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A Doll's House

Henrik ibsen.

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Welcome to the LitCharts study guide on Henrik Ibsen's A Doll's House . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

A Doll's House: Introduction

A doll's house: plot summary, a doll's house: detailed summary & analysis, a doll's house: themes, a doll's house: quotes, a doll's house: characters, a doll's house: symbols, a doll's house: literary devices, a doll's house: theme wheel, brief biography of henrik ibsen.

Historical Context of A Doll's House

Other books related to a doll's house.

• Full Title: A Doll’s House (Norwegian: Ett dukkehjem )
• When Written: 1879
• Where Written: Dresden, Germany
• When Published: Published and first performed in December 1879
• Literary Period: Realism; modernism
• Genre: Realist modern prose drama
• Setting: A town or city in Norway
• Climax: When Torvald discovers the letter from Krogstad revealing Nora’s secret
• Antagonist: At first Krogstad, then Torvald

Extra Credit for A Doll's House

A True Story: A Doll’s House is based on the life of Ibsen’s family friend Laura Kieler, whose actions inspired the story of Nora’s secret debt. In reality, however, Kieler did not forge a signature, and when her husband, Victor, discovered her secret, he divorced her and forced her to be committed to an insane asylum. Ibsen, appalled by Kieler’s committal, wrote A Doll’s House in part as a way of defending her. After two years in the asylum Kieler returned to live with her husband and children and became a famous author in Denmark.

Scandalous: When it was first performed and for many years afterwards, A Doll’s House caused quite the scandal for its criticism of 19th-century marriage customs and portrayal of a woman abandoning her family in order to gain a sense of self. Pressured by several theatres and even the actress who was supposed to play Nora in a German production of the play, Ibsen wrote an alternative ending, in which Nora, upon seeing her children, changes her mind and stays with Torvald. He later regretted doing this, calling the adapted ending “a barbaric outrage.”

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A Summary and Analysis of Henrik Ibsen’s A Doll’s House

By Dr Oliver Tearle (Loughborough University)

A Doll’s House is one of the most important plays in all modern drama. Written by the Norwegian playwright Henrik Ibsen in 1879, the play is well-known for its shocking ending, which attracted both criticism and admiration from audiences when it premiered.

Before we offer an analysis of A Doll’s House , it might be worth recapping the ‘story’ of the play, which had its roots in real-life events involving a friend of Ibsen’s.

A Doll’s House : summary

The play opens on Christmas Eve. Nora Helmer has returned home from doing the Christmas shopping. Her husband, a bank manager named Torvald, asks her how much she has spent. Nora confides to her friend Mrs Linde that, shortly after she and Torvald married, he fell ill and she secretly borrowed some money to pay for his treatment. Mrs Linde is looking for work from Nora’s husband.

She is still paying that money back (by setting aside a little from her housekeeping money on a regular basis) to the man she borrowed it from, Krogstad – a man who, it just so happens, works for Nora’s husband … who is about to sack Krogstad for forging another person’s signature.

But Krogstad knows Nora’s secret, that she forged her father’s signature, and he tells her in no uncertain terms that, if she lets her husband sack him, Krogstad will make sure her husband knows her secret.

But Torvald refuses to grant Nora’s request when she beseeches him to go easy on Krogstad and give him another chance. It looks as though all is over for Nora and her husband will soon know what she did.

The next day – Christmas Day – Nora is waiting for the letter from Krogstad to arrive, and for her secret to be revealed. She entreats her husband to be lenient towards Krogstad, but again, Torvald refuses, sending the maid off with the letter for Krogstad which informs him that he has been dismissed from Torvald’s employment.

Doctor Rank, who is dying of an incurable disease, arrives as Nora is getting ready for a fancy-dress party. Nora asks him if he will help her, and he vows to do so, but before she can say any more, Krogstad appears with his letter for Torvald. Now he’s been sacked, he is clearly going to go through with his threat and tell his former employer the truth about what Helmer’s wife did.

When Mrs Linde – who was romantically involved with Krogstad – arrives, she tries to appeal to Krogstad’s better nature, but he refuses to withdraw the letter. Then Torvald arrives, and Nora dances for him to delay her husband from reading Krogstad’s letter.

The next act takes place the following day: Boxing Day. The Helmers are at their fancy-dress party. Meanwhile, we learn that Mrs Linde broke it off with Krogstad because he had no money, and she needed cash to pay for her mother’s medical treatment. Torvald has offered Mrs Linde Krogstad’s old job, but she says that she really wants him – money or no money – and the two of them are reconciled.

When Nora returns with Torvald from the party, Mrs Linde, who had prevented Krogstad from having a change of heart and retrieving his letter, tells Nora that she should tell her husband everything. Nora refuses, and Torvald reads the letter from Krogstad anyway.

Nora is distraught, and sure enough, Torvald blames her – until another letter from Krogstad arrives, cancelling Nora’s debt to him, whereupon Torvald forgives her completely.

But Nora has realised something about her marriage to Torvald, and, changing out of her fancy-dress outfit, she announces that she is leaving him. She takes his ring and gives him hers, before going to the door and leaving her husband – slamming the door behind her.

