Introduction
Considered by many the master of modern drama, Henrik Ibsen was born on March 20, 1828, in Skien Norway where he spent his childhood in poverty. As a teenager, he moved to Grimstad where he became an apprentice in a pharmacy. While here, he discovered his knack for poetry which became the backbone of his playwriting prowess later in life (Knight, 2019). His work underpins the complexity of our contemporary world which has not only transcended the taste of time but also, remains relevant to the current modern world. The Lady from the Sea is a symbolic play revolving around the main character Ellida who was brought up near the ocean and marries a widowed doctor in the west of Norway. On the other hand, Hedda Gabler is a play that has received international acclaim and is named after the main protagonist. Hedda is a strong woman; an idealist heroine who Ibsen created to be viewed from a daughter’s personality rather than a wife by the audience (Knight, 2019). The paper expounds on obsession, self-internalization, decision making, mental disorder, and emotional disconnect in the aforementioned two playbooks while highlighting sublimation in Ibsen’s works.
Ibsen’s Biography and Career
Born in a family of six, Ibsen was the second born son to a merchant father whose fortunes blundered hence becoming bankrupt when Henrik had turned eight years. Consequently, much of his young teenage years were spent on a poor homestead. Between 1851 and 1864 he worked in Bergen and Christiania or Oslo theatres (Mambrol, 2020). Further, at the age of twenty-one years, he produced the play Catiline which was a tragedy written in verse. However, his early works did not become successful in theatre but he gained valuable experience. In 1866, he published two successful theatre plays although they led to the sensitization of serious social issues hence some Norwegian people frowned upon them. This resulted in a self-imposed exile from his country to Italy for twenty-seven years but later, he received acclaim for becoming a success throughout Europe (Mambrol, 2020, para. 1). He challenged Victorian reasoning when plays or dramas were expected to end in a specified way. His plays continue to elicit mixed reactions across the globe with many scholars writing about his popularity among readers of all genres who appreciate the therapeutic messages in the plays.
He married his wife Suzannah Thoresen in 1858 and they had a son together but decided to live separately since he considered this as equality among spouse. He continued with his view on power for women through personal analysis and continuous probing of individual and societal psychological themes hence becoming radical to European audiences (Mambrol, 2020, para. 2). Further, while in Italy, he published his most successful work in prose- A Doll’s House in 1879 which became a highly prevalent genre in realism. Through this masterpiece, he strived to show real-life happenings hence shunning hypocrisy and idealized vision. Further, as he continued to write, he started moving from the realist approach in the plays to a new area of subconsciousness and the psychological sphere (Mambrol, 2020). As such, he majored in symbolism in the plays he produced thereafter.
Ibsen’s work falls into two distinct visions; the early writings were based on romantic orientation while later, he wrote based on the psychology of the subconscious. Mambrol (2020), asserts that the core of early plays was based on romanticism which had reached the apex in Europe. Moreover, towards the end of his exile and return to his country, he started using symbolism in his work. As a result, plays produced during the period were synonymous with the social changes focusing on women. For instance, The Lady from the Sea and Hedda Gabler were among the last pieces written while abroad and were full of symbols as compared to early works. After returning home, he eventually succumbed to death in May 1906 after a crippling sickness.
The Use of Sublimation in Ibsen’s Work
While many have understood the work of Ibsen through performance analysis, one is likely to analyze the methods and techniques they use in the evaluation. Expounding on the intricate nature of sublimation, de Figueiredo (n.d.), highlights that even though Ibsen’s respect for literature prevented him from accepting the use of his works, subtle ways were devised to claim them. The author Henrik Ibsen relates the birth of his work as the conjoined conceptions by calling it “being experienced” and “lived through” (de Figueiredo, n.d., p. 306). In addition, he differentiated between the two concepts during the 1874 speech and his letter to Peter Hansen in 1870 where he began using the aforementioned pair of words.
Furthermore, in May of the same year, Ibsen wrote to Magdalene Thoresen where he differentiated between something lived through and experienced hence the origin of the idea of sublimation. Similarly, in June he explained the intrinsic nature of art by Laura Kieler and claimed that Brand was a work of art and drama not as something experienced, but rather lived through (de Figueiredo, n.d.). Therefore, the artist’s idea of lived experience where reality becomes art in the mind of the author through sublimation was introduced.
