Tragedy and Tragic Hero in Ibsen New

TRAGEDY AND TRAGIC HERO IN IBSEN’S
ENEMY OF THE PEOPLE
A THESIS
Presented as a Partial Fulfillment of the Requirements for the Attainment of a
Sarjana Sastra Degree in English Literature
By
Fitrana Amalia Hafizhah
14211141023
ENGLISH LITERATURE STUDY PROGRAM
ENGLISH EDUCATION DEPARTMENT
FACULTY OF LANGUAGES AND ARTS
STATE UNIVERSITY OF YOGYAKARTA
2018
i
APPROVAL SHEET
TRAGEDY AND TRAGIC HERO IN IBSEN’S ENEMY OF THE PEOPLE
A THESIS
by
NIM. 14211141023
Approved on 15th August, 2018
by
Supervisor,
Eko Rujito Dwi Atmojo, S.S., M.Hum.
NIP. 1976062 220080 1 003
ii
RATIFICATION SHEET
A THESIS
Accepted by the Board of Thesis Examiners, Faculty of Language and Arts,

Yogyakarta State University on ________, 2018 and declared to have fulfilled the
requirements for the attainment of the Sarjana Sastra Degree in English Literature.
The Board of Examiners
Position Name Signature
Chairperson : Eko Rujito Dwi Atmojo, S.S., M.Hum. ____________
Secretary : XXXXXXXXXXXXXXXXX ____________
Examiner : XXXXXXXXXXXXXXXXX ____________
Yogyakarta, XXX, 2018
Faculty of Languages and Arts
Yogyakarta State University
Dean,
Prof. Dr. Endang Nurhayati, M.Hum.

NIP. 19571231 198303 2 004
iii
SURAT PERNYATAAN
Yang bertanda tangan di bawah ini, saya:
Nama : Fitrana Amalia Hafizhah
NIM : 14211141023
Program Studi : Sastra Inggris
Jenjang : S1
Fakultas : Bahasa dan Seni Universitas Negeri Yogyakarta
Menyatakan bahwa karya ilmiah ini adalah hasil pekerjaan saya sendiri. Sepanjang
pengetahuan saya, karya ilmiah ini tidak berisi materi yang ditulis oleh orang lain,
kecuali bagian-bagian tertentu yang saya ambil sebagai acuan dengan mengikuti
tata cara dan etika penulisan karya ilmiah yang lazim.
Apabila ternyata terbukti bahwa pernyataan ini tidak benar, sepenuhnya
menjadi tanggung jawab saya.
Yogyakarta, 9 Agustus 2018

Penulis,

NIM 14211141023
iv
MOTTOS
"Do your responsibility, or you must pay for it later!"

[My Mama]
“Everybody has their demons; everyone has their challenges.”

[Isaac Hanson]
"It is the believer who are successful: those who are humble in their prayer."
[al-Mu'minun (23) : 11]
v
DEDICATION
This thesis is sincerely dedicated to the woman of my life, my Mama Hasmawati,
who has independently and patiently sacrificed her precious time to support her
family.
I owe all of my life to you, Mama.
vi
ACKNOWLEDGEMENTS
For the most part, I would like to praise and thank Allah SWT, the Author
of knowledge and wisdom, without His miracles and mercy, I am nothing. I thank
Him for guiding me to finish this thesis. Also, this journey would not be possible
without the participation and assistance of the following parties.
1. My thesis supervisor, Eko Rujito Dwi Atmojo, S.S., M.Hum., whom I owe a
debt of gratitude for his time, guidance, and careful attention in helping me to
finish this thesis in a limited period.
2. My academic advisors Rachmat Nurcahyo., S.S., M.A., who is then, because
of regulation, replaced by Donald Jupply., S.S., M.Hum. I thank both for their
help and guidance.
3. My family – My Mama, Hasmawati, who has supported me during the process
of this thesis writing; my Papa who has shown me about life struggle without
his proper role; and my little brother, Fauzan Rayyan Z.
4. My furry best friends who became my 24-hour loyal companion and emotional
support during the process of this thesis writing – Bubu, Lala, Po, Moli, Milo,
Mocca, Cimer, Ciput, and Popo. I thank you for being more than my cats.
5. My Bitcheeze – Hani, Dina, Kiran, and Sarah; Mothers of Bubu the cat – Hani
and Alif; the Strugglers – Panca and Meme. I thank you for still being there
when you see what a mess I can be. Moreover, I thank you all for always
reminding and supporting one another to finish our thesis and college. Without
you all, I do not know how my college life would feel like.
vii
6. Helmi Rahmatullah who always listens my jeremiad, always supports me, and
always be patient with me during this thesis writing process. I thank you for
being my silly but loyal companion in every phase of my life.
7. My Kos 207 family who always reminds me to finish my thesis and always
cheers each other up during the hard times.
8. My best lifetime partners Tara, Sitha, Sekar, Anggun, Jito, Satria, Arin, Hasna,
Ifa, Rara who has stayed since our early teens until this quarter life. I thank you
for keep sharing moments and supports during our busy college life.
9. My superb friends in English department, particularly Sasing F and Literature
Class, thanks for the words you said, the things we laughed about, and the silent
moments and struggles we shared in college life.
10. All the people whom I cannot mention one by one here, for those who believe
in me as well as for those who do not believe in me, thank you for the life
lessons.
Last of all, I have done my very best for finishing this thesis however I am
aware that this is still far from perfection. Thus, in order to improve this thesis,
comments, suggestions and criticisms are needed. In addition, I do expect that this
thesis would be beneficial for the readers especially those who have interest in
studying literature.
Yogyakarta, August 9th 2018
viii
TABLE OF CONTENTS
A THESIS ............................................................................................................... i
APPROVAL SHEET ............................................................................................ ii
RATIFICATION SHEET ................................................................................... iii
SURAT PERNYATAAN ..................................................................................... iv
MOTTOS ................................................................................................................v
DEDICATION...................................................................................................... vi
ACKNOWLEDGEMENTS ............................................................................... vii
TABLE OF CONTENTS .................................................................................... ix
LIST OF FIGURES AND TABLES ................................................................... xi
ABSTRACT ......................................................................................................... xii
CHAPTER I INTRODUCTION ..........................................................................1
A. Background of the Study ................................................................................1
B. The Focus of the Research ..............................................................................6
C. Objectives of the Research ..............................................................................7
D. Significance of the Study ................................................................................8
CHAPTER II LITERARY REVIEW ..................................................................9
A. Structuralist Criticism .....................................................................................9
B. Theory of Drama ...........................................................................................11
1. Definition and Type of Drama .................................................................11
2. Elements of Drama ...................................................................................15
C. Tragedy .........................................................................................................18
1. Development of Tragedy ..........................................................................18
2. Concept of Tragedy...................................................................................25
3. Concept of Tragic Hero ............................................................................31
D. Previous Research Findings ..........................................................................32
E. Framework of Thinking ................................................................................35
CHAPTER III RESEARCH METHOD ............................................................36
A. Research Design ............................................................................................36
B. Data and Source of the Data .........................................................................37
ix
C. Research Instrument ......................................................................................37
D. Data Collection Technique............................................................................39
E. Data Analysis Technique ..............................................................................40
F. Data Trustworthiness ....................................................................................41
CHAPTER IV RESEARCH FINDINGS ...........................................................42
A. Elements of Tragedy in Ibsen’s Enemy of the People ..................................42
1. Tragic Plot ................................................................................................43
2. Tragic Form and Language ......................................................................60
B. Traits of Tragic Hero in Ibsen’s Enemy of the People .................................67
1. Background of the Protagonist ..................................................................67
2. Source of the Tragic Force ........................................................................68
3. Tragic Act Committed by the Protagonist ................................................78
CHAPTER V CONCLUSION ............................................................................88
REFERENCES .....................................................................................................91
APPENDIX ...........................................................................................................94
SURAT PERNYATAAN PEER DEBRIEFING I ...........................................132
SURAT PERNYATAAN PEER DEBRIEFING II .........................................133
x
LIST OF FIGURES AND TABLES
Figure 1 : Freytag’s Pyramid …………………………………………… 29
Figure 2 : Framework of Thinking …………………………………..…. 34
Table 1 : Elements of Modern Tragedy in Ibsen’s Enemy of the People
…………………………………………………………......…. 28
Table 2 : Traits of Tragic Hero in Ibsen’s Enemy of the People .…...… 28
xi

14211141023
ABSTRACT
The objectives of this research are to reveal elements of modern tragedy

employed in Ibsen’s Enemy of the People, and to investigate the traits of tragic hero
presented in Ibsen’s Enemy of the People. This research is a qualitative research
with deductive content analysis. The data of this research were primarily taken from
Henrik Ibsen’s Enemy of the People published by Dover Publications in 1999 which
is the translated edition and unabridged republication from the original work. In this
research, the researcher played as the central participant in conducting the research
and in analyzing the data according to the combination of structuralist criticism,
theory of drama, and theory of tragedy. Thus, the researcher read and re-read the
text, collected, categorized, and analyzed the data which were in accordance with
the chosen theory. To obtain the trustworthiness of the data, peer debriefing was
applied.
The findings of this research show that (1) the elements of modern tragedy
in An Enemy of the People by Henrik Ibsen including Tragic Plot as well as Tragic
Form and Language are found with some transformations regarding the demand of
realism in modern era. The Tragic Plot contains more than one anagnorisis during
its development, but it still has peripeteia as its climax and catastrophe as its end.
The Tragic Form and Language is presented in narrative between the dialogue lines
and stage directions rather than verse. It also does not possess chorus and perfect
three unities. Moreover, even though the employment of common language is
dominant, the drama still employs some figurative language to form a tragic effect.
(2) Meanwhile, the traits of tragic hero found in Ibsen’s Enemy of the People are
divided into three categories based on the background of the protagonist, source of
the tragic action, and act committed by the tragic hero. In this research, the
protagonist, Dr. Stockmann, comes from common man. The source of the tragic
action committed by the protagonist comes from both internal force and external
force. All of the tragic act committed by the tragic hero are found in this modern
drama including hamartia, hubris, anagnorisis, and peripeteia. However, all of them
have transformed into the need of modern tragedy that tends to fulfil the demand of
realism.
Keywords: Henrik Ibsen, An Enemy of the People, tragedy, tragic hero.
xii
CHAPTER I
INTRODUCTION
A. Background of the Study
The word ‘drama’ is derived from the Greek word “draein” which means
“to do” or “to act”, thus it refers to a story performed or represented by actors. It is
one of literary genres in English Literature that is originated from the religious
predisposition of human being, as it is stated by Mario Klarer (2004: 43) that
“Drama has its roots in cultic ritual practice.” By this, the feature of religious belief
has influenced the very first drama, which is the classical Greek drama of the fifth
century BC. As the time evolves, the feature of very first drama has been developed
and its structure has been modified until this modern era. The form of classical
Greek drama had been very rigid and the function is only to worship the god, while,
as it comes to millennial era, the form gets simpler yet the meaning gets broader,
and it possesses higher functions; drama is not only used to worship, but it is also
used to present critique and portrayal of reality. Moreover, drama is not only
enjoyed as a performance, but it can also be enjoyed as a text – drama script can be
read independently by the reader, and the message still can be inquired through its
written elements.
Regardless of its development, drama is the oldest literary genre that has
been mostly considered inferior than other genre. It has been become more inferior
as this modern era comes, as it is asserted by David Krasner (2012: x),
“ … modern drama was no less influential than other “modernism” in art,

literature, music, and architecture. Yet drama and theatre are frequently
excluded or marginalized from scholarly examinations of modernism. This
1
2
is unfortunate, indicating drama’s inferiority in academic and intellectual

circles.”
It has been more inferior than other forms of arts, similarly with other literary genre.
The inferiority can be seen as the form and structure of drama is more complicated
than prose thus drama is less reader friendly than prose. Many literary scholars have
been very attached to prose as the development of prose is massive and the reader
is broader than drama script. By this, prose tends to be closer to human life than
drama does. Hence, it can be said that reading and analyzing drama script is less
appealing than reading and analyzing prose.
Even though drama is considered less interesting and less important because
it is less well-known than any other genre, drama has a complex relationship
between its elements that can render a complete amusement and impression to the
audience. Drama can be considered to have a unique aesthetical form, by which the
audience is directly involved in transferring the message, moral values it shares,
and the story behind it. The unique aesthetical form of drama exists because of the
form and structure it possesses. Because the definition of drama can vary from a
form of performance needed spectator to a form of literary script needed reader, the
structure of drama tend to be more complex and complicated than prose. Drama
that is enjoyed as a text is called closet drama. Closet drama was popular during the
Renaissance Era; it emerged in order to write a tragedy that was prohibited to be
staged. Closet drama is written in dramatic form with dialogue indicated setting and
stage direction, but it is intended to be read instead of to be played on stage. One of
the popular playwrights writing closet drama is John Milton. He wrote Samson
2
3
Agonistes at 1671; it is a tragic closet drama that tells about the death of the
protagonist – Samson – that is caused by his own action. However, not only closet
drama that can be enjoyed as a form of text, drama that is intended to be played in
a stage can also be enjoyed as a form of text. Drama as a text consist of dialogue
lines between characters and stage direction. Hence, drama does not have the very
prominent element possessed by prose – the narrative explaining many aspect of
the story and the whole plot. In consequence, to understand the story and hidden
insight of the drama scrip, the reader should understand the background story and
should read it carefully to uncover the plot, the theme, the issues, the moral value,
the structure of the characters, and the genre.
Genre has been very important in categorizing literary work. In drama, it
has been strongly associated as comedy or tragedy because both of them are the
most durable and the oldest of literary genres rooting from drama. Comedy and
tragedy tell about something deep and real within human being. Even though they
are characteristically opposite to each other, each of them closely exposes the
complex experience of living in this world. Tragedy and comedy as a literary genre
can be uncovered as the characters experienced some events during the plot
development. Comedy, in drama, may be broadly defined as whatever makes
people laugh. While tragedy in drama means a drama that portrays a serious conflict
between human beings and some superior, overwhelming force – whether it is
internal or external force. The drama of tragedy mostly ends sorrowfully and
disastrously as it involves the fate of the characters. Thus, tragedy exist in the life
3
4
of the people within the literary work – the characters – especially the protagonist,
and will surely influence them.
The force of the tragic influence can be seen through the development of
the plot, the characters’ characterization and their thought. The message and the end
of tragedy in literature are always the same; the protagonist suffers terribly,
pitifully, but there is abundant wisdom to be gained from that suffering. This great
ending, then, employed by Aristotle to formulate the ideas of Poetics. In this
formulation, Aristotle suggests the fundamental elements of tragedy, and one of
them is that the ideas of the central character whom audience can sympathizes. In
other words, tragedy explores the experience of sympathy, and drama is the most
effective literary genre transferring the sympathy. Sympathy here is defined as
catharsis or purgation of emotion. In drama, the audience’s purgation of emotion
towards the characters will surely very obvious as the audience directly observe the
event. This also the same with the drama as a text, the reader of drama script can
also feel the tragic effect through the plot which provoke the event experienced by
the characters after the process of close reading. Hence, character, plot and tragedy
have been very connected and influential to each other.
Character who possesses tragic traits in the story is often called as tragic
hero or hero undergone tragedy. A hero is someone who stands out from others;
someone who is distinguished by prominence, bravery or kindness. While tragic
hero is a hero who undergone a downfall resulted from his own flaws. His flaws is
completely his own fault as a result of his own free choice. Tragic hero originated
from ancient Greek theater, and can still be seen in contemporary tragedies. It
4
5
means that even though the definition of tragic hero has expanded since Aristotle
first defined the feature, the tragic hero’s defining characteristics have remained –
for example, the bringing about their downfall. It only went through some changes
and adaptation thus tragic hero still appears all over important modern literary
works, even though the feature and characteristic it possessed are not pretty similar
with the old one. The classic ancient tragedy tend to have a noble character as its
tragic hero and the flaws they do is mostly influenced by external forces of divine
power or god, while as it develops through this modern era, the tragic hero does not
merely come from noble man; the tragic hero of modern tragedy comes from
common man whose flaw actually exists within both of his internal forces and
external forces. The tragic hero and the tragic flaw he possessed is actually shaped
by his background condition. This is in line with what Andrew Bennet and Nicholas
Royle (2004: 110) defines,
“If modern tragedies tend to be about ordinary people rather than kings or
queen, they also show how far the lives of such ‘ordinary people’ are bound
up, determined and constrained by broader social, economic, and political
realities.”
The transformation of tragedy and tragic hero can be seen through some
works of the founding father of modern drama – Henrik Ibsen, which also have the
characteristic and feature of tragedy and tragic hero. Ibsen was one of the world’s
greatest dramatists who is considered as the father of modern drama who came from
Norway by the end of the nineteenth century. He became popular because of his
refusal to follow the rules of theatre at 1850s that made him begin to write his most
famous and “realist” works. He started to write a realist drama that differ with the
common conventional drama at that time. He was one of the first playwright who
5
6
discuss the tragedy of social issues in his work. His most noted tragic work that has
come into popularity is A Doll House (1879). In this drama, the tragic hero falls
from her fortune because of her own choices to marry his husband that leads her
into patriarchal life.
Another work from him that deals with tragedy and tragic hero is a
contemporary drama entitled An Enemy of The People. The protagonist of this
drama develops a flaws that brings him into his downfall however others defining
character of tragic hero possessed by the protagonist of the drama do not completely
comply with Aristotle’s ideas of tragedy and tragic hero in Greek Period. This is
happened because the characteristics of tragedy and tragic traits possessed by the
protagonist are written based on the need of modern era. Based on this reason, the
researcher would like to renders the tragedy and tragic hero employed in this drama,
in order to uncover how the transformation of tragedy and tragic hero is portrayed
in modern drama. To conduct this study, the theories of drama, tragedy, and
structuralism approach would be employed to guide this research to reveal the
tragedy and tragic hero in Ibsen’s Enemy of the People.
B. The Focus of the Research
There are numerous topics from An Enemy of The People by Henrik Ibsen
that could be discussed. For example, the gap appearing in the society between the
authority and the common man can be analyzed through the perspective of
Marxism. This drama presents the gap between the inferior and the superior, as well
as how the superior side – the authority, uses his power to suppress the inferior –
common man, to obey whatever ruled by the authority. Moreover, the social
6
7
problem as the impact of the country’s development emerging in this drama can be
analyzed though the eyes of sociology of literature. According to this theory, it is
actually a drama about someone who is totally influenced by his own background
condition – political, economic, social, and personal condition. It presents how Dr.
Stockmann who firstly works for the authority finally realizes that the authority has
become the social force leading the fate of the society.
Whereas, the researcher only focuses on the analysis of tragedy and tragic
hero in this work, as the drama portray the tragedy of the protagonist during the plot
development. Hence, the researcher focuses on the intrinsic element of the drama,
which are plot, characters – especially the tragic character, and elements that signify
the tragedy employed in the drama. Thus, the researcher uses the development of
tragedy and drama theories to carry on the research that is focused on the genre and
tragic hero of An Enemy of The People by Henrik Ibsen. Moreover, the main
analysis conducted is merely an analysis of intrinsic element which can be
discussed under the principle of Structuralism approach, in which close reading
technique will be used as an underlying tool to analyze the plot, characters’
characterization and thought, and genre of the drama. Herewith, this research aims
to answer the questions of (1) What are the elements of modern tragedy employed
in Ibsen’s Enemy of the People? and (2) What are the traits of tragic hero presented
in Ibsen’s Enemy of the People?
C. Objectives of the Research
Based on the background and focus of the research, the objectives of this
research are as follows:
7
8
1. to reveal elements of modern tragedy employed in Ibsen’s Enemy of the
People
2. to investigate the traits of tragic hero presented in Ibsen’s Enemy of the
People
D. Significance of the Study
Hopefully, this research can be advantageous both in academic and practical
ways.
1. Academically, this research will contribute to literary resources of
tragedy and tragic hero in literary works, as well as a reference for
structuralist criticism research. Moreover, this research will give a
contribution to the understanding of drama analysis, especially An
Enemy of the People by Henrik Ibsen.
2. Practically, this research can be beneficial for the readers in literature
field to be aware of the genre especially tragedy and elements
constituting it that may be depicted in modern literary work. Moreover,
by understanding tragedy, it is hoped that the readers can value struggles
and falls happening in every stages of life, as they exist to make humans
aware and realize their mistake as well as to motivate humans to gain
the wisdom of life.
8
CHAPTER II
LITERARY REVIEW
A. Structuralist Criticism
Structuralist criticism in literature believes that no word can be defined in
isolation from other words. It is because a literary works is a unity of words that
accumulates the issues employed within it. Structuralists view a literary work as a
totality which is built coherently by its constituting elements as it is said by M.H.
Abrams, “the structure of a literary work can be regarded as an arrangement,
firmness, and depiction of all elements and materials which shaping a unity” (1981:
68). Each element cannot stand alone without the other elements because each
element can be very meaningful and important after having connection with the
other elements as well as its contribution towards the story or play. This is in line
with what Hawkes (2003) believes, “… An element in a system of structure will
have a meaning after getting a link with the others.” Thus, an element needs the
other elements to produce functions. The various functions of these elements and
the relations between them constitute a structure.
By this, structurturalist criticism analyzes the narrative material by
examining the underlying permanent structure. For instance, a literary critic
applying a structuralist literary theory might say that the authors of Greek Tragedy
do not write anything really new because most of their works have the same
structure as Sophocles‘s Oedipus Rex. In all these texts, the protagonist falls
miserably because of his own fault. Structuralist literary criticism states that the
9
10
―novelty value of a literary text‖ can lie only in new structures rather than in the
specifics of character development and voice in which that structure is expressed.
By this, structuralist criticism aims to uncover the formal and structural
pattern of literary works; it explains the content of literary works in relation to its
formal and structural dimension that constitutes bigger issues. (Klarer, 2004: 81).
It mostly tries to analyze the textual elements of the plot’s thematic level or
characters (Klarer, 2004: 83). Thus, structuralist criticism relates literary texts to a
larger structure. Those larger structure may be in a form of a particular genre, a
range of intertextual connections, a model of a universal narrative structure, or a
system of recurrent patterns or motives.
Hence, it can be said that structure is the design or arrangement of the parts
of a work of literature to form a unified whole; the planned framework or
―architecture‖ of a literary work. In Narrative Fiction, the arrangement of events
from first to last-beginning, middle, end - is a matter of structure. Structure involves
both mechanical and logical arrangement. A play, for instance, is structured
mechanically as a sequence of acts and scenes; it is structured logically as a
movement through Rising Action, Climax, Falling Action and Denouement.
In conducting this approach, the researcher shall only focus on the textual
elements of the literary works because they can create a system that constitutes
bigger issue within the literary work. This is in line with what Abrams thinks that
in approaching a literary work, “structuralist criticism stands free from poet,
audience, and its environment. It describes the literary work as a self-sufficient
object” (Abrams, 1981: 87).
10
11
Overall, the idea of structuralism is the idea of system. The individual
works, the literary genre, and the other elements of literature are a related system
that can influence the form and function of each other. Hence, the structure of the
system that marks the tragedy and tragic hero can be analyzed by using this
approach.
B. Theory of Drama
1. Definition and Type of Drama

According to A Guide to Ancient Greek Drama (2005), the word ‘drama’ is
originated from the Greek words δράμα (drama) which means ‘action,’ ‘doing,’ or
‘performance.’ Furthermore, M.H. Abram in the Glossary of Literary Terms
describe drama as follows
“Drama is a composition designed for performance in the theatre, in

which actors take the roles of the characters, perform the indicated action
and utter the written dialogue”.
By that definition it can be inferred that drama is a literary branch which
mostly written for being performed by actor. Thus, drama is mostly regarded as a
form of mimetic or imitation of reality; the actors imitate the real condition that has
been adapted into the drama script. When drama is performed, it is called ‘play’;
while ‘drama’ itself is actually the form of text or script of the play. Like other
literary work, drama script can be read and analyzed. “This takes the plays as
literature and subjects them to the various sorts of literary theory that exist” (Storey
and Allan, 2005: 3). This means that the attempt to understand and analyze the
written element of the drama is possible, and the written element of drama itself is
11
12
considered as a form of literary work that can be analyzed using certain approach
of literary theory.
According to Ian C. Storey and Arlene Allan (2005:1-24), during the 5th BC,
drama popularly emerged as a form of worship to Dionysus, the god of fertile or
often associated as the god of wine. When the economic and political condition of
the city was in crises, some annual festivals in honor of Dionysus were held, one of
them was play performance from the dramatic poet who has been selected
competitively earlier in the year. It was held in a huge amphitheaters and the whole
citizen attended the event. Thus it became a big community event in Athens. The
drama was performed by actors wearing mask that constitutes their characters and
characterization in a story. The mask has generally been categorized as
representation of two genres or types – tragedy (sorrowful mask) and, comedy
(smiling mask).
In addition to tragedy and comedy, there are actually many types of drama,
as it is stated by Onyeka Iwuchukwu (2008: 67), namely, tragedy; comedy; tragi-
comedy; melodrama; drame; mime, et cetera. However, both tragedy and comedy
are two major types of drama that had a great vogue and are still developed in this
modern era. Thus, the types of drama has mostly been associated in a form of
tragedy and comedy.
a. Tragedy
The term ‘tragedy’ is derived from the Greek word ‘tragodia’, which means
‘goat song’ – It is called tragedy because the performer wear clothes from goat skin.
Tragedy is mostly known by recent society as a misfortune or sudden accident
12
13
happening in their life. However, tragedy is actually not as simple as that. One of
the author who has documented the concept and complexity of tragedy since it first
appearance is Aristotle, he wrote a book entitled The Poetics to provoke his study
of the early tragedy. He defines tragedy as:
“A tragedy, then, is the imitation of an action that is serious and also, as

having magnitude, complete in itself; in language with pleasurable
accessories, each kind brought in separately in the parts of the work; in a
dramatic, not in a narrative form; with incidents arousing pity and fear,
wherewith to accomplish its catharsis of such emotions.” (The Poetics,
London, 1902, translated by S.H. Butcher, Chapter VI)
According to him, tragedy is a form of drama or play portraying desperate suffering
which is able to elicit the emotions of pity and fear from those who witness it. In
short, tragedy is a unity of imitation of desperate action presented in a single
complete plot of story that can moves the sympathy of human being.
Because of its ability in influencing human feeling and arousing pity as well
as fear, tragedy is often considered having the highest position of dramatic genre.
As what Onyeka Iwuchukwu (2008: 68) states,“Tragedy is the most esteemed of all
the dramatic genres.” It is special because it presents the learning process of the
protagonist after committing tragic flaws; thus many people are interested to
tragedy, especially when the Greek drama flourished, many people wanted to
contribute and become the sponsor of tragic play, as it is provoked by Ian C. Storey
and Arlene Allan,
“Of the three genres of performance at the Dionysia it is the sponsorship of

tragedy that seems to have held the most prestige, … It is the sponsorship
of tragedy that formed the highest rung of the liturgical ladder” (2005: 20).
13
14
As tragedy can trigger human’s sympathy, it aims to warn human being
about certain issues thus the audience can avoid doing the same mistake and ending
in the same catastrophe. Thus, audience can be more concerned about their action.
This is in line with what Stefanie Lethbridge and Jarmila Mildorf state, that
“tragedy tries to raise the audience’s concern, to confront viewers with

serious action and conflicts, which typically end in a catastrophe (usually
involving the death of the protagonist and possibly others)” (2004: 133).
b. Comedy
The word ‘comedy’ is derived from the Greek word ‘komos’ which means
‘a revel’. It is emerged slightly after the emergence of tragedy. It is a form of ritual
performance to honor Dionysus during the spring. Comedy may be defined as
something funny making the audience laugh, and it is considered contrast to tragedy
that make the audience feel pity and fear.
Unlike tragedy, comic drama has a laughable plot. The end of the comic
story mostly happy ending while the end of tragic story is mostly sad or depressing
ending. Regardless of its opposition, comedy and tragedy are closely akin; both
comedy and tragedy show people getting into trouble through error or weakness.
However, the most notable differences between tragedy and comedy are in the
audience reaction towards the story; in tragedy, when a tragic hero suffers, the
audience will be saddened while in comedy, when the comic hero suffers, the
audience will laugh. Another difference lies on its subject matter, as it is provoked
by R.N. Rai (1992: 219) as follow,
"Tragedy derives its theme from the grim aspects of Greek mythology or
from the serious concerns of human life, comedy derives it from the lighter
or the ludicrous side of human life. Comedy does not possess the kind of
14
15
metaphysical dimension which is of prime importance in the tragedy.

