Student Scholarship
Document Type
Research Paper
Abstract
This paper explores the dramatic evolution of Henrik Ibsen, tracing his development from nineteenth-century romanticism to the realism that defined modern drama. By analyzing ten representative plays—ranging from Lady Inger of Ostrat (1855) to When We Dead Awaken (1899)—the study examines how Ibsen’s work transitioned through early historical romanticism, a middle period of social criticism, and a final phase of psychological symbolism. The author utilizes the six elements of drama defined in Aristotle's Poetics—plot, character, thought, diction, music, and spectacle—as a framework to compare these distinct periods of Ibsen’s career.
The analysis of plot reveals a move away from the contrived intrigue of the Scribean well-made play toward a Greco-Ibsenian structure where the crisis occurs early and the action develops naturally from character. In terms of character, the paper highlights Ibsen’s shift from stock types to deeply realized individuals, with particular focus on his strong-willed women and his critical portrayal of the clergy as representatives of societal convention. The unifying theme throughout these works is the struggle for individuality against restrictive social norms.
The study also addresses the challenges of analyzing Ibsen through translations, comparing the literary approach of William Archer with the stage-oriented translations of Eva Le Galliene. Ultimately, the paper argues that Ibsen’s transition was an evolutionary process rather than a total revolt, showing that seeds of realism were present even in his earliest romantic works. This evolution not only revolutionized dramatic literature but also demanded a new, more truthful style of acting to convey the spiritual depth of Ibsen's characters.
Research Highlights
The Problem: The researcher examines the structural and thematic transition of Henrik Ibsen’s dramatic works from 19th-century romanticism to modern social realism.
The Method: The study analyzes ten representative plays, including Lady Inger of Ostrat (1855) and When We Dead Awaken (1899), using the six Aristotelian components of drama—plot, character, thought, diction, music, and spectacle—as a comparative framework.
Qualitative Finding: Ibsen evolved from using Scribean "well-made" play formulas and contrived intrigue to a Greco-Ibsenian structure where plot develops naturally from character and retrospective action; his characterization shifted from stock romantic types to real human beings and eventually toward symbolic surrealism; the central unifying theme throughout his works is the supremacy of individual self-realization over restrictive social conventions.
Publication Date
11-1960
Recommended Citation
Cox, Kenneth, "The Evolution of Ibenism" (1960). Student Scholarship. 179.
https://digitalcommons.lindenwood.edu/student-research-papers/179
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This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License
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