A Doll’s House : analysis

A Doll’s House is one of the most important plays in all of modern theatre. It arguably represents the beginning of modern theatre itself. First performed in 1879, it was a watershed moment in naturalist drama, especially thanks to its dramatic final scene. In what has become probably the most famous statement made about the play, James Huneker observed: ‘That slammed door reverberated across the roof of the world.’

Why? It’s not hard to see why, in fact. And the answer lies in the conventional domestic scenarios that were often the subject of European plays of the period when Ibsen was writing. Indeed, these scenarios are well-known to anyone who’s read Ibsen’s play, because A Doll’s House is itself a classic example of this kind of conventional play.

Yes: the shocking power of Ibsen’s play lies not in the main part of the play itself but in its very final scene, which undoes and subverts everything that has gone before.

This conventional play, the plot of which A Doll’s House follows with consummate skill on Ibsen’s part, is a French tradition known as the ‘ well-made play ’.

Well-made plays have a tight plot, and usually begin with a secret kept from one or more characters in the play (regarding A Doll’s House : check), a back-story which is gradually revealed during the course of the play (check), and a dramatic resolution, which might either involve reconciliation when the secret is revealed, or, in the case of tragedies, the death of one or more of the characters.

Ibsen flirts with both kinds of endings, the comic and the tragic, at the end of A Doll’s House : when Nora knows her secret’s out, she contemplates taking her own life. But when Torvald forgives her following the arrival of Krogstad’s second letter, it looks as though a tragic ending has been averted and we have a comic one in its place.

Just as the plot of the play largely follows these conventions, so Ibsen is careful to portray both Torvald Helmer and his wife Nora as a conventional middle-class married couple. Nora’s behaviour at the end of the play signals an awakening within her, but this is all the more momentous, and surprising, because she is hardly what we would now call a radical feminist.

Similarly, her husband is not nasty to her: he doesn’t mistreat her, or beat her, or put her down, even if he patronises her as his ‘doll’ or ‘bird’ and encourages her to behave like a silly little creature for him. But Nora encourages him to carry on doing so.

They are both caught up in bourgeois ideology: financial security is paramount (as symbolised by Torvald’s job at the bank); the wife is there to give birth to her husband’s children and to dote on him a little, dancing for him and indulging in his occasional whims.

A Doll’s House takes such a powerful torch to all this because it lights a small match underneath it, not because it douses everything in petrol and sets off a firebomb.

And it’s worth noting that, whilst Ibsen was a champion of women’s rights and saw them as their husbands’ intellectual equal, A Doll’s House does not tell us whether we should support or condemn Nora’s decision to walk out on her husband. She has, after all, left her three blameless children without a mother, at least until she returns – if she ever does return. Is she selfish?

Of course, that is something that the play doesn’t answer for us. Ibsen himself later said that he was not ‘tendentious’ in anything he wrote: like a good dramatist, he explores themes which perhaps audiences and readers hadn’t been encouraged to explore before, but he refuses to bang what we would now call the ‘feminist’ drum and turn his play into a piece of political protest.

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2 thoughts on “A Summary and Analysis of Henrik Ibsen’s A Doll’s House”

This powerful play foretold the 1960’s monumental epic of Betty Friedan’s The Feminine Mystique, A similar awakening for middle class women, of their unnamed discontent within a marriage. Both paved the the way to the Feminist Movement of the 1970’s where with increased consciousness of economic inequities, women rebelled, just as Nora had done. Homage is owing to both Ibsen in his era and Friedan in hers. Today there are increasing numbers of women serving as Presidents of their nations and in the USA a female Vice-President recently elected to that prestigious office.

I remember reading the play while being a college student. It seemed so sad but at the same time so close to real life. Maybe our lives are quite sad after all.

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A Doll's House Henrik Ibsen

A Doll's House essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Henrik Ibsen's play A Doll's House.

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A Doll’s House Essays

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Reactions to Abuse in “POOF!” and “A Doll House” Katie Davis College

Loureen, the protagonist of Lynn Nottage’s play, “POOF!”, and Nora, the main character of Henrik Ibsen’s “A Doll House”, are both abused by their husbands. While Nora’s abuse is primarily emotional and Loureen’s is physical, their abuse led them...

The characterization of Nora, Mrs. Linde and the nurse as a theme for female sacrifice in Henrik Ibsen’s A Doll’s House Anonymous 12th Grade

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Burning Down the Doll House Noah David Safford

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Dressed to Impress: The Role of the Dress in Cinderella and A Doll's House Sarah Scudder

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When Nora Helmer slammed the door shut on her doll's house in 1879, her message sent shockwaves around the world that persist to this day. "I must stand quite alone," Nora declares, "if I am to understand myself and everything about me" (Ibsen...

A Doll's House: Breaking With Theatrical Tradition Kristen Roggemann

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Analysis of Ibsen's A Doll's House: Feminist or Humanist? Ashley J. Smith

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A Doll's House: Jungian Analysis Anonymous

In Ibsen's A Doll's House, the path to self-realization and transformation is depicted by the main character, Nora Helmer. She is a woman constrained by both her husband's domineering ways as well as her own. From a Jungian perspective, Nora's...