Tragedy deals with the exalted figures, comedy with the inferior types.
Tragedy appeals to the heart, comedy to the head."
In fact, comedy is usually presented as a moral satire used to criticize
immoral behavior thus it aims to correct social ills, social injustice or to ridicule
certain human fault or social imbalance. By this, comedy is usually used as a form
of critique that makes humans consider about real social condition and their action.
2. Elements of Drama
There are already many various discussion from many scholars about the
elements of drama. However, as the research aimed to analyze the drama script, the
researcher focused on main textual elements of drama classified in An Introduction
to Literary Studies by Mario Klarer (2004: 46-47). According to the publications,
the main textual elements of drama are dialogue, monologue, stage direction,
characters, plot, and setting. All of them can be obtained and studied through the
process of close reading of the drama script. Present statements describes those six
main textual elements of drama.
First, dialogue which refers specifically to the speech of characters in a
drama is a part of textual elements of drama. It is the interaction among the
characters which can reveal their nature and relation among characters. The
interaction among the characters is firstly written in a form of dialogue before it is
acted by the actors. In a drama, it becomes the most significant elements because
almost the whole script consists more of dialogue than other textual elements. Thus,
reading drama means reading dialogue.
15
16
Second, another textual elements of drama similar with dialogue is
monologue. When dialogue is a form of communication among the characters,
monologue is a long single speech uttered by a character. Because it is also a means
of communication, the function of monologue is also similar with the function of
dialogue.
Third, stage directions is also an important textual elements of drama that
give insight about the drama form guidelines. Kenneth Pickering (2005: 51)
suggest the importance of stage direction in his book entitled Key Concepts in
Drama and Performance as it can
“(a) tell us where and when the action is taking place; (b) provide details of
the way in which the play might be staged; (c) give instructions to the actors
about where and when the characters move and how they look, behave or
speak.”
By this, in textual aspect, stage direction takes a big part in giving the audience
(reader of drama script) a big picture of the background condition in which the play
was written and staged, and it enables the audience to understand the characters and
other inferential elements of the drama.
Fourth, character is one of the most prominent textual elements of drama as
it becomes the media to present the others textual elements, such as plot, dialogue,
monologue, stage directions and setting. It is impossible to have a drama without
characters because it is inseparable to other elements, as the theme and plot of the
story goes according to the dialogue, monologue and act committed by the
characters. Characters in drama can be classified into major and minor characters.
The major characters is mostly known as the protagonist or the hero. The hero is
16
17
the center of the drama in which the story is developed through his line. According
to Stefanie Lethbridge and Jarmila Mildorf (2004: 114) quality or characterization
of characters in drama mostly depends on the genre of the drama. In tragic drama,
the hero is called tragic hero because the story is mostly about the tragedy of its
character. The tragic hero possesses certain traits marking his tragic life.
Fifth, plot is another integral textual elements of drama. It is an arrangement
of events of a story presented in sequence and therefore portray and explain the
causal connection between events. This is in line with what Stefanie Lethbridge and
Jarmila Mildorf states that “plot refers to the actual logical arrangement of events
and actions used to explain ‘why’ something happened” (2004: 98). The
arrangement of events is mostly uncovered by the characters’ dialogue and
monologue thus characters and plot are strongly related. There are six causal stages
in a plot structure: exposition, rising action or complicating action, climax, falling
action and denouement or resolution. All of these stages are related to each other
and has a causal relationship, and it can portray the framework of the play. By this,
Aristotle (1902: 14) believes that plot is the most important single elements of the
drama that can constitute the issues inferred through in the drama.
The last, there is setting of a play which refers to the time and location in
which the story occurs. Setting can either be clearly stated through stage direction,
dialogue, monologue, or can be inferred after watching the entire performance. The
setting can influence the action of the characters and can portray their
characterization. By this, Stefanie Lethbridge and Jarmila Mildorf (2004: 104)
17
18
states that “A close look at the setting can thus contribute to a better understanding
of the characters and their behaviour.”
C. Tragedy
1. Development of Tragedy
The idea of tragedy has developed through the era. Starting from its first
emergence during the Greek era, tragedy has mostly flourished in the Elizabethan
era. Until today, even though tragedy has gone through many transformation, the
essence of tragedy remain exists and is adapted by modern author – such as, Henrik
Ibsen who is known as the father of Modern Drama. Therefore, the major
classification in which tragedy flourished is developed into Greek Tragedy,
Elizabethan Tragedy, and Modern Tragedy.
a. Greek Tragedy
Tragedy in Greek was a form of religious ritual aiming to worship Dionysus.
Thus, it was staged not merely to entertain the audience, but to do a religious service
as Ian C. Storley and Arlene Allan states in their book “So this was the god for
whom drama was performed” (2005: 28). Hence its performance must have a strict
pattern constituting the essence of the rituals. Aristotle documented this pattern on
his Poetics. Aristotle writes Poetics based on the analysis of the Greek major
tragedies of Aeschylus, Sophocles and Euripides. Hence, the characteristics of
Greek tragedy are well stated in the Poetics.
According to it, the story of Greek tragedy is based on myth as there must
be a presence of god as the divine power that solve the story (Storley and Allan,
2008: 31). However, even though the story is based on myth and the aims of its
18
19
performance is to worship god, tragedy is actually about human relation – whether
it is relation between human and human, or relation between human and god. The
fate of the relation between human and human lies on the god’s desire, thus the
relation between human and god is then about how the human respond to this fate.
Tragedy in Greek period thus deals with human reaction towards the human relation
constructed by god’s divine power. It is in line with what Ian C. Storley and Arlene
Allan present in A Guide to Ancient Greek Drama,
“and one of the great issues of tragedy is the relationship between humans
and gods. But Greek drama, like Greek myth in general, is more about
human men and women. Gods appear on stage, intervene and influence the
action, interact (often violently) with the human characters, but what
interests the playwrights (particularly Euripides) is the human reaction”
(2008: 34).
Then, plot is the most integral aspect of Greek Tragedy because during that
period, dramatist mostly writes tragedy firstly by organizing its tragic plot that
involves peripeteia and anagnorisis, and the rest element goes according to the plot
(Ian C. Storey and Arlene Allan, 2005: 85). The plot must be one single unity that
has beginning, middle, and ending (Bushnell, 2008: 38). Moreover, the plot must
create three unities of action, time and place. Thus, during Greek period, tragedy is
mostly created according to this convention in order to cause dramatic effect
(Aristotle, 1902: V4-VI4).
Plot is also closely related to the other element of tragedy, which is
character. Thus, characters’ action becomes integral in Greek tragedy, as the action
of the protagonist shows the development of tragic plot. According to Aristotle
(1902: VI1-VI5), most of the protagonist of this Greek tragic plot possesses strict
traits of tragic hero mentioned in the next discussion. Those are, hamartia or tragic
19
20
flaws that causes his tragic action, and the most important one is that the protagonist
should be a noble character who has hubris or pride on his discovery (anagnorisis)
that can lead him into reversal of fortune (peripetia).
Another distinguishing formal element of Greek tragedy is chorus. Chorus
of fifteen man becomes a significant element in creating the tragic sense in Greek
tragedy because it not only functions as the part of the action, but also functions as
the commentator who conclude the actions (Bushnell, 2008: 36). Ruth Scodel
explains that the chorus sang and danced between scenes, and chorus leader can
speak on behalf of the group during the actor’s scene (2010 :3). By this, the chorus
can introduce and question the condition and characters to point out its tragedy.
Oedipus Rex (429 BC) is a good example of Greek tragedy. It has a single
plot telling the story of how Oedipus killed his father and married his mother. The
setting is single, taking place in front of the palace. Oedipus, the tragic hero is a
king who by the end of the play, discovers the truth about himself and his fortune
turns from good to bad. His catastrophe is caused by his tragic flaw which is
arrogance.
b. Elizabethan Tragedy
During the Elizabethan Era, many development and improvisation had
massively happened in many aspects because of the influence of Renaissance Era.
Renaissance or revival of art came to England in the middle of the sixteenth century
which is slightly late than in other European countries. The Queen Elizabeth was
really keen on arts, and during this period, drama was flourished. Drama was
performed, and many people from all circles gathered and watched it, as it was
20
21
become an integral form of entertainment (Sinha, 1995:10). Play or drama that was
performed in this era had been much influenced by the classical drama (Abrams,
1986: 430). By this, the genre of tragedy in drama during Elizabethan era also has
similar formal elements of classical tragedy.
The tragic vision of Elizabethan drama is more into man-man relationship
instead of god-man relationship. Thus, the main attraction of the Elizabethan
tragedy lies on the man power instead of the god power that will influence others
formal elements of Elizabethan tragedy (Tillyard, 1943: 83).
Plot is always be the most important formal elements of Elizabethan tragedy.
The plot of Elizabethan drama is less similar with the Greek tragedy as it may not
have one single plot. In Elizabethan tragedy, the emergence of sub-plot – whether
it is related with the main plot or not related at all – is possible, as long as its
employs violence and death as the catastrophe of the plot (Janet Spens,
http://www.shakespeare-online.com/playanalysis/tragedy vscomedy). The tragic
hero in Elizabethan tragedy is always a good man coming from high degree, often
kings or princes or member of great house, because the playwright of this era
believes that when a person from high position falls suddenly, the sudden sensation
of surprise can be felt by the audience (Bradley, 2006: 6). Moreover, the fate of
tragic hero is not determined by external divine power, but it is within the discretion
of the tragic hero himself (Leech, 1969: 16-17). The presence of chorus who
comments after the story is still maintained in this era, but the respond given by the
chorus is more about the moral judgment (Wiggins, 2004: 70-71). The last, the
convention of language employed in Elizabethan tragedy in delivering the plot and
21
22
tragic hero is still highly constrained as in the Greek tragedy. The dialogue is still
presented in a form of poetic verse with very high diction even though it is less
structured than Greek tragedy (Bushnell, 2008: 44).
Shakespeare is the most prominent dramatist of this period. Though
Shakespeare conformed to the substance of the Greek tragedy, he did make changes
in the form and characterization. One of his most tragic works is King Lear (1906).
In this drama, the protagonist, King Lear, has a trait of hamartia and hubris that
makes his life tragic; he make a decision to give the authority to his two daughters
that apparently does not love him and only want power that he gives. This make
him falls into misfortune and ended in death.
c. Modern Tragedy
Modernity has dominantly influenced drama, as with modernism “the
relationship between part and whole, between text and context became a great deal
more complex” (de Man, 1953-1978: 140). That has occur because of the reality
and human life that were getting complex and complex thus “Playwright distorted
and splintered reality, trying to discern something deeper and truer” (Krasner, 2002:
x). In other words, playwright of modern period tend to seek deeper problem or
issues happened in real life; they believe that what happened in reality must has
causality and true aim. This makes the playwright concern about cultural, political,
social, economic, and psychological issues as “Modern dramatist did not live in
vacuum, but were influenced by their artistic surrounding.” (Krasner, 2002: xi).
Thus, as they were influenced by the development of the condition around them,
the drama and tragedy they wrote has also influenced by their new ideal.
22
23
The transformation of tragedy in modern era can be seen through the change
of its basic formal element as it is elaborated by Rebecca Bushnell (2008) in
Tragedy: A Short Introduction. First, the plot of modern tragedy may be different
with the structure of classical tragedy, and may be typical with the classical one,
but also employing certain modification. The plot may contains hamartia and
anagnorisis, or only contains one of them (Bushnell, 2008: 54). Second, the tragic
hero that in the Greek tragedy is influenced by the divine external power of god, is
mostly influenced by internal factor such as the hero’s psychological condition, and
external factor such as the social, economic, or political condition around him.
(Eagleton, 2003: 77-78). Third, the tragic form and language is less significant in
distinguishing modern tragedy because modernity brings realism that makes
playwright tend to create a tragic work that close to reality instead of create a work
that is full of aesthetic elements – the chorus is excluded as it does not meets the
individual life condition (Bushnell, 2008: 37); three unities is also not maintained
by most of the modern playwright because strict law of time and place in an action
neglects the imagination of the modern audience, moreover, the idea of three unities
is considered less realist because it makes the tragedy less universal (Bushnell,
2008: 39-43); tragic verse and language of modern tragedy is also not as structured
as the Greek tragedy’s because verse that usually employed in classic tragedy is
more poetic and less realist, therefore, the language of modern drama tends to
employ common narrative everyday language as the means to deliver the tragic
effect (Bushnell, 2008: 47-50); in order to create realistic event, the tragic hero in
modern tragedy is mostly an ordinary people, moreover, the force influencing his
23
24
tragic action is from external force of condition around him rather than not from
external force of god, and also from internal force of his own personality or
psychological condition (Eagleton, 2003: 77-78).
There are, of course, some reason for this change. According to Andrew
Bennet and Nicholas Royle (2004: 109-110), changes undergone by tragedy in
modern era are influenced by (1) “the notion of the death of God” and (2) “the
reality that ordinary people can be bounded up, determined, and constrained by
broader social, economic and political realities.”
The notion of ‘the death of God has influenced the secular perspective of
human being who always seek refuge from God. Thus, when the God does not exist,
human will tend to dramatize their surrounding condition. This has really influence
their psychological condition and will lead them to error judgment or error ideal.
Moreover, as the tragic hero of modern tragedy mostly comes from ordinary man,
they will tend to be more hopeless. Thus, this will dramatize their suffering. Both
of these realities, of course, has been portrayed by some playwright in modern era.
However, even though modern tragedy has gone through many
transformation from its antecedents, it still possess the basic elements of tragedy.
That is the reversal of fortune of the tragic hero that is caused by his own flaws.
One of the first modern tragedies in European drama written by Henrik
Ibsen. Specifically, since the emergence of Ibsen’s work, the significant shift
between ancient tragedy into modern tragedy has been very obvious. One of the
very first modern tragedy work written by him is A Doll House (1879). In this
drama, the tragic hero falls from her fortune because of her own choices to marry
24
25
his husband that leads her into patriarchal life. Thus, this drama is not about the
suffering and desperating marriage of the protagonist, Nora. It is actually about the
portrayal of patriarchal belief in society towards marriage. By this, patriarchal
movement becomes the tragic force of the tragic hero. While the classical tragedy
belief that tragedy is inevitable because it is beyond human control, the modern idea
of tragedy is actually happened because of social order made by individual or,
happened because of the individual itself (Krasner, 2002: 110).
2. Concept of Tragedy
Tragedy actually begun in Greece, long before it emerges in Greek.
However, the first document of tragedy is from Athens, as it is stated in World
Drama written by Allardyce Nicoll. He says that even though Egypt may have
presented an example of tragedy in the second or third millennium BC, the very
first texts are from Athens (1949: 25-6). Tragedy arose as a form of religious ritual
honoring the Greek god Dionysus. Dionysus is known as the god of growth, god of
wine and party. The performance of tragedy developed from the ancient dithyramb,
or choral lyric sung by group of male chorus. Ian C. Storey and Arlene Allan (2005:
28) states
“Dionysos seems to appear more often in comedy and satyr-play than in

tragedy, and while gods do appear on stage in Greek drama, the principal
interest of the dramatists (especially Sophokles and Euripides) is with
humanity, the greatness of human heroes, their sufferings and their place in
the universe. Simply put, Greek tragedy, indeed much of Greek myth, does
not have much to do directly with gods.”
Even though tragedy is performed to honor Dionysus, Dionysus tend to appear
more often in comedy, rather than tragedy. Moreover, the subject of the
25
26
performance mostly concerns about the struggle in god-man and man-man
relationship within Greek myth even though the god will appear in the end of the
drama.
Rebecca Busnell (2008: 33) provokes that tragedy is distinguished based on
its formality. The formal element of tragedy can structure the suspense of the story
and influence the audience’s reaction (Busnell, 2008: 35). Based on the definition
of tragedy provoked by Aristotle (1902: 4-9), it is suggested six formal elements of
tragedy, namely plot, character, thought, diction, music, and spectacle. From these
six elements, the most notable is plot and characters because plot and character can
sustain the structure of the tragedy. Based on this, Bushnell (2008) categorize those
six elements into three terms, namely tragic form and language; tragic plots; and
tragic heroes.
Tragic form and language covers the idea of chorus (music), verse and
convention of language (thought and diction), and unities of time, place, and action
(spectacle). All of them have different criteria that may transform along the
development of the era.
Chorus is a group of male performer who give comment and respond after
the play. According to Friedrich Schiller in Bloom’s Period Studies: Greek Drama,
chorus in Greek Tragedy consist of fifteen men who comment and give conclusion
about the tragedy. It formerly acts as the main performer of the drama, but as the
structure of the tragic drama develops, chorus also acts as actors. However, as the
role of the chorus transformed during the development of tragedy, its presence
26
27
gradually diminishes in the preceding period. In drama script, chorus’s line is
mostly in a form of verse in the dialogue (2004: 20-24).
Verse and convention of language becomes the emotional power of tragedy,
as in the first emergence of tragedy – during Greek period, tragedy originates in a
form of song sung by the chorus (Bushnell, 2008: 43). The song lyrics employ high
metrical structure of verse and language in the dialogue, but as it develops through
times, the structure of its dialogue may appear less structured and tend to rely on
the playwright’s intention (Bushnell, 2008: 39). The language employed is
somehow tend to give dramatic effect by using clear but beyond standard of daily
language (Bushnell, 2008: 48). Aristotle in Poetics mentions the example of this
kind of language, namely employment of metaphor, ornamental word, and other
varieties (Bushnell, 2008: 48). Bushnell further elaborates that tragic language tend
to have dark and double meaning (Bushnell, 2008:49). However, as the realism
sparks in the modern era, the tragic language tend to be more realist and near to
common language (Bushnell, 2008: 47).
Unities of time, place and action are often called as three unities. Tragedy,
in its first emergence, was very strict to this aspect. This unities construct the idea
that the tragic action must be performed not more than 24 hours and it must take
place in a single location and circumstances – one castle, one city or one room
(Bushnell, 2008: 42). However, she also remarks that “the value of this compression
of time and space might first seem to have been lost in modern tragic theater” (2008:
42). This happens because modern playwright tend to be influenced with realism
that he want to make his work really close to reality, but still maintain the tragic
27
28
plot even though the action may not take place in one single time and place
(Bushnell, 2008: 43).
Tragic plot covers the idea of tragedy happened during the drama, starting
from the beginning until the ending. Aristotle’s Poetics believes that plot is the
essence that constitutes tragedy, and the structure of the plot is then very influential
to tragic effect of the story (Bushnell, 2008: 52-53). By this, the structure of plot
must have a unity of action that features reversal of fortune and recognition thus it
can arouse emotion of pity and fear of the audience. Bushnell (2008: 54) proposes
that Aristotle believes that reversal of fortune or peripeteia and recognition of truth
or anagnorisis are two aspect deciding the greatness of tragedy that are portrayed
in the plot. Thus, the structure of the tragic plot will mostly present those two
elements.
Gustav Freytag in his book Technique of the Drama (1863) has given the
idea of plot structure of play. Gustav Freytag, described the classical five-act
structure of plays in the shape of a pyramid thus it is mostly called as Freytag’s
Pyramid, and each structure has attributed function regarding to its tragic plot.
According to Stefanie Lethbridge And Jarmila Mildorf (2004: 100), Freytag’s
Pyramid can be illustrated like this:
28
29
Figure 1. Freytag's Pyramid

Act I contains the background information, thus, this act serves as
exposition that let the audience know where and when the drama is taking place;
who are the main characters; and the initial circumstances before the story unfolds.
The second act usually propels the story by introducing further condition or
problems related to the main issue. Thus, this serves as the complicating action.
The main conflict starts to develop and audience knows the quality and
characterization of the characters because they are presented in greater detail. The
main conflict is usually propelled after the recognition of truth or anagnorisis
happens. The anagnorisis, then, is misled by the flaws of the tragic characters.
In act III, the plot reaches its climax because the flaws of the tragic character
is unavoidable and bring the tragic character into a reversal of fortune of condition.
This climax serves as a crisis that lead the catastrophe or conclusion of the
characters.
The fourth act serves as falling action that creates new tension. This new
tension can postpone the catastrophe and create future possible event.
29
30
The fifth act or the final act offers a solution to the conflict presented in the
play. Tragic drama mostly ends in a catastrophe, usually the death of the
protagonist or simply the despair of the protagonist. The protagonist surely ends in
a terrible condition; he comes into ruin. Thus, this final act usually generates the
feeling of pity and fear of the audience; this can release the audience’s purgation of
emotion towards the protagonist or often called as catharsis. This ending is suitably
termed as the French dénouement, which literally means the ‘unknotting’ of the
plot.
According to Aristotle (1902), characters is the agent that carries forward
the plot. He calls it ethos, it is a set of moral qualities because readers assess
characters on the basis of what they say and do, and what other characters say about
them. Thus, character is the second integral aspect in drama after the plot (Belfiore,
1992: 84). The main character is called protagonist or hero, and the character
undergone tragedy is called tragic hero. He is a good man but not perfectly good.
During the course of the tragedy he passes from prosperity to adversity. This
adversity happens because of certain traits possessed by the tragic hero. As the traits
of tragic hero is very complex and broad and this research aimed to uncover that,
and the discussion about tragic hero is further elaborated later.
However, as tragedy matured, the distinguishing elements of tragedy have
transformed and developed through era – significantly during the Elizabethan until
this modern era. Tragedy has been adapted based on its scoop of time and space in
which it exists. This will influence the change of its elements – plot, form and its
tragic hero. Even though the elements shifted, the basic idea of the elements is still
30
31
maintained, as it is said by Bushnell (2008:33) “… and this element that define
them was preserved, even as they were transformed, in the succeeding centuries.”
3. Concept of Tragic Hero
The idea of tragic hero was first defined by the ancient Greek philosopher,
Aristotle based on his study of Greek drama. According to him, in his Poetics a
tragic hero is a literary character who makes an error judgment that inevitably leads
to his own destruction. He further elaborate the four characteristics of tragic hero –
hamartia, peripeteia, anagnorisis, and hubris.
First, hamartia is a flaw that becomes the basic cause of the hero’s fall. This
can be seen through the tragic hero’s action in during the development of the plot.
Hamartia will influence the hubris that leads the tragic hero into anagnorisis and
the peripeteia. Second, peripeteia is a fall or reversal of fortune of the tragic hero.
This is caused by the tragic hero’s misleading action in committing or judging
something. Third, anagnorisis is the discovery or recognition of truth. This can be
portrayed when tragic hero makes a critical discovery. The discovery may be about
the hidden trutht around him, and may also be about his realization that it is himself
that causes his reversal of fortune. Fourth, hubris is the excessive pride of the tragic
hero that make him deceived by his own judgment.
(https://literarydevices.net/tragic-hero/)
In the Greek sense, hubris is a criteria saying that the hero must come from
the noble characters because nobility can bring up their pride. However as the
drama develops and tragedy is adapted in every era, many modern tragedy does not
possess noble characters as its tragic hero. The protagonist of the modern tragedy
31
32
usually has a common, middle-class background instead of higher-class
background. Moreover, other traits of tragic hero also transforms in the preceding
era.
Even though there is a transformation of the tragic hero in the modern era,
the basic principles of tragic hero coined by Greek tragic hero is still maintained.
Those are (1) the tragic hero must have flaws and certain ideal or hamartia, (2) the
tragic hero must come to ruin because of his own tragic flaws and ideal or
peripeteia and anagnorisis.
The father of modern drama, Henrik Ibsen, has an interest in creating a
tragic hero that is less endangered by the clash between external force and the
protagonist, and more endangered by the protagonist’s unstable soul (Bushnell,
2008:104). However, he has already written many tragedies that also present the
combination between the internal force and external force of the tragic hero.
D. Previous Research Findings
As Henrik Ibsen is very well-known among literary scholars. There are
already some previous research analyzing An Enemy of the People by Henrik Ibsen.
The first is a research entitled The Individualism in Henrik Ibsen’s An Enemy of the
People written by Fatemeh Ghafourinia and Dr. Leila Baradaran Jamili. This
research analyzed the struggle of the visionary free individual towards the tyranny
of the majority by using contextual analytical study. The findings of this research
showed that the protagonist was alone in fighting against the tyranny of the
majority, and his struggle in emerging democratic town was failed. The differences
of this research with the present research is on its main focus and main theory of
32
33
the analysis. The The Individualism in Henrik Ibsen’s An Enemy of the People used
the theory of individualism, while the present research used the theory of drama and
tragedy, yet both of these research also used structuralism approach in analyzing
and finding the data of the research.
The second research is Tyranny of The Majority Reflected in Henrik Ibsen’s
An Enemy of The People Drama (1882): A Sociological Approach written by
Mohamad Tegar Hananto, Dewi Chandraningrum, and Titis Setyabudi. This
research analyzed the social aspects in An Enemy of the People drama. The major
problem in this article is to explain how the social problem reflected in An Enemy
of the People, thus, the theory employed of this research is different with the present
research. While the present research used structuralism approach to uncover the
tragedy and tragic hero employed in An Enemy of the People, this research used
sociological approach to uncover that Henrik Ibsen showed the social condition of
Norway in which although Norway in nineteenth century was including progressive
country, Henrik Ibsen also criticized the government for controlling the society and
ruling as the majority to the minority.
By this, it is safe to say that this research is strongly different from both of
the previous research findings as this research has not been done yet. In this
research, the researcher only focuses on the analysis of tragedy and tragic hero in
An Enemy of the People. Hence, the researcher focuses on the intrinsic element of
the drama, which are plot, characters – especially the tragic character, and elements
that signify the genre of tragedy employed in the drama. Thus, the researcher uses
theory of the development of tragedy under the drama theory, and structuralism
33
34
approach to carry on the research that is focused on the genre and tragic hero of An
Enemy of The People by Henrik Ibsen. Therefore, this research is appropriate to be
conducted.
34
35
E. Framework of Thinking
Tragedy and Tragic Hero in Ibsen’s Enemy of the People
Structuralism Literature
Theory
Genre
Tragedy What are
the
Greek Elizabethan Modern
elements
of modern
tragedy
Elements of Modern Tragedy employed
in Ibsen’s
Tragic Plot Enemy of
the
Tragic Form and Language People?
An Enemy of the
People
by
Tragic Hero
What are
the traits Henrik Ibsen
- Background
of tragic
- Source of tragic act
- Act: hero
1. Hamartia presented
2. Hubris in Ibsen’s
3. Anagnorisis Enemy of
4. Peripeteia the
People?
Figure 2. Framework of Thinking
35
CHAPTER III
RESEARCH METHOD
A. Research Design
The researcher used qualitative research study to conduct this research. In
the handbook of qualitative research, Denzin and Lincon (2005) describe qualitative
research as involving “… an interpretive naturalistic approach to the worlds. This
means that qualitative researchers study things in their natural settings, attempting
to make sense or interpret phenomena in terms of the meanings people bring to
them.” In other words, the emphasis of research using qualitative method is put on
the natural setting and the points of views of the participants therefore this method
concerns in the interpretation or analysis of meaning given by people towards
certain phenomena.
In this qualitative method research, the researcher played as the central
participant in conducting the research and in analyzing the content of the text
according to existing theory. The researcher used the chosen theory to analyze the
data generated from Henrik Ibsen’s play – An Enemy of the People. Therefore, this
research was a deductive content analysis. In conducting this deductive content
analysis research, there were few steps needed to be done by the researcher. The
first step that the researcher did was doing close reading. After that, the researcher
tried to scrutinize and identify the text according to the chosen theory hence the
appropriate data was collected. Next, the collected data was coded into some
category in order to help the researcher in analyzing the data. Then, the coded data
36
37
was validated and the researcher started to analyze them. Finally, the descriptive-
qualitative method would help the researcher to explain the complexity of the
meaning and the finding of the data.
B. Data and Source of the Data
The data of this research were primarily taken from Henrik Ibsen’s Enemy
of the People published by Dover Publications in 1999 which is the translated
edition and unabridged republication from the original work. The drama is divided
into five acts that functions as a structure. To analyze this research, the researchers
read and scrutinized the drama thoroughly and comprehensively before taking the
data. The data taken from the text were in the form of expressions from the
dialogues of all the characters within the drama that support the findings of the
research. Furthermore, the data taken helped the researcher to answer the research
questions (1) What are the elements of modern tragedy employed in Ibsen’s Enemy
of the People? and (2) What are the traits of tragic hero presented in Ibsen’s Enemy
of the People?
C. Research Instrument
This research employed two kinds of research instrument. The first research
instrument was the primary research instrument in which the researcher became the
primary research instrument. Consequently, the researcher read the drama,
identified, collected, categorized, validated and analyzed the data taken from
Henrik Ibsen’s Enemy of the People by herself during this research. Meanwhile, the
second research instrument was the secondary instrument in the form of supporting
tools used by researcher in conducting this research. The supporting tools were used
37
38
during the process of reading the drama, identifying, collecting, categorizing,
validating, and analyzing the data. Hence, the tools used during this research were
in the form of internet connection, books, note book, laptop, and data sheets. All of
these instruments helped the researcher to finish this research.
During the process of data collection, the researcher used two table lists to
facilitate the work. They were designed in order to put the quotations of the data
based on dialogue or expressions, explanations, act, and page. The table was
categorized into two category, Table 1 grouped the elements of tragedy presented
in the drama. Those are; tragic plot (coded into TP) consisting exposition,
complicating action, climax, falling action, and catastrophe; and tragic form and
language (coded into TFL). Table 2 grouped the tragic hero traits presented in the
work that was categorized into three divisions – Background of the protagonist
(noble man or common man), source of the tragic force (internal or external), and
tragic act committed by the tragic hero (hamartia, hubris, peripeteia, anagnorisis).
The table list helped the researcher to record all the data found in the text. The forms
of the table sheet are displayed below.
Table 1: Tragedy in Ibsen’s Enemy of the People
Act/
No. Code Category Expression Meaning
Page
1 TP Falling Mrs. Stockmann. Don’t VI/ 49 Dr. Stockmann

