Personal Information: Family
Born March 20, 1828, in Skien, Norway; died of complications resulting from a series of strokes, May 23, 1906, in Oslo, Norway; son of Knud (in business) and Marichen (Altenburg) Ibsen; married Susannah Thoresen, 1858; children: fathered an illegitimate child at age eighteen, (first marriage) Sigurd (son). Education: Attended University of Christiania (now Oslo) in early 1850s.
Norwegian poet, playwright, and essayist. Apprentice to pharmacist in Grimstad, Norway, beginning in c. 1843; Bergen National Theatre, Bergen, Norway, 1851-57, began as theater adviser, became resident dramatist and stage director; Norwegian Theatre, Christiania (now Oslo), Norway, artistic director and manager, 1857-1862; Christiania Theatre, literary adviser, 1863; received bursary from state, 1863; began twenty-seven-year self-imposed exile in April, 1864, traveling to Rome, Italy, on a government grant.
Received honorary degree from University of Uppsala, 1877.
Hailed as one of the pioneers of modern drama, Henrik Ibsen broke away from the romantic tradition of nineteenth-century theater with his realistic portrayals of individuals, his focus on psychological concerns, and his investigation into the role of the artist in society. While initially utilizing conventions associated with the “well-made play,” including exaggerated suspense and mistaken identity, Ibsen later used dialogue, commonplace events, and symbolism to explore the elusiveness of self-knowledge and the restrictive nature of traditional morality. Once writing that “I prefer to ask; ’tis not my task to answer,” Ibsen did not establish distinct dichotomies between good and evil, but instead provided a context in which to explore the complexities of human behavior and the ambiguities of reality. Martin Esslin explained: “Ibsen can … be seen as one of the principal creators and well-springs of the whole modern movement in drama, having contributed to the development of all its diverse and often seemingly opposed and contradictory manifestations: the ideological and political theatre, as well as the introspective, introverted trends which tend towards the representation of inner realities and dreams.”
Ibsen was born to wealthy parents in Skien, a lumbering town south of Christiania, now Oslo. The family was reduced to poverty when his father’s business failed in 1834. After leaving school at age fifteen and working for six years as a pharmacist’s assistant, Ibsen went to Christiania hoping to continue his studies at Christiania University. He failed the Greek and mathematics portions of the entrance examinations, however, and was not admitted. During this time, he read and wrote poetry, which he would later say came more easily to him than prose. He wrote his first drama, Catilina (Catiline), in 1850 and although this work generated little interest and was not produced until several years later, it evidenced Ibsen’s emerging concerns with the conflict between guilt and desire. While Catiline is a traditional romance written in verse, Ibsen’s merging of two female prototypes–one conservative and domestic, the other adventurous and dangerous–foreshadowed the psychological intricacies of his later plays.
Shortly after writing Catiline, Ibsen became assistant stage manager at the Norwegian Theater in Bergen. His duties included composing and producing an original drama each year. Ibsen was expected to write about Norway’s glorious past, but because Norway had just recently acquired its independence from Denmark after five hundred years, medieval folklore and Viking sagas were his only sources of inspiration. Although these early plays were coldly received and are often considered insignificant, they further indicated the direction Ibsen’s drama was to take, especially in their presentation of strong individuals who come in conflict with the oppressive social mores of nineteenth-century Norwegian society. In 1862, verging on a nervous breakdown from overwork, Ibsen began to petition the government for a grant to travel and write. He was given a stipend in 1864, and various scholarships and pensions subsequently followed. For the next twenty-seven years he lived in Italy and Germany, returning to Norway only twice. While critics often cite Ibsen’s bitter memories of his father’s financial failure and his own lack of success as a theater manager as the causes for his long absence, it is also noted that Ibsen believed that only by distancing himself from his homeland could he obtain the perspective necessary to write truly Norwegian drama. Ibsen explained: “I could never lead a consistent life [in Norway]. I was one man in my work and another outside–and for that reason my work failed in consistency too.”
Ibsen’s work is generally divided by critics into three phases. The first consists of his early dramas written in verse and modeled after romantic historical tragedy and Norse sagas: Gildet paa Solhaug (1856; The Feast of Solhaug), Fru Inger til Ostraat (1857; Lady Inger of Ostraat), Haermaendene paa Helgeland (1858; The Vikings at Helgeland) and Kjaerlighedens Komedie (1862; Love’s Comedy). These plays are noted primarily for their idiosyncratic Norwegian characters and for their emerging elements of satire and social criticism. In Love’s Comedy, for example, Ibsen attacked conventional concepts of love and explored the conflict between the artist’s mission and his responsibility to others. Brand (1866), an epic verse drama, was the first play Ibsen wrote after leaving Norway and was the first of his works to earn both popular and critical attention. The story of a clergyman who makes impossible demands on his congregation, his family, and himself, Brand reveals the fanaticism and inhumanity of uncompromising idealism. While commentators suggest that Brand is a harsh and emotionally inaccessible character, they also recognized that this play reflects Ibsen’s doubts and personal anguish over his poverty and lack of success. In comparison to Brand, the protagonist of Ibsen’s next drama, Peer Gynt (1867), while witty, imaginative, and vigorous, is incapable of self-analysis. Although this play takes on universal significance due to Ibsen’s use of fantasy, parable, and symbolism, it is often described as a sociological analysis of the Norwegian people. Harold Beyer explained: “[Peer Gynt] is a central work in Norwegian literature, comprising elements from the nationalistic and romantic atmosphere of the preceding period and yet satirizing these elements in a spirit of realism akin to the period that was coming. It has been said that if a Norwegian were to leave his country and could take only one book to express his national culture, [Peer Gynt] is the one he would choose.”
