Ghosts by Henrik Ibsen

1-Mark Questions and Answers

1. Q: Who wrote the play Ghosts?
A: Henrik Ibsen.
2. Q: What is the original language of Ghosts?
A: Norwegian.
3. Q: What is Mrs. Alving’s first name?
A: Helene.
4. Q: Who is Regina Engstrand’s employer at the beginning of the play?
A: Mrs. Alving.
5. Q: What is the relationship between Oswald and Regina?
A: Half-siblings.
6. Q: Who is Regina’s supposed father?
A: Jakob Engstrand.
7. Q: What is the name of the clergyman in the play?
A: Pastor Manders.
8. Q: What is the name of Mrs. Alving’s late husband?
A: Captain Alving.
9. Q: Why did Mrs. Alving send Oswald away to Paris?
A: To protect him from his father’s corrupt influence.
10.Q: What occupation does Oswald pursue?
A: He is an artist/painter.
11.Q: What causes the orphanage to burn down?
A: An accidental fire due to Engstrand’s negligence.
12.Q: What illness does Oswald suffer from?
A: Congenital syphilis (inherited neurological disorder).
13.Q: What symbolic meaning does the title Ghosts convey?
A: The haunting influence of past sins, traditions, and repressions.
14.Q: Who tries to convince Regina to join him in starting a seamen’s home?
A: Engstrand.
15.Q: What drug does Oswald carry with him in the play?
A: Morphine.
16.Q: What does Oswald ask his mother to do if his condition worsens?
A: Euthanize him with the morphine.
17.Q: Who insists that Mrs. Alving should keep her husband’s reputation
untarnished?
A: Pastor Manders.
18.Q: What kind of moral ideology does Pastor Manders represent?
A: Conservative Christian morality and social respectability.
19.Q: What is the main setting of the play?
A: Mrs. Alving’s country house in Norway.
20.Q: In what year was Ghosts first published?
A: 1881.
 Questions (2 Marks) with Answers
1. Q: Why did Mrs. Alving send Oswald abroad at a young age?
A: To shield him from his father’s immoral behavior and ensure he grew up away from
the corrupt environment at home.
2. Q: How is the concept of “ghosts” defined in the play?
A: It symbolizes the lingering influence of outdated beliefs, traditions, and the past that
haunt the present.
3. Q: What is ironic about the building of the orphanage?
A: Mrs. Alving builds it in memory of her morally corrupt husband, using it to mask his
true character from society.
4. Q: Why does Pastor Manders reject insurance for the orphanage?
A: He fears public criticism and believes taking insurance implies a lack of faith in
divine protection.
5. Q: What is the significance of the fire that destroys the orphanage?
A: It symbolizes the collapse of societal illusions and the exposure of long-hidden
truths.
6. Q: How does Ibsen challenge traditional gender roles in Ghosts?
A: Through Mrs. Alving’s independent thinking and critique of societal norms, Ibsen
portrays a woman breaking from expected submissiveness.
7. Q: What role does Engstrand play in the drama’s thematic structure?
A: He embodies hypocrisy and opportunism, using religion and morality as tools for
personal gain.
8. Q: What does Oswald mean by “the joy of life”?
A: He refers to creative freedom, vitality, and emotional expression—things he believes
are lost due to his illness.
9. Q: Why does Regina refuse to stay with Oswald at the end of the play?
A: Upon learning that Oswald is her half-brother, she is horrified and leaves,
prioritizing her future over emotional ties.
10.Q: What was Mrs. Alving’s marital experience with Captain Alving?
A: She suffered silently through his debauchery and abuse, forced by social norms to
maintain appearances.
11.Q: What is Pastor Manders’ view on morality?
A: He upholds traditional religious morality and public opinion over personal truth and
compassion.
12.Q: How is the theme of hereditary sin portrayed in the play?
A: Oswald’s inherited illness (syphilis) from his father reflects the idea that children
bear the consequences of their parents’ sins.
13.Q: Why does Mrs. Alving eventually confess her husband’s true nature?
A: She is driven by guilt and the realization that suppressing truth has led to greater
harm, especially to Oswald.
14.Q: What is the importance of Paris in Oswald’s life?
 A: It symbolizes freedom, artistic expression, and escape from the suffocating moral
atmosphere of his homeland.
15.Q: What does the play reveal about societal hypocrisy?
A: It shows how society often chooses to hide the truth behind a façade of
respectability, even at great personal cost.
16.Q: How does Ibsen criticize religious authority in Ghosts?
A: Through Pastor Manders, who blindly follows dogma and prioritizes social approval
over human compassion and reason.
17.Q: In what way is Regina a victim in the play?
A: She is manipulated by Engstrand, exploited by her employers, and ultimately denied
autonomy over her life choices.
18.Q: Why is Ghosts considered controversial?
A: It addresses taboo topics like venereal disease, incest, euthanasia, and critiques
religious and social institutions.
19.Q: What does Oswald carry with him as a last resort?
A: A dose of morphine, asking his mother to use it if his mental collapse becomes
irreversible.
20.Q: How does the ending of the play underscore its tragic dimension?
A: It ends with Mrs. Alving confronting a devastating moral choice—whether to honour
her son’s plea for euthanasia—signifying the full weight of her past decisions.

Questions (5 Marks) with Answers

1. Q: Discuss the symbolic significance of the orphanage in Ghosts.

A: The orphanage symbolizes the social façade Mrs. Alving maintains to conceal her
husband’s depravity. Its destruction by fire metaphorically represents the collapse of lies
and the inevitability of truth. It also critiques how society honors corrupt individuals
posthumously.

2. Q: How does Ibsen use the motif of heredity in the play?

A: Heredity is central in Oswald’s inherited syphilis, reflecting how the sins of one
generation impact the next. It reveals the destructive legacy of family secrets and
questions the moral responsibilities of parents toward their children.

3. Q: How does Pastor Manders represent institutional hypocrisy?

A: Manders values public opinion over truth. He urges Mrs. Alving to endure her
husband’s abuse and refuses to insure the orphanage to avoid scandal. He stands for
blind conformity to social and religious norms, exposing institutional moral failure.

4. Q: Examine the character of Oswald Alving.

 A: Oswald is an artist returning home terminally ill. He seeks honesty, love, and peace
but finds emotional chaos. His final plea to his mother reveals the play’s core tragedy—
generational damage and moral paralysis.

5. Q: What is the role of Engstrand in the play?

A: Engstrand is a morally dubious opportunist who pretends piety to gain favor. His
manipulation of Regina and deceit regarding the orphanage highlight themes of greed,
deception, and the misuse of religion for self-interest.

6. Q: Discuss the theme of freedom in Ghosts.

A: Characters yearn for freedom—Mrs. Alving from societal norms, Oswald from
illness, and Regina from her lowly status. However, they are trapped by the “ghosts” of
duty, heredity, and morality. Ibsen shows how real freedom demands painful truth.

7. Q: How is realism reflected in Ghosts?

A: Ibsen uses everyday settings, colloquial language, and social issues like disease and
hypocrisy. The play eschews melodrama for real human conflict, presenting marriage,
religion, and illness with psychological depth and truthfulness.

8. Q: Comment on the role of Regina in the play.

A: Regina is both victim and survivor. She aspires to rise above her station and maintain
dignity. When she learns of her true parentage, she rejects both Oswald and her father’s
schemes, asserting agency in a morally confusing world.

9. Q: Explain the relevance of the title Ghosts.

A: “Ghosts” are not literal spirits but the lingering influence of past traditions, sins, and
ideologies. Every character is haunted by decisions, family legacies, and repressive
norms. The title underscores the psychological and societal haunting of the present.

10.Q: How does the play critique the institution of marriage?

A: Ibsen shows marriage as a tool of social control. Mrs. Alving’s marriage was
miserable, but she was compelled to endure it for propriety’s sake. The play challenges
the romanticized and patriarchal view of marriage.

11.Q: What does the character of Mrs. Alving reveal about Ibsen’s view on women?
A: Mrs. Alving represents a woman with inner strength and rationality, trapped in a
hypocritical society. Her reflections and choices suggest Ibsen’s sympathy for women’s
struggles and his critique of their prescribed roles.

12.Q: How does Ghosts reflect the concept of moral dilemmas?

A: Every major character faces moral conflict—Mrs. Alving must choose between
honesty and duty; Oswald wants euthanasia; Manders prioritizes reputation over justice.
Ibsen shows that morality is complex and personal, not dictated by society.
13.Q: In what way does Ibsen incorporate the theme of illness in the play?
A: Illness in Ghosts is both literal (Oswald’s syphilis) and metaphorical (society’s moral
disease). The disease becomes a powerful metaphor for inherited guilt, unspoken truths,
and decaying ideals.

14.Q: Examine the tension between appearance and reality in the play.
A: The play contrasts societal image (Captain Alving as a noble man) with reality (he
was immoral). The orphanage, Pastor Manders, and even Mrs. Alving are complicit in
maintaining lies. Ibsen shows that truth is often buried beneath respectability.

15.Q: What is the importance of Paris in Oswald’s story?

A: Paris represents freedom, modernity, and artistic identity for Oswald, a stark contrast
to his repressive Norwegian home. Yet, illness brings him back to confront inherited
burdens, making Paris a lost dream rather than salvation.

16.Q: How does the fire function as a dramatic device in the play?
A: The fire symbolizes purgation, revelation, and collapse. It clears away the false
legacy of Captain Alving, mirrors emotional outbursts, and pushes characters to
confront reality. It is both literal and metaphorical climax.

17.Q: Analyze Ibsen’s critique of religious morality.

A: Ibsen exposes the rigidity and blindness of religious codes through Pastor Manders,
who discourages free thinking and prioritizes public image. The play advocates for
moral individualism over blind adherence to doctrine.

18.Q: What role does silence and secrecy play in the narrative?
A: Silence shapes the plot—Mrs. Alving’s silence about her husband, Regina’s
ignorance of her birth, Oswald’s hidden illness. Secrets are tools of control but
ultimately lead to tragedy when exposed.

19.Q: Discuss the significance of Oswald’s final request.

A: Oswald’s plea to his mother to administer morphine if he loses consciousness reveals
the depth of his suffering. It raises ethical questions about mercy, autonomy, and
maternal love, leaving the play unresolved and haunting.

20.Q: In what way is Ghosts a modern tragedy?

A: The play lacks grand heroes but presents ordinary people caught in ethical, social,
and psychological turmoil. Its tragedy lies in inherited trauma, moral paralysis, and the
collapse of illusions, making it a deeply modern and existential work.

Questions (7 Marks Each) with Answers

1. Q: How does Henrik Ibsen use the character of Mrs. Alving to challenge Victorian
ideals of womanhood?

A:Mrs. Alving is portrayed as a woman trapped by societal expectations, but also as

someone who challenges them. She silently suffers in a loveless marriage to maintain
social respectability. Her decision to send Oswald away, build an orphanage, and finally
confess the truth about her husband’s immoral life represent her resistance to the
patriarchal system. She symbolizes Ibsen’s vision of a modern woman—intelligent,
emotionally complex, and morally courageous. Through her, Ibsen critiques the
Victorian ideal of the submissive, dutiful wife and argues for women’s autonomy in
thought and action.

