Peer Gynt by Henrik Ibsen, William and Charles Archer (Translators) on iBooks This book is available for download with iBooks on your Mac or iOS device, and with iTunes on your computer. Books can be read with iBooks on your Mac or iOS device. Description Peer Gynt is a play by the Norwegian playwright Henrik Ibsen. It was written in 1867, and first performed in Christiania (now Oslo) on February 24, 1876, with incidental music by the composer Edvard Grieg. Ibsen wrote Peer Gynt while traveling to Rome, Ischia and Sorrento. It was first published on November 14, 1867, in Copenhagen. The first edition comprised 1,250 copies. It was followed by a re-print of 2,000 copies after 14 days. The large sales were mostly due to the success of Ibsen's previous play, Brand. Unlike Ibsen's other later plays, Peer Gynt is written in verse. This is because it was originally intended to be a written drama, not for stage performance.

Difficulties due to rapid and frequent change of scene (including an entire act in pitch darkness) render the play troublesome to perform. It is also unlike Ibsen's later plays in that it is a fantasy rather than a realistic tragedy. Perhaps the most famous aspects of this play are the suites of Grieg's incidental music (Peer Gynt Suite No. 1, Op. 46, and Suite No 2., Op. 55), whose well-known movements include Morgenstemning (Morning Mood), Anitras Dans (Anitra's Dance), and I Dovregubbens Hall (In the Hall of the Mountain King) from the first suite, and Solveigs Sang (Solveig's Song) from the second. — Excerpted from Wikipedia, the free encyclopedia. Customers Also Bought Seller: MobileReference Language: English Requirements: To view this book, you must have an iOS device with iBooks 1.3.1 or later and iOS 4.3.3 or later, or a Mac with iBooks 1.0 or later and OS X 10.9 or later.

Customer Ratings Peer Gynt – history and synopsis | Norwegian Ibsen Company – Kåre Conradi Kåre Conradi Peer Gynt – history and synopsis This page is a history and synopsis of Ibsen’s masterpiece Peer Gynt, for our current tour of the one-man-show Peer Gynt with Kåre Conradi please see the Current Tour link. Peer Gynt (Norwegian pronunciation: [ˈpeːr ˈɡʏnt]) is a five-act play in verse by the Norwegian dramatist Henrik Ibsen, loosely based on the fairy tale Per Gynt and is the most widely performed of all Norwegian plays. According to Klaus Van Den Berg, the “cinematic script blends poetry with social satire and realistic scenes with surreal ones”. Peer Gynt has also been described as the story of a life based on procrastination and avoidance. A first edition of 1,250 copies was published on 14 November 1867 in Copenhagen. Despite having swiftly sold out, a re-print of 2,000 copies, which followed after only 14 days, didn’t sell out until seven years later.

While Bjørnstjerne Bjørnson admired the play’s “satire in Norwegian egotism, narrowness, and self-sufficiency” and described it as “magnificent”, Hans Christian Andersen, Georg Brandes and Clemens Petersen all joined a widespread hostility. Enraged by Petersen’s criticisms in particular, Ibsen defended his work by arguing that it “is poetry; and if it isn’t, it will become such. The conception of poetry in our country, in Norway, shall shape itself according to this book.” Despite this defense of his poetic achievement in Peer Gynt, the play was his last to employ verse; from The League of Youth (1869) onwards, Ibsen was to write drama only in prose. Ibsen wrote Peer Gynt in deliberate disregard of the limitations that the conventional stagecraft of the 19th century imposed on drama. Its 40 scenes move uninhibitedly in time and space and between consciousness and the unconscious, blending folkloric fantasy and unsentimental realism.

Raymond Williams compares Peer Gynt with August Strindberg’s early drama Lucky Peter’s Journey (1882) and argues that both explore a new kind of dramatic action that was beyond the capacities of the theatre of the day; both created “a sequence of images in language and visual composition” that “became technically possible only in film. “ Peer Gynt was first performed in Christiania (now Oslo) on 24 February 1876, with original music composed by Edvard Grieg, which includes some of today’s most recognized classical pieces, In the Hall of the Mountain King and Morning Mood. It was published in a German translation in 1881, in English in 1892, and in French in 1896. The play is very loosely based on a Norwegian fairy tale, Per Gynt, believed by Ibsen to be rooted in fact. Ibsen was also generally inspired by Peter Christen Asbjørnsen’s collection of Norwegian fairy tales, published in 1845 (Huldre-Eventyr og Folkesagn).

Several of the characters are modeled after Ibsen’s own family, notably his parents Knud Ibsen and Marichen Altenburg. Characters Åse, a peasant’s widow Peer Gynt, her son Two old women with corn–sacks Aslak, a blacksmith A man and a wife, newcomers to the district Solveig and little Helga, their daughters The farmer at Hægstad The bridegroom and his parents Three alpine dairymaids A green-clad woman, a troll princess The Old Man of the Mountains, a troll king (Also known as, The Mountain King) Multiple troll-courtiers, troll-maidens and troll-urchins A couple of witches The Bøyg, a voice in the darkness Kari, a cottar’s wife Master Cotton. Anitra, daughter of a Bedouin chief Arabs Dr. Begriffenfeldt, director of the madhouse at Cairo Huhu, a language–reformer from the coast of Malabar Hussein, an eastern Minister A fellow with a royal mother Several madmen and their keepers A Norwegian skipper Plot Act I Peer Gynt is the son of the once highly regarded Jon Gynt.

