Kovács Ferenc: Olvasópróba előtt (Skenotheke 1. Budapest, 1996)

Felhasznált irodalom

onlooker (let's note that the first time he fights for his son is not earlier than approximately line 1700, at the end of the third act). During the phase of the "development of the conflict," the duel between the main characters and the supporting characters serves to provide a subtle description of the inner nature of the protagonists. Fanny Wilton - the figure of emancipated, experienced, cosmopolitan womanhood - superbly counterbalances the Borkman sisters - the figures of fossilized tradition and detachment from the common people. Through the relationship between Foldal and Borkman, we glimpse á side of Borkman which we never would have obtained through the women. Although Foldal is an old schoolmate, he is no more than an employee, with whom Borkman does not have to maintain appearances. Borkman's real self is revealed through his conversation with him. Still another side of Borkman emerges -although, unfortunately, this is also an epic situation - when, after 23 years, Ella returns to talk with him in the second act of the play. Here Borkman acquires from the author the status of a real protagonist: he surrenders his son as well as the survival of his family name in order to make amends to his old love, Ella. In my view, however, it is too late. The two warring camps have already taken up their positions: the twin sisters on one side, Erhart and "youth" on the other, in order not to leave any doubt about the conclusion of the struggle, it is stated several times in the middle of the drama that Erhart ought to belong to Fanny rather than to either of the twins. This point is made repeatedly in order to prepare the audience for the dramatic catharsis, which, though it must be a surprise, is never totally unprepared. Ibsen's masterful dialogue excellently builds up the middle part of the play. No wonder that he himself recognizes this as his best-constructed play. At a certain point in the play we reach the "crisis," from which there is no return, and where there is no place for minor characters or incidental events. The stage belongs to the protagonists, whose conflicts drive the plot in a definite direction, to the dramatic conclusion. This is the point of no return, much like an airplane which has run out of fuel and is left with only one option: to go forward . In the play this crisis occurs when Erhart rushes home, summoned by his mother's desperate cry. Having Fanny safely close by, Erhart asserts his manhood and stands up to the expectations, demands and appeals of the old people. Instead of the dusty, stale atmosphere of an old people's home, he chooses happiness, freedom and the "woman." His dispute with the old people can be situated in the "confrontation" phase of the diagram (see figure 3a). 69