2. Q: Analyze the theme of inherited sin in Ghosts.

A:Ibsen’s exploration of inherited sin is central to the play’s tragedy. Oswald inherits
syphilis from his father, Captain Alving—a disease that symbolizes both physical
degeneration and the transmission of moral corruption. Mrs. Alving’s efforts to shield
her son from his father’s depravity prove futile. Ibsen suggests that the sins of one
generation cast long shadows over the next. This portrayal is not merely biological but
also psychological and moral, as the consequences of past misdeeds inevitably manifest
in the present.

3. Q: What role does social hypocrisy play in Ghosts?

A:Social hypocrisy is one of the play’s dominant themes. The public regards Captain
Alving as a respectable figure, while in reality, he was morally degenerate. Pastor
Manders, who represents societal and religious orthodoxy, is more concerned with
appearances than truth. The orphanage built in Captain Alving’s honor is based on a lie
and is ultimately destroyed—symbolizing the collapse of hypocrisy. Ibsen critiques a
society that prioritizes reputation over truth, and appearance over moral responsibility.

4. Q: Examine the significance of the play’s title, Ghosts.

A:The title Ghosts is metaphorical and refers not to literal specters, but to the lingering
power of past values, sins, and traditions. Characters are haunted by the legacies of their
ancestors and by societal norms they cannot escape. Oswald is plagued by his father’s
sins; Mrs. Alving by her silence and conformity; Regina by her parentage. The “ghosts”
represent how the past intrudes upon and shapes the present, often destructively.

5. Q: Discuss the symbolic meaning of the fire in the play.

A:The fire that destroys the orphanage is both a literal and symbolic event. It signifies
the destruction of the false legacy of Captain Alving and the collapse of Mrs. Alving’s
efforts to preserve a socially acceptable image. Symbolically, it burns down the lies,
illusions, and façades that the characters have built. The fire becomes a cleansing force,
clearing the way for truth, even if it brings pain and tragedy.
6. Q: How does Ibsen criticize religion through Pastor Manders?
A:Pastor Manders embodies religious conservatism and moral rigidity. He urges Mrs.
Alving to remain with her abusive husband and opposes insuring the orphanage, fearing
public criticism more than practical considerations. He also disapproves of Oswald’s
liberal views. Ibsen uses Manders to highlight how religious institutions often uphold
tradition at the cost of compassion and truth. The character reveals the danger of moral
dogma when it lacks empathy and reason.

7. Q: How is the theme of truth versus illusion explored in Ghosts?

A:The play pits harsh truths against comforting illusions. Mrs. Alving constructs a false
image of her late husband to protect Oswald and herself. Pastor Manders perpetuates
these illusions for social respectability. The fire, Regina’s departure, and Oswald’s
illness force these illusions to collapse. Ibsen suggests that truth, however painful, is
necessary for genuine moral and emotional freedom. The cost of illusion is ultimately
human suffering and tragedy.

8. Q: What role does Regina play in the moral structure of the play?
A:Regina Helmer is a complex character caught in a moral web. Initially shown as
ambitious and somewhat naive, she aspires to a better life. When she learns that she is
Captain Alving’s illegitimate daughter, she refuses to stay with Oswald, despite their
emotional connection. Her exit from the house at the end reflects moral clarity and self-
preservation. She represents the younger generation’s desire to break free from the sins
and secrets of the past.

9. Q: In what way is Ghosts a critique of the bourgeois family?

A:Ibsen exposes the bourgeois family as a site of repression, hypocrisy, and inherited
trauma. Mrs. Alving’s marriage was a sham; Oswald inherits a degenerative illness from
his father; and Regina is the product of an illicit affair. The idealized image of the
nuclear family crumbles under the weight of secrets and lies. Ibsen shows how
bourgeois values, far from being moral, often conceal dysfunction and suffering.

10. Q: Comment on the structure of the play. How does Ibsen use the unities?
A:Ghosts adheres to the classical unities of time, place, and action. The entire play
unfolds in one setting—Mrs. Alving’s home—and in a single day. This concentrated
form heightens the tension and allows the revelations to unfold with increasing
intensity. The unity of action ensures that every event and dialogue contributes to the
central conflict. The structure mirrors a classical tragedy, emphasizing moral decay and
inevitable consequences.

11. Q: How does Ibsen explore the theme of duty in Ghosts?

A:Duty in Ghosts is portrayed as a socially imposed obligation that suppresses
individual desire and truth. Mrs. Alving feels duty-bound to maintain her husband’s
public image and uphold her marriage, despite his immoral behavior. Pastor Manders
defines duty as blind adherence to social and religious norms. Even Oswald, in his final
plea to his mother, frames his suffering as something she must bear as part of her
maternal duty. Ibsen critiques this understanding of duty as a burden that leads to
repression and suffering.

12. Q: What role does illness play in the narrative of Ghosts?

A:Illness in Ghosts is both literal and symbolic. Oswald suffers from congenital
syphilis, a physical manifestation of his father’s sins. The disease embodies the theme
of inherited guilt and the inescapability of the past. It also represents societal decay—
how corruption festers under the guise of respectability. Oswald’s mental deterioration
parallels the disintegration of the illusions maintained by his family and community.
The illness becomes a metaphor for a diseased society built on lies.

13. Q: Comment on Ibsen’s use of dramatic irony in the play.

A:Dramatic irony is a key device in Ghosts. The audience is gradually made aware of
the moral corruption beneath the respectable surface of the Alving household, while
characters like Pastor Manders remain oblivious or willfully blind. For example, the
public praise for Captain Alving contrasts sharply with what the audience learns about
his debauchery. Similarly, Manders’ misplaced trust in Engstrand and the decision not
to insure the orphanage backfire tragically. This irony heightens the tension and deepens
the critique of societal values.

14. Q: Explore the character of Pastor Manders as a foil to Mrs. Alving.

A:Pastor Manders and Mrs. Alving embody conflicting ideologies. While Manders
upholds religious orthodoxy and social decorum, Mrs. Alving begins to challenge those
norms. Manders insists on propriety even in the face of personal suffering, whereas Mrs.
Alving becomes a voice for truth and individual conscience. He serves as a foil by
highlighting Mrs. Alving’s moral evolution. His failure to act justly or wisely
underscores Ibsen’s critique of rigid authority and blind faith in institutions.

15. Q: How does Ghosts portray the failure of idealism?

A:Idealism is shown to be inadequate when confronted with reality. Mrs. Alving
initially believes that sending Oswald away will save him from corruption. She idealizes
her role as a mother and protector. Oswald, too, holds an idealized vision of freedom
and artistic life. However, the truths about his family and his illness shatter these ideals.
Ibsen shows that clinging to ideals without confronting truth results in disillusionment
and tragedy.

16. Q: Discuss the role of secrecy in the play’s development.

A:Secrecy drives the plot of Ghosts. Mrs. Alving hides the truth about her husband’s
debauchery, and the real parentage of Regina is concealed. These secrets, kept to
preserve social reputation, become the root cause of emotional and psychological
trauma. The gradual revelation of these secrets leads to the climactic collapse of the
family’s moral structure. Ibsen uses secrecy to criticize the hypocrisy and repression
embedded in family and societal institutions.

17. Q: In what way is Ghosts a psychological drama?

A:Ghosts delves deeply into the psychological motivations and conflicts of its
characters. Mrs. Alving struggles with guilt, denial, and the burden of truth. Oswald
faces existential despair over his inherited illness. Regina undergoes a transformation
upon learning her origins. The play does not rely on external action but focuses on
internal crises. Ibsen anticipates modern psychological drama by making emotional
truth the play’s primary concern, revealing how inner conflicts mirror broader social
problems.

18. Q: What is the function of Engstrand in the play?

A:Engstrand serves as a symbol of opportunism and moral corruption. He pretends piety
and manipulates others for personal gain, such as when he tries to blackmail Pastor
Manders or exploit Regina. His plan to build a “home for seamen” is a thinly veiled
business scheme. While seemingly comic, Engstrand represents the dark underbelly of
society—the unscrupulous figures who thrive by pretending virtue. Ibsen uses him to
expose religious hypocrisy and class-based exploitation.

19. Q: Discuss the ending of Ghosts. What is its dramatic impact?

A:The ending is deeply tragic and unresolved. Oswald’s plea for euthanasia, uttered in
the throes of a mental breakdown, forces Mrs. Alving into an unimaginable moral
dilemma. The curtain falls on her anguish, leaving the audience to contemplate the cost
of generational sins and societal hypocrisy. The open-ended conclusion underscores the
play’s psychological realism and avoids moral closure. It shocks the audience into
reflecting on the consequences of repressed truths and inherited suffering.

20. Q: How does Ghosts reflect Naturalistic drama?

A:Ghosts exemplifies naturalism through its focus on real-life issues like heredity,
illness, sexual repression, and societal hypocrisy. Ibsen creates lifelike characters and
settings and avoids melodrama. The events of the play are driven by cause and effect,
shaped by the characters’ environments and past actions. Dialogue is realistic, and the
problems are unresolved, as in real life. Ibsen uses naturalism to show that individuals
are products of social, biological, and psychological forces beyond their control.

1. Discuss the significance of the title Ghosts.

Answer: The title Ghosts symbolizes the persistent influence of the past on the present.
These “ghosts” are not literal spirits but represent outdated social conventions, inherited
sins, and repressive ideologies. Mrs. Alving refers to them as “old ideas, old beliefs, and
old dead doctrines” that continue to “haunt” the living. Captain Alving’s moral decay,
Oswald’s illness, and Regina’s illegitimacy are all manifestations of these spectral
burdens. The title encapsulates Ibsen’s critique of how societal and familial legacies can
paralyze individual freedom and social progress.

2. Examine the role of heredity and environment in the play.

Answer: Ghosts explores the interplay between heredity and environment. Oswald’s
inherited syphilis is a direct consequence of his father’s debauchery, representing the
biological “ghosts” passed down through generations. Simultaneously, Mrs. Alving’s
choice to maintain social appearances and hide the truth contributes to Oswald’s
psychological burden. Ibsen presents heredity as inescapable, yet environment —
particularly Mrs. Alving’s concealment — exacerbates the damage. The play thereby
critiques both natural inheritance and societal hypocrisy in shaping individual destinies.

3. How does Ibsen portray the institution of marriage in Ghosts?

Answer: Marriage in Ghosts is depicted as a façade that upholds societal hypocrisy. The
Alving marriage is a sham, sustained only for appearances. Mrs. Alving sacrifices her
happiness to preserve her husband’s public image. Ibsen exposes how the institution
traps individuals, particularly women, in morally and emotionally destructive
relationships. Pastor Manders’ insistence on preserving the sanctity of marriage further
emphasizes how societal values suppress truth and autonomy. The play ultimately
condemns marriage when built on lies, coercion, and public image.

