Henrik Ibsen's Playwrights

Ibsen was not a odd-winger but an individualist, and he lived in a ball where the salvation of the individual was seen as more important than the salvation of society, though oddly the two were often intertwined. Bentley says that his own generation of undergraduates had disrespect for those who were only interested in saving their own souls sooner than in addressing the real task of changing the humanity:

We didn't create to what an app altogethering extent the motive force of our reforming zeal was solicitude of the self, a failure to face the self. . . Yet, if we hadn't been tipped off that Ibsen was petit bourgeois, we baron have learned our lesson from him. For he saw that the altruism of a Gregers Werle [in The Wild Duck] was the turn outgrowth of a sick conscience; Gregers persecutes Hedwig beca subroutine he is running away from himself (Bentley 13).

F.W. Kaufmann cites Ibsen to the effect that "What is important is the revolutionizing of the human mind," and for Ibsen this meant that he was railing against the distortion of truth that had been brought about by the use of outworn slogans and complacent thinking. Ibsen felt that truth had to be constantly revitalize in order to remain truth. Truth for him is not an living but has to be tested against changed conditions, and this is what made many escort his ideas as radical and even dangerous. Kaufmann examines several passages that show a belief in the necessity of a relentless throw together for truth and thus the realization that truth

A fierce revolt and protest lies at their heart, a savage demand for allowdom at all costs--matched by an iron conscience that told him all the revolt mustiness be paid for. the closing-in, opening-out character of Ibsen's landscapes mirrors his inner country (Whicher 170).

P.F.D. Tennant points out the important fact that Ibsen's power as a dramatist was based on strong dramatic techniques and technical forwardness gained through his apprenticeship first as salaried instructor and dramatist at the Bergen National Theater and later as " artistic director" of the Christiana Norwegian Theater. He also served for a light period as literary adviser to the Christiana Theater.

He left Norway in 1864, at which time his connection with the stage was severed. Tennant notes,

In Ibsen, the modern tragic hero and the modern tragic fight are to be found in the bourgeois individual--often a woman--who rebels against society and tradition. Ibsen develops a type of dramatic realism and creates a pattern of dialogue which combines the ease of daily speech with the spur of the drama:

If A Doll's House is read without preconceptions the implication is polish off that men cannot be "free" (or authentic) persons unless women are equally free (Clurman 109).

Repressed, Hedda's passion and power can only manifest themselves destructively. A moral coward under the pressure of social inhibition, she becomes a modify and malefic force. She destroys the man she had not dared to love, and destroys herself to avoid the consequences of her cowardice (Clurman 163).

Stephen Whicher offers insights into the world in which Ibsen lived and into the way Ibsen regarded that world and expressed his attitudes in his works. The landscapes look especially important to Ibsen, from the mountain ranges of Ghosts and other plays to the sea that attracts and repels at the same time in The Lady from the Sea. The great world lies beyond that sea, and Ibsen looks to it as a place of emancipation
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