Truth or Illusion? Hadeel Asaad

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Ibsen and Larsen and Women Kathleen M Dooley

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The Role of Women in "A Doll's House" and "Ghosts" Danielle St. George

The Role of Women in "A Doll's House" and "Ghosts"

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A Defense of Torvald Helmer Colter Ross Brown

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Gender and Theatricality in A Doll's House Anonymous

The play A Doll’s House, by Henrik Ibsen, offers a critique of the superficial marriage between Nora and Torvald Helmer. Written in 1879, the play describes the problems which ensue after Nora secretly and illegally takes out a loan from a local...

Aristotelian Themes in A Doll's House Anonymous

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Both Ibsen and Zola were firm believers in portraying their characters and works from a realistic perspective. Zola founded the naturalist movement in fiction and shared the same general perspective on society as Ibsen, who was the first of a new...

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A Doll’s House by Norway’s Henrik Ibsen Essay

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Introduction: Summary

The main theme in a Doll’s House play is feminist of the time. Nora and Helmer is a model husband and wife, living in peace and harmony in their family until Mrs. Linde, an older friend to Nora made a visit in their home in search of a job. Nora manages to secure a job for Mrs. Linde, but unfortunately pushes Mr. Krogstad an accused forger out of his job. Generally, in this play Henrik Ibsen pointedly captures the inferior role of women in Victorian society through his doll motif.

The play ‘A Doll’s House’ is one of the controversial plays, where Nora’s decision actions to dump her kids is contradictory to her thoughts as she thinks that her kids need her more than she needs her own freedom. The author of the play believed that women were made to be mothers and wives.

Moreover, he brings some idea of having an eye for the injustice on the female characters. Although, feminists would later hold him, Ibsen was not an activist of women’s rights; he only handled the problem of women’s right as an aspect of realism within the play.

The key theme of this play is Nora’s insurgence against society and everything that was really expected of her (Ibsen 140). During her era, women were not expected to be self-reliant but were to remain supportive to their husbands, take care of the kids, cook, clean, and make everything perfect around the house.

When Nora took a loan to pay for her husband’s medical bill, this raised a lot of questions and problems in the minds of many individuals from the community, as it was taken as act against the community norms for women to take up a loan without their husbands’ knowledge.

She proved that she was not submissive and helpless as her husband Torvalds thought she was. Thus the author referred her as “poor helpless little creature.” A good example of Torvald thought control and Nora’s submissiveness was when she got him to remind her tarantella, she knew the dance style but she acted as if she needed him to re-teach her everything.

When he said to her “watching you swing and dance the tarantella makes my blood rush” (Ibsen 125), this clearly shows that he is more interested in her physically than emotionally. Then when asked him to stop he said to her, “am I not your husband?” once more this is another example of Torvald’s control over Nora, and how he thinks that Nora is there to fulfill his every desire on command.

Marriage is another aspect that the play addresses; the main message seems to be that, a true working marriage is a joining of equals. In the beginning, Helmers looks happy but as the play progress, the imbalance between them becomes apparent. At the end, their marriage breaks because of lack of misunderstanding among them. They fail to realize themselves and to act as equals. (Johnston 671)

Women and Feminist

Throughout the play, Nora breaks away from the control of her arrogant husband, Torvald. The playwright, Ibsen denies that he wrote a feminist play. Still, throughout the play there is steady talk of women, their traditional roles, and price for them of defying with the traditions. (Johnston 570)

Men and masculinity

Men in this play are trapped by general traditional gender responsibilities. They are seen as the chief providers of the family and they should be in charge of supporting the entire household. Men must be the perfect kings of their respective palace. We see these traditional ideas put across at the end of the play.

Respect and Reputation

The men in this play are occupied with their reputation. Some men have the integrity in their society and do anything to protect it. Even if the play setup is in a living room, the public eye is portrayed through the curtains.

In within the play, ‘A Doll’s House’, the characters spend a lot of time discussing their wealth. Some characters are financially stable and promise for a free flowing money in the future while others struggle to make the end meet. (Ibsen 132)

Love has been given a priority in the play where good time has been used on the topic but in the end, Helmers realize that there was their no true love between them. Romantic love is seen for two of the other characters, but for the main character, true love is pathetic (Ibsen 200).

Dramatic irony

There are some examples in the play where this aspect is used, in Act 1 where Torvald condemns Krogstad for forgery and not coming forward. He also mentions that this action corrupts children’s mind. As a reader, you should know that this is very important to Nora because we know that she had committed forgery in the play and kept it a secret from Torvald. (Johnston 603)

It’s ironic when Torvald says that he pretends Nora is in some kind of trouble, and he waits the time he can rescue her. When the truth is known and Torvald has been given a chance to save Nora, he is all concerned with his reputation (Ibsen 128).

He abused her by calling her names such as featherbrain; he is not interested with rescuing Nora is interested on how he escapes out of this mess without affecting his reputation negatively. Then, when krogstad brings back the IOU document, Torvald shouts that he is rescued and he has forgiven Nora. Ironically, he did not even consider that she had borrowed the money earlier to save him.