4. Analyze the character of Mrs. Alving as a tragic heroine.

Answer: Mrs. Alving embodies the tragic heroine caught between duty and truth. Her
life is marked by self-sacrifice and moral awakening. Initially submissive, she evolves
into a figure of enlightenment, rejecting societal norms. However, her decision to
conceal the truth for Oswald’s sake ironically dooms him. Her tragic flaw lies in her
delayed confrontation with reality. Her character arc reflects Ibsen’s critique of blind
adherence to social convention and underscores the tragedy of delayed moral courage.

5. Evaluate the role of Pastor Manders in reinforcing societal hypocrisy.

Answer: Pastor Manders represents religious orthodoxy and social conservatism. He
advises Mrs. Alving to stay with her immoral husband and condemns her for reading
progressive literature. His fear of public opinion governs his actions, such as refusing to
insure the orphanage to avoid scandal. Manders’ moral rigidity and blindness to truth
make him a symbol of the oppressive forces Ibsen critiques. He reinforces hypocrisy by
prioritizing appearances over individual well-being and truth.

6. Discuss the symbolism of the orphanage in the play.

Answer: The orphanage symbolizes societal denial and illusion. It is built in Captain
Alving’s memory to preserve his false legacy. Mrs. Alving’s act is one of repression, an
attempt to channel guilt into social good. However, its destruction by fire represents the
collapse of these illusions and the futility of denying the truth. The orphanage is both a
literal and metaphorical monument to hypocrisy, serving as a critique of social
institutions built on lies.

7. How does Ibsen use irony in Ghosts to critique moral values?

Answer: Irony pervades Ghosts, often exposing the gap between appearance and reality.
Mrs. Alving tries to protect Oswald by hiding his father’s sins, yet he inherits the
disease. Pastor Manders preaches morality but falls victim to rumor and fear. The
orphanage, meant to honor virtue, is destroyed. These ironies underscore Ibsen’s
critique of rigid moral codes that suppress truth and perpetuate suffering. Irony becomes
a tool to expose the contradictions in bourgeois morality.

8. Examine the theme of freedom and repression in the play.

Answer: Freedom is a central but elusive theme in Ghosts. Mrs. Alving seeks
intellectual and emotional freedom, yet societal norms repress her. Oswald desires
freedom from hereditary illness and societal judgment, but his fate is sealed. Regina
dreams of a better life but is constrained by her illegitimacy. Ibsen shows how freedom
is curtailed by social structures, inherited burdens, and institutional morality. The play
argues for liberation through truth, but also shows its tragic costs.

9. Discuss the motif of fire and light in the play.

Answer: Fire and light operate as symbols of destruction and revelation. The fire that
consumes the orphanage represents the destruction of societal illusions. Light often
symbolizes truth; Oswald’s desire for “the sun” at the end signifies his yearning for
clarity and peace, even if through death. Ibsen uses these motifs to underline the tension
between truth and repression, and the purgative, sometimes tragic, consequences of
confronting hidden realities.

10. Explore the theme of moral conflict in Ghosts.

Answer: Moral conflict arises in nearly every character. Mrs. Alving is torn between
truth and maternal protection. Pastor Manders grapples with religious ideals versus real-
life complexities. Regina faces a choice between duty and desire. These conflicts expose
the inadequacy of conventional morality in addressing human suffering. Ibsen presents
moral dilemmas without clear resolutions, emphasizing the need for personal
conscience over social dogma.

11. How does Ibsen address the issue of women’s roles in society?
Answer: Ibsen critiques the limited, sacrificial roles assigned to women. Mrs. Alving’s
life is defined by submission, silence, and duty. Her evolution represents a struggle for
intellectual freedom and moral agency. Regina’s aspirations are thwarted by her
illegitimacy and social position. Ibsen highlights how societal structures deny women
autonomy and identity, and he uses these characters to advocate for gender equality and
truth.
12. Analyze the character of Oswald Alving as a symbol of modern tragedy.
Answer: Oswald embodies the modern tragic figure — a victim not of fate, but of
inherited disease and social deception. His illness is a physical manifestation of the
“sins of the father,” and his despair reflects the emotional toll of truth. His tragic flaw is
not moral weakness but helplessness. Oswald’s request for euthanasia at the end
confronts the limits of human endurance, making him a poignant symbol of the
individual crushed by invisible legacies.

13. Discuss the significance of the ending of Ghosts.

Answer: The ending is bleak yet philosophically profound. Oswald, consumed by
inherited disease, begs his mother to end his suffering. Mrs. Alving faces the horrifying
choice of mercy killing. The sun, which Oswald asks for, becomes a symbol of clarity,
release, or even spiritual death. The open-ended conclusion offers no catharsis,
reinforcing Ibsen’s message: truth is painful, and the price of deception is human
suffering.

14. How does Ibsen use realism as a dramatic technique in Ghosts?

Answer: Ibsen employs realism through natural dialogue, plausible settings, and social
issues. He avoids melodrama and instead portrays ordinary lives disrupted by hidden
truths. Characters are psychologically complex, and the action unfolds in real-time.
Realism enhances the play’s critique of societal norms by grounding it in relatable
experience. The use of everyday symbols — fire, disease, legacy — roots the drama in
the tangible and moral struggles of middle-class life.

15. Evaluate the role of secrecy and silence in the play.

Answer: Secrecy and silence are central to the tragedy. Mrs. Alving’s silence about her
husband’s misconduct leads to Oswald’s doom. Regina is unaware of her parentage.
Pastor Manders, bound by reputation, conceals truths. These silences create a web of
misunderstanding and repression. Ibsen shows that silence, often used to protect, can
become a form of violence when it denies others their reality and choices.

16. How does Ghosts reflect the conflict between individual conscience and societal
expectations?
Answer: Mrs. Alving’s internal struggle is emblematic of this conflict. Her conscience
urges her to tell Oswald the truth, but society demands discretion. Manders’ fear of
scandal outweighs compassion. Regina’s desire for a better life conflicts with her social
status. The play condemns societal expectations that suppress individuality and truth.
Ibsen suggests that following conscience requires courage and often leads to isolation or
suffering.

17. Discuss the play as a critique of bourgeois respectability.

Answer: Ibsen dismantles the illusion of bourgeois morality. The Alving household,
though respectable in appearance, hides corruption. Captain Alving’s vices are masked
by social prestige. The orphanage is a monument to deception. Manders represents the
empty rhetoric of respectability. Ghosts unmasks the rot beneath polite society, arguing
that moral decay thrives under the pressure to maintain social standing.

18. How does Ibsen explore the theme of illness — physical and psychological — in
Ghosts?
Answer: Oswald’s syphilis represents inherited guilt and the physical cost of moral
corruption. His mental deterioration symbolizes the breakdown caused by lies and
repression. Mrs. Alving’s psychological trauma stems from years of silence. Even
Manders suffers from moral blindness. Illness, in Ibsen’s hands, becomes a metaphor
for societal and familial dysfunction, suggesting that corruption spreads invisibly across
generations.

19. Analyze the function of dramatic irony in the play.

Answer: Dramatic irony deepens the emotional impact. The audience knows Oswald’s
disease is inherited, even as he speaks of his suffering. Regina is unaware of her true
parentage, making her attraction to Oswald tragic. Manders’ moral posturing is ironic in
light of his gullibility and cowardice. Ibsen uses irony to critique blind morality and to
draw the audience into the psychological tension of concealed truths.

20. To what extent can Ghosts be called a problem play?

Answer: Ghosts is a quintessential problem play, addressing social taboos like venereal
disease, illegitimacy, euthanasia, and women’s rights. Ibsen presents these issues not
with solutions but with deep questions that force audiences to confront uncomfortable
truths. The play eschews dramatic resolution, emphasizing realism and moral
ambiguity. It exemplifies how theatre can serve as a mirror to society and a medium for
social critique.
Questions carrying 14 marks

1. Discuss the significance of the title Ghosts.

Henrik Ibsen’s play Ghosts derives its title from a profound metaphor that encapsulates
the central theme of the drama: the enduring influence of the past on the present. These
“ghosts” are not literal apparitions but symbolic representations of inherited values,
outdated social conventions, family secrets, and the moral hypocrisies that continue to
shape and haunt the lives of the characters. The title is striking because it evokes both
the emotional and psychological residue of previous generations as well as the
destructive legacy of unacknowledged truths.

One of the most direct references to the title comes from Mrs. Alving, the central
character, who explicitly refers to “ghosts” as the oppressive ideologies and societal
norms passed down through generations. In a key moment, she says, “I am inclined to
think we are all ghosts… 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 and
obsolete beliefs. They are not alive in us; but they are dormant, and we can never be rid
of them.” This quotation reveals Ibsen’s philosophical stance: the past is not dead; it
continues to live within individuals and institutions, even when its values have become
obsolete or harmful.

Captain Alving, though long dead, is the most prominent “ghost” in the play. His
immoral lifestyle, concealed by his widow to preserve the family’s reputation, casts a
long shadow over the lives of their son, Oswald, and their maid, Regina. The truth of his
debauchery—alcoholism, womanizing, and the possible sexual abuse of the maid
Johanna—has been hidden in the name of social respectability. Yet these suppressed
truths erupt tragically in the present: Oswald inherits a congenital disease (implied to be
syphilis) due to his father’s sins, and Regina is revealed to be his half-sister, the result of
one of Captain Alving’s affairs. These consequences are the literal and metaphorical
“ghosts” that haunt the present generation.

Moreover, the title reflects the broader social critique Ibsen makes of Victorian morality
and institutionalized hypocrisy. Pastor Manders is another agent of these ghosts,
embodying rigid religious orthodoxy and outdated moral codes. He encourages Mrs.
Alving to endure her unhappy marriage and dissuades her from reading progressive
literature or thinking independently. Manders upholds the very values that cause
suffering, and his advice results in the perpetuation of lies and moral repression. Thus,
he becomes a living representative of the “ghosts” that prevent human freedom and
progress.

In essence, Ghosts is a play about legacies—biological, social, and psychological. The

title captures the invisible but potent forces that shape human lives, even when people
believe they are acting freely. Ibsen’s critique is that until society confronts its ghosts—
by acknowledging truth, reforming institutions, and embracing individual autonomy—
true liberation will remain impossible. The title is thus deeply ironic and devastatingly
apt, for Ghosts in Ibsen’s play are all too real, even if they cannot be seen.

2. Examine the role of heredity and environment in Ghosts.

In Ghosts, Henrik Ibsen masterfully explores the interplay between heredity and
environment, presenting a tragic commentary on how individuals are shaped—and often
doomed—by the sins and secrets of the past. The play emphasizes that human beings
are not autonomous agents acting in a vacuum, but are deeply influenced by genetic
inheritance and the social environment in which they are raised. Through the character
of Oswald Alving and his relationship with his parents, Ibsen delivers a scathing
critique of both biological determinism and the damaging effects of societal hypocrisy.