Jon Gynt spent all his money on feasting and living lavishly, until there was nothing left; thus, Jon had to go from his farm as a wandering salesman, leaving his wife and son behind in debt. Åse, the mother, wished to raise her son to restore the lost fortune of his father, but Peer is soon to be considered useless. He is a poet and a braggart, not unlike the Norwegian youngest son from the fairy tales, the “Ash Lad”, with whom he shares some characteristics. As the play opens, Peer gives an account of a reindeer hunt that went awry, a famous theatrical scene generally known as “the Buckride.” His mother scorns him for his vivid imagination, and taunts him because he spoiled his chances with Ingrid, the daughter of the richest farmer. Peer goes straight to Ingrid’s wedding, scheduled for the following day, because he may still get a chance with the bride. His mother follows quickly to stop him from shaming himself completely. At the wedding, Peer is taunted and laughed at by the other guests, especially the local blacksmith, Aslak, who holds a grudge after an earlier brawl.

But in the same wedding, Peer meets a family of Haugean newcomers from another valley. He instantly notices the daughter, Solveig, and asks her to dance. She refuses because of her father and because Peer’s reputation has preceded him. She leaves, and Peer starts drinking. When he hears that the bride has locked herself in, he seizes the opportunity and runs away with the bride, and spends the night with her in the mountains… Act II His action has a consequence: Peer is banished. As he wanders the mountains, his mother, Solveig, and Solveig’s father search for him. During his getaway, he meets 3 amorous dairy-maids who are waiting to be courted by trolls (a folklore motif from Gudbrandsdalen). He becomes highly intoxicated with them and spends the next day alone suffering from a hangover. He runs head-first into a rock and swoons, and the rest of the second act takes place in Peer’s dreams. He comes across a woman clad in green who turns out to be the daughter of the troll mountain king. Together they ride into the mountain hall, and the troll king gives Peer the opportunity to become a troll if Peer would marry his daughter.

Peer agrees to a number of conditions, but declines in the end. He is then confronted with the fact that the green-clad woman is with child. Peer denies this; he claims not to have touched her, but the wise troll king replies that he begat the child in his head. Crucial for the plot and understanding of the play is the question asked by the troll king: What is the difference between troll and man? The answer given by the Old Man of the Mountain is: “Out there, where sky shines, humans say: ‘To thyself be true.’ In here, trolls say: ‘Be true to yourself and to hell with the world.’” Egoism is a typical trait of the trolls in this play. From then on, Peer uses this as his motto, always proclaiming that he is himself, whatever that is. One of the most interesting characters is the Bøyg; a creature who has no real description. On the question “Who are you?” The Bøyg answers, “myself.” In time, Peer also takes the Bøyg’s important saying as a motto: “Go around.” The rest of his life, he “beats around the bush” instead of facing himself or the truth.

Upon waking up, he is confronted by Helga, Solveig’s sister, who gives him food and regards from her sister. Peer gives the girl a silver button for Solveig to keep, and asks that she not forget him. Act III As an outlaw, Peer struggles to build his own cottage in the hills. Solveig turns up and insists on living with him. She has made her choice, she says, and there will be no return for her. Peer is delighted and welcomes her, but as she enters the cabin, an elderly woman in a green dress appears with a limping boy at her side. This is the green-clad woman from the mountain hall. She has cursed him by forcing him to remember her, and all his previous sins, when facing Solveig. Peer hears a ghostly voice saying, “Go roundabout, Peer”, and decides to leave. He tells Solveig he has something heavy to fetch. He returns in time for his mother’s death, and then sets off overseas. Act IV Peer is away for many years, taking part in various occupations and playing various roles including that of a businessman engaged in enterprises on the coast of Morocco.

Here, he explains his view of life, and we learn that he is a businessman with dirty money on his hands. He has been a missionary, a slave-trader, and many other things. His friends rob him, and leave him alone on the shore. Then he finds some stolen bedouin gear, and in these clothes, he is hailed as a prophet by a local tribe. He tries to seduce Anitra, the chieftain’s daughter, but she gets away, and leaves him. Then he decides to become a historian, and travels to Egypt. He wanders through the desert, passes the Memnon and the Sphinx. As he addresses the Sphinx, believing her to be the Bøyg, he encounters the keeper of the local madhouse, himself insane, who regards Peer as the bringer of supreme wisdom. Peer comes to the madhouse, and understands that all of the patients live in their own worlds, being themselves to such a degree that no one cares for anyone else. In his youth, Peer had dreamt of becoming an emperor. In this place, he’s finally hailed as one — the emperor of the “self.” Peer despairs and calls for the “Keeper of all fools,” i.e. God.

Act V Finally, on his way home as an old man, he is shipwrecked. Among those on board, he meets the Strange Passenger, who wants to make use of Peer’s corpse to find out where dreams have their origin. This passenger scares Peer out of his wits. He lands on shore bereft of all of his possessions, a pitiful and grumpy old man. Back home in Norway, Peer Gynt attends a peasant funeral, and an auction, where he offers for sale everything from his earlier life. The auction takes place at the very farm where the wedding once was held. Peer stumbles along, and is confronted with all that he did not do, his unsung songs, his unmade works, his unwept tears, and his questions that were never asked. His mother comes back and claims that her deathbed went awry. He did not lead her to heaven with his ramblings. Peer escapes and is confronted with the Button-molder, who maintains that Peer’s soul must be melted down with other faulty goods unless he can explain when and where in life he has been “himself.” Peer protests. He has been only that, and nothing else.