Christmas and New Year

The play is set during the holiday period. Its Christmas period for the Helmers and New Year celebration is approaching. Both Christmas and New Year are associated with rebirth and renewal (Johnston 589).

Several characters in the play go through a rebirth process both Nora and Torvald go through a spiritual awakening, which can be taken as a rebirth. When things fail to happen, she realizes that it will not be possible for her to be a fully realized person until she divorces her husband. Finally, at the end of the play Helmer and Nora have been reborn.

Works Cited

Ibsen, Henrik. A Doll’s House . London: Methuen Drama, 2000. Print.

Ibsen, Henrik. A Doll’s House . London: Faber and Faber, 1997. Print.

Johnston, Brian. Ibsen has Selected Plays: A Norton Critical Edition . New York: W.W. Norton, 2004. Print.

Further Study: FAQ

📌 what is a doll’s house summary, 📌 what are the key a doll’s house themes, 📌 what kind of person is nora in a doll’s house, 📌 what does krogstad represent in a doll’s house.

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Literary Theory and Criticism

Home › Drama Criticism › Analysis of Henrik Ibsen’s A Doll’s House

Analysis of Henrik Ibsen’s A Doll’s House

By NASRULLAH MAMBROL on July 27, 2020 • ( 0 )

Whether one reads A Doll’s House as a technical revolution in modern theater, the modern tragedy, the first feminist play since the Greeks, a Hegelian allegory of the spirit’s historical evolution, or a Kierkegaardian leap from aesthetic into ethical life, the deep structure of the play as a modern myth of self-transformation ensures it perennial importance as a work that honors the vitality of the human spirit in women and men.

—Errol Durbach, A Doll’s House : Ibsen’s Myth of Transformation

More than one literary historian has identified the precise moment when modern drama began: December 4, 1879, with the publication of Ibsen ’s Etdukkehjem ( A Doll’s House ), or, more dramatically at the explosive climax of the first performance in Copenhagen on December 21, 1879, with the slamming of the door as Nora Helmer shockingly leaves her comfortable home, respectable marriage, husband, and children for an uncertain future of self-discovery. Nora’s shattering exit ushered in a new dramatic era, legitimizing the exploration of key social problems as a serious concern for the modern theater, while sounding the opening blast in the modern sexual revolution. As Henrik Ibsen ’s biographer Michael Meyer has observed, “No play had ever before contributed so momentously to the social debate, or been so widely and furiously discussed among people who were not normally interested in theatrical or even artistic matter.” A contemporary reviewer of the play also declared: “When Nora slammed the door shut on her marriage, walls shook in a thousand homes.”

Ibsen set in motion a transformation of drama as distinctive in the history of the theater as the one that occurred in fifth-century b.c. Athens or Elizabethan London. Like the great Athenian dramatists and William Shakespeare, Ibsen fundamentally redefined drama and set a standard that later playwrights have had to absorb or challenge. The stage that he inherited had largely ceased to function as a serious medium for the deepest consideration of human themes and values. After Ibsen drama was restored as an important truth-telling vehicle for a comprehensive criticism of life. A Doll’s House anatomized on stage for the first time the social, psychological, emotional, and moral truths beneath the placid surface of a conventional, respectable marriage while creating a new, psychologically complex modern heroine, who still manages to shock and unsettle audiences more than a century later. A Doll’s House is, therefore, one of the ground-breaking modern literary texts that established in fundamental ways the responsibility and cost of women’s liberation and gender equality. According to critic Evert Sprinchorn, Nora is “the richest, most complex” female dramatic character since Shakespeare’s heroines, and as feminist critic Kate Millett has argued in Sexual Politics, Ibsen was the first dramatist since the Greeks to challenge the myth of male dominance. “In Aeschylus’ dramatization of the myth,” Millett asserts, “one is permitted to see patriarchy confront matriarchy, confound it through the knowledge of paternity, and come off triumphant. Until Ibsen’s Nora slammed the door announcing the sexual revolution, this triumph went nearly uncontested.”

The momentum that propelled Ibsen’s daring artistic and social revolt was sustained principally by his outsider status, as an exile both at home and abroad. His last deathbed word was “ Tvertimod !” (On the contrary!), a fitting epitaph and description of his artistic and intellectual mindset. Born in Skien, Norway, a logging town southwest of Oslo, Ibsen endured a lonely and impoverished childhood, particularly after the bankruptcy of his businessman father when Ibsen was eight. At 15, he was sent to Grimstad as an apothecary’s apprentice, where he lived for six years in an attic room on meager pay, sustained by reading romantic poetry, sagas, and folk ballads. He later recalled feeling “on a war footing with the little community where I felt I was being suppressed by my situation and by circumstances in general.” His first play, Cataline , was a historical drama featuring a revolutionary hero who reflects Ibsen’s own alienation. “ Cataline was written,” the playwright later recalled, “in a little provincial town, where it was impossible for me to give expression to all that fermented in me except by mad, riotous pranks, which brought down upon me the ill will of all the respectable citizens who could not enter into that world which I was wrestling with alone.”

