In The Wild Duck, there are three characters at fault for the events that transpire. the first, most direct character would be Gregers. He is the character that acts as a catalyst for the plot. He pushes Hjalmar into discovering the truth, which ultimately leads to the death of Hedvig. The second character is Gina, who is the one who spins the lies around Hjalmar that are ultimately torn down. The third, most insidious character Old Werle. He is the man who set a trap for Old Ekdal back when he was still wealthy. Due to this, it is not doubtful that he also placed Gina in Hjalmar's arms, in fear of a illegitimate child. Old Werle can be considered as the origin of the problems that surface in this play.
The truly innocent character of The Wild Duck is Hedvig. Hedvig is portrayed as the young innocent that happens to be caught up in the events of the play. The heat of the arguments avoid her, and she is left in the dark. She does not understand her father's sentiments when he tries to push her away after discovering the truth. "There's no one who knows her, and no one who knows where she's come from, either" (164).
The characters of Gregers, Gina, and Old Werle share equal blame for the events. Without at least one of these characters' actions, the events would not have transpired. However, other characters share the blame, too. Hjalmar's reaction to the events ultimately causes Hedvig to commit suicide, while Mrs. Sorby's delivery inadvertently brings light to the possibility that Hedvig is an illegitimate child.
In spite of this, none of the characters take the blame for the events, except for one. Hedvig is the only character that moves to take the blame. After Hjalmar's reactions, she believes that she is the cause of the problem that begins tearing the Ekdal family apart. With pushing from pushing from Gregers, she decides to shoot herself to solve this problem.
Thursday, April 26, 2012
Wednesday, April 25, 2012
Journal #2 - The Wild Duck
In The Wild Duck, Ibsen uses the motif of decay to parallel the decaying of eyesight and of the relationships in the Ekdal family. Hedvig's eyesight is in the process of decaying, and as her vision gets worse, so does the situation in the her family. Hjalmar describes Hedvig as "the greatest joy of our lives, and also our deepest sorrow, [...] there's the gravest imminent danger of her losing her sight" (147). This serves as a parallel to the sorrow that Hjalmar feels when he discovers the truth about his family. He sees his comfortable life decaying around him and the truth coming out, and feels great despair that his life has been a lie.
The motif of disease manifests itself in Gregers. Relling describes Gregers as having an "acute case of moralistic fever" (178). This "disease" is one that stems off of the guilt Gregers feels for the ruining of the Ekdal family. He feels that to redeem himself, he must strive for truth, and once he sees the lies that surround Hjalmar, he makes it a goal to "free" Hjalmar. However, his "disease" is actually the very thing that pushes the Ekdal family further into ruin and decay.
The motif of illness becomes prevalent in the conflict between Rellings and Gregers. Rellings tells Gregers that "most of the world is sick" (202). He explains that life is a complication for people's health, and that the only remedy for this is their life-lie. This lie a single general lie that encompasses their life, making their life worth living. This lie is present in Hjalmar, who finds his importance by believing that he is an inventor, and also in Molvik, who justifies his bad demeanor by coming to the realization that he is "demonic". Ibsen also shows what happens to a person when they break through these lies. He shows that the person, when confronted with the truth, becomes embittered, as in the case of Hjalmar, or undergoes a quest for redemption, as in the case of Gregers.
Through these three motifs, Ibsen portrays truth as what it really is: a bitter fruit.
The motif of disease manifests itself in Gregers. Relling describes Gregers as having an "acute case of moralistic fever" (178). This "disease" is one that stems off of the guilt Gregers feels for the ruining of the Ekdal family. He feels that to redeem himself, he must strive for truth, and once he sees the lies that surround Hjalmar, he makes it a goal to "free" Hjalmar. However, his "disease" is actually the very thing that pushes the Ekdal family further into ruin and decay.
The motif of illness becomes prevalent in the conflict between Rellings and Gregers. Rellings tells Gregers that "most of the world is sick" (202). He explains that life is a complication for people's health, and that the only remedy for this is their life-lie. This lie a single general lie that encompasses their life, making their life worth living. This lie is present in Hjalmar, who finds his importance by believing that he is an inventor, and also in Molvik, who justifies his bad demeanor by coming to the realization that he is "demonic". Ibsen also shows what happens to a person when they break through these lies. He shows that the person, when confronted with the truth, becomes embittered, as in the case of Hjalmar, or undergoes a quest for redemption, as in the case of Gregers.
