A Doll House

I have been more of a poet and less of a social philosopher than most people have been inclined to believe . . . . I cant claim the honor of ever having worked consciously for womens rights. Im not even sure I know what they are. To me it has seemed a matter of human rights. - Ibsen The play, A Doll House, denotes a childs miniscule model of a home, complete with furnishings, is the literal meaning of Ibsens words, and more accurately reflects the situation in which Nora, Torvald Helmer, their children

and servants, and to some extent their visitors exist: a beautified imitation of a home and a marriage. Child-wife Adult coquette (tease) Determined businesswoman

A woman desperate enough to consider suicide A coldly independent woman When considered it as a tragedy, it is important to understand Noras self-destructive assertion of her uncompromising and powerful ego a necessary expression of her Romantic quest for freedom. When considered it as a comedy, the play is a social

comedy revealing the need for change in the patriarchal middle class, a play that provides insight into how Nora can learn to function as an individual amid a compliant and domineering society. Ibsens depiction of middle-class life underscores how restrictive, brutal, and unforgiving it is! It appears to be wealthy and agreeable enough to those

who can operate in it successfully. When we first meet the Helmers, many of the most cherished ideals of middle-class life are on show. It is possible to study the play from a Marxist viewpoint. This society values money, contracts, and conventional respectability over anything else and has no room for people who do not fit comfortably into

its expectations Mrs. Linde & Krogstad They live desperate lives. They are still young but have prematurely aged. The cruelty of society is not simply economic Krogstad

Isolation can leave a person unable to create for himself a meaningful relationship. More attention can be given to Mrs. Lindes situation at the beginning of the play and how it bears similarity to Noras at the end. External Successful, rich, well respected. He is a doctor who heals.

Internal He is dying inside from syphilis. He acquired this disease not from any wrongdoing on his part but from his father as his inheritance. Torvald is a hard-working and successful professional newly promoted to be in charge of the engine of middle-class respectability.

His problem is that his intelligence is entirely determined and limited to his awareness of the social rules around him. Torvalds identity is enfolded in how others look at him. Nothing else matters to him! Nora? Rank? Krogstad? Mrs. Linde

Nora Endangers his social identity with scandal Dr.Rank What good is he to Torvald when he is dead? Krogstad Challenges his social identity by

using his Christian name! How petty! Mrs. Linde She is irrelevant threat of

Torvald makes no attempt to pretend he believes in anything other than what societys rules indicate He appears incapable of even imagining another dimension to life We can view him as the fullest living embodiment of the perfectly and entirely social man in his milieu That is why Torvalds comments about how he will act the hero should the need arise are so empty: heroes are by definition unconventionally great. Torvald is a thoroughly conventional man.

Do people make self-discoveries that change the course of their actions? Is Nora sufficiently characterized to explain how the events that are dramatized can account for a change in her? Does her change result in an effective dramatic climax? Does her change embody Ibsens themes? How so?

The end of a chapter in human history Why? Why do we as a modern audience laugh? How might we view his statement as a sincere concession?

Do we celebrate her as a champion of feminist principles? OR Do we condemn her as an egotist?