Lorca Journal 4

            Lorca juxtaposes poetry and prose in Act 3 Scene 1 to show that nature is the higher power that guides peoples’ fates.  At first, the woodcutters are discussing how the bridegroom and Leonardo will find and kill each other “with the moon or without the moon” (80) which is contradictory to the poetry in this scene where nature controls their fate. Lorca uses poetry when the moon arrives for the first time and when the characters “evoke the forest” (87) which is shown by violins playing. The reader can see that nature controls the characters’ fates because moon acts as a chorus through the poetry by telling the reader that there will be death by stating “[the moon’s] cheeks will fill with crimson blood” (82). The moon is able to control this fate by summoning the “beggar women [who is] death” (86) to kill the characters and “let blood hiss softly through my fingers” (84). The use of poetry acts as a chorus and allows the reader to understand that nature guides life. 

Lorca Journal 3

            The young children in Act II help to reinforce the theme that one will suffer without following the roles of gender and obedience. The kids are constantly waiting on the bride and trying to please her. They fight over who got the first pin out of her dress because whomever got the first one is said to marry first; they want the pin  because it is drilled into people at a young age that one must be married to fulfill the duties of being a women. At one point, the mother says that “girls never leave the house” (61) and the children know this and even want it because it is all they’ve even known because they are trained to be obedient. They strive to practice their ‘women’ chores by serving the bride. They are unaware of the consequences, but are starting to be exposed to what happens when a women disobeys her duties and doesn’t be with a man in a bed have kids, which is “what marriage is” (40) all about. The bride breaks the gender roles and obedience of womanhood and instead runs off with another man on her wedding night. Although the tragic end to the Bride’s decision is not yet unveiled, it results in her suffering. The young characters help show how prominent the gender roles and obedience of a woman are to society because these values are taught at such a young age.

Lorca Journal 2

In 1913, Lorca states that “theater is poetry that rises from the book and become human enough to talk and shout, weep and despair.” In Lorca, the Mother-in-Law and the Wife sing a poem together that brings them closer together. “Wife (softly [sings]) ‘go to sleep, my flower- the horse does not want water.’ Mother-in-Law ‘go to sleep, my rose- the horse begins to cry’” (17) showing that the women have similar views to “flower[s]” and the “horse” and are able to get along well, connect and amplify their emotions through poetry. The poetic way of the words such as “with silver flies he only cried” (18) develops a tranquil emotion that soothes the child to sleep. The tranquil feeling is something that even the audience can feel and relate to. Lorca suggests that poetry is needed in plays to bring realistic emotions to the characters. In Blood Wedding, poetry is able connects the people together and allows the audience to feel like they can relate more to the play since real emotions are portrayed. 

Ibsen Journal 5

Gregers is a believer and follower of idealism while Rellings believes idealism is obsurd.

 Gregers feels that truth is the most important thing. He thinks it is his duty to make sure people know that truth because it is his “moralistic fever” (202). He convinces Hedvig to “[give] up the dearest thing [she] own[s]” (198), the wild duck, and have her grandfather shoot it for her to prove her love for her father to bring him back home for good and to realize his love for her. We can see that the wild duck is Hedwig’s most prized possession because the motif continually appears, especially when she tells people not to harm it. When Gregers thinks Hedvig “shot the wild duck herself” (213) he was excited that his plan of truth would work out even better than planned. His plan didn’t work out and even when everyone realizes the terrible tragedy of Hedvig killing himself, he is not sad or upset; he looks at the brighter side of things such as how she told the truth and, therefore, “did not die in vain” (216).

Rellings does not agree with idealist views because people need to accept and handle their own problem. Rellings leaves Hjalmar alone in his misery instead of trying to help; he thinks people should deal with the problems they face head on and allows them to take it on by themselves. He “mock[s]” (201) Gregers when Gregers discusses his beliefs of idealism and always telling the truth. After Hedvig is found dead, Rellings gets upset with Gregers for convincing her to do it and not caring that she is dead; he yells about how Gregers was always “badgering us poor people with [his] ‘summons to the deal,’” (216) discussing with Gregers his idealistic views and their negative repercussions.

Ibsen juxtaposes Rellings and Gregers to show that every solution will affect people differently, but one must accept emotions. Everything that is meant to happen will and everyone will have to deal with it one way or another. Accepting it and looking on the bright side is hard to completely do because one cannot block out every feeling of pain like Gregers portrays in Ibsen. I believe that being an idealist by telling the truth makes a person happier, but one cannot always be happy and it’s important to accept what happens, even if accepting it means being in pain for a while. Good things do not happen by themselves, they take work. Being an idealist like Gregers is not emotionally possible or physically desirable; emotions speak louder than words and it’s important to accept them to obtain true happiness.  

