A Doll's House (1879) – Henrik Ibsen
Significance of
title
A metaphor for the seemingly idyllic life that the Helmers lead. Nora can be
considered a doll that her father manipulated and in turn, with which Torvald plays
– she represents a false perfection. Moreover, Nora plays with her children, thus
perpetuating the cycle.
The connotations associated with a doll's house include: facade, representation of
perfection, childish/juvenile, manipulation, superficiality, objectified, outwardly
idyllic – inwardly sterile
Historical
Context
"Bourgeois respectability" prevailed.
This included: financial success, upward social mobility, freedom from financial
debt and moral guilt (appearance), and a stable/ secure patriarchal family
Women were economically, socially, and psychologically dependent on men and
especially on the institutions of marriage and motherhood.
The western world was on the cusp of an ideological shift re: women's rights
Setting
Unnamed Norwegian city
Action takes place in living room
Meticulous presentation – specific setting details, aligns with image of a doll's
house
Identifiable setting (for the audience)
Comfortable, cosy, reflects a warm family home
piano, education, extravagant
Style
Realism – Retrospective Drama
Ibsen's drama was revolutionary because it was the first of its kind to use
identifiable/every day characters to explore common societal issues.
He also spawned the use of retrospective drama, whereby the action is concerned
with events that occurred prior to the opening of the play.
Premiered: 21 December 1879 at Royal Theatre, Copenhagen
Burst onto the scene because of the radical nature of its subject matter.
Time: 60 hours
Setting: Helmers’ apartment/house
Plot: Nora, Helma, Krogstad
Subplot: Mrs Linde, Krogstad
Places emphasis on psychology rather than action. Retrospective drama - based on
events that have occurred.
*Quotes Ibsen stating that it’s not a feminist play*
Modern social drama
Parallel situation: contrast in Nora and Mrs Linde
Review: “It is beyond memory since a play so simple in its action and so everyday in
its dress made such an impression of artistic mastery...there is not a superfluous
effect in the whole play
Structure
Act I: Exposition
Retrospective plot – audience introduced to characters/setting/familial
relationships/values and beliefs/conflict/complication
Dramatic irony – audience knows something that other characters do not
Tension is subsequently built through complication
Act II: Situation
Rising dramatic tension as characters' situations are explored further – develop
empathy for Nora and realise her desperation
Act II: Climax/Resolution
The climax of the play is debatable. Helmer's reaction to the letters can be
considered a climax, which then leads to Nora's resolution. However due to the
time period and subsequent heightened significance of her abandoning her
husband/children, this can also be considered the climax of the play.
Themes
Illusion versus reality
Oppression of women
Identity
Class and status
Influence of the past on the present and future
Truth
Naturalism
Female emancipation - self-liberation
Determinism vs free will
Love and duty
Morality and M vs F
An attack on conventional bourgeois marriage
Introduction
Retrospective plot
Emphasis on characterisation/setting
Themes are illuminated
Complication established
Conclusion
Sound of the door shutting
Door as a symbol, closing this 'chapter' of her life
Time
Unfolds over 3 days (Christmas Eve-Boxing Day)
Protagonist
Nora
Antagonist
Helmer
Climax
Helmer's denouncement of Nora upon hearing her revelations
Ironically this is an opportunity for Helmer to be Nora's 'hero',
Nora's 'awakening' and subsequent emancipation (this is the outcome but also
suggested to be the climax of the play). Independence/Assertive
Outcome
Exposition of Helmer's character and motives
Superficiality of marriage is exposed
Nora allows herself to pursue her identity – necessity to abandon husband and
children in order to break free from the constraints of the domestic realm
Nora confronts and takes action
Language/
Features
COLLOQUIAL/REALISM
It needs to be noted that the 'real' way in which characters spoke was revolutionary
– interruptions, correcting themselves, use of incomplete sentences
Metaphors
Irony
Sexual undertones
Symbols /
Motifs
A selection:
Motif: pride, deception, betrayal
Macaroons: secrecy, deception, guilty pleasure, indulges in them and hides the
evidence from Torvald. Foreshadowing of deceit
Christmas tree: exhibitionist, religion/Christianity, joy, festivities, love, family
New Year's Eve: irony: usher in the new year with celebration/joy/resolutions; not
the way that Helmer anticipated ie. New job, money, family life etc.