Oswald is the clearest example of the impact of heredity in the play. He returns home
from Paris suffering from a degenerative brain disease—implied to be congenital
syphilis—passed down from his father, Captain Alving. The hereditary disease is not
only a physical manifestation of his father’s immoral life but also a symbol of how the
consequences of one generation’s actions are borne by the next. Oswald has done
nothing to deserve this illness; yet, he must suffer for the hidden sins of a man he hardly
knew. Ibsen uses this inheritance to explore the idea that guilt and moral corruption are
not merely personal burdens but can infect the family line like a genetic curse. The
disease becomes a metaphor for the “ghosts” of the past that haunt the present
generation.

However, Ibsen does not suggest that heredity alone seals a person’s fate. The
environment—the lies, silences, and social conventions upheld by figures like Mrs.
Alving and Pastor Manders—plays an equally crucial role. In her attempt to protect
Oswald from the truth, Mrs. Alving constructs a world based on deception. She hides
the reality of Captain Alving’s debauchery and maintains a false image of respectability.
Although she acts out of love and social pressure, her environment of concealment
deprives Oswald of agency and understanding. When he finally learns the truth, it
comes too late to prevent his emotional and psychological collapse.

The role of Pastor Manders further highlights the environmental factors that contribute
to personal ruin. As the representative of social and religious orthodoxy, he reinforces
the importance of appearances and the suppression of truth. His advice to Mrs. Alving
to stay with her immoral husband and to destroy letters that would reveal Captain
Alving’s true nature shows how religious morality can contribute to an environment of
repression. These societal forces work in tandem with inherited traits to produce
tragedy.

Even Regina is a victim of both heredity and environment. She is unaware that she is
Captain Alving’s illegitimate daughter, and her dreams of marrying Oswald and
escaping her social class are shattered by the revelation of her lineage. The environment
in which she was raised—without knowledge of her parentage—becomes a cruel
backdrop against the biological fate she cannot escape.

In sum, Ghosts presents heredity and environment as twin forces that shape human
destiny. Ibsen neither absolves individuals of responsibility nor pretends that free will is
absolute. Rather, he shows how inherited flaws and repressive environments combine to
entrap people in cycles of suffering, leaving the audience to question whether true
freedom is ever possible without radical honesty and social reform.

3. How does Ibsen portray the institution of marriage in Ghosts?

In Ghosts, Henrik Ibsen presents a searing critique of the institution of marriage,
exposing its hypocrisies, constraints, and its role in perpetuating suffering, especially for
women. The play portrays marriage not as a sacred or idealized bond, but as a social
contract riddled with deceit, repression, and moral compromise. Through the
experiences of Mrs. Alving and her late husband Captain Alving, Ibsen dismantles the
traditional view of marriage as a morally elevating institution and instead reveals it as a
means of preserving social appearances at the cost of personal truth and happiness.

At the heart of the play is Mrs. Alving’s confession that her marriage to Captain Alving
was a sham. Despite his repeated acts of infidelity and moral decay, she was advised—
primarily by Pastor Manders—to stay in the marriage and “do her duty” as a wife. Her
personal desire to leave him and escape the unbearable situation was overruled by the
weight of social convention. The marriage thus becomes a prison, not a partnership.
Ibsen uses Mrs. Alving’s life to demonstrate how marriage, especially in 19th-century
society, was a tool for enforcing female obedience and maintaining a façade of
respectability, even in the face of abuse and immorality.

Captain Alving, though dead when the play begins, looms large as a symbol of the
corrupt patriarch who is publicly honored but privately degenerate. His public image as
a respected citizen contrasts sharply with the reality of his drunkenness, sexual
misconduct, and moral irresponsibility. Yet, due to societal expectations and religious
morality, Mrs. Alving conceals his true character, even building an orphanage in his
name to preserve the illusion of virtue. Ibsen thus shows how marriage can become a
mechanism for sustaining public lies and suppressing private truths.

Furthermore, the consequences of this dysfunctional marriage extend to the next

generation. Oswald, their son, suffers from a hereditary illness inherited from his father
—symbolic of the spiritual and physical corruption passed down through the institution
of marriage when it is built on deceit. Mrs. Alving’s decision to shield Oswald from the
truth ultimately does more harm than good, emphasizing Ibsen’s message that
maintaining appearances in marriage can have devastating effects on future generations.

Pastor Manders reinforces the societal view of marriage as inviolable, regardless of the
personal cost. His advice to Mrs. Alving to endure her marriage, his condemnation of
independent women, and his fear of scandal reveal the extent to which religious and
moral institutions were complicit in upholding harmful marital norms. He stands as a
representative of the social pressures that keep women subjugated within marriages that
deny them dignity or happiness.

In conclusion, Ibsen’s portrayal of marriage in Ghosts is deeply critical. He exposes it as

an institution that often prioritizes societal respectability over personal truth and
integrity. By highlighting the emotional, psychological, and generational consequences
of a morally bankrupt marriage, Ibsen challenges the audience to rethink the sanctity of
marriage and to consider the human cost of upholding outdated social norms. The play
becomes a powerful argument for honesty, autonomy, and reform within personal and
social relationships.

4. Analyze the character of Mrs. Alving as a tragic heroine.

Mrs. Helen Alving, the central character of Henrik Ibsen’s Ghosts, is a compelling
representation of the modern tragic heroine. Unlike traditional tragic figures drawn from
nobility or classical mythology, Mrs. Alving is a middle-class woman trapped in a web
of social expectations, family duty, and repressed truth. Her tragedy is not rooted in
hubris or fate, but in her attempt to balance moral integrity with societal obligations—a
balance that ultimately collapses, leaving her to confront unbearable consequences.
Through Mrs. Alving, Ibsen redefines tragedy in a modern context, portraying how the
structures of society can crush individual will and moral clarity.

From the outset, Mrs. Alving is portrayed as intelligent, self-aware, and deeply
burdened. She has spent years maintaining the illusion of her husband’s respectability,
despite his debauched and immoral behavior. Encouraged by Pastor Manders, she
remained in the marriage to preserve social decorum, sacrificing her own emotional and
moral instincts. Her tragic dilemma arises from the conflict between truth and
reputation, personal conscience and public image. She now finds herself haunted—both
literally and metaphorically—by Ghosts of her past decisions.

Mrs. Alving’s tragic stature is most evident in her evolving consciousness. Over the
course of the play, she moves from repression to revelation. She openly discusses topics
that were taboo in 19th-century society—marital infidelity, free thinking, venereal
disease, and euthanasia. Her intellectual awakening, influenced by reading progressive
literature, places her in direct opposition to the moral rigidity of characters like Pastor
Manders. Yet, even as she attempts to liberate herself and her son from the burdens of
the past, she finds that the damage has already been done. Oswald’s hereditary illness,
the result of Captain Alving’s sins, becomes the tragic burden she cannot undo.

What makes Mrs. Alving a tragic heroine is not simply her suffering, but the recognition
that her attempts at doing good—shielding her son, preserving her husband’s name, and
building the orphanage—have backfired disastrously. The orphanage, intended to
cleanse the family name, burns down. Oswald, whom she sought to protect from the
truth, becomes a victim of both inherited disease and emotional despair. In the final
scene, when Oswald pleads with her to administer a fatal dose of morphine should he
lose his mind, she is left paralyzed by a moral choice no mother should have to make.
Her tragedy is compounded by the irony that, in trying to prevent pain, she has only
prolonged it.

Moreover, Mrs. Alving’s character embodies Ibsen’s critique of women’s roles in

patriarchal society. She is intelligent and capable, but her actions are limited by societal
norms and religious authority. Her tragedy is not only personal but social, reflecting the
broader theme of women’s oppression within rigid marital and religious frameworks.
In conclusion, Mrs. Alving is a modern tragic heroine whose suffering arises from both
personal sacrifice and societal repression. She is a woman who dares to confront Ghosts
of the past but finds that the truth, however liberating, comes at a devastating cost.
Through her, Ibsen delivers a poignant critique of societal hypocrisy and the tragic price
of silence, duty, and delayed truth.

5. Evaluate the role of Pastor Manders in reinforcing societal hypocrisy.

In Henrik Ibsen’s Ghosts, Pastor Manders functions as a powerful embodiment of the

social, religious, and moral orthodoxy that Ibsen critiques throughout the play. He is not
a villain in the traditional sense, but his role is critical in reinforcing the hypocrisy and
repression that lead to the play’s central tragedy. Through Pastor Manders, Ibsen
illustrates how well-intentioned but rigidly conservative figures uphold a morally
bankrupt status quo, placing social appearance and doctrinal purity above truth, justice,
and human welfare.

Pastor Manders’ influence over Mrs. Alving is evident from the beginning. Years before
the play’s events, he convinced her to return to her morally corrupt husband, Captain
Alving, even though she had tried to escape the marriage due to his debauched behavior.
Manders’s justification was that a wife’s duty is to remain with her husband and
preserve the sanctity of marriage, regardless of personal suffering. In doing so, he
prioritizes societal expectations over individual morality, reinforcing the idea that
appearances matter more than reality. This advice ultimately leads to years of misery for
Mrs. Alving and sets in motion the chain of deception that destroys Oswald.

Manders’s moral rigidity is also evident in his condemnation of Mrs. Alving’s

independent thinking. He criticizes her for reading progressive books and associating
with radical ideas. He fears that free thought and self-assertion—especially in women—
will undermine the moral fabric of society. Yet, Ibsen makes it clear that this so-called
morality is a hollow shell designed to suppress individuality and maintain control.
Manders’s fear of scandal and his obsession with reputation illustrate his deep
investment in social conformity rather than spiritual truth.

His hypocrisy becomes most apparent in the matter of the orphanage. Although Mrs.
Alving wants to insure the orphanage against fire, Manders refuses, fearing that it would
appear to the public as a lack of trust in divine providence. Ironically, the orphanage
does burn down, and Manders is at risk of being held responsible for the loss. Instead of
taking accountability, he is quick to blame Engstrand, despite having earlier trusted him
based on his own naïve sense of Christian charity. This incident reveals Manders’s
moral cowardice and inconsistency: he publicly upholds religious doctrine but privately
manipulates facts to preserve his own image.
Additionally, Manders’s dealings with Engstrand show his susceptibility to
manipulation and his lack of discernment. He is easily swayed by Engstrand’s
performance of humility and repentance, choosing to believe the surface rather than
seek deeper truth. His endorsement of Engstrand’s proposed sailor’s home, a venture
clearly born of selfish motives, further underscores Manders’s blindness and his failure
as a spiritual guide.

In sum, Pastor Manders represents the dangers of institutionalized morality divorced

from compassion and reason. His actions, while cloaked in religious virtue, contribute
directly to the perpetuation of lies and the destruction of the individuals around him.
Ibsen uses Manders to critique a society in which religious leaders, instead of guiding
souls, become enforcers of repression and protectors of illusion. Through this character,
Ghosts exposes how societal hypocrisy, when sanctioned by moral authority, becomes
both tragic and destructive.

6. Discuss the symbolism of the orphanage in the play.

In Henrik Ibsen’s Ghosts, the orphanage stands as one of the most significant symbols,
encapsulating the themes of repression, moral hypocrisy, and the destructive legacy of
the past. On the surface, it appears to be a charitable institution—a noble effort by Mrs.
Alving to honor the memory of her late husband, Captain Alving. However, as the play
unfolds, it becomes evident that the orphanage is not a monument to virtue, but rather a
structure built upon lies, guilt, and an attempt to sanitize a morally corrupt legacy. Its
eventual destruction by fire further reinforces Ibsen’s critique of societal values founded
on illusion rather than truth.