Ibsen Journal 4

            The social expectations of women and classes discussed in “Nobody’s Angel” by Elizabeth Langland are reflected in Ibsen and ultimately shows that interaction between the different social classes help the reader see that the gap between the social classes in not very large. People of different classes rarely married each other in the early 1800s, “Nobody’s Angel” discussed how commutation between social class is beneficial. Mrs. Sorby is a servant in Werle’s estate, but she has a public relationship with Werle where she even “[enters] with Werle on her arm” (126) at his dinner party in front of all his wealthy, high-class friends. Mrs. Sorby is treated differently than other servants by being on a wealthy man’s “arm,” is able to speak to guests and make household decisions such as “abolish[ing] [the] precious smoking privilege” (126) and is able to enforce and stand by her decision  to “abolish,” even when confronted by an upper class male. Women, especially servants, were expected to stay at home and do household chores without interfering, or even being seen. Mrs. Sorby has gained respect from the high class man and is treated almost like an equal to members of the upper class. The relationship and sense of equality between the servant Mrs. Sorby and Werle prove that when various social classes interact, it is clear that the different between the social classes are not big.

            The realism in drama incorporated throughout Ibsen allows the audience to feel like they could be part of the play. Realism is based on events that could happen in real life; these struggles are relatable to almost all people and help people become in touch with the characters on a deeper level. The characters use common speech such as “hm, what does your father say to that?” (163) which can be understood by all types people. “Hm” is how people would really talk; it is informal giving the audience the impression that they are watching people they know speak. The extensive description of props such as “a portrait camera cover with a cloth, a stand, a couple of chairs…” (179) depict real items that could be the common man’s room. Realism in Ibsen enables the audience to feel comfortable as if they are actually in the play, watching people talk and act out events that could actually be happening.

Ibsen Journal 3

9. What usually happens to wild ducks who dive for the “bottom”? Why is this important?

            Ducks dive to the murky bottom to hide from a hunter. They “bite right into the weeds” (153) the latch on to avoid being shot. These unclear depths of the water are not safe from all types of death though; often times the ducks ignore their need for air and “never come up again” (153), killing themselves. If the ducks are lucky, a “clever dog” (153) is able to quickly dive down to the bottom and retrieve the duck. Hedvig dives to the murky bottom and grabs to the weeds until she can satisfy her desire to live happily with her father’s love. Hedvig likes to have “something nice to tell [her] father when he comes home at night” (139) because it makes him happy. Hedvig always greets her father when he comes home, gives him compliments such as “you look so well [in your evening clothes]” (139), and offers to “bring” (145) her father goods such as his flute, drinks, or food in order to try and gain her father’s love. Her efforts are in vain because he pushes her away such as asking her not to use the affectionate name of “daddy” (145) when speaking to him. Hedvig is doomed to stay under the water too long and kill herself if she doesn’t let go of her goal for love or have someone save her from the murky depths. 

Ibsen Journal 2

Journal: How does Ibsen treat etiquette? Which characters follow rules of etiquette? Which characters break rules of etiquette? Which characters condemn etiquette? Give specific examples. Then, come to a conclusion about Ibsen’s argument regarding etiquette; be sure your examples justify this argument.

Ibsen treats etiquette as a symbol of class and respectability that is most important for the wealthy to follow. All the characters have both followed and broken etiquette, even if it was unintentional. Petterson tries to follow etiquette by discreetly entering the house during the party; his attempts fail when he, a manservant, must go out the main door and be seen by the guests of the party; the manservant has no respect from the wealthy people. Mrs. Sorby is a servant, but she is treated with more respect than other servants because Old Werler had an affair with her and needs to keep her trust and loyalty to help his secrets remain hidden. She shows etiquette by serving guests, but breaks etiquette by conversing with the guests and servants which is above her class, even though she is treated differently than other servants. Gregers Werle is a wealthy man by his father’s fortune, but Gregers is unable to show complete etiquette. He follows etiquette by throwing a fancy dinner party with his dad. Gregers invites a 13^th guest, Hjalmar, which is looked down upon due to superstitions; he also confronts his father for not telling him he was giving Hjalmar money which breaks etiquette. Even Haakon Werle, a respected wealthy man is unable to have proper etiquette all the time. He follows etiquette by paying Hjalmar money to help him get started in photography; but he hides from his own son that he gives Hjalamr money and kept the friends apart by creating a false fight.  Etiquette is impossible to follow all the time, even for the rich.