Anarchism and Other Essays [93]
Her rebelling soul rises in protest against the existing. In her own words: "I must make up my mind which is right, society or I."
In her childlike faith in her husband she had hoped for the great miracle. But it was not the disappointed hope that opened her vision to the falsehoods of marriage. It was rather the smug contentment of Helmer with a safe lie--one that would remain hidden and not endanger his social standing.
When Nora closed behind her the door of her gilded cage and went out into the world a new, regenerated personality, she opened the gate of freedom and truth for her own sex and the race to come.
More than any other play, GHOSTS has acted like a bomb explosion, shaking the social structure to its very foundations.
In DOLL'S HOUSE the justification of the union between Nora and Helmer rested at least on the husband's conception of integrity and rigid adherence to our social morality. Indeed, he was the conventional ideal husband and devoted father. Not so in GHOSTS. Mrs. Alving married Captain Alving only to find that he was a physical and mental wreck, and that life with him would mean utter degradation and be fatal to possible offspring. In her despair she turned to her youth's companion, young Pastor Manders who, as the true savior of souls for heaven, must needs be indifferent to earthly necessities. He sent her back to shame and degradation,--to her duties to husband and home. Indeed, happiness--to him--was but the unholy manifestation of a rebellious spirit, and a wife's duty was not to judge, but "to bear with humility the cross which a higher power had for your own good laid upon you."
Mrs. Alving bore the cross for twenty-six long years. Not for the sake of the higher power, but for her little son Oswald, whom she longed to save from the poisonous atmosphere of her husband's home.
It was also for the sake of the beloved son that she supported the lie of his father's goodness, in superstitious awe of "duty and decency." She learned, alas! too late, that the sacrifice of her entire life had been in vain, and that her son Oswald was visited by the sins of his father, that he was irrevocably doomed. This, too, she learned, that "we are all of us ghosts. It is not only what we have inherited from our father and mother that walks in us. It is all sorts of dead ideas and lifeless old beliefs. They have no vitality, but they cling to us all the same and we can't get rid of them. . . . And then we are, one and all, so pitifully afraid of light. When you forced me under the yoke you called Duty and Obligation; when you praised as right and proper what my whole soul rebelled against as something loathsome; it was then that I began to look into the seams of your doctrine. I only wished to pick at a single knot, but when I had got that undone, the whole thing ravelled out. And then I understood that it was all machine-sewn."
How could a society machine-sewn, fathom the seething depths whence issued the great masterpiece of Henrik Ibsen? It could not understand, and therefore it poured the vials of abuse and venom upon its greatest benefactor. That Ibsen was not daunted he has proved by his reply in AN ENEMY OF THE PEOPLE.
In that great drama Ibsen performs the last funeral rites over a decaying and dying social system. Out of its ashes rises the regenerated individual, the bold and daring rebel. Dr. Stockman, an idealist, full of social sympathy and solidarity, is called to his native town as the physician of the baths. He soon discovers that the latter are built on a swamp, and that instead of finding relief the patients, who flock to the place, are being poisoned.
An honest man, of strong convictions, the doctor considers it his duty to make his discovery known. But he soon learns that dividends and profits are concerned neither with health nor principles. Even the reformers of the town, represented in the PEOPLE'S MESSENGER, always ready to prate of their devotion to the people, withdraw their support from the "reckless" idealist, the moment they learn that
In her childlike faith in her husband she had hoped for the great miracle. But it was not the disappointed hope that opened her vision to the falsehoods of marriage. It was rather the smug contentment of Helmer with a safe lie--one that would remain hidden and not endanger his social standing.
When Nora closed behind her the door of her gilded cage and went out into the world a new, regenerated personality, she opened the gate of freedom and truth for her own sex and the race to come.
More than any other play, GHOSTS has acted like a bomb explosion, shaking the social structure to its very foundations.
In DOLL'S HOUSE the justification of the union between Nora and Helmer rested at least on the husband's conception of integrity and rigid adherence to our social morality. Indeed, he was the conventional ideal husband and devoted father. Not so in GHOSTS. Mrs. Alving married Captain Alving only to find that he was a physical and mental wreck, and that life with him would mean utter degradation and be fatal to possible offspring. In her despair she turned to her youth's companion, young Pastor Manders who, as the true savior of souls for heaven, must needs be indifferent to earthly necessities. He sent her back to shame and degradation,--to her duties to husband and home. Indeed, happiness--to him--was but the unholy manifestation of a rebellious spirit, and a wife's duty was not to judge, but "to bear with humility the cross which a higher power had for your own good laid upon you."
Mrs. Alving bore the cross for twenty-six long years. Not for the sake of the higher power, but for her little son Oswald, whom she longed to save from the poisonous atmosphere of her husband's home.
It was also for the sake of the beloved son that she supported the lie of his father's goodness, in superstitious awe of "duty and decency." She learned, alas! too late, that the sacrifice of her entire life had been in vain, and that her son Oswald was visited by the sins of his father, that he was irrevocably doomed. This, too, she learned, that "we are all of us ghosts. It is not only what we have inherited from our father and mother that walks in us. It is all sorts of dead ideas and lifeless old beliefs. They have no vitality, but they cling to us all the same and we can't get rid of them. . . . And then we are, one and all, so pitifully afraid of light. When you forced me under the yoke you called Duty and Obligation; when you praised as right and proper what my whole soul rebelled against as something loathsome; it was then that I began to look into the seams of your doctrine. I only wished to pick at a single knot, but when I had got that undone, the whole thing ravelled out. And then I understood that it was all machine-sewn."
How could a society machine-sewn, fathom the seething depths whence issued the great masterpiece of Henrik Ibsen? It could not understand, and therefore it poured the vials of abuse and venom upon its greatest benefactor. That Ibsen was not daunted he has proved by his reply in AN ENEMY OF THE PEOPLE.
In that great drama Ibsen performs the last funeral rites over a decaying and dying social system. Out of its ashes rises the regenerated individual, the bold and daring rebel. Dr. Stockman, an idealist, full of social sympathy and solidarity, is called to his native town as the physician of the baths. He soon discovers that the latter are built on a swamp, and that instead of finding relief the patients, who flock to the place, are being poisoned.
An honest man, of strong convictions, the doctor considers it his duty to make his discovery known. But he soon learns that dividends and profits are concerned neither with health nor principles. Even the reformers of the town, represented in the PEOPLE'S MESSENGER, always ready to prate of their devotion to the people, withdraw their support from the "reckless" idealist, the moment they learn that