Then he meets the troll king, who states that he has been a troll, not a man, most of his life. The molder comes along and says that he has to come up with something if he is not to be melted down. Peer looks for a priest to confess his sins, and a character named the Lean One (who is the Devil), turns up. He believes Peer cannot be accounted a real sinner who can be sent to hell. He has not done anything serious. Peer despairs in the end, understanding that his life is forfeited. He understands he is nothing. But at the same moment, Solveig starts to sing — the cabin he himself built, is close at hand, but he dares not enter. The Bøyg in him tells him “around.” The molder shows up and demands a list of sins, but Peer has none to give, unless Solveig can vouch for him. Then he breaks through to her, asking her for his sins. But she answers: “You have not sinned at all, my dearest boy.” Peer does not understand — he believes himself lost. Then he asks her: “Where has Peer Gynt been since we last met?

Where was I as the one I should have been, whole and true, with the mark of God on my brow?” She answers; “In my faith, in my hope, in my love.” Peer screams and calls his mother, and hides himself in her lap. Solveig sings her lullaby for him, and we might presume he dies in this last scene of the play, although there are no stage directions or dialogue to indicate that he actually does. Behind the corner, the button-molder, who is sent by God, still waits, with the words: “Peer, we shall meet at the last cross-roads, and then we shall see if… I’ll say no more.” Writing process On 5 January 1867 Ibsen wrote to Frederik Hegel, his publisher, with his plan for the play: it would be “a long dramatic poem, having as its principal a part-legendary, part-fictional character from Norwegian folklore during recent times.

It will bear no resemblance to Brand, and will contain no direct polemics or anything of that kind.” He began to write Peer Gynt on 14 January, employing a far greater variety of metres in its rhymed verse than he had used in his previous verse plays Brand (written 1865) orLove’s Comedy (written 1862). The first two acts were completed in Rome and the third in Casamicciola on the north of the island of Ischia. During this time, Ibsen told Vilhelm Bergsøe that “I don’t think the play’s for acting” when they discussed the possibility of staging the play’s image of a casting-ladle ”big enough to re-cast human beings in.” Ibsen sent the three acts to his publisher on 8 August, with a letter that explains that “Peer Gynt was a real person who lived in Gudbrandsdal, probably around the end of the last century or the beginning of this.

His name is still famous among the people up there, but not much more is known about his life than what is to be found in Asbjørnsen’s Norwegian Folktales (in the section entitled ‘Stories from the Mountain’).” In those stories, “Per Gynt” rescues the three dairy-maids from the trolls and shoots the Bøyg, who was originally a gigantic, worm-shaped troll-being. Per was known to tell tall tales of his own achievements, a trait Peer in the play inherited. The “buck-ride” story, which Peer tells his mother in the play’s first scene, is also from this source, but, as Åse points out, it was originally Gudbrand Glesne from Vågå who did the tour with the reindeer stag and finally shot it. Following an earthquake on Ischia on 14 August, Ibsen left for Sorrento, where he completed the final two acts; he finished the play on 14 October. It was published in a first edition of 1,250 copies a month later in Copenhagen.

Background Ibsen’s previous play, Brand, preached the philosophy of “All or nothing.” Relentless, cruel, resolute, overriding in will, Brand went through everything that stood in his way toward gaining an ideal. Peer Gynt is a compensating balance, a complementary color to Brand. Instead of the iron will of Brand, Peer is will-less; instead of sufficient, he is insufficient; instead of resolute, irresolute. In handling all issues facing him, Peer goes around them. Brand had a phenomenal literary success, and people became curious to know what Ibsen’s next play would be. The dramatist, about this time, was relieved of financial worry by two money grants, one from the Norwegian government and the other from the Scientific Society of Trondhjem. This enabled him to give to his work an unfettered mind. He went with his family to Frascati, where, in the Palazzo rooms, he looked many feet down upon the Mediterranean, and pondered his new drama. He preserved a profound silence about the content of the play, and begged his publisher, Hegel, to create as much mystery about it as possible.

The portrayal of the Gynt family is known to be based on Henrik Ibsen’s own family and childhood memories; in a letter to Georg Brandes, Ibsen wrote that his own family and childhood had served “as some kind of model” for the Gynt family. In a letter to Peter Hansen, Ibsen confirmed that the character Åse, Peer Gynt’s mother, was based on his own mother, Marichen Altenburg. The character Jon Gynt is considered to be based on Ibsen’s father Knud Ibsen, who was a rich merchant before he went bankrupt. Even the name of the Gynt family’s ancestor, the prosperous Rasmus Gynt, is borrowed from the Ibsen’s family’s earliest known ancestor. Thus, the character Peer Gynt could be interpreted as being an ironic representation of Henrik Ibsen himself. There are striking similarities to Ibsen’s own life; Ibsen himself spent 27 years living abroad and was never able to face his hometown again. Grieg’s music Ibsen asked Edvard Grieg to compose incidental music for the play. Grieg composed a score that plays approximately ninety minutes.

Grieg extracted two suites of four pieces each from the incidental music (Opus 46 and Opus 55), which became very popular as concert music. Two of the sung parts of the incidental music ended up in these suites (the famous In the Hall of the Mountain King in the 1st suite with the vocal parts omitted, and the last part of 2nd suite, Solveig’s Song, the solo part now played by violin rather than sung, though the vocal version is sometimes substituted). (Originally, the second suite had a fifth number, The Dance of the Mountain King’s Daughter, but Grieg withdrew it.) Grieg himself declared that it was easier to make music “out of his own head” than strictly following suggestions made by Ibsen. For instance, Ibsen wanted music that would characterize the “international” friends in the fourth act, by melding the said national anthems (Norwegian, Swedish, German, French and English). Reportedly, Grieg was not in the right mood for this task. The music of these suites, especially Morning Mood starting the first suite, In the Hall of the Mountain King, and the string lament Åse’s Death later reappeared in numerous arrangements, soundtracks, etc.

