According to Ibsen's incipient description of Osvald Alving, he appears in a light overcoat (Ibsen, 39). In the beginning of act one, the set description mentions that through the glass could be seen continual rain (Ibsen, 21). The overcoat is quite significant to the immediate composition of Osvald's character within the minds of the audience members, as this nuance suggests that Osvald wasn't equipped for the northern winter. This is noteworthy because throughout the scene, as well as the entire play, to the townspeople and Pastor Manders, Osvald represents the "other" - that which is foreign, unusual, and potentially sinful. The light overcoat signifies that Osvald is not only distinct in his appearance, but he embodies opposition to their morality and values through his essence, as we later discover. Ibsen's description of Osvald goes on to mention that he is holding a hat in his hand and is smoking a large meerschaum pipe (Ibsen, 39). The detail regarding the hat poses a number of questions concerning Osvald's character. Is he holding the hat because wearing it inside is ill-mannered; and if so, where does this fit in with the smoking? Why does he choose to follow some rules and not others? Moreover, the fact that he is smoking is intriguing as it provides the first glimpse into his character, and considering that he is the only one indulging in this act, it automatically isolates him from the rest of the characters in the scene.

Subsequent to Osvald's description is a stage direction that instructs the actor, playing the role of Osvald, to pause in the doorway prior to the delivery of his lines (Ibsen, 39). This illustrates Ibsen's appreciation for the degree of theatricality that is possible with the introduction of such a compelling character. By allowing Osvald to pause before speaking, his words and his very presence is induced with certain weight.

Pastor Manders, who has been conversing with Mrs. Alving in the garden-room,reacted to Osvald's appearance by proclaiming the word, "Extraordinary!" (Ibsen, 39). It should also be noted that, while delivering this line, the actor is instructed to stare at Osvald (Ibsen, 39). It is significant that Pastor Manders is the first to speak to Osvald instead of his own mother, because it suggests that despite his astonishment, Pastor Manders is not one to suppress opinion. He stares as though Osvald was a ghost, and then verbalizes his amazement by declaring that their meeting was astounding. This reaction solidifies the notion that Osvald is quite literally "extra-ordinary" to what this town is used and exposed to.

After Pastor Manders makes his declaration of astonishment, Mrs. Alving proceeds to ask, "Well, what do you think of him, Mr. Manders?" (Ibsen,39). This illustrates an interesting dynamic within the established debate structure of the play. Despite Pastor Manders' inappropriate, overly simplistic and judgmental opinions, he is asked for yet another one. This also gives way to the possibility that Mrs. Alving, along with the rest of the townspeople, seek his guidance and approval.

Within the next line, Pastor Manders further verbalizes his shock at, and disbelief of, the appearance of Osvald. After a close analysis of this line, it becomes evident that Ibsen uses "stuttering speech" as a way of gradually constructing this character in the eyes of the audience. In Pastor Manders' struggle to articulate his thoughts arises the contradictory and multifaceted sense of his character. This is due to the fact that, only moments earlier, he was eloquently manipulating Mrs. Alving into agreeing not to insure the Orphanage, which stands in complete contrast to his sudden inability to simply greet Osvald (Ibsen, 36). He says, "I - I - No, it can't really be...?", which suggests a more vulnerable side to his character (Ibsen, 39). If the audience once perceived Pastor Manders as someone conniving and quick on his feet, this line exemplifies a man who becomes easily frazzled and speechless. This also poses the question of why Pastor Manders is so dumbfounded by a son's return to his home.

What follows is a line abundant with layers of meaning. It demonstrated Ibsen's use of both symbolism in his approach to character construction and the planting of seeds early on through the insinuation of underlying issues. As Osvald proclaims, "Yes, it's really the Prodigal Son, Pastor", a number of different interpretations of this line become plausible (Ibsen, 39). One of these interpretations is derived from the dictionary meaning of the word Prodigal, which makes reference to someone who is rashly or wastefully extravagant or very generous (Webster Dictionary, 353). Another possible interpretation, which I would be more inclined to support, is one based on the story of the "Prodigal Son". Shortly after his self-proclamation, Osvald confirms his reference to this story as he says, "Well, the son came home again then" (Ibsen, 39). The story of the Prodigal Son is derived from the Gospel According to Luke. It talks of a man who had two sons. One of them, the Prodigal Son, voluntarily left his home after receiving his share of the estate from his father. He consequently squandered his wealth in wild living and came back to his father asking for work. He said, "Father, I have sinned against heaven and against you. I am no longer worthy to be called your son; make me like one of your hired men" (Luke 15:11-32). His father received him warmly and instructed his servants to put him in the best robes, put a ring on his finger and sandals on his feet, and to kill a calf in his honor. He wanted to have a big feast in celebration of his son's return. When the older son heard what was happening, he became angry and refused to go inside. During the conversation with his father he said, "Look! All these years I've been slaving for you and never disobeyed your orders. Yet you never gave me even a young goat so I could celebrate with my friends. But when this son of yours who has squandered your property with prostitutes comes home, you kill the fattened calf for him!" (Luke 15:11-32). The father replied by saying, "My son, you are always with me, and everything I have is yours. But we have to celebrate and be glad, because this brother of yours was dead and is alive again; he was lost and is found" (Luke 15:11-32).