Mrs. Alving uses the orphanage as a means to deflect the fortune left by her husband
away from Oswald, thereby preventing him from being tainted by his father’s immoral
earnings. She insists on investing the money in the construction of the orphanage rather
than passing it directly to her son. Symbolically, this act represents her desire to
dissociate Oswald from Captain Alving’s sins. Yet, it also shows her continued
submission to societal expectations—she is still working to preserve her husband’s
public image, even in death. The orphanage thus becomes a monument to social
pretense, built to maintain the illusion of a respectable family and a virtuous patriarch.

Ironically, the building of the orphanage achieves the opposite of its intended purpose.
Rather than resolving the family’s moral conflicts, it becomes the embodiment of
suppression and denial. The institution is rooted in deception: it commemorates a man
who was not virtuous but deeply flawed, even abusive. Pastor Manders, who supports
the project wholeheartedly, does so not out of compassion for orphans but to uphold
social decorum and preserve the illusion of moral order. His refusal to insure the
building, out of fear that it might be perceived as a lack of faith in divine providence,
highlights how appearances are prioritized over practical ethics. This decision, grounded
in religious hypocrisy, eventually leads to the orphanage’s destruction by fire.

The fire itself is a powerful symbol in the play. It represents the eruption of suppressed
truth and the collapse of socially sanctioned falsehoods. Just as fire consumes the
physical structure of the orphanage, so too does the truth—once unleashed—destroy the
carefully constructed lies upon which the Alving household has been built. It is a
purgative force, burning away illusions and leaving behind stark reality. In this sense,
the orphanage’s destruction signals a moment of brutal but necessary catharsis.

Furthermore, the orphanage can be seen as a broader metaphor for institutions—

religious, familial, and social—that are built on a foundation of lies and denial. Ibsen
critiques the way society venerates appearances while ignoring the truths that simmer
beneath the surface. The orphanage, as a symbol, demonstrates how public virtue can
mask private vice, and how such repression inevitably leads to destruction.

In conclusion, the orphanage in Ghosts is far more than a charitable endeavor; it is a

potent symbol of hypocrisy, denial, and the perils of building one’s life and legacy on
illusion. Its rise and fall mirror the tragic arc of the play itself, illustrating Ibsen’s belief
that only by confronting the truth—however painful—can individuals and societies
hope to move forward.

7. Examine the use of irony in Ghosts.

Irony plays a central role in Henrik Ibsen’s Ghosts, shaping both the narrative and the
thematic structure of the play. Through dramatic irony, situational irony, and verbal
irony, Ibsen not only deepens the psychological complexity of his characters but also
critiques the moral, social, and religious institutions of his time. Irony in Ghosts does
not merely serve as a literary device—it is the very vehicle through which the tragedy
unfolds, exposing the contrast between appearance and reality, intention and
consequence, morality and hypocrisy.

One of the most pervasive forms of irony in Ghosts is dramatic irony—when the
audience knows more than the characters. A significant example is Mrs. Alving’s efforts
to protect Oswald from the truth about his father’s debauchery. She sends him away
from the corrupt household, hoping he will grow up untainted. However, despite her
efforts, Oswald not only inherits his father’s syphilitic disease but also his psychological
torment. The irony lies in the fact that her silence, intended to safeguard him, leads to
greater suffering. The audience understands the futility of her decisions long before she
does, making her realizations all the more tragic.

Situational irony is also woven deeply into the play. The most striking instance is the
burning down of the orphanage. Constructed to honor the memory of Captain Alving
and supposedly to benefit society, the orphanage is also a way for Mrs. Alving to rid
herself of the tainted wealth her husband left behind. Ironically, this symbol of public
virtue is uninsured—thanks to Pastor Manders’ fear of public scandal—and it is
destroyed on the very day it is to be inaugurated. This twist of fate starkly contrasts the
noble intentions behind the project with the ultimate outcome, symbolizing the collapse
of all efforts to maintain illusion and false morality.

Verbal irony, too, underscores the play’s social critique. Pastor Manders, who
consistently speaks in the language of moral rectitude, often reveals his ignorance and
cowardice. For instance, when he speaks of his pride in having persuaded Mrs. Alving
to return to her husband, the audience sees this not as an act of moral strength, but as a
failure to support a woman trying to escape an abusive relationship. His repeated claims
about upholding Christian values often contradict the actual consequences of his
actions. The discrepancy between what he says and what he causes emphasizes Ibsen’s
criticism of religious orthodoxy and blind adherence to convention.

Ibsen also uses ironic reversals to underscore the theme of social hypocrisy. For
example, Engstrand—whom everyone assumes is a scoundrel—shows more practical
wisdom and adaptability than the morally upright Pastor Manders. Similarly, Oswald,
the symbol of youth and potential, is ironically the most physically and emotionally
broken figure in the play. These reversals unsettle traditional notions of virtue and vice,
revealing how superficial moral judgments can be dangerously misleading.

In conclusion, irony in Ghosts is not incidental but foundational. It reveals the deep
contradictions within the characters and the society they inhabit. Through irony, Ibsen
exposes the falsehoods on which bourgeois respectability is built and shows that the
truth, however painful, cannot be buried without consequence. Irony thus becomes the
instrument of both revelation and ruin in this modern tragedy.

8. Examine the character of Oswald Alving as a tragic figure.

Oswald Alving in Henrik Ibsen’s Ghosts is a tragic figure whose suffering is both
personal and symbolic. As a young man stricken by inherited illness, burdened by the
weight of secrets, and disillusioned by society’s moral failures, Oswald represents the
tragic consequences of a life shaped by the sins of others. He is not guilty of any crime,
yet he bears the full cost of his father’s debauchery and his mother’s well-meaning but
misguided choices. Through Oswald, Ibsen critiques the legacy of repression,
hypocrisy, and inherited guilt—making him a modern tragic character in a world
without clear moral absolutes.

From the moment Oswald arrives from Paris, he is portrayed as a cultured, artistic, and
emotionally sensitive individual. He has lived freely in the bohemian circles of Europe
and has been exposed to liberal and modern ideas. He contrasts sharply with the
provincial values of Pastor Manders and the hidden conservatism of his mother.
However, beneath Oswald’s apparent sophistication lies deep pain. He returns home
seeking solace and clarity but is instead met with secrets, silences, and ultimately, the
devastating truth about his illness—a form of congenital syphilis inherited from his
father.

Oswald’s tragedy is rooted in inherited sin, one of the central themes of the play. He is
the literal embodiment of the “ghosts” of the past—the sins, secrets, and lies that never
truly die. His condition is a metaphor for the consequences of repressed truth and social
hypocrisy. The irony is that Oswald was sent away by his mother in an effort to protect
him from the corrupt environment of his childhood. Yet he returns not only physically
ill but also morally exhausted, disillusioned by life and horrified by his worsening
symptoms.

The depth of Oswald’s tragedy becomes fully evident in the final act, when he confesses
to his mother the extent of his suffering. His physical deterioration is matched by his
psychological collapse. The most heart-wrenching moment occurs when he pleads with
Mrs. Alving to assist him in euthanasia should he lose his mental faculties. He gives her
morphine tablets and begs her to “give me the sun” when the time comes. This moment
is emblematic of Ibsen’s modern realism—there are no divine interventions, no heroic
redemptions, only impossible choices and unbearable pain.

What makes Oswald a tragic figure in the classical sense is his innocence coupled with
suffering. He has committed no moral wrong, yet he is punished for the misdeeds of a
father he never truly knew. He is caught in a tragic web of past actions and social
constraints over which he has no control. Unlike traditional tragic heroes who suffer due
to a fatal flaw (hamartia), Oswald is a victim of structural flaws—of family secrets,
moral repression, and social hypocrisy.

In conclusion, Oswald Alving is a profoundly tragic figure in Ghosts. His suffering is

both deeply personal and symbolically universal, representing a generation haunted by
the failures of the one before it. Ibsen uses Oswald to expose the brutal consequences of
inherited guilt and societal denial, challenging audiences to confront the hidden costs of
upholding false moralities. Oswald’s tragedy lies not in wrongdoing but in the cruelty of
inherited suffering and the impossibility of escape.

9. Critically analyze the theme of heredity and degeneration in Ghosts.

Henrik Ibsen’s Ghosts is a powerful exploration of heredity and degeneration, two

closely linked themes that reflect the influence of nineteenth-century scientific thought,
particularly the theories of degeneration, social Darwinism, and inherited disease. In the
play, these concepts are not merely biological or medical but deeply moral and
psychological. Ibsen uses heredity to illustrate how the sins and secrets of one
generation are passed down to the next, shaping their destinies and corrupting their
innocence. The characters in Ghosts, especially Oswald, are victims of both genetic
inheritance and the societal structures that suppress truth and perpetuate illusion.

At the center of this theme is Oswald Alving, the son of Captain Alving and Mrs.
Alving. Although he is portrayed as talented, sensitive, and intellectually progressive,
Oswald is afflicted by a congenital illness—later revealed to be a form of inherited
syphilis. He suffers from “the joy of life” turning into helpless despair, which is a direct
consequence of his father’s immoral and dissolute behavior. The illness becomes a
symbol of moral and physical degeneration, a curse passed from father to son despite
the mother’s efforts to shield her child from his father’s influence.

Mrs. Alving’s decision to send Oswald away in childhood, hoping he would escape his
father’s influence, only deepens the irony of his fate. The repression of truth, intended
to protect, becomes complicit in destruction. She hides the truth about Captain Alving’s
character and continues to uphold his public image by constructing an orphanage in his
name. In doing so, she unknowingly allows the past to fester and reassert itself in the
most tragic form—her son’s irreversible mental and physical decline.

The play draws on contemporary medical theories of hereditary degeneration, which

suggested that moral failings could be biologically transmitted across generations.
While Ibsen does not endorse these theories blindly, he uses them metaphorically to
critique the spiritual and emotional inheritance passed down in a society that values
appearances over honesty. Oswald’s degeneration is not merely the result of biology; it
is the culmination of years of lies, moral cowardice, and societal hypocrisy.

Moreover, the theme of heredity extends beyond illness. The characters’ psychological
traits are also shaped by inheritance. Oswald inherits not only disease but also a kind of
existential despair—a loss of meaning and vitality. Engstrand’s daughter, Regina, also
struggles with her origins, believing herself to be the daughter of sailors and only later
learning she is Captain Alving’s illegitimate child. Her desire to rise above her station
and escape provincial life is thwarted by the very lineage she never asked for.
Hereditary shame and hidden truths trap her as well.

In Ghosts, Ibsen suggests that true degeneration lies in the inability to confront the truth,
in preserving moral facades at the expense of human dignity and health. Heredity is not
destiny, but it becomes destructive when combined with societal repression. Ghosts of
the past—moral, biological, psychological—continue to haunt the living because they
are never acknowledged or exorcised.

