Proceedings of the International Conference on Social Sciences
Year: 2024
DOI:
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From Marriage to the Individual: Examining Women’s Freedom in Ibsen’s Late Plays
Yundi Shen
ABSTRACT:
This paper provides an in-depth examination of Henrik Ibsen’s portrayal of women’s freedom in three of his major middle and late plays: A Doll’s House, The Lady from the Sea, and Hedda Gabler. Across these works, Ibsen explores the multifaceted nature of freedom through his heroines’ evolving consciousness and choices, drawing from existentialist philosophical influences, particularly the works of Kierkegaard, Sartre, and Schelling. The first chapter focuses on A Doll’s House, where Nora’s awakening represents an initial realization of self-consciousness within a restrictive social framework. In line with Kierkegaard’s existentialist philosophy, the play illustrates Nora’s pursuit of individual freedom by leaving her husband and children. However, the limitations of her freedom are evident as she remains constrained by the patriarchal society in which her actions are judged as irresponsible. Nora’s awakening marks a crucial step in Ibsen’s exploration of personal autonomy, but the play ends with her escape rather than a complete realization of freedom, aligning with Kierkegaard’s stages of self-discovery but stopping short of full responsibility for one’s choices. In the second chapter, The Lady from the Sea delves into a more complex conception of freedom through the character of Ellida, who must choose between her desire for freedom and her responsibilities within marriage. Unlike Nora, Ellida has always yearned for freedom, but her choice at the play’s conclusion – to remain in her marriage – reflects Sartre’s philosophy of existential freedom. Sartre’s view that freedom arises from making voluntary choices aligns with Ellida’s decision to stay, demonstrating that the essence of freedom lies in the act of choice, regardless of the content of that choice. The play moves beyond Nora’s physical escape to emphasize the importance of self-responsibility in the pursuit of personal autonomy. Sartre’s theory that free action is rooted in choice, accompanied by a responsibility for the consequences, is central to Ellida’s resolution. The final chapter addresses the paradox of freedom and necessity in Hedda Gabler, where the protagonist’s internal conflicts drive her tragic end. Hedda, unlike Nora and Ellida, embodies the tension between personal freedom and social expectations, illustrating Schelling’s concept of “necessity” in dramatic characters. Schelling’s notion that characters in modern tragedy, such as Hedda, manifest their necessity through inner conflicts rather than external fate is reflected in her destructive pursuit of freedom. Hedda’s complex relationship with her former lover, Lovborg, and her manipulation of others serve as her attempt to project her desire for control and autonomy. However, her inability to reconcile her desire for freedom with the constraints of her social environment leads to her eventual suicide, which represents a tragic realization of freedom as the ultimate escape from societal pressures. This echoes Kierkegaard’s ideas on the “dizziness of freedom” and the despair that arises from the struggle to assert one’s true self within an oppressive society. Through detailed analysis of these three plays, the paper highlights Ibsen’s evolving treatment of freedom as it pertains not only to his female protagonists but also to broader existential concerns. In A Doll’s House, Nora’s departure from her family illustrates the initial stages of self-realization, but her freedom remains constrained by external societal forces. In The Lady from the Sea, Ellida’s voluntary choice and assumption of responsibility offer a deeper reflection on existential freedom, where true autonomy is found in the act of making choices rather than in the specific choices themselves. In Hedda Gabler, the protagonist’s inner struggle and tragic end exemplify the conflict between freedom and necessity, where personal autonomy comes at the cost of self-destruction. Ibsen’s use of existential philosophy, particularly the ideas of Kierkegaard and Sartre, enhances the thematic depth of his plays. Nora’s journey in A Doll’s House echoes Kierkegaard’s stages of self-awareness and the pursuit of existential freedom, while Ellida’s resolution in The Lady from the Sea aligns with Sartre’s notion of voluntary choice and self-responsibility. Hedda’s tragedy in Hedda Gabler is an embodiment of Schelling’s concept of necessity, where freedom is ultimately linked to the recognition of one’s fate. The paper also addresses the limitations of focusing on only three plays, acknowledging that Ibsen’s exploration of freedom is present throughout his body of work. However, by concentrating on these particular plays, the paper provides a clear trajectory of how Ibsen’s treatment of female freedom evolves, moving from societal constraints in A Doll’s House to a more nuanced, philosophical exploration in The Lady from the Sea and Hedda Gabler. This evolution reflects Ibsen’s broader contributions to modern theatre, particularly in his portrayal of individual consciousness and the existential dilemmas faced by his characters. In conclusion, this paper argues that Ibsen’s plays provide a rich field for exploring the development of philosophical ideas concerning freedom. Through his heroines’ struggles, Ibsen challenges traditional notions of gender, society, and autonomy, offering a profound reflection on the human condition. The integration of existential philosophy in Ibsen’s works contributes to his status as a pioneer of modern theatre, offering insights that continue to resonate in contemporary discussions of personal and societal freedom.
keywords: Ibsen, Feminism, Freedom, Dramatic Aesthetics, and Existentialism