Study Questions
- How do the stage directions for Ghosts set the mood for the play?
- Given the realistic setting of the garden room Ghosts, what other components of realism should the audience or reader expect?
- How is Regina representative of mobility between the classes?
- How does the behavior of Regina Engstrand and Engstrand toward each other in show that Henrik Ibsen is challenging conventional expectations?
- What role do Regina Engstrand and Engstrand fill in the development of the plot?
- How does Pastor Manders's treatment of Regina Engstrand change over the course of Act I?
- How do the two mysteries raised early in the conversation in Act I contribute to suspense in the plot?
- What do Mrs. Alving's comments about the books she is reading in Act I suggest about the society she lives in?
- How do Mrs. Alving's and Pastor Manders's responses to the books Mrs. Alving is reading define each character? Who would Ibsen side with in this case?
- How does Henrik Ibsen use Pastor Manders's ideas about insuring the orphanage to deepen his characterization of the pastor?
- How are the following used as symbols in the play: Orphanage, Ghosts, Artist, Priest, Sailors, Captains, Men. Woman, the characters themselves?
Quotations
- Regina: Yes, you may be sure we'll see about it! Me that have been brought up by a lady like Mrs. Alving! Me that am treated almost as a daughter here! Is it me you want to go home with you?--to a house like yours? For shame!
- Engstrand: Then never mind about marrying them. You can make it pay all the same. [More confidentially.] He--the Englishman--the man with the yacht--he came down with three hundred dollars, he did; and she wasn't a bit handsomer than you.
- Mrs. Alving: Well, I seem to find explanation and confirmation of all sorts of things I myself have been thinking. For that is the wonderful part of it, Pastor Minders--there is really nothing new in these books, nothing but what most people think and believe. Only most people either don't formulate it to themselves, or else keep quiet about it.
- Pastor Manders: Object to in them? You surely do not suppose that I have nothing better to do than to study such publications as these? … I have read enough about these writings to disapprove of them.
- Pastor Manders: When Oswald appeared there, in the doorway, with the pipe in his mouth, I could have sworn I saw his father, large as life.
- Mrs. Alving: Oh, how can you say so? Oswald takes after me.
- Pastor Manders: But how is it possible that a--a young man or young woman with any decency of feeling can endure to live in that way?--in the eyes of all the world!
- Oswald: Well, then, allow me to inform you. I have met with it when one or other of our pattern husbands and fathers has come to Paris to have a look round on his own account, and has done the artists the honour of visiting their humble haunts. They knew what was what. These gentlemen could tell us all about places and things we had never dreamt of.
- Mrs. Alving: Soon after, I heard Alving come in too. I heard him say something softly to her. And then I heard--[With a short laugh]--oh! it still sounds in my ears, so hateful and yet so ludicrous--I heard my own servant-maid whisper, "Let me go, Mr. Alving! Let me be!"….It was my purchase-money. I do not choose that that money should pass into Oswald's hands. My son shall have everything from me--everything.
- Mrs: Alving: Ghosts!
In act 1, the audience is introduced first regina engstrand and her father. Right off the bat, regina and her father are speaking to each other in ways that seem inappropriate for a conversation between a father and daughter. Regina begins by being rude to her father and telling him to get out, and during the conversation, we see engstrand suggest that regiana go with him to work in a brothel, even suggesting that she sleep with the sailors as he says, “He--the Englishman--the man with the yacht--he came down with three hundred dollars, he did; and she wasn't a bit handsomer than you.” Their relationship is an immediate response to the alternate ending of A Doll's House, and questions the notion that a daughter has an absolute duty to her father, or that a wife has such duties to her husband. Ibsen is using their relationship as social commentary about the exceptions to these perceived absolute duties that people, often women, have in their lives. Regina is shown breaking the mould of a traditional daughter, but also as someone challenging the norm and pushing for social mobility. It is implied that she is sleeping with Oswald Alving, possibly as a way to secure a good marriage, and that she wishes to elevate herself out of her lower social position in society. Later in Act 1, it is revealed that Regina is, in fact, Captain Alving’s daughter, and, apart from the implications about her relationship with Oswald, this shows that she is a member of the upper class that she has been striving to elevate herself to.
ReplyDeleteAnother character introduced early in Act 1 is Pastor Manders, who is representative of traditionalist values. His characterization seems to be Ibsen’s way of shaming the traditional audience in Norway. Pastor Manders often sounds pretty ridiculous in the advice he gives, like telling Regina to obey her despicable father, reprimanding Mrs. Alving for reading books that he has never read, saying things like “I have nothing better to do than to study such publications as these? … I have read enough about these writings to disapprove of them,” or declaring that the Orphanage must not be ensured, simply because he believes that people may think that he does not have enough faith in God. The Pastor is further representative of the audience, as it is revealed that he was the force that pushed Mrs. Alving to stay with her horrible husband as the audience forced the alternate ending in which Nora had to stay with Torvald.