After consideration of the applicability of this story to the character construction of Osvald, a number of different questions arise. Did Osvald squander his wealth in wild living, and if so, what did this wild living entail in relation to his venereal disease? It is also significant that Osvald was speaking to a pastor when he refers to himself as the Prodigal Son, which may suggest that he is attempting to speak the language of the person he is conversing with. This interpretation also adds another layer of plausibility that in such self-proclamation, Osvald was referring to the quote, "Father, I have sinned against heaven and against you. I am no longer worthy to be called your son" (Luke 15:11-32). This would imply that despite an immense amount of regret, Osvald is confessing to have committed sins, which might have included sexual indulgences. Within the Prodigal Son story, the other son makes reference to the fact that his brother squandered his money on prostitutes. This poses the question of whether Osvald might have been responsible for doing the same, which would add tremendously to the issue of venereal disease in relation to his character. The father replies by stating that the Prodigal Son was dead and is alive again and that he was lost and is now found (Luke 15:11-32). It is possible that Osvald is referring to himself as the Prodigal Son because he feels that this stands to be true for him as well. However, the notion of him being dead and becoming alive again runs deeper, since the issue of disease is interwoven within the context of life and death to the point of inseparability. Moreover, the notion that he was lost and is found again can be taken quite literally, as he has finally returned home. Or, it can remain a rather abstract concept that alludes to his state of mind. At the very core of the story of the Prodigal Son, is a commentary on the relationship between a father and a son. Regardless of whether Osvald proclaimed to be the Prodigal Son with this notion in mind, it does not digress from the fact that he is a character who is deeply affected by the relationship, or lack thereof, between him and his own father.

In response to Osvald's statement Mrs. Alving proposes that, "Osvald's thinking of the time when you were so set against the idea of his becoming an artist" (Ibsen, 39). The fact that she speaks at this particular moment unveils another dimension to her personality, and illustrates an example of Ibsen's subtle employment of symbolism in character construction. She has a tendency to impulsively attempt to justify her son's behavior or words in order to assist him in conforming. This appears to be a subconscious effort to convince not only others, but herself as well, of the innocent and untainted nature of Osvald's being. This line also introduces a reoccurring pattern within the structure of the scene, which is later reference to as the ‘three line sequence'. This pattern consists of a statement made by Osvald, which is subsequently rebutted or questioned by Pastor Manders, and is concluded by Mrs. Alving's attempt to defend her son, through the means of justification of, or digression from, the initial statement.

Within the next line, Pastor Manders seems to have begun to admit that he might have been mistaken about disagreeing with Osvald's choice. He says, "Many a step that seems unwise to our human judgement turns out afterwards to be - [Grasping his hand] Anyhow, welcome home! - may I still call you Osvald?" (Ibsen, 39). He restrains himself from finishing the sentence and, in grasping his hands, he physically demonstrates his attempts to suppress emotion or thought. This is quite important because the audience can learn just as much from the thoughts characters restrain from expressing, as from those they readily verbalize.

In reply to Pastor Manders' question, Osvald says, "Of course, what else should you call me?" (Ibsen, 39). This is an example of an instance where Ibsen plants the insinuating seed that is gradually transformed into an integral idea with the progression of the play. This idea deals with the concerns of heredity and identity. Amongst other things, this play can be seen as Osvald's struggle to find himself by addressing questions dealing with the past and the issue of his hereditary succession. Osvald asks Pastor Manders what else he could possibly call him, which is ironic considering that he referred to himself as the Prodigal Son only moments earlier (Ibsen, 39).

Pastor Manders goes on to mention that he does not condemn artistic life unreservedly, implying that what he condemns is deemed to be ultimately inadequate (Ibsen, 39). He says, "I'm sure there are people who can keep their souls unspotted even in those surroundings", which proposes the idea that what is different leads to deterioration of the soul (Ibsen, 39). This illustrates Pastor Manders' intolerance, which is rooted in his dogmatic view of the world.

