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Hedda Gabler (1890) THEME OF MARGINALITY IN SELECT PLAYS OF HENRIK IBSEN Submitted by: REEFAQAT HUSAIN Under the supervision of Dr. Rahatullah Khan (Associate Professor) DEPARTMENT OF ENGLISH ALIGARH MUSLIM UNIVERSITY, ALIGARH 2012 DEPARTMENT OF ENGLISH ALIGARH MUSLIM UNIVERSITY, ALIGARH-202002 Certificate This is to certify that Mr. Reefaqat Husain has worked for his Ph. D. thesis entitled Theme of Marginality in Select Plays of Henrik Ibsen under my supervision. This thesis is a bonafide work of the researcher and has not been submitted for the award of any degree at any other University. In my opinion this research work is of the expected standard. I, therefore, recommend it for submission for the award of the degree of Doctor of Philosophy in English. 26 Dec. 2012 Dr. Rahatullah Khan (Associate Professor) Acknowledgements By the Grace of Almighty Allah the long awaited auspicious day has come when I must place on record my deep and sincerest gratitude to my Rev. Supervisor Dr. Rahatullah Khan whose guidance, motivation, painstaking efforts and incessant interest has enabled me to accomplish this study. My special thanks are due to Professor S. N. Zeba (Ex. Chairman, Department of English, AMU, Aligarh) and Professor Asif Shuja (Chairman, Department of English, AMU, Aligarh) for their co-operation and timely help which was always available to me. I don’t have words which could express my deep sense of gratitude to my parents for their blessings which enabled me to reach this academic accomplishment. I am also indebted to my wife Roshan Ara, little daughter Zainab Ara (Kashish), my niece Nisha, Aksha, Rahemeen, Ayesha and my nephew Mohd Danish for their well-wishes. I must acknowledge the affectionate help and support I received from my brothers Mr. Sharafat Husain and Mr. Riyasat Husain who undertook all responsibilities of my family during my absence for doing this research work. I must acknowledge the inspiration, encouragement and co-operation extended to me by my friends Dr. Abdul Salam, Abdul Maobood, Md Saquib Abrar, Dr. Mohd Shareef, Dr. Mohd Kaish and Abu Moazzam at every step during the completion of this study. i Last but not the least, I must thank the staff of the Maulana Azad Library, AMU, Aligarh, and the staff of the office and the Seminar Library of the Department of English, AMU, Aligarh, for their co-operation and timely help. 26 Dec. 2012 Reefaqat Husain ii 5 CONTENTS Page No. Acknowledgements i-ii Chapter I Introduction 1-38 Chapter II Gender-Based Marginality (Suppression and Subjugation of Women) 39-83 Chapter III Gender-Based Marginality (Emerging Image of Women) 84-121 Chapter IV Socio-Political Marginality 122-151 Chapter V Economic-Marginality 152-181 Chapter VI Other Forms of Marginality 182-204 Chapter VII Conclusion 205-214 Bibliography 215-221 Abstract Henrik Ibsen (1828-1906), a Norwegian dramatist of the 19th century, is acclaimed, by the common consent of diverse critics, to be the pioneer of modern realistic drama which is generally considered to begin with the publication of his play A Doll’s House (1879). It is a landmark in the history of modern realistic drama. The present study has been divided into seven chapters. The first chapter is of introductory nature. It has been divided into two sections. The first section deals with a biographical cum litrerary background. All the important events of Ibsen’s life along with a detailed account of literary events and figures, who had formative influences on Ibsen as a playwright, have been presented here. While in the second section an attempt has been made to discuss and define the concept of marginality. The second chapter Gender-Based Marginality (Suppression and Subjugation of Women) deals with the suppression and marginalisation of women characters in Ibsen’s three plays, namely Ghosts (1881), Rosmersholm (1886), and When We Dead Awaken (1899). The term gender-based marginality is defined as the state of exclusion from and deprivation of equal opportunities, equal participation both inside the house hold as well as in the public sphere, and equal social status and living standard of female sex in comparison to male sex who avails oneself of all opportunities and rights, and consequently dominates the society. The chapter also presents a brief survey of how women’s subordinate position has been represented in literature during the different periods upto Ibsen. Mrs. Alving, the protagonist of the play Ghost, is forced by her parents, against her consent, to marry a man whom she found to be dissolute and debouche man who pushed her to a very abject situation. The whole play is the depiction of Mrs. Alving’s struggle for the happiness in the face of insurmountable and malignant forces of the patriarchal system that thwarts her efforts at every step. She appears to be a pygmy and helpless in the face of these giant forces. The next play Rosmersholm deals with the wilful, independent and free-thinking Rebecca