[Mrs. Alving and Pastor Manders are discussing Capt. Alving]
ReplyDeleteMRS. ALVING. I had gone on bearing with him, although I knew very well the secrets of his life out of doors. But when he brought the scandal within our own walls—
MANDERS. Impossible! Here!
MRS. ALVING. Yes; here in our own home. It was there [Pointing towards the first door on the right], in the dining-room, that I first came to know of it. I was busy with something in there, and the door was standing ajar. I heard our housemaid come up from the garden, with water for those flowers.
MANDERS. Well—?
MRS. ALVING. Soon after, I heard Alving come in too. I heard him say something softly to her. And then I heard—[With a short laugh]—oh! it still sounds in my ears, so hateful and yet so ludicrous—I heard my own servant-maid whisper, "Let me go, Mr. Alving! Let me be!"
MANDERS. What unseemly levity on his part! But it cannot have been more than levity, Mrs. Alving; believe me, it cannot.
MRS. ALVING. I soon knew what to believe. Mr. Alving had his way with the girl; and that connection had consequences, Mr. Manders.
MANDERS. [As though petrified.] Such things in this house—in this house!
Owen Williams [voice-over]: Well, what do we have here? Sounds like Mrs. Engstrand was in an unhealthy relationship with Capt. Alving awhile back. I don't know what Regina and Oswald would think if they turned out to be half-siblings. After all, she did hint earlier that she's in love with him, after her father told her to work at the "Sailors' home."
[Cut back to Regina and her father.]
DeleteENGSTRAND. No, a father's guiding hand is what you want, Regina. Now, I've got my eye on a capital house in Little Harbour Street. They don't want much ready-money; and it could be a sort of a Sailors' Home, you know.
REGINA. But I will not live with you! I have nothing whatever to do with you. Be off!
ENGSTRAND. You wouldn't stop long with me, my girl. No such luck! If you knew how to play your cards, such a fine figure of a girl as you've grown in the last year or two—
REGINA. Well?
ENGSTRAND. You'd soon get hold of some mate—or maybe even a captain—
REGINA. I won't marry any one of that sort. Sailors have no savoir vivre.
ENGSTRAND. What's that they haven't got?
REGINA. I know what sailors are, I tell you. They're not the sort of people to marry.
ENGSTRAND. Then never mind about marrying them. You can make it pay all the same. [More confidentially.] He—the Englishman—the man with the yacht—he came down with three hundred dollars, he did; and she wasn't a bit handsomer than you.
REGINA. [Making for him.] Out you go!
ENGSTRAND. [Falling back.] Come, come! You're not going to hit me, I hope.
REGINA. Yes, if you begin talking about mother I shall hit you. Get away with you, I say! [Drives him back towards the garden door.] And don't slam the doors. Young Mr. Alving—
ENGSTRAND. He's asleep; I know. You're mightily taken up about young Mr. Alving—[More softly.] Oho! you don't mean to say it's him as—?
Owen Williams [voice-over]: What Regina means is obvious. She's implying that she wants to marry Oswald. (mating for life) However, her father wants her to work at his "Sailor's home," which is actually a house of prostitution. (mating for hire) Regina also mentions getting a new dress, and though her father says, "Come to town with me, my lass, and you'll get dresses soon enough," I'm under the impression that he really means, "Business would be better for me if you don't wear any dress whatsoever." This shows how abusive he is!
Delete[Mrs. Alving and Pastor Manders again. This time Oswald is also in the room.]
DeleteMANDERS. That is a very disputable point, Mrs. Alving. A child's proper place is, and must be, the home of his fathers.
OSWALD. There I quite agree with you, Pastor Manders.
MANDERS. Only look at your own son—there is no reason why we should not say it in his presence—what has the consequence been for him? He is six or seven and twenty, and has never had the opportunity of learning what a well-ordered home really is.
OSWALD. I beg your pardon, Pastor; there you're quite mistaken.
MANDERS. Indeed? I thought you had lived almost exclusively in artistic circles.
OSWALD. So I have.
MANDERS. And chiefly among the younger artists?
OSWALD. Yes, certainly.
MANDERS. But I thought few of those young fellows could afford to set up house and support a family.
OSWALD. There are many who cannot afford to marry, sir.
MANDERS. Yes, that is just what I say.
OSWALD. But they may have a home for all that. And several of them have, as a matter of fact; and very pleasant, well-ordered homes they are, too.
[MRS. ALVING follows with breathless interest; nods, but says nothing.]
MANDERS. But I'm not talking of bachelors' quarters. By a "home" I understand the home of a family, where a man lives with his wife and children.
OSWALD. Yes; or with his children and his children's mother.
MANDERS. [Starts; clasps his hands.] But, good heavens—
OSWALD. Well?
MANDERS. Lives with—his children's mother!
OSWALD. Yes. Would you have him turn his children's mother out of doors?
MANDERS. Then it is illicit relations you are talking of! Irregular marriages, as people call them!
OSWALD. I have never noticed anything particularly irregular about the life these people lead.
MANDERS. But how is it possible that a—a young man or young woman with any decency of feeling can endure to live in that way?—in the eyes of all the world!