Action give in, Thomas. I will may lost his
tell the boys to go supporter from the
with you. “People’s
Dr. Stockmann. That is Messenger”, but
a splendid idea! his wife who at
first does not
38
39
Mrs. Stockmann. support him,

Morten will be finally supports
delighted; and Ejlif him completely to
will do whatever he continue what he
does. has struggled for.
Dr. Stockmann. Yes,
and Petra!—and you
too, Katherine!
Table 2: Tragic Hero in Ibsen’s Enemy of the People
Category
No Back Expression Act Meaning
Source Act
ground
1 V Dr. Stockmann. Never, IV/59 Majority
Mr. Aslaksen! It is the of the town
majority in our becomes
community that denies the
me my freedom and external
seeks to prevent my force that
speaking the truth. leads Dr.
Hovstad. The majority Stockmann
always has right on its in
side. commiting
tragic act.
D. Data Collection Technique
To be able to get the detailed information and data that are relevant to the
research questions, the researcher did the close reading technique by reading the
drama more than one time. After that, the researcher made notes related to the
research. There were several steps in collecting the data:
1. Careful and comprehensive reading. The researcher read Henrik Ibsen’ Enemy
of the People carefully and comprehensively to dig out the information which
can be discovered from the text.
39
40
2. Note-taking. After having the careful and comprehensive reading, the
researcher started to make notes related to the information and the issue from
the text being discussed.
3. Data interpreting. This step required the researcher to interpret the data
collected by their own interpretation using theory of drama and tragedy as the
compass of the interpretation.
4. Describing the data and categorizing. The researcher described the data
collected in order to get a clearer understanding of the matter. After describing
the data, categorizing the data was also important to be done to help the
researcher answer the research objectives.
E. Data Analysis Technique
The steps were be used to collect and analyze the data are as follows:
1. reading and re-reading Ibsen’s Enemy of the People carefully and
comprehensively,
2. signing and noting the expressions related to elements of tragedy and tragic
hero,
3. identifying, reducing, and selecting the relevant data based on the research
questions,
4. classifying the relevant data based on categories,
5. analyzing and interpreting data, and,
6. applying the measure of trustworthiness of the relevant data.
The researcher tried to depict elements of tragedy employed in Ibsen’s Enemy
of the People and to investigate the traits of tragic hero presented in it. By doing
40
41
those steps in analyzing the data, the researcher finally made an interpretation of
the findings based on the researcher’s comprehension about the theory.
F. Data Trustworthiness
In order to achieve the validity of the study, the researcher applied peer
debriefing process. Peer debriefing could facilitate the researcher to check the data
trustworthiness by using external observer to verify the data. Peer debriefer
confirmed the data and the findings of this research by reviewing and asking
question to the researcher (Cresswell, 2009: 192). This could be beneficial to
prevent plagiarism and mistake in order to gain the data credibility.
Therefore, to apply the peer debriefing process, the researcher consulted the
theory, data, content and findings to her thesis supervisor and two other students
under the same study program and concentration as the peer debriefers. Those two
peer debriefers were Baihaqi Adi Utama and Tria Dewi Kartika. Hence, the
researcher not only discussed and verified this research with her thesis supervisor,
but the researcher also discussed and reviewed this research with those peer
debriefers. Those peer debriefers helped the researcher by giving some reviews and
feedbacks after the researcher discussed it first with her thesis supervisor. By this,
the researcher hoped that the peer debriefing process could be a checking-and-
rechecking process that could diminish the research deficiencies.
41
CHAPTER IV
RESEARCH FINDINGS
A. Elements of Tragedy in Ibsen’s Enemy of the People
Henrik Ibsen is the father of modern drama that is popular with his early
modern tragic works. Since the first emergence of his first tragic drama, he keeps
producing one. An Enemy of the People is one of his promising tragic drama whose
tragic elements within it has not yet been discussed formally. Thus, the researcher
tried to uncover the tragic elements employed in this drama to determine its tragedy.
Good tragedy must have a complete tragic elements that constitutes its tragic
effect. In this modern era, the formal elements of tragedy has getting simpler and
simpler because the irrelevance of the classic convention towards modernity. Thus,
the tragic effect that is mostly felt by the audience through the act committed by the
characters and comment of the chorus through the development of the story or the
plot has gone through some transformations. However, some scholars try to make
a categorization of the basic principle of tragic elements that remain the same –
which is tragic hero that goes through tragic plot presented in tragic form and
language. By this, the researcher classified the elements of tragedy into tragic plot
and tragic form and language. To make the analysis more comprehensible, the
researcher categorized both of the category into sub-category. The tragic plot is
categorized into five sub-categories, namely exposition, complicating action,
climax, falling action, and resolution; the tragic form and language is categorized
into three sub-categories, namely chorus, convention of language, and the unities
42
43
of time, place and action. According to this classification, the researcher found that
there were some basic tragic elements as well as their transformation that were
employed in the work.
1. Tragic Plot
Plot is one of the important elements in a play. The reason why it is
important is plot has related events that cannot be separated. The events are related
because there is causality that becomes the basis of the plot formation. It means that
one event can affect or be affected by other events. Plot structure becomes a strong
foundation for a play. In tragic plot, the pattern of tragedy is employed in every
stages of plot development; besides the plot ends in catastrophe of the tragic hero,
the protagonist’s tragic traits are also uncovered during the development of the plot.
The tragic traits of the protagonist or the tragic hero becomes the motives that leads
the tragic plots ended in catastrophe.
However, as the traits of tragic hero shall be deeply categorized to constitute
its relation, the discussion about tragic hero’s traits was elaborated separated with
the tragic plot. Hence, the researcher only included two traits of tragic hero that
signify the tragic plot, namely anagnorisis or critical discovery made by the tragic
hero and peripetia or reversal of fortune happened to tragic hero that later on leads
him into catastrophe in the end of the plot. According to classical Freytag’s Pyramid
of five-act play, the anagnorisis appears in the second act, and the next act, act III,
marks the climax that becomes the peripeteia of the protagonist. Then, the falling
action lies in the fourth act that introduces the catashtrophe within the denoudement
43
44
in the last act. As An Enemy of the People is a five-act play, the researcher thus used
freytag’s pyramid to define the tragic plot development.
a. Exposition
Exposition is the representative of act I in a play. Exposition is an act that
gives a chance to the reader to know more about the story. It means that exposition
has a purpose to introduce them about some important things that will emerge in
the play. Exposition in tragic plot becomes the initial condition that, later on, will
lead the upcoming tragic choice or wrong choice made by the tragic hero.
According to some important things that are introduced in exposition, there
are introduction about two influential problems, which are the introduction of the
Baths as the unifier of the town and the article of Dr. Stockmann about the Bath.
The Bath becomes the pride of the town because its development is profitable. Peter
Stockmann as the chief of the town believes that the Bath is a unifier that constitute
the town’s fortune. The poverty rate diminishing because the citizen got the living
from the Bath. The opening of the Bath creates job vacancy and business, thus, if
the Bath is popular and many visitors come to enjoy the service, there will be a lot
of profits that benefit the town, the authority, the tradesman and the citizen. By this
the authority considers the Bath as the main concerns of the town’s development.
As it is become the main concerns of the town’s development, Dr. Thomas
Stockmann thinks that the excellence of the Bath’s sanitary condition should be
observed as its condition will affect the visitor’s. He has wrote an assumption article
about the Bath’s sanitary condition since winter without the acknowledgement of
44
45
the Mayor of the town, yet it has not been released due to the further needs of proof.
Here is the datum that shows this initial condition:
Peter Stockmann : Taking one thing with another, there is an excellent

spirit of toleration in the town—an admirable
municipal spirit. And it all springs from the fact of
our having a great common interest to unite us—an
interest that is in an equally high degree the concern
of every right-minded citizen.
Hovstad : The Baths, yes.
Peter Stockmann : Exactly—our fine, new, handsome Baths. Mark my
words, Mr. Hovstad—the Baths will become the focus
of our municipal life! Not a doubt of it!
Mrs. Stockmann : That is just what Thomas says.
Peter Stockmann :Think how extraordinarily the place has developed
within the last year or two! …
Hovstad : And there is a good prospect of that, I hear.
Peter Stockmann :It looks very promising. Inquiries about apartments
and that sort of thing are reaching us, every day.
Hovstad : Well, the doctor’s article will come in very suitably.
Peter Stockmann : Has he been writing something just lately?
Hovstad :This is something he wrote in the winter; a
recommendation of the Baths...
(Act I, page 3).
Another initial condition introduced in the exposition is that the article about
the Bath written by Dr. Stockmann without the acknowledgement of the Mayor is
actually his long examined discovery. As it is represented in his statemen, “A
discovery of mine” (Act I, page 3). Then, after Dr. Stockmann has received a letter
from the laboratory check of the sanitary condition of the Bath, it becomes a proof
that assure him about his assumption that the Bath has been polluted. This letter
also functions as the discovery or of the Bath’s sanitary condition. This discovery
marks that the anagnorisis is found in the Exposition of the plot. As it is showed in
the datum:
45
46
Dr. Stockmann : I have investigated the matter most conscientiously.

For a long time past I have suspected something of the
kind …
Mrs. Stockmann : Then that is what you have been so busy with?
Dr. Stockmann : Indeed I have been busy, Katherine. But here I had
none of the necessary scientific apparatus; so I sent
samples, both of the drinking-water and of the
seawater, up to the University, to have an accurate
analysis made by a chemist.
Hovstad : And have you got that?
Dr. Stockmann : Here it is! It proves the presence of decomposing
organic matter in the water—it is full of infusoria.
The water is absolutely dangerous to use, either
internally or externally.
Mrs. Stockmann : What a mercy you discovered it in time.
(Act I, page 13)
This also elaborates the condition that Dr. Stockmann has been suspicious
about the sanitary condition of the Bath since there are some cases of illness
threatening the visitors. At first, he believes that the cause lies in the visitor itself,
however, then he realizes that the cause probably lies in the water condition. Thus,
he sets examination to the water and sends the sample of the water to the chemist
in the University in order to obtain a scientific and accurate analysis of the water
condition. As the letter of the examination is received, he finds that there is a
“decomposing organic matter in the water” (Act I, page 13) that causes infection.
By this, he further discovers that the cause of the illness is the water, thus, the water
is dangerous both for internal and external use.
Overall, the exposition stages in An Enemy of the People has depicted the
initial condition that may leads the tragic event in the preceding act. Moreover, it is
found that there is an anagnorisis in the first act. Thus, this employement of
anagnorisis in the first act marks the variance of tragic plot in modern tragedy that
46
47
differ with the classical tragedy. This anagnorisis, further, can trigger other events
in the next act. The next act after exposition is complicating action. Thus, it will
raise a question “what will happen in the complicating action act in response to this
exposition act?”
b. Complicating Action
Complicating action or rising action is the second act in the plot formation
usually called as five-act structure. In this act, the conflicts that has triggered in
exposition become more complex. In tragic plot, complicating action is resulted as
a response towards the initial condition that has emerged in the exposition. This
may be a point in which the tragic hero commits his false judgment, about the initial
condition, that will lead him into reversal of fortune.
According to the findings of the complicating action, the point that marks
the complicating action is when Dr. Stockmann finally send his report about the
sanitary condition of the Bath to the Mayor of the Town who is his own brother.
This is shown in this datum:
Dr. Stockmann : … I have prepared a report for the Baths

Committee; I have had it ready for a week, and was
only waiting for this to come. (Shows the letter.) Now
it shall go off at once. (Goes into his room and comes
back with some papers.) Look at that! Four closely
written sheets!— and the letter shall go with them.
Give me a bit of paper, Katherine—something to
wrap them up in. That will do! Now give it to-to-
(stamps his foot)— what the deuce is her name?—
give it to the maid, and tell her to take it at once to the
Mayor.
(Act , page 14)
47
48
As a doctor, Dr. Stockmann must have further consideration before the building of
the Bath. He first opposes the plan about the Bath, however the authority does not
listen to him. Now, as he has got the proof about his discovery, he will send the
report about the dangerous condition of the Bath’s sanitary to the Mayor.
Other findings found in complicating action also shows the support given
by some people to Dr. Stockmann to reveal his discovery about the Bath to the
authority. They regards this as the threat for the authority. This is shown in these
data:
Morten Kiil : You pull their legs! (Gets up.) If you can work it so
that the Mayor and his friends all swallow the same
bait, I will give ten pounds to a charity—like a shot!
(Act I, page 18)
and,
Aslaksen : Quite so, I understand. Well, I have come to say that I

will back that up by every means in my power.
Hovstad : (to the DOCTOR) You see!
Dr. Stockmann : I shall be very grateful to you, but—
Aslaksen : Because it may be no bad thing to have us small
tradesmen at your back. We form, as it were, a
compact majority in the town—if we choose. And it is
always a good thing to have the majority with you,
Doctor.
(Henrik Ibsen, 1999: 21, Act I)
When Morten Kiil, Dr.Stockmann’s father in law knows his discovery, he supports
Dr. Stockmann financially and assure him to attack the authority with his proof as
Kiil has been underestimated too when he was young. Thus, he thinks that it is the
right time to enlighten the authority’s mistake. Moreover, Hovstad, the editor of the
“People’s Messenger” – a newspaper, also supports Dr. Stockmann to spread his
discovery and publish his article in the newspaper. Hovstad also adds and ensures
48
49
him that the problem not only lies in the Bath’s itself, but also lies in the ideological
system of the authority thus they shall protest about it. Then, Aslaken, the printer
of “People’s Messenger” and Chairman of the Householders’Association who has
many tradesmen’s friend who will also support Dr. Stockmann, also gives support
to him. Aslaken also ensures him that his support is very prominent as the tradesmen
is the majority of the town. Thus, if they unite their power behind the doctor, they
will be more powerful than the authority.
However, the complicating action gets more complicated after the Mayor
tries to prevent Dr. Stockmann to spread his discovery regarding the Bath’s sanitary
condition because it is against the account of the authority. Here is the datum that
signifies this:
Peter Stockmann : In your official capacity, no. As a private person, it is

quite another matter. But as a subordinate member
of the staff of the Baths, you have no right to express
any opinion which runs contrary to that of your
superiors.
Dr. Stockmann : This is too much! I, a doctor, a man of science, have no
right to—!
Peter Stockmann : The matter in hand is not simply a scientific one. It
is a complicated matter, and has its economic as well
as its technical side.
Dr. Stockmann : I don’t care what it is! I intend to be free to express
my opinion on any subject under the sun.
(Henrik Ibsen, 1999: 29, Act II)
The discovery of the doctor that uncovers the negative condition of the Bath can
damage the economic and ethical condition of the town. Thus, the Mayor takes
further action to prevent the doctor’s plan. As Dr. Stockmann is the Medical Officer
of the Bath who works under the authority, the Mayor declares that he has no right
to spread any news that disregards with the authority’s belief. Dr. Stockmann shall
49
50
obey the authority and shall work under their command. However, Dr. Stockmann
protests against it and remain willing to express his discovery to the public.
By this, the Mayor labels Dr. Stockmann as the enemy of the people because
he does not want to listen the authority that what he is about to do is considered
dangerous for the town. This is shown in this datum “… The man who can throw
out such offensive insinuations about his native town must be an enemy to our
community” (Act I, 40). However, Dr. Stockmann’s supporter from the press will
support him in spreading the great discovery about the bath as they say something
like in this datum “…Dr. Stockmann is a friend of the people” (Act II, page 30).
Thus, the complicating action of the tragic plot in this drama confirms the
response or further action committed by the protagonist to face the initial condition
that the Bath is polluted and the protagonist plans to solve this by demanding the
authority’s action. The protagonist gets many support from the liberal-minded press
and funding from his father in law to realize his plan. This point also marks the
defense of Dr. Stockmann’s anagnorisis discovered in the previous act. Thus, differ
with the common tragic classic plot that the anagnorisis happens in the complicating
action, this modern tragedy shows that there is a change in the presence of the
anagnorisis as the complicating action is introduced by his anagnorisis, not
introduce his anagnorisis. Then, this phase will raise a question “what will happen
in the climax act in response to this complicating action act?”
c. Climax
Climax is the third act in the formation of plot. All events that happened in
this act are also the impacts of the events that happened in exposition. Even though
50
51
rising action and climax are also the impacts of exposition, they have differences.
The main difference is that climax is the peak of event in a play, while rising action
is the process to reach that peak. In tragic plot, climax usually becomes the turning
point in which the tragic hero faces his reversal of fortune. Thus, this point marks
his changing condition from the exposition and complicating action into the falling
action.
According to the findings of this research, the climax starts when Peter
Stockmann – the Mayor of the Town, visits the office of the People’s Messenger.
He conveys that Dr. Stockmann has sent him report about the Bath and he has count
its effect. Turns out, what the doctor has done does not meet with what the press
desires because it results on the expense that should be paid by the tradesman and
all of the townspeople if the Bath is rebuilt. This is shown in the datum that Peter
Stockmann says “The Medical Officer of the Baths is responsible for what
happened today” (Act III, page 41). Thus, this makes the people behind the press
surprised as the doctor does not consult them before.
After knowing the consequences and the expense they shall pay if they do
what they have planned before, the people behind “People’s Messenger” turns
against Dr. Stockmann’s side and becomes the supporter of the authority. Hence,
this makes the doctor loses the power behind him. This condition is shown in this
datum:
Dr. Stockmann : ... Do you think I cannot? Listen to me. I have

triumphant social forces behind me. Hovstad and Billing
will thunder in the “People’s Messenger,” and Aslaksen
51
52
will take the field at the head of the whole Householders’

Association—
Aslaksen : That I won’t, Doctor.
Dr. Stockmann : Of course you will—
Peter Stockmann : Ah!—may I ask then if Mr. Hovstad intends to join
this agitation?
Hovstad : No, Mr. Mayor.
Aslaksen : No, Mr. Hovstad is not such a fool as to go and ruin
his paper and himself for the sake of an imaginary
grievance.
Dr. Stockmann : (looking round him) What does this mean?
Hovstad : You have represented your case in a false light,
Doctor, and therefore I am unable to give you my
support.
Billing : And after what the Mayor was so kind as to tell me just
now, I—
Dr. Stockmann : A false light! Leave that part of it to me. Only print my
article; I am quite capable of defending it.
Hovstad : I am not going to print it. I cannot and will not and
dare not print it.
(Act III, page 47-48)
When Dr.Stockmann comes to “People’s Messenger” office, he finds out that his
brother is also there. He proudly declares to the Mayor that he has the people behind
the liberal-minded newspaper to support him in making a revolution in the town
against the authority thus they will attract the whole Householder’ Association.
Unfortunately, they suddenly states that they will not support him because they
consider that the doctor’s action is inappropriate. However, the doctor insists
Hovstad on printing the article, and then he will spread and defend his opinion by
himself. Unfortunately, Hovstad does not dare and does not want to do that. Now,
most of the people who support him, especially the compact majority that he will
think will be a power for him, turn against him. This leaves him alone in defending
his discovery of the Bath to attack the authority. This turning point marks the
52
53
peripeteia in the Climax of the plot. Dr. Stockman who at first thinks that he is
powerful enough because he has majority of the town behind him, now is all alone
and he becomes powerless as the support that he get turns against him.
In short, this climax depicts Dr. Stockmann’s reversal of fortune. He, who
at first gets many support behind him that will help him to spread his discovery,
now has lost his support as he lost his life fortune. Modern tragic plot element in
this point is still in line with the classical tragic climax depicting the reversal of
fortune of the protagonist. Thus, this then will lead a question “what act that the
protagonist will do in the falling action that can soothe the climax?”
d. Falling Action
Falling action becomes the starting point of the tragic conclusion. After
some issues which is formed since the exposition until the climax, in falling action,
those issues begin to be solved. According to the findings of this research, Dr.
Stockmann’s intention in delivering his discovery to the public mass directly
becomes the instrument in soothing the climax. Because as he insist on delivering
his discovery after loses all of this allies, his wife supports him to keep moving.
This is shown when Katherine say “Don’t give in, Thomas. I will tell the boys to
go with you” (Act III, page 49).
During the falling action, Dr. Stockmann who at first aims to deliver his
discovery about the poisonous Baths, abandon his intention to tell that right in front
of the public mass. However, he comes with another discovery; after he gets his
reversal of fortune and being left by the compact liberal majority that once is going
53
54
to help him, he concludes that the poisonous one is not only the Baths, but the
compact majority, as it is shown by these data:
Dr. Stockmann : —but I got them clear in my mind at last, and then I saw
the whole situation lucidly. And that is why I am
standing here to-night. I have a great revelation to
make to you, my fellow-citizens! I will impart to you
a discovery of a far wider scope than the trifling
matter that our water supply is poisoned and our
medicinal Baths are standing on pestiferous soil.
A number of voices : (shouting) Don’t talk about the Baths! We won’t hear
you! None of that!
Dr. Stockmann : I have already told you that what I want to speak about
is the great discovery I have made lately—the
discovery that all the sources of our moral life are
poisoned and that the whole fabric of our civic
community is founded on the pestiferous soil of
falsehood.
(Act IV, page 56)
and,
Dr. Stockmann : You may depend upon it—I shall name them! That is
precisely the great discovery I made yesterday. (Raises
his voice.) The most dangerous enemy of truth and
freedom amongst us is the compact majority—yes,
the damned compact Liberal majority—that is it!
Now you know!
(Act IV, page 58)
These data shows that finally Dr. Stockmann holds a public meeting in
Captain Horster house. However, instead of delivering his discovery about the
sanitary condition of the Bath, he proposes another discovery that he considers more
important and involves broader sense than the polluted Bath. His second discovery
declares that it is not only the Bath that is polluted, yet the moral life of their town
is also poisoned because their community’s way of thinking is founded by
falsehood of the authority. According to his opinion, the morality of the community
54
55
is led by the wrong belief, thus, they are not living in a positive manner and
environment. This also remarks the true discovery after a process of thinking-and-
realizing or another anagnorisis in the Falling Action of the plot. Dr. Stockmann
further explains his anagnorisis. According to him, the enemy of truth is the
compact majority as he has been betrayed for the sake of the compact majority’s
expectation.
By this, Dr. Stockmann raises a revolution that he prefer his town destroyed
rather than ruled by falsehood. This is marked when he say, “Yes, my native town
is so dear to me that I would rather ruin it than see it flourishing upon a lie”
(Act IV, page 63).
In this falling action, Dr. Stockmann’s intention to spread his discovery
directly to the mass without any support from his former allies becomes prominent
instrument. The action that Dr. Stockmann’s take to respond his reversal of fortune
creates further story line before it jumps into conclusion. Moreover, his action also
creates another anagnorisis that is very less likely to happen in the falling action of
the tragic plot. However, as modern dramatis has a freedom to writes his work,
Henrik Ibsen shows that he employs another anagnorisis in the falling action of the
modern tragic plot in this drama. Thus, this point further creates a question “what
will happen as a consequences of the protagonist choices in the falling action?”
e. Denoudement
The denoudement of tragic plot is usually in a form of catastrophe. The
tragic hero ends in misery as the consequences of his action. According to the
findings of this research, the consequences of the revolution taken by Dr.
55
56
Stockmann is being an outcast. He is considered as the enemy of the people because
he does not share the same belief as the majority. This is depicted in this datum:
Aslaksen : By the votes of everyone here except a tipsy man,