who seems initially to be an incarnation of the new womanhood. But by the end of the play, she is infected by the patriarchal views of Rosmer who is deeply rooted in his long-train of patriarchal traditions for which Rosmersholm is known and is forced to put her lively life at his disposal. She 1 now appears to be an embodiment of the old ideals of female quality of self-sacrifice. Thus the play deals with the individual efforts of Rebecca for her emancipation from the constricting factors of the society and her eventful helplessness and frustration in defeat. The play When We Dead Awaken is the delineation of the annihilation of the precious lives of both the female characters, Irene and Maia, by a male artist, Arnold Rubek, who in her blind pursuance of his vocational idealism, has raked the charming, young and graceful body of Irene for his art and put the life of his wife, Maia, into boredom and uselessness. All the female protagonists Mrs. Alving (Ghosts), Rebecca West (Rosmersholm) and Irene (When We Dead Awaken), despite their best efforts for emancipation, fail and get nothing except frustration or tragic end of their life in the process. The third chapter Gender-Based Marginality (Emerging Image of Women) is about the marginalisation of women. It deals with their struggle for emancipation and their ultimate emergence from thier marginalzed conditions. Here also three plays have been selected for study. They are A Doll’s House (1879), The Lady from the Sea (1888) and Hedda Gabler (1890). Besides presenting women’s struggle for their emancipation to come out of their marginalised condition, these plays specifically highlight the element of messianic consciousness in the female protagonists_____Nora Helmer (A Doll’s House), Ellida Wangel (The Lady from the Sea) and Hedda Gabler (Hedda Gabler). When Nora Helmer realises that her life in her husband’s house is unbearable, she leaves her husband and children behind in search of her self identity. But Ellida Wangel does not desert her husband, children and home. She stays back with her husband forever. But her decision to live with him is her own without any compulsion. Hedda Gabler also, like Nora and Ellida, takes her decision by her own free will and, instead of bowing before a man, Judge Back who wants to exploit her sexually, breaks all the shackles of constraints by committing suicide in a manly manner. Torvald Helmer (A Doll’s House), Dr. Wangel (The Lady from the Sea) and Tesman (Hedda Gabler), the male couneterparts of these female characters, are the products of patriarchal system of society. They tried to keep these females in a subordinate position but they struggled for their independence because of the messianic consciuosness in them. They ultimately succeed to lead a free life of their own. The fourth chapeter Socio-Political Marginality deals with the politically marginalized characters in Ibsen’s plays The League of Youth (1869) and An Enemy of the People (1882). 2 The politically marginalised people do not share the equal rights, powers and opportunities in the legal and political system, in comparison with those who enjoy all political powers and opportunities. Stensgard, an ambitious lawyer in The League of Youth, comes from a poor family of a rural area to the Baths, a town, to make his career in politics but the more experienced and currupt politicians; Doctor Fieldbo, a physician at the Chamberlain’s works, Mons Monsen, of Stonelee, Bastian Monsen, his son, Ringdal, the manager of the iron-works, Anders Lundestad, a landowner, and Daniel Heire, all make fool of him and force him to leave the town all alone. Dr. Stockmann, the protagonist of the play An Enemy of the People, is stranded in the hypocritical and corrupt political system. Like Stensgard he is also left alone, isolated and completely marginaliged in the end. Thus both Stensgard and Dr. Stockmann had aspired to rise from their deplorable condition but their hopes are ultimately thwarted and they are crushed and suppressed by the dominant political stratum. The fifth chapter Economic-Marginality takes for scritiny two plays The Pillars of Society (1877) and The Wild Duck (1884). They reflect problematic issues of economically marginalized people who, despite their struggle, are unable to have access to economic resources for essential and vital needs which are required to lead a normal life. Hence they find themselves isolated and excluded from the normal social life desired by all, and are unable to maintain the average social standard. In the play The Pillars of Society, Aune, foreman shipbuilder in Consul Bernick’s Company and Krap, a clerk, both representing the proletariat, Lona Hessel and her younger brother Johan Tonnesen are all exploited and pushed to the periphery of society by the rich Consul Bernick and his business partners Rummel, Vigeland and Sandstad, who represent the capitalistic class, and dominate the entire commercial resources of the town.
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