OSWALD. What are they to do? A poor young artist—a poor girl—marriage costs a great deal. What are they to do?
MANDERS. What are they to do? Let me tell you, Mr. Alving, what they ought to do. They ought to exercise self-restraint from the first; that is what they ought to do.
OSWALD. That doctrine will scarcely go down with warm-blooded young people who love each other.
MRS. ALVING. No, scarcely!
MANDERS. [Continuing.] How can the authorities tolerate such things! Allow them to go on in the light of day! [Confronting MRS. ALVING.] Had I not cause to be deeply concerned about your son? In circles where open immorality prevails, and has even a sort of recognised position—!
OSWALD. Let me tell you, sir, that I have been in the habit of spending nearly all my Sundays in one or two such irregular homes—
MANDERS. Sunday of all days!
Owen Williams [voice-over]: And some people can afford to get married, but don't want to commit to the relationship for the rest of their lives. Divorce is an option, but it must be expensive. And suppose you were in multiple relationships at once, and didn't identify any "love-of-your-life?" 'Till death do you part indeed! Though a handful of other animals do mate for life, matrimony is a human invention that has served a variety of purposes throughout history. Controlling transactions is a very awful one, because it involves inequality and pursuit of wealth. These are more about profit than love. And speaking of making love instead of profit, marriages have also been used to signify political alliances. Disclaimer: This can only be done between a Monarchy and obviously another Monarchy. Alliances with Democratic Republics and Oligarchies have to be signified by signing pacts and whatnot. But you get the idea, marriage is optional.
DeleteIn just the first act of “Ghosts” by Henrik Ibsen, he has most likely already angered much of the people of his time using the play to criticize society’s expectations. Society when Ibsen was alive believed that everyone had a duty to one another. A priest’s duty was to his religion and the religious followers, a mother’s duty was to her child and husband, a child’s duty was to her father and mother. However Ibsen challenged this idea with two of his characters, Regina Engstrand and her father.
ReplyDelete“REGINA. The sooner the better, say I.
ENGSTRAND. Yes, but I want you with me, Regina.
REGINA. [Open-mouthed.] You want me—? What are you talking about?
ENGSTRAND. I want you to come home with me, I say.
REGINA. [Scornfully.] Never in this world shall you get me home with you.
ENGSTRAND. Oh, we'll see about that.
REGINA. Yes, you may be sure we'll see about it! Me, that have been brought up by a lady like Mrs. Alving! Me, that am treated almost as a daughter here! Is it me you want to go home with you?—to a house like yours? For shame!”
When his audience saw this, they were most likely shocked and stunned. “How could she?” they would ask, but what Henrik is trying to rely to his audience is “Why would she?”. Why should she work for her father who has done nothing much for her his whole life? Why should she work with someone who is only using her for profit on his own terms? These are the questions he wants to answer in his plays. Furthermore, we see this sense of duty in not just the lives of families but also in the lives of religious figures. In “Ghosts”, Pastor Manders as well as Mrs. Alving are trying to build an orphanage where kids without parents can have a home and a chance of adoption. Mrs. Alving is supplying the money in order to build this place but Pastor Manders is most likely using the orphanage to make himself look good for the people. That he as a religious figure is giving sanctity to all of the children in need. In fact, he is so caught up in trying to portray his religious authority that he neglects the idea of getting insurance on the orphanage.
“MRS. ALVING. Do you think we can do otherwise?
MANDERS. No, that is just the point; we really cannot do otherwise. We ought not to expose ourselves to misinterpretation; and we have no right whatever to give offence to the weaker brethren.
MRS. ALVING. You, as a clergyman, certainly should not.
MANDERS. I really think, too, we may trust that such an institution has fortune on its side; in fact, that it stands under a special providence.
MRS. ALVING. Let us hope so, Pastor Manders.
MANDERS. Then we will let it take its chance?
MRS. ALVING. Yes, certainly.
MANDERS. Very well. So be it. [Makes a note.] Then—no insurance.”
Even though Pastor Manders knew that this was a great risk for if the orphanage went down, they would have no way of rebuilding it, he could not risk the fact of what society would think of him as a religious figure if they did get insurance. They would question him, “Do you not believe God will protect the children?”, “Where is your faith?”. We see a clear contrast in the characteristics of Regina Engstrand and Pastor Manders here. Regina does not care for what society will think of her but knows that her actions is the right thing to do. On the other hand Pastor Manders does care for what society will think of him but his actions are not the right thing to do.
Early in Act 1, Pastor Manders appreciates Regina Engstrand because she is humble and considerate to him. He also notices her appearance, and his remarks about her appealing figure imply that he sees her as a sexual being. However, when it becomes visible that she wants something from him, his tone changes. Regina begins to suggest that he can help her gain employment in the city, but he becomes formal and dismissive. He uses the tone of a superior/high class person speaking to a servant. Pastor Manders is either uncomfortable by her offer or is too self-absorbed/selfish to want to help her.
ReplyDeleteMANDERS. Thanks, thanks, extremely so. [Looks at her.] Do you know, Miss Engstrand, I positively believe you have grown since I last saw you.