In conclusion, Ibsen’s treatment of heredity and degeneration in Ghosts serves as a

profound commentary on how human lives are shaped by the choices and lies of
previous generations. It is a bleak but honest portrayal of the intergenerational
consequences of hypocrisy and denial, offering no easy resolution but a call to confront
truth, however painful.

10. Explain the significance of the title Ghosts.

The title Ghosts (Gengangere in the original Norwegian, meaning “those who return”) is
one of the most powerful and symbolic elements in Henrik Ibsen’s play. It does not
refer to literal spirits or supernatural entities but to the figurative “ghosts” of the past—
the lingering effects of previous generations’ sins, secrets, hypocrisies, and repressions.
These “ghosts” haunt the characters’ lives, influencing their decisions, shaping their
identities, and, ultimately, leading them to tragic outcomes. The title encapsulates
Ibsen’s central concern: that the past, when not confronted and acknowledged,
continues to live on in destructive ways.

Mrs. Alving, one of the central characters, articulates the idea of these metaphorical
ghosts most clearly. She says, “Ghosts! When I heard Regina and Oswald in there, it
was as though I saw ghosts before me. But I almost think we are all of us ghosts… It is
not only what we have inherited from our father and mother that returns in us. It is all
kinds of old dead ideas, and all sorts of old dead beliefs.” This passage is key to
understanding the thematic depth of the title. For Mrs. Alving, ghosts are not just
personal memories but the oppressive weight of outdated traditions and ideologies—
morality, religion, family, and societal roles—that continue to dominate the living.

Captain Alving, though dead before the play begins, is the most prominent “ghost” in
the play. His life of debauchery and moral corruption—carefully hidden from public
view—returns in the form of his son Oswald’s inherited illness. Despite Mrs. Alving’s
efforts to erase his influence by sending Oswald away and building an orphanage in his
name, Captain Alving’s legacy haunts the family. The past cannot be buried because it
was never truly faced. Instead of freedom and health, Oswald inherits suffering and
despair, becoming a living embodiment of his father’s sins.

Another way in which the title Ghosts is significant is through its critique of social
institutions. Ibsen uses the metaphor of ghosts to attack the oppressive norms of 19th-
century society, particularly those imposed by the church, marriage, and public
morality. Pastor Manders is a representative of these outdated values. His advice to Mrs.
Alving to return to her abusive husband and to suppress the truth about her marriage is
driven by conventional notions of duty and reputation. These rigid beliefs are the
“ghosts” that paralyze moral progress and individual happiness.

Even characters like Regina are haunted by Ghosts of lineage and social inequality. She
strives to escape her station and seek a better life, but her discovery that she is Captain
Alving’s illegitimate daughter dooms her dream. Her fate, too, is shaped by secrets and
shame from the past—ghosts that dictate her future.
The symbolic weight of the title reaches its climax in the play’s final scene, where
Oswald, in a moment of devastating helplessness, begs his mother to “give me the
sun”—a plea for escape from his inherited doom. Here, Ghosts are not only the past but
a present reality that threatens to destroy both body and soul.

In conclusion, Ghosts is a fitting and deeply layered title. It captures the essence of
Ibsen’s critique of inherited guilt, societal hypocrisy, and the persistent power of the
past. The play’s tragedy lies not in supernatural forces, but in the haunting presence of
ideas, values, and secrets that, though buried, never truly die.

11. Discuss the character of Mrs. Alving as a modern woman ahead of her time.

Mrs. Helene Alving, the central female character in Henrik Ibsen’s Ghosts, is a
profoundly complex and modern figure who challenges the expectations of women in
19th-century society. Her intellectual independence, emotional resilience, and
willingness to confront social and moral hypocrisies mark her as a woman ahead of her
time. While she is not free from contradiction or internal conflict, Mrs. Alving
represents Ibsen’s evolving vision of a liberated woman—one who begins to reject
conventional gender roles, marital duty, and religious orthodoxy in pursuit of truth and
self-determination.

From the outset, Mrs. Alving is portrayed as a woman who has endured great personal
suffering. Trapped in a loveless marriage to Captain Alving, a man of dissolute
character, she obeys Pastor Manders’ advice and returns to her husband in order to
preserve social respectability and the sanctity of marriage. However, her compliance is
not born of belief but of social pressure. She reveals, later in the play, that she had once
attempted to leave her husband and sought the pastor’s help. Instead of support, she was
told to sacrifice her personal happiness for duty—a reflection of the rigid patriarchal
values that dominated her society.

Yet, Mrs. Alving does not remain passive. Her decision to speak openly about her
husband’s immoral life—his drunkenness, infidelity, and the pain he inflicted on her—
is radical for a woman of her time. She seeks to expose the lies upon which society
builds its ideals of family, marriage, and honor. She rejects the conventional view that
women must suffer in silence for the sake of social decorum. This act of truth-telling
makes her a modern voice in a world ruled by hypocrisy.

Another aspect that reveals Mrs. Alving’s modernity is her intellectual independence.
She has spent years reading, thinking, and reflecting on life and society. Her dialogue is
filled with introspective insights, such as her declaration that “we are all ghosts… it’s
not only what we inherit from our father and mother that haunts us. It’s all kinds of old
dead ideas and beliefs.” This awareness of ideological inheritance and her willingness to
question religion and morality show a mind unbound by dogma. She is, in effect, a
woman searching for a new framework of meaning outside traditional authority.

Mrs. Alving’s greatest tragedy lies in her maternal decisions. In an attempt to protect
her son Oswald from his father’s corruption, she sends him away to Paris and hides the
truth about Captain Alving’s character. This choice, though made with the best
intentions, backfires horribly. Oswald inherits not only his father’s disease but also
becomes a symbol of the damage done by secrecy and repression. Her confrontation
with this truth—her realization that her efforts to shield him only deepened his suffering
—is what gives her character tragic depth and moral strength.

In conclusion, Mrs. Alving is one of Ibsen’s most powerful female characters, a woman
who questions established norms, seeks truth, and bears immense personal sacrifice. She
is not perfect, but her courage, intellect, and moral awakening mark her as a proto-
feminist figure, representative of Ibsen’s vision of women who are no longer content to
live in the shadow of societal expectations. In a world filled with ghosts, she tries—
however painfully—to break the cycle.

12. Examine the role of religion and religious hypocrisy in Ghosts.

Religion in Henrik Ibsen’s Ghosts plays a central role—not as a source of comfort or
moral clarity, but as a force of repression, hypocrisy, and stagnation. Through the
character of Pastor Manders and the experiences of Mrs. Alving, Ibsen critiques the
19th-century Lutheran Church and its rigid, often contradictory influence on society.
Religion in the play is not simply a private faith; it is a public system that upholds social
norms, discourages individual freedom, and perpetuates silence and shame. Ibsen’s
portrayal is a bold confrontation with institutional religion, revealing how it becomes
complicit in human suffering.

Pastor Manders is the primary mouthpiece of religious orthodoxy in Ghosts. He

represents the moral and spiritual authority of the time, constantly invoking duty,
reputation, and piety. However, beneath his seemingly righteous demeanor lies
profound moral cowardice. For example, when Mrs. Alving sought his support to leave
her philandering husband, Pastor Manders persuaded her to return, citing religious duty
and the sanctity of marriage. He prioritized societal appearance over personal well-
being. His advice results in years of suffering for Mrs. Alving and indirectly contributes
to the tragedy that befalls Oswald. Thus, Ibsen shows that religious morality, when
blindly followed, can cause real harm.

One of the play’s sharpest critiques of religion is its insistence on external conformity
rather than inner truth. Pastor Manders is obsessed with appearances. He worries about
public scandal, not private honesty. He agrees to insure the orphanage Mrs. Alving is
building but later refuses to acknowledge it when it burns down—fearing judgment if it
were known that he supported something not backed by divine protection. His faith is
performative, not transformative. In this, Ibsen portrays the clergy as more concerned
with preserving social control than with nurturing the human soul.

Mrs. Alving, by contrast, evolves spiritually over the course of the play. Although she
once obeyed religious dictates, she comes to question the validity of the beliefs she has
been taught. She reads modern books, thinks independently, and challenges Pastor
Manders’ view of God and morality. Her declaration that “I almost think we are all of
us ghosts” is not only a metaphor for societal repression but also a spiritual awakening
—an acknowledgment that religion has kept people from living authentic lives. Her
voice becomes a critique of the oppressive legacy of religious thought that stifles human
happiness and freedom.

Religion in Ghosts also plays a role in the characters’ inability to confront truth. The
idea of sin—particularly sexual sin—is wrapped in silence and shame. Captain Alving’s
promiscuity is hidden to preserve his image as a respectable man. Regina’s illegitimacy
is kept secret. Oswald’s inherited illness is never directly named. These secrets exist
because religion, and the morality it enforces, creates a culture where truth cannot be
spoken without condemnation.

In conclusion, Ibsen uses religion in Ghosts not as a path to salvation, but as a system
that sustains suffering through hypocrisy, repression, and fear. Through Pastor
Manders’ failure and Mrs. Alving’s awakening, Ibsen exposes the dangers of a morality
that values appearance over honesty and tradition over truth. The play ultimately calls
for a liberation from religious hypocrisy, urging individuals to live truthfully rather than
under the shadow of dogma.

13. Evaluate the role and significance of Regina Engstrand in Ghosts.

Regina Engstrand, though not the central character in Ghosts, plays a crucial role in
illuminating key themes of the play such as social class, illegitimacy, gender
expectations, and the impact of hidden truths. As the young maid in the Alving
household, Regina’s character functions both symbolically and dramatically—
representing the aspirations of the lower class, the consequences of hypocrisy, and the
limitations placed on women in a rigidly patriarchal society. Her presence in the
narrative contributes significantly to the play’s tragic arc and the haunting cycle of
repression that Ibsen critiques.

Regina is introduced as a well-spoken, refined servant, far above the level of her
supposed social station. Her education and cultured manner are immediately noticeable,
and we soon learn that this is the result of Mrs. Alving’s special treatment of her. Mrs.
Alving, motivated by guilt and secrecy, has tried to elevate Regina’s status without
revealing that she is in fact the illegitimate daughter of her late husband, Captain
Alving. Regina, however, does not know the full truth of her parentage, and her
aspirations—to rise in society, to marry well, and to escape her current life—are based
on a false sense of identity.

One of Regina’s most important functions in the play is to represent the

unacknowledged consequences of male immorality and female powerlessness. Her very
existence is the result of Captain Alving’s affair with a servant, Johanna. Yet, instead of
being recognized or legitimized, Regina has been hidden away, half-protected and half-
abandoned. This secrecy ultimately ruins her chances at a respectable life. Her attempt
to improve her social status through closeness with Oswald—a man she may hope to
marry—turns into a moment of tragic horror when it is revealed that Oswald is her half-
brother. The dream of upward mobility collapses under the weight of hidden sin.

