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Rosmersholm

Henrik Ibsen

Book Overview: 

Rosmersholm is a play by Norwegian playwright Henrik Ibsen. In the estimation of many critics the piece is Ibsen’s masterwork, only equaled by The Wild Duck. As expressed by the protagonist, Rosmer, the theme of the play is social and political change, in which the traditional ruling classes relinquish their right to impose their ideals on the rest of society, but the action is entirely personal, resting on the conduct of the immoral, or amoral, “free thinking” heroine, Rebecca, who sets herself to undermine Rosmer’s religious and political beliefs because of his influential position in the community. Rebecca has abandoned not only Christianity but, unlike Rosmer, she has abandoned the whole ethical system of Christianity as well. Possibly she may be taken as Ibsen’s answer to the question of whether or not Christian ethics can be expected to survive the death of the Christian religion. (Summary by Wikipedia)

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Book Excerpt: 
. . .I want now to offer my mite upon the altar of emancipation.

Kroll. You too?

Brendel (to them all). Has your public here any intimate acquaintance with my scattered writings?

Kroll. No, I must candidly confess that—

Rebecca. I have read several of them. My foster-father had them.

Brendel. My dear lady, then you have wasted your time. They are simply trash, allow me to tell you.

Rebecca. Really?

Brendel. Those you have read, yes. My really important works no man or woman knows anything about. No one—except myself.

Rebecca. How is that?

Brendel. Because they are not yet written.

Rosmer. But, my dear Mr. Brendel—

Brendel. You know, my dear John, that I am. . . Read More

Community Reviews

Did you know? In 1893, only a few years after Rosmersholm was first published it was produced at the Théâtre Libre in Paris. And working on an earthen floor of a workshop open to every wind, Édouard Vuillard, barely twenty-five, “surpassed himself in ingenuity and economic invention in creating atmo

ایبسن علاقه‌ی خاصی به کوبیدن نماداش توی صورت مخاطب داره. ده بار تکرار کرد: اسب‌های سفید میان. اسب‌های سفید اومدن. اسب‌های سفید خیلی به روسمرسهولم میان. اسب سفید اسب سفید اسب سفید اسب سفید. ولم کن مرد حسابی
البته که موافق ول کردن نماد هم نیستم و پراکنده بودنش توی همه‌ی عناصر اثر خیلی بهتر از تکرار دا

من همیشه تو ذهنم نمایشنامه‌ها و بعضاً رمان‌ها رو بازی می‌کنم... یعنی برای نقش‌ها بازیگر تعیین می‌کنم، طراحی صحنه ترتیب می‌دم و بعضی وقت‌ها هم خودم یک نقش رو برمی‌دارم که با صدای خودم بخونم... هیچ نمایشنامه‌ای مثل نمایشنامه‌های ایبسن برام انقدر دلنشین و روون تو این تصور نگنجیده.
این نمایشنامه تمام ری

Per me più ostico rispetto agli altri drammi di Ibsen e forse anche più disperato nel denunciare l’impossibilità di ottenere quello che si desidera e il continuo anelito alla felicità. Felicità che l’uomo sembra riesca a trovare anche nell’autodistruzione, quando ogni altra speranza si è dissolta.



از زمانی که خوندن این کتاب رو تموم کردم بیشتر از دو هفته میگذره. اما هنوز هم حس سرمای عجیبی میکنم از فکر کردن بهش. یعنی میخوام بگم انقدر تاثیرگذار بوده این لعنتی.

نمایشنامه‌های ایبسن معمولا خیلی دینامیک ندارن و بیشتر روی دیالوگهای بین شخصیتها پیش میرن. توی این نمایشنامه که دیگه اصلا هیچی.

با کشیش

مثل بقیه ی نمایشنامه هاش این هم به نظرم یک شاهکار محسوب میشه و اولین نمایشنامه ای که در مورد عشق و پی مایه های عاشقانه ازایبسن خوندم .
هرچهار پرده عالی کار شدن و برای خواننده ی آماتوری مثل من ترکیبی از لذت و درد بود؛مخصوصا دو پرده ی آخر.
عشق روسمر و ربکا خیلی زیبا و واقعی ترسیم شده بود و به نوعی برگرف

Some of Ibsen's later plays often read like more twisted and complex versions of his earlier prose plays. Hence John Gabriel Borkman reads like The Pillars of Society, and Hedda Gabler offers another take on A Doll's House.

In the case of Rosmersholm, we have a loose reinterpretation of Ghosts. The p

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