Largely self-educated, Ibsen failed the university entrance examination to pursue medical training and instead pursued a career in the theater. In 1851 he began a 13-year stage apprenticeship in Bergen and Oslo, doing everything from sweeping the stage to directing, stage managing, and writing mostly verse dramas based on Norwegian legends and historical subjects. The experience gave him a solid knowledge of the stage conventions of the day, particularly of the so-called well-made play of the popular French playwright Augustin Eugène Scribe and his many imitators, with its emphasis on a complicated, artificial plot based on secrets, suspense, and surprises. Ibsen would transform the conventions of the well-made play into the modern problem play, exploring controversial social and human questions that had never before been dramatized. Although his stage experience in Norway was marked chiefly by failure, Ibsen’s apprenticeship was a crucial testing ground for perfecting his craft and providing him with the skills to mount the assault on theatrical conventions and moral complacency in his mature work.

In 1864 Ibsen began a self-imposed exile from Norway that would last 27 years. He traveled first to Italy, where he was joined by his wife, Susannah, whom he had married in 1858, and his son. The family divided its time between Italy and Germany. The experience was liberating for Ibsen; he felt that he had “escaped from darkness into light,” releasing the productive energy with which he composed the succession of plays that brought him worldwide fame. His first important works, Brand (1866) and Peer Gynt (1867), were poetic dramas, very much in the romantic mode of the individual’s conflict with experience and the gap between heroic assertion and accomplishment, between sobering reality and blind idealism. Pillars of Society (1877) shows him experimenting with ways of introducing these central themes into a play reflecting modern life, the first in a series of realistic dramas that redefined the conventions and subjects of the modern theater.

The first inklings of his next play, A Doll’s House , are glimpsed in Ibsen’s journal under the heading “Notes for a Modern Tragedy”:

There are two kinds of moral laws, two kinds of conscience, one for men and one, quite different, for women. They don’t understand each other; but in practical life, woman is judged by masculine law, as though she weren’t a woman but a man.

The wife in the play ends by having no idea what is right and what is wrong; natural feelings on the one hand and belief in authority on the other lead her to utter distraction. . . .

Moral conflict. Weighed down and confused by her trust in authority, she loses faith in her own morality, and in her fitness to bring up her children. Bitterness. A mother in modern society, like certain insects, retires and dies once she has done her duty by propagating the race. Love of life, of home, of husband and children and family. Now and then, as women do, she shrugs off her thoughts. Suddenly anguish and fear return. Everything must be borne alone. The catastrophe approaches, mercilessly, inevitably. Despair, conflict, and defeat.

To tell his modern tragedy based on gender relations, Ibsen takes his audience on an unprecedented, intimate tour of a contemporary, respectable marriage. Set during the Christmas holidays, A Doll’s House begins with Nora Helmer completing the finishing touches on the family’s celebrations. Her husband, Torvald, has recently been named a bank manager, promising an end to the family’s former straitened financial circumstances, and Nora is determined to celebrate the holiday with her husband and three children in style. Despite Torvald’s disapproval of her indulgences, he relents, giving her the money she desires, softened by Nora’s childish play-acting, which gratifies his sense of what is expected of his “lark” and “squirrel.” Beneath the surface of this apparently charming domestic scene is a potentially damning and destructive secret. Seven years before Nora had saved the life of her critically ill husband by secretly borrowing the money needed for a rest cure in Italy. Knowing that Torvald would be too proud to borrow money himself, Nora forged her dying father’s name on the loan she received from Krogstad, a banking associate of Torvald.

The crisis comes when Nora’s old schoolfriend Christina Linde arrives in need of a job. At Nora’s urging Torvald aids her friend by giving her Krogstad’s position at the bank. Learning that he is to be dismissed, Krogstad threatens to expose Nora’s forgery unless she is able to persuade Torvald to reinstate him. Nora fails to convince Torvald to relent, and after receiving his dismissal notice, Krogstad sends Torvald a letter disclosing the details of the forgery. The incriminating letter remains in the Helmers’ mailbox like a ticking time-bomb as Nora tries to distract Torvald from reading it and Christina attempts to convince Krogstad to withdraw his accusation. Torvald eventu-ally reads the letter following the couple’s return from a Christmas ball and explodes in recriminations against his wife, calling her a liar and a criminal, unfit to be his wife and his children’s mother. “Now you’ve wrecked all my happiness—ruined my whole future,” Torvald insists. “Oh, it’s awful to think of. I’m in a cheap little grafter’s hands; he can do anything he wants with me, ask me for anything, play with me like a puppet—and I can’t breathe a word. I’ll be swept down miserably into the depths on account of a featherbrained woman.” Torvald’s reaction reveals that his formerly expressed high moral rectitude is hypocritical and self-serving. He shows himself worried more about appearances than true morality, caring about his reputation rather than his wife. However, when Krogstad’s second letter arrives in which he announces his intention of pursuing the matter no further, Torvald joyfully informs Nora that he is “saved” and that Nora should forget all that he has said, assuming that the normal relation between himself and his “frightened little songbird” can be resumed. Nora, however, shocks Torvald with her reaction.