Other Norwegian composers that have written theatrical music for Peer Gynt include Harald Sæverud (1947), Arne Nordheim (1969), Ketil Hvoslef (1993) and Jon Mostad (1993-4). Gunnar Sønstevold (1966) wrote music for a ballet version of Peer Gynt. Peer Gynt Festival At Vinstra in Gudbrandsdalen, Henrik Ibsen and Peer Gynt have been celebrated with an annual festival since 1928. The festival is one of Norway’s main events, and is recognized by the Norwegian Government as a leading institution of presenting culture in nature. The main event in the festival is the staging of Peer Gynt next to Lake Gålå. The play is staged in the same surroundings in which Ibsen claims he found inspiration for the character Peer Gynt, and is regarded by many as the definitive version. The play is performed with professional actors from the national theater institutions, and nearly 100 amateur actors. Edvard Grieg’s original Peer Gynt music is performed by a professional orchestra.

The event is one of the most popular theater productions in Norway, attracting more than 17,000 people every summer. Peer Gynt Sculpture Park Peer Gynt Sculpture Park (Peer Gynt-parken) is a sculpture park located in Oslo, Norway. Created in honour of Henrik Ibsen, it is a monumental presentation of Peer Gynt, scene by scene. It was established in 2006 by Selvaag, the company behind the housing development in the area. Most of the sculptures in this park are the result of an international sculpture competition. Films There have been a number of film adaptations including: Peer Gynt (1915 film) Henrik Ibsen - Wikiquote Henrik Ibsen Jump to: navigation , search I believe that first and foremost I am an individual, just as you are. Henrik Johan Ibsen ( 20 March 1828 – 23 May 1906 ) was a major 19th-century Norwegian playwright , theatre director, and poet . He is often referred to as "the father of realism " and is one of the founders of Modernism in theatre.

It is said that Ibsen is the most frequently performed dramatist in the world after Shakespeare . Contents He who possesses liberty otherwise than as an aspiration possesses it soulless, dead. The State has its root in time, and will ripe and rot in time. That power which circumstances placed in my hands, and which is an emanation of divinity, I am conscious of having used to the best of my skill. I have never wittingly wronged any one. To live is to battle the demons in the heart as well as the brain. To write is to preside at judgement day over one's self. The great secret of power is never to will to do more than you can accomplish. I hold that man is in the right who is most closely in league with the future. He who possesses liberty otherwise than as an aspiration possesses it soulless, dead. One of the qualities of liberty is that, as long as it is being striven after, it goes on expanding. Therefore, the man who stands still in the midst of the struggle and says, "I have it," merely shows by so doing that he has just lost it.

Now this very contentedness in the possession of a dead liberty is characteristic of the so-called State, and, as I have said, it is not a good characteristic. No doubt the franchise, self-taxation, etc., are benefits — but to whom? To the citizen, not to the individual. Now, reason does not imperatively demand that the individual should be a citizen. Far from it. The State is the curse of the individual. With what is Prussia's political strength bought? With the absorption of the individual in the political and geographical idea. The waiter is the best soldier. And on the other hand, take the Jewish people, the aristocracy of the human race — how is it they have kept their place apart, their poetical halo, amid surroundings of coarse cruelty? By having no State to burden them. Had they remained in Palestine, they would long ago have lost their individuality in the process of their State's construction, like all other nations. Away with the State! I will take part in that revolution. Undermine the whole conception of a State, declare free choice and spiritual kinship to be the only all-important conditions of any union, and you will have the commencement of a liberty that is worth something.

Changes in forms of government are pettifogging affairs — a degree less or a degree more, mere foolishness. The State has its root in time, and will ripe and rot in time. Greater things than it will fall — religion, for example. Neither moral conceptions nor art-forms have an eternity before them. How much are we really in duty bound to pin our faith to? Who will guarantee me that on Jupiter two and two do not make five? Letter to Georg Brandes (17 February 1871), as translated in Henrik Ibsen : Björnstjerne Björnson. Critical Studies (1899) by Georg Morris Cohen Brandes Variant translation: The quality of liberty is that, as long as it is being striven after, it goes on expanding. Therefore, the man who stands still in the midst of the struggle and says: "I have it," merely shows by so doing that he has lost it. Now this very contentedness in the possession of a dead liberty is a characteristic of the so-called state; and it is worthless. As translated in Ibsen : The Man, His Art & His Significance (1907) by Haldane Macfall, p.

238 Variant translation: Neither moral concepts nor art forms can expect to live forever. How much are we obliged to hold on to? Who can guarantee that 2 plus 2 don't add up to 5 on Jupiter? There are three Empires. First there is the Empire which was founded on the tree of knowledge. Then there is the Empire founded on the tree of the Cross. The third is still a secret Empire which will be founded on the tree of knowledge and the tree of the Cross — brought together. Emperor and Galilean (1873), as quoted by Lester B. Pearson in his address on accepting the Nobel Peace Peace Prize in Oslo, Norway (10 December 1957) That power which circumstances placed in my hands, and which is an emanation of divinity, I am conscious of having used to the best of my skill. I have never wittingly wronged any one. For this campaign there were good and sufficient reasons; and if some should think that I have not fulfilled all expectations, they ought in justice to reflect that there is a mysterious power without us, which in a great measure governs the issue of human undertakings.

The Emperor Julian , as portrayed in Emperor and Galilean (1873). Erring soul of man — if thou wast indeed forced to err, it shall surely be accounted to thee for good on that great day when the Mighty One shall descend in the clouds to judge the living dead and the dead who are yet alive! Makrina, in Emperor and Galilean (1873), Final lines. At leve er — krig med trolde i hjertets og hjernens hvælv. At digte, — det er at holde dommedag over sig selv. To live is to battle the demons in the heart as well as the brain. To write is to preside at judgement day over one's self. Et vers (A Verse), inscribed on the volume Poems (1877) Ibsen may have written this originally in German as a dedication to a female reader. It was published in German in Deutsche Rundschau in November 1886: Leben, das heisst bekriegen In Herz und Hirn die Gewalten; Und dichten; über sich selber Den Gerichtstag halten.