REGINA. Do you think so, Sir? Mrs. Alving says I've filled out too.
MANDERS. Filled out? Well, perhaps a little; just enough.
MANDERS. Your father is not a man of strong character, Miss Engstrand. He stands terribly in need of a guiding hand.
REGINA. Oh, yes; I daresay he does.
MANDERS. He requires some one near him whom he cares for, and whose judgment he respects. He frankly admitted as much when he last came to see me.
REGINA. Yes, he mentioned something of the sort to me. But I don't know whether Mrs. Alving can spare me; especially now that we've got the new Orphanage to attend to. And then I should be so sorry to leave Mrs. Alving; she has always been so kind to me.
MANDERS. But a daughter's duty, my good girl—Of course, we should first have to get your mistress's consent.
REGINA. But I don't know whether it would be quite proper for me, at my age, to keep house for a single man.
MANDERS. What! My dear Miss Engstrand! When the man is your own father!
REGINA. Yes, that may be; but all the same—Now, if it were in a thoroughly nice house, and with a real gentleman—
MANDERS. Why, my dear Regina—
REGINA.—one I could love and respect, and be a daughter to—
MANDERS. Yes, but my dear, good child—
REGINA. Then I should be glad to go to town. It's very lonely out here; you know yourself, sir, what it is to be alone in the world. And I can assure you I'm both quick and willing. Don't you know of any such place for me, sir?
MANDERS. I? No, certainly not.
REGINA. But, dear, dear Sir, do remember me if—
MANDERS. [Rising.] Yes, yes, certainly, Miss Engstrand.
REGINA. For if I—
MANDERS. Will you be so good as to tell your mistress I am here?
REGINA. I will, at once, sir.
Masters believed that woman should be there for their husbands, fathers etc. because of the tradition. But just like the "Doll House" like the wife, Regina needs to find herself and have her freedom as a child apart from her duties as a daughter.
In Act 1 of Ghosts, Henrik Ibsen challenges conventional expectations of a parent and daughter relationship through the grossly absurd situation between Regina Engstrand and Mr. Engstrand. Ibsen immediately begins his play with these conflicting family members. Regina shows contempt for him and Mr. Engstrand retaliate by cursing back at her. Although there are plenty of people with abusive parents, typical plays do not portray to the extent of the issues with family and thus, revealing harsher realities. Furthermore, Mr. Engstrand wishes his daughter, Regina, to live with her not for affection needs, but for business needs. He plans to open a sailor’s establishment and hopes that Regina would work there, alluding to the possibility of finding a sailor husband or even prostitute herself. Obviously, in such a situation, Regina not only refuses to live with him, but says that she has no obligation to be involved in his life. “Me that have been brought up by a lady like Mrs. Alving! Me that am treated almost as a daughter here! Is it me you want to go home with you?--to a house like yours? For shame!” Regina’s goal of reaching higher social status conflicts with her twisted immoral father’s goals. Mr. Engstrand tries to convince her by saying, “then never mind about marrying them. You can make it pay all the same. [More confidentially.] He--the Englishman--the man with the yacht--he came down with three hundred dollars, he did; and she wasn't a bit handsomer than you.” The very fact that he would say that to his daughter evokes disdain. Not only does Engstrand has no affection toward Regina, but he tries to coax her into prostituting herself, using her for his own gain. The situation Ibsen creates in the opening scene goes against all conventional expectations from parents and children. Children should listen to their parents and parents should have affection for their children and in Ghosts, there is none of that.
ReplyDelete3) Regina Engstrand represents the movement between the classes because she was born to Engstrand who is very poor, but as she grew up she started working as a maid so she was able to live well while working, and she has thought about developing a relationship between Oswald, which if it turned into a marriage she would have rose from the bottom to the top class.
ReplyDelete4) The behavior of Reginas and Engstrand relationship shows that Henrik Ibsen was challenging conventional expectations because everyone back in the day would always say “You always need to obey your parents”. So to combat this thinking Ibsen made Engstrand the worst parent of all time by asking his daughter to be the desk worker at his new brothel. So Ibsen was questioning people by asking should Regina should obey her terrible father who wants her to basically be a sex worker? “Engstrand: Then never mind about marrying them. You can make it pay all the same. [More confidentially.] He--the Englishman--the man with the yacht--he came down with three hundred dollars, he did; and she wasn't a bit handsomer than you.”
How is Regina representative of mobility between the classes?
ReplyDeleteRegina is very representative of mobility between class systems because she has been taken in by Ms Alving and she is being taught in different languages and manners, which for the time is very different as most women and lower class citizens were not educated, also Ms Alving has taken her in as a daughter as she knows how Engstrand is as a father. "Regina: Yes, you may be sure we'll see about it! Me that have been brought up by a lady like Mrs. Alving! Me that am treated almost as a daughter here! Is it me you want to go home with you?--to a house like yours? For shame!" She also represents mobility between classes because she has a thing going on with Ms Alvings son, Oswald however she doesn't know that her and Oswald are half siblings so one way or another she will move up the class system its just she has no idea that Captain Alving is her father. "Mrs. Alving: Soon after, I heard Alving come in too. I heard him say something softly to her. And then I heard--[With a short laugh]--oh! it still sounds in my ears, so hateful and yet so ludicrous--I heard my own servant-maid whisper, "Let me go, Mr. Alving! Let me be!"