Through these three motifs, Ibsen portrays truth as what it really is: a bitter fruit.
Tuesday, April 24, 2012
Journal #1 - The Wild Duck
Hjalmar Ekdal
He is an example of a character who has false conceptions of themselves, and also of others. He imagines himself as the ground on which his families stand. He believes that he is the "breadwinner" of the family and that without his support, the family would crumble. However, this description of himself is false, as he does not take care of all of the household matters, but rather, Gina does. She cooks and cleans and seems to be the primary photographer in their studio, constantly reminding Hjalmar of scheduled portraits while he stalls by going hunting in the loft. This shows that he also has a misconception of Gina, who he believes to be dependent on him. But Gina proves that she is independent, especially when it is shown that she is the one who tabs up the financial costs and gains of the household. She also is able to spin a web of deception that filters Hjalmar's view of his family.
Gregers Werle
Gregers is able to see the truth of the situation in The Wild Duck. He looks past Gina's web and sees the possibilities. Because of his morals and ideals, he tries to reveal the truth, tearing apart Gina's lies and not caring about the consequences. He sees himself as a hero, but most would consider that he is not. However, he is a man who believes that the means justifies the ends.
Relling
Relling a character that is able to see past all of the facades of the other characters. He sees Molvik's despair, Hjalmar's longing , and Gregers' heroism. These traits are hidden by facades that the characters put up, like Hjalmar's conception of independence. However, instead of meddle with these facades, Rellings decides to leave them be. He realizes that if the character's facades are taken down, then they will not have much to live for.
He is an example of a character who has false conceptions of themselves, and also of others. He imagines himself as the ground on which his families stand. He believes that he is the "breadwinner" of the family and that without his support, the family would crumble. However, this description of himself is false, as he does not take care of all of the household matters, but rather, Gina does. She cooks and cleans and seems to be the primary photographer in their studio, constantly reminding Hjalmar of scheduled portraits while he stalls by going hunting in the loft. This shows that he also has a misconception of Gina, who he believes to be dependent on him. But Gina proves that she is independent, especially when it is shown that she is the one who tabs up the financial costs and gains of the household. She also is able to spin a web of deception that filters Hjalmar's view of his family.
Gregers Werle
Gregers is able to see the truth of the situation in The Wild Duck. He looks past Gina's web and sees the possibilities. Because of his morals and ideals, he tries to reveal the truth, tearing apart Gina's lies and not caring about the consequences. He sees himself as a hero, but most would consider that he is not. However, he is a man who believes that the means justifies the ends.
Relling
Relling a character that is able to see past all of the facades of the other characters. He sees Molvik's despair, Hjalmar's longing , and Gregers' heroism. These traits are hidden by facades that the characters put up, like Hjalmar's conception of independence. However, instead of meddle with these facades, Rellings decides to leave them be. He realizes that if the character's facades are taken down, then they will not have much to live for.
Monday, April 9, 2012
Journal #3 - Brave New World
In the novel Brave New World, a motif that is prominent throughout the book is the fear of nature. In the last third of the book, this fear of nature is represented in the World Controller's words. He explains the disgust of nature and the past society's acceptance of it by saying "A man grows old [and] from which, as from an illness, he hopes to recover. Vain imaginings! That sickness is old age; and a horrible disease it is" (209). This quote shows is just one of the many examples of a fear of nature in this novel. However, in the words of the World Controller, nature is referenced differently than previous motifs. The World Controller speaks of nature as a way to control the population by manipulating their fear of the unknown. The One-State conditions people to be disgusted by nature and in doing so can control their habits and actions and also unite them. Huxley uses this motif to show that a common enemy unites and also binds.
The setting of the World Controller's office seems to reflect on how assuming and uniform the society is. While looking around his room, one would see "books in the shelves, at the sound-track rolls and reading machine bobbins in their numbered pigeon-holes [and] a massive volume bound in limp black leather-surrogate, and stamped with large golden T's" (197). This is a description of how any study in the One-State would appear, and the volume, which is actually a biography of the society's "deity" suggests the ignorance of the society, since many people are ignorant of who their "deity" actually is. With this, Huxley warns about how human choose to be mindless and enjoy being mindless.