The great secret of power is never to will to do more than you can accomplish. The great secret of action and victory is to be capable of living your life without ideals. Such is the sum of the whole world's wisdom. As quoted in The Ibsen Calendar : A Quotation from the Works of Henrik Ibsen for Every Day (1913) by C. A. Arfwedson I hold that man is in the right who is most closely in league with the future. Letter to Georg Brandes (3 January 1882). The great task of our time is to blow up all existing institutions — to destroy. Letter of 1883, quoted in The Drama of Ibsen and Strindberg (1962) by Frank Laurence Lucas, p. 34. It is inexcusable for scientists to torture animals; let them make their experiments on journalists and politicians. As quoted in The Book of Poisonous Quotes (1993) edited by Colin Jarman, p. 232. Tvert imot! On the contrary!

His last words, in response to a nurse who said she thought he looked better than usual; as quoted in The History of World Theater : From the English Restoration to the Present (1999) by Felicia Hardison Londré and Margot Berthold, p. 341. Kjærlighedens Komedie as translated by C. H. Herford (1900) Truth upon the Serpent's head shall trample. The cause of Love shall win... I thank God that in the bath of Pain He purged my love. What strong compulsion drew Me on I knew not, till I saw in you The treasure I had blindly sought in vain. I praise Him, who our love has lifted thus To noble rank by sorrow, — licensed us To a triumphal progress, bade us sweep Thro' fen and forest to our castle-keep, A noble pair, astride on Pegasus ! Falk, Act III I feel myself like God's lost prodigal; I left Him for the world's delusive charms.

With mild reproof He wooed me to his arms; And when I come, He lights the vaulted hall, Prepares a banquet for the son restored, And makes His noblest creature my reward. From this time forth I'll never leave that Light, — But stand its armed defender in the fight; Nothing shall part us, and our life shall prove A song of glory to triumphant love! Falk, Act III Tho' Doubt's beleaguering forces hem us in, Yet Truth upon the Serpent's head shall trample. The cause of Love shall win — Falk, Act III Crowd, responding to Falk, in Act III An unromantic poem I mean to make Of one who only lives for duty's sake. Guldstad I go to scale the Future's possibilities! Farewell! God bless thee, bride of my life's dawn, Where'er I be, to nobler deed thou'lt wake me. Falk, in a statement rich with ironies. make the mark a single deed will leave. He is the God of Love. Ikke tusend ord sig prenter, som én gernings spor. A thousand words can't make the mark a single deed will leave.

Manden, Act II Tabets alt din vinding skabte — Evigt ejes kun det tabte! Losing all was winning's cost! Eternally owned is but what's lost! Brand, Act IV Brand: Svar mig, Gud, i dødens slug! gælder ej et frelsens fnug mandeviljens quantum satis? [Skreden begraver ham; hele dalen fyldes.] En Røst: [Räber gennem tordenbragene] Han er deus caritatis! Brand: Answer me, God, in the jaws of death: Is there no salvation for the Will of Man? No small measure of salvation? [The avalanche buries him. The valley is swallowed up.] A Voice: [Calls through the crashing thunder] He is the God of Love. Act V [First performed in Oslo (then called Christiania) on February 24, 1876, with incidental music by Edvard Grieg ] Whether I pound or am being pounded, all the same there will be moaning! Peer, du lyver!

Åse, Act I, Scene I Om jeg hamrer eller hamres, ligefuldt så skal der jamres! Whether I pound or am being pounded, all the same there will be moaning! Peer Gynt, declaring that no matter what he does, it is not what people want, Act I, Scene I Ja, tænke det; ønske det; ville det med; men gjøre det! Nej, det skjønner jeg ikke! To think it, wish it, even want it — but do it! No, that I cannot understand. Peer Gynt, after he sees a boy cut off his finger to avoid serving in the army, Act III, Scene I Really to sin you have to be serious about it. Button-Moulder, Act V, Scene VII The Pillars of Society (1877)[ edit ] The spirit of truth and the spirit of freedom — these are the pillars of society. I'm afraid for all those who'll have the bread snatched from their mouths by these machines. You are very fond, sir, of talking about the consideration we owe to the community; it seems to me, however, that the community has its duties too.

What business has science and capitalism got, bringing all these new inventions into the works, before society has produced a generation educated up to using them! Aune, Act II Look into any man's heart you please, and you will always find, in every one, at least one black spot which he has to keep concealed. Bernick, Act III The spirit of truth and the spirit of freedom — these are the pillars of society. Lona, Act IV I've the most extraordinary longing to say 'Bloody Hell'! There can be no freedom or beauty about a home life that depends on borrowing and debt. Torvald Helmer, Act I Nora.'Look here, Doctor Rank - you know you want to live. Rank.'Certainly. However wretched I may feel, I want to prolong the agony as long as possible." Act I I don't know whether you find also in your part of the world that there are certain people who go zealously snuffing about to smell out moral corruption, and, as soon as they have found some, put the person concerned into some lucrative position where they can keep their eye on him. Healthy natures are left out in the cold. Dr. Rank, Act I What's to become of the morally sound?

