The following passage is an excerpt from Ghosts, a play by Henrik Ibsen, produced in 1881. Read the passage carefully. Then write a well-organized essay in which you analyze how the playwright reveals his values with regard to the nature of the society through symbolic characters. Your essay should include an introduction, at least three body paragraphs, and a conclusion. Use direct quotations of the passage in your essay. Suggested time - 60 minutes
OSWALD. My stay is indefinite, sir.-But, ah! It is good to be at home!
MRS. ALVING. [Beaming.] Yes, isn't it, dear?
MANDERS. [Looking sympathetically at him.] You went out into the world early, my dear Oswald.
OSWALD. I did. I sometimes wonder whether it wasn't too early.
MRS. ALVING. Oh, not at all. A healthy lad is all the better for it; especially when he's an only child. He oughtn't to hang on at home with his mother and father, and get spoilt.
MANDERS. That is a very disputable point, Mrs. Alving. A child's proper place is, and must be, the home of his fathers.
OSWALD. There I quite agree with you, Pastor Manders.
MANDERS. Only look at your own son--there is no reason why we should not say it in his presence--what has the consequence been for him? He is six or seven and twenty, and has never had the opportunity of learning what a well-ordered home really is.
OSWALD. I beg your pardon, Pastor; there you're quite mistaken.
MANDERS. Indeed? I thought you had lived almost exclusively in artistic circles.
OSWALD. So I have.
MANDERS. And chiefly among the younger artists?
OSWALD. Yes, certainly.
MANDERS. But I thought few of those young fellows could afford to set up house and support a family.
OSWALD. There are many who cannot afford to marry, sir.
MANDERS. Yes, that is just what I say.
OSWALD. But they may have a home for all that. And several of them have, as a matter of fact; and very pleasant, well-ordered homes they are, too.
[MRS. ALVING follows with breathless interest; nods, but says nothing.]
MANDERS. But I'm not talking of bachelors' quarters. By a "home" I understand the home of a family, where a man lives with his wife and children.
OSWALD. Yes; or with his children and his children's mother.
MANDERS. [Starts; clasps his hands.] But, good heavens--
OSWALD. Well?
MANDERS. Lives with--his children's mother!
OSWALD. Yes. Would you have him turn his children's mother out of doors?
MANDERS. Then it is illicit relations you are talking of! Irregular marriages, as people call them!
OSWALD. I have never noticed anything particularly irregular about the life these people lead.
MANDERS. But how is it possible that a--a young man or young woman with any decency of feeling can endure to live in that way?--in the eyes of all the world!
OSWALD. What are they to do? A poor young artist--a poor girl-- marriage costs a great deal. What are they to do?
MANDERS. What are they to do? Let me tell you, Mr. Alving, what they ought to do. They ought to exercise self-restraint from the first; that is what they ought to do.
OSWALD. That doctrine will scarcely go down with warm-blooded young people who love each other.
MRS. ALVING. No, scarcely!
MANDERS. [Continuing.] How can the authorities tolerate such things! Allow them to go on in the light of day! [Confronting MRS. ALVING.] Had I not cause to be deeply concerned about your son? In circles where open immorality prevails, and has even a sort of recognized position--!
OSWALD. Let me tell you, sir, that I have been in the habit of spending nearly all my Sundays in one or two such irregular homes--
MANDERS. Sunday of all days!
OSWALD. Isn't that the day to enjoy one's self? Well, never have I heard an offensive word, and still less have I witnessed anything that could be called immoral. No; do you know when and where I have come across immorality in artistic circles?
MANDERS. No, thank heaven, I don't!
OSWALD. Well, then, allow me to inform you. I have met with it when one or other of our pattern husbands and fathers has come to Paris to have a look round on his own account, and has done the artists the honour of visiting their humble haunts. They knew what was what. These gentlemen could tell us all about places and things we had never dreamt of.
MANDERS. What! Do you mean to say that respectable men from home here would--?
OSWALD. Have you never heard these respectable men, when they got home again, talking about the way in which immorality runs rampant abroad?
MANDERS. Yes, no doubt--
MRS. ALVING. I have too.
OSWALD. Well, you may take their word for it. They know what they are talking about! [Presses his hands to his head.] Oh! That that great, free, glorious life out there should be defiled in such a way!
MRS. ALVING. You mustn't get excited, Oswald. It's not good for you.
OSWALD. Yes; you're quite right, mother. It's bad for me, I know. You see, I'm wretchedly worn out. I shall go for a little turn before dinner. Excuse me, Pastor: I know you can't take my point of view; but I couldn't help speaking out. [He goes out by the second door to the right.]
OSWALD. My stay is indefinite, sir.-But, ah! It is good to be at home!