Letters: truth
Keys to letter box: unyielding control
Tarantella: Historically people danced the tarantella to rid themselves of the deadly
poison (tarantula). Nora's poison: Krogstad's revelations, deception/hypocrisy that
characterizes their marriage violent, sexual dance performed to supposedly cure
through perspiration the venom of a spider bite.
Hide and seek: plays it with her children – connects to illusions ie. Hide and seek
the truth
Fire/stove: 29 ‘let’s sit down by the stove and be comfortable’. Provides
reassurance and comfort. Throughout the play she gravitates towards the stove
when requiring warmth/reassurance.
Glass letterbox - protected, transparent, taunting Nora, visible to all those around.
Locked with the one key held by a man.
Multi colour scarf, went to a black scarf. Symbolic of a shift in perception of Nora
Masquerade ball: hiding, not showing the truth, deceit.
Comment on
society
Ibsen characterizes Nora and Torvald as faithful conformists of social roles. He
dramatizes the negative effects of these roles in an effort to provoke audiences of
that time period to rethink their deeply ingrained beliefs
Ibsen maintains that he was not a feminist writer, but rather advocates for both
men and women alike
Theatre in Norway typically consisted of bourgeois dramas and light comedies.
Ibsen was revolutionary. Moved away from grandeur and romanticism to
naturalistic/realistic mode of performance. Enemies of romanticism: over-complex
plot structure, implausible psychology, stock characters.
In mid 1800’s, Norway experienced economic boom and large-scale
industrialisation. This helped the middle class to grow and develop.
Development of middle-class lead way to expectations growing in middle class
families. Gender expectations of both women and men, sometimes leading to
conflicts.
Women were expected to be housewives and simultaneously expected to want
nothing more than that.
Economic development was followed subsequently by intensified class conflict.
1879 “first feminist wave” in Norway initiated by Georg Brandes a Danish
critic/scholar
During the 1820’s a woman's main responsibility centred around be a housewife
whose task was to serve her children as well as her husband
Published in 1879, a time in which the society was very male dominated. The
society at the time Ibsen wrote the play, appearance was far more important than
what was inside.
Created a furore among critics and certain sections of the public. “Degrading,
sensationalist filth’.
In 1814 Norway was freed from Danish Rule
Continuous rejection of proposals from the Swedish Monarch to make more
nobles, even after attempted military threatening.
The Storting was the parliamentary assembly of Norway, prior to the formation of
a parliamentary democracy.
Rising middle class, the wealthy were no longer all a part of aristocracy
In mid 1800’s, Norway experienced economic boom and large-scale industry
Increase in mining and production of agricultural goods
In 1898 Norway changed into a parliamentary democracy
Characters
Nora
Dualities in her personality: happy/depressed; comfortable/desperate; wise/naive;
helpless/purposeful – emphasises lack of identity/self awareness
Submissive/Oppressed
Intuitive and sensitive
Initially characterised as child-like
Manipulative
Speaks: playful, childish, flirtatious, bold and resolute, challenging, independence
of thought
Quotes
Cheerful ‘humming cheerfully to herself’ (1)
‘Continues to laugh happily to herself’ (1)
Being presented as childish, girlish, naive, immature in the opening page
Extravagant in some ways - Christmas presents (1)
Insists on giving Porter one pound - frivolous money.
Eats macaroons and ‘tiptoes’ actions childish
Diction ‘make lots and lots of money’ - childlike, simple,
‘Pooh’ (24) childish exclamation ‘Oh pooh’ (25)
Mother: doting, endearing, loving, caring, thoughtful, spoils those she loves,
sincere, genuine
Values: family, love
‘Is my little squirrel sulking?’ (25) - expectations of Torvald.
Joy revolves around money - money cheers her up.
