Ghosts Summary

Ghosts is a play written by Henrik Ibsen in 1881 and premiered in 1882. It belongs to the literary periods of Realism and Modernism and falls under the genres of drama, family drama, and realism. Set in the Alving estate in western Norway, the play reaches its climax when Mrs. Alving is on the verge of revealing the truth about her late husband's immoral past to their son, Oswald, but is interrupted by Regine, who notices that the orphanage is engulfed in flames. The main antagonist of the play is Captain Alving, whose actions and legacy haunt the characters.

Summary

A carpenter named Jacob Engstrand, who drinks heavily, visits his daughter Regine one morning while she is working as a maid for the wealthy Mrs. Alving. Engstrand has nearly finished his job working on an orphanage nearby, which Mrs. Alving is building in memory of her husband, who passed away ten years ago. The orphanage is set to open the next day, and since his work is complete, Engstrand plans to return home to a nearby town. When he arrives at the Alving household, Regine tells him to go away because she doesn’t want anyone to see her talking to him. She knows he drinks too much and does not want to be associated with him, as she hopes to be seen as a proper, sophisticated woman. Ignoring her request, Engstrand urges Regine to come home with him. He says he wants to open a hotel for sailors, and although it may sound like a bad place, he insists it will only serve captains and other important guests. However, he also says he needs Regine to be there to make the place feel welcoming, suggesting that the sailors will want to have fun in the evenings. Shocked and disgusted by the idea of leaving her job with the Alvings, Regine tells Engstrand to leave. Engstrand scolds her for not being a good daughter.

After Engstrand leaves, Pastor Manders arrives at the Alving household to talk to Mrs. Alving about the orphanage. Pastor Manders is responsible for handling the orphanage’s finances, and he tells Mrs. Alving that they should not buy insurance for the building. He argues that getting insurance would make people think they don’t trust God to protect the orphanage. Even though he admits that not getting insurance is risky, he believes it is the only right choice. Mrs. Alving agrees, though she mentions that there was a small fire at the orphanage the day before, caused by some wood shavings catching fire while Engstrand was working. This worries Manders, but he quickly moves on, saying that despite Engstrand’s drinking and carelessness, he is a good man at heart.

Mrs. Alving’s son, Oswald, has recently returned home for the first time in years after living in Paris. He is exhausted and unable to paint. While Mrs. Alving and Pastor Manders are talking, Oswald comes in and greets them. Pastor Manders is surprised to see him, as he hasn’t seen Oswald since he left home at a young age. Though the pastor greets him warmly, Oswald remains distant because he still resents Manders for judging him when he left home to become an artist. Trying to defend himself, Manders says he no longer believes that all young artists live immoral lives, but he still has concerns about their unconventional lifestyles. Oswald responds that he has never seen anything immoral among his artist friends. He explains that many of them have happy families even if they cannot afford to get married. This shocks Manders, who believes that people should be married if they live together. Oswald does not argue but politely leaves, allowing his mother and Manders to continue their conversation.

Once Oswald is gone, Pastor Manders tells Mrs. Alving that he has something important to say. He criticizes her for leaving her husband early in their marriage. Mrs. Alving had left Captain Alving because he was a heavy drinker and unfaithful. She had gone to Pastor Manders for advice, but he told her that a wife must stay with her husband no matter what. Now, Manders praises himself for convincing her to return because, in his eyes, Captain Alving eventually became a respectable man. He also blames Mrs. Alving for sending Oswald away as a child, saying that children should stay with their parents. He calls her selfish, accusing her of sending Oswald away because she didn’t want to handle the responsibilities of motherhood. Mrs. Alving listens to Manders but tells him he does not understand the situation. She reminds him that he stopped visiting her and Captain Alving soon after she returned, so everything he believes is based only on Captain Alving’s reputation. In reality, she reveals, Captain Alving never changed. He continued drinking and having affairs, but Mrs. Alving worked hard to make him appear respectable.