this meeting of citizens declares Dr. Thomas
Stockmann to be an enemy of the people. (Shouts and
applause.) Three cheers for our ancient and honourable
citizen community! (Renewed applause.) Three cheers
for our able and energetic Mayor, who has so loyally
suppressed the promptings of family feeling! (Cheers.)
The meeting is dissolved. (Gets down.)
(Act IV, page 66)
The whole citizen in the crowd and the authority further make a final voting
concluding the fate of Dr. Stockmann. The voting declares Dr. Stockmann as an
enemy of the people. Then, they further declares that they are proud of the Mayor
because he can stand against the enemy of the people even though they are sibling.
The fall of Dr. Stockmann does not only make him being an outcast, but all
of his family member and people that interact with him are also being outcasted.
Dr. Stockmann loses his house, as it is shown in the data that he say “From the
landlord. Notice to quit” (Act V, page 68). His daughter, Petra, is fired from her
job as a teacher as she say “I have been given notice of dismissal” (Act V, page
69). By this, Dr. Stockmann decides to move from the town as they are ill-treated
by the people. He says “the sooner we can get away, the better” (Act V, page
70). However, when the doctor and his family visit Captain Horster to ask for
accommodation to go to the new town, Horster cannot give him ride because he has
also been dismissed as he interact with Dr. Stockamann and provides places for
him. It is shown in the datum:
Dr. Stockmann : Why, has anything gone wrong with the ship?
56
57
Horster : No; but what has happened is that I am not to sail in it.
Petra : Do you mean that you have been dismissed from
your command?
Horster : (smiling) Yes, that’s just it.
Petra : You too.
(Act V, page 71)
Moreover, as Dr. Stockmann is also dismissed from the Baths Committee, he are
not allowed to open any practice as a doctor in the town because all the townspeople
is asked by the authority to sign a petition to prohibit him. Here is the datum that
depict this:
Peter Stockmann : I must beg you to understand your position clearly. For
the future you must not count on any practice
whatever in the town.
Dr. Stockmann : Devil take the practice! But why are you so sure of that?
Peter Stockmann : The Householders’ Association is circulating a list from
house to house. All right-minded citizens are being
called upon to give up employing you; and I can
assure you that not a single head of a family will risk
refusing his signature. They simply dare not.
(Act V, page 72,)
The doctor now has nothing left as Dr. Stockmann’s father in law, who at
first support him financially, uses the money to invest in Bath because he is
disappointed by the doctor’s stubbornness. Kiil says “Yes, the whole of the money
is invested in the Baths now. And now I just want to see whether you are quite
stark, staring mad, Thomas!” (Act V, 75-76). This has worsen their condition.
Actually, by using all the money to invest to the Bath, Kiil aims to make Dr.
Stockmann turns into authority’s side. However, Dr. Stockmann insists on standing
by himself, and he is finally willing to accept the condition that he is labeled as the
enemy of the “ignorant, narrow-minded” people of the town. As he responds to Kiil
by saying, “…Well, let it go at that! Let them have their own way about it!
57
58
Haven’t the ignorant, narrow-minded curs reviled me as an enemy of the
people?...” (Act V, page 76).
However, after all of the ruin, Dr. Stockmann and his family decide to stay
in the town as they are allowed to live in Captain Horster’s house. The doctor says
“Yes, here. This is the field of battle—this is where the fight will be. This is
where I shall triumph!” (Act V, page 80). The doctor decides to move forward
and continue his life even though he has nothing left. Now he decides to be the
doctor of the poor people as he says “And they want to take my practice away
from me too. Let them! I have got the poor people to fall back upon, anyway—
those that don’t pay anything; and, after all, they need me most, too” (Act V,
page 80). Moreover, he also want to open a school that will teach the belief that he
holds, he further claims that his school will create a broad minded generation, as it
is shown through this datum:
Dr. Stockmann : Never, I say. I will educate you myself; that is to say,
you shan’t learn a blessed thing—
Morten : Hooray!
Dr. Stockmann : —but I will make liberal-minded and high minded
men of you. You must help me with that, Petra.
Petra : Yes, father, you may be sure I will.
(Act V, page 81-82)
When his wife remind him to be careful in teaching the students because she is
afraid that his husband will by dragged out by the authority, Dr. Stockmann then
claims that he is not afraid because he is the strongest man in town. He declares that
the strongest man in town is the one who lives alone and stands for his belief all
alone. Here is the datum that depicts this:
Dr. Stockmann: Are you out of your mind, Katherine? Drive me out! Now—
when I am the strongest man in the town!
58
59
Mrs. Stockmann : The strongest—now?

Dr. Stockmann : Yes, and I will go so far as to say that now I am the
strongest man in the whole world.
Morten : I say!
Dr. Stockmann : (lowering his voice). Hush! You mustn’t say anything
about it yet; but I have made a great discovery.
Mrs. Stockmann : Another one?
Dr. Stockmann : Yes. (Gathers them round him, and says confidentially:)
It is this, let me tell you—that the strongest man in
the world is he who stands most alone.
(Act V, page 82)
This, then, has marked the catastrophe of the tragic hero that Dr. Stockmann, who
previously works as a Medical Officer of the Bath, now becomes no one and living
an outcasted life. Moreover, this catastrophe is also becomes his final anagnorisis
that marks his tragic ending. The doctor finally concludes that outcast man is strong
because he can face all the tragedy until the catastrophe.
As tragic drama mostly ends in a catastrophe, the denoudement of An Enemy
of the People has shown the catastrophe of the protagonist – Dr. Stockmann.
Catastrophe is usually presented as the death of the protagonist or simply the despair
of the protagonist. The protagonist surely ends in a terrible condition; he comes into
ruin. In this drama, Dr. Stockmann ends in a terrible condition even though he has
accept his condition and tried to live his current life by doing what he want to do.
Even though he claims that he is the strongest man in the world because he can live
alone, he still lives in a destruction that he has made. By this, the ending of this
drama, especially the fifth act, is in accordance with the classical tragic plot that it
presents catastrophe of the tragic hero. However, there is one distinction happening
in this modern tragedy. That one distinct elements occurring in the ending is the
discovery or anagnorisis made by Dr. Stockmann.
59
60
This modern tragic drama marks that anagnorisis can not only occur in the
complicating action, but also occurs in falling action and denoudement. This has
signified that the elements or formality of tragic plot in modern tragedy has
transformed from the Greek one, however, the basic elements that define them –
such as, anagnorisis, peripeteia, and catastrophe – are preserved.
2. Tragic Form and Language
Beside tragic plot and tragic hero, tragic form and language is defined as a
formal element constituting tragedy. Because Greek tragic drama has certain form
as well as style and language in writing the formal convention, this convention is
usually considered as the key parts of the traditional tragic form including the
chorus, convention of language, and three unities of time, place and action. This
convention of tragic form and language are not merely writing rules; rather they
shape the significance and the emotional impact of the tragedy. Thus, the effect of
the tragic drama depends on the formal conventions, which structure the audience’s
expectations and manipulate them to produce both suspense and satisfaction in
reading and watching tragedy.
However, as in modern drama the playwright can do whatever they like with
stories, compressing them into a new time and space, and binding the audience with
their imagination thus this convention of tragic form and language have been
transformed, but the basic elements that define them are still preserved.
Therefore, in this research, the researcher tried to analyze the basic elements
of tragic form and language that are still preserved and employed in modern drama.
60
61
The researcher examined the chorus, convention of language, and unity of time,
place and action.
a. Chorus
Chorus in Greek Tragedy consist of fifteen men who comment and give
conclusion about the tragedy. It formerly acts as the main performer of the drama,
but as the structure of the tragic drama develops, chorus also acts as actors.
However, as the role of the chorus transformed during the development of tragedy,
its presence gradually diminishes in the preceding period. Moreover, as the realism
begins chorus starts to be excluded from the tragic form and language of the modern
tragic drama. This also happens because the modern tragic drama tends to focus on
the individual characters and its role as a mirror of everyday life.
An Enemy of the People by Henrik Ibsen also goes along with this notion.
As the researcher could not find any datum about chorus, thus, it can be concluded
that Ibsen has excluded the role of traditional chorus in forming the tragic effect in
modern tragedy. While in Greek tragedy the chorus is also as important as the
actors, in modern tragedy the actors is considered most important in forming tragic
effect. In this drama, the tragedy focuses on the characters, especially Dr.
Stockmann as the protagonist, and the rest of the characters also take role in
constituting the tragedy of the tragic hero. Overall, it can be said that even though
modern tragedy does not employs chorus in its elements of form and language,
modern tragedy does not at all lose its tragic effect, because in fact, it becomes more
relatable with real life.
61
62
b. Convention of Language
Because language is very powerful in affecting the events, there are already
some debates about what is the most effective language for tragedy: a grand
language that stirs the soul and the imagination, or a language that cuts the bone of
how we live and speak in our own lives. Greek tragedy believes that the most
effective language for tragedy is high or grand language. This grandeur of tragic
language is mostly elaborated as language that has double meaning and can awe the
audience with its diction and form. Thus, tragic language for Greek tragedy is
mostly presented in a form of verse constituting figurative language, foreign words,
ornamental words, and all other varieties that ensure the highness of the language
and the effect it makes to the audience.
However, as demand for realism ask playwright to portray the reality, the
high tragic language that usually employed in traditional tragedy has gradually
diminished. The modern tragic drama now has mostly employed common dialogue
in a form of narrative rather than verse, as common dialogue is nearer to everyday
life. This has been proven through the data found by the researcher. All of the data
coded TFL (Tragic Form and Language) are in a form of narrative rather than verse.
Here are some of the data that prove it:
Dr. Stockmann : I have already told you that what I want to speak
about is the great discovery I have made lately—the
falsehood.
(Act IV, page 56)
62
63
and,
Dr. Stockmann : … I can’t stand leading men at any price!—I have

had enough of such people in my time. They are like
billy-goats on a young plantation; they do mischief
everywhere. They stand in a free man’s way,
whichever way he turns, and what I should like best
would be to see them exterminated like any other
vermin—.(Uproar.)
(Act IV, page 57)
Both of the data shown above shows that the dialogue is presented in a form of
prose or narrative. The narrative form of the dialogue has strengthen the realism or
reality portrayed by the tragic drama. Thus, narrative form of the dialogue does not
lessen the tragic sensation of the drama, rather it strengthens the tragic sensation as
the language is near to the audience.
Even though the language is presented in a form of narrative, it also still
preserves some of so called high language, such as the use of figurative language.
However, the figurative language employed is still near to everyday life as it mostly
comes in a form of metaphor and simile that visualize and emphasize the portrayal
of tragedy in real life.
Metaphor in modern tragedy is used to states the similarity of one thing with
another by comparing the tragic event with everyday event. In this case, it can show
the similarity of tragic events sensation with common events thus the audience can
visualize the tragedy of the protagonist. Here is the datum showing the employment
of metaphor:
63
64
Morten : You must be dreadfully wicked, Petra.

Petra : Wicked?
Morten : Yes, because you work so much. Mr. Rorlund says
work is a punishment for our sins.
(Act I, page 10)
The datum above shows that the dialogue employs figurative language, namely
metaphor stating that “working” is a form of “punishment for our sins.” Thus,
Morten thinks that because Petra works so much it means that she is sinful. This
creates the tragic effect of working. Another datum showing employment of
metaphor is “…the whole fabric of our civic community is founded on the
pestiferous soil of falsehood” (Act IV, page 56). This datum shows the
employment of figurative language, which is metaphor stating that the ideology
that become the basic foundation of the civic community as “pestiferous soil of
falsehood” poisoning the morality.
Besides metaphor, simile is also employed in this modern tragic drama. The
employment of simile in this tragic drama is more dominant than metaphor as the
dialogue lines of the protagonist mostly use simile to form the tragic effect. Simile
used in this drama also aims to show similarity of something with another by
comparing them. The datum that shows the employment of simile is:
Billing : Doesn’t know! What do you mean by that? A

community is like a ship; everyone ought to be prepared
to take the helm.
Horster : Maybe that is all very well on shore; but on board ship
it wouldn’t work.
(Act I, page 9)
The employment of simile is shown in the sentence “A community is like a ship;”
(Act I, page 9). The use of simile in this dialogue aims to visualize the community
64
65
that works as if it sails like a ship. When the community is compared with ship, if
something happens to the community the audience regards it as if something
happens to the ship. Thus, if can further create tragic effect during the plot
development.
Moreover, employment of simile in forming tragic effect is also shown in
this datum “I see the whole of the broad-minded middle class marching like a
victorious army—!” (Act III, page 46). This visualize that the broad-minded
middle class of the townspeople is like an army that will successfully fight the
authority. Thus, if they fails to fight the authority, it will create bigger tragic effect
as it is portrayed as an army that shall be successful in fighting its enemy. The
employment of smile also shown in this datum “I was like one of the cider-ducks
brooding on its nest, and what I hatched was the plans for these Baths” (Act
IV, page 57). Showing that Dr. Stockmann visualizes himself as “cider-ducks
brooding on its nest” that lives to hatch his discovery about “the plans for these
Baths.” Thus, it shows that he lives only to hatch his discovery and plans for his
discovery and if his plan fails, it will create a tragic effect.
However, besides figurative language, modern drama does also uses literal
language as its means to transfer tragedy. This is shown in this datum “Mrs.
Stockmann. Well, one would not give you credit for much thought for your wife
and children today; if you had had that, you would not have gone and dragged us
all into misfortune” (Act III, page 46). It uses literal language stating that what
the doctor does will lead their family info misfortune because he does not consider
the risk of what he has done.
65
66
There are actually more data showing the employment of both figurative
and literal language. However, as all of them aim to emphasize the tragic effect of
the story, the researcher further discussed each of them in the appendix. Thus,
according to some datum represented in this sub-chapter it can be concluded that
the tragic form and language of tragedy in this modern drama have been
transformed and suited to the demand of realism, but they are actually still has
similar effect and key concept with the traditional one.
c. Unity of Time, Place and Action
Unities of time, place and action are often called as three unities. Tragedy,
in its first emergence, was very strict to this aspect. This unities construct the idea
that the tragic action must be performed not more than 24 hours and it must take
place in a single location and circumstances – one castle, one city or one room.
However, the value of this compression of time and space might first seem to have
been lost in modern tragic theater. This happens because modern playwright tend
to be influenced with realism that he want to make his work really close to reality,
but still maintain the tragic plot even though the action may not take place in one
single time and place. This is proven from the data got by the researcher that the
action in An Enemy of the People occurs in one city which is a coastal town in
southern Norway as it is shown in this datum “The action takes place in a coastal
town in southern Norway” (Ibsen, 1999: vii). However, the time spans more than
24 hours. The story plot occurs for more than one day as these data shows the time
development, “(SCENE.—DR. STOCKMANN’S sitting-room. It is
evening…)” (Act I, page 1) stating that the first action begins in the evening, and
66
67
then the setting of the second action shows that the day has changed “(SCENE,—
The same. The door into the dining room is shut. It is morning...)” (Act II, page
16).
Thus, it confirms that modern tragedy does not rely on three unities as the
playwright is free to do whatever they like. They can compress the story with a new
time and place but still maintaining the tragic effect as the time and place become
more realist than the time and place of the traditional tragedy.
B. Traits of Tragic Hero in Ibsen’s Enemy of the People
Tragic hero is a character who undergoes tragedy. He is a good man but not
perfectly good; he makes an error judgment that inevitably leads to his own
destruction. Thus, tragic hero is is the agent that carries forward the tragic plot.
During the course of the tragedy he passes from prosperity to adversity. This
adversity happens because of certain traits possessed by the tragic hero. Tragic hero
in An Enemy of the People is the protagonist – Dr. Stockmann, because he possesses
certain traits of the tragic hero. As the traits of tragic hero is very complex and broad
and this research aimed to uncover that by classifying the tragic hero’s trait in three
category, namely the background or the origins of the tragic hero, the source of the
tragic force that influence the tragic hero’s action, and the tragic action committed
by the tragic hero.
1. Background of the Protagonist
In the Greek sense, tragic hero must possess hubris or excessive pride. This
is because Greek tragedy believes in a criteria saying that the hero must come from
67
68
the noble characters as nobility can bring up their pride. However as the drama
develops and tragedy is adapted in every era, many modern tragedy does not
possess noble characters as its tragic hero. The protagonist of the modern tragedy
usually has a common, middle-class background instead of higher-class
background.
In this research, the protagonist comes from common man. As it is shown
from this datum,
Peter Stockmann : So I imagined. I hear my brother has become a

prolific contributor to the “People’s Messenger.”
Hovstad. Yes, he is good enough to write in the “People’s
Messenger” when he has any home truths to tell.
(Act I, page 2)
Dr. Stockmann is the brother of the Mayor of the town – Peter Stockmann. He also
becomes one of the contributor of a newspaper called “People’s Messeger.”
Moreover, according to the Mayor he also works as the medical officer of the Bath,
as it is proven by this datum, “Well remember, he is the Medical Officer to the
Baths” (Act I, page 3). By this, it can be inferred that he is a common man. Event
though tragic hero of the modern tragedy does not meet the traits of Greek tragic
hero that comes from noble character, the tragic hero that comes from common man
can emphasize the tragic effect that will be felt by the audience as the protagonist
is near to real common man.
2. Source of the Tragic Force
Tragic act committing by the tragic hero is mostly influenced by external or
internal factors. In Greek tragedy, the presence of God becomes the external factor
68
69
that concludes the tragedy of the tragic hero. However, as the notion of ‘Death of
God’ appears, the presence of God in drama starts to diminish moreover the demand
for realism also influence the tragic force of tragic hero. The hero in modern tragedy
is mostly influenced by his social, economic, political, or psychological condition.
Thus, the external or internal factor influencing the tragic hero comes from different
form than the Greek one. The researcher found both internal force and external
force influencing tragic act committed by the protagonist in this research.
a. Internal Force
The internal force found in the findings of this research show that the factor
influencing the tragic act of the tragic hero comes in a form of the protagonist’s
flaws or negative nature and personality that surely correlates with the external
force in influencing the protagonist’s tragic action. The internal force later
motivates the protagonist’s bad decision in committing tragic act and the
protagonist’s pride or hubris.
The internal force motivating the protagonist’s bad decision in committing
tragic act comes in a form of impetuousness, impulsiveness, narrow-mindedness,
ill-judgment, impatience, and being a dupe. The impetuousness of the protagonist
is shown in this datum
Peter Stockmann : And your reasoning leads you to this conclusion, that
we must build a sewer to draw off the alleged impurities
from Molledal and must relay the water conduits.
Dr. Stockmann : Yes. Do you see any other way out of it? I don’t.
Peter Stockmann : I made a pretext this morning to go and see the town
engineer, and, as if only half seriously, broached the
subject of these proposals as a thing we might perhaps
have to take under consideration some time later on.
69
70
(Act II, page 25)
It shows that Dr. Stockmann is impetuous because he does not think further before
doing something. He does not try to seek for the proper solution before doing further
steps. His impetuousness later becomes his internal force of tragic action he
committed as it later influences the effectiveness of his action and further decision.
The impetuousness of the protagonist also will influence his impulsiveness. Thus,
his impulsiveness later also becomes his internal force of his tragic action that
influence his further decision, act and idealism. This is shown from the datum
stating that according to the Mayor, Dr. Stockmann is an impulsive person as he
mostly takes every problem in his own way without thinking and consulting it. He
never try to introspect himself about this flaw. As the Mayor says “You have an
ingrained tendency to take your own way, at all events; and, that is almost
equally inadmissible in a well ordered community, …” (Act I, page 7).
Next, the narrow-mindedness of the protagonist in this datum, as Peter
Stockmann asks Dr. Stockmann “Have you given no thought to the consequences
this may have for yourself?” (Act II, page 27). Peter Stockmann’s question
represents Dr. Stockmann’s traits of narrow mindedness and carelessness leading
to incautiousness because it can be inferred that he is not a person who consider the
effect his action. This nature later becomes his internal source of tragic action as
it will influence his further tragic decision or action. Moreover, the ill-judgment of
the protagonist can also be influenced by his narrow-mindedness. This ill-judgment
becomes the protagonist internal force of tragic act because it will influence his
decision. The data that shows this is depicted as the Mayor says “… You disregard
70
71
everything that you ought to have consideration for. You seem completely to
forget that it is me you have to thank for your appointment here as medical
officer to the Baths” (Act II, page 28). Peter Stockmann states that Dr. Stockmann
is an ill-judged person because he does not think or considers carefully that he owes
the Mayor for his job.
Then, the protagonist is also an impatient person thus his impatience later
becomes an internal force of his tragic action as this will influence every decision
and step he makes. The impatience of the protagonist is shown in this datum in
which he declares it by himself “No, no; but I am impatient, as you can
understand. I shall not know a moment’s peace of mind until I see it in print” (Act
III, page 45). It means that Dr. Stockmann admits that he is impatient. His
impatience also takes part in causing him to be a dupe as he is also an easy-duped
person. This nature also becomes an internal force that influence his tragic action.
The datum depicting this is shown as Dr. Stockmann’s wife says “It is just what
you do. I know quite well you have more brains than anyone in the town, but
you are extremely easily duped, Thomas…” (Act III, page 46). Her statements
states that Mrs. Stockmann labels her husband as a person who is easily tricked or
duped.
Meanwhile, the internal force motivating the protagonist’s pride or hubris
comes in a form of arrogance, combativeness, ignorance, stubbornness, selfishness,
over-confidence, and unforgiving nature. The most dominant internal force
influencing the protagonist’s pride or hubris is his own arrogance. Dr. Stockmann
is a super arrogant person, this is shown in this datum:
71
72
Dr. Stockmann : Well, to your grandfather, then. The old boy will have
something to be astonished at! I know he thinks I am
cracked—and there are lots of other people who think so
too, I have noticed. But now these good folks shall
see—they shall just see! (Walks about, rubbing his
hands.) There will be a nice upset in the town,
Katherine; you can’t imagine what it will be. All the
conduit-pipes will have to be relaid
(Act II, page 25)
This datum shows that Dr. Stockmann’s is prideful and arrogant that people will be
astonished by him because of his discovery. Thus, his pride and arrogance becomes
his internal force of tragic act as it can influence his decision and action formed
by his hubris. Then, the combativeness of the protagonist also becomes an internal
force of his tragic act. Dr. Stockmann is a very combative person, and the Mayor
has stated that in this datum:
Peter Stockmann : To my mind the whole thing only seems to mean that
you are seeking another outlet for your
combativeness. You want to pick a quarrel with your
superiors— an old habit of yours. You cannot put up
with any authority over you. You look askance at
anyone who occupies a superior official position; you
regard him as a personal enemy, and then any stick is
good enough to beat him with…
(Act II, page 28)
The datum depicts that Peter Stockmann elaborates that Dr. Stockmann is very
combative. He cannot respect his superior and never obey his superior, as he regards
his superior as his rival.
Then, the ignorance of the protagonist also becomes the internal force of
his tragic action as it will influence his further action and hubris. This is depicted
when the mayor tries to explain that his discovery may influence other municipal
72
73
life of the town if it is published. Dr. Stockmann does not want to consider about it,
he is ignorant about the risk it may take if he did what he is about to do as he says
“I don’t care what it is! I intend to be free to express my opinion on any subject
under the sun” (Act II, page 29). This later motivates his selfishness and
stubbornness. Thus, is selfishness and stubbornness also becomes the internal
force that influence his tragic act, decision, and hubris. The datum depicting this is
shown as Dr. Stockmann says “Who the devil cares whether there is any risk or
not! What I am doing, I am doing in the name of truth and for the sake of my
conscience” (Act III, page 36). It shows that Dr. Stockmann is selfish and stubborn
as he insists that he is doing a big thing for his town and his existence.
Next, Dr. Stockmann is also an overconfident person. The datum showing
this is depicted as he says “How can you be so afraid, when I am so confident
and happy? … Truth and the People will win the fight, you may be certain! I
see the whole of the broad-minded middle class marching like a victorious
army—!” (Act III, page 46). This datum shows that Dr. Stockmann is
overconfident and too prideful of his allies and ideas. He believes that he is behind
the truth so that he will win the battle. Thus, his overconfidence becomes an
internal force that influence tragic action and decision formed by his hubris. His
overconfidence also takes part in motivating his unforgiving nature as when he
becomes overconfident he will not accept the condition or people harassing his
confidence. The unforgiving nature of the protagonist is shown in this datum:
Dr. Stockmann : No back ways for me, Katherine, (Raising his voice.)
You will hear more of this enemy of the people, before
he shakes the dust off his shoes upon you! I am not so
73
74
forgiving as a certain Person; I do not say: “I forgive

you, for ye know not what ye do.
(Act V, page 66)
This shows that Dr. Stockmann does not want to forgive the townspeople because
they have insulted him. His unforgiving nature becomes an internal force
influencing his tragic decision, hubris, and action.
Hence, the internal tragic force that comes in a form of impetuousness,
impulsiveness, narrow-mindedness, ill-judgment, impatience, being a dupe,
arrogance, combativeness, ignorance, stubbornness, selfishness, over-confidence,
and unforgiving nature is totally correlates with the external tragic force in
influencing the tragic action of the protagonist.
b. External Force
The external factor found in the findings of this research show that the factor
influencing the tragic act of the tragic hero comes in a form of family pressure,
society pressure, and group pressure.
The family pressure comes from Dr. Stockmann’s father in law that forces
him to stand against the authority as well as townspeople and his wife that asks him
to cooperate with the authority for the sake of their family wellbeing. The force
from his father in law is shown from this datum,
Morten Kiil : I might have known it! It must get into the papers.
You know how to do it, Thomas! Set your wits to
work. Now I must go.
Dr. Stockmann : Won’t you stay a little while?
Morten Kiil : No, I must be off now. You keep up this game for all
it is worth; you won’t repent it, I’m damned if you
will!
(Act I, page 18)
74
75
This datum shows that Dr. Stockmann is forced to publish his discovery in the
newspaper by his father in law because his father in law has a certain resentment
towards the whole town. Thus, the doctor shall a revenge to the town and the
authority in the name of his father in law. By this, the doctor is influenced by
external force in doing his tragic action. Moreover, the family pressure also comes
from his wife that is shown from this datum:
Mrs. Stockmann : But towards your family, Thomas? Towards your