MRS. ALVING. [Beaming.] Yes, isn't it, dear?
MANDERS. [Looking sympathetically at him.] You went out into the world early, my dear Oswald.
OSWALD. I did. I sometimes wonder whether it wasn't too early.
MRS. ALVING. Oh, not at all. A healthy lad is all the better for it; especially when he's an only child. He oughtn't to hang on at home with his mother and father, and get spoilt.
MANDERS. That is a very disputable point, Mrs. Alving. A child's proper place is, and must be, the home of his fathers.
OSWALD. There I quite agree with you, Pastor Manders.
MANDERS. Only look at your own son--there is no reason why we should not say it in his presence--what has the consequence been for him? He is six or seven and twenty, and has never had the opportunity of learning what a well-ordered home really is.
OSWALD. I beg your pardon, Pastor; there you're quite mistaken.
MANDERS. Indeed? I thought you had lived almost exclusively in artistic circles.
OSWALD. So I have.
MANDERS. And chiefly among the younger artists?
OSWALD. Yes, certainly.
MANDERS. But I thought few of those young fellows could afford to set up house and support a family.
OSWALD. There are many who cannot afford to marry, sir.
MANDERS. Yes, that is just what I say.
OSWALD. But they may have a home for all that. And several of them have, as a matter of fact; and very pleasant, well-ordered homes they are, too.
[MRS. ALVING follows with breathless interest; nods, but says nothing.]
MANDERS. But I'm not talking of bachelors' quarters. By a "home" I understand the home of a family, where a man lives with his wife and children.
OSWALD. Yes; or with his children and his children's mother.
MANDERS. [Starts; clasps his hands.] But, good heavens--
OSWALD. Well?
MANDERS. Lives with--his children's mother!
OSWALD. Yes. Would you have him turn his children's mother out of doors?
MANDERS. Then it is illicit relations you are talking of! Irregular marriages, as people call them!
OSWALD. I have never noticed anything particularly irregular about the life these people lead.
MANDERS. But how is it possible that a--a young man or young woman with any decency of feeling can endure to live in that way?--in the eyes of all the world!
OSWALD. What are they to do? A poor young artist--a poor girl-- marriage costs a great deal. What are they to do?
MANDERS. What are they to do? Let me tell you, Mr. Alving, what they ought to do. They ought to exercise self-restraint from the first; that is what they ought to do.
OSWALD. That doctrine will scarcely go down with warm-blooded young people who love each other.
MRS. ALVING. No, scarcely!
MANDERS. [Continuing.] How can the authorities tolerate such things! Allow them to go on in the light of day! [Confronting MRS. ALVING.] Had I not cause to be deeply concerned about your son? In circles where open immorality prevails, and has even a sort of recognized position--!
OSWALD. Let me tell you, sir, that I have been in the habit of spending nearly all my Sundays in one or two such irregular homes--
MANDERS. Sunday of all days!
OSWALD. Isn't that the day to enjoy one's self? Well, never have I heard an offensive word, and still less have I witnessed anything that could be called immoral. No; do you know when and where I have come across immorality in artistic circles?
MANDERS. No, thank heaven, I don't!
OSWALD. Well, then, allow me to inform you. I have met with it when one or other of our pattern husbands and fathers has come to Paris to have a look round on his own account, and has done the artists the honour of visiting their humble haunts. They knew what was what. These gentlemen could tell us all about places and things we had never dreamt of.
MANDERS. What! Do you mean to say that respectable men from home here would--?
OSWALD. Have you never heard these respectable men, when they got home again, talking about the way in which immorality runs rampant abroad?
MANDERS. Yes, no doubt--
MRS. ALVING. I have too.
OSWALD. Well, you may take their word for it. They know what they are talking about! [Presses his hands to his head.] Oh! That that great, free, glorious life out there should be defiled in such a way!
MRS. ALVING. You mustn't get excited, Oswald. It's not good for you.
OSWALD. Yes; you're quite right, mother. It's bad for me, I know. You see, I'm wretchedly worn out. I shall go for a little turn before dinner. Excuse me, Pastor: I know you can't take my point of view; but I couldn't help speaking out. [He goes out by the second door to the right.]
Scoring Guide for Prompt on Ghosts by Henrik Ibsen
General Information: The score that you are assigned will reflect the quality of the essay as a whole—its content, its style, its mechanics. I reward the writers for what they do well. The score for an exceptionally well-written essay may be raised a half step above the otherwise appropriate score (i.e. from an A- to an A). In no case may a poorly written essay be scored higher than a D.