Left out in the cold, I suppose. We must heal the sick. Dr. Rank, Act I Many a man can save himself if he admits he's done wrong and takes his punishment. Torvald Helmer, Act I Jeg har en sånn umåtelig lyst til å si: død og pine. I've the most extraordinary longing to say 'Bloody Hell'! Nora Helmer, Act I You don't get nothing for nothing in this life. Dr. Rank, Act III There is a big black hat and it makes you invisible. Have you heard of that hat? You put it on and then no one can see you. Dr. Rank, Act III, speaking of death The black, cold, icy water. Down and down, without end — if it would only end. Nora Helmer, Act III But our home's been nothing but a playpen. I've been your doll-wife here, just as at home I was Papa's doll-child. And in turn the children have been my dolls. I thought it fun when you played with me, just as they thought it fun when I played with them. That's been our marriage, Torvald.

Nora Helmer, Act III Variant translation: Our home has been nothing but a playroom. I have been your doll-wife, just as at home I was papa's doll-child; and here the children have been my dolls. I thought it great fun when you played with me, just as they thought it great fun when I played with them. That is what our marriage has been, Torvald. If I'm ever to reach any understanding of myself and the things around me, I must learn to stand alone. That's why I can't stay here with you any longer. Nora Helmer, Act III I have other duties equally sacred … Duties to myself. Nora Helmer, Act III Variant translation: I have another duty equally sacred … My duty to myself. Helmer: First and foremost, you are a wife and mother. Nora: That I don't believe any more. I believe that first and foremost I am an individual, just as you are. Ghosts (1881)[ edit ] There must be ghosts all over the world. They must be as countless as the grains of the sands, it seems to me. And we are so miserably afraid of the light, all of us.

To crave for happiness in this world is simply to be possessed by a spirit of revolt. What right have we to happiness? Manders, Act I I am half inclined to think we are all ghosts, Mr. Manders. It is not only what we have inherited from our fathers and mothers that exists again in us, but all sorts of old dead ideas and all kinds of old dead beliefs and things of that kind. They are not actually alive in us; but there they are dormant, all the same, and we can never be rid of them. Whenever I take up a newspaper and read it, I fancy I see ghosts creeping between the lines. There must be ghosts all over the world. They must be as countless as the grains of the sands, it seems to me. And we are so miserably afraid of the light, all of us. Mrs. Alving, Act II A community is like a ship; everyone ought to be prepared to take the helm. A community is like a ship; everyone ought to be prepared to take the helm. Billing, Act I There is one thing I esteem higher than that; and that is for a man to be self-reliant and sure of himself.

Hovstad, Act II I have already told you that what I want to speak about is the great discovery I have made lately - the discovery that all the sources of our moral life are poisoned and that the whole fabric of our civic community is founded on the pestiferous soil of falsehood. Dr. Stockmann, Act IV Dr, Stockmann: It is the majority in our community that denies me my freedom and seeks to prevent my speaking the truth. Hovstad: The majority always has right on its side. Billing: And truth too, by God! Dr. Stockmann: The majority never has right on its side. Never I say! That is one of those social lies against which an independent, intelligent man must wage war. Who is it that constitute the majority of the population in a country? Is it the clever folk or the stupid? I don't imagine you will dispute the fact that at present the stupid people are in an absolutely overwhelming majority all the world over. But, good Lord!—you can never pretend that it is right that the stupid folk should govern the clever ones! [the crowd cries out] Oh yes—you can shout me down, I know! But you cannot answer me.

The majority has might on its side-unfortunately; but right it has not. I am in the right—I and a few other scattered individuals. The minority is always in the right. Act IV Flertallet har magten — desværre —; men retten har det ikke. Retten har jeg og de andre få, de enkelte. Minoriteten har altid retten. [1] The majority has the might — more's the pity — but it hasn't right. I am right — I and one or two other individuals like me. The minority is always right. [2] The common people are nothing more than the raw material of which a People is made. Dr. Stockmann, Act IV You should never wear your best trousers when you go out to fight for freedom and truth. Dr. Stockmann, Act V Robert Farquharson translation Sagen er den, ser I, at den stærkeste mand i verden, det er han, som står mest alene. You see, the point is that the strongest man in the world is he who stands most alone. Dr. Stockmann, Act V The Wild Duck (1884)[ edit ] Always do that, wild ducks do.

They shoot to the bottom as deep as they can get, sir — and bite themselves fast in the tangle and seaweed — and all the devil's own mess that grows down there. And they never come up again. Ekdal, Act II A marriage based on full confidence, based on complete and unqualified frankness on both sides; they are not keeping anything back; there's no deception underneath it all. If I might so put it, it's an agreement for the mutual forgiveness of sin. Hjalmar, Act IV Forget that foreign word "ideals." We have that good old native word: "lies." Relling, Act V Tar De livsløgnen fra et gennemsnitsmenneske, så tar De lykken fra ham med det samme. If you take the life lie from an average man, you take away his happiness as well. Relling, Act V Oh courage...oh yes! If only one had that...Then life might be livable, in spite of everything. Our common lust for life. Lövborg, Act II Oh courage...oh yes! If only one had that...Then life might be livable, in spite of everything.

Hedda, Act II Back he'll come...With vine leaves in his hair. Flushed and confident. Hedda, Act II Mrs. Elvsted: You have some hidden motive in this, Hedda! Hedda: Yes, I have. I want for once in my life to have power to mold a human destiny. Mrs. Elvsted: Have you not the power? Hedda: I have not—and never had it. Mrs. Elvsted: Not your husband's? Hedda: Do you think it's worth the trouble? Oh, if only you could understand how poor I am. And fate has made you so rich! Act II Everything I touch seems destined to turn into something mean and farcical. Hedda, Act IV When we dead awaken. … We see that we have never lived. The younger generation will come knocking at my door. Solness, Act I A forest bird never wants a cage. Hilda, Act III Castles in the air — they are so easy to take refuge in. And so easy to build, too.