own home! Do you think that is doing your duty
towards those you have to provide for?
Petra : Ah, don’t think always first of us, mother.
Mrs. Stockmann : Oh, it is easy for you to talk; you are able to shift for
yourself, if need be. But remember the boys, Thomas;
and think a little of yourself too, and of me—
(Act II, page 31-32)
It proves that Dr. Stockmann is forced by his wife to prevent his action for the sake
of their family. It is also a part of external force of the tragic hero to commit tragic
act. Both of the contrasting family pressure influence Dr. Stockmann to do his
further tragic action that leads him and his family into misfortune.
Then, the form of community pressure comes from the press people from a
newspaper called “People’s Messenger” and the head of Housholder Association.
The people from “People’s Messenger” asks Dr. Stockmann to not only publish the
article about his discovery about the Bath, but also uses it as the weapon to fight
against the authority. This is shown from this datum,
Hovstad : From your point of view, as a doctor and a man of

science, this affair of the water supply is an isolated
75
76
matter. I mean, you do not realise that it involves a

great many other things.
…
Dr. Stockmann : What the deuce are you driving at, Hovstad?
Hovstad : The whole of the town’s interests have, little by little,
got into the hands of a pack of officials.
(Act I, page 19)
This datum shows that Hovstad convinces Dr. Stockmann that there is not merely
a problem about the Bath, but there is also another problem involved. One of them
is the officials that work for their own benefit. He says that the officials use the
town’s interest. This becomes the external force that influence the doctor’s
decision in committing tragic act. Moreover, the pressure also comes from the Head
of the Householder Association showed in this datum,
Aslaksen : Because it may be no bad thing to have us small

tradesmen at your back. We form, as it were, a
compact majority in the town—if we choose. And it is
always a good thing to have the majority with you,
Doctor.
…
Aslaksen : Oh, it may be very desirable, all the same. I know our
local authorities so well; officials are not generally very
ready to act on proposals that come from other people.
That is why I think it would not be at all amiss if we
made a little demonstration.
(Act I, page 21)
Dr. Stockmann is supported by the community of the tradesman and the head of the
House Holder Association that form the compact majority of the town. Dr.
Stockmann is led and urged by the compact majority to use his discovery to stand
against the authority. This absolutely becomes the external force of the tragic hero
in doing his hamartia.
76
77
Then, the form of external force that comes from society pressure is very
dominant. It comes from his own brother that becomes the Mayor of the Town and
the ideology of the authority that is mostly followed by the society. The Mayor asks
Dr. Stockmann to obey the authority by not spreading his discovery about the Bath.
This is shown from this datum, “Peter Stockmann. In your official capacity, no. As
a private person, it is quite another matter. But as a subordinate member of the
staff of the Baths, you have no right to express any opinion which runs
contrary to that of your superiors” (Act II, page 29). It states that as a member of
the staff of the Bath, Dr. Stockmann must work and act according to the command
of the superior thus he cannot spread his opinion regarding his discovery about the
Bath to the public. When, Dr. Stockmann insist on spreading his discovery and run
against the command of the Mayor, the mayor says, “I forbid it—I, your chief;
and if I forbid it, you have to obey” (Act II, page 29). Dr. Stockmann’s intention
for spreading his discovery to the public is totally prohibited by the mayor and it
force Dr. Stockmann to do further tragic action.
Moreover, the society pressure also causes his reversal of fortune because
Hovstad and Aslaksen suddenly turns against him because the Mayor tells them
about the financial risk they shall face if they helps the doctor. This is stated in this
datum,
Dr. Stockmann : You dare not? What nonsense!—you are the editor; and
an editor controls his paper, I suppose!
Aslaksen : No, it is the subscribers, Doctor.
Peter Stockmann : Fortunately, yes.
Aslaksen : It is public opinion—the enlightened public—
householders and people of that kind; they control the
newspapers.
77
78
Dr. Stockmann : (composedly) And I have all these influences against

me?
Aslaksen : Yes, you have. It would mean the absolute ruin of
the community if your article were to appear.
(Act III, page 48)
This datum illustrates that Dr. Stockmann is going to print his article about his
discovery, but his former allies do not want to print it for him because they have
turn against him and turn into the authority’s side because by doing so, they have
not to pay the money to fix the Bath. However, they say that the one who control
newspaper is public opinion – not directly mentions the authority. Thus, if the
majority of the public does not want to read an article, the newspaper will not
publish it. This becomes the external force of Dr. Stockmann in commiting tragic
act as this can cause the reversal of fortune or peripeteia that he once has.
Hence, the external tragic force that comes from family pressure, group
pressure, society pressure is totally dominant in influencing the tragic act of the
protagonist.
3. Tragic Act Committed by the Protagonist
Aristotle elaborates the four characteristics of tragic hero that constitutes his
action, namely hamartia, peripeteia, anagnorisis, and hubris and all of these
characteristic will lead the tragic hero into catasthrophe or misery. However, as
these tragic act traits are coined from the Greek Tragedy, modern tragedy has
undergone some transformation of these tragic acts committed by the tragic hero.
Even though there is a transformation of the tragic hero in the modern era, the basic
principles of tragic hero coined by Greek tragic hero is still maintained. Those are
(1) the tragic hero must have flaws and certain ideal or hamartia, (2) the tragic hero
78
79
must come to ruin because of his own tragic flaws and ideal or peripeteia and
anagnorisis.
However, not all of the modern playwrights have left these ideas behind.
Some of them still employs all of the Greek tragic act traits of tragic hero, even
though it has gone through some transformation. Thus, the researcher aimed to
know the traits of tragic act that are possessed by the tragic hero in this modern
drama.
a. Hamartia
Hamartia is a flaw that becomes the basic cause of the hero’s fall. This can
be seen through the tragic hero’s action in during the development of the plot.
Hamartia will influence the hubris that leads the tragic hero into anagnorisis and
the peripeteia. According to the findings of this research, the tragic flaws of the
tragic hero are his impulsiveness, impetuousness, and incautiousness that leads him
to be narrow minded and becomes easily duped; his arrogance; his stubbornness
and selfishness.
Dr. Stockmann’s impulsiveness, impetuousness, and incautiousness that
leads him to be narrow minded is represented in this datum:
Peter Stockmann : As usual, you employ violent expressions in your

report. You say, amongst other things, that what we
offer visitors in our Baths is a permanent supply of
poison.
Dr. Stockmann : Well, can you describe it any other way, Peter? Just
think—water that is poisonous, whether you drink it or
bathe in it! And this we offer to the poor sick folk who
come to us trustfully and pay us at an exorbitant rate to
be made well again!
79
80
Peter Stockmann : And your reasoning leads you to this conclusion, that
we must build a sewer to draw off the alleged impurities
from Molledal and must relay the water conduits.
Dr. Stockmann : Yes. Do you see any other way out of it? I don’t.
Peter Stockmann : I made a pretext this morning to go and see the town
engineer, and, as if only half seriously, broached the
subject of these proposals as a thing we might perhaps
have to take under consideration some time later on.
(Act II, page 25)
This shows that Dr. Stockmann is impetuous because he does not think further
before doing something. He does not try to seek for the proper solution before doing
further steps as the Mayor does. Moreover, he is not witty that he mostly use abrupt
language in writing his report to the Mayor. This shows his narrow mindedness
because he does not consider every risk of his action. This is a form of hamartia
or tragic flaws possessed by him that may later on motivate his tragic act. One of
the tragic act caused by his incautiousness is becoming easily duped. As it is shown
from this datum in which Mrs. Stockmann says “It is just what you do. I know
quite well you have more brains than anyone in the town, but you are
extremely easily duped, Thomas” (Act III, page 46).
Then, Dr. Stockmann’s arrogance that also becomes one of his flaws
causing him doing tragic act is showed in these data:
Dr. Stockmann : Well, to your grandfather, then. The old boy will have
something to be astonished at! I know he thinks I am
cracked—and there are lots of other people who think so
too, I have noticed. But now these good folks shall
see—they shall just see! (Walks about, rubbing his
hands.) There will be a nice upset in the town,
Katherine; you can’t imagine what it will be. All the
conduit-pipes will have to be relaid.
(Act I, page 14).
and,
80
81
Dr. Stockmann : I should think it was a good thing. (Walks up and

down rubbing his hands.) By Jove, it’s a fine thing to
feel this bond of brotherhood between oneself and
one’s fellow citizens!
Petra : And to be able to do so much that is good and useful,
father!
Dr. Stockmann :And for one’s own native town into the bargain, my
child!
(Act II, page 24).
These data show that Dr. Stockmann is prideful that people will be astonished by
him because of his discovery. He is also prideful that he is doing a good thing for
the town, and after he gets the support from the press, he considers that it is because
of the brotherhood of the citizen. This is influenced by his arrogance and that
becomes the hamartia or tragic flaws leading him to have hubris.
Then, Dr. Stockmann’s arrogance that also becomes one of his flaws
causing him doing tragic act is showed in this datum, “Dr. Stockmann. Who the
devil cares whether there is any risk or not! What I am doing, I am doing in
the name of truth and for the sake of my conscience” (Act III, page 36). This
marks that Dr. Stockmann is selfish and stubborn. He insists that he is doing a big
thing for his town and his existence. It marks the hamartia possessed by him that
leads him into hubris or disrespect for the natural order.
b. Hubris
Hubris is the excessive pride of the tragic hero that make him deceived by
his own judgment. Dr. Stockmann is overconfident about his discovery, he has
excessive pride about that, and it makes him brags about his truthful discovery. It
is shown from the datum, “Dr. Stockmann. Very well; but in that case I shall use
81
82
my pen against you. I stick to what I have said; I will show that I am right and
that you are wrong. And what will you do then?” (Act II, page 30). He insist that
what he has discovered about the Bath is good for the town because he informs that
the Bath is dangerous for living thus he insist on fixing the Bath. As it is states in
this datum:
Dr. Stockmann : It is I who have the real good of the town at heart! I
want to lay bare the defects that sooner or later must
come to the light of day. I will show whether I love my
native town.
Peter Stockmann : You, who in your blind obstinacy want to cut off the
most important source of the town’s welfare?
Dr. Stockmann : The source is poisoned, man! Are you mad? We are
making our living by retailing filth and corruption!
The whole of our flourishing municipal life derives its
sustenance from a lie!
(Act II, page 30).
It shows that the doctor insists that he is doing the good thing for the town without
considering other factors. He insists in resettling the Bath that has been the major
source of life in the town. This hubris or his excessive pride of his action is
motivated by his stubbornness. This hubris then later on will cause his peripeteia or
reversal of fortune.
c. Anagnorisis
Anagnorisis is the discovery or recognition of truth. This can be portrayed
when tragic hero makes a critical discovery. The discovery may be about the hidden
trutht around him, and may also be about his realization that it is himself that causes
his reversal of fortune. The anagnorisis will be related with the hubris of the tragic
82
83
hero, as the anagnorisis further can lead the tragic hero to do tragic action motivated
by his hubris or excessive pride about the anagnorisis.
The anagnorisis of the tragic hero in this modern tragic drama exists in three
times. The first one occurs in the exposition as Dr. Stockmann discovers something
about the Bath. The second one occurs in the falling action as Dr. Stockmann
discovers that the compact majority is the enemy of truth. The third discovery
occurs in the denoudement in which he has finally realized that the outcast man is
the strongest one.
The first anagnorisis is stated in these data “A discovery of mine” (Act I,
page 17), and
Dr. Stockmann : I have investigated the matter most conscientiously.

For a long time past I have suspected something of the
kind …
Mrs. Stockmann : Then that is what you have been so busy with?
Dr. Stockmann : Indeed I have been busy, Katherine. But here I had
none of the necessary scientific apparatus; so I sent
samples, both of the drinking-water and of the
seawater, up to the University, to have an accurate
analysis made by a chemist.
Hovstad : And have you got that?
Dr. Stockmann : (showing him the letter) Here it is! It proves the
presence of decomposing organic matter in the
water—it is full of infusoria. The water is absolutely
dangerous to use, either internally or externally.
Mrs. Stockmann : What a mercy you discovered it in time.
(Act I, page 19)
This also elaborates the condition that Dr. Stockmann has been suspicious
about the sanitary condition of the Bath since there are some cases of illness
threatening the visitors. At first, he believes that the cause lies in the visitor itself,
83
84
however, then he realizes that the cause probably lies in the water condition. Thus,
he sets examination to the water and sends the sample of the water to the chemist
in the University in order to obtain a scientific and accurate analysis of the water
condition. As the letter of the examination is received, he finds that there is a
“decomposing organic matter in the water” that causes infection. By this, he further
discovers that the cause of the illness is the water, thus, the water is dangerous both
for internal and external use. This discovery marks that the first anagnorisis.
The second anagnorisis found in the falling action is shown in these data:
Dr. Stockmann : —but I got them clear in my mind at last, and then I saw
the whole situation lucidly. And that is why I am
standing here to-night. I have a great revelation to
make to you, my fellow-citizens! I will impart to you
a discovery of a far wider scope than the trifling
matter that our water supply is poisoned and our
medicinal Baths are standing on pestiferous soil.
A number of voices: (shouting). Don’t talk about the Baths! We won’t hear
you! None of that!
Dr. Stockmann : I have already told you that what I want to speak about
is the great discovery I have made lately—the
falsehood.
(Act IV, page 56)
and,
Dr. Stockmann : You may depend upon it—I shall name them! That is
precisely the great discovery I made yesterday. (Raises
his voice.) The most dangerous enemy of truth and
freedom amongst us is the compact majority—yes,
the damned compact Liberal majority—that is it!
Now you know!
(Act IV, page 58)
84
85
These data shows that finally Dr. Stockmann holds a public meeting in
Captain Horster house. However, instead of delivering his discovery about the
sanitary condition of the Bath, he proposes another discovery that he considers more
important and involves broader sense than the polluted Bath. His second discovery
declares that it is not only the Bath that is polluted, yet the moral life of their town
is also poisoned because their community’s way of thinking is founded by
falsehood of the authority. According to his opinion, the morality of the community
is led by the wrong belief, thus, they are not living in a positive manner and
environment. This also remarks the true discovery or another anagnorisis in the
Falling Action of the plot. Dr. Stockmann further explains his anagnorisis.
According to him, the enemy of truth is the compact majority as he has been
betrayed for the sake of the compact majority’s expectation.
The third anangnorisis found in the denoudement is stated in this datum:
Dr. Stockmann : Are you out of your mind, Katherine? Drive me out!
Now—when I am the strongest man in the town!
Mrs. Stockmann : The strongest—now?
Dr. Stockmann : Yes, and I will go so far as to say that now I am the
strongest man in the whole world.
Morten : I say!
Dr. Stockmann : (lowering his voice) Hush! You mustn’t say anything
about it yet; but I have made a great discovery.
Mrs. Stockmann : Another one?
Dr. Stockmann : Yes. (Gathers them round him, and says confidentially:)
It is this, let me tell you—that the strongest man in
the world is he who stands most alone.
(Act V, page 82)
This shows that Dr. Stockmann, who previously works as a Medical Officer of the
Bath, now becomes no one and living an outcasted life. He lives alone, but in the
end of his loneliness he finds that people who struggle alone is the strongest people.
85
86
Thus, he finds that he is the strongest man in the world. Thus, this ends is also
becomes his final anagnorisis that marks his tragic ending or catastrophe. The
doctor finally concludes that outcast man is strong because he can face all the
tragedy until the catastrophe.
d. Peripeteia
Peripeteia is a fall or reversal of fortune of the tragic hero. This is caused by the
tragic hero’s misleading action in committing or judging something. The peripeteia
or reversal or fortune of Dr. Stockmann is shown in this datum:
After knowing the consequences and the expense they shall pay if they do
what they have planned before, the people behind “People’s Messenger” turns
against Dr. Stockmann’s side and becomes the supporter of the authority. Hence,
this makes the doctor loses the power behind him. This condition is shown in this
datum:
Dr. Stockmann : ... Do you think I cannot? Listen to me. I have

triumphant social forces behind me. Hovstad and Billing
will thunder in the “People’s Messenger,” and Aslaksen
will take the field at the head of the whole Householders’
Association—
Aslaksen : That I won’t, Doctor.
Dr. Stockmann : Of course you will—
Peter Stockmann : Ah!—may I ask then if Mr. Hovstad intends to join
this agitation?
Hovstad : No, Mr. Mayor.
Aslaksen : No, Mr. Hovstad is not such a fool as to go and ruin
his paper and himself for the sake of an imaginary
grievance.
Dr. Stockmann : (looking round him) What does this mean?
Hovstad : You have represented your case in a false light,
Doctor, and therefore I am unable to give you my
support.
Billing : And after what the Mayor was so kind as to tell me just
now, I—
86
87
Dr. Stockmann : A false light! Leave that part of it to me. Only print my
article; I am quite capable of defending it.
Hovstad : I am not going to print it. I cannot and will not and
dare not print it.
(Act III, page 47-48)
This shows that when Dr. Stockmann comes to “People’s Messenger” office, he
finds out that his brother is also there. He proudly declares to the Mayor that he has
the people behind the liberal-minded newspaper to support him in making a
revolution in the town against the authority thus they will attract the whole
Householder’ Association. Unfortunately, they suddenly states that they will not
support him because they consider that the doctor’s action is inappropriate.
However, the doctor insists Hovstad on printing the article, and then he will spread
and defend his opinion by himself. Unfortunately, Hovstad does not dare and does
not want to do that. Now, most of the people who support him, especially the
compact majority that he will think will be a power for him, turn against him. This
leaves him alone in defending his discovery of the Bath to attack the authority. This
turning point marks the peripeteia of the tragic hero. Dr. Stockman who at first
thinks that he is powerful enough because he has majority of the town behind him,
now is all alone and he becomes powerless as the support that he get turns against
him. He, who at first gets many support behind him that will help him to spread his
discovery, now has lost his support as he lost his life fortune.
87
CHAPTER V
CONCLUSION
Based on the research findings in Chapter IV, some conclusions can be
drawn related to the research focus and objectives of the problem stated in Chapter
I. The conclusions are derived into the following points:
1. The elements of modern tragedy in An Enemy of the People by Henrik Ibsen
including Tragic Plot as well as Tragic Form and Language are found with some
transformations regarding the demand of realism in modern era. (1) All of the
Tragic Plot elements (exposition, complicating action, climax, falling action,
and denoudement) are found in the drama. However, each of them has some
transformation regarding of its tragic causality. (a) The exposition has depicted
the initial condition that may leads the tragic event in the preceding act.
Moreover, it is found that there is an anagnorisis in the exposition. Thus, this
employement of anagnorisis in the exposition marks the variance of tragic plot
in modern tragedy that differ with the classical tragedy. (b) The complicating
action of the tragic plot in this drama confirms the response or further action
committed by the protagonist to face the initial condition. It also shows that it
is different with the common tragic classic plot that the anagnorisis happens in
the complicating action as this modern tragic drama shows that there is a change
in the presence of the anagnorisis in which the complicating action is introduced
by anagnorisis, not introducing anagnorisis. (c) The climax depicts the
protagonist’s reversal of fortune or peripeteia. Modern tragic plot element in
88
89
this point is still in line with the classical tragic climax depicting the reversal of
fortune of the protagonist. (d) The falling action in this drama is similar with
common plot that shows the further story after the climax and preceding the
denoudement. However, as modern dramatis has a freedom to writes his work,
Henrik Ibsen shows that he employs another anagnorisis in the falling action
of the modern tragic plot in this drama. (e) The denoudement has shown the
catastrophe of the protagonist – Dr. Stockmann. By this, the ending of this
drama, especially the fifth act, is in accordance with the classical tragic plot that
it presents catastrophe of the tragic hero. However, there is one distinction
happening in this modern tragedy. That one distinct elements occurring in the
ending is the another discovery or anagnorisis made by Dr. Stockmann during
his catashtrophe. (2) Whereas, the Tragic Form and Language found in the
drama are only the convention of tragic language that also has some
transformation and unity of time and place that is not pretty significant because
of the time transformation, while chorus is not found in this research. (a) The
convention of tragic language employed in this drama comes in a form of
narrative rather than verse, but it still also maintains some figurative languages
between the common languages in the dialogue. However, the tragic form and
language of tragedy in this modern drama have been transformed and suited to
the demand of realism, but they are actually still has similar effect and key
concept with the traditional one. (b) The unity of time place and action confirms
that modern tragedy does not rely on three unities as the playwright is free to
do whatever they like. They can compress the story with a new time and place
89
90
but still maintaining the tragic effect as the time and place become more realist
than the time and place of the traditional tragedy. (c) While, the chorus is not
appeared in this modern tragic drama as Henrik Ibsen is well-known for his
exclusion of chorus.
2. The traits of tragic hero found in An Enemy of the People by Henrik Ibsen are
divided into three categories based on the background of the protagonist, source
of the tragic action, and act committed by the tragic hero. (1) In this research,
the protagonist comes from common man, thus it differs with the background
of the Greek protagonist that comes from noble character. (2) The source of the
tragic action committed by the protagonist comes from both internal force and
external force. (a) The internal force is in a form of the protagonist’s flaws or
negative nature and personality including impetuousness, impulsiveness,
narrow-mindedness, ill-judgment, impatience, being a dupe, arrogance,
combativeness, ignorance, stubbornness, selfishness, over-confidence, and
unforgiving nature. (b) Meanwhile, the external force comes in a form of family
pressure, society pressure, and group pressure. (3) All of the tragic act
committed by the tragic hero are found in this modern drama including
hamartia, hubris, anagnorisis, and peripeteia. However, all of them have
transformed into the need of modern tragedy that tends to fulfil the demand of
realism.
90
REFERENCES
A. Printed Sources
Abrams, M. H. (1981). A Glossary of Literary Terms. New York: Holt.
___________. (1986). The Norton Anthology of English Literature, 5th ed.,

Vol.1. New York: W.W. Norton.
Aristotle. (1895). The Poetics: Translated with a critical text by S.H.

Butcher. London: Macmillan.
Bennet, Andrew and Nicholas Royle. (2004). Introduction to Literature,

Criticism, and Theory. London: Pearson.
Bradley, A. C. (2005). Shakespearean Tragedy. London: Macmillan.
Bushnell, Rebecca. (2008) Tragedy: A short introduction. Oxford:

Blackwell Publishing.
Creswell, J. W. (2009). Research design: Qualitative, quantitative, and

mixed methods approaches. Los Angeles: Sage.
de Man, P. (1989). “What’s Modern?” Critical Writing 1953-1978.

Minneapolis: University of Minnesota Press.
Denzin, N. K., & Lincoln, Y. S. (2005). The SAGE handbook of qualitative

research. Thousand Oaks: Sage Publications.
Eagleton, Terry. (2003). Sweet Violence. Cornwall: Blackwell Publishing.
Freytag, Gustav. (1863). Technique of the Drama. Chicago: Scott,

Forestman.
Hawkes, Terence. (2003). Structuralism and Semiotics (2nd Ed). New York:
Routledge.
Ibsen, Henrik. (1999). An Enemy of the People. New York: Dover

Publications.
Kenneth Pickering. (2005). Key Concepts in Drama and Performance. New

York: Palgrave Macmillan.
91
92
Klarer, Mario. (2004). An Introduction to Literary Studies. New York:

Routledge.
Krasner, David. (2012). A History of Modern Drama Volume I. West

Sussex: Blackwell Publishing.
Leech, Clifford. (1969). Tragedy: Critical Idiom. New York: Barnes &
Noble.
Nicoll, Allardyce. (1949). World Drama. London; Sydney: G.G. Harrap.
Schiller, Friedrich. (2004). The Use of the Chorus in Tragedy in Bloom,

Bloom’s Period Studies: Greek Drama (p. 17). Philadephia: Chelsea House
Publishers.
Storey, Ian Christopher and Arlene Allan. (2005). A Guide to Ancient Greek
Drama. Oxford: Blackwell Publishing.
Tillyard, E. M. W. (1943). The Elizabethan World Picture. London: Chatto

& Windus.
Wiggins, Martin. (2004). New Tragedies for Old in Bloom, Bloom’s Period
Studies: Elizabethan Drama (p. 47). Philadephia: Chelsea House Publishers.
B. Electronic Sources
Belfiore, Elizabeth. S. (2014). Tragic Pleasures: Aristotle on Plot and

Emotion. Princeton: Princeton University Press. Retrieved August 8, 2018, from
Project MUSE database.
Iwuchukwu, Onyeka. (2008). Elements of Drama. Nigeria: National Open

University of Nigeria.
Lethbridge, Stefanie and Jarmila Mildorf. (2004). Basic of English Studies:

An introductory course for students of literary studies in English. Stutgard:
Universität Tübingen.
Rai, R. N. (1992). Theory of Drama. New Delhi: Classical Pub. Co.
Sinha, A.K. (1995). A Students’ Companion to English Drama. New Delhi:

Bharati Bhawan.
92
93
Spens, Janet. (1922). Elizabethan Drama. London: Metheun & Co.