The restaging of plays comes out in Ibsen’s work and this has led to the deconstruction of relationships that include politics, gender, socioeconomic, and religion that were present during the original period (Freidman, 2019). Furthermore, staging might stand for the introduction of modern challenges, issues, and technology thus becoming intertexts or postmodern techniques that are beyond the initial text’s meaning or making it obsolete. Consequently, the Oslo National Theatre staged When We Dead Awaken in 2006, emphasizing on triangulation of relationships between three actors with the challenge of an aging male artist highlighted.
Further, the main character was absent and hence it was indicated that the play was performed in a re-reading and re-usage new text style. This resulted in the changing of the original act while emphasizing topics such as death, age, and human relations. This changed the original modernist play completely by introducing a dance metaphor that signifies people relations (Freidman, 2019). As such, the director offered a text to the audience amid the play as a verbal explanation thus the sublimation of important issues in the play as it was initially staged; emphasized by the body.
On the other hand, instead of seeing the classical Ibsen play, the dance was pre-performed to the spectators to remove all illusions. Furthermore, sublimation can be seen in the Ida Muller and Vagard Vinge performance series known as the Ibsen-Saga which replicated the staging of expansive internal temporalities referred to as a declaration instrument against life development (Freidman, 2019, para. 2). The aforementioned performance slows the audience’s sense of the present through an open-ended drama where content length is not predetermined.
Moreover, there are numerous examples of the use of sublimation in Ibsen’s plays. For instance, the Prater lobby staged the Wild Duck which ran for two weeks uninterrupted in the 2011 Theatertreffen where it was viewed from outside the lobby windows. As such, to watch the drama, the spectators used a booth built by the artists on the theater’s exterior. (Freidman, 2019). Conversely, since 2006 various artists and producers have constructed and reproduced seven theatrical series based on Ibsen’s works such as The Wild Duck, A Doll House, Ghosts, John Gabriel Borkman, National theater Reinickendorf, and 12-Spartenhaus. The productions explore Ibsen’s texts by connecting them to the foreground play’s themes unlike the normal producer textual fidelity (Freidman, 2019, para. 12). With historical, reenactments and fiction oscillating between the future and the past, Ibsen-Saga produces trans-historical narratives that are timeless.
Similarly, the production’s big scope encompasses a collection of inspirations, citations, and styles that govern live performance and the development process. They include production elements such as text, scenography, voice, score, theater space, and technicians designed in colors, patterns, materials, and sounds to highlight the artificiality (Freidman, 2019). In addition, the faces of the performers are masked, as they act as puppets and repeat pre-recorded phrases using slow-motion in stylized movement with background sound effects. Furthermore, the Ibsen Saga can be viewed as his oeuvres performed in the Wagnerian opera cycle where evidence can be seen through its musical leitmotivs, interconnections, and shared romantic ideology in regards to artists’ pride.
Further, it has a temporal dramatology that brings out the audience and art’s shared experiences while at the same time creating the autonomy of space from the non-temporal world. Nevertheless, the spectators are bound to anticipate production intervals and lengthy sessions without forewarning. The time between scenes has no predictable, prescribed, predetermined timeline or length. As a result, the irregularities in time force the audience to decide when to go to the bathrooms, for food, or decide the scenes to watch or forego (Freidman, 2019). The unpredictability nature makes it unique hence facilitating an intuition-driven drama where characters, scenes, actions, and playtime change from one performance to another. However, the time has been seen as the shared backdrop against real and theatrical actions.
The Lady from the Sea
Written by Henrik Ibsen in 1888, the play has five acts and it revolves around the Northern and Western parts of Norway. The main character, Ellida who is the second wife of Dr. Wangel is a lady born near the open ocean hence the relevance of the title of the play. She loves water, a fact her husband Dr. Wangel confides in Arnholm that his wife likes the ocean by asserting that she plunges into the sea most of the time. (Ibsen, 2018a; Act 1, p.10). Furthermore, she describes the northern water of the fjord as bad when she comes from swimming in Act 1. Here, she laments that the water from the river is tainted and dead (Ibsen, 2018a; p. 17). After seeing how Ellida liked swimming, Wangel had to move near water although she does not like the river thereafter. He had been widowed for ten years with two girls left after the death of his first wife. Ellida never settled in her marriage from the beginning; for her husband or the two daughters and as such she remained aloof from all members of the family.