Regina also embodies gendered vulnerability. Throughout the play, men try to control
or exploit her. Her so-called father, Jacob Engstrand, wishes to use her as bait to attract
clientele to a sailors’ home he plans to run—essentially proposing a veiled form of
prostitution. Pastor Manders, although supposedly moral, does not intervene. Oswald,
who flirts with her, is ultimately deceived and incapable of offering her a future.
Regina’s sharp realization that she must leave the Alving house after the truth is
revealed underscores her desire for autonomy. She refuses to become a victim,
declaring, “I’m not going to stay here and be sacrificed.”

Regina’s decision to leave at the end of the play is deeply symbolic. It represents a
break from the oppressive system of silence and deceit that has ensnared every other
character. Though her future is uncertain, her act of leaving signifies a form of
resistance—perhaps even the only act of freedom in a play full of emotional paralysis.
Ibsen leaves her fate unresolved, yet her departure marks a moment of personal agency
in a world otherwise governed by ghosts of the past.

In conclusion, Regina Engstrand’s character may occupy limited stage time, but her
presence is vital to Ghosts. She embodies the tragedy of illegitimacy, the cost of hidden
sin, and the limitations placed on women by class and gender. Through her, Ibsen gives
voice to those on the margins and underscores the social injustices that result from
hypocrisy and repression.

14. Discuss the symbolic significance of the orphanage in Ghosts.

In Ghosts, the orphanage built in memory of Captain Alving is one of the play’s most
important symbols. Although it appears to be a philanthropic institution dedicated to
public welfare, the orphanage ultimately symbolizes the destructive power of illusion,
hypocrisy, and the futile attempt to bury the past. It reflects not only Mrs. Alving’s inner
conflict but also Ibsen’s broader critique of a society that prefers to uphold appearances
rather than confront uncomfortable truths.
At the beginning of the play, the orphanage is presented as a charitable act by Mrs.
Alving to honor her late husband’s name. In reality, it is a calculated attempt to preserve
his public reputation while erasing the memory of his immoral private life. Captain
Alving was a man of drunkenness and debauchery, yet Mrs. Alving chooses to construct
a false narrative of him as a respectable benefactor. She uses her personal wealth—not
her husband’s—to fund the orphanage, and importantly, she ensures that the institution
will not benefit her own son, Oswald. This decision speaks to her desire to sever all ties
between Oswald and the legacy of his father’s sins.

However, rather than providing closure, the orphanage becomes a monument to denial
and repression. Mrs. Alving attempts to contain and control the memory of Captain
Alving by building something ‘respectable’ in his name. But as the play progresses, it
becomes clear that she cannot escape his influence. Oswald’s inherited illness—
possibly syphilis—serves as the real legacy of Captain Alving. The orphanage, intended
as a shield from the past, ironically burns down in the course of the play. This event is
not just dramatic; it is profoundly symbolic. The fire represents the destruction of
illusion and the inevitable eruption of suppressed truths.

Pastor Manders’ involvement in the orphanage further adds to its symbolic weight. He
advises against insuring the building, placing trust in “divine protection” and public
morality. When the building burns, he fears scandal more than loss, revealing his deep
concern with appearances over reality. This reflects Ibsen’s attack on religious and
moral hypocrisy: institutions, even those meant for good, are tainted when built on lies
and self-deception.

The orphanage also symbolizes the misguided moral values of society. Instead of facing
the truth of her suffering, Mrs. Alving chooses a socially approved form of redemption
—public charity. But this act, though noble in appearance, is devoid of sincerity. It
becomes a symbol of how people hide guilt and trauma behind acts of supposed virtue.
The building’s destruction exposes the hollowness of such gestures.

In a deeper sense, the orphanage can also be seen as a metaphor for the next generation,
those left to inherit the “ghosts” of their forebears. Just as orphans are without parents,
Oswald is spiritually and emotionally abandoned—cut off from the truth, the support of
his family, and a healthy future. The fire thus becomes a purging of false legacy, paving
the way for the painful acknowledgment of truth.

In conclusion, the orphanage in Ghosts is not merely a plot device but a rich,
multilayered symbol. It encapsulates the play’s themes of hypocrisy, denial, and the
haunting influence of the past. Its destruction serves as a turning point in the drama,
forcing the characters—and the audience—to confront the devastating consequences of
building one’s life on illusion rather than truth.
15. Examine the theme of inherited guilt in Ghosts.

Henrik Ibsen’s Ghosts is a searing exploration of how the sins and mistakes of one
generation continue to haunt the next. One of the most powerful themes in the play is
inherited guilt—the idea that individuals are burdened not only by their own actions but
also by the moral failings, secrets, and unresolved issues of their ancestors. Ibsen
presents this theme both literally, through Oswald’s inherited illness, and
metaphorically, through the emotional and psychological legacy that shapes the
characters’ lives.

The most direct symbol of inherited guilt in the play is Oswald Alving. A young artist
returning from Paris, Oswald suffers from a degenerative brain disease, which is
implied to be congenital syphilis, inherited from his father, Captain Alving. Although
Oswald never knew the true nature of his father’s lifestyle, he unknowingly bears the
biological consequences of his father’s immoral actions. This literal inheritance of
disease makes Oswald the physical embodiment of the theme: he is punished for sins he
never committed, and he carries within him a legacy of decay that he cannot control or
escape.

Beyond the physical, Ibsen also explores psychological and emotional inheritance. The
very title Ghosts suggests that past actions and ideologies continue to linger, shaping the
present. Mrs. Alving famously states, “Ghosts… It’s not only what we inherit from our
mothers and fathers that haunts us. It’s all kinds of old dead ideas and beliefs and
things.” Through this statement, she articulates Ibsen’s central theme: that people are
not only haunted by the genetic consequences of their parents’ choices, but also by the
weight of outdated moral codes, societal expectations, and personal secrets.

Mrs. Alving’s own life is a testament to inherited guilt. She sacrifices her personal
happiness to conform to societal and religious expectations by returning to her
unfaithful husband. She hides the truth about his character to protect her son’s image of
his father, thus continuing the cycle of silence and repression. Her guilt is not for a
crime she committed, but for her failure to break free from the values and structures that
demanded her silence. In trying to protect Oswald, she ends up becoming complicit in
the very deception she tried to escape.

Other characters also bear the marks of inherited or transferred guilt. Regina, the
illegitimate daughter of Captain Alving, is denied a future because of her father’s sin
and her mother’s lowly status. Jacob Engstrand, her supposed father, seeks to
manipulate her future for his own gain, adding another layer of exploitation and
unacknowledged guilt. Even Pastor Manders, though supposedly a moral guide, is guilty
of perpetuating harmful ideologies under the guise of religious duty.
In Ghosts, Ibsen is not simply concerned with individual morality but with the ways
institutions and traditions carry guilt across generations. He shows how society, in its
refusal to confront truth, continues to pass down shame, repression, and suffering. The
theme of inherited guilt thus becomes a critique of a culture that prefers illusion to
honesty and leaves the innocent to pay the price.

In conclusion, inherited guilt in Ghosts is both a biological reality and a powerful

metaphor. Ibsen uses it to reveal how personal and societal failures echo across
generations, trapping individuals in cycles of pain and hypocrisy. The play urges its
audience to confront these ghosts—not to exorcise the past through denial, but to
understand and break free from it.

16. Analyze the theme of truth and illusion in Ghosts.

The conflict between truth and illusion lies at the heart of Henrik Ibsen’s Ghosts.
Throughout the play, characters struggle between accepting harsh realities and
maintaining comforting but false beliefs. Ibsen uses this tension to critique societal
norms, religious dogma, and familial roles that enforce silence and deception. The play
demonstrates how illusions—about morality, respectability, and duty—can lead to
emotional damage, while truth, though painful, is ultimately necessary for freedom and
healing.

The main character, Mrs. Alving, exemplifies this conflict. For years, she has lived
under the illusion of a respectable marriage, perpetuating the myth that her husband,
Captain Alving, was a moral and honorable man. In reality, he was a dissolute
philanderer who brought misery and shame into the household. Mrs. Alving, under
pressure from religious and social expectations, chose to conceal the truth. She sent her
son Oswald away and funded an orphanage in her husband’s name to preserve the
family’s reputation. Her choices, rooted in the illusion of public respectability, set in
motion the very tragedy she was trying to avoid.

However, over time, Mrs. Alving begins to awaken to the truth. She reads controversial
books, challenges religious authority, and dares to admit her dissatisfaction with societal
values. She ultimately realizes that illusions only create suffering, calling them
“ghosts”—the lingering influence of outdated beliefs. Her famous line, “I am half
inclined to think we are all ghosts,” powerfully conveys the idea that people are haunted
by inherited lies and moral constraints. The truth, though delayed, begins to emerge, but
it does so at a great cost.

Pastor Manders, by contrast, is a character who clings to illusion. He is the embodiment

of religious orthodoxy and societal propriety, always prioritizing appearances over truth.
He discourages Mrs. Alving from leaving her husband, insists that the orphanage not be
insured (trusting divine protection), and is more concerned with reputation than justice.
His moral cowardice and refusal to see reality are symbolic of a society that fears truth
because it threatens order. Ibsen uses Manders to critique the institutional denial that
enables hypocrisy and prolongs suffering.

Oswald Alving’s character represents the ultimate cost of illusion. He is unaware of his
father’s past and is sent away to avoid the contamination of family disgrace. Ironically,
it is precisely this deception that leads to tragedy: Oswald inherits his father’s illness,
possibly congenital syphilis, and receives no preparation or support because the truth
was hidden. When he returns home seeking clarity and comfort, he is instead devastated
by revelations that shatter his world. In a final, tragic twist, Oswald begs his mother for
euthanasia, a moment that underscores the brutal consequences of denial.

In Ghosts, Ibsen shows that illusions, no matter how well-intentioned, are ultimately
destructive. The play’s structure revolves around the gradual unveiling of truths long
buried under social pressure and moral pretenses. Ibsen does not present truth as easy or
redemptive—it is painful and destabilizing—but he insists that only through confronting
truth can individuals escape the cycle of repression and tragedy.

In conclusion, Ghosts is a powerful meditation on the dangers of illusion and the

redemptive, though painful, power of truth. Ibsen uses his characters’ personal struggles
to expose the broader social hypocrisy of his time, urging his audience to shed Ghosts of
the past and live honestly—even when truth is hard to bear.

17. How does Ghosts critique Victorian morality and social conventions?

Henrik Ibsen’s Ghosts is a direct and powerful critique of Victorian morality and the
rigid social conventions of 19th-century Europe. In the play, Ibsen exposes the deep
contradictions, hypocrisy, and psychological harm caused by a society obsessed with
appearances, propriety, and religious orthodoxy. By highlighting the devastating
consequences of these so-called “moral” values on individuals and families, Ibsen
confronts the oppressive framework of Victorian ethics and calls for social and
intellectual liberation.

Victorian morality emphasized sexual repression, religious conservatism, strict gender

roles, and an idealized concept of family honor. In Ghosts, all these ideals are
systematically challenged. Captain Alving, though deceased, is central to the play’s
critique. He was, in reality, an immoral man who led a life of indulgence and infidelity.
Yet in death, he is honored as a respectable gentleman through the orphanage built in
his name. This disparity between his public image and private actions illustrates the
central hypocrisy of Victorian society—the elevation of image over truth.

