Independence and the Family

Abstract

Allied but opposed considerations of social independence and the supportive family unit are natural dramatic means to exposing the essential link between public and private, political and personal facets of conduct and identity. Henrik Ibsen’s Pillars of the Community (1877) is a notable formulation of the theme, depicting a supposedly exemplary member of the community, Karsten Bernick, who precipitates a dilemma by acting in accord with his interpretation of society’s prescriptions: Bernick permits the dangerous voyages of an unseaworthy vessel, kept afloat through persistent but perilously frail patchwork, in order to build an empire of profit for his family, particularly his son — then discovers that his son is aboard the vessel. With tragic irony, capitalism endangers even those who are ostensibly successful through maintaining its existence, and also the innocents, like Bernick’s son, on whose behalf Bernick claims to be labouring. Social distortions wreak their effects on future generations and competition for power informs private life; in the words of Leo Lowenthal, ‘Life becomes a game that one hopes to win by achieving success, only to find that the specialization and exertion required for this success add up, after all, to failure’.¹

I hate maturity. Mature notions, mature writers, it’s a con to rub the edge off a decent blade.

Downchild

The old know nothing. Fling them down. They made the world and they need punishing.

The Castle

Forgive me. The young are vile.

The Possibilities