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It also describes how English quotations were sourced and why page references follow quoted passages.","Answer",{"name":66,"@type":61,"acceptedAnswer":67},"How does the book position “Ibsen the Romantic” as an idea for investigation?",{"text":68,"@type":64},"The title and introduction use quotation marks to signal an investigatory framing rather than a confidently asserted position. It links the topic to E. M. Forster’s earlier essay and its portrayal of Ibsen’s romantic intensity.",{"name":70,"@type":61,"acceptedAnswer":71},"Which later plays are discussed in the chapter on romantic eroticism?",{"text":72,"@type":64},"The chapter “Cosmologies of Two” addresses romantic eroticism in Little Eyolf, The Master Builder, and When We Dead Awaken, treating them as expressions of romantic dynamics within Ibsen’s dramaturgy.","https://schema.org",{"og:url":32,"og:type":75,"og:title":10,"og:site_name":45,"og:description":12},"article",{"robots":77,"canonical":32},"index,follow",{"doc_id":79,"site_id":7},318749,1790057931,{"code":4,"msg":82,"data":83},"success",[84,88,91,95,100,105,110,115,120,123,127],{"id":22,"doc_module":4,"doc_module_name":25,"category_name":85,"show_sort_weight":86,"slug":87},"Story & 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THEATRE  \n'IBSEN THE ROMANTIC'  \nAnalogues of Paradise in the LaterPlays  \nErrol Durbach  \nM  \nErrol Durbach 1982Softcover reprint of the hardcover 1st edition 1982978-0-333-28426-1  \nAll rights reserved.No part of this publication may bereproduced or transmitted,in any form or by any means,without permission  \nFirst published 1982 byTHE MACMILLAN PRESS LTDLondon and BasingstokeCompanies and representativesthroughout the world  \nISBN 978-1-349-05300-1(eBook)  \nISBN 978-1-349-05302-5  \nDOI 10.1007/978-1-349-05300-1  \nContents  \nS.  \nAcknowledgements  \n:  \nNote on Translation and Quotation  \n1 Introduction:'Ibsen the Romantic'  \n1  \n2 'The Land without Paradise'9  \n3 'Paradise Within':Hedda Gabler and John GabrielBorkman as Types of the Romantic 'Self34  \n4 'Children of Paradise':Alf,Hedvig and Eyolf as'Conceptions of Immortality'71  \n5 'Cosmologies of Two':Romantic Eroticism in LittleEyolf,The Master Builder,and When We DeadAwaken104  \n6 'High Romantic Words':Responsible Freedom andTragic Joy in The Lady from the Sea and Rosmersholm 152  \n7 Conclusion:'All of Paradise that We Shall Know'  \n198  \nSelect Bibliography206  \nIndex  \n210  \nAcknowledgements  \nI am particularly indebted to the Ibsenite scholars and editors ofthe past fifteen years whose studies have shaped and guided ourcritical responses to Ibsen.Where my indebtedness to them is notmanifest,I hope it may nevertheless be taken for granted.  \nI should also like to thank Mr R.Cartlidge,and my colleaguesat the University of British Columbia,Dr J.L.Wisenthal and DrPatricia Merivale,who have generously shared their ideas withme;Mr R.F.Hill of King's College,London,for his helpfulcomments on the initial stages of this study;and especially mywife,an invaluable common reader.  \nI am grateful to the editors of Scandinavian Studies,Mosaicand Educational Theatre Journal for permitting me to incor-porate into this study some material which originally appeared injournal articles:\"The Apotheosis of Hedda Gabler',ScandinavianStudies,XLII(1971)143-59;'Sacrifice and Absurdity in The WildDuck’,Mosaic,VII(1974)99-107;'Temptation to Err:TheDenouement of Rosmersholm’,Educational Theatre Journal,XXIX(1977)477-85;'The Geschwister-Komplex:Romantic At-titudes to Brother-Sister Incest in Ibsen,Byron,and EmilyBronte',Mosaic,xI(1979)61-73.  \nThe author and publishers wish to thank the following whohave kindly given permission for the use of copyright material:Oxford University Press,for the extracts from The Oxford Ibsen,translated and edited by James Walter McFarlane et al.;and  \nA.P.Watt Ltd,on behalf of Anne Yeats and Michael Yeats,forthe verse from 'The Choice'in the Collected Poems of W.B.Yeats.  \n# Note on Translation andQuotation\n\nI intend this book primarily for English readers of Ibsen or forthose,like myself,with a rudimentary working knowledge of theoriginal texts.Because part of my argument depends upon a closereading of Ibsen's language,I have,wherever necessary,quotedthe original Dano-Norwegian.This will also provide the non-Norwegian reader with a sense of Ibsen's Romantic terminologyand its affinities with other traditions of Romanticism.Theedition I have used is Ibsens Samlede Verker in the Fakkel-Bokedition (Oslo,1962-8)in three volumes.Quotations from Brandand Peer Gynt are taken from volume II,and those from the laterplays from volume Ⅲ.Page references are given in parenthesesafter the quoted passages.  \nThe English quotations are taken from The Oxford Ibsen(London,1960-77)in eight volumes,edited by James WalterMcFarlane and translated by Professor McFarlane and others.Again,page references are given in parentheses after the quotedpassages.  \nOccasionally I have offered my own translation of lines orpassages of dialogue when it seemed to me that a more literal andless elegant reading was necessary to make a point,or where Iwanted to stress the etymology of a particular word,or where itseemed necessary(as in the sectio","cbCaiiv7N1DBuhDx","https://ap.wps.com/l/cbCaiiv7N1DBuhDx","pdf",20187194,221,"English","# Acknowledgements\n# Note on Translation and Quotation\n# Introduction\n# The Land without Paradise\n# \"Paradise Within\": Hedda Gabler and John Gabriel Borkman as Types of the Romantic \"Self\"\n# \"Children of Paradise\": Alf, Hedvig and Eyolf as \"Conceptions of Immortality\"\n# \"Cosmologies of Two\": Romantic Eroticism in Little Eyolf, The Master Builder, and When We Dead Awaken\n# \"High Romantic Words\": Responsible Freedom and Tragic Joy in The Lady from the Sea and Rosmersholm\n# Conclusion: \"All of Paradise that We Shall Know\"\n# Select Bibliography\n# Index","[{\"question\":\"What is the purpose of the book’s “Note on Translation and Quotation”?\",\"answer\":\"It explains the intended readership, the use of close reading in Ibsen’s language, and why Danish-Norwegian original quotations are included. It also describes how English quotations were sourced and why page references follow quoted passages.\"},{\"question\":\"How does the book position “Ibsen the Romantic” as an idea for investigation?\",\"answer\":\"The title and introduction use quotation marks to signal an investigatory framing rather than a confidently asserted position. It links the topic to E. M. Forster’s earlier essay and its portrayal of Ibsen’s romantic intensity.\"},{\"question\":\"Which later plays are discussed in the chapter on romantic eroticism?\",\"answer\":\"The chapter “Cosmologies of Two” addresses romantic eroticism in Little Eyolf, The Master Builder, and When We Dead Awaken, treating them as expressions of romantic dynamics within Ibsen’s dramaturgy.\"}]","IBSEN THE ROMANTIC - Edited by Errol Durbach - Introduction - Ibsen the Romantic | PDF",1789941129,340]