Mrs. Alving is a tragic figure trapped by Victorian expectations. She is forced to return
to a corrupt marriage because religion and society dictated that a woman’s duty was to
her husband. Despite knowing Captain Alving’s moral failures, she is compelled by
Pastor Manders and the prevailing norms to endure in silence. Her struggle reflects how
Victorian morality denied women agency, forcing them to suppress their desires and
truths in order to uphold family honor.

Pastor Manders, the religious authority in the play, personifies the moral rigidity and
blindness of the age. He is not concerned with justice or individual well-being but with
maintaining public respectability. For instance, he dissuades Mrs. Alving from leaving
her husband and strongly opposes her reading of progressive books. Even when he is
manipulated by Jacob Engstrand or makes foolish decisions like not insuring the
orphanage, his primary concern remains reputation over reality. Ibsen uses Manders to
expose the dangers of religious and moral dogma when it becomes disconnected from
human compassion and truth.

The play also critiques Victorian attitudes toward sex, disease, and heredity. Oswald’s
inherited illness is a direct consequence of the silence surrounding Captain Alving’s
promiscuity. Victorian society avoided open discussions of such topics, preferring to
conceal uncomfortable truths, even at the cost of the next generation’s well-being.
Regina’s illegitimacy, another taboo subject, is treated with hypocrisy—she is seen as
unworthy, despite her being a victim of her father’s immorality.

Furthermore, Ghosts exposes the damaging effects of repressing truth. The characters
suffer not because of evil actions, but because of years of lies, silence, and adherence to
outdated codes of behavior. The burning of the orphanage symbolizes the collapse of
these illusions, while Oswald’s final cry for help—“The sun, the sun!”—represents the
desperate need for truth, light, and clarity in a world darkened by denial.

In conclusion, Ibsen’s Ghosts is a bold denunciation of Victorian morality. Through its

characters and their tragic circumstances, the play reveals how societal norms built on
repression and illusion lead to personal and collective suffering. Ibsen’s work calls for
honesty, individual freedom, and a rejection of hollow respectability—ideas that were
revolutionary in his time and remain relevant today.

18. Discuss Ibsen’s use of realism in Ghosts.

Henrik Ibsen’s Ghosts is a landmark in modern drama primarily because of its

uncompromising use of realism. At a time when theatre was dominated by melodrama,
idealism, and escapist themes, Ibsen introduced a new dramatic language—one that
depicted life truthfully, addressed taboo subjects, and presented characters as
psychologically complex individuals. In Ghosts, Ibsen uses realism to explore moral
hypocrisy, hereditary disease, gender inequality, and the oppressive weight of societal
norms, making the play a bold social critique that shocked audiences of its time.
One of the most powerful aspects of Ibsen’s realism is his choice of subject matter.
Ghosts deals openly with themes that were considered scandalous in the 19th century:
venereal disease (implied to be congenital syphilis), illegitimacy, incest, marital
infidelity, euthanasia, and religious hypocrisy. These were not the usual topics of polite
conversation, let alone stage plays. Ibsen, however, believed that theatre should
confront life as it is—not as society pretends it to be. By bringing these uncomfortable
realities into the drawing-room setting of Ghosts, he forces audiences to acknowledge
the consequences of social repression and moral cowardice.

The play’s setting and structure also reflect Ibsen’s commitment to realism. Unlike
classical or romantic drama, which often used grand settings or poetic dialogue, Ghosts
takes place in a single room over the course of one day. The events unfold naturally,
with a slow revelation of secrets and growing emotional intensity. This tight, realistic
structure creates a sense of claustrophobia and inevitability, mirroring the characters’
inability to escape the consequences of their past.

Ibsen’s characters are psychologically real—flawed, conflicted, and shaped by their

experiences. Mrs. Alving is not an idealized heroine but a woman torn between societal
expectations and her own buried truths. Pastor Manders is not a villain, but a man
blinded by religious orthodoxy and fear of scandal. Oswald, the tragic son, is not simply
a victim of fate but a person grappling with inherited illness and existential despair.
Each character speaks in natural, everyday language, and their dialogues reflect their
internal struggles rather than serving artificial plot devices.

Another hallmark of Ibsen’s realism is his focus on cause and effect. The drama in
Ghosts does not arise from chance or theatrical contrivance but from years of silence,
repression, and avoidance of truth. Captain Alving’s past sins, Mrs. Alving’s decisions,
and societal pressures all contribute logically to the final tragedy. This emphasis on
consequence gives the play moral weight and emotional authenticity.

Furthermore, Ibsen’s realism is not just about content, but also about ideological depth.
He does not moralize or offer simplistic resolutions. Instead, he presents ethical
dilemmas—Should Mrs. Alving have told Oswald the truth earlier? Is she right to
consider mercy killing?—and leaves the audience to wrestle with them. In doing so,
Ibsen respects the audience’s intelligence and reflects the ambiguity of real life.

In conclusion, Ibsen’s use of realism in Ghosts was revolutionary. He broke theatrical

conventions to portray life as it truly is—complex, painful, and morally challenging.
Through realistic dialogue, natural settings, and socially relevant themes, Ghosts
became a powerful critique of 19th-century values and a foundational work in the
evolution of modern drama.

19. Examine the significance of the title Ghosts.

The title Ghosts is one of the most symbolically rich and thematically powerful aspects
of Henrik Ibsen’s play. At first glance, it may suggest a supernatural drama, but Ibsen
uses the word metaphorically. The “ghosts” in the play are not literal spirits but the
lingering influence of outdated beliefs, repressed truths, inherited sins, and social
conventions that haunt the living. Through this title, Ibsen critiques the moral and
ideological inheritance that binds individuals to the past and prevents them from living
authentic lives.

One of the clearest interpretations of “ghosts” is the persistence of societal norms and
values, especially those rooted in religious orthodoxy and Victorian morality. Mrs.
Alving famously declares, “Ghosts. When I heard Regina and Oswald in there, it was as
if ghosts had come into the house. I’m half inclined to think we are all ghosts, Pastor
Manders. It isn’t just what we inherit from our mothers and fathers that haunts us. It’s
all kinds of old defunct theories, all sorts of old defunct beliefs, and things of that kind.”
This passage reveals that the real ghosts are the ideologies and social expectations
passed down through generations—rules about marriage, family, gender roles, and
morality—that continue to dictate behavior even after their relevance has faded.

The title also refers to the hereditary consequences of past actions, especially those of
Captain Alving. Though dead, he haunts the play through the legacy he has left behind:
a reputation built on lies, an illegitimate daughter (Regina), and a son (Oswald)
suffering from inherited disease, likely congenital syphilis. Oswald’s physical and
mental deterioration is the most tragic manifestation of this haunting. He is, quite
literally, the victim of his father’s sins, bearing the biological “ghost” of a past he never
lived but cannot escape.

Furthermore, the orphanage—built to honor Captain Alving—serves as a symbol of

institutionalized illusion, another form of haunting. It is a monument to a false memory,
erected to protect the family’s public image. When the orphanage burns down, it
represents the collapse of this illusion, the destruction of one of Ghosts. Yet, even this
fiery event does not free the characters, as they remain ensnared in deeper emotional
and social traps.

Pastor Manders, too, is a ghost-like figure in the ideological sense. He represents the
outdated moral and religious authority that refuses to adapt to changing realities. His
insistence on preserving appearances and tradition, even at the cost of truth and personal
happiness, makes him a living embodiment of the “dead ideas” Ibsen criticizes.

The title also has a psychological dimension. All the main characters are haunted in
some form—Mrs. Alving by guilt and suppressed truth, Oswald by his illness and lost
childhood, Regina by her mysterious parentage, and Manders by fear of scandal. These
inner hauntings contribute to the suffocating atmosphere of the play.
In conclusion, the title Ghosts encapsulates Ibsen’s central message: that individuals and
society are haunted by the past—by lies, repression, inherited sins, and obsolete beliefs.
Until these ghosts are recognized and confronted, they will continue to exert a tragic
influence over the present. The title is not just poetic, but deeply philosophical,
anchoring Ibsen’s critique of the cultural and moral inheritance of his time.

20. How does Ibsen use the character of Mrs. Alving to challenge the traditional
role of women?
Henrik Ibsen’s Ghosts presents Mrs. Helene Alving as a complex, conflicted, and
ultimately courageous figure who defies the traditional expectations of women in 19th-
century society. Through her experiences, thoughts, and actions, Ibsen critiques the
oppressive gender roles assigned to women—especially within marriage and
motherhood—and underscores the emotional and moral toll of female subjugation. Mrs.
Alving is not only the emotional center of the play but also a vehicle through which
Ibsen delivers a powerful feminist critique of the Victorian ideal of womanhood.

Traditionally, women were expected to be passive, dutiful wives and self-sacrificing

mothers. Mrs. Alving initially appears to conform to this ideal. She marries Captain
Alving, a man of high social standing, and remains with him despite his repeated
infidelities and immoral behavior. However, as the play unfolds, we learn that this was
not out of love or loyalty but because society—particularly Pastor Manders—pressured
her into it. She was told that a woman’s duty was to endure, to forgive, and to preserve
the sanctity of marriage at all costs. Her personal desires and mental well-being were
deemed secondary to social appearances.

This obedience comes at a great cost. Mrs. Alving suffers in silence, maintaining a
façade of domestic harmony while shielding her son Oswald from the truth about his
father. Her sacrifice is both emotional and existential. She sends Oswald away as a child
to protect him from his father’s corrupting influence, but in doing so, she separates
herself from the most meaningful relationship in her life. She also lies about Captain
Alving’s character, constructing a false narrative that ultimately leads to tragedy. These
actions reflect the impossible position women were placed in: expected to uphold
morality and reputation without any real power to change their circumstances.

However, what makes Mrs. Alving a revolutionary character is that she does begin to
resist these roles. She reads radical books, she questions religious authority, and she
dares to think independently. Her conversations with Pastor Manders reveal a woman
who is intellectually curious and morally courageous. She questions the very foundation
of Victorian morality, asserting that Ghosts of the past—old ideologies and repressive
values—continue to destroy lives. Her declaration that “I am half inclined to think we
are all ghosts” shows her deep awareness of how women are haunted by the roles they
are forced to play.
By the end of the play, Mrs. Alving is faced with a moral crisis: Oswald asks her to
assist in his euthanasia should he lose his mental faculties due to his inherited disease.
The request places her in a role utterly outside traditional maternal duties. She is no
longer just a caretaker; she is asked to be a liberator, even a destroyer. It is a tragic
moment that encapsulates the burden of impossible choices placed upon women in a
patriarchal world.

In conclusion, Mrs. Alving challenges the traditional role of women by asserting her
voice, questioning moral conventions, and making decisions based on truth rather than
duty. Through her character, Ibsen exposes the emotional oppression of women and
argues for their intellectual and moral autonomy. Mrs. Alving’s journey from
submission to self-awareness marks her as one of Ibsen’s most powerful critiques of
gender inequality.