‘Plays with his coat-buttons’ (26) - flirtatious, relies on feminine wiles and plays off
his desires
Fragmented sentences, showing a natural flow of dialogue - realistic drama
Wrap the notes in pretty gold paper and hang on the Christmas tree’ (26). Juvenile
language. Simple pleasures.
‘I promise you, honestly’ (27) reference to macaroons. Foreshadowing of lying and
deceit.
‘Oh these last eight years have been such a happy time for me’ (29)
Foreshadowing. Departure and emancipation at the conclusion of the play.
“We’re going to have heaps and heaps of money” (30). Highlights Nora’s childlike
behaviour, once again exemplified by her informal register.
Her language is defined by exclamations.
“Jumps up and claps her hand”
Ironic that she views her trip to Italy as tiresome.
As the play unfolds, Nora’s character unfolds and insignificant actions such as lying
about macaroons, point to a deeper strain between her relationship with Torvald
“Is it foolish to safe your husband’s life”
“When a girl is as pretty as I am”
As Act One progresses, Nora’s character seems to have underlying intelligence.
Even though up to this point she has been superficial and attractive, this seems to
be more a role of Torvald being her husband, where women in society are forced to
act unintelligent to be able to appease the egoistic men of the time.
Nora stating, that Torvald finding out about the loan she has taken “would wreck
their marriage”, is suggestive of the fact that Nora has an expectation of her
husband to handle any problems that may arise.
“I can play all day with the children and decorate the house with pretty things”
Nora makes an allusion to Dr. Rank when she talks about imagining a old,
handsome, rich man.
Krogstad is indirectly revealed as being the person who has loaned Nora the
money, through her nervous interactions with him when he shows up to her house.
“I’ll do everything for you Torvald, sing for you, dance for you…”
Clearly flirtatious with Dr Rank, he confesses his feelings for her. He is a potential
person she could borrow the money from.
She is showing a capacity of manipulative
Her desperation is referring to committing suicide due to this problem.
“Now we are lost” pg 74
She believes Torvald will take all the blame for her mistake. Foreshadowing,
perhaps this will not the case.
Miracle? Get money from Dr Rank? Pg. 75
“Lead me the way you always do”
Her fear: pleading and begging/ desperate to see his forgiveness and his help in her
crisis. This is similar to how she is expecting him to behave once he finds out what
she has done.
Violent dancing, uncontrolled, raw. Mirroring her current panic and state of mind.
Cannot hear the voice of reason as Helmer is trying to correct, while she seems not
to here. She is distracting him from going to the letter box.
On page 79: she states she has 31 hours to live. Just till after her tarantella
performance
Pg 87 “yes soon I shall sleep” allusion to death/ committing suicide
Putting sholl over her head, indicative of her death.
Top of 93: indicative of how she thinks he will save him, how she loves him more
than anything
“Yes, now I understand” is a turning point, seeing Helmer for what he really is.
Withdrawing herself from him further and further as he continues to insult her and
not love/ protect her as he promised.
“Taking off my fancy dress” pg. 96 No longer being an object, to be played with
others.
I was your little songbird just as before - your doll whom henceforth you would take
particular care to protect from the world because she was so weak and fragile” 102
“I don’t except anything from strangers” 104
She goes through the hall
Helmer
Consistently promotes/flaunts his power
Dominant and fantasises about Nora in a submissive/helpless role
Pragmatic/Logical
Shallow/Superficial
Role reversal – Nora and Helmer at the conclusion of the play
Speech characterised by: trite/banal sayings,
condescending, patronising, undermining,
Represents the social masquerade of society at the time
Nora: Skylark (bird, scavenger), squirrel (collector), diminutive and condescending
terms, small, insignificant. Role and relationship is defined this language.
Interaction between Nora and Helmer (24), playful, condescending, game - doll?
Plaything?