-Aidan Foley
DeleteThe stage directions in some ways are very central for the play that Henrik Ibsen wanted to create. It is the stage directions that allow the number of characters to be set and act at certain times of the play. You could argue that this relates directly to the mood because how characters act and interact creates the mood many times. Regina is in somewhat of a strange position in the play. That position could let her be representative of mobility between classes. She starts off being asked to join in on her dad’s prostitution thing, and from there Regina disrespects her father on that account. Now to the pastor, Regina is more polite than she was to her father so we see kind of two sides of her in just one act of the play. This is why I believe Regina is representative of mobility between the classes. The two sides of her give her some wiggle room within the social ladder potentially. Mrs. Alving and the pastor both have opinions about the books Mrs. Alving is reading. These opinions define each character. It shows that Mrs. Alving is more of a progressive when it comes to social issues and the pastor is more of a traditional conservative when it comes to Mrs. Alving’s books. A quote about Mrs. Alving’s thoughts towards it shows her views. Mrs. Alving: “Well, I seem to find explanation and confirmation of all sorts of things I myself have been thinking. For that is the wonderful part of it, Pastor Minders--there is really nothing new in these books, nothing but what most people think and believe. Only most people either don't formulate it to themselves, or else keep quiet about it.” Mrs. Alving also says “Ghosts!” and I believe that this signifies some important symbols or a single major symbol in this play. For a major character to say the very title of the play is very important and we will have to wait and see where things go from here.
ReplyDeleteThe stage directions in Act I makes the mood of the play extremely dark right from the beginning. Even before any of the characters say anything, the stage directions that start up the play gives it a dark mood. His background description includes “Through the glass wall a gloomy fjord landscape is faintly visible, veiled by steady rain”. In most plays, writers tend to use the weather as a symbol of the mood of the play. In this situation, the steady rain suggests that the mood is always depressing. Then all throughout the play the stage directions such as “in a low voice” or “muttering’”or “advances a step or two” makes the conversations more tense and the characters are clearly very serious. These stage directions make it feel like the characters are frustrated with the situation, and foreshadows potential conflicts. These stage directions certainly set up the mood of the play during the conversation between Regina and Engstrand. This conversation between father and daughter reflected some of Ibsen’s challenges towards conventional expectations. During the time, most daughters were meek and submissive. They did what their superiors, in the case of a family mother, father and brothers, told them to. However, in the first scene, Regina has her own mind and agenda which she intends to follow, regardless of what her father thinks. As shown by this portion of their conversation:
ReplyDeleteEngstrand: I want you to come home with me, I say.
Regina: [Scornfully] Never in this world shall you get me home with you.
Engstrand: Oh, we’ll see about that.
This part of the conversation sees Regina defy normal social expectations and her failure to fulfill her role as a daughter. She is openly disobeying her father, and yet, it may be her father’s reactions that says the most about Ibsen’s challenges. By having Engstrand not overreacting and commanding her to go home with him, Ibsen relays the message that this sort of behavior by daughters should be okay and allowed in society. Females should perhaps be trusted to have their own say in their own life. It will be interesting to see how Ibsen relays more of his messages that he was not able to say in A Doll House.
Ghosts is controversial. I don’t think anyone is trying to argue against this. When Ibsen wrote “dollhouse” and it went to the big stage, it received come backlash. Being as petty as Henry Ibsen is, he wrote “Ghosts” to be as crazily absurd and over the top as possible. It’s horrible in a realistic way, as in everything that happens in the story seems reasonable and grounded in reality while at the same time defying expectations of both us and the audiences back then. The characters live in poverty, and so they do these unthinkable things to climb up the social ladder, instilling the help of anyone they can, as seen in this quote “Oswald: Well, then, allow me to inform you. I have met with it when one or other of our pattern husbands and fathers has come to Paris to have a look round on his own account, and has done the artists the honour of visiting their humble haunts. They knew what was what. These gentlemen could tell us all about places and things we had never dreamt of.” It seems like all the authority figures in this play are some kind of evil. Not only does the father wants to open a brothel and have his daughter work in it, he gets support from the local pastor, who would rather keep up his own public image than to invest money into making a safe orphanage
ReplyDeleteEven though we are in the first Act of the play, I like how Ibsen is already challenging the conventional expectations of women during this time period. We see a lot of it in the interactions with the female characters so far, Regina and Mrs. Alving. When we look at the conversation between Regina and her father, we can see how her father tends to go more towards the traditional route of telling Regina what she should be doing versus how Regina wants to do things for herself. He says that “a father's guiding hand is what you want, Regina.” and explains more about how “if you knew how to play your cards, such a fine figure of a girl as you've grown in the last year or two.” (Act 1)Engstrand wants his daughter to be obedient to him and have her only dependent on him but Regina wants to strive and make bigger plans for her own and tries hard to become independent, so of course had something in store for us. The relationship between a father and daughter is typically portrayed as the daughter having no say in the decisions her father makes, agrees with a lot of them, and stays silent with her thoughts. Even today, there are many examples where the relationship between the father and daughter can be unclear or stereotypically presented in that way. But it’s wonderful how Ibsen was able to get straight to the point and set a clear line for the audience to understand where Regina stands in her situation and why she behaves in the way she is. I think the way she was brought up by Ibsen is bringing up points about whether a woman should have authority over her decisions and thoughts rather than their father or husband making it for them. It also goes back to the ideas we had discussed during A Doll House, where Nora had to make a choice between what society wanted her to versus what she wanted for herself in order to grow and develop as a person. But the difference between Ghost and A Doll House is that instead of Regina agreeing with her father like how Nora changed her mind after seeing her children in the alternate ending, she stands firm in her beliefs and morals and doesn’t want to live her life how others want her to live it.