The main character grew up in the north and was betrothed to an American sailor as they had promised each other to get married someday. She describes him as a mysterious and dangerous man who had disappeared immediately after the death of the captain of the ship. He had promised to come back as they put their rings on a keychain and threw them to the bottom of the sea. However, she did not keep their promises as she married the Doctor. This resulted in resentment and anger from the American when he read about the marriage in the papers (Ibsen, 2018a; Act 1, p.19). After calming down, he vowed that Ellida will come to join him even if he drowned.
Towards the end of the play, Ellida tells his husband that she married him out of pity as they talk sincerely and openly to each other. She says that she sold herself to him referring to when she agreed to marry Wangel (Ibsen, 2018a; Act 4, p.64). The husband agrees to let her go after realizing the wife’s sentiments, anxieties, and delusions about a man who has been dead. However, the sailor comes back and gives her two alternatives: between him and Dr. Wangel. In the end, she chooses the doctor as she promises to love him and they live happily thereafter.
Hedda Gabler
Hedda Gabler was written in 1890 and is about an army General’s daughter who marries George Tesman an academician out of desperation but finds their life together tedious and dull. In addition, during the wedding trip, the husband spends his time doing research in the library in preparation for a history book to be published soon as he hopes to get a university position. While speaking to Miss Tesman, George laments that he used the tour to do research (Ibsen, 2018b; Act 1, p.7). Furthermore, Hedda’s old friend visits her and talks about Eilert Lovborg who has been their longtime friend and has written a history book and become highly respected. However, the past for the book writer has been characterized by alcohol and a degenerated life although he has recently reformed from drinking and resorted to serious work. Going through his book, Hedda realizes it has the spirit and the imagination missing in her husband George’s work.
Conversely, the friend confides in her about how she helped Lovborg to leave alcohol and become a constructive and hardworking man. As a result, when Eilert visits, out of jealousy of the influence Thea has over him, she tempts the visitor with alcohol which he refuses. Afterward, Lovborg goes to a party where he loses a manuscript as the husband comes home without it but Hedda later burns it due to being jealous of her friend’s progress. Lovborg confesses to Hedda how he lost his work and hence has failed in life (Ibsen, 2018b; Act 3, p.96). Hedda persuades him to commit suicide by shooting himself in the head and later he tries to take his life using a gun on his stomach instead. At the end of the play, Hedda Gabler leaves the room and takes a pistol shooting herself as the drama ends in tragedy.
Ibsen’s Main Topics in the Playbooks
Self-Internalization and Male Internalization
Self-internalization is a major theme in Ibsen’s work as well as in himself as a writer. As such, while focusing on the topic Knight (2019), asserts that the prominence of his emphasis on vocation and instinct will hence make people do self-internalization. According to him, the struggle by the playwright is the stand against social upheavals relevant in the contemporary world. Further, he sees a strive by Ibsen through the plays to underscore one problem after another. For instance, issues such as sexual passion, hypocrisy, corruption, vested interests, and the past affecting the present are some of the major challenges highlighted by the writer. Consequently, self-internalization is seen as a non-conscious process in which an individual’s mental beliefs and attitudes are adopted by another person. For example, there are many instances in the plays where one family member, especially men take the responsibilities for others.
Perhaps the best play in which Ibsen portrays his self-internalization is in A Doll’s House where through the female character, he shows that women accept their problems and carry them in silence for a long time. However, unlike their counterparts, they have a vision of freedom in another life. Furthermore, Ibsen uses self-awareness to pass his moral ideals in which women should be not only strong but also, independent to challenge a patriarchal society oppressing them. For instance, by using the character of Nora in the aforementioned play he passes the message of self-internalization hence leading to self-discovery and liberation (Ibsen, 2020). Consequently, the woman decides to abandon her whole family including the husband and kids to become independent. Through Nora, Ibsen shows that women can free themselves from the male-dominated society where, when they take such actions, men become powerless. Nora says, “I release you from all duties…not feel…bound…” (Ibsen, 2020; Act 3, p. 122). At the end of the play, Torvald, Nora’s husband is left in tears as the wife leaves him.
