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Compositional Aspects of Rosmersholm by Henrik Ibsen and Lonely Lives by Gerhart Hauptmann

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Compositional Aspects of Rosmersholm by Henrik Ibsen and Lonely Lives by Gerhart Hauptmann Bulletin of the Transilvania University of Bra şov • Vol. 3 (52) – 2010 Series IV: Philology and Cultural Studies COMPOSITIONAL ASPECTS OF ROSMERSHOLM BY HENRIK IBSEN AND LONELY LIVES BY GERHART HAUPTMANN Crina LEON ∗∗∗ Abstract: In this paper a comparative analysis is made between the plays Rosmersholm by Henrik Ibsen and Lonely Lives by Gerhart Hauptmann, so as to show Ibsen’s influence on Hauptmann. The structure and the themes of the two works are taken into account. In both dramas, the characters deal with the conflict between the traditional value system and the will to spiritual freedom. They both feature triangles of relationships, which do not find their fulfilment because of social rigidity or a feeling of guilt. Social criticism expands into psychological dramas, revealing the development of the individual’s personality. Keywords: Henrik Ibsen, Gerhart Hauptmann, traditionalism, spiritual freedom. 1. Introduction revolt of the human spirit. This revolt also characterizes the main male characters Henrik Ibsen and Gerhart Hauptmann are Johannes Rosmer in Rosmersholm and two major playwrights in the history of Johannes Vockerat in Lonely Lives . The theatre. Their dramas Rosmersholm (1886) two plays have several elements in and Lonely Lives (1891) deal with the common, proving a clear Ibsen’s influence individual’s struggle between two worlds, on Hauptmann. In what follows, we will the Christian moral tradition and a newly focus on some of the compositional born world of spiritual freedom, aspects. unrestricted by ethical and religious rules, that implies his/her autonomy and ability 2. Structure of the Dramas to create his/her own moral universe. At the time when he wrote Rosmersholm , Both Ibsen and Hauptmann render the Ibsen was in exile in Germany where a so- negative moral consequences of the called ‘Ibsen school’ was formed. conservative society on the human Hauptmann was here among his disciples personality in search of a new kind of especially with a view to writing freedom, the spiritual one. They both deal naturalistic dramas. with the conflict between society and The second half of the 19 th century personal will, a will to ennoble or represents a time of crisis of the value enlighten other people. Their characters are system in Norway and Germany, and of people trying to define new values. ∗ Faculty of Letters, “Al. I. Cuza” University of Iaşi. 64 Bulletin of the Transilvania University of Bra şov • Vol. 3 (52) – 2010 • Series IV In Lonely Lives we re-read Rosmersholm , ideologies - old and new, a love polyphony but in a synthetic form, organised in a (love seen as simple friendship, as intense chronological order. Rosmersholm is an friendship, carnal love, brotherly love, analytical drama, with return to the past. platonic love and spiritual marriage, love Ibsen’s triangle Johannes Rosmer - sealed through a final separation), the child Rebekka West - Beate Rosmer becomes (existent or not) as a key element, the Hauptmann’s triangle Johannes Vockerat - characters’ transformation, the Anna Mahr - Käthe Vockerat. manifestations of will (weak or broken by A man with the same name (Johannes), a the spirit of the place). learned person, is awakened to life from The title itself, Rosmersholm , refers to a the isolation of the past. He is willing to defender of conservatism, while Lonely break free, but is kept prisoner between Lives suggests the absence of real two women. One of them (the wife) is communication, the impossibility of weak and related to the past, while the overcoming traditionalism and hence the other one (an outsider) is strong, looking to appearance of loneliness. the future. The man feels compatible in terms of ideals with this outsider, but the 3. Thematic Universe two can become a whole only beyond death or in their souls. The central theme of both dramas is the The hope of becoming a whole remains will to revolutionize the human spirit, to however ambiguous in the texts. It is set it free from the constraints of assumed that Rosmer and Rebekka threw conservatism and render it ennobled to themselves over the bridge, that Anna left genuine liberalism. by train and that Johannes fell into the Rosmer’s entire development is in lake. Each reader is invited to create accordance with this theme. From a pastor his/her own ending. he becomes an atheist, and this decision Actually, ambiguity in both plays comes confuses both the conservatory and the from the polyphony of the dramatic form: liberal groups in the community in which there are different voices, different he lives. The same orientation is evoked by perspectives, and different interpretations Johannes Vockerat, who is an admirer of of the ending. Death may be interpreted as Darwin and Häckel and an atheistic a victory (freedom is gained) or as a failure philosopher. In his case only the respect (Beate