Hilda, Act III People who don't know how to keep themselves healthy ought to have the decency to get themselves buried, and not waste time about it. Ulfhejm, in Act I When we dead awaken. … We see that we have never lived. Irene, in Act II Peer Gynt. (eBook, 2010) [WorldCat.org] Mobi Classics. Abstract: Peer Gynt is a play by the Norwegian playwright Henrik Ibsen. It was written in 1867, and first performed in Christiania (now Oslo) on February 24, 1876, with incidental music by the composer Edvard Grieg. Ibsen wrote Peer Gynt while traveling to Rome, Ischia and Sorrento. It was first published on November 14, 1867, in Copenhagen. The first edition comprised 1,250 copies. It was followed by a re-print of 2,000 copies after 14 days. The large sales were mostly due to the success of Ibsen's previous play, Brand. Unlike Ibsen's other later plays, Peer Gynt is written in verse. This is because it.

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Similar Items schema:datePublished "2010" ; schema:description "Go to top; ACT FIRST; SCENE FIRST; SCENE SECOND; SCENE THIRD; ACT SECOND; SCENE FIRST; SCENE SECOND; SCENE THIRD; SCENE FOURTH; SCENE FIFTH; SCENE SIXTH; SCENE SEVENTH; SCENE EIGHTH; ACT THIRD; SCENE FIRST; SCENE SECOND; SCENE THIRD; SCENE FOURTH; ACT FOURTH; SCENE FIRST; SCENE SECOND; SCENE THIRD; SCENE FOURTH; SCENE FIFTH; SCENE SIXTH; SCENE SEVENTH; SCENE EIGHTH; SCENE NINTH; SCENE TENTH; SCENE ELEVENTH; SCENE TWELFTH; SCENE THIRTEENTH; ACT FIFTH; SCENE FIRST; SCENE SECOND; SCENE THIRD; SCENE FOURTH; SCENE FIFTH; SCENE SIXTH; SCENE SEVENTH; SCENE EIGHTH; SCENE NINTH; SCENE TENTH."@ en ; schema:description "Peer Gynt is a play by the Norwegian playwright Henrik Ibsen.

It was written in 1867, and first performed in Christiania (now Oslo) on February 24, 1876, with incidental music by the composer Edvard Grieg. Ibsen wrote Peer Gynt while traveling to Rome, Ischia and Sorrento. It was first published on November 14, 1867, in Copenhagen. The first edition comprised 1,250 copies. It was followed by a re-print of 2,000 copies after 14 days. The large sales were mostly due to the success of Ibsen's previous play, Brand. Unlike Ibsen's other later plays, Peer Gynt is written in verse. This is because it."@ en ; Henrik Ibsen - Biography - IMDb Henrik Ibsen Jump to: Overview (4) | Mini Bio (1) | Spouse (1) | Trivia (6) | Personal Quotes (1) Overview (4) The Father of Modern Drama Mini Bio (1) Henrik Ibsen was born on March 20th in Stockmannsgerden in Skien. His mother was Marichen and his father was Knud, a merchant.

On 1835 his father gave up his business and the family moved to Venstop, a farm in Gjerpen. In 1843 he confirmed in Gjerpen church and left home in order to apprentice to Jens Aarup Reinmann, chemist. Three years later his first son was born by Else Sophie Jesdatter. On 1849 he wrote Catiline which was published a year later. On September 26, 1850 the first Ibsen staging in history took place; the one-act The Burial Mound was performed at Cristiania Theater. Two years later he started directing productions at Det norske Theater in Bergen. From 1853 to 1877 he wrote the plays St. John's night, Lady Inger, The feast at Solhoug, Olaf Liliekrans, The Vikings at Helgeland, Love's comedy, The pretenders, Brand, Peer Gynt, The League of Youth, Emperor and Galilean and Pillars of Society and the poems Life on the Upland, Terje Vigen and Balloon letter to a Swedish lady.

Meanwhile he married Suzannah Thoresen in 1858 and his second son Sigurg was born a year later. In 1878 he moved to Rome where he lived for seven years. There he started writing the circle of his 11 last plays that made him classic; A Doll's House (1879), Ghosts (1881), An Enemy of the people (1882), The Wild Duck (1884), Rosmersholm (1886), The Lady from the Sea (1888), Hedda Gabler (1890), The Master Builder (1892), Little Ejolf (1894) John Gabriel Borkman (1896) and his last one When We Dead Awaken (1898). The same year large-scale celebrations took place in Christiania, Copenhagen and Stockholm for his 70th birthday. Two years later he had his first stroke. On May 23rd 1906 he died.

- IMDb Mini Biography By: prahaal Spouse (1) ( 18 June 1858 - 23 May 1906) (his death) (1 child) Trivia (6) He is called "the father of modern drama" because his extremely influential plays dealing with domestic life dealt with some of the most shocking issues of the day - venereal disease, a wife abandoning her husband and children to discover her own worth as a human being, suicide, etc. He also wrote a few verse dramas, among them "Peer Gynt". However, Edvard Grieg's music for the original 1876 production is now performed much more often than is the play. In 1846 he had an illegitimate child by Else Sophie Jensdatter, a servant. On December 23rd 1859 his son Sigurd was born. Dubbed one of "the four greats" (de fire store) in Norwegian literature, together with Bjørnstjerne Bjørnson, Alexander Kielland and Jonas Lie.

