“Human beings don't know how to use these homes of theirs”: Strategies of Poetic Dramatization in The Master Builder

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Notes

¹ Brian Johnston, The Ibsen Cycle: The Design of the Plays from ‘Pillars of Society’ to ‘When We Dead Awaken,’ (Boston: Twayne, 1975), p. 254.

² Maurice Maeterlinck, “Le tragique quotidien,” trans. Toby Cole, cited in Inga-Stina Ewbank, “The Last Plays” in The Cambridge Companion to Ibsen, ed. James McFarlane (Cambridge: Cambridge University Press, 1994), p. 132.

³ Inga-Stina Ewbank, “The Last Plays,” pp. 132, 127.

⁴ Aristotle, The Poetics, trans. Richard Janko (Indianapolis: Hackett Publishing Company, 1987), 51b, p. 12. Further citations of Aristotle will be to this work and will be given in the text by margin number only, e.g. 51b.

⁵ G. W. F. Hegel, Hegel's Aesthetics: Lectures on Fine Art, Vol. II, trans. T. M. Knox (Oxford: Clarendon Press, 1975), p. 1225. Further citations of Hegel will be to this work and will be given in the text by page number only.

⁶ Walter Benjamin, The Origin of German Tragic Drama, trans. John Osborne (London: Verso, 1998), pp. 81, 62. Further citations of Benjamin will be to this work and will be given in the text by page number only.

⁷ Bjorn Hemmer, “Ibsen and the Realistic Drama,” in The Cambridge Companion to Ibsen, p. 73.

⁸ Cited in Ibid., p. 76.

⁹ Toril Moi, Henrik Ibsen and the Birth of Modernism, (Oxford: Oxford University Press, 2006).

¹⁰ Cited in Ibid., p. 268.

¹¹ See Ibid., p. 89.

¹² Ewbank, “The Last Plays,” in The Cambridge Companion to Ibsen, p. 131.

¹³ Ewbank, “The Last Plays,” in The Cambridge Companion to Ibsen, p. 139.

¹⁴ Ewbank, “The Last Plays,” in The Cambridge Companion to Ibsen, p. 140.

¹⁵ Henrik Ibsen, The Master Builder, in Ibsen: The Complete Major Prose Plays, trans. Rolf Fjelde (London: Penguin, 1978), p. 785. Further citations will be to this edition and will be given in the text by page number only.

¹⁶ Yorgis Yatromanolakis, “Aristotle on Ibsen!,” in Ibsen, Tragedy, and the Tragic, ed. Astrid Saether (Oslo: Centre for Ibsen Studies, 2003), p, 30.

¹⁷ Raymond Williams, Modern Tragedy, rev. ed. (London: Verso, 1979), pp. 95, 100.

¹⁸ Helge Rønning, “Ibsen as a Modernising Agent. Ibsen Inside or Outside History?” in The Living Ibsen, eds. Frode Helland, Kaja S. Mollerin, Jon Nygaard, and Astrid Saether (Oslo: Centre for Ibsen Studies, 2006), pp. 123, 125. Rønning's text actually reads “feelings of structure,” but, given the subsequent discussion of changes in the nature of feelings in relation to the social world, “structures of feeling” is equally apt.

¹⁹ Helge Rønning, “Ibsen as a Modernising Agent. Ibsen Inside or Outside History?” in The Living Ibsen, eds. Frode Helland, Kaja S. Mollerin, Jon Nygaard, and Astrid Saether (Oslo: Centre for Ibsen Studies, 2006), p. 125.

²⁰ Helge Rønning, “Ibsen as a Modernising Agent. Ibsen Inside or Outside History?” in The Living Ibsen, eds. Frode Helland, Kaja S. Mollerin, Jon Nygaard, and Astrid Saether (Oslo: Centre for Ibsen Studies, 2006), p. 126.

²¹ Anne-Marie Stanton-Ife, “Aristotle, Ibsen, and the Secularisation of Tragedy,” in Ibsen, Tragedy, and the Tragic, p. 41.

²² Theoharis Constantine Theoharis, Ibsen's Drama: Right Action and Tragic Joy, (New York: St. Martin's Press, 1996), p. 284.

²³ Theoharis Constantine Theoharis, Ibsen's Drama: Right Action and Tragic Joy, (New York: St. Martin's Press, 1996), p. 280.

²⁴ Theoharis Constantine Theoharis, Ibsen's Drama: Right Action and Tragic Joy, (New York: St. Martin's Press, 1996), p. 281.

²⁵ Errol Durbach, ‘Ibsen the Romantic,’ (Athens, GA: The University of Georgia Press, 1982), pp. 127, 131, 133, 134.

²⁶ Errol Durbach, ‘Ibsen the Romantic,’ (Athens, GA: The University of Georgia Press, 1982), p. 134.

²⁷ This essay was originally presented as a lecture to the Temple University conference Philosophical Ibsen, September 26, 2008. I am grateful to the conference organizer, Kristin Gjesdal, the other speakers (Toril Moi, Frode Helland, and Simon Critchley), and to members of the audience for their work, their conversation, and especially their helpful suggestions about modernism. I am further grateful to an anonymous reviewer for Ibsen Studies and especially to Kaja Mollerin for suggestions about revisions and sources that prompted major changes in my argument.