ReplyDelete
ReplyDeleteHow do the two mysteries raised early in the conversation in Act I contribute to suspense in the plot?
In Ghosts, by Henrik Ibsen, the two mysteries raised contribute to suspense in the plot. As the action unfolds in Act 1, Pastor Manders and Mrs. Helene Alving raise issues that will need to definitely be resolved, which specifically is quite significant. Mrs. Alving gives off a mood in a subtle way.
MRS. ALVING. [Suppressing a smile.] Are you really not to be persuaded, even now, to pass the night under my roof?
MANDERS. No, no, Mrs. Alving; many thanks. I shall stay at the inn, as usual. It is so conveniently near the landing-stage.
MRS. ALVING. Well, you must have your own way. But I really should have thought we two old people—
MANDERS. Now you are making fun of me. Ah, you're naturally in great spirits to-day—what with to-morrow's festival and Oswald's return.
Her question suggests that there is, or has been, discord between them, and the audience will look to the plot to essentially resolve questions of why Pastor Manders will not stay in Mrs. Alving''s house. The other question to answer is why Oswald Alving has been away in a sort of big way. Pastor Manders also implies Oswald will somehow kind of find his home lacking, compared to his life in Europe in a generally big way. The relationship between Oswald and Mrs. Alving is brought to the foreground. How the relationship literally is developed becomes a driving point in the plot, which definitely is quite significant.
[OSWALD ALVING, in a light overcoat, hat in hand, and smoking a large meerschaum, enters by the door on the left; he stops in the doorway.]
OSWALD. Oh, I beg your pardon; I thought you were in the study. [Comes forward.] Good-morning, Pastor Manders.
MANDERS. [Staring.] Ah—! How strange—!
MRS. ALVING. Well now, what do you think of him, Mr. Manders?
MANDERS. I—I—can it really be—?
OSWALD. Yes, it's really the Prodigal Son, sir.
In Act 1, Mrs. Alving and Pastor Manders briefly discuss the mystery of Oswald being gone 2 years in a subtle way. This conversation is not resolved and quickly changes subject to the papers about the orphanage. Later in the conversation, they hear Oswald coming and quickly end their conversation in a subtle way. Which shows how the relationship that the two have is more sort of personal then both of there relationship with Oswald, which basically is quite significant.
-Troy Kennedy
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ReplyDeleteThe stage directions of “Ghosts” in Act 1 portray the play as dark, and gloomy. From the beginning there is a lack of light or color that brings a dark and sort of depressing mood. There is also a lot of slow and quiet talking that portrays Mrs. Alving as a depressed widow but not because her husband died, but because of what he did when he was alive. Mrs. Alving doesn’t want her son to be anything like his father, as he cheated on her and treated her poorly, but as time goes on she notices the things that make him exactly the same as his father. She describes a time when her husband was with another woman in the dining room, and sees that the exact same thing happens with her son. She wanted nothing to do with her husband and couldn’t stand being with him, which she shows very much sadness talking about.
ReplyDeleteMANDERS. Do you remember that after less than a year of married life you stood on the verge of an abyss? That you forsook your house and home? That you fled from your husband? Yes, Mrs. Alving—fled, fled, and refused to return to him, however much he begged and prayed you?
MRS. ALVING. Have you forgotten how infinitely miserable I was in that first year?
MANDERS. It is the very mark of the spirit of rebellion to crave for happiness in this life. What right have we human beings to happiness? We have simply to do our duty, Mrs. Alving! And your duty was to hold firmly to the man you had once chosen, and to whom you were bound by the holiest ties.
MRS. ALVING. You know very well what sort of life Alving was leading—what excesses he was guilty of.
She talks about how he was unloyal and didn’t treat her fairly which led to decisions she had to make like leaving or keeping him away from their son.