Not only is he considered the father of modern drama, but his grandson Tancred Ibsen, would grow up to be perhaps the greatest Norwegian of his generation in the modern art of movie-making... His play, "Hedda Gabler" at the Writers Theatre in Chicago, Illinois was nominated for a 2014 Joseph Jefferson Equity Award for Large Play Production. Personal Quotes (1) The Story Behind Edvard Grieg's Peer Gynt - Classic FM Classic FM Guides Now Playing Schedule The Story Behind Edvard Grieg's Peer Gynt Henrik Ibsen (1828-1906) wrote his five-act allegorical drama Peer Gynt in 1867 while living in Italy. It tells the story of the downfall and subsequent redemption of a Norwegian peasant anti-hero. Unlike Ibsen’s previous dramas, it was written in verse and wasn’t originally intended for stage performance. However, in 1874, Ibsen changed his mind and wrote to his friend and compatriot Edvard Grieg to ask if he would compose the music for a production of the play. Flattered to have received the invitation, Grieg agreed at once, but doubt soon set in.

Much as he admired the drama as a literary work, Grieg found composing for it a difficult task. “Peer Gynt progresses slowly,” he wrote to a friend in August 1874, “and there is no possibility of having it finished by autumn. It is a terribly unmanageable subject.” As work continued, Grieg began to be drawn into the drama and, as his wife noted, “the more he saturated his mind with the powerful poem, the more clearly he saw that he was the right man for a work of such witchery and so permeated with the Norwegian spirit”. The music was completed in the autumn of 1875, and the play’s lavishly staged premiere took place on February 24, 1876 in the Mollergaden Theatre, Christiania (now Oslo), with the orchestra conducted by Grieg himself. Though a triumphant success, the performance prompted the composer to complain bitterly that the Swedish management of the theatre had given him specifications as to the duration of each number and its order: “I was thus compelled to do patchwork… In no case had I opportunity to write as I wanted… Hence the brevity of the pieces,” he said.

When Peer Gynt was revived in Copenhagen in 1885, Grieg took the opportunity to re-orchestrate much of the music. For both this and a subsequent revival in 1902, he added new pieces. The score was published in 1908, a year after Grieg died, with 23 individual numbers lasting a total of nearly 90 minutes. Not surprisingly, given the length of both drama and incidental music, full-scale productions are rarely mounted and the original score with soloists, chorus and melodrama is far less well known than the two suites that Grieg assembled in 1888 and 1893. Second to Grieg’s Piano Concerto, the Peer Gynt Suite No.1 is the composer’s most popular work, and of its four movements Morning and In The Hall Of The Mountain King are among the most loved of all short orchestral compositions. Hear it on: Edvard Grieg: Peer Gynt Suite No.1 - YouTube Edvard Grieg: Peer Gynt Suite No.1 Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content.

Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Nov 24, 2011 Edvard Grieg (1843-1907) is the greatest composer Norway has fostered. In retrospect one may wonder how a country with neither national freedom nor a long tradition of art music could have produced a man of such genius. Up to 1814 Norway had been totally subject to Denmark, with Copenhagen as its cultural center. From 1814 to 1905 it was forced into a union with Sweden. The first half of the eighteenth century was a time of poverty in Norway and it was some time before it could assert itself among its Scandinavian brothers. But for the highly gifted these are perhaps the ideal conditions for providing impetus and nurturing growth. In the autumn of 1858, Edvard Grieg, then only 15 years old, went to the Leipzig Conservatory to study music. His teachers were among the most eminent in Europe, and four years later he left the Conservatory as a full-fledged musician and composer.

In the years up to 1866, Grieg lived in Copenhagen, leaving it only to make brief study trips. Grieg's style was based on the German romantic tradition of music but bit by bit national awareness developed within him, coupled with a growing need to create a typical Norwegian style of music. His friendships and discussions with other young Norwegians also furthered this development. In Copenhagen Grieg had met Rikard Nordraak, whose patriotism reached its fullest expression in the choral setting of Norway's national anthem. In 1869 Grieg, on a state stipend, left for Italy. His encounter with Franz Liszt and the artistic circles in Rome gave him fresh inspiration and self-confidence. Fired with new energy and enthusiasm he returned to Christiania in 1870. There he initiated a fruitful cooperation with Bjornstjerne Bjornson, who for many years had been waiting for a composer who could write Norwegian music that would expand and bring to life his poems and dramas.

Grieg's dramatic talents were put to a test when Henrik Ibsen asked him to write the incidental music to "Peer Gynt." This was no easy task for Grieg, but the music he wrote became one of the major works of the 1870s. In Grieg's own lifetime the "Peer Gynt" music scored a resounding international success thanks, not least, to the two orchestral suites which made the music accessible in the concert hall. A number of music researchers have pointed to the significance of Grieg's later works on the French impressionists' search for a new world of sound. After Grieg's death Maurice Ravel visited Oslo, where he was asked, whether Norwegian music had influenced him. His answer was: "I am fairly certain, that Edvard Grieg's influence was much more significant in non-nordic countries than here in the north. The generation of French composers, which I am part of, was strongly attracted by Grieg's music.

Next to Debussy there's no other composer, whom I feel more related to, than Grieg." Bela Bartok, who attempted to renew musical style in the twentieth century on the basis of folk music, also received important impulses from Grieg's piano adaptations of such melodies. Edvard Grieg's goal was to create a national form of music which could give the Norwegian people an identity, and in this respect he was an inspiration to other composers. But the greatness of his works lies not just in this, but in the fact that he also succeeded in expressing thoughts and emotions which could be recognized everywhere; music which people could identify with. Grieg's music transcended national boundaries. Viewed in this perspective, it is evident that he was far more than just a national composer. Peer Gynt Suite No.1

Question: Who wrote the incidental music to Ibsen's Peer Gynt, first performed in 1876?
Answer: Edvard Grieg