Manders is shocked to hear that Captain Alving lived such a wild life. But Mrs. Alving tells him something even worse. She once overheard Captain Alving making advances toward their maid, Johanna. Manders is horrified, unable to believe that Captain Alving would behave this way in his own house. Mrs. Alving says that this was the moment she decided to send Oswald away, fearing that his father would be a bad influence. She did not allow Oswald to come home until after Captain Alving had died. As she finishes telling this story, she and Manders suddenly hear Oswald making advances toward Regine in the next room. Mrs. Alving is deeply disturbed and tells Manders that she feels as though she is facing the ghosts of her past. She then reveals another secret: Regine is actually Captain Alving’s daughter.

After an awkward dinner, Mrs. Alving and Pastor Manders return to the living room. Mrs. Alving explains that Captain Alving gave Johanna a large sum of money to keep quiet about who had fathered her child. Johanna went to town and lied to Engstrand, saying a rich foreign sailor had impregnated her and paid her to keep quiet. She then convinced Engstrand to marry her and pretend to be Regine’s father. Now, Mrs. Alving and Manders are worried because Oswald seems interested in Regine, not knowing she is his half-sister. They try to think of a way to send Regine away but can’t decide where she should go. Just then, Engstrand arrives to tell them that the orphanage is complete and invites Manders to perform a blessing ceremony. Manders is angry at Engstrand for hiding the truth about Regine but soon forgives him after Engstrand convinces him he was only trying to help. Manders then agrees to bless the orphanage, and they leave together.

While Manders is gone, Oswald talks to his mother, saying he finds it hard to be happy at home. He explains that the lack of sunshine makes it impossible for him to paint, but he also has a bigger problem. He tells his mother that he is seriously ill. A doctor in Paris told him that he had inherited a disease from his father. The illness will eventually cause him to lose control of his body and mind. Oswald blames himself for his condition, even though he has tried to live responsibly. Mrs. Alving is devastated but promises to take care of him. Oswald then asks her if she would do anything for him, and she says she would. They order champagne, trying to lift Oswald’s spirits. Mrs. Alving is about to tell Regine the truth about her father when Manders enters, interrupting them.

Manders announces that he has blessed the orphanage. Before Mrs. Alving can reveal Regine’s parentage, Regine looks out the window and sees that the orphanage is on fire.

After the fire, Engstrand tells Manders that he saw him accidentally start the fire by tossing a candle into some wood shavings. Worried about his reputation, Manders panics. Engstrand offers to take the blame if Manders funds his hotel. Manders agrees and leaves with Engstrand. Once they are gone, Mrs. Alving tells Regine and Oswald the truth about Captain Alving. Horrified, Regine leaves, saying she will work at Engstrand’s hotel rather than take care of her sick half-brother.

Alone with his mother, Oswald tells her she must euthanize him if he becomes completely paralyzed. He shows her the morphine pills he has saved for this purpose. Mrs. Alving refuses at first but eventually agrees, though she hopes she will never have to do it. Suddenly, Oswald stares at the rising sun and says, "Mother, give me the sun." Then he goes limp. Mrs. Alving screams, holding the pills in her hand, unable to decide whether to end his suffering.

Background and Context

Henrik Ibsen’s Ghosts, written in 1881 and first performed in 1882, was highly controversial upon release due to its bold critique of societal morality, marriage, and inherited sins. It exposes the hypocrisy of 19th-century Norwegian society, especially regarding religious and moral expectations.

Themes

The Burden of the Past ("Ghosts")

The title Ghosts is symbolic, referring not to literal apparitions but to the lingering consequences of past sins and societal norms. Mrs. Alving describes "ghosts" as the old beliefs, traditions, and mistakes that haunt individuals and prevent them from breaking free. Her husband's debauchery, Oswald’s inherited disease, and Regine’s unfortunate parentage are all "ghosts" of past actions.

Hypocrisy of Social and Religious Morality

Pastor Manders represents the rigid moral expectations of society. He discourages insurance for the orphanage, insisting that faith should protect it—only for the orphanage to burn down, exposing the folly of blind religious idealism. His insistence that Mrs. Alving stay with her unfaithful husband reflects the repressive nature of societal norms, which prioritize appearances over personal well-being.