Shakespeare Online. 19 Aug. 2009. http://www.shakespeare-
online.com/playanalysis/tragedyvscomedy. html
Tragic Hero - Examples and Definition of Tragic Hero. (2018). Retrieved
from https://literarydevices.net/tragic-hero/.
93
APPENDIX
THE DATA
Table 1: Elements of Tragedy in Ibsen’s Enemy of the People
No: Datum Number
Code: TP (Tragic Plot), TFL (Tragic Form and Language)
Categories: TP (Exposition, Complicating Action, Climax, Falling Action, Denoudement), TFL (Thought and diction, unity of time place and action,
chorus)
No. Code Category Expression Act Meaning

The Bath becomes the pride of the town because its
Peter Stockmann. Taking one thing with another,
development is profitable. Peter Stockmann as the chief
there is an excellent spirit of toleration in the
of the town believes that the Bath is a unifier that
town—an admirable municipal spirit. And it all
constitute the town’s fortune. The poverty rate
springs from the fact of our having a great
diminishing because the citizen got the living from the
common interest to unite us—an interest that is in
Bath. The opening of the Bath creates job vacancy and
an equally high degree the concern of every right-
business, thus, if the Bath is popular and many visitors
minded citizen.
come to enjoy the service, there will be a lot of profit
Hovstad. The Baths, yes.
1 TP Exposition I/3 that benefits the town, the authority, the tradesman and
Peter Stockmann. Exactly—our fine, new,
the citizen. By this the authority considers the Bath as
handsome Baths. Mark my words, Mr. Hovstad—
the main concerns of the town’s development. As it is
the Baths will become the focus of our municipal
become the main concerns of the town’s development,
life! Not a doubt of it!
Dr. Thomas Stockmann thinks that the excellence of
Mrs. Stockmann. That is just what Thomas says.
the Bath’s sanitary condition should be observed as its
Peter Stockmann. Think how extraordinarily the
condition will affect the visitor’s. He has wrote an
place has developed within the last year or two!
assumption article about the Bath’s sanitary condition
Money has been flowing in, and there is some life
since winter without the acknowledgement of the
94
and some business doing in the town. Houses and Mayor of the town, yet it has not been released due to
landed property are rising in value every day. the further needs of proof.
Hovstad. And unemployment is diminishing,
Peter Stockmann. Yes, that is another thing. The
burden on the poor rates has been lightened, to the
great relief of the propertied classes; and that relief
will be even greater if only we get a really good
summer this year, and lots of visitors—plenty of
invalids, who will make the Baths talked about.
Hovstad. And there is a good prospect of that, I
hear.
Peter Stockmann. It looks very promising. Inquiries
about apartments and that sort of thing are reaching
us, every day.
Hovstad. Well, the doctor’s article will come in
very suitably.
Peter Stockmann. Has he been writing something just
lately?
Hovstad. This is something he wrote in the winter;
a recommendation of the Baths—an account of the
excellent sanitary conditions here. But I held the
article over, temporarily.
Peter Stockmann (following him with his eyes). Is
there anything abnormal about the present
conditions?
The Mayor ask Dr. Stockmann about the Bath’s
Dr. Stockmann (standing still). To tell you the truth,
condition. He is suspicious if there is something wrong
Peter, I can’t say just at this moment—at all
2 TP Exposition I/7 with the Bath. However, the doctor does not want to
events not tonight. There may be much that is very
confirm his question because the doctor still has no
abnormal about the present conditions—and it is
proof about it.
possible there may be nothing abnormal about them
at all. It is quite possible it may be merely my
imagination.
95
Dr. Stockmann (waving the letter). Well, now the
town will have something new to talk about, I can
Dr. Stockmann has received a letter from the laboratory
tell you!
check of the sanitary condition of the Bath. Thus, it can
Billing. Something new?
be a proof that assure him about his assumption that the
Mrs. Stockmann. What is this?
Bath has been polluted. This letter also functions as the
Dr. Stockmann. A great discovery, Katherine.
3 TP Exposition I/12 discovery or of the Bath’s sanitary condition. Dr.
Hovstad. Really?
Stockmann is very sure about his discovery and will
Mrs. Stockmann. A discovery of yours?
soon spread his discovery about the Bath. This
Dr. Stockmann. A discovery of mine. (Walks up and
discovery marks that the anagnorisis is found in the
down.) Just let them come saying, as usual, that it is
Exposition of the plot.
all fancy and a crazy man’s imagination! But they
will be careful what they say this time, I can tell you!
Dr. Stockmann. I have investigated the matter most
conscientiously. For a long time past I have
suspected something of the kind. Last year we had
Dr. Stockmann has been suspicious about the sanitary
some very strange cases of illness among the
condition of the Bath since there are some cases of
visitors—typhoid cases, and cases of gastric fever—
illness threatening the visitors. At first, he believes that
Mrs. Stockmann. Yes, that is quite true.
the cause lies in the visitor itself, however, then he
Dr. Stockmann. At the time, we supposed the visitors
realizes that the cause probably lies in the water
had been infected before they came; but later on, in
condition. Thus, he sets examination to the water and
the winter, I began to have a different opinion; and so
sends the sample of the water to the chemist in the
I set myself to examine the water, as well as I could.
University in order to obtain a scientific and accurate
4 TP Exposition Mrs. Stockmann. Then that is what you have been I/13
analysis of the water condition. As the letter of the
so busy with?
examination is received, he finds that there is a
Dr. Stockmann. Indeed I have been busy,
“decomposing organic matter in the water” that causes
Katherine. But here I had none of the necessary
infection. By this, he further discovers that the cause of
scientific apparatus; so I sent samples, both of the
the illness is the water, thus, the water is dangerous both
drinking-water and of the seawater, up to the
for internal and external use. This further elaboration of
University, to have an accurate analysis made by a
the discovery also marks the anagnorisis is found in
chemist.
the Exposition of the plot.
Hovstad. And have you got that?
Dr. Stockmann (showing him the letter). Here it is! It
proves the presence of decomposing organic
96
matter in the water—it is full of infusoria. The
water is absolutely dangerous to use, either
internally or externally.
Mrs. Stockmann. What a mercy you discovered it in
time.
Dr. Stockmann. Ah, you remember, Petra—I wrote
opposing the plans before the work was begun. But at
that time no one would listen to me. Well, I am going
to let them have it now. Of course I have prepared a
report for the Baths Committee; I have had it As a doctor, Dr. Stockmann must have further
ready for a week, and was only waiting for this to consideration before the building of the Bath. He first
come. (Shows the letter.) Now it shall go off at once. opposes the plan about the Bath, however the authority
Complicating
5 TP (Goes into his room and comes back with some I/14 does not listen to him. Now, as he has got the proof
Action
papers.) Look at that! Four closely written about his discovery, he will send the report about the
sheets!— and the letter shall go with them. Give dangerous condition of the Bath’s sanitary to the
me a bit of paper, Katherine—something to wrap Mayor.
them up in. That will do! Now give it to-to-(stamps
his foot)— what the deuce is her name?—give it to
the maid, and tell her to take it at once to the
Mayor.
Morten Kiil. The whole town! Well, it wouldn’t be a
bad thing. It would just serve them right, and teach
them a lesson. They think themselves so much
cleverer than we old fellows. They hounded me out of When Morten Kiil, Dr.Stockmann’s father in law
the council; they did, I tell you—they hounded me knows his discovery, he supports Dr. Stockmann
Complicating out. Now they shall pay for it. You pull their legs too, financially and assure him to attack the authority with
6 TP II/18
Action Thomas! his proof as Kiil has been underestimated too when he
Dr. Stockmann. Really, I— was young. Thus, he thinks that it is the right time to
Morten Kiil. You pull their legs! (Gets up.) If you enlighten the authority’s mistake.
can work it so that the Mayor and his friends all
swallow the same bait, I will give ten pounds to a
charity—like a shot!
97
Hovstad. Excuse me, doctor; I feel bound to tell you Hovstad, the editor of the “People’s Messenger” – a
I am inclined to take the matter up. newspaper, also supports Dr. Stockmann to spread his
Dr. Stockmann. In the paper? discovery and publish his article in the newspaper.
Complicating
7 TP Hovstad. Yes. When I took over the “People’s II/19 Moreover, Hovstad adds and ensures him that the
Action
Messenger” my idea was to break up this ring of problem not only lies in the Bath’s itself, but also lies
self-opinionated old fossils who had got hold of all in the ideological system of the authority thus they shall
the influence. protest about it.
Aslaksen. Quite so, I understand. Well, I have come
to say that I will back that up by every means in Aslaken, the printer of “People’s Messenger” and
my power. Chairman of the Householders’Association who has
Hovstad (to the DOCTOR). You see! many tradesmen’s friend who will also support Dr.
Complicating Dr. Stockmann. I shall be very grateful to you, but— Stockmann, also gives support to him. Aslaken also
8 TP II/21
Action Aslaksen. Because it may be no bad thing to have ensures him that his support is very prominent as the
us small tradesmen at your back. We form, as it tradesmen is the majority of the town. Thus, if they
were, a compact majority in the town—if we unite their power behind the doctor, they will be more
choose. And it is always a good thing to have the powerful than the authority.
majority with you, Doctor.
Peter Stockmann. … Without moral authority I am
powerless to direct public affairs as seems, to my
judgment, to be best for the common good. And on
The Mayor of the town, Peter Stockmann who is also
that account— and for various other reasons too—it
the doctor’s brother, asks him about his discovery. As
appears to me to be a matter of importance that your
the Mayor knows that the Bath is polluted, the Mayor
report should not be delivered to the Committee. In
asks Dr. Stockmann to cooperate with him in
the interests of the public, you must withhold it.
preventing and solving the problem with authoritative
Complicating Then, later on, I will raise the question and we will do
9 TP II/27 ways. According to the Mayor, the public affair must
Action our best, privately; but, nothing of this unfortunate
be best solved with moral authority in order to maintain
affair not a single word of it—must come to the
the order of the town, thus, the doctor should join the
ears of the public.
authority to solve it. However, the doctor insists in
Dr. Stockmann. I am afraid you will not be able to
spreading about the bad news of the town’s pride, as he
prevent that now, my dear Peter.
is sure that he is with the liberal minded majority.
Peter Stockmann. It must and shall be prevented.
Dr. Stockmann. It is no use, I tell you. There are too
many people that know about it.
98
Peter Stockmann. That know about it? Who? Surely
you don’t mean those fellows on the “People’s
Messenger”?
Dr. Stockmann. Yes, they know. The liberal-
minded independent press is going to see that you
do your duty.
Peter Stockmann. As an officer under the
Committee, you have no right to any individual
opinion.
Dr. Stockmann (amazed). No right? The discovery of the doctor that uncovers the negative
Peter Stockmann. In your official capacity, no. As a condition of the Bath can damage the economic and
private person, it is quite another matter. But as a ethical condition of the town. Thus, the Mayor takes
subordinate member of the staff of the Baths, you further action to prevent the doctor’s plan. As Dr.
have no right to express any opinion which runs Stockmann is the Medical Officer of the Bath who
Complicating
10 TP contrary to that of your superiors. II/29 works under the authority, the Mayor declares that he
Action
Dr. Stockmann. This is too much! I, a doctor, a man has no right to spread any news that disregards with the
of science, have no right to—! authority’s belief. Dr. Stockmann shall obey the
Peter Stockmann. The matter in hand is not simply authority and shall work under their command.
a scientific one. It is a complicated matter, and has However, Dr. Stockmann protests against it and remain
its economic as well as its technical side. willing to express his discovery to the public.
Dr. Stockmann. I don’t care what it is! I intend to
be free to express my opinion on any subject
under the sun.
Peter Stockmann. All imagination—or something Because the doctor is very stubborn and insist on stick
Complicating even worse. The man who can throw out such to his opinion instead of cooperating with the authority
11 TP II/30
Action offensive insinuations about his native town must of the community, the Mayor calls the doctor as an
be an enemy to our community. enemy of the community.
Dr. Stockmann. Oho, Katherine! Just give me time, Even though Katherine, Dr. Stockmann’s wife, does
and you will see how I will carry the war into their not agree with his plan because of family matter, he still
Complicating camp. insists in protesting the authority, and really sure that
12 TP II/31
Action Mrs. Stockmann. Yes, you carry the war into their he can prove his belief that spreading the danger of the
camp, and you get your dismissal—that is what you Bath is part of his duty as a good member of the
will do. community.
99
Dr. Stockmann. In any case I shall have done my
duty towards the public—towards the community,
I, who am called its enemy!
Hovstad. You are a man who deserves to be
People behind “People’s Messenger” who supports Dr.
supported, Doctor.
Stockmann in publishing and spreading the bad
Aslaksen. Yes, there is no denying that the Doctor is a
Complicating condition of the Bath make sure the doctor that he will
13 TP true friend to the town—a real friend to the III/36
Action be supported because he is the friend of the people as
community, that he is.
they believe that what the doctor do will benefit them
Billing. Take my word for it, Aslaksen, Dr.
in protesting against the authority.
Stockmann is a friend of the people.
Peter Stockmann. The Medical Officer of the Baths
The Mayor of the town visit the “People’s Messenger”
is responsible for what happened today.
office and tells them that Dr. Stockmann has sent him a
Hovstad. Indeed? The Doctor?
14 TP Climax III/41 report about the pollution of the Bath. This makes them
Peter Stockmann. He has addressed a kind of report
surprised as the doctor does not consult them before as
to the Baths Committee on the subject of certain
this can fail their plan in attacking the authority.
supposed defects in the Baths.
Peter Stockmann. I have satisfied myself that it is so. The Mayor further explains that if they attack the
If the town wants these very extensive alterations, authority by spreading the defect of the Bath and ask
it will have to pay for them. them to solve that, it is the tradesman and the citizen
15 TP Climax III/43
Aslaksen. But, damn it all—I beg your pardon— that will be disadvantaged. The tradesman shall pay the
this is quite another matter, Mr, Hovstad! tax for the reparation, and during the reparation, the
Hovstad. It is, indeed. Bath shall be closed thus the citizen will lose their job.
Peter Stockmann. With the best will in the world, I
have not been able to come to any other conclusion.
Aslaksen. Well then I must say it is absolutely
unjustifiable of Dr. Stockmann—I beg your Because of the disadvantage they shall pay, people
pardon, Mr. Mayor. behind the “People’s Messenger” are doubtful about
16 TP Climax III/44
Peter Stockmann. What you say is lamentably true, their support towards Dr. Stockmann. Aslaken
Mr. Aslaksen. My brother has unfortunately always considers that the doctor, then, makes the wrong action.
been a headstrong man.
Aslaksen. After this, do you mean to give him your
support, Mr. Hovstad?
100
Dr. Stockmann. Pooh! Do you think the newly
awakened lionhearted people are going to be
frightened by an official hat? There is going to be a
revolution in the town tomorrow, let me tell you. You
thought you could turn me out; but now I shall turn
When Dr.Stockmann comes to “People’s Messenger”
you out—turn you out of all your various offices. Do
office, he finds out that his brother is also there. He
you think I cannot? Listen to me. I have triumphant
proudly declares to the Mayor that he has the people
social forces behind me. Hovstad and Billing will
behind the liberal-minded newspaper to support him in
thunder in the “People’s Messenger,” and Aslaksen
making a revolution in the town against the authority
will take the field at the head of the whole
thus they will attract the whole Householder’
Householders’ Association—
Association. However, they suddenly states that they
Aslaksen. That I won’t, Doctor.
will not support him because they consider that the
Dr. Stockmann. Of course you will—
doctor’s action is inappropriate. However, the doctor
Peter Stockmann. Ah!—may I ask then if Mr.
insists Hovstad on printing the article, and then he will
Hovstad intends to join this agitation?
III/47- spread and defend his opinion by himself.
17 TP Climax Hovstad. No, Mr. Mayor.
48 Unfortunately, Hovstad does not dare and does not
Aslaksen. No, Mr. Hovstad is not such a fool as to
want to do that. Now, most of the people who support
go and ruin his paper and himself for the sake of
him, especially the compact majority that he will think
an imaginary grievance.
will be a power for him turns against him. This leaves
Dr. Stockmann (looking round him). What does this
him alone in defending his discovery of the Bath to
mean?
attack the authority. This turning point marks the
Hovstad. You have represented your case in a false
peripeteia in the Climax of the plot. Dr. Stockman who
light, Doctor, and therefore I am unable to give
at first thinks that he is powerful enough because he has
you my support.
majority of the town behind him, now is all alone and
Billing. And after what the Mayor was so kind as to
he becomes powerless as the support that he get turns
tell me just now, I—
against him.
Dr. Stockmann. A false light! Leave that part of it to
me. Only print my article; I am quite capable of
defending it.
Hovstad. I am not going to print it. I cannot and
will not and dare not print it.
Dr. Stockmann. But not mine. Do you imagine that In his loneliness, Dr. Stockmann does not give up in
18 TP Climax III/49
you can silence me and stifle the truth! You will not defending his action. He insists on doing what he
101
find it so easy as you suppose. Mr. Aslaksen, kindly believes as the truth and the good way to help the
take my manuscript at once and print it as a community. After losing his support and media in
pamphlet—at my expense. I will have four hundred spreading his discovery through the press mass, he still
copies—no, five or six hundred. insists on delivering it orally through a mass meeting of
Aslaksen. If you offered me its weight in gold, I the citizen. He asks for the place to do it, but the Mayor
could not lend my press for any such purpose, does not provide a place for him to do that.
Doctor. It would be flying in the face of public
opinion. You will not get it printed anywhere in
the town.
Dr. Stockmann. Then give it me back.
Hovstad (giving him the MS.). Here it is.
Dr. Stockmann (taking his hat and stick). It shall be
made public all the same. I will read it out at a mass
meeting of the townspeople. All my fellow-citizens
shall hear the voice of truth!
Peter Stockmann. You will not find any public body
in the town that will give you the use of their hall
for such a purpose.
Aslaksen. Not a single one, I am certain.
Mrs. Stockmann. Don’t give in, Thomas. I will tell
the boys to go with you.
Dr. Stockmann may lost his supporter from the
Dr. Stockmann. That is a splendid idea!
Falling “People’s Messenger”, but his wife who at first does
19 TP Mrs. Stockmann. Morten will be delighted; and Ejlif III/49
Action not support him, finally supports him completely to
will do whatever he does.
continue what he has struggled for.
Dr. Stockmann. Yes, and Petra!—and you too,
Katherine!
Finally Dr. Stockmann holds a public meeting in
Dr. Stockmann. —but I got them clear in my mind at
Captain Horster house. Instead of delivering his
last, and then I saw the whole situation lucidly. And
discovery about the sanitary condition of the Bath, he
Falling that is why I am standing here to-night. I have a
20 TP IV/56 proposes another discovery that he considers more
Action great revelation to make to you, my fellow-
important and involves broader sense than the polluted
citizens! I will impart to you a discovery of a far
Bath. His second discovery declares that it is not only
wider scope than the trifling matter that our water
the Bath that is polluted, yet “all the sources of our
102
supply is poisoned and our medicinal Baths are moral life are poisoned and that the whole fabric of our
standing on pestiferous soil. civic community is founded on the pestiferous soil of
A number of voices (shouting). Don’t talk about the falsehood.” According to him, the morality of the
Baths! We won’t hear you! None of that! community is led by the wrong belief, thus, they are not
Dr. Stockmann. I have already told you that what I living in a positive manner and environment. This also
want to speak about is the great discovery I have remarks the true discovery or another anagnorisis in
made lately—the discovery that all the sources of the Falling Action of the plot.
our moral life are poisoned and that the whole
fabric of our civic community is founded on the
pestiferous soil of falsehood.
Dr. Stockmann. And so, with my eyes blinded to the
real facts, I revelled in happiness. But yesterday The night right after Dr. Stockmann is left by his
Falling morning—no, to be precise, it was yesterday supporter from “People’s Messenger” and they turns to
21 TP IV/57
Action afternoon—the eyes of my mind were opened wide, be the supporter of the authority, he realizes that there
and the first thing I realized was the colossal is a gigantic stupidity in the authorities’ mind.
stupidity of the authorities—.
Dr. Stockmann. You may depend upon it—I shall Dr. Stockmann further explains his true discovery or
name them! That is precisely the great discovery I anagnorisis. According to him, “The most dangerous
made yesterday. (Raises his voice.) The most enemy of truth and freedom amongst us is the compact
Falling
22 TP dangerous enemy of truth and freedom amongst IV/58 majority—yes, the damned compact Liberal
Action
us is the compact majority—yes, the damned majority…” He considers that the enemy of truth is the
compact Liberal majority—that is it! Now you compact majority as he has been betrayed for the sake
know! of the compact majority’s expectation.
Dr. Stockmann. Good heavens—of course I am, Mr. Dr. Stockmann believes that the majority has done a
Hovstad! I propose to raise a revolution against the monopoly of the truth. The majority has control the
lie that the majority has the monopoly of the truth. truth spreading among the citizen; the authority only
What sort of truths are they that the majority usually spreads what is believed by their superior and eliminate
Falling supports? They are truths that are of such advanced IV/59- the contrasting belief. Thus, they cannot see the real
23 TP
Action age that they are beginning to break up. And if a truth 60 truth. Dr. Stockmann further explains that the false
is as old as that, it is also in a fair way to become a truth spreading in the town is a lie thus that majority
lie, gentlemen. (Laughter and mocking cries.) Yes, truth is actually a disease spreading in the town. That is
believe me or not, as you like; but truths are by no not the truth that people perceive naturally, yet that is
means as long-lived at Methuselah—as some folk truth constituted by the belief and rule of the authority.
103
imagine. A normally constituted truth lives, let us The citizen then further perceive that as the goodness
say, as a rule seventeen or eighteen, or at most twenty believed through the times, as the appropriate value of
years— seldom longer. But truths as aged as that are their life.
always worn frightfully thin, and nevertheless it is
only then that the majority recognises them and
recommends them to the community as wholesome
moral nourishment. There is no great nutritive value
in that sort of fare, I can assure you; and, as a doctor,
I ought to know. These “majority truths “are like last
year’s cured meat—like rancid, tainted ham; and they
are the origin of the moral scurvy that is rampant in
our communities.
Hovstad. It almost seems as if Dr. Stockmann’s
intention were to ruin the town.
Dr. Stockmann. Yes, my native town is so dear to
me that I would rather ruin it than see it
flourishing upon a lie.
Aslaksen. This is really serious. (Uproar and cat-calls Hovstad considers Dr. Stockmann’s aim in delivering
MRS. STOCKMANN coughs, but to no purpose; his other discovery is to ruin the city. Dr. Stockmann
her husband does not listen to her any longer.) then confess that he prefers to see his town ruined than
Hovstad (shouting above the din). A man must be a to see his town living in a lie. Thus, Hovstad labels him
Falling public enemy to wish to ruin a whole community! IV/63- as a public enemy because he wants to ruin their
24 TP
Action Dr. Stockmann (with growing fervor). What does the 64 community. Dr. Stockman further insists that those
destruction of a community matter, if it lives on who lives in lie should be diminished because that can
lies? It ought to be razed to the ground. I tell you— infect and influence the rest of the city. The crowds of
All who live by lies ought to be exterminated like the citizen attending the meetings further agree that the
vermin! You will end by infecting the whole country; doctor is talking like an enemy of the people.
you will bring about such a state of things that the
whole country will deserve to be ruined. And if things
come to that pass, I shall say from the bottom of my
heart: Let the whole country perish, let all these
people be exterminated!
104
Voices from the crowd. That is talking like an out-
and out enemy of the people!
Aslaksen. By the votes of everyone here except a
tipsy man, this meeting of citizens declares Dr. The whole citizen in the crowd and the authority further
Thomas Stockmann to be an enemy of the people. make a final voting concluding the fate of Dr.
(Shouts and applause.) Three cheers for our ancient Stockmann. The voting declares Dr. Stockmann as an
25 TP Denoudement and honourable citizen community! (Renewed IV/66 enemy of the people. Then, they further declares that
applause.) Three cheers for our able and energetic they are proud of the Mayor because he can stand
Mayor, who has so loyally suppressed the promptings against the enemy of the people even though they are
of family feeling! (Cheers.) The meeting is dissolved. sibling.
(Gets down.)
Dr. Stockmann. From the landlord. Notice to quit.
Mrs. Stockmann. Is it possible? Such a nice man
Dr. Stockmann (looking at the letter). Does not dare As Dr. Stockmann is considered the enemy of the
do otherwise, he says. Doesn’t like doing it, but dare people, the landlord of his house tells him and his
26 TP Denoudement V/68
not do otherwise—on account of his fellow- family to move because the landlord is afraid of the
citizens—out of regard for public opinion. Is in a authority. Thus his family have no place to live.
dependent position—dares not offend certain
influential men.
Petra. Yes. I have been given notice of dismissal.
Mrs. Stockmann. Dismissal? Petra, the daughter of Dr. Stocmann who works as a
27 TP Denoudement Dr. Stockmann. You too? V/69 teacher, is also fired from the school. Thus, she gets no
Petra. Mrs. Busk gave me my notice; so I thought it job.
was best to go at once.
Dr. Stockmann. We won’t live in such a disgusting
28 TP Denoudement hole any longer. Pack up as quickly as you can, V/70 Dr. Stockmann then decides to move from the town.
Katherine; the sooner we can get away, the better.
Dr. Stockmann. Why, has anything gone wrong with
the ship? At first, Dr. Stockmann has a plan to sail to other town
Horster. No; but what has happened is that I am not (New World) with Captain Horster’s who works with
to sail in it. ship-owner. However, Horster is also fired from his
Petra. Do you mean that you have been dismissed job, thus he cannot sail anymore.
from your command?
105
Horster (smiling). Yes, that’s just it.
Petra. You too.
Peter Stockmann (taking a big letter from his pocket).
I have this document for you, from the Baths
Committee.
Dr. Stockmann. My dismissal?
Peter Stockmann. Yes, dating from today. …
Peter Stockmann. I must beg you to understand your The Mayor, Dr. Stockmann’s brother, visits him and
position clearly. For the future you must not count give him a letter of his discharge from the Bath
on any practice whatever in the town. Committee. Moreover, the Mayor also tells him that he
Dr. Stockmann. Devil take the practice! But why are is not allowed to open a practice as a doctor in the town
you so sure of that? because all the townspeople has agreed to not employ
Peter Stockmann. The Householders’ Association is him in the town.
circulating a list from house to house. All right-
minded citizens are being called upon to give up
employing you; and I can assure you that not a
single head of a family will risk refusing his
signature. They simply dare not.
Morten Kiil. Do you know what money I have bought
these shares with? No, of course you can’t know—
but I will tell you. It is the money that Katherine and
Petra and the boys will have when I am gone.
Because I have been able to save a little bit after all,
you know. Dr. Stockmann’s father in law, who at first support him
Dr. Stockmann (flaring up). And you have gone and financially, uses the money to support the doctor in
V/75-
31 TP Denoudement taken Katherine’s money for this! fighting against the authority to invest in Bath. This has
76
Morten Kiil. Yes, the whole of the money is left the doctor, Katherine, and the children with
invested in the Baths now. And now I just want to nothing.
see whether you are quite stark, staring mad,
Thomas! If you still make out that these animals and
other nasty things of that sort come from my tannery,
it will be exactly as if you were to flay broad strips of
skin from Katherine’s body, and Petra’s, and the
106
boys’; and no decent man would do that—unless he
were mad.
Dr. Stockmann (walks about uneasily). If only I were
not so certain about it—! But I am absolutely
convinced that I am right.
Morten Kiil (weighing the pocket-book in his hand).
If you stick to your mad idea, this won’t be worth
much, you know. (Puts the pocket-book in his
pocket.) By using all the money to invest to the Bath, Kiil aims
Dr. Stockmann. But, hang it all! It might be possible to make Dr. Stockmann turns into authority’s side.
for science to discover some prophylactic, I should However, Dr. Stockmann insists on standing by
think—or some antidote of some kind— himself, and he is finally willing to accept the condition
Morten Kiil. To kill these animals, do you mean? that he is labeled as the enemy of the “ignorant, narrow-
Dr. Stockmann. Yes, or to make them innocuous. minded” people of the town. The townspeople has
Morten Kiil. Couldn’t you try some rat’s-bane? ruined his house and broken his window by throwing
Dr. Stockmann. Don’t talk nonsense! They all say it stones.
is only imagination, you know. Well, let it go at that!
Let them have their own way about it! Haven’t the
ignorant, narrow-minded curs reviled me as an
enemy of the people?—and haven’t they been ready
to tear the clothes off my back too?
Morten Kiil. And broken all your windows to pieces!
Dr. Stockmann. Good.—Going away, did you say?
No, I’ll be hanged if we are going away! We are
going to stay where we are, Katherine!
Petra. Stay here?
Mrs. Stockmann. Here, in the town? Finally Dr. Stockmann and his family decide to stay in
33 TP Denoudement Dr. Stockmann. Yes, here. This is the field of V/80 the town, they are allowed to live in Captain Horster’s
battle—this is where the fight will be. This is house.
where I shall triumph! As soon as I have had my
trousers sewn up I shall go out and look for another
house. We must have a roof over our heads for the
winter.
107
Dr. Stockmann (grasping his hand). Thank you, thank
you! That is one trouble over! Now I can set to work
in earnest at once. There is an endless amount of
things to look through here, Katherine! Luckily I
shall have all my time at my disposal; because I have
been dismissed from the Baths, you know.
As Dr. Stockmann is unemployed, he thinks that he has
Mrs. Stockmann (with a sigh). Oh yes, I expected
a lot of time to start new job. He, then, decides to be the
34 TP Denoudement that. V/80
doctor of the poor people freely – the people who does
Dr. Stockmann. And they want to take my practice
not pay tax to the authority.
away from me too. Let them! I have got the poor
people to fall back upon, anyway—those that
don’t pay anything; and, after all, they need me
most, too. But, by Jove, they will have to listen to
me; I shall preach to them in season and out of
season, as it says somewhere.
The Boys. No more school!
Mrs. Stockmann. But, Thomas—
Dr. Stockmann. Never, I say. I will educate you
myself; that is to say, you shan’t learn a blessed
thing— Moreover, Dr. Stockmann also decides to open his own
Morten. Hooray! school that teach about liberal-minded thinking and
Dr. Stockmann. —but I will make liberal-minded will hopefully create liberal-minded students. He build
V/81-
35 TP Denoudement and high minded men of you. You must help me the school in the room in which he delivers his speech
82
with that, Petra. about his discovery to the townspeople. Petra and
Petra. Yes, father, you may be sure I will. Morten will be his first student, and they will seek for
Dr. Stockmann. And my school shall be in the room other 20 students.
where they insulted me and called me an enemy of
the people.
But we are too few as we are; I must have at least
twelve boys to begin with.
Dr. Stockmann. Are you out of your mind, Katherine? When his wife remind him to be careful in teaching the
36 TP Denoudement Drive me out! Now—when I am the strongest man V/82 students because she is afraid that his husband will by
in the town! dragged out by the authority, Dr. Stockmann then
108
Mrs. Stockmann. The strongest—now? claims that he is not afraid because he is the strongest
Dr. Stockmann. Yes, and I will go so far as to say that man in town. He declares that the strongest man in town
now I am the strongest man in the whole world. is the one who lives alone and stands for his belief all
Morten. I say! alone. This has marked the catastrophe of the tragic
Dr. Stockmann (lowering his voice). Hush! You hero. Moreover, in the catastrophe, there is also a final
mustn’t say anything about it yet; but I have made a anagnorisis that marks his tragic ending. The doctor
great discovery. finds that lonely man is strong because they can face all
Mrs. Stockmann. Another one? the tragedy until the catastrophe.
Dr. Stockmann. Yes. (Gathers them round him, and
says confidentially:) It is this, let me tell you—that
the strongest man in the world is he who stands
most alone.
The action takes place in a coastal town in southern
37 TFL Place -/vii The setting of place is in one town in southern Norway.
Norway.
The setting of place is a sitting room of Dr.
Place and (SCENE.—DR. STOCKMANN’S sitting-room. It is
38 TFL I/1 Stockmann’s house that located in southern Norway.
time evening…)
The time is during the evening.
It shows that the day has changed, but the setting of the
Place and (SCENE,—The same. The door into the dining room
39 TFL II/16 place is still the same – in a sitting room of Dr.
time is shut. It is morning...)
Stockmann’s house that located in southern Norway.
(SCENE.—The editorial office of the “People’s It shows that the location of the drama has changed, but
40 TFL Place III/33
Messenger.”...) it is still located within southern Norway.
(SCENE.—A big old-fashioned room in CAPTAIN It shows that the location of the drama haschanged, but
41 TFL Place IV/51
HORSTER’S house...) it is still located within southern Norway.
Place and (SCENE.—DR. STOCKMANN’S study… It is It shows that the day and the location of the drama have
42 TFL V/67
time morning...) changed, but it is still located within southern Norway.
Dr. Stockmann. Indeed I can assure you we have
The language used is in a form of narrative instead of
often been very hard put to it, up there. And now to
verse. It employs figurative language, simile, “live like
Convention be able to live like a lord! Today, for instance, we
43 TFL I/6 a lord.” The use of simile in this words in reflecting the
of Language had roast beef for dinner—and, what is more, for
life condition of Dr. Stockmann and the mayor aims to
supper too. Won’t you come and have a little bit? Or
picture their prosperity.
let me show it you, at any rate? Come here—
109
Peter Stockmann. That is exactly what you never The language used is in a form of narrative instead of
appear to be willing to learn, my dear Thomas. But, verse. It employs literal language as the mayor says
Convention
44 TFL mark my words, some day you will have to suffer I/7 that the doctor will suffer as the impact of his action
of Language
for it— sooner or later. Now I have told you. Good- “some day you will have to suffer for it— sooner or
bye. later.”
verse. It employs figurative language, namely
personification in “This one has seen plenty of bad
Dr. Stockmann (taking a glass) … Now, my friends. I weather with me up north.” The use of
Convention
45 TFL stick to my pipe, you know. This one has seen I/8 personification in this sentence aims to reflect the
of Language
plenty of bad weather with me up north. ... meaning or the power of the pipe used by Dr.
Stockmann. The doctor states that his pipe has
functioned like human. It serves as a friend for him that
‘see’ bad weather together with him.
Billing. Doesn’t know! What do you mean by that? A The language used is in a form of narrative instead of
community is like a ship; everyone ought to be verse. It employs figurative language, namely simile
Convention
46 TFL prepared to take the helm. I/9 in “A community is like a ship;” the use of simile in
of Language
Horster. Maybe that is all very well on shore; but on this dialogue aims to visualize the community that
board ship it wouldn’t work. works as if it sails like a ship.
verse. It employs figurative language, which is simile
Dr. Stockmann. Sailors are like birds of passage;
in “Sailors are like birds of passage;” the use of simile
Convention they feel equally at home in any latitude. And that is
47 TFL I/9 in this expression aims to visualize the sailor’s feeling
of Language only an additional reason for our being all the more
about home. It visualize the sailor’s feeling about home
keen, Hovstad…
as if it is bird that migrates, thus, every place feels like
home for sailor.
verse. It employs figurative language, namely irony in
Convention Petra. And you have all been sitting here enjoying Petra’s line “And you have all been sitting here
48 TFL I/9
of Language yourselves, while I have been out slaving! enjoying yourselves, while I have been out slaving!”
The irony emphasizes that while the man is relaxing at
home, working feels like slaving for Petra.
110
Morten. You must be dreadfully wicked, Petra.
verse. It employs figurative language, namely
Convention Petra. Wicked?
49 TFL I/10 metaphor stating that “working” is a form of
of Language Morten. Yes, because you work so much. Mr.
“punishment for our sins.” Thus, Morten thinks that
Rorlund says work is a punishment for our sins.
because Petra works so much it means that she is sinful.
Petra. There is so much falsehood both at home
Convention and at school. At home one must not speak, and at
50 TFL I/10 verse. It uses literal language stating the tragedy of
of Language school we have to stand and tell lies to the
their life in which they are forced to spread falsehood.
children.
Dr. Stockmann. …It just shows how we men can go verse. It uses figurative language, simile, in “we are
Convention
51 TFL about forming our judgments, when in reality we are I/12 as blind as any moles—” This shows that they
of Language
as blind as any moles— visualize that they are unwilling to recognize the real
problem in forming their judgment.
Dr. Stockmann. We only need to stand by one verse. It uses figurative language, specifically simile
Convention another, and it will all be perfectly easy. The in the sentence “The revolution will be launched like
52 TFL III/36
of Language revolution will be launched like a ship that runs a ship that runs smoothly off the stocks.” This aims
smoothly off the stocks. Don’t you think so? to visualize that the revolution will works in a smooth
movement until it reaches its aim.
Billing. Do you think I am not quite aware of that?
verse. It uses figurative language, specifically simile
My object is precisely not to get it. A slight of that
in the clause “A slight of that kind stimulates a man’s
kind stimulates a man’s fighting power—it is like
Convention fighting power—it is like getting a supply of fresh
53 TFL getting a supply of fresh bile—and I am sure one III/38
of Language bile…” This shows that Billing want to visualize that
needs that badly enough in a hole-and-corner place
counting on the upper position is not a good thing as it
like this, where it is so seldom anything happens to
is considered like a fuel for human’s fresh bile that can
stir one up.
stimulate a man’s emotion.
Mrs. Stockmann. Well, one would not give you credit
for The language used is in a form of narrative instead of
Convention
54 TFL much thought for your wife and children today; if you III/46 verse. It uses literal language stating that what the
of Language
had had that, you would not have gone and dragged doctor does will lead their family info misfortune.
us all into misfortune.
111
Dr. Stockmann. … Truth and the People will win the verse. It uses figurative language, which is simile in
fight, you may be certain! I see the whole of the the sentence “I see the whole of the broad-minded
Convention
55 TFL broad-minded middle class marching like a III/46 middle class marching like a victorious army—!”
of Language
victorious army—! (Stops beside a chair.) What the This visualize that the broad-minded middle class of the
deuce is that lying there? townspeople as an army that will successfully fight the
authority.
Dr. Stockmann. I have already told you that what I
want to speak about is the great discovery I have
verse. It uses figurative language, which is metaphor
Convention made lately—the discovery that all the sources of our
56 TFL IV/56 stating that the ideology that become the basic
of Language moral life are poisoned and that the whole fabric of
foundation of the civic community as “pestiferous soil
our civic community is founded on the pestiferous
of falsehood” poisoning the morality.
soil of falsehood.
Dr. Stockmann. Wait a bit! I do not think anyone will
charge me with having forgotten my native town up
there. I was like one of the cider-ducks brooding on
verse. It uses figurative language, specifically simile
its nest, and what I hatched was the plans for these
in the sentence “I was like one of the cider-ducks
Baths. (Applause and protests.) And then when fate
Convention brooding on its nest, and what I hatched was the
57 TFL at last decreed for me the great happiness of coming IV/57
of Language plans for these Baths.” This shows that Dr. Stockmann
home again—I assure you, gentlemen, I thought I had
visualizes himself as “cider-ducks brooding on its
nothing more in the world to wish for. Or rather, there
nest” that lives to hatch his discovery about “the plans
was one thing I wished for— eagerly, untiringly,
for these Baths”
ardently—and that was to be able to be of service to
my native town and the good of the community.
Dr. Stockmann. … I can’t stand leading men at any The language used is in a form of narrative instead of
price!—I have had enough of such people in my time. verse. It uses figurative language, specifically simile
They are like billy-goats on a young plantation; in the sentence “They are like billy-goats on a young
Convention
58 TFL they do mischief everywhere. They stand in a free IV/57 plantation; they do mischief everywhere.” This
of Language
man’s way, whichever way he turns, and what I shows that the doctor visualizes the leading men as
should like best would be to see them exterminated “billy-goats on a young plantation” that always do
like any other vermin—.(Uproar.) bad behavior.
112
Dr. Stockmann. … Yes, believe me or not, as you verse. It uses figurative language, specifically simile
Convention
59 TFL like; but truths are by no means as long-lived as IV/59 in “…truths are by no means as long-lived as
of Language
Methuselah—as some folk imagine. Methuselah” This visualizes truth’s glory that stands
as long as “Methuselah” who lives for 969 years.
Dr. Stockmann. … These “majority truths “are like verse. It uses figurative language, namely simile in
Convention last year’s cured meat—like rancid, tainted ham; “These “majority truths” are like last year’s cured
60 TFL IV/60
of Language and they are the origin of the moral scurvy that is meat—like rancid, tainted ham” This portrays
rampant in our communities. “majority truth” as a smelly rotten meat that becomes
the epidemic threatening the town’s morality.
A Citizen (calls out). Are you going to make out we
are dogs, now?
Another Citizen. We are not animals, Doctor!
verse. It uses figurative language, which is metaphor
Dr. Stockmann. Yes but, bless my soul, we are, my
in “It is true we are the finest animals anyone could
friend! It is true we are the finest animals anyone
Convention wish for; but, even among us, exceptionally fine
61 TFL could wish for; but, even among us, exceptionally IV/62
of Language animals are rare. There is a tremendous difference
fine animals are rare. There is a tremendous
between poodle-men and cur-men.” It states that
difference between poodle-men and cur-men. And
man is comparable with poodle and cur based on their
the amusing part of it is, that Mr. Hovstad quite
brain.
agrees with me as long as it is a question of
fourfooted animals—
Dr. Stockmann (with growing fervor). What does the
destruction of a community matter, if it lives on lies?
It ought to be razed to the ground. I tell you— All The language used is in a form of narrative instead of
who live by lies ought to be exterminated like verse. It uses figurative language, namely simile in
Convention vermin! You will end by infecting the whole country; “All who live by lies ought to be exterminated like
62 TFL IV/64
of Language you will bring about such a state of things that the vermin!” Dr. Stockmann calls people who lives with
whole country will deserve to be ruined. And if things lies around them (the townspeople obeying the
come to that pass, I shall say from the bottom of my authority) as “vermin” that should be killed.
heart: Let the whole country perish, let all these
people be exterminated!
113
Voices from the crowd. That is talking like an out-and
out enemy of the people!
Morten Kiil. (going up to DR. STOCKMANN). Well,
Convention verse. It uses figurative language, namely metaphor in
63 TFL Stockmann, do you see what these monkey tricks of IV/65
of Language the words “monkey tricks.” Kiil called Dr.
yours lead to?
Stockmann’s discovery as “monkey tricks.”
verse. It uses figurative language, namely simile in
Dr. Stockmann. Don’t swear to that, Katherine. To be
“To be called an ugly name may have the same effect
called an ugly name may have the same effect as a
as a pin scratch in the lung.” showing that the doctor
Convention pin scratch in the lung. And that hateful name—I
64 TFL V/70 feels pain that as painful as “a pin scratch in the lung”,
of Language can’t get quit of it. It is sticking here in the pit of
and in “It is sticking here in the pit of my stomach,
my stomach, eating into me like a corrosive acid.
eating into me like a corrosive acid.” showing that the
And no magnesia will remove it.
doctor cannot forget the pain and the pain has destroyed
him like “corrosive acid.”
Convention Hovstad. It is a natural law; every animal must fight verse. It uses figurative language, namely metaphor in
65 TFL V/79
of Language for its own livelihood. the words “every animal.” Hovstad compares human
as animal.
Dr. Stockmann. Well, look here—I will explain! It is
the party leaders that must be exterminated. A party
verse. It uses figurative language, namely simile in
Convention leader is like a wolf, you see—like a voracious
66 TFL V/81 “A party leader is like a wolf, you see—like a
of Language wolf. He requires a certain number of smaller victims
voracious wolf.” Dr. Stockmann compares party
to prey upon every year, if he is to live. Just look at
leader as a greedy wolf that always look for victim.
Hovstad and Aslaksen!
114
Table 2: Traits of Tragic Hero in Ibsen’s Enemy of the People
No: Datum Number