Treats Nora like a child (“you mustn’t disturb me, he playfully grabs her by the ear”
pg. 24)
Derogatory of women “Oh Nora Nora” (pg25)
Foreshadowing “No Debts never borrow” (pg25)
Inquisitive, inquiring, questioning of Nora in opening scene (24)
Money: Nora called a ‘squander bird’ (24)
Risk averse as opposed to Nora, who appears to be more unworldly. Connects to
patriarchal society - necessity for men to provide for women/children’s needs.
Superiority in secular world.
Values/consumed by: money, status, society’s perception
‘An expensive pet...for a man to keep’ (26). Metaphors.
‘Funny little creature’ (26) reference to Nora. He is haughty/lofty in his tone
towards Nora
Possessive ‘keeps’ ‘my’ possessive pronouns used to show ownership and control
Wags his finger (27). To reprimand her...chastise her. Patronising
‘My poor little Nora’ - diminutive terms to describe her. Helpless. In need of
caregiver. Subjugated?
“Little Ms. Independent is in trouble and needs a man to rescue her”
“Little silly” (60)
“Your father was not a man of unassailable reputation. But I am. And hope to
remain so all my life” (61). Declarative ‘but I am’. Foreshadowing - Nora’s secret will
morally ruin him by association. Value’s society’s perception and expectations over
love and respect for family.
Formality and status, hierarchy and its importance. Refers to friendship with
Krogstad being on ‘Christian name terms’ (62), which for a modern audience is
laughable. Emphasises the importance of roles.
“But I forgive you, because it so charmingly testifies to the love you bear me” (63).
Irony because he does not forgive her for her misgiving - forgery, loan, and
deception. Her love doesn’t really matter to him. His position and status in society
is the most important aspect of his life.
“I am man enough to bear the burden for us both” (63). What defines a man during
this period of time? His definition vs Nora’s definition - they don’t reconcile.
“You’re dancing as if your life depended on it” pg. 77
“She just gets scared like a child sometimes, I told you before” pg. 78
“Well take a look at her…” parading her, undresses her, objectifying her pg. 85
“Now my little songbird is talking like a real big human being” pg 87
“Treasured possession, all mine, mine alone” very possessive. Sexualising Nora,
objectification, quite disrespectful. Calls her a temptress. Indicates the reasons he
wanted to
Dramatic irony “the happy sunlight of the marriage”
Helmer thinks Dr Rank is content and happy with his own death. Ironic as Dr Rank
loves Nora.
Irony “I feel as though I could never hold you close enough. Do you know Nora?
Often, I wish some terrible danger may threaten you so that I could offer my life
and blood, everything for your sake”. Pg. 92
Locks front door, calls her wretched.
Helmer is acting very egotistical, all about him, how people will see him and his
status. “I am condemned … stupidity of a woman.” Only looking for the assistance
to his position, not his wife. “Now do you realise what you’ve done to me” pg. 94.
Nora speaking very little, Helmer speaking a lot.
“I am saved, I am saved...oh yes you too” “No one can harm me now”
“I would not be a true man if your feminine helplessness did not make you doubly
attractive in my eyes.” pg. 95… “my whole world… i have forgiven you”
“There is something indescribably wonderful and satisfying for a husband in
knowing that he has forgiven his wife - forgiven her unreservedly, from the bottom
of his heat. It means that she has become his property in a double sense” pg. 96
“He called me his little doll, and he played with me just the way I played with my
dolls”98
“I’ve been you doll-wife, just as I used to be papa’s doll-child. And the children have
been my dolls”98
“You’re talking like a child. You don’t understand how society works”101
“No man can be expected to sacrifice his honour, even for the person he loves”102
Dr Rank
Elderly man in love with Nora
His character is used to parallel and emphasis the notions that: a) immorality b)
illusion c) morality is hereditary
Nora has an unacknowledged attraction towards Dr Rank – possibly perpetuating
the father/daughter relationships that seemingly appeal to her ie. She was her
father's doll, then Torvalds, Dr Rank's?