Ibsen wrote prose dramas concerned with social realism during the second phase of his career. The first of these plays, De Unges Forbund (1869; The League of Youth), a caustic satire of the condescending attitudes of the Norwegian upper class, introduced idiomatic speech and relied upon dialogue rather than monologue to reveal the thoughts and emotions of the characters. Written, as Ibsen declared, “without a single monologue, or even without a single aside,” The League of Youth evidenced Ibsen’s shift from an emphasis on grandiose plot structures to characterization and interpersonal relationships. During his stay in Munich, when he was becoming increasingly aware of social injustice, Ibsen wrote Samfundets Stotter (1877; The Pillars of Society). A harsh indictment of the moral corruption and crime resulting from the quest for money and power, this drama provided what Ibsen called a “contrast between ability and desire, between will and possibility.” The protagonist, Consul Bernick, while first urging his son to abide by conventional morality and become a “pillar of society,” eventually experiences an inner transformation and asserts instead: “You shall be yourself, Olaf, and then the rest will have to take care of itself.” Ibsen’s next drama, Et Dukkehjem (1879; A Doll’s House), is often considered a masterpiece of realist theater. The account of the collapse of a middle-class marriage, this work, in addition to sparking debate about women’s rights and divorce, is also regarded as innovative and daring because of its emphasis on psychological tension rather than external action. This technique required that emotion be conveyed through small, controlled gestures, shifts in inflection, and pauses, and therefore instituted a new style of acting. Gengangere (1881; Ghosts) and En Folkefiende (1882; An Enemy of Society) are the last plays included in Ibsen’s realist period. In Ghosts Ibsen uses a character infected with syphilis to symbolize how stale habits and prejudices can be passed down from generation to generation; An Enemy of Society demonstrates Ibsen’s contempt for what he considered stagnant political rhetoric. Audiences accustomed to the Romantic sentimentality of the “well-made play” were initially taken aback by such controversial subjects. However, when dramatists Bernard Shaw and George Brandes, among others, defended Ibsen’s works, the theater-going public began to accept drama as social commentary and not merely as entertainment.
With Vildanden (1884; The Wild Duck) and Hedda Gabler (1890), Ibsen entered a period of transition during which he continued to deal with modern, realistic themes, but made increasing use of symbolism and metaphor. The Wild Duck, regarded as one of Ibsen’s greatest tragicomical works, explores the role of illusion and self-deception in everyday life. In this play, Gregers Werle, vehemently believing that everyone must be painstakingly honest, inadvertently causes great harm by meddling in other people’s affairs. At the end of The Wild Duck, Ibsen’s implication that humankind is unable to bear absolute truth is reflected in the words of the character named Relling: “If you rob the average man of his illusion, you are almost certain to rob him of his happiness.” Hedda Gabler concerns a frustrated aristocratic woman and the vengeance she inflicts on herself and those around her. Taking place entirely in Hedda’s sitting room shortly after her marriage, this play has been praised for its subtle investigation into the psyche of a woman who is unable to love others or confront her sexuality.
Ibsen returned to Norway in 1891 and there entered his third and final period with the dramas Bygmester Solness (1892; The Master Builder), Lille Eyolf (1894; Little Eyolf), John Gabriel Borkman (1896), and Naar vi dode vaagner (1899; When We Dead Awaken). In these final works, Ibsen dealt with the conflict between art and life and shifted his focus from the individual in society to the individual alone and isolated. It is speculated that The Master Builder was written in response to Norwegian writer Knut Hamson’s proclamation that Ibsen should relinquish his influence in the Norwegian theater to the younger generation. Described as a “poetic confession,” The Master Builder centers around an elderly writer, Solness, who believes he has misused and compromised his art. Little Eyolf, the account of a crippled boy who compensates for his handicap through a variety of other accomplishments, explores how self-deception can lead to an empty, meaningless life. The search for personal contentment and self-knowledge is also a primary theme in John Gabriel Borkman, a play about a banker whose quest for greatness isolates him from those who love him. In his last play, When We Dead Awaken, subtitled “A Dramatic Monologue,” Ibsen appears to pass judgement on himself as an artist. Deliberating over such questions as whether his writing would have been more truthful if he had lived a more active life, When We Dead Awaken is considered one of Ibsen’s most personal and autobiographical works.
After completing When We Dead Awaken, Ibsen suffered a series of strokes that left him an invalid for five years until his death in 1906. Although audiences considered Ibsen’s dramas highly controversial during his lifetime because of his frank treatment of social problems, present scholars focus on the philosophical and psychological elements of his plays and the ideological debates they have generated. Ibsen’s occasional use of theatrical conventions and outmoded subject matter has caused some critics to dismiss his work as obsolete and irrelevant to contemporary society, but others recognize his profound influence on the development of modern drama. Haskell M. Block asserted: “In its seemingly limitless capacity to respond to the changing need and desires of successive generations of audiences, [Ibsen’s] work is truly classic, universal in implication and yet capable of endless transformation.”
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