The frenzied speech of John the Savage contrasts with the "normal" speech of the society. John is often aggravated due to his displacement in this society, and therefore yells at any people that are watching to leave him alone. He swears and speaks in an unorthodox way, even referring to God. When confronted by his ex-love, he yells "Strumpet! [...] Oh Linda forgive me. Forgive me, God. I'm bad. I'm wicked" (225). However, the society speaks in a calm manner, not easily aggravating, speaking to John with a cool tones that one would use to relax someone. Huxley uses this contrast in the language of these two forces in the novel to show that John could never fit into the society with his views on life, which color the way he speaks.
The setting of the World Controller's office seems to reflect on how assuming and uniform the society is. While looking around his room, one would see "books in the shelves, at the sound-track rolls and reading machine bobbins in their numbered pigeon-holes [and] a massive volume bound in limp black leather-surrogate, and stamped with large golden T's" (197). This is a description of how any study in the One-State would appear, and the volume, which is actually a biography of the society's "deity" suggests the ignorance of the society, since many people are ignorant of who their "deity" actually is. With this, Huxley warns about how human choose to be mindless and enjoy being mindless.
The frenzied speech of John the Savage contrasts with the "normal" speech of the society. John is often aggravated due to his displacement in this society, and therefore yells at any people that are watching to leave him alone. He swears and speaks in an unorthodox way, even referring to God. When confronted by his ex-love, he yells "Strumpet! [...] Oh Linda forgive me. Forgive me, God. I'm bad. I'm wicked" (225). However, the society speaks in a calm manner, not easily aggravating, speaking to John with a cool tones that one would use to relax someone. Huxley uses this contrast in the language of these two forces in the novel to show that John could never fit into the society with his views on life, which color the way he speaks.
Thursday, April 5, 2012
Journal #2 - Brave New World
In the novel, Bernard’s emotions are repeatedly expressed. Every time Bernard gets angry or annoyed, which is uncommon in this society, his partner Lenina offers him some soma, a drug with no side-effects that instantly makes you happy. He refuses, “preferring his anger” (100). This repeated expression of his negative emotions and his repeated refusal to let these emotions go show the struggle that Bernard has with the society. His unique viewpoint of the society due to his being an outsider allows him to question the principles of the society. He holds on to his emotions and refusing to take soma because if he gives in, then he loses his individuality. Huxley urges the reader to take the standpoint of Bernard, emphasizing the importance of individuality by having the reader encounter the same questions that Bernard does during his struggle against the uniform society he faces.
The second third of the novel takes place in a Savage Reservation, where the last few remnants of the old civilization still exist. This setting juxtaposes with the previous setting of the futuristic civilization. The differences between the two civilizations are highlighted, and this contrast helps identify the problems of the futuristic society that Huxley warns about. With this juxtaposition, he shows the road that civilization undergoes to reach the futuristic civilization. He also has the old civilization take the form of the Native Americans of the old. This representation of old society, symbolized by “the Savage”, dramatizes nature’s role in the futuristic civilization: as the great unknown that is to be feared.
I noticed that the language when speaking of the savages seems to become more frenzied, and this reflects the context that they are repeatedly put in. As John finds his mother sleeping with a man, he runs “across the room and stabbed [the man]—oh the blood!—stabbed again, as Popé heaved out of his sleep, lifted his hand to stab once more, but found his wrist caught, held and—oh!—twisted” (124). The savages are repeatedly implied as being violent and hateful by Linda and John’s stories. Their customs of the savages are strange and primitive, quick and terrible, and also dramatizes nature’s role in the futuristic civilization as something to be feared.
The second third of the novel takes place in a Savage Reservation, where the last few remnants of the old civilization still exist. This setting juxtaposes with the previous setting of the futuristic civilization. The differences between the two civilizations are highlighted, and this contrast helps identify the problems of the futuristic society that Huxley warns about. With this juxtaposition, he shows the road that civilization undergoes to reach the futuristic civilization. He also has the old civilization take the form of the Native Americans of the old. This representation of old society, symbolized by “the Savage”, dramatizes nature’s role in the futuristic civilization: as the great unknown that is to be feared.
I noticed that the language when speaking of the savages seems to become more frenzied, and this reflects the context that they are repeatedly put in. As John finds his mother sleeping with a man, he runs “across the room and stabbed [the man]—oh the blood!—stabbed again, as Popé heaved out of his sleep, lifted his hand to stab once more, but found his wrist caught, held and—oh!—twisted” (124). The savages are repeatedly implied as being violent and hateful by Linda and John’s stories. Their customs of the savages are strange and primitive, quick and terrible, and also dramatizes nature’s role in the futuristic civilization as something to be feared.
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