In reply to Pastor Manders, Mrs. Alving proclaims, "I know someone who's kept his soul and body unharmed, just look at him Pastor Manders" (Ibsen, 39). Ibsen instructs the actress to deliver this line with the enthusiasm of a person who is, "beaming with joy" (Ibsen, 39). Ignorance and unwillingness to face the truth fuel this uncontrolled beaming. This line further illustrates Mrs. Alving's desperate attempt to projects her own vision of Osvald onto someone who is far from that untainted vision, which is suggested through Osvald's reply. While pacing across the room, he attempts to deflate her excitement by saying, "All right, Mother dear, all right!" (Ibsen, 40). This indicates that he is uncomfortable with her conviction about his purity, and provides an implication that Osvald partook in the pursuit of a rather indulgent lifestyle.

Within her next line, Mrs. Alving once again, attempts to glorify and defend her son. As she says, "Even an artist must have a rest now and then", she unconsciously leaps to justification of his artistic un-productivity (Ibsen, 40). In asking his mother about lunch, after hearing Pastor Manders make reference to the future greatness of his paintings, Osvald is attempting to change the subject (Ibsen, 40). This moment is another example of Ibsen planting a seed early in the play, which foreshadows possible problems pertaining to his work. Osvald is clearly jarred by the allusion to his greatness as an artist, because he does not believe in himself and it is a reminder of his inability to work.

Osvald goes on to mention that he found his father's pipe in his room. This is vital because it is the first tangible symbol of his father that is mentioned in the play, through which, Osvald strongly resembles his father in appearance (Ibsen, 40). Furthermore, Pastor Manders clearly states that seeing Osvald smoking the pipe was, "like seeing his father in the flesh" (Ibsen, 40). This notion provides another layer in the issue of heredity in relation to the character of Osvald, as it alludes to his external resemblance to his father.

Mrs. Alving quickly disputes this notion by proclaiming, "No, you can't say that! Osvald takes after me", and in doing so re-established the notion that children are a complete product of their parents, interestingly enough, even when raised by strangers (Ibsen, 40). Despite her intense displeasure in hearing her son being associated so closely with his father, by insisting that Osvald "takes after her", she confirms the idea that children resemble their parents (Ibsen, 40).

Pastor Manders insists by saying, "Yes, but there's a look about the corner of his mouth - something about the lips - that definitely reminds me of Alving. Especially now he is smoking" (Ibsen, 40). Ironically, to Pastor Manders, Osvald resembles his father most when he is indulging in an act that is harmful to his health. This notion is deeply interwoven with the question Osvald has regarding his venereal decease, and the question surrounding its contraction. Moreover, Mrs. Alving disagrees once again by suggesting that he has much more of a clergyman's mouth. This raises a number of questions in relation to the possibility of Pastor Manders being the real father of Osvald (Ibsen, 40). Is Pastor Manders persistent on the idea that Osvald resembles Alving due to the fact that he is attempting to deflate any speculation suggesting otherwise? Despite the numerous directions that this comment could be taken, what is made clear is that these two characters have shared a history together that extends further then mere platonic friendship.

Mrs. Alving suddenly insists, "But put your pipe away, my dear boy; I won't have smoking in here" (Ibsen, 41). She ironically requests that the pipe be put down now, as opposed to when Osvald first walks in. This suggests that, in actuality, she objects more to the fact that Pastor Manders is associating Osvald with his father when he smokes, as opposed to the act itself.

Osvald goes on to mention that he smoked the pipe once before as a child, when his father sat him on his knee and encouraged him. Osvald remembered his father saying, "Go on boy, smoke away" (Ibsen, 41). This passage gives the audience a glimpse into the character of Alving. One of the most distinct memories Osvald is left with of their father-son relationship, is that which exemplifies Alving carrying out rather questionable actions, and portrays him as an irresponsible father. Osvald goes on to mention that he smoked as hard as he could, which illustrates his great desire to please and impress his father (Ibsen, 41). He smoked until he felt himself turning pale and beginning to sweat (Ibsen, 41). It should be noted that this is the first reference within the play of Osvald feeling sick at any point in his life. It is also ironic that this information is disclosed within the context of his father actually being responsible for his sickness. As the play progresses, this notion becomes more prevalent when we discover that Osvald had been diagnosed with a venereal decease, passed on by his father as a result of his promiscuous lifestyle. The image of Osvald turning pale from smoking illustrated Alving's lack of responsibility in his approach to fatherhood. Ordinarily, such an occurrence would alarm a concerned parent, where as Alving seemed to have been quite amused, as he burst out in laughter.

At this point Pastor Manders proclaims, "How extraordinary", for the second time within this short section (Ibsen, 41). This presents a pattern, which suggests that when used by Pastor Manders, the term "extraordinary" carries a negative connotation. It is used as a way of implying disapproval, and presents his attempt to deal with those who represent or participate in action, which he deems condemnable.

When Mrs. Alving says, "My dear Pastor, it's only something Osvald must have dreamed!" the audience witnesses her attempt to maintain a positive image of her son, in the eyes of Pastor Manders, and it presents an example of the ‘three line sequence' (Ibsen, 41).