Assists Nora in her journey to self-discovery
Mrs. Linde
Acts as Nora's voice from the past – reason
Somewhat worldly, she represents reality and also assists in Nora's journey of self
discovery by insisting that Helmer learns of Nora's deception – the flaws within
their marriage are apparent to her
Krogstad and Kristine's relationship are subsequently prosperous and a symbol of
truth/honesty – whereas the collapse of Helmer and Nora's marriage is a testament
to the insidious nature of lies and deceit
Krogstad
‘Little job” (48), “humble job” (47). Self-deprecating in nature
Desperation and manipulation
Corrupt moral character according to Dr Rank
Connected to metaphor of society as a hospital - significant element of the play as
Nora defies society’s expectations.
“Didn’t it occur to you that you were being dishonest towards me?” - irony. Moral
‘corruption’ of Krogstad and Nora.
Indifference, no sign of empathy from him to Nora. He has become guarded, sterile
because of his experiences.
“I’ll show him all the respect he deserves”
Vengeful, vindictive, manipulative
Perspective shown “did you and your husband think of mine (children)?”
He has just been sacked from his job.
He is not sensitive to the emotions of others.
Pampered little petty
“Now I’m a shipwreck man” pg.81
His anger to Mrs Linde, his wife revealed. This is the source of his bitterness and
indifference to the rest of the world.
Author's quotes Ibsen once wrote, "Every new work has had as its purpose for me that of serving as
a process of spiritual emancipation and purification; for no man ever stands quite
without some responsibility and some complicity in the society to which he
belongs."
Ibsen was born into a well-off family, however, at the age of 8 his family were
thrown into poverty and they moved to a farm where Ibsen spent his childhood
painting and performing magic tricks.
As Ibsen was born in an upper-middle class, he understood the importance of
social class as well as the expectations within. So, his play tells a story of a couple
living in a society where you keep your social standing you need to follow the strict
standards.
Soon after at the age of 15 he dropped out of school and started working at an
apothecary in Grimstad. In his free time, he started writing poetry and soon wrote
his very first play titled, Catilina. Unfortunately, this play did not get much notice.
In 1851, Ibsen met theatre manager Ole Bull who offered him a job as writer and
manager in Norwegian Theatre in Bergen.
After establishing himself as a renowned playwright during his exile from Norway,
he returned with many of his most famous plays, including “A Doll’s House” and
“Hedda Gabbler”
Critical analysis
FORESHADOWING
24-25 foreshadowing the loan that Nora has taken and Torvald’s opinions/ideas
and response.
“Quite impossible to work in a building with him”, when Nora has done the same
thing as Krogstad.
DETERMINISM VS FREE WILL
‘It’s in your blood. Yes, yes these things are hereditary.’ (27) First sign of this
theme. Suggesting we don’t have control over behaviours, genetic.
CONTRASTING CHARACTERS
Mrs Linde vs Nora
Mature, assured, worldly VS young, innocent, playful, naive
Emotionally detached/removed VS overbearing love that Nora offers
Nora partakes in more feminine activities, such as embroidery, whereas Mrs Linde
prefers office work.
Mrs. Linde is critical of the life that Nora has led, pointing out that this may be
primarily due to the men in her life, which once again points to a very patriarchal
society
Mrs Linde looking for work, genuinely nice to Krogstad, she understands his
desperations, his forgery and his circumstances. He is a foil to Torvald’s behaviour.
She is the epitome of love and kindness. She is like an oracle, guiding the Helmer
family to the full realisation. Bringing truth into illusions. She is stopping Krogstad
from removing the letter to show Helmer the truth.
FEMALE ROLES IN SOCIETY
‘Poor Christine, you’ve become a widow’. Dependent on males. Men as providers.
“A wife can’t borrow money with her husband’s consent” (35)
“Years from now when I may longer be pretty”
“Human society into a hospital” -Important metaphor,
Stereotypical female roles; Nora holding embroidery, when Torvald walks in
holding a pile of papers.
“I would not be a true man if your feminine helplessness did not make you doubly
attractive in my eyes” (95)
“Can you neglect your most sacred duties” Helmer “Your duties towards your
husband, and your children” 100
“No man can be expected to sacrifice his honour, even for the person he loves”102