Nora, profoundly disillusioned by Torvald’s response to Krogstad’s letter, a response bereft of the sympathy and heroic self-sacrifice she had hoped for, orders Torvald to sit down for a serious talk, the first in their married life, in which she reviews their relationship. “I’ve been your doll-wife here, just as at home I was Papa’s doll-child,” Nora explains. “And in turn the children have been my dolls. I thought it was fun when you played with me, just as they thought it fun when I played with them. That’s been our marriage, Torvald.” Nora has acted out the 19th-century ideal of the submissive, unthinking, dutiful daughter and wife, and it has taken Torvald’s reaction to shatter the illusion and to force an illumination. Nora explains:

When the big fright was over—and it wasn’t from any threat against me, only for what might damage you—when all the danger was past, for you it was just as if nothing had happened. I was exactly the same, your little lark, your doll, that you’d have to handle with double care now that I’d turned out so brittle and frail. Torvald—in that instant it dawned on me that I’ve been living here with a stranger.

Nora tells Torvald that she no longer loves him because he is not the man she thought he was, that he was incapable of heroic action on her behalf. When Torvald insists that “no man would sacrifice his honor for love,” Nora replies: “Millions of women have done just that.”

Nora finally resists the claims Torvald mounts in response that she must honor her duties as a wife and mother, stating,

I don’t believe in that anymore. I believe that, before all else, I’m a human being, no less than you—or anyway, I ought to try to become one. I know the majority thinks you’re right, Torvald, and plenty of books agree with you, too. But I can’t go on believing what the majority says, or what’s written in books. I have to think over these things myself and try to understand them.

The finality of Nora’s decision to forgo her assigned role as wife and mother for the authenticity of selfhood is marked by the sound of the door slamming and her exit into the wider world, leaving Torvald to survey the wreckage of their marriage.

Ibsen leaves his audience and readers to consider sobering truths: that married women are the decorative playthings and servants of their husbands who require their submissiveness, that a man’s authority in the home should not go unchallenged, and that the prime duty of anyone is to arrive at an authentic human identity, not to accept the role determined by social conventions. That Nora would be willing to sacrifice everything, even her children, to become her own person proved to be, and remains, the controversial shock of A Doll’s House , provoking continuing debate over Nora’s motivations and justifications. The first edition of 8,000 copies of the play quickly sold out, and the play was so heatedly debated in Scandinavia in 1879 that, as critic Frances Lord observes, “many a social invitation in Stockholm during that winter bore the words, ‘You are requested not to mention Ibsen’s Doll’s House!” Ibsen was obliged to supply an alternative ending for the first German production when the famous leading lady Hedwig Niemann-Raabe refused to perform the role of Nora, stating that “I would never leave my children !” Ibsen provided what he would call a “barbaric outrage,” an ending in which Nora’s departure is halted at the doorway of her children’s bedroom. The play served as a catalyst for an ongoing debate over feminism and women’s rights. In 1898 Ibsen was honored by the Norwegian Society for Women’s Rights and toasted as the “creator of Nora.” Always the contrarian, Ibsen rejected the notion that A Doll’s House champions the cause of women’s rights:

I have been more of a poet and less of a social philosopher than people generally tend to suppose. I thank you for your toast, but must disclaim the honor of having consciously worked for women’s rights. I am not even quite sure what women’s rights really are. To me it has been a question of human rights. And if you read my books carefully you will realize that. Of course it is incidentally desirable to solve the problem of women; but that has not been my whole object. My task has been the portrayal of human beings.

Despite Ibsen’s disclaimer that A Doll’s House should be appreciated as more than a piece of gender propaganda, that it deals with universal truths of human identity, it is nevertheless the case that Ibsen’s drama is one of the milestones of the sexual revolution, sounding themes and advancing the cause of women’s autonomy and liberation that echoes Mary Wollstonecraft’s A Vindication of the Rights of Woman and anticipates subsequent works such as Kate Chopin’s The Awakening, Virginia Woolf’s A Room of One’s Own and Betty Friedan’s The Feminine Mystique.

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A Doll's House

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Use these essay questions as writing and critical thinking exercises for all levels of writers, and to build their literary analysis skills by requiring textual references throughout the essay. 

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Student Prompt: Write a short (1-3 paragraph) response using one of the below bulleted outlines. Cite details from the play over the course of your response that serve as examples and support.

1. Throughout the play, Torvald refers to Nora in relation to different objects, animals, or images in their conversations.

• What is Nora’s general response to this Objectification ? ( topic sentence )
• Find 3 examples of Objectification throughout the play and explain the context and given circumstances of each.
• In your concluding sentence or sentences, summarize the ways in which these examples of Objectification demean Nora as an individual.

2. Many of the characters touch upon the importance of possessing financial freedom within the play.

• Select one character and share their position on financial freedom. ( topic sentence )
• Find and discuss 2-3 examples in which their opinion on financial freedom informs their decisions.
• Does this character achieve financial freedom at the end of the play? Why or why not? Explain in your concluding sentence or sentences.

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Essays on A Doll's House

When tasked with writing an essay on Henrik Ibsen's play A Doll's House, the choice of topic is crucial. A thought-provoking and well-researched essay topic can make the difference between a mediocre and an outstanding paper. The right topic can demonstrate your understanding of the play, critical thinking skills, and ability to analyze complex literary themes.