In reply to Osvald's description of the smoking incident, Pastor Manders describes Alving as being full of "high spirits" (Ibsen, 41). He refers to this as something equivalent to questionable behavior; as though it were the "high spirits" or the "joy of living", as Mrs. Alving called it, that makes one indulge in inappropriate acts (Ibsen, 41). This would imply that completely fitting into the social standard and conforming required one to possess low spirits or lack of joy for living.

Nevertheless, Osvald goes on to say, "And yet he managed to achieve so much in the world - so much that was good and useful - although he died so young" (Ibsen, 41). This suggests that "high spirits" often translate into a lack of productivity. It is quite interesting that Osvald is the one who makes reference to this notion because the last allusion to productivity is addressed within the context of Osvald's work. What emerges is a pattern made up of parallel links between Osvald and Alving.

In response to Pastor Manders' comment that Osvald, "went out into the world very young", Osvald agrees by saying, "I did - I sometimes wonder if it wasn't too early..." (Ibsen, 41). This presents the first indication within the play that he might have doubts about the benefits of his unconventional upbringing. As the plot further unravels, this also foreshadows a possible dilemma pertaining to this issue.

Mrs. Alving, once again, presents her unwillingness to face reality as she disputes her sons words by saying, "Oh, not in the least; it's the best thing for a healthy boy - especially when he's an only child; he shouldn't stay at home with his father and mother and get spoiled" (Ibsen, 42). These lines are filled with irony and contradiction. The state of Osvald's health is mentioned once again. What is interesting is while Mrs. Alving refers to young Osvald as a healthy boy, the last time that a reference to his health was made, he was sick after the smoking incident with his father. Moreover, with the progression of the play, we discover that he is not healthy as an adult either, since he has inherited the venereal disease. This presents a full circle within the structure of the scene. Interestingly enough, both of the forms of Osvald's sickness were caused by his father; first as a boy and later as an adult.

What proceeds to happen throughout the remainder of the section under analysis, is a perfect example of the debate structure. A debate arises between Pastor Manders and Osvald, which addressed the issue of a "proper" households and family. More specifically, the legitimacy of what Pastor Manders referred to as "irregular unions" and "bachelor establishments" (Ibsen, 43). Throughout the debate, Pastor Manders verbalizes that which is the norm. He exists as a character that epitomizes the conventions and traditions within their world. After Osvald suggests the alternative of having a family that consists of a man living with his partner and his children out of wedlock, Pastor Manders begins to respond by clasping his hands. Out of repetition, this symbolic gesture seems to represent his instinct to bottle his emotion, which is derived from extreme disapproval, thus enabling himself to maintain composure.

In addressing the issue of "irregular unions" in their society, Pastor Manders goes on to say, "And to think that the authorities permit such things - allow them to go on quite openly" (Ibsen, 44). Aside from the fact that this statement clearly presents his opinion regarding this topic, this also brings up various issues about the nature of his "morality". He condemns these couples for living openly as though keeping their lives a secret deems them to be more acceptable and less of a sin. Throughout the course of this short debate, Pastor Manders makes reference to his disagreement with this "open immorality" twice, which illustrates the predominance of this belief in their society (Ibsen, 44). This brings up the issues of public and private space, which become increasingly pertinent with the progression of the plot. As we later discover, Mrs. Alving has been absorbed by her attempts to live with secrets, which transformed into a constant struggle to deal with the ghosts of their past.

The discussion of "irregular unions" presents two characters who are positioned on opposite sides of the moral-spectrum, and illustrates an example of Ibsen's employment of the debate structure. In analyzing the chosen section with this in mind, it becomes apparent that Osvald initially enters through the door on the left and exits through the right. He walks in representing the Leftist views and leaves the scene after being bombarded by the more conservative beliefs of the Right, which were verbalized by Pastor Manders. Within the play "Ghosts", Henrik Ibsen challenges the conventions pertaining to the issue of marital unions within their society. After a close analysis of a scene, within the first act, beginning with the initial entrance and ending with the exit of Osvald Alving, it becomes apparent that Ibsen addresses this issue through the employment of a debate structure. Within this section, Ibsen exemplifies an inventive use of subtle symbolism in his approach to character composition. This section is abundant with moments where Ibsen plants the seeds early on, through insinuation of underlying issues, which are gradually transformed into integral ideas. This forces the audience members to be in constant intellectual involvement, as they have to think back to something that was previously addressed.

Books: Ibsen, Henrik. Ghosts and Other Plays. Trans. Peter Watts. Harmondsworth: Penguin Books Ltd., 1964. 10-102.

Luke. The Gospel According to Luke I-IX (Anchor Bible). Trans. Joseph A. Fitzmyer. New York: Doubleday Dell Group, 1981.

The New International Webster Pocket Dictionary. 2001.