First of all, it is necessary for us to know the condition of realism dramas before trying to comment or criticize them.Basically, realism dramas are not different in many ways compared to dramas today.Until she learns that Captain Alving was her father, Regine has a positive, upbeat outlook on life. The obvious reasons seem hopelessly inadequate: her mother conceived her out of wedlock; she has been brought up as a maid rather than a chamberlain's daughter; her step father and mother had long deceived her; or marriage with terminally-ill Oswald, her bother, is impossible now. The truth of Mrs Alving's life now lies naked in the broad sunlight. I expect the weight of evidence will bear heavily on the question of paternity.
First of all, it is necessary for us to know the condition of realism dramas before trying to comment or criticize them.
She reveals to her spiritual advisor, Pastor Manders, that she has hidden the evils of her marriage, and has built the orphanage to deplete her husband's wealth so that their son, Oswald, might not inherit anything from him.
Pastor Manders had previously advised her to return to her husband despite his philandering, and she followed his advice in the belief that her love for her husband would eventually reform him.
Regine loses hope and will drown like her father before her. Everything will be burned up; nothing will be left that is in memory of my father. (REGINA looks at him in alarm.) If all this isn't bad enough, the righteous Mrs Alving has one last and terrible burden to bear. The ghosts of belief and prejudice continue to haunt Mrs Alving, now an enlightened and independent thinker.
Genesis ____Then the LORD rained upon Sodom and upon Gomorrah brimstone and fire from the LORD out of heaven; Finally fire and brimstone begins to fall as it did on those two 'cities of the plain': the orphanage is gone and Manders and Engstrand with it. She, like Abraham, is asked to sacrifice her only son, her one hope for the future. Her own prejudice had helped cripple her husband, dreadfully wound her son, Oswald, and hoodwink her maid, Regine.
Mrs Alving’s sterile subservience to duty drove the captain to syphilitic adventures and ultimate emptiness.
Looking for a better life, the young Mrs Alving flees to Pastor Manders who, like her, puts duty and propriety first, becoming hypocritical in middle age. She screams despairingly, not so much at the catatonic Oswald, as at the devastation she has wreaked on her family, and on her own life, by putting duty before joy and warmth.In the face of such political and economic conditions the Romanticist’s emphasis upon the ideal seemed both too vague and too impractical.Many came to argue that dreams must be abandoned for a systematic inquiry into actual condition and for solutions based upon discoverable facts. Like many of Ibsen's better-known plays, Ghosts is a scathing commentary on 19th-century morality.Helen Alving is about to dedicate an orphanage she has built in the memory of her dead husband, Captain Alving.If Oswald is mentally ill, is his mother responsible for a disorder ‘inherited’ from her?If his mental disorder is intractable, how could Regine have helped him, and why would calamity still hover, with her ultimately coming 'to the rescue at the last' with euthanasia by morphine'? What are we to make of the other homes in the play, the two memorials: the incinerated orphanage and finally Jacob Engstrand's "Chamberlain Alving's Home" for sailors? Here is where you find links to related content on this site or other sites, possibly including full books or essays about Henrik Ibsen written by other authors featured on this site. The drunkard Engstrand and his wife, Johanna, live a lie. The belief and prejudice of myopic society has fashioned the lives of each character in the play.On returning from Paris, Oswald is worn down by living in this joyless and wicked society. Long ago, the dampening effect of this prejudice broke the spirit Captain Alving and Pastor Manders, while still young men.We can even say that realism dramas are the pioneer of modern drama.By the mid-nineteenth century, the Romantic outlook had been modified considerably, for the belief in man’s idealistic nature had received many setbacks.