Category: Background of the protagonist Source of the tragic force, Tragic Act commited by the tragic hero
Category
No Back Expression Act Meaning
Source Act
ground
Peter Stockmann. So I imagined. I hear my
Thomas Stockmann becomes one of the contributor
brother has become a prolific contributor to the
of a newspaper called “People’s Messeger.” By this,
“People’s Messenger.”
1 v I/2 it can be inferred that he is a common man. Thus, it
Hovstad. Yes, he is good enough to write in the
does not meet the traits of Greek tragic hero that
“People’s Messenger” when he has any home truths
comes from noble character.
to tell.
Hovstad. Yes, Thomas is really indefatigable when
it is a question of the Baths. Dr. Stockmann is the Medical Officer of the Bath. In
Peter Stockmann. Well remember, he is the Greek sense, it does not meet the trait of tragic hero
2 v I/3
Medical Officer to the Baths. because he does not come from noble man, instead,
Hovstad. Yes, and what is more, they owe their Dr. Stockmann is a common people.
existence to him.
Mrs. Stockmann. Surely it is not worth bothering
about! Cannot you and Thomas share the credit Dr. Stockmann is the brother of the Mayor of the
as brothers? town – Peter Stockmann. It also does not meet the
3 v I/4
Peter Stockmann. I should have thought so; but trait of tragic hero in the Greek Tragedy because Dr.
apparently some people are not satisfied with a Stockmann is a common people.
share.
Peter Stockmann. You have an ingrained According to the Mayor, Dr. Stockmann is an
tendency to take your own way, at all events; impulsive person as he mostly takes every problem
and, that is almost equally inadmissible in a well in his own way without thinking and consulting it.
4 v v I/7
ordered community, The individual ought He never try to introspect himself about this flaw.
undoubtedly to acquiesce in subordinating himself Hence, this marks the hamartia of the tragic hero
to the community—or, to speak more accurately, to which is being impulsive and not willing to learn
115
the authorities who have the care of the about his flaw. His impulsiveness later becomes his
community’s welfare. internal force of his tragic action that influence his
Dr. Stockmann. Very likely. But what the deuce has further decision, act and idealism.
all this got to do with me?
Peter Stockmann. That is exactly what you never
appear to be willing to learn, my dear Thomas.
But, mark my words, some day you will have to
suffer for it— sooner or later. Now I have told you.
Good-bye.
Dr. Stockmann (waving the letter). Well, now the
town will have something new to talk about, I can
tell you! Dr. Stockmann as a doctor and a Medical Officer
Billing. Something new? that works for the Bath discovers something about
5 v Mrs. Stockmann. What is this? I/12 the recent condition of the Bath. This discovery
Dr. Stockmann. A great discovery, Katherine. marks the traits of anagnorisis commited by the
Hovstad. Really? tragic hero.
Mrs. Stockmann. A discovery of yours?
Dr. Stockmann. A discovery of mine …
Dr. Stockmann. The whole Bath establishment is
a whited, poisoned sepulcher, I tell you—the The tragic hero discovers the defect of the Bath that
gravest possible danger to the public health! All may harms the visitors. He commits an act of
6 v the nastiness up at Molledal, all that stinking filth, is I/13 discovering the truth or anagnorisis behind normal
infecting the water in the conduit- condition through his daily activity as a man of
pipes leading to the reservoir; and the same cursed, science.
filthy poison oozes out on the shore too—
Hovstad. And what do you propose to do now,
Doctor? Dr. Stockmann insists on doing further action
Dr. Stockmann. To see the matter put right, regarding his discovery because if it is left that way,
7 v naturally. I/13 the Bath will be wasted. It marks the hubris of the
Hovstad. Can that be done? tragic hero that he belief that he must do something
Dr. Stockmann. It must be done. Otherwise the to solve this.
Baths will be absolutely useless and wasted. But we
116
need not anticipate that; I have a very clear idea
what we shall have to do.
Dr. Stockmann. Well, to your grandfather, then.
The old boy will have something to be astonished Dr. Stockmann’s is prideful or arrogant that people
at! I know he thinks I am cracked—and there are will be astonished by him because of his discovery.
lots of other people who think so too, I have This is influenced by his arrogance and that
8 v v noticed. But now these good folks shall see—they I/14 becomes the hamartia or tragic flaws leading him
shall just see! (Walks about, rubbing his hands.) to have hubris. His pride and arrogance becomes his
There will be a nice upset in the town, Katherine; internal force of tragic act as it can influence his
you can’t imagine what it will be. All the conduit- decision, act, and hubris.
pipes will have to be relaid.
Dr. Stockmann. Thank you, thank you, my dear
Dr. Stockmann believes that he is doing a good
fellows! I feel tremendously happy! It is a splendid
service towards his town and the townspeople, he
9 v thing for a man to be able to feel that he has I/15
believes that he has devoted himself to his native
done a service to his native town and to his
town. This is a pride or hubris possessed by him.
fellow-citizens. Hurrah, Katherine!
Dr. Stockmann. You will see he won’t like it’s This datum shows that Dr. Stockmann is too sure
10 v having been I, and not he, that made the I/16 that his brother will envy him about his discovery.
discovery. This becomes his hubris as he shows a pride
Morten Kiil. I might have known it! It must get Dr. Stockmann is forced to publish his discovery in
into the papers. You know how to do it, Thomas! the newspaper by his father in law because his father
Set your wits to work. Now I must go. in law has a certain resentment towards the whole
11 v Dr. Stockmann. Won’t you stay a little while? I/18 town. Thus, the doctor shall a revenge to the town
Morten Kiil. No, I must be off now. You keep up and the authority in the name of his father in law.
this game for all it is worth; you won’t repent it, By this, the doctor is influenced by external force
I’m damned if you will! in doing his tragic action.
Hovstad. From your point of view, as a doctor and a Hovstad convinces Dr. Stockmann that there is not
man of science, this affair of the water supply is an merely a problem about the Bath, but there is also
isolated matter. I mean, you do not realise that it another problem involved. One of them is the
12 v involves a great many other things. I/19 officials that work for their own benefit. He says
… that the officials use the town’s interest. This
Dr. Stockmann. What the deuce are you driving at, becomes the external force that influence the
Hovstad? doctor’s decision in committing tragic act.
117
Hovstad. The whole of the town’s interests have,
little by little, got into the hands of a pack of
officials.
Aslaksen. Because it may be no bad thing to have
us small tradesmen at your back. We form, as it
were, a compact majority in the town—if we
Dr. Stockmann is supported by the community of
choose. And it is always a good thing to have the
the tradesman and the head of the House Holder
majority with you, Doctor.
Association that form the compact majority of the
…
13 v I/21 town. Dr. Stockmann is led and urged by the
Aslaksen. Oh, it may be very desirable, all the same.
compact majority to use his discovery to stand
I know our local authorities so well; officials are not
against the authority. This becomes the external
generally very ready to act on proposals that come
force of the tragic hero in doing his hamartia.
from other people. That is why I think it would
not be at all amiss if we made a little
demonstration.
Aslaksen. The authorities are somewhat slow to
Dr. Stockmann is urged by the people behind
move, Doctor. Far be it from me to seem to blame
“People’s Messenger” to fight against the authority
14 v them— II/22
using his article. It is an external force for the tragic
Hovstad. We are going to stir them up in the
hero that can lead him to commit hamartia.
paper tomorrow, Aslaksen.
Hovstad. That is why I want to seize this
opportunity, and try if I cannot manage to put a Dr. Stockmann is led by the people behind
little virility into these well-intentioned people “People’s Messenger” that want to use him as a
15 v for once. The idol of Authority must be shattered II/23 tools to fight against the authority using his article
in this town. This gross and inexcusable blunder and his discovery. It is an external force for the
about the water supply must be brought home to tragic hero that can lead him to commit hamartia.
the mind of every municipal voter.
Dr. Stockmann. I should think it was a good Dr. Stockmann is prideful that he is doing a good
thing. (Walks up and down rubbing his hands.) By thing for the town, and after he gets the support
16 v Jove, it’s a fine thing to feel this bond of II/24 from the press, he considers that it is because of the
brotherhood between oneself and one’s fellow brotherhood of the citizen. This is a hubris causing
citizens! him into false accusation.
118
Petra. And to be able to do so much that is good
and useful, father!
Dr. Stockmann. And for one’s own native town
into the bargain, my child!
Peter Stockmann. As usual, you employ violent
expressions in your report. You say, amongst
other things, that what we offer visitors in our Baths
is a permanent supply of poison.
Dr. Stockmann. Well, can you describe it any
other way, Peter? Just think—water that is Dr. Stockmann is impetuous because he does not
poisonous, whether you drink it or bathe in it! And think further before doing something. He does not
this we offer to the poor sick folk who come to us try to seek for the proper solution before doing
trustfully and pay us at an exorbitant rate to be further steps. Moreover, he is not witty that he
made well again! mostly use abrupt language in writing his report to
17 v v Peter Stockmann. And your reasoning leads you to II/25 the Mayor. This is a form of hamartia or tragic
this conclusion, that we must build a sewer to draw flaws possessed by him that may later on motivate
off the alleged impurities from Molledal and must his tragic act. His impetuousness later becomes his
relay the water conduits. internal force of tragic action he committed as it
Dr. Stockmann. Yes. Do you see any other way will influence the effectiveness of his action and
out of it? I don’t. further decision.
Peter Stockmann. I made a pretext this morning to
go and see the town engineer, and, as if only half
seriously, broached the subject of these proposals as
a thing we might perhaps have to take under
consideration some time later on.
Peter Stockmann’s question represents Dr.
Stockmann’s traits of narrow mindedness and
Peter Stockmann (after a short pause). You are an carelessness because it can be inferred that he is not
extraordinarily independent man, Thomas. Have a person who consider the effect his action. Thus, it
18 v v II/27
you given no thought to the consequences this is hamartia possessed by him that marks his
may have for yourself? incautiousness. These nature later become his
internal source of tragic action as it will influence
his action and hubris.
119
Dr. Stockmann. Well, but is it not the duty of a
Dr. Stockmann who tries to deliver his opinion and
citizen to let the public share in any new ideas he
discovery to the public in town is not allowed to do
may have? II/27-
19 v it because the public must stick to the old
Peter Stockmann. Oh, the public doesn’t require any 28
established idea. This becomes the external force
new ideas. The public is best served by the good,
that influence his tragic action.
old established ideas it already has.
Peter Stockmann. Yes, Thomas, you are an
Peter Stockmann states that Dr. Stockmann is an ill-
extremely cantankerous man to work with—I know
judged person because he does not think or
that to my cost. You disregard everything that
considers carefully that he owes the Mayor for his
20 v you ought to have consideration for. You seem II/28
job. Thus, this becomes the hamartia of the doctor.
completely to forget that it is me you have to
His ill judgment becomes his internal force of
thank for your appointment here as medical
tragic act because it will influence his decision.
officer to the Baths.
Peter Stockmann. To my mind the whole thing
only seems to mean that you are seeking another
outlet for your combativeness. You want to pick
a quarrel with your superiors— an old habit of
Peter Stockmann elaborates that Dr. Stockmann is
yours. You cannot put up with any authority
very combative. He cannot respect his superior and
over you. You look askance at anyone who
never obey his superior, as he regards his superior as
occupies a superior official position; you regard
21 v v II/28 his rival. This marks the hamartia of the tragic
him as a personal enemy, and then any stick is
hero. Moreover, his combativeness will also become
good enough to beat him with. But now I have
his internal force of tragic act as it will influence
called your attention to the fact that the town’s
his hubris, further action and decision.
interests are at stake—and, incidentally, my own
too. And therefore, I must tell you, Thomas, that
you will find me inexorable with regard to what I
am about to require you to do.
Peter Stockmann. In your official capacity, no. As a
As a member of the staff of the Bath, Dr.
private person, it is quite another matter. But as a
Stockmann must work and act according to the
22 v subordinate member of the staff of the Baths, II/29
command of the superior. This is an external force
you have no right to express any opinion which
that leads him to commits a hubris or pride.
runs contrary to that of your superiors.
120
The mayor tries to explain that his discovery may
influence other municipal life of the town if it is
published. Dr. Stokmann does not want to consider
Dr. Stockmann. I don’t care what it is! I intend to about it, he is ignorant about the risk it may take if
23 v v be free to express my opinion on any subject under II/29 he did what he is about to do. This portray the
the sun. hamartia of the tragic hero that he is mindless and
ignorant. His ignorance becomes the internal force
of his tragic action as it will influence his further
action and hubris.
Dr. Stockmann’s intention for spreading his
Peter Stockmann. I forbid it—I, your chief; and if discovery to the public is prohibited by the mayor.
24 v II/29
I forbid it, you have to obey. This becomes external force that makes the
protagonist do further tragic action.
Dr. Stockmann. Very well; but in that case I shall Dr. Stockmann is overconfident and prideful about
use my pen against you. I stick to what I have his discovery and decision because he thinks that he
25 v II/30
said; I will show that I am right and that you are is the one who is right. Thus, this marks the hubris
wrong. And what will you do then? possessed by him.
Dr. Stockmann. It is I who have the real good of
Peter Stockmann labels Dr. Stockmann as a
the town at heart! I want to lay bare the defects
stubborn person because he insists that he is doing
that sooner or later must come to the light of day. I
the good thing for the town without considering
will show whether I love my native town.
other factors. He insists in resettling the Bath that
Peter Stockmann. You, who in your blind
has been the major source of life in the town. This
26 v v obstinacy want to cut off the most important source II/30
stubbornness marks the hamartia of the doctor and
of the town’s welfare?
this motivates his hubris or his excessive pride of
Dr. Stockmann. The source is poisoned, man! Are
his action. By this, his stubbornness becomes his
you mad? We are making our living by retailing
internal force of his tragic action.
filth and corruption! The whole of our flourishing
municipal life derives its sustenance from a lie!
Dr. Stockmann. Do you imagine that in a free
Dr. Stockmann is prideful of his allies that support
country it is no use having right on your side? You
27 v II/31 his discovery and plan in protesting about the Bath.
are absurd, Katherine. Besides, haven’t I got the
This is a hubris possessed by him.
liberal-minded, independent press to lead the
121
way, and the compact majority behind me? That
is might enough, I should think!
Mrs. Stockmann. But towards your family,
Thomas? Towards your own home! Do you think
that is doing your duty towards those you have
Dr. Stockmann is forced by his wife to prevent his
to provide for?
II/31- action for the sake of their family. It is also a part of
28 v Petra. Ah, don’t think always first of us, mother.
32 external force of the tragic hero to commit tragic
Mrs. Stockmann. Oh, it is easy for you to talk; you
act.
are able to shift for yourself, if need be. But
remember the boys, Thomas; and think a little of
yourself too, and of me—
Hovstad and Billing is talking about the doctor’s
Hovstad. Don’t you think the Doctor hits them
word’s choices in writing the report about the Bath.
pretty hard?
The doctor employs abrupt words that is not suitable
29 v Billing. Hard? Bless my soul, he’s crushing! Every III/33
to be used in report writing or article. This is the
word falls like—how shall I put it?—like the
hamartia of the protagonist. This is influenced by
blow of a sledgehammer.
his combativeness.
Dr. Stockmann. Well, they will get the worst of it
with
me; they may assure themselves of that. I shall Dr. Stockmann believes that “People’s Messenger”
consider is his main weapon to threat the authority, as the
30 v the “People’s Messenger” my sheet-anchor now, III/35 newspaper will publish his article everyday. This
and every portray that the protagonist possesses pride or
single day I will bombard them with one article hubris.
after another,
like bombshells—
Dr. Stockmann is selfish and stubborn. He insists
that he is doing a big thing for his town and his
Dr. Stockmann. Who the devil cares whether
existence. It marks the hamartia possessed by him
there is any risk or not! What I am doing, I am
31 v v III/36 that leads him into hubris or disrespect for the
doing in the name of truth and for the sake of my
natural order. His selfishness becomes the internal
conscience.
force that influence his tragic act, decision, and
hubris.
122
Dr. Stockmann admits that he is impatient. Thus, his
Dr. Stockmann. No, no; but I am impatient, as you impatience is his hamartia that influence his hubris.
32 v v can understand. I shall not know a moment’s III/45 By this, his impatience later becomes an internal
peace of mind until I see it in print. force of his tragic action as this will influence every
decision and step he makes.
Dr. Stockmann. … Good Lord, think of all the D. Stockmann only considers about his image
good souls who think so highly of me—! towards people who honors him. By this, it can be
33 v III/45
Aslaksen. Yes, our townsfolk have had a very high seen that it is a form of his hubris or excessive
opinion of you so far, Doctor. pride about himself.
Mrs. Stockmann. It is just what you do. I know
Mrs. Stockmann labels her husband as a person who
quite well you have more brains than anyone in
is easily tricked or duped. This shows Dr.
the town, but you are extremely easily duped,
34 v v III/46 Stockmann’s hamartia or flaw. This nature
Thomas. (To Hovstad.) Please do realise that he
becomes an internal force that influence his tragic
loses his post at the Baths if you print what he has
action, decision.
written.
Dr. Stockmann. Rubbish, Katherine!—Go home and
Dr. Stockmann is overconfident and too prideful of
look after your house and leave me to look after the
his allies and ideas. He believes that he is behind the
community. How can you be so afraid, when I am
truth so that he will win the battle. The
so confident and happy? (Walks up and down,
overconfidence is the hamartia or tragic flaws that
35 v v rubbing his hands.) Truth and the People will win III/46
leads him into his hubris. Thus, his overconfidence
the fight, you may be certain! I see the whole of
becomes an internal force that influence his tragic
the broad-minded middle class marching like a
action, decision, and hubris.
victorious army—! (Stops beside a chair.) What
the deuce is that lying there?
Dr. Stockmann is going to print his article about his
Hovstad. I am not going to print it. I cannot and will discovery, but his former allies do not want to print
not and dare not print it. it for him because they have turn against him and
Dr. Stockmann. You dare not? What nonsense!— turn into the authority’s side because by doing so,
36 v v you are the editor; and an editor controls his paper, I III/48 they have not to pay the money to fix the Bath.
suppose! However, they say that the one who control
Aslaksen. No, it is the subscribers, Doctor. newspaper is public opinion – not directly mentions
Peter Stockmann. Fortunately, yes. the authority. Thus, if the majority of the public
does not want to read an article, the newspaper will
123
Aslaksen. It is public opinion—the enlightened not publish it. This becomes the external force of
public—householders and people of that kind; Dr. Stockmann in commiting tragic act as this can
they control the newspapers. cause the reversal of fortune or peripeteia that he
Dr. Stockmann (composedly). And I have all these once has.
influences against me?
Aslaksen. Yes, you have. It would mean the
absolute ruin of the community if your article
were to appear.
After the mayor explains the impact of what the
doctor will do, all people who at first support the
Mrs. Stockmann. But this is too shameful! Why
37 v III/49 doctor turns against him and he lost his support.
should every one turn against you like that?
This is a peripeteia, or reversal of fortune of the
tragic hero.
Dr. Stockmann. Bravely said, Katherine! It shall be
made public—as I am a living soul! If I can’t
hire a hall, I shall hire a drum, and parade the This remarks the excessive pride or hubris of Dr.
38 v town with it and read it at every street-corner. III/49 Stockmann towards his discovery and further action
Peter Stockmann. You are surely not such an as he is so enthusiastic in spreading it.
errant fool as that!
Dr. Stockmann. Yes, I am.
After Katherine turns into the doctor’s side and her
Dr. Stockmann (puts his arms round her and kisses
allies turns against him, Dr. Stockmann is still so
her).Thank you, my dear! Now you and I are going
prideful about his action. He claims that he is a
to try a fall, my fine gentlemen! I am going to see
39 v v III/49 patriot that is going to save the society and
whether a pack of cowards can succeed in
underestimate the authority. This marks the
gagging a patriot who wants to purify society!
hamartia and hubris possessed by him. His pride
(He and his wife go out by the street door.)
later becomes an internal force of his tragic action.
Hovstad. It has cost me a severe struggle to break Hovstad proposes that Dr. Stockmann is arrogant
with a man in whose house I have been lately a about his discovery and he is a person that act
frequent guest—a man who till today has been according to his feeling instead of his mind. This
40 v v IV/55
able to pride himself on the shows the doctor’s hamartia. His arrogance
undivided goodwill of his fellow-citizens—a man becomes an internal force influencing his tragic
whose only, or at all events whose essential, action, decision, and hubris
124
failing is that he is swayed by his heart rather
than his head.
Hovstad. But my duty to the community obliged
me to break with him. And there is another
Hovstad who suddenly turns against Dr. Stockmann
consideration that impels me to oppose him, and, as
and becomes the allies of the authority does his
far as possible, to arrest him on the perilous course
action in leaving Dr. Stockmann because he claims
he has adopted; that is, consideration for his
41 v IV/55 it’s his duty to the community. It is community that
family—
causes him to do that. Thus, this portray the
Dr. Stockmann. Please stick to the water-supply and
external force that cause tragic action in the
drainage!
protagonist life.
Hovstad. —consideration, I repeat, for his wife and
his children for whom he has made no provision.
Dr. Stockmann. I have already told you that what I
After Dr. Stockmann loses his supporter, he then
want to speak about is the great discovery I have
have another discovery. Broader than previous
made lately—the discovery that all the sources of
42 v IV/56 discovery regarding poisonous physical facilitate of
our moral life are poisoned and that the whole
the town. This anagnorisis is more about the
fabric of our civic community is founded on the
morality of the town that is poisonous.
pestiferous soil of falsehood.
Dr. Stockmann. Wait a bit! I do not think anyone
will charge me with having forgotten my native
town up there. I was like one of the cider-ducks
brooding on its nest, and what I hatched was the
plans for these Baths. (Applause and protests.) And Until he feels his reversal of fortune, he keep
then when fate at last decreed for me the great insisting that he is doing a service for his own native
43 v IV/57
happiness of coming home again—I assure you, town and the community. This marks his hubris or
gentlemen, I thought I had nothing more in the his excessive pride towards his action.
world to wish for. Or rather, there was one thing I
wished for—eagerly, untiringly, ardently—and
that was to be able to be of service to my native
town and the good of the community.
Dr. Stockmann. And so, with my eyes blinded to the Dr. Stockmann proudly states that everything
44 v real facts, I revelled in happiness. But yesterday IV/57 happening because of the colossal stupidity of the
morning—no, to be precise, it was yesterday community. This marks the hubris of his tragic life.
125
afternoon—the eyes of my mind were opened wide,
and the first thing I realized was the colossal
stupidity of the authorities—.
Dr. Stockmann. Very well, gentlemen, I will say no
more about our leading men. … It is not they who
are the most dangerous enemies of truth and
As he is being ridiculed by the compact majority,
freedom amongst us.
Dr. Stockmann thus bravely and proudly states that
Shouts from all sides. Who then? Who is it? Name!
the compact Liberal majority is full of lies that it
Name!
becomes the dangerous enemy of truth and freedom.
45 v Dr. Stockmann. You may depend upon it—I shall IV/58
Thus, it is not the authority that becomes the enemy
name them! That is precisely the great discovery I
of truth and freedom, instead it is the compact
made yesterday.
majority who obey the authority. This is the hubris
(Raises his voice.) The most dangerous enemy of
of his tragic traits.
truth and freedom amongst us is the compact
majority—yes, the damned compact Liberal
majority—that is it! Now you know!
Dr. Stockmann. Never, Mr. Aslaksen! It is the
Dr. Stockmann claims that he cannot freely express
majority in our community that denies me my
his discovery and opinion because of the majority of
freedom and seeks to prevent my speaking the
46 v IV/59 the community because the majority has the right to
truth.
decide. This becomes the external force that cause
Hovstad. The majority always has right on its
him to do further tragic action.
side.
Dr. Stockmann. … Oh, yes—you can shout me
down, I know! But you cannot answer me. The Dr. Stockmann insists that the majority is wrong and
majority has might on its side—unfortunately; the right one is him and other scattered individuals.
47 v IV/59
but right it has not. I am in the right—I and a This also becomes the hubris of the doctor because
few other scattered individuals. The minority is it shows excessive pride.
always in the right. (Renewed uproar.)
Dr. Stockmann. Have you gone clean out of your Dr. Stockmann always confidently states that it is
senses, Peter? I am sticking as closely to my subject the compact majority that poisons the town and the
48 v IV/60
as I can; for my subject is precisely this, that it is moral life of the townspeople. This is, again, a
the masses, the majority—this infernal compact hubris of the tragic character.
126
majority—that poisons the sources of our moral
life and infects the ground we stand on.
Dr. Stockmann (when the noise has somewhat
abated). Be reasonable! Can’t you stand hearing
Dr. Stockman believes that he is in the right side,
the voice of truth for once? I don’t in the least
and he proudly insists Mr. Hovstad that he is right.
49 v expect you to agree with me all at once; but I must IV/61
This trait signify the hubris of the tragic hero as he
say I did expect Mr. Hovstad to admit I was
is being over confident.
right, when he had recovered his composure a
little. He claims to be a freethinker—
Dr. Stockmann. —but because he thinks what his
superiors think, and holds the same opinions as
they, People who do that are, intellectually
speaking, common people; and, that is why my
magnificent brother Peter is in reality so very far
from any distinction—and consequently also so far
from being liberal-minded.
Peter Stockmann. Mr. Chairman—! Dr. Stockmann claims that people who do the same
Hovstad. So it is only the distinguished men that are doctrine as their superior do are common people.
liberal-minded in this country? We are learning Thus, he claims that this kind of action is not broad-
something quite new! (Laughter.) minded and has no moral value because the long
Dr. Stockmann. Yes, that is part of my new IV/62- established doctrine usually does not in accordance
50 v
discovery too. And another part of it is that 63 with the morality and broad-mindedness. Further,
broad-mindedness is almost precisely the same Dr. Stockmann claims that the building of the Baths
thing as morality. That is why I maintain that it is in the town is similar like living in lies because it is
absolutely inexcusable in the “People’s Messenger” poisonous. These ideas confirm the excessive pride
to proclaim, day in and day out, the false doctrine or hubris of the tragic hero.
that it is the masses, the crowd, the compact
majority, that have the monopoly of broad-
mindedness and morality—and that vice and
corruption and every kind of intellectual
depravity are the result of culture, just as all the
filth that is draining into our Baths is the result
of the tanneries up at Molledal! … And there
127
must be a plentiful lack of oxygen in very many
houses in this town, I should think, judging from
the fact that the whole compact majority can be
unconscientious enough to wish to build the
town’s prosperity on a quagmire of falsehood
and deceit.
Aslaksen. Both as a citizen and as an individual, I
am profoundly disturbed by what we have had
to listen to. Dr. Stockmann has shown himself in
a light I should never have dreamed of. I am After Dr. Stockmann delivers his discovery and
unhappily obliged to subscribe to the opinion which opinion that does not meet the belief of the authority
I have just heard my estimable fellow citizens utter; and major public towards the whole townspeople, he
51 v IV/64
and I propose that we should give expression to that is claimed as the enemy of the people. This becomes
opinion in a Denoudement. I propose a an external force that leads his tragic ending after
Denoudement as follows: “This meeting declares commiting tragic act.
that it considers Dr. Thomas Stockmann,
Medical Officer of the Baths, to be an enemy of
the people.”
Hovstad declares that Dr. Stockmann is stubborn. It
informs the hamartia of the protagonist. His
52 v v Hovstad. Oh, you know how headstrong he is. IV/65
stubbornness becomes his internal force of tragic
action.
Dr. Stockmann. No back ways for me, Katherine,
Dr. Stockmann does not want to forgive the
(Raising his voice.) You will hear more of this
townspeople because they have insulted him. Thus,
enemy of the people, before he shakes the dust off
53 v v IV/66 it marks his hamartia as he is unforgiving. His
his shoes upon you! I am not so forgiving as a
unforgiving nature becomes an internal force
certain Person; I do not say: “I forgive you, for
influencing his tragic decision, hubris, and action.
ye know not what ye do.”
Dr. Stockmann. Are you suggesting that I should
After he is claimed as an enemy of the people by the
stay here, where they have pilloried me as an
whole townspeople, he is outcasted and his property
54 v enemy of the people—branded me—broken my V/68
is destroyed. This becomes external force that
windows! And just look here, Katherine—they
conclude his moment of calamity.
have torn a great rent in my black trousers too!
128
Dr. Stockmann. True enough. But it makes one
angry all the same; because if some day it should be
a question of
a national fight in real earnest, you will see that Dr. Stockmann has accepted the idea that he is
public opinion will be in favour of taking to one’s labelled as an enemy of the people, thus, this makes
55 v heels, and the compact majority will turn tail like a V/70 him sure to act like the enemy. This marks the trait
flock of sheep, Captain Horster. That is what is so of hubris that he is prideful about his present
mournful to think of; it gives me so much concern, condition.
that—. No, devil take it, it is ridiculous to care
about it! They have called me an enemy of the
people, so an enemy of the people let me be!
Peter Stockmann. The Householders’ Association is
The whole so called ‘right-minded’ townspeople are
circulating a list from house to house. All right-
asked to sign a petition stating that Dr. Stockmann is
minded citizens are being called upon to give up
56 v V/72 prohibited to work either as a doctor or as a staff of
employing you; and I can assure you that not a
the Bath in the town. This becomes the external
single head of a family will risk refusing his
force influencing the tragic act committed by him.
signature. They simply dare not.
Dr.Stockmann’s father in law states that the doctor
behavior is unreasonable for the townspeople. This
Morten Kiil. If you behave like a reasonable man,
57 v v V/75 shows his hamartia. His unreasonable trait
you can soon set the Baths on their feet again.
becomes an internal force influencing all of his
tragic action, decision, and hubris.
Morten Kiil. You shall cleanse me, Thomas.
Dr. Stockmann. I!
Morten Kiil. Do you know what money I have Morten Kiil, the doctor’s father in law asked him to
bought these shares with? No, of course you can’t cleanse his name that has been soiled because of the
58 v V/75
know—but I will tell you. It is the money that doctor’s behavior. This is the external force
Katherine and Petra and the boys will have influencing the doctor’s tragic act.
when I am gone. Because I have been able to save
a little bit after all, you know.
Dr. Stockmann (walks about uneasily). If only I
Dr. Stockmann admits that he is super sure if he is
59 v were not so certain about it—! But I am V/76
right about his mad ideas that now leads him into
absolutely convinced that I am right.
129
Morten Kiil (weighing the pocket-book in his hand). destruction. This marks the hubris or pride of the
If you stick to your mad idea, this won’t be worth character.
much, you know. (Puts the pocket-book in his
pocket.)
Aslaksen. The Press is a power in a free After his father in law buys shares on the Bath,
community. Doctor. people from the newspaper asks him to take the
60 v Dr. Stockmann. Quite so. And so is public opinion. V/78 advantage of it and turns into majority’s side in
And you, Mr. Aslaksen—I suppose you will be order to benefit the press. Thus, press and majority
answerable for the Householders’ Association? are the external force of his tragic life.
Hovstad tells Dr. Stockmann that whatever
happened, people must struggle for their existence
Hovstad. It is a natural law; every animal must
61 v V/79 whether it is through an appropriate way or not. This
fight for its own livelihood.
is also an external force that influence Dr.
Stockmann’s tragic life.
Dr. Stockmann. Never, I say. I will educate you
myself; that is to say, you shan’t learn a blessed After having his life ruined, Dr. Stockmann asks his
thing— son to stop to go to school as he will educate them
Morten. Hooray! better and he is so sure that he can make a liberal-
Dr. Stockmann. —but I will make liberal-minded minded and high minded students. By creating
62 v V/82
and highminded men of you. You must help me liberal-minded and high-minded students, Dr.
with that, Petra. Stockmann believes that he will be able to fight
… against the majority and authority. This also
Dr. Stockmann. Then you shall drive all the portrays the hubris of the tragic hero.
wolves out of the country, my boys!
Dr. Stockmann. Yes, and I will go so far as to say
In his catastrophe, Dr. Stockmann believes a new
that now I am the strongest man in the whole
idea that he is the strongest man in the world
world.
because he is now all alone and can stand it. This
Morten. I say!
63 v V/82 notion also remarks the hubris of the tragic hero.
Dr. Stockmann (lowering his voice). Hush! You
This also becomes the final anagnorisis or final
mustn’t say anything about it yet; but I have made
discovery in his tragic life, that after all the tragedy,
a great discovery.
he is the strongest man because he can face it.
Mrs. Stockmann. Another one?
130
Dr. Stockmann. Yes. (Gathers them round him, and
says confidentially:) It is this, let me tell you—
that the strongest man in the world is he who
stands most alone.
131
SURAT PERNYATAAN PEER DEBRIEFING I
Nama : Baihaqi Adi Utama, S.S.
NIM : 13211141047
menyatakan bahwa saya telah melakukan peer debriefing data pada karya tulis
ilmiah (skripsi) dari mahasiswa
NIM : 14211141023
Fakultas : Bahasa dan Seni
Judul : TRAGEDY AND TRAGIC HERO IN IBSEN’S ENEMY OF THE