A
These essays offer a well-focused and persuasive analysis of the assigned prompt. Using apt and specific textual support, these essays fully explore all three characters, analyzing their symbolic qualities and demonstrating what it contributes to the meaning of the work as a whole. Although not without flaws, these essays make a strong case for their interpretation and discuss the literary work with significant insight and understanding. Generally, essays scored an A reveal more sophisticated analysis and more effective control of language than do essays scored an A-.
B
These essays offer a reasonable analysis of the assigned prompt, and what it contributes to the meaning of the work as a whole. They may only zero in on one or two of the characters, but they clearly define the symbolic significance. Therefore, these essays show insight and understanding, but the analysis is less thorough, less perceptive, and/or less specific in supporting detail than that of the A essays. Generally, essays scored a B+ present better developed analysis and more consistent command of the elements of effective composition than do essays scored a B or B-.
C
These essays respond to the assigned task with a plausible reading, but they tend to be superficial or underdeveloped in analysis. Perhaps they describe the characters, but do not actually define their symbolic significance. They may discuss characterization and meaning, but only with regards to the plot. Or they may describe the symbolic significance, but never actually explain why it is significant or bother to walk us through the rest of the passage. As a result they may often rely upon plot summary that contains some analysis, implicit or explicit. Although the writers attempt to discuss the assigned prompt and how the relationship contributes to the work as a whole, they may demonstrate a rather simplistic understanding of the work and/or the question at hand. The essays demonstrate adequate control of language, but they may lack effective organization and may be marred by surface errors.
D
These lower-half essays offer a less than thorough understanding of the task or a less than adequate treatment of it. They reflect an incomplete or over simplified understanding of the work, or they may fail to address the assigned prompt directly. They may not address or develop a response to how it contributes to the work as a whole, or they may rely on plot summary alone. Their assertions may be unsupported or even irrelevant. Often wordy, elliptical, or repetitious, these essays may lack control over the elements of composition. Essays scored a D- may contain significant misreading and demonstrate inept writing.
F
Although these essays make some attempt to respond to the prompt, they compound the weaknesses of the papers in the D range. Often, they are unacceptably brief or are incoherent in presenting ideas. They may be poorly written on several counts and contain distracting errors in grammar and mechanics. The writer’s remarks are presented with little clarity, organization, or supporting evidence.
Henrik Ibsen enjoys toying with his audience and their values. In his play Ghosts, he uses characters like Pastor Manders, Mrs. Alving, and Oswald to showcase his and his audience’s views.
ReplyDeletePastor Manders is used to give the older generation someone to speak through. Though he is presented as a symbol of the Church and the traditional values of society, Isben writes him as somewhat of a fool. Throughout the play, Pastor Manders makes decisions purely on what others may think of him afterwards, but for this scene specifically, it’s not that important. In this conversation between the three of them, Pastor Mandors states that a child should be raised with his parents, which makes sense overall. Even though Oswald agrees, they quickly end up in an argument because Oswald brings up that many of the men he knows have kids and live with their significant other, but aren’t married to each other.
MANDERS: But I'm not talking of bachelors' quarters. By a "home" I understand the home of a family, where a man lives with his wife and children.
OSWALD: Yes; or with his children and his children's mother.
MANDERS: [Starts; clasps his hands.] But, good heavens--
OSWALD: Well?
MANDERS: Lives with--his children's mother!
Pastor Manders is somewhat appalled by that sort of situation and doesn’t understand why they even thought of having children if they can’t even get married.
Which leads us to Oswald’s point of view. Oswald represents the younger, new generation, the generation that wants things to change for the better and for everyone to be more equal. He finds nothing wrong with the situation his friends have, understanding why they’re in that situation in the first place. While Pastor Manders is arguing that they shouldn’t of thought of having kids before marrying, Oswald is arguing that maybe the Church should make it that it’s free to get married, instead of putting up a wall of wealth that many can’t climb over.
MANDERS: But how is it possible that a--a young man or young woman with any decency of feeling can endure to live in that way?--in the eyes of all the world!
OSWALD: What are they to do? A poor young artist--a poor girl-- marriage costs a great deal. What are they to do?
MANDERS: What are they to do? Let me tell you, Mr. Alving, what they ought to do. They ought to exercise self-restraint from the first; that is what they ought to do.
OSWALD: That doctrine will scarcely go down with warm-blooded young people who love each other.
Pastor Manders carries on the argument with the fact that they must he foul-mouthed, rude, immoral, and must be bringing up their children in a poor environment. Oswald gets quite frustrated with this, continuously stating that his friends aren’t the ones that aren’t respectable, but the ones which the Pastor has married and are of high wealth that are the unrespectable ones.