On the other hand, at the age of 8 Ibsen’s father sold the family property and changed their residency to a rundown farm where he stayed painting and writing. By the age of fifteen, he dropped out of school after realizing that perhaps it was good to be working. This was an indication of his self-internalization that their family was poor and he had to do something. Furthermore, in 1850 after failing to enroll in the university, he started writing plays as he internalized that maybe it was worthy of trying (Mambrol, 2020). Following his determination in writing and venturing into dramatology, he became a success.
Conversely, male internationalization in the author can be highlighted in his personal life. Ibsen married Suzannah Thoreson and they were blessed with one son. However, he decided to separate from his wife and rather called it a form of equality as he saw it fit for a wife and husband to live as equals (Mambrol, 2020). Further, through his plays, he brings out the societal belief on men’s dominance in the family; a social issue that must be discarded. For instance, through his male characters, in most of his works, Ibsen portrays them as the ones supposed to take care of all the family affairs and women under their orders. As such, in most cases, the family disintegrates at the end when the wives get their freedom, signifying Ibsen’s personal life.
Further, in the Lady from the Sea self-internalization can be depicted in various characters. Dr. Wangel through self-internalization realizes that his wife Ellida does not love him and she is likely to leave him one day. This is because Ellida feels that her family position is last, coming after the dead first wife and the daughters. As such, he does not know what to do to make Ellida love him hence he has resigned to fate. Wangel says, “… you think my heart is divided…the thought shocks you that is why you don’t live with me…” (Ibsen, 2018a; Act 3, p.28). After the discussion, the wife agrees to his allegations although no tangible solution is reached.
Similarly, Ellida has decided to tell her husband to annul their marriage since she cannot take it any longer. Through self-internalization, she realizes that her heart is elsewhere with the American and it is needless to stay with a man she does not love. To regain her freedom and independence, they have to divorce. She tells Dr. Wangel, “…you can’t prevent a choice…you can forbid me. You can keep me…I should choose him… (Ibsen, 2018a; Act 4, p.70). Afterward, her husband agrees to let her go as she wishes although with sadness.
While Dr. Wangel knows that Ellida does not love him, he continues to provide and care for her in every way possible. For instance, he moves near the river because his wife likes water. However, he realizes that his care does not guarantee happiness and as such, he has to let his wife go as she wishes. Ibsen (2018), highlights that Wangel with a forced composure informs his friend that his wife is going away and therefore, they should have a farewell cup of tea with her (Act 3, p.70). Perhaps, this is a man-internalization where one realizes that his conceived roles in society cannot prevent a woman from seeking her freedom. Furthermore, he is surprised to see Ellida who has been silent demanding that they divorce felicitously. Wangel says, “…you have no choice…” Ellida, “You have no right…without my permission…” (Ibsen, 2018a; Act 4, p.70). The argument between the two brings out the male patriarchy view in a society where men make all decisions even when they are meant for women.
In the play Hedda Gabler, self-internalization can be seen through the main character and Lovborg. During the drip with the husband after their marriage, Hedda becomes restless and bored in the house as George goes to the library to read. Furthermore, when the judge approaches the topic of love while they were alone, she reprimands him by saying that it is meaningless. Hedda says, “never use that word!” (Ibsen, 2018b; Act 2, p. 44). In addition, she is portrayed as a wife who has internalized her vulnerability and as such resigned to the role of a supportive wife.
Therefore, she decides to assist George to achieve his writing dreams. Hedda tells Thea that she believes in him and wants to have the power to change his life (Ibsen, 2018b; Acts 2, p.75). Later she hatches a plan and acquires the manuscript to help her husband. Moreover, Lovborg confesses in a resigned mood to Hedda after losing his work and therefore he does not see any meaning to life. He says, “…torn my life into pieces…why shouldn’t my work too.” (Ibsen 2018b; Act 3, p.96). This shows an individual who has self-internalized his situation and decided that nothing much can be salvaged out of the situation.
Men’s internalization in the play is highlighted through the character of the Sherriff who is the husband of Thea. While having a conversation with her friend Hedda, she says that everything about the husband repels her and they have nothing in common. However, the selfish nature of the man is expounded further when she alleges that the Sherriff regards her as property that is cheap to keep as he cares for himself and the kids. Thea tells Hedda, “…he regards me as property…” (Ibsen, 2018b; Act 1, p.28). This portrays the main message by the author on the male-dominated society where women are seen as objects to be possessed at will by men.
