of his happiness." " Different translations use different words for the "life-lie". In Eva le Gallienne's translation, Relling says "I try to discover the Basic Lie – the pet illusion – that makes life possible; and then I foster it." He also says "No, no; that's what I said: the Basic Lie that makes life possible." On a symbolical level, Gregers and Relling seem to be opposites (the virtue of truth against the "basic lie"). The two seem to have confronted each other at several cross-roads, and the play ends with an exchange, almost a wager between the two over the possibilities of Hjalmar and his future. In this respect, Relling is a cynic who is not able to think Hjalmar will ever change, while Gregers still thinks there is hope for his eventual "redemption". Before the play starts, Gregers worked on a plant in the mountains, and is accused by Relling (present there as well), of "intriguing" with the local serfs (actually commoners). Thus, there is a social criticism in the play, where Gregers is trying to get in touch with common men, whilst his father is mingling with high society figures – a setting in which his friend Hjalmar Ekdal is a stranger, and his father, disgraced by old Werle, is ignored by his son amongst his betters. From a social rather than a symbolic point of view, Gregers is trying to root out an unhealthy system, arguing that "truth shall set you free". In that respect, Relling, plotting with old Werle, is an advocate for the same system, and initially the opposite of Gregers (who, like Hamlet, is trying to get the truth out). One could argue that Gregers would feel responsible for the Ekdal family and their plight, as this is an apparent consequence of his father's manipulations and schemes. Early on, he mentions that his mother obviously died from neglect, or was driven into alcoholism by her husband's actions. As old Werle points out: "you see me with the eyes of your mother". In this respect, the Ekdal family are helpless victims, and so is Hedvig. Background As in many of Ibsen's plays, characters are based on or named after his family members to a greater or lesser extent. The character Old Ekdal is regarded by most Ibsen scholars as one of Ibsen's most important literary portraits of his father Knud Ibsen. Ibsen had previously