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Taken from the highly acclaimed Oxford Ibsen, this collection of Ibsen's plays includes A Doll's House, Ghosts, Hedda Gabler, and The Master Builder.
About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.
- Sales Rank: #11158 in Books
- Brand: Ibsen, Henrik/ McFarlane, James (INT)/ Arup, Jens (TRN)
- Published on: 2008-07-15
- Original language: English
- Number of items: 1
- Dimensions: 5.00" h x 1.10" w x 7.70" l, .62 pounds
- Binding: Paperback
- 384 pages
Most helpful customer reviews
0 of 0 people found the following review helpful.
Five Stars
By Richard E. Nystrom
The book is fine...a clean copy and I have enjoyed reading the plays
28 of 33 people found the following review helpful.
The sweetest thing
By Alysson Oliveira
It is not very likely that George Bernard Shaw knew he was writing the play that would become one of the seminal romantic comedies of the 20th when he penned `Pygmalion'. The play is delightful, with borrowed elements from many genres. There is comedy and romance, above all, but there is also a very clear social critic -- and even a Marxist idea of class struggle. What only enhances the reading of this masterpiece.
Professor Henry Higgins is a linguistic expert who is much more interested in how people say the words rather than what they say. He ends up taking a bet that he is able to transform a simple cockney flower seller, Eliza, into a sophisticated and refined young lady, who would be able to fool the Queen herself. To succeed in such a move he claims he will change only the way she speaks.
To work on Eliza he puts her up in his house and starts polishing her speech. This is not an easy job, because what the girl speaks is not English, but a language she has developed herself. After some time, the Professor decides to introduce her to a group of friends, without mentioning her backgrounds. At first the meeting is blast. Although Eliza can use a fine language it is clear she has not backgrounds to develop and keep up a conversation. And her behavior ends up being the laughing stock. But one of the guests notices how beautiful the girl is. Higgins feels sort of jealous and this could lead their relationship to another level.
Shaw's prose is funny and touching at the same time. He uses devices, like everybody speaking at the same time, which only enhances the fun of the play and brings more truth to the action. His characters are lively and well developed. His social critic is evident. Eliza doesn't want to be rich or sound as such, she only wants to get a better job in a flower store, in other words, she only wants to be what she is. But the Professor insists on making her another person, very different from what she really is. Eliza's presence is the sweetest thing in the play. She is a nice and good-hearted girl, who suffers the consequence of her surroundings.
The play is based on the Greek tragedy `Pygmalion and Galatea', and was the base for one of the most famous musicals of the cinema, `My Fair Lady'.
10 of 10 people found the following review helpful.
Involving Glimpse Into Ibsen's Theater Of Pain
By Bill Slocum
At the core of Henrik Ibsen's art lay a bottomless talent for investigating the way people hurt one another. But reading his "Four Major Plays" is not painful at all; rather, they are thrilling and even delightful for the different ways the playwright captures and sustains our interest.
"A Doll's House" (1879) the first play here, presents the story of Nora Helmer, a seemingly childlike housewife with a weakness for macaroons whose actual level of devotion to her husband and family is kept hidden until the threat of scandal exposes her to a surprisingly judgmental spouse.
Shocking in its day for questioning then-traditional domestic roles, "A Doll's House" makes its best points in its handling of Nora's character and an abrupt conclusion that still startles. If there are touches of excessive melodrama, and I think there are, they are more than compensated for by Ibsen's deft touch in drawing out the suffocating hypocrisy of social norms.
Even more of an attack on society, "Ghosts" (1881) is that much more melodramatic, too much so for my tastes. Incest, social disease, people living together out of wedlock - it's like Ibsen wanted to cram every shocking thing he could think of into one play, and finish it off with something more shocking still. Convoluted but never boring, "Ghosts" makes its points, dares you to judge, and leaves a mark.
What makes this book indispensible for lovers of good drama are the last two plays, each brilliant in a totally different way. "Hedda Gabler" (1890) is the tale of a woman's moral and mental meltdown told in four gripping acts. Title character Hedda is newly married, but full of spite for the settled life, seeking to cause misery wherever she can.
"Oh, you know how it is...these things just suddenly come over me," she explains to an oily confidant. "And then I can't resist them." You can't, either. Her twisted path causes much heartache and pain, and some surprising moments of humor for those basing their impression of Ibsen on the previous, more dour plays. Hedda's a terrifically dark, unsettling character, like Richard III in a petticoat.
Though it's hard to call anything better than "Hedda Gabler" for pure rotten fun, "The Master Builder" (1892) works even better at teasing out a rather convoluted concept, that of will to power, in an accessibly dramatic way. To risk another Shakespeare comparison, it's like a twisted take on "The Tempest". The title character, Halvard Solness, is tortured by the guilt of his success, and the sense his accomplishment has been sped along by "devils" both good and bad. Add to the equation a longtime admirer of Solness who dares him to challenge fate more boldly.
It's hard to imagine a story like this working in anyone else's hands, but Ibsen does it with masterful subterfuge, teasing out the main story in the form of a seeming subplot while the story which begins the play recedes into the background. Nothing goes the way you expect it, except perhaps the ending, which Ibsen manages to make feel like destiny. Even the characters are a complex group, Solness alternately megalomaniacal and sympathetic.
Ibsen's great reputation is fully justified in this deep, complex, yet surprisingly accessible volume.
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