Henrik Ibsen

Henrik Ibsen (hĕn´rĬk Ĭb´sən), 1828–1906, Norwegian dramatist and poet. His early years were lonely and miserable. Distressed by the consequences of his family's financial ruin and on his own at sixteen, he first was apprenticed to an apothecary. Not long after this he began writing poetry, and in 1850 he published his first play, Catilina, a tragedy in verse. In 1851 he began an extended apprenticeship in the theater, first as stage manager and playwright with the National Stage in Bergen and in 1857 as theater director for the Norwegian Theater in Oslo. His early plays for the most part went unrecognized or were greeted with opposition and critical hostility. As a man far in advance of his times, Ibsen was condemned for unveiling truths which society preferred to keep hidden. In 1864, dissatisfied with the backwardness of Norway, he went to Italy. He wrote the bulk of his drama there and in Germany. His career can be divided into three periods. The first phase, that of poetic dramas, dealt primarily with historical themes, folklore, and romantic pageantry. His name was established with the publication of Love's Comedy (1862). However, it was in 1866 that he reached prominent stature as a dramatist, when he published the first of his major works, Brand, the tragedy of an idealist. Peer Gynt, another poetic drama and Ibsen's least understood work, appeared the following year. In this play Ibsen recounted the adventures of an egocentric but imaginative opportunist. With The League of Youth (1869) and Pillars of Society (1877), he began his second dramatic phase, that of the realistic social plays which are his best known. Ibsen rebelled against society's conventions through which the perpetuation of empty traditions restricts all intellectual, artistic, and spiritual growth. He was perhaps most successful in depicting the 19th-century woman, whose inner nature was in strong conflict with the role she was called on to perform. These dramas include A Doll's House (1879), Ghosts (1881), Rosmersholm (1886), and Hedda Gabler (1890). Other notable plays, An Enemy of the People (1882) and The Wild Duck (1884), examine the effects of true and false idealism. Although nearly all Ibsen's plays contain symbolic elements, it was in his final works that the emphasis on symbolism became very strong. The chief plays of this group are The Master Builder (1892), Little Eyolf (1894), John Gabriel Borkman (1896), and When We Dead Awaken (1900). All have a firmly knit structure beneath the symbols; all blend an introspective realism with folk poetry. No playwright has exerted greater influence on 20th-century drama. His plays—there are many good English translations—are continually revived in the United States and Europe.

See biographies by H. Koht (1928, new tr. 1971), H. Heiberg (tr. 1969), M. Meyer (1971), and R. Ferguson (1996); studies by G. M. C. Brandes (1899, repr. 1964), G. B. Shaw (1913, repr. 1957), J. R. Northam (1953 and 1973), and J. McFarlane (1970).

The Columbia Encyclopedia, 6th ed. Copyright© 2014, The Columbia University Press.

Selected full-text books and articles on this topic

Henrik Ibsen
Harold Bloom.
Chelsea House, 1999
FREE! Rosmersholm: The Lady from the Sea: Hedda Gabler
William Archer; Henrik Ibsen.
Walter Scott, 1905
An Enemy of the People: The Wild Duck: Rosmersholm
Henrik Ibsen; James McFarlane.
Oxford University Press, 1988
Ghosts: A Family Drama in Three Acts and Miss Julia: A Naturalistic Tragedy
Henrik Ibsen; August Strindberg; Thaddeus L. Torp; Thaddeus L. Torp.
H. Davidson, 1992
Henrik Ibsen: The Critical Heritage
Michael Egan.
Routledge, 1997
Ibsen: The Dramaturgy of Fear
Michael Goldman.
Columbia University Press, 1999
Divine Madness and the Absurd Paradox: Ibsen's Peer Gynt and the Philosophy of Kierkegaard
Bruce G. Shapiro.
Greenwood Press, 1990
Psychological Models for Drama: Ibsen's 'Peer Gynt' and the Relational Self
Gerland, Oliver.
Mosaic (Winnipeg), Vol. 29, No. 2, June 1996
PEER-REVIEWED PERIODICAL
Peer-reviewed publications on Questia are publications containing articles which were subject to evaluation for accuracy and substance by professional peers of the article's author(s).
Ibsen and Early Modernist Theatre, 1890-1900
Kirsten Shepherd-Barr.
Greenwood Press, 1997
Archetype, Architecture, and the Writer
Bettina L. Knapp.
Indiana University Press, 1986
Librarian’s tip: Chap. One "Ibsen: The Master Builder: Emptiness, an Architectural Archetype"
The Apocalyptic Ibsen: When We Dead Awaken
Fuchs, Elinor.
Twentieth Century Literature, Vol. 46, No. 4, Winter 2000
Are Norwegians European? the Bohemians Say So!
Sabo, Anne G.
Journal of European Studies, Vol. 34, No. 3, September 2004
PEER-REVIEWED PERIODICAL
Peer-reviewed publications on Questia are publications containing articles which were subject to evaluation for accuracy and substance by professional peers of the article's author(s).
The Three Ibsens: Memories of Henrik Ibsen, Suzannah Ibsen and Sigurd Ibsen
Bergliot Ibsen; Gerik Schjelderup.
American-Scandinavian Foundation, 1952
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