Societal expectations were that a daughter must obey and care for their father. Ibsen challenges these expectations through Regina and Engsrand. Regina does not obey her father’s wishes and Pastor Manders attempts to ask Regina to do what he thinks is her duty. He claims “Your father is not a man of strong character, Miss Engstrand. He stands terribly in need of a guiding hand.” When she fights back he responds with “but a daughter's duty, my good girl”. The way he speaks to Regina about such matter is condescending and degrading without him even realizing it. His inability to see what is wrong with what he asks of Regina shows neglect of society.
ReplyDeleteThere are many symbols throughout act one, but the most obvious one is Ghosts. Ms. Alving fears that her son will turn out to be like his father and is even more fearful of people knowing the truth. This shows a lot about societal expectations. Although she regrets the path she has chosen and not being honest, she still has the same fears. To start, she gets incredibly offended when the Pastor says that Oswald looks similar to his father.
Pastor Manders: When Oswald appeared there, in the doorway, with the pipe in his mouth, I could have sworn I saw his father, large as life.
Mrs. Alving: Oh, how can you say so? Oswald takes after me.
She gets even more defensive when Oswald shares a memory of his father. She tries to cover up every detail of Captain Alving’s existence rather than facing the bad look. The scene ends with a presentation of her worst nightmare: Oswald repeating nearly the exact same actions has his father with Regina. It is then when she cries out “Ghosts!”
A 19th-century Norwegian audience isn’t exactly the most forgiving of groups when it comes to conflicting ideals. Ibsen’s reason for writing Ghosts was to challenge these ideals that the majority of the society at the time could not even think of. In the case of Mrs. Alving and her books, Pastor Manders represents this stubborn, tradition-based society. He asks Mrs. Alving why she is reading such literature, as he is clearly taken aback by it.
ReplyDeleteMRS. ALVING. Well, I seem to find explanation and confirmation of all sorts of things I myself have been thinking. For that is the wonderful part of it, Pastor Manders—there is really nothing new in these books, nothing but what most people think and believe. Only most people either don't formulate it to themselves, or else keep quiet about it.
Mrs. Alving’s response shows how she, too, is somewhat reluctant to break from her societal duty as a widow and a mother because of how she decides to keep to herself about these opinions. Pastor Manders disapproves of her reading such radical publications, and justifies it by telling her what society would say about her if word were to get around. Oddly enough, he also refrains from putting insurance on the orphanage in fear of society thinking that he didn’t have enough faith in God.
MANDERS. There, you see! In town we have many such people. Think of all my colleague's adherents! People would be only too ready to interpret our action as a sign that neither you nor I had the right faith in a Higher Providence.
These two scenarios share one thing in common, being the fear of society’s expectations. Men and women did not have the same “duties” so Manders using this excuse is frankly on part of his ignorance rather than the genuine fear of some degree of persecution; the latter would be something Mrs. Alving would be subject to. Ibsen would likely side with Mrs. Alving here, because of his intention to challenge common belief through this play; her reading of these books but keeping to herself about them is right on the edge of being considered “out of line” for this 19th century Norwegian audience.
-Nabilah
Already in the First act of "Ghosts" by Henrik Ibsen, he has angered a large portion of society because of the way that his play questions society. The public believe that everyone must listen to someone of authoritative power, or their parents in this case. So when Ibsen released ghosts, it set the world on fire. He challenged lots of society's views at the time with the characters Regina and her father.
ReplyDeleteENGSTRAND. I want you to come home with me, I say.
REGINA. [Scornfully.] Never in this world shall you get me home with you.
ENGSTRAND. Oh, we'll see about that.
REGINA. Yes, you may be sure we'll see about it! Me, that have been brought up by a lady like Mrs. Alving! Me, that am treated almost as a daughter here! Is it me you want to go home with you?—to a house like yours? For shame!
ENGSTRAND. What the devil do you mean? Do you set yourself up against your father, you hussy?
REGINA. [Mutters without looking at him.] You've said often enough I was no concern of yours.
ENGSTRAND. Pooh! Why should you bother about that—
REGINA. Haven't you many a time sworn at me and called me a—? Fi donc!
ENGSTRAND. Curse me, now, if ever I used such an ugly word.
REGINA. Oh, I remember very well what word you used.
ENGSTRAND. Well, but that was only when I was a bit on, don't you know? Temptations are manifold in this world, Regina.
REGINA. Ugh!
The reaction to this quote from the audience was shock. They could not believe that a daughter was not obeying he father, someone who is supposed to look after her, and that she should listen to what he has to say because he is older and wiser. This shows the irony of the audience, that they don't know at the time, but he is actually recruiting her to be a prostitute, and to come work for him doing that profession.
REGINA. Oh, don't try on any nonsense like that with me! Why do you want me?
ENGSTRAND. Well, let me tell you, I've been thinking of setting up in a new line of business.
REGINA. [Contemptuously.] You've tried that often enough, and much good you've done with it.
ENGSTRAND. Yes, but this time you shall see, Regina! Devil take me—
REGINA. [Stamps.] Stop your swearing!
ENGSTRAND. Hush, hush; you're right enough there, my girl. What I wanted to say was just this—I've laid by a very tidy pile from this Orphanage job.
REGINA. Have you? That's a good thing for you.