The Consequences of Inherited Sin

Oswald’s syphilis, a hereditary consequence of his father’s immoral lifestyle, embodies the idea that the sins of parents are passed down to their children. This echoes the Biblical notion of generational punishment but is also a stark commentary on the devastating effects of moral corruption.

Women’s Oppression and Social Expectations

Mrs. Alving is a tragic figure who attempted to escape a loveless marriage but was forced to conform. Her financial independence contrasts with Regine’s vulnerability, showing how women’s lives are controlled by social and economic forces. Regine’s future is bleak, and her departure signifies a tragic cycle—she is doomed to repeat the fate of her mother.

The Failure of the Ideal Family

The play subverts the traditional idea of family. Instead of love and guidance, Mrs. Alving tries to shield Oswald from the truth, but her secrecy leads to tragedy. The Alving household is not a place of warmth but of hidden suffering, demonstrating Ibsen’s critique of the conventional family structure.

Symbolism

The Orphanage

Built in memory of Captain Alving, the orphanage symbolizes Mrs. Alving’s attempt to erase her husband’s true legacy. However, its destruction by fire suggests that past sins cannot be covered up; the truth will inevitably emerge.

The Fire

The fire at the orphanage serves as both literal and metaphorical destruction. It exposes the fragility of illusions and highlights the failure of idealistic moral values.

"Mother, Give Me the Sun"

Oswald’s final words symbolize his desperation for light, warmth, and hope—things that have been absent in his life. The sun represents vitality, clarity, and escape from darkness, but tragically, he is beyond salvation.

Characters and Their Roles

Mrs. Alving – The Tragic Mother

A woman torn between social duty and personal truth, Mrs. Alving tries to protect Oswald from his father’s legacy but ultimately fails. She embodies Ibsen’s critique of women’s oppression and the hypocrisy of maintaining a false reputation.

Oswald Alving – The Doomed Son

Oswald is both physically and spiritually ill, representing the next generation suffering due to the sins of the past. His final plea for "the sun" shows his longing for life but also signals his tragic demise.

Pastor Manders – The Hypocritical Moralist

A man of rigid principles, Manders symbolizes the failure of religious authority. His blind faith and concern for appearances lead to disastrous consequences, making him a key figure in Ibsen’s critique of institutionalized morality.

Jacob Engstrand – The Manipulative Opportunist

Engstrand represents the lower-class opportunist who exploits religion and morality for his own benefit. His manipulation of Manders to fund the "hotel for sailors" (implied to be a brothel) underscores Ibsen’s view that morality is often a tool for personal gain.

Regine Engstrand – The Lost Child

Regine’s fate reflects the play’s tragic cycle. Raised to believe she could achieve respectability, she is ultimately left without options, mirroring her mother’s unfortunate circumstances.

Dramatic Techniques

Realism and Naturalism

Ibsen’s Ghosts is a work of realism, portraying everyday speech and domestic settings to expose hidden truths. The play also aligns with naturalism, showing characters trapped by their heredity and environment, unable to escape their fate.

Use of Retrospection

Much of the play’s conflict arises from past events, which are gradually revealed. This technique builds suspense and deepens the audience’s understanding of the characters’ suffering.

Tragic Irony

1.     Mrs. Alving believes she is protecting Oswald by sending him away, yet he returns with an inherited disease.

2.     Pastor Manders condemns insurance as a lack of faith, yet his carelessness causes the orphanage fire.

3.     Regine aspires to a better life, but she ultimately follows in her mother’s footsteps.

Symbolic Dialogue

Oswald’s plea, "Mother, give me the sun," is the most powerful line in the play, encapsulating his despair and the play’s central themes of illusion versus reality.

Thus, Ibsen’s Ghosts is a scathing critique of societal hypocrisy, inherited sin, and the tragic consequences of maintaining illusions. It exposes the hidden corruption beneath respectable facades and highlights the inescapable influence of the past. With its naturalistic style and profound themes, the play remains a timeless exploration of morality, free will, and the burdens of history.