Rosmer and Käthe Vockerat take for his parents makes him choose certain revenge on their husbands). The inner compromises, such as his son’s traditional conflicts referring to the fight for freedom baptism. do not take society into account, relying on The struggle between the old and the an individual and not a universal dream. new, the dilemma between respect for Regarding the place of the action, the traditional beliefs and the family’s feelings authors present an isolated old-fashioned on the one hand and the progressive drawing-room at Rosmersholm, and thinking and desire for truth in dealing respectively a living-room of a bourgeois with old convictions on the other hand are house at Friedrichshagen. in fact variations of the above-mentioned Other common elements in both dramas central theme. include the presentiment of death (by the Although the two main male characters frequent recurrence of the white horses and are accompanied by two strong women and of water - waterfall, lake), the conflict emancipated partners for dialogue, their between generations as carriers of opposite wish to revolutionize and ennoble the C. LEON: Compositional Aspects of Rosmersholm by H. Ibsen and Lonely Lives by G. Hauptmann 65 human spirit is not fulfilled. The old life is defined as black or white, good or morality, by its rigidity, holds back one’s bad, right or wrong, strong or weak. There conscience in its struggle for liberation. is no middle way, no compromise. Their The drawing-room at Rosmersholm is life is simple; they work and pray, leaving constantly supervised by the ancestors’ everything in God’s hands. The life they severe looks coming down from the live and preach is marked by routine, portraits on the walls. which the dreamer Johannes, the By their influence on the community misunderstood scientist, the searcher for Rosmer’s predecessors (pastors, officers truth, cannot accept. He feels just like and officials) had also earned an important Rebekka, crushed under the weight of position in the family history. conservatism. This is the reason for his Rosmersholm had always been a place of revolt against the same morals hampering discipline and order, of opinions accepted freedom of thought and action. by the most respectable people of the Anna Mahr, a sociable, intelligent society. Russian girl, appears as a breath of oxygen The entire region bears the mark of in this traditionalist environment. She Rosmersholm. But its atmosphere and gives the joy of life, of dreaming and mentality annihilates one’s will and action back to Johannes. His life receives audacity. Thus Rosmer, the last descendant a meaning, that of replacing the old value of the ancient noble family, is himself a system with a new one, having its sources weak man (especially at the beginning of in nature and philosophy. the play). Also Rebekka, the femme fatale, The new system of values involves a full of ideals, ready to sacrifice anything selfless attitude that the young man also including herself for Rosmer’s liberation puts into practice towards the dear ones from a Christian moral confinement that such as Käthe, whom he realizes that he suffocates him, gradually becomes weaker loves and towards which he changes his under the destructive pressure of behaviour. Johannes and Anna mutually conservatism. This is consequently the support each other, but do not become a effect of the traditional morality on the whole; their relationship remains one of bold spirits. friendship. Their sacrifice takes different Conservatism becomes a danger in one’s forms: on the one hand, Anna leaves way to freedom, to changes, to the new. Johannes giving in to the old morality Unfortunately, its opponent, liberalism, under the Vockerats’ pressure, and returns was connected at that time to opportunism to her studies. On the other hand, the and for a personality troubled with ideals young dreamer does not have the power to that can be fulfilled only in genuine overcome this failure and cannot go back freedom neither way is worthy. Rosmer to his old routine. He will find his and Rebekka will succeed in reaching this liberation in suicide. freedom together, after they become a The predecessors’ voice present whole. Liberation will be gained only after through symbols (white horses, white sharing a new type of morality, based on shawl), through the social customs or the love, sacrifice and altruism. family involvement is a recurrent theme, In Hauptmann’s play the old Christian which constantly intertwines with the bourgeois morality is embodied by the main theme. People cannot get rid of Vockerat parents, respectable persons, tradition, of the ancestral voice, as much devout Catholics, very rigid when it comes as they dream of change and to breaking traditions. Everything in their emancipation. 66 Bulletin of the Transilvania University of Bra şov • Vol. 3 (52) – 2010 • Series IV Love in its various forms, of nature, of North, Rebekka makes use of all means to self and of the partner is another important take roots at Rosmersholm: she wins Beate theme common to the two plays.
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