ENGSTRAND. What can a man spend his ha'pence on here in this country hole?
REGINA. Well, what then?
ENGSTRAND. Why, you see, I thought of putting the money into some paying speculation. I thought of a sort of a sailor's tavern—
This is when Regina figures out about what he father is talking about when he wants her to accompany him on his trip. This shocks the audience because "no father would ever suggest such a thing" but the reason that Ibsen does this is to show that you cannot always trust your parents to make the best decisions foe you. Sometimes only you are the one that is able to make the right decision for yourself
-Bryant
In act 1 of Ghosts we see Regina and Engstrand having an inappropriate conversation for a father and daughter. Engstrand wants Regina to leave her work and move back home with him. He says he needs her to stop drinking and would like her to move back home and work for him. Regina says no which is a shock to the audience because it is her duty to listen to her father.
ReplyDeleteRegina: Yes, you may be sure we'll see about it! Me that have been brought up by a lady like Mrs. Alving! Me that am treated almost as a daughter here! Is it me you want to go home with you?--to a house like yours? For shame!
We soon find out that Engstrand wants to open a sailors tavern and wants Regina to work at the front desk. Engstrand tells Regina that
Engstrand: Then never mind about marrying them. You can make it pay all the same. [More confidentially.] He--the Englishman--the man with the yacht--he came down with three hundred dollars, he did; and she wasn't a bit handsomer than you.
Ibsen starts out with this scene to show controversy in the public's belief that a daughter should always obey her father. He shows an outrageous request from a father to challenge the belief of the public and make them think differently of how you should always obey your father. Obviously a daughter should not say yes to her father if he is making her work at a sailors tavern, and leave her work as a maid that she enjoys. Ibsen is showing there are exception to societal norms.
Christine
In act one of Ghosts by Henrik Ibstein we can already see many symbols that are present and beginning to form. One of these is the symbol of sailors and captains. This has been said many times in just the first act. Military men are well respected in society and it is tradition to not speak badly of them, which is still true in our country today. The progressives of the time represented by Mrs. Alving were not afraid to call them out for their hypocritical actions. Mrs. Alving had a first hand account of what it was like to be around a military man all the time, so she had a right to be saying all these things as she was definitely not making them up. Pastor Manders represents the traditional belief and he defends the sailors.
ReplyDeleteThese sailors are often the ones committing what Pastor Manders would call sinful acts. This can be seens as Engstrand is telling Regina to come work for him at a house of prostitution saying that the sailors there could be good potential for her to find a husband.
Pastor Manders: When Oswald appeared there, in the doorway, with the pipe in his mouth, I could have sworn I saw his father, large as life.
Mrs. Alving: Oh, how can you say so? Oswald takes after me.
Mrs. Alving: Soon after, I heard Alving come in too. I heard him say something softly to her. And then I heard--[With a short laugh]--oh! it still sounds in my ears, so hateful and yet so ludicrous--I heard my own servant-maid whisper, "Let me go, Mr. Alving! Let me be!"….It was my purchase-money. I do not choose that that money should pass into Oswald's hands. My son shall have everything from me--everything.
From the first two quotes we see how Mrs. Alving does not want her son to be like his father who is a captain, this would be odd for the time as a mother would usually want her son to be a captain. The third quote is Mrs. Alving giving her first hand account of Captain Alving having an affair inside her home. From this we now see why Mrs. Alving does not want Oswald to be like Captain Alving.
How is Regina representative of mobility between the classes?
ReplyDeleteRegina is more representative of mobility between the classes than she realizes. She grew up in the Engstrand household which was a part of the lower class while actually being the daughter of Captain Alving. She was split between the two worlds as she lived in the Engstrand house while Mrs. Alving raised her as her own. Regina really took to the Alvings and is using this opportunity to improve her social standing by working as their maid. After living with the Alvings she doesn’t want to go back to her father’s house which she explains by telling her father, “Yes, you may be sure we'll see about it! Me that have been brought up by a lady like Mrs. Alving! Me that am treated almost as a daughter here! Is it me you want to go home with you?--to a house like yours? For shame!”. She was successfully able to integrate herself into the higher class after being born into a lower one.
What do Mrs. Alving's comments about the books she is reading in Act I suggest about the society she lives in?
Mrs. Alving’s comments about the books show what she really thinks about her society. She knows there is nothing new in the books she is reading but no one is confident enough to stand up to the traditional societal views. The people who agree with her views don’t want to go against the overwhelming support for the traditional ideas. The traditional side of the debate is represented by Pastor Manders who in typical fashion brushes her argument aside without giving her a chance to defend herself. Without having even read the texts she is referring to he dismisses her argument by saying, “Object to in them? You surely do not suppose that I have nothing better to do than to study such publications as these? … I have read enough about these writings to disapprove of them”. His actions are representative of the whole societies as they choose to ignore any evidence that challenges their own beliefs. This is another example of the ghost symbol in the play. Pastor Manders’ ghost is the traditional values that have been instilled in him when he was raised. He refuses to acknowledge anything that Mrs. Alving says and hides behind a sense of self-importance.