DeleteOSWALD: Isn't that the day to enjoy one's self? Well, never have I heard an offensive word, and still less have I witnessed anything that could be called immoral. No; do you know when and where I have come across immorality in artistic circles?
MANDERS: No, thank heaven, I don't!
OSWALD: Well, then, allow me to inform you. I have met with it when one or other of our pattern husbands and fathers has come to Paris to have a look round on his own account, and has done the artists the honour of visiting their humble haunts. They knew what was what. These gentlemen could tell us all about places and things we had never dreamt of.
MANDERS: What! Do you mean to say that respectable men from home here would--?
OSWALD: Have you never heard these respectable men, when they got home again, talking about the way in which immorality runs rampant abroad?
While this whole long exchange is happening between Pastor Manders and Oswald, Mrs. Alving is silently standing to the side, watching and listening. Mrs. Alving is here to represent people like Oswald, people that want change and equality, but are too scared to speak up. She occasionally speaks up to agree with Oswald or calm him down, while not making herself a full target for Pastor Manders’.
OSWALD: But they may have a home for all that. And several of them have, as a matter of fact; and very pleasant, well-ordered homes they are, too.
[MRS. ALVING follows with breathless interest; nods, but says nothing.]
At the end of the scene, Oswald leaves frustrated and angry, leaving Mrs. Alving and Pastor Mandors. Throughout this scene, and the entire play, it’s quite obvious that Ibsen sides with the views of Oswald and Mrs. Alving, purposely going against the views of the majority of his audience, or Pastor Manders. As stated before, Ibsen seems to enjoy toying with his audience, making them feel like the odd ones out and the ones with the wrong opinion on things.
Ibsen reveals many societal issues regarding the barriers between differing generational thoughts and people who struggle to strip the ghosts from their past to make way for more progressive views. Ibsen chooses to use symbolic characters like Pastor Manders, Mrs. Alving, and Oswald to make many of these issues clear.
ReplyDeleteProgressive and traditional views always seem to clash in Ghosts, though they don’t differ too much from one another. We see exactly this when Pastor Manders begins to discuss what a typical household should look like with Oswald.
MANDERS: That is a very disputable point, Mrs. Alving. A child's proper place is, and must be, the home of his fathers.
OSWALD: There I quite agree with you, Pastor Manders.
We see both characters share similar beliefs on how children should be raised, showing similarities between their progressive and traditional viewpoints. The only time they begin to argue is when Manders brings in ghosts or these old traditional ideals from his past to tell Oswald why he is in the wrong.
MANDERS: Lives with--his children's mother!
OSWALD: Yes. Would you have him turn his children's mother out of doors?
MANDERS: Then it is illicit relations you are talking of! Irregular marriages, as people call them!
OSWALD: I have never noticed anything particularly irregular about the life these people lead.
MANDERS: But how is it possible that a--a young man or young woman with any decency of feeling can endure to live in that way?--in the eyes of all the world!
OSWALD: What are they to do? A poor young artist--a poor girl-- marriage costs a great deal. What are they to do?
MANDERS: What are they to do? Let me tell you, Mr. Alving, what they ought to do.
They ought to exercise self-restraint from the first; that is what they ought to do.
This conversation, even read today, makes Pastor Manders seem to be in the wrong. He is trying to argue that even though two people love each other and want to spend their lives together, because they don’t have enough money, they can’t get married to one another. We begin to understand how Ibsen is urging people to strip the ghosts from their pasts to understand more progressive values. Ibsen uses Oswald to challenge the many outdated societal views, whether those values be based on your economic value or marriage status
The other character that is made to be a symbolic demonstration of a societal issue is Mrs. Alving. She seems to be more related to the struggle that many wannabe progressivists deal with when trying to change their state of mind. Mrs. Alving shows progressive views more to the point of confirming someone else’s progressive views rather than expressing her own.
[MRS. ALVING follows with breathless interest; nods, but says nothing.]
In her conversation with Oswald and Manders, Mrs. Alving tends to agree more with the progressive views of Oswald but doesn’t engage in too much dialogue with them. In a societal sense, people’s progressiveness is halted by many of the ghosts from their pasts bringing traditional thoughts back into their heads. These ghosts are what make people fearful of speaking out. They are worried more about the backlash of their words or even just being proven wrong. This is Mrs. Alving and that is why she is the perfect character to demonstrate this societal issue. She wants to understand her son’s newfound ideas but is also struggling to get rid of the past ghosts from her childhood to fully agree with what he is saying.
The ghosts these characters deal with in their lives affect each of them in various ways and they are perfect symbols for what Henrik Ibsen is trying to display. Ibsen beautifully uses three different characters’ interactions with one another to illustrate three differing societal issues that are still relevant today.
John Marshall
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