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When We Dead Awaken

Henrik Ibsen

Book Overview: 

Dreamlike and highly symbolic, the play charts the dissolution of sculptor Arnold Rubek's marriage to Maia, her flirtation with Ulfheim, and his involvement with the mysterious Irene, his former model. The tensions rise between the characters as they climb higher and higher into the Norwegian mountains.

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Book Excerpt: 
. . .A dark one? Quite black, perhaps?


Yes, I should almost have said so.


[A light breaking in upon him.] And behind the white figure? Following close upon her—?


Yes—at a little distance—


Aha! Then I think I can explain the mystery, Professor.


Well, what was it then?


[Simultaneously.] Was the professor really not dreaming?


[Suddenly whispering, as he directs their attention towards the background on the right.] Hush, if you please! Look there—don't speak loud for a moment.

[A slender lady, dressed in fine, cream-white cashmere, and followed by a SISTER OF MERCY in black, with a silver cross hanging by a chain on her breast, comes forward from behind the hotel and crosses the park towards the pavilion in front . . . Read More

Community Reviews

Just listen to the silence once the dead awaken in the epilogue. The silence that speaks of the irony - of confused expectations - as we live through life expecting our lives to make some sort of a big impact and in the end find that the artist we posed for has made us only a background figure in...more

The end of a great line of plays - the drama that draws together all the puzzles and threads from all the other plays and from all of Ibsens own dramas - his life. To understand this abstract play you have to have really read a lot of him. There are metaphors upon metaphors and hints and lines th...more

زندگی سترونتر از آن است که در آغاز گمان میکردیم. مرگ سایه نیست. نور، مرگ، عشق، هنر، دیگربار زیستن را به یاد آوردن. وقتی ما مردگان سربرداریم.

به نام او

ایبسن را بسیار دوست می دارم و نمایشنامه هایش مانند عروسکخانه، مرغابی وحشی و اشباح جزو بهترین نمایشنامه هاییست که خواندم.
وقتی ما مردگان سر برداریم آخرین نمایشنامه ای ست که ایبسن نوشته است ، من به اندازه دیگر آثار ایبسن نپسندیدمش ولی باز آناتی داشت برای لذت بردن از دنیای پیچیده پیرمرد نروژ...more

به نوک قله رفتن لزوماً به معنای رسیدن به شکوه و عظمت نیست و ایبسن میخواد ما این رو بدونیم قبل از این که برای شعر آزادی خوندن دیر بشه.

آیا مایا - که پی خوشیِ در لحظه است - زندگی را بُرده، یا روبک و ایرنا، که از خلق کردن زنده هستند؟ همهی آنها ولی برای رسیدن به قلهی کوه - که چشماندازی گسترده دارد - مشتاق هستند. مایا حاضر نیست تاوان آن را بدهد و از این مسیر سخت عبور کند، روبک و ایرنا این بها را میپردازند و با خوشحالی به استقبال مرگ...more

آخرین نوشته و نمایشنامه ی هنریک ایبسن، پدر نمایشنامه نویسی مدرن، انگار که حال و هوای زندگی خود ایبسن سالخورده را دارد. هنرمندی سالخورده با دو زنی که شاید یکی نماد ظاهریِ هنر و زندگی بود و دیگری باطن یا به قول خود ایبسن کلید صندوقچه ی سینه ی یک هنرمند. به نظرم اینکه یک هنرمندِ سالخورده ی رو به زوا...more

What the fuck did I just read. Picked this up from the Said book On Late Style which discussed this briefly.

Insanely dark, depressing, full of imagery of rocks/turning into rocks/ossification. Some pretty obvious symbolism in this work, which isn't particularly interesting (the tangible muse tryi...more

نسخه ى انگليسى رو خوندم:
ديالوگ ها (به خصوص در پرده ى دوم) بسيار زيبا و صادقانه بودند كه به جا و قابل ستايشه. و بخونيم و ياد بگيريم كه چطور ميشه از نماد ها به درستى استفاده كرد.
به نظر من: نمايش نامه اى تقريباً كوتاه و (بعضاً) واقعاً زيبا در مورد مجسمه سازى كه همچنان درگير شاهكارش در گذشته و متعاقب...more

دلم می خواست بیش تر دوستش داشته باشم

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