The right topic will not only make the writing process more enjoyable and engaging for you, but also for your readers. A well-chosen essay topic will allow you to explore and showcase your knowledge of the play, and it will also make it easier for you to find credible sources to support your arguments. Moreover, an interesting and unique topic will set your essay apart and capture the attention of your audience.

When choosing an essay topic, it's important to consider your interests, the play's themes, and your target audience. Consider what aspects of the play you found most intriguing or thought-provoking, and what themes you would like to explore further. Additionally, think about the potential impact of your topic on your readers. Will it challenge their perspectives, provoke discussion, or shed light on a lesser-known aspect of the play?

Recommended A Doll's House Essay Topics

Gender roles and identity.

• Discuss the portrayal of gender roles in A Doll's House.
• Analyze the theme of female liberation in the play.
• Examine the impact of societal expectations on the characters' identities.
• Compare and contrast the male and female characters in the play.

Marriage and Relationships

• Explore the portrayal of marriage in A Doll's House.
• Analyze the dynamics of Nora and Torvald's relationship.
• Discuss the theme of deception and its impact on relationships in the play.
• Examine the role of love and sacrifice in the play.

Social Class and Power

• Analyze the theme of social class and its impact on the characters' lives.
• Discuss the portrayal of power dynamics in A Doll's House.
• Examine the characters' aspirations and limitations based on their social status.
• Compare and contrast the attitudes towards social class in the play.

Individualism and Independence

• Explore the theme of individualism and independence in A Doll's House.
• Analyze Nora's journey towards self-discovery and independence.
• Discuss the consequences of pursuing personal freedom in the play.
• Examine the characters' desires for autonomy and self-expression.

Morality and Ethics

• Discuss the moral dilemmas faced by the characters in A Doll's House.
• Analyze the characters' decisions and their ethical implications.
• Explore the societal norms and moral values depicted in the play.
• Examine the consequences of challenging conventional morality in the play.

Character Analysis Topics

• Nora's transformation throughout the play
• Torvald's portrayal as a controlling husband
• Krogstad's role as an antagonist
• Mrs. Linde's influence on Nora's decisions
• Dr. Rank's significance in the play

Theme Analysis Topics

• The portrayal of gender roles in the play
• The concept of self-discovery and identity
• The theme of deception and lies
• The significance of money and materialism
• The idea of sacrifice and independence

Social Commentary Topics

• The portrayal of marriage and societal expectations
• The critique of the Victorian era's societal norms
• The role of women in a patriarchal society
• The impact of societal pressures on individual freedom
• The representation of class and social status

Dramatic Elements Topics

• The use of symbolism in the play
• The significance of the play's setting
• The use of dramatic irony in key scenes
• The role of minor characters in shaping the plot
• The impact of the play's structure on the audience's perception

These are just a few examples of A Doll's House essay topics that provide a wide range of potential areas for exploration when analyzing and that you could explore. When choosing a topic, remember to select one that aligns with your interests, allows for in-depth analysis, and offers a fresh perspective on the play. With the right topic, your A Doll's House essay can be a compelling and insightful piece of literary analysis.

Character Analysis of Nora in a Doll's House

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Henrik Ibsen’s Portrayal of Gender Roles as Depicted in This Play, a Doll's House

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Analysis of Women Portrayed in Ibsen's Works

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December 21, 1879

Henrik Ibsen

Naturalistic / Realistic Problem Play, Modern Tragedy

Norwegian, Danish

Nora, Torvald Helmer, Krogstad, Mrs. Linde, Dr. Rank, Children, Anne-Marie, Helene

The home of the Helmer family in an unspecified Norwegian town or city, circa 1879

The awakening of a middle-class wife and mother.

21 December 1879, by Henrik Ibsen

The play centres on an ordinary family — Torvald Helmer, a bank lawyer, and his wife, Nora, and their three little children. Into this arrangement intrude several hard-minded outsiders, one of whom threatens to expose a fraud that Nora had once committed without her husband’s knowledge in order to obtain a loan needed to save his life. When Nora’s act is revealed, Torvald reacts with outrage and repudiates her out of concern for his own social reputation. Utterly disillusioned about her husband, whom she now sees as a hollow fraud, Nora declares her independence of him and their children and leaves them.

The main themes of Henrik Ibsen's A Doll's House revolve around the values and the issues of late 19th-century bourgeoisie, namely what looks appropriate, the value of money, and the way women navigate a landscape that leaves them little room to assert themselves as actual human beings.

Nora Helmer, Torvald Helmer, Dr. Rank, Kristine Linde, Nils Krogstad, The Children (Ivar, Bobby and Emmy), Anne Marie, Helene, The Porter

A Doll's House was based on the life of Laura Kieler (maiden name Laura Smith Petersen), a good friend of Ibsen. Much that happened between Nora and Torvald happened to Laura and her husband, Victor. Similar to the events in the play, Laura signed an illegal loan to save her husband's life – in this case, to find a cure for his tuberculosis.[

The play was a great sensation at the time, and caused a "storm of outraged controversy" that went beyond the theatre to the world of newspapers and society. In 2006, the centennial of Ibsen's death, A Doll's House held the distinction of being the world's most performed play that year. UNESCO has inscribed Ibsen's autographed manuscripts of A Doll's House on the Memory of the World Register in 2001, in recognition of their historical value.