Obsession
Obsession is one of the tenets espoused in Ibsen’s works and himself as an individual. From an early age, he was interested in theater and as such, after numerous unsuccessful productions, he did not give up instead, this acted as an impetus for him (Mambrol, 2020). His obsession with women being mistreated by society led to his leaving the family. Further, he carried this to his work, where the women characters try to emancipate themselves from social inequality hence leading to family disintegration through separation.
Similarly, in the drama, the Lady from the Sea Ellida confides in his husband about her obsession with the American sailor whom she dated a way back. After many years of marriage, she is still in love with the man. Consequently, they have been exchanging letters, and even though she had informed him of her current marital status, their correspondence continues. Ellida tells Dr. Wangel “…I feel that…I can’t shake it off…” (Ibsen, 2018a; Act 2, p.34). This surprises the husband after realizing that Ellida has feelings for the stranger. Furthermore, when Wangel tells his wife to report the sailor to the authority having confessed to her that he killed the captain of the ship, she refuses. She tells him that if he goes to the police, she will deny everything since he belongs to the ocean but is not in the cell. She says “…nothing of that…I shall deny…” (Ibsen, 2018a; Act 3, p.51). This confirms that Ellida is obsessed with the stranger after all these years.
On the other hand, through the letters, the American has vowed to come for her despite being married. As such, the stranger tells Ellida, “…promised to come back…now…am here Ellida” (Ibsen, 2018a; Act 3, p.45). This highlights how the sailor was obsessed with her as he comes back knowing she was already married. Conversely, Dr. Wangel is obsessed with his wife as this is clearly shown when he continues living with her although she is no longer interested in him. Further, he agrees to let her go and assists during the encounter with the sailor who is her former lover. Yet still, he takes her back after she refuses to go with the stranger.
In Hedda Gabler, Thea is a victim of obsession due to her infatuation for Lovborg. Although she is married to the Sherriff, she is in love with the tutor of her step-sons. She leaves home looking for Lovborg without her husband’s knowledge. While charting with Hedda she confesses her feelings; “…I couldn’t bear longer…I could not…” (Ibsen, 2018b; Act 2, p.28). This is an obsession since she is a married woman who should care for her husband. Furthermore, Hedda has been intrigued with guns since she was a young girl while riding horses with her father general Gabler. This turned into an obsession that came to be the cause of her demise. For instance, there are many scenes where she is seen shooting. She threatens to shoot judge Brack when he visits her as he says, “…let these pranks alone!…aren’t you tired of the sport?” (Ibsen, 2018b; Act 2, p.40). As the play comes to an end, she uses a pistol to kill herself.
Similarly, Lovborg is obsessed with fame and money in the play and this is seen when his book is published. Thea asserts that for two years; he remained a good tutor to her step-children until the fame came hence leaving teaching and vanished. Further, she told Hedda that Lovborg became restless and unsettled when he got the money (Ibsen, 2018b; Act1, p.21). In addition, after he was deceived by the judge, he drinks and, in the process, loses his manuscript hence he becomes suicidal and tries to kill himself.
Making Decisions
Making decisions has been a challenge across many fields since it bids one to choose between two difficult options. Henrik Ibsen’s life has been engulfed in decision-making from a tender age. For instance, by the age of 15 years, he had to decide to remain at home or go to town and look for opportunities. Further, after he failed to join the university, he decided to start playwriting. Moreover, he embarked on his career when he returned to Oslo even though his work had flopped early. Consequently, in 1875 while he was midway through his promising career, he was torn between maintaining meter and rhyme which was perfect for romanticism, and changing his style to reach the audience. (Mambrol, 2020, para.12). As a result, he decided to challenge the human subconscious by highlighting social upheavals through symbolism.
Similarly, Ibsen uses female characters to portray the male mentality in the social setting and as such wants the women to break from the ensnares of me by gaining their independence. In the Lady from the Sea, Ellida decides to get married to Dr. Wangel yet she didn’t love him. It takes a lot of struggle and finally she decides to ask his husband for a separation to seek her freedom. Throughout the play, Ibsen shows the difficult situation married women find themselves in hence breaking the chains becomes a huddle. Further, Arnholm confides in Ellida about their love before she got married. Through his expression, he comes out as a person who has not decided to move on from his infatuation with Ellida. He tells her, “…I didn’t expose myself to…starting again…” (Ibsen, 2018a; Act 1, p.14). This shows that decision-making is not an easy task for people since the repercussions are severe.
