck Firkins, from Project Gutenberg
- Works by or about Henrik Ibsen in libraries (WorldCat catalog)
- "Ibsen and His Discontents" - a critical, conservative view of Ibsen's works, written by Theodore Dalrymple
- Ibsen Museum - Former home of the famous playwright is situated in Henrik Ibsen's gate 26, across from the Royal Palace
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Categories: Henrik Ibsen | Norwegian dramatists and playwrights | Modernist drama, theatre and performance | 19th-century theatre | 1828 births | 1906 deaths | Deaths from stroke | Cardiovascular disease deaths in Norway | Paus family | People from Skien | Burials at Vår Frelsers gravlund | 19th-century Norwegian people | Knights Grand Cross of the Order of St. Olav (pre-1906 restructure)