PEOPLE
Demikian surat pernyataan ini saya buat, semoga dapat dipergunakan sebagaimana
mestinya.
Yogyakarta, 18 Juli 2018

Peer Debriefer,
Baihaqi Adi Utama, S.S.
132
SURAT PERNYATAAN PEER DEBRIEFING II
Nama : Tria Dewi Kartika, S.S.
NIM : 13211141002
menyatakan bahwa saya telah melakukan peer debriefing data pada karya tulis
ilmiah (skripsi) dari mahasiswa
NIM : 14211141023
Fakultas : Bahasa dan Seni
Judul : TRAGEDY AND TRAGIC HERO IN IBSEN’S ENEMY OF THE

PEOPLE
Demikian surat pernyataan ini saya buat, semoga dapat dipergunakan sebagaimana
mestinya.
Yogyakarta, 25 Juli 2018

Peer Debriefer,
Tria Dewi Kartika, S.S.
133

Tragedy and Tragic Hero in Ibsen New

Încărcat de

Informații document

Drepturi de autor

Formate disponibile

Partajați acest document

Partajați sau inserați document

Opțiuni de partajare

Vi se pare util acest document?

Este necorespunzător acest conținut?

Drepturi de autor:

Formate disponibile

Tragedy and Tragic Hero in Ibsen New

Încărcat de

Drepturi de autor:

Formate disponibile

TRAGEDY AND TRAGIC HERO IN IBSEN’S

ENEMY OF THE PEOPLE

Presented as a Partial Fulfillment of the Requirements for the Attainment of a

Sarjana Sastra Degree in English Literature

Fitrana Amalia Hafizhah

ENGLISH LITERATURE STUDY PROGRAM

ENGLISH EDUCATION DEPARTMENT

FACULTY OF LANGUAGES AND ARTS

STATE UNIVERSITY OF YOGYAKARTA

TRAGEDY AND TRAGIC HERO IN IBSEN’S ENEMY OF THE PEOPLE

Fitrana Amalia Hafizhah

Approved on 15th August, 2018

Eko Rujito Dwi Atmojo, S.S., M.Hum.

NIP. 1976062 220080 1 003

TRAGEDY AND TRAGIC HERO IN IBSEN’S ENEMY OF THE PEOPLE

Accepted by the Board of Thesis Examiners, Faculty of Language and Arts,

The Board of Examiners

Position Name Signature

Chairperson : Eko Rujito Dwi Atmojo, S.S., M.Hum. ____________

Secretary : XXXXXXXXXXXXXXXXX ____________

Examiner : XXXXXXXXXXXXXXXXX ____________

Yogyakarta, XXX, 2018

Faculty of Languages and Arts

Yogyakarta State University

Prof. Dr. Endang Nurhayati, M.Hum.

Yang bertanda tangan di bawah ini, saya:

Nama : Fitrana Amalia Hafizhah

Program Studi : Sastra Inggris

Fakultas : Bahasa dan Seni Universitas Negeri Yogyakarta

tata cara dan etika penulisan karya ilmiah yang lazim.

Apabila ternyata terbukti bahwa pernyataan ini tidak benar, sepenuhnya

menjadi tanggung jawab saya.

Yogyakarta, 9 Agustus 2018

Fitrana Amalia Hafizhah

"Do your responsibility, or you must pay for it later!"

“Everybody has their demons; everyone has their challenges.”

This thesis is sincerely dedicated to the woman of my life, my Mama Hasmawati,

I owe all of my life to you, Mama.

without the participation and assistance of the following parties.

finish this thesis in a limited period.

2. My academic advisors Rachmat Nurcahyo., S.S., M.A., who is then, because

help and guidance.

3. My family – My Mama, Hasmawati, who has supported me during the process

his proper role; and my little brother, Fauzan Rayyan Z.

being my silly but loyal companion in every phase of my life.

cheers each other up during the hard times.

9. My superb friends in English department, particularly Sasing F and Literature

moments and struggles we shared in college life.

Yogyakarta, August 9th 2018

Fitrana Amalia Hafizhah

Figure 1 : Freytag’s Pyramid …………………………………………… 29

Figure 2 : Framework of Thinking …………………………………..…. 34

Table 1 : Elements of Modern Tragedy in Ibsen’s Enemy of the People

Table 2 : Traits of Tragic Hero in Ibsen’s Enemy of the People .…...… 28

Fitrana Amalia Hafizhah

The objectives of this research are to reveal elements of modern tragedy

Keywords: Henrik Ibsen, An Enemy of the People, tragedy, tragic hero.

A. Background of the Study

predisposition of human being, as it is stated by Mario Klarer (2004: 43) that

as this modern era comes, as it is asserted by David Krasner (2012: x),

“ … modern drama was no less influential than other “modernism” in art,

is unfortunate, indicating drama’s inferiority in academic and intellectual

appealing than reading and analyzing prose.

audience is directly involved in transferring the message, moral values it shares,