Furthermore, in Hedda Gabler, the main character illuminates the challenge of women who are brought up like men. They not only fail to make good decisions but also are irrational. Facing difficult options, Hedda must choose independently about her life. Her decision to stay with George and propel him to success does not end well. She says, “…I want to have the power of molding someone…” (Ibsen, 2018b; Act 2, p.75). Finally, she ruins Lovborg’s life by burning his manuscript and takes her own life depicting a picture of an unstable and frustrated woman.
Emotional Disconnections and Mental Disorders
The emotional and mental states of the characters in the plays have a common ingredient: the minds. Henrik Ibsen as a writer had experienced stress throughout his lifetime. Perhaps the height of his emotional disconnection can be seen in the desertion of his family and concentration on his career. However, the myriad responsibilities did not allow him to concentrate on his work hence it resulted in mental depression from 1857 to 1862 when he neglected work; only to write after five years. In addition, the production of Love’s Comedy in 1962 did not perform well as there was a backlash of negative reviews (Mambrol, 2020). Furthermore, his problems got worse when the theater became bankrupt.
The Lady from the Sea depicts a woman who departs from her home but is torn between her former love and marriage life. Similarly, Hedda Gabler tries to show people’s deposition through character development in personality. However, both playbooks show their main characters struggling with depressive disconnections. Ellida is characterized by unwillingness, indifferences, grief, sadness, and losses. Therefore, these form the basis for her disconnection from reality where she is convinced that her lover has turned into a ghost, and yet, she wants to be with him. Towards the end of the play, she tells her husband, “… I feel…I cannot shake the feelings off” (Ibsen, 2018a; Act 2, p.34). On the other hand, the American sailor has a mental disorder since he comes for Ellida and demands they leave together. While addressing his former lover, he implores her by saying that he had promised to come back and now they had to go (Ibsen, 2018a; Act 3, p.45). Furthermore, she demonstrates moral indecency and degeneration of human values.
Notwithstanding, Hedda is replete with meanness, illicit affairs, lies, suicide, and degradation. Looking at her human character, she degenerates from emotional disconnection to a mental disorder. For instance, her hatred of pregnancy leaves a question on her obligation as a married and normal female. As such, Ibsen has succeeded to paint her as an insane heroine whose callous behavior leads to the persecution of individuals who seem to be on her way. For example, when she realizes that Lovborg is better than George, she steals his manuscript and encourages him to commit suicide. She says that “…Lovborg has made his account with life… dared to do one thing right” (Ibsen, 2018b; Act 4, p.111). This shows a person with a deranged character, disconnected, and with a mental disorder. Further, when she realizes that the judges’ blackmail will bind her to him, she kills him before taking her own life.
Conclusion
In summation, Henrik Ibsen has been fated as a versatile playwright to have graced the universe. He presented many social dramas that reveal human nature in the contemporary world through acting. From his personal life to the image portrayed through his work, he reveals a fascinating forecast of the future ahead of time whose relativity cannot be ignored in the present times. Similarly, Ibsen has expounded on topics such as self-internalization, obsession, decision making, and mental disorders through Hedda and Ellida, the main characters in Hedda Gabler and The Lady from the Sea respectively. Lastly, the author has successfully used female characters in his work to portray gender inequality and as such, there is a need for emancipating women from prescribed social enclaves.
References
de Figueiredo, I. (n.d.). Henrik Ibsen: The Man and the Mask. Google Books.
Freidman, A. (2019). Modernist Afterlives in performance—Inside Ibsen: Avant-garde Institutionality and time in Vinge/Muller’s Ibsen-saga. Modernism / Modernity Print.
Ibsen, H. (2018a). The lady from the sea. Nick Hern Books.
Ibsen, H. (2018b). Hedda Gabler. Books on Demand.
Ibsen, H. (2020). A doll’s house. Bloomsbury Publishing.
Knight, G. W. (2019). Henrik Ibsen. Plunkett Lake Press.
Mambrol, N. (2020). Analysis of Henrik Ibsen’s plays. Literary Theory and Criticism.