“You have never loved me. You have only thought it pleasant to be in love with me.” “You see, there are some people that one loves, and others that perhaps one would rather be with.” “I must make up my mind which is right – society or I.” “But no man would sacrifice his honor for the one he loves. It is a thing hundreds of thousands of women have done.”

Relevant topics

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The Significance of the Title A Doll's House

The doll represents Nora the central character, and the house stands for the house of Helmer where Nora lives.

If we read the play carefully and understand it critically, we feel that the word "doll" has been used in the title in a rather ironic manner. "Doll" signifies passivity, beauty, and the basically feminine nature which is seen in Nora when we look at her from outside. Indeed, from the viewpoint of Helmer, who is basically a traditionally possessive husband, Nora the doll is something like an inanimate object with which he can play and enjoy. As Nora says at the end of the play, she had been her father's doll until her marriage and she has been Helmer's doll for eight long years since her marriage. The word 'doll' suits Nora if we look at her with the traditional or uncritical eye, as Helmer or Mrs. Linde would look, or rather as they would like Nora to be. The reality is however that Nora has all the potential of being a real human being, seeking identity and dignity, and conscious of all the limitations imposed by her husband and his society's traditions. Nora is not a real doll but an apparent one. She is subservient; she is designed as per the demand and desires of Helmer, who would like to think that he makes her what he wants her to be; she is also perfect and unchanging, insentient and easy to handle like lifeless dolls, that is, in the eyes of Mr. Helmer. Her opinions and interests are fully determined and controlled by him. She is his doll, like she was her father's doll till marriage, Helmer possesses her, basically and almost only for fun. Nora has herself explained the fun that her husband obtained while their playhouse.

"...But our home has never been anything but a playroom, I've been your doll-wife, just as I used to be Papa's doll-child. And the children have been my dolls. I used to think it was fun when you came in and played with me, just as they think it's fun when I go in and play games with them. That's all our marriage has been…. "

Another ironic indication in the use of the word "doll's" is that the house does not belong to the doll. Nor is it made or maintained for her. The house, not home, is Mr. Torvald Helmer's. In one sense, he possesses the house, along with the doll! The house, therefore, seems to belong to the doll; but actually it is her cage. We say that the cover of a book belongs to it, or that it is the book's cover. It is only in that sense that the house belongs to the doll. Thus, Nora is the doll, and the house is a cage or 'case' for her. Indeed, the theme of the play suggests that her house (or home, or family) is a limitation on her freedom and prospects of life.

The word "house" also has symbolic suggestions and thematically significant connotations. "House", as contrasted to "home", means 'a structure or shelter to live in', unlike "home" which means 'a house where one's family lives and one gets love and care". "Home" is an emotively charged word, whereas "house" is not. So, in the case of the title of this play, the word 'house' as the connotation of 'just a place to live in', 'a shelter', 'a lifeless thing', and so on. Indeed, for Nora, the house of Helmer has never been a home; it has been a house. As we see her in the beginning, Nora is mainly satisfied with her living place, her house; so, it is her 'home' indeed. But, as she finds out later, it has been a house, a cage, she has been living there as a plaything until her expectation of an act of, sacrifice by her husband, or what she calls "miracle", fails to happen. When she is disillusioned about her place and value, her dignity and respect from her husband, she realizes that her husband has been treating her like a child treats its doll. She has the feeling of that home which has been like the doll's house. That is the meaning of the title. The title is thus very appropriate and is also indicative of the theme of the play.

A Doll's House Study Center

Signification of the Slamming of the Door in A Doll's House

Nora's Identity as a Person in A Doll's House

Parallelism and Contrast in A Doll's House

The Plot Construction in A Doll's House

A Doll's House as A Play of Social Criticism

Introduction of A Doll's House

Summary of A Doll's House

Detailed Summary of A Doll's House

Dramatic Irony in A Doll's House

Symbolism in A Doll's House

Characterization of Mrs. Nora Helmer

A Doll's House as a Reformist Play

A Doll's House as A Feminist Play

A Doll's House as a Modern Tragedy

Themes in A Doll's House

Biography of Henrik Ibsen

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A Doll’s House , play in three acts by Henrik Ibsen , published in Norwegian as Et dukkehjem in 1879 and performed the same year. The play centres on an ordinary family—Torvald Helmer, a bank lawyer, and his wife, Nora, and their three little children. Torvald supposes himself the ethical member of the family, while his wife assumes the role of the pretty and irresponsible little woman in order to flatter him. Into this arrangement intrude several hard-minded outsiders, one of whom threatens to expose a fraud that Nora had once committed without her husband’s knowledge in order to obtain a loan needed to save his life. When Nora’s act is revealed, Torvald reacts with outrage and repudiates her out of concern for his own social reputation. Utterly disillusioned about her husband, whom she now sees as a hollow fraud, Nora declares her independence of him and their children and leaves them, slamming the door of the house behind her.