At WERLE'S house. A richly and comfortably furnished study; bookcases and upholstered furniture; a writing−table, with papers and documents, in the centre of. The Wild Duck. Henrik Ibsen. First published in This edition derived from The Wild Duck; The League of Youth; Rosmersholm published by Boni and. The Wild Duck () (original Norwegian title: Vildanden) is by many considered Ibsen's finest work, and it is certainly the most complex. It tells the story of.
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Henrik Ibsen was an iconoclast. a smasher of lalse gods, ol cherished beliefs. To the ln The Wild Duck, Ibsen is the enemy of self-styled idealism. (Gregers). The place which The Wild Duck occupies in the evolution of Ibsen's thought individual, who goes about presenting 1 Henrik Ibsen: Bjornstjerne Bjbrnson. Book digitized by Google from the library of Harvard University and uploaded to the Internet Archive by user tpb.
His shot winged the duck, which dived to the bottom of the lake to drown itself by clinging to the seaweed. Werle's dog retrieved it though, and despite its wounds from the shot and the dog's teeth, the Ekdals had nursed the duck back to good health. Gregers decides to rent the spare room in the apartment. The next day, he begins to realize that there are more lies hanging over the Ekdals than Gina's affair with his father.
While talking to Hedvig, she explains that Hjalmar keeps her from school because of her eyesight, but he has no time to tutor her, leaving the girl to escape into imaginary worlds through pictures she sees in books. During their conversation, Gregers hears shots in the attic, and the family explains that Old Ekdal entertains himself by hunting rabbits and birds in the loft, and Hjalmar often joins in the hunts.
The activity helps Old Ekdal cling to his former life as a great hunter.
Hjalmar also speaks of his 'great invention', which he never specifies. It is related to photography, and he is certain that it will enable him to pay off his debts to Werle and finally make himself and his family completely independent. In order to work on his invention, he often needs to lie down on the couch and think about it.
Gregers insists that he cannot return and that he will tell Hjalmar the truth. After he leaves, Gregers asks Hjalmar to accompany him on a walk, where he reveals the truth about Gina's affair with his father. Upon returning home, Hjalmar is aloof from his wife and daughter. He demands to handle all future photography business by himself with no help from Gina.
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He also demands to manage the family's finances, which Gina has traditionally done. Gina begs him to reconsider, suggesting that with all his time consumed he will not be able to work on his invention. Hedvig adds that he also will not have time to spend in the loft with the wild duck. Embittered by Gregers' news, Hjalmar bristles at the suggestion and confesses that he would like to wring the duck's neck.
She confesses to it, but insists that she loves Hjalmar intensely. In the midst of the argument, Gregers returns, stunned to find that the couple are not overjoyed to be living without such a lie hanging over their heads.
Upon his death, the allowance will be transferred to Hedvig for the remainder of her life. He cannot stand the sight of Hedvig any longer and leaves the house to drink with Molvik and Relling.
Gregers tries to calm the distraught Hedvig by suggesting that she sacrifice the wild duck for her father's happiness. Hedvig is desperate to win her father's love back and agrees to have her grandfather shoot the duck in the morning. The next day, Relling arrives to tell the family that Hjalmar has stayed with him.
But inspired by the occultists who again photography which Ibsen was responding to in seized upon X-rays to legitimize their specula- his drama. In such a perspective The Wild Duck tive forms of photographing the unseen , he may be seen as a sarcastic comment on the sup- nevertheless was interested in rendering the posedly liberating power of any attempt at he- invisible. It could be the opening passage, studies that deal with the argued that Ibsen was in fact playing with these origins of the photographic discourse as seen in contradictions in The Wild Duck, by simulta- an international perspective.
Some of them regularly travelled back and forth across the Atlantic Ocean, and others even maintained photographic businesses in both countries at the same time. The same could be said of the voices that were heard in the later cen- tury photographic discourses in Norway, for example those of the internationally renowned modernists, Edvard Munch and Henrik Ibsen.
They took an interest in new inven- Norway tions such as the steam-engine or photography, E-mail: Sigrid. Lien ikk. Like people in early industrialized societies anywhere else in the Western world, they did in other words have a relatively wide orientation.
Roger Erlandsen, Pas nu paa. Frode Helland, Voldens blomster? Henrik Wergelands 2.
Helland, , pp. Janin quoted in Helland, , p. My translation.
Helland, , p. Litteratur, H. First published in Copenhagen Photog- Helland, ,. John L. James H. Warner Marien, op.
There was no reason for me to know that but it seems important. People might walk around on top of colder ground or warmer underneath their many feet with a different person to other person language dictionary. Gregers has a doorstop dictionary book. It has fine print that all mean truth, justice and the Your foot will have to be chopped off if he drops his word bombs on your life.
Or not, if your person to person dictionary has other words in it, more powerful words. If I should choose, I should like best to be a clever dog.
A dog! Involuntarily Oh, no! Yes, an amazingly clever dog; one that goes to the bottom after wild ducks when they dive and bite themselves fast in tangle and sea-weed, down among the ooze. A long time ago Gregers started carrying his big book with him.
He didn't open it. He slept with it, torched it in his heart and warmed himself. His father, Werle, disobeyed the law of the word. He slept with another under the house of his ailing wife.
The Wild Duck
He chased the housekeeper around the table until she gave in. Gregers wrote in his book so he would not forget that his father massively dicked over Lieutenant Ekdal. He takes his book with him to the works owned by his father and sells his silence to explode another day.
Mount I know better than you will erupt and it is a bitch to wipe "ideals" off all the mirrors in its kiss off lipstick. Son Ekdal, the man of the house Hialmar, is his ideal.
Man of his father's house, watching through a curtain for signs. Father and son live by big word rituals. Killing rabbits, felling trees, bring me a beer. His sleeping dog that lies, his experiment, is the younger Ekdal.
Hialmar speaks a lot about his contentment, this so-called great man as Gregers sees it. He is a photographer who talks big words about some invention. His wife, the housekeeper escaped from the prying mercy of a dirty old man, does all of the work. Her husband loses his leash if she uses the wrong word.To the idealist all this appears intolerable.
Frode Helland, Voldens blomster?
The Wild Duck: A Play in Five Acts
Janin quoted in Helland, , p. Roger Erlandsen, Pas nu paa. The Discourse of Photography in Nineteenth Century Norway Sigrid Lien During the last ten years new interest has raphy is thus not just a history of technological been directed towards the visual culture of the innovations — and its ontological identity is not nineteenth century.
Gregers has a doorstop dictionary book.
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