A Doll’s House, Henrik Ibsen ~ TABLE OF CONTENTS · • Ibsen bringing the Mediterranean warmth...

A Doll’s House, Henrik Ibsen

~ TABLE OF CONTENTS ~ What constitutes a well-made play?

Background Stuff

• Context • A Doll’s House • Themes

a. Love x Marriage b. Gender c. Money x Work d. Individual vs Society e. Deceit // Facades f. Sacrifices: Women

• Symbolism / Motifs • Characters

a. Nora b. Torvald Helmer c. Mrs Christine Linde d. Nils Krogstad e. Dr Rank

• Setting The Play

• Act I • Act II • Act III • Alternative Ending • Interpretations

Blue – stuff related to A Streetcar Named Desire


What Constitutes a Well-made Play? This play does not completely follow the standards of a well-made play It deviates from the norm → the aspect of denouement

Exposition

• Main characters are introduced • Harmonious beginning

Dilemma / Conflict Introduced

• Often through letter / diaries etc. (in this case, the I.O.U.) • Often involving a character’s past

Climax – high tension / suspense Denouement – final part of the play

• Questions are answered • Order is restored / conflicts are resolved / restoration of harmony

o Krogstad sends the second letter → audience thinks that everything is okay o Krogstad and Linde get together → suggest that Nora and Helmer will be okay as well → but

that is not the case o DEVIATION: Nora changes and transforms

Context

• Henrik Ibsen: father of naturalism • Published in 1879 • Ibsen wrote it in ‘riksmal’ → official language of Norway, predominantly targeting a middle-class

urban audience • Written when Ibsen was in Italy, after he left Norway voluntarily to live in Italy, and this is where he

found success in A Doll’s House o In the same way, it’s reflecting how Nora is leaving o Perhaps this is a good ending if we take Ibsen’s

• Naturalist piece – normal life, used everyday prose

• Very controversial → challenged the whole basis of society o Perhaps accentuated by how there were children, and Nora still left anyway o Subverted A LOT of archetypal ideologies

• Considered a feminist play but Ibsen disagreed o He considered it to have a more universal theme


o An empowering piece for anyone in society who has been oppressed, not just limited to women

• A German actress refused to play Nora with the leaving ending o So then Ibsen wrote an alternative ending where Nora stays and called it a “barbaric outrage” o His wife said to him ‘if Nora stays, I leave’

“A Doll’s House” Title: “A Doll’s House”

• Picture perfect family → just for show / display • The patriarchal family structure was not natural

o Merely a social construct, man-made and unnatural o The woman needs choice and equality too

• All is dictated by the owner (Helmer, in this case) → no autonomy or choice • “A” → not just this family (universality)

The Actual Play

• Set in Norway • Takes place over three days

o Act 1 Christmas Eve o Act 2 Christmas Day o Act 3 Christmas Night

Naturalistic Play

• Everyday language is used • The props on the stage were basically the things the audience would see in their own homes

Important Themes Love and Marriage

• Helmer and Nora o They are married, but as the play progresses, we see that Nora was not truly happy, merely

having fun o Can marriage and love coexist, given the unavoidable husband-wife power dynamics of a

19th century patriarchy? • Krogstad and Mrs Linde

o Linde married out of necessity o They are both widowed and unhappy o But they get together in the end → is this love out of loneliness?

Similar to how Blanche and Mitch try to get together

A Doll’s House, Henrik Ibsen Gender

• Patriarchal values: man > woman o Helmer objectifying, patronising, and low-key abusing Nora o Women cannot borrow money with their husband’s consent

• Money x work → reserved for men o When Nora made money she says how it was “almost like being a man.” (p37)

• Men → breadwinner o Driven by ambition, desire for higher statuses, and reputation o Helmer’s first thought, upon hearing Nora’s secret is to think of his reputation o Krogstad is fixated on taking over Helmer’s job and running the bank

Money and Work

• Important, overarching theme o Helmer is being promoted and gets a raise; he leaves his room only when Nora says she’s

“bought” something (start of Act I) o Mrs Linde has come to look for a job → for money o Krogstad needs to keeps his job → his money o Nora has borrowed money from Krogstad, and has used it to save Helmer

• Money symbolises some form of power o Helmer allocates Nora money → power over her o Nora owes Krogstad money → power over her o Patriarchy → Nora and Mrs Linde cannot earn much because they are women

Individual vs Society

• Helmer – society x individual o Values his reputation more than his relationship with Nora o Yet he is also individual-oriented → he is egoistic

• Krogstad – similar, but upon reconciling with Mrs Linde, he learns to value his personal integrity over outward respectability

• Nora – from society to individual o Originally plays well into society’s expectations of being a mother and wife, and prioritises

the well-being of her children and Helmer over her own o Towards the end, she starts to prioritise herself (individuality)

• Mrs Linde – balance o She loves to work – autonomy and independence (as a woman) o But she also needs someone to work for – to make life worth living

• Oppression of women o Financial, intellectual, opportunistic oppression o Women would be wearing corsets and heavy-fabric long dresses

Corset – forced to sit in a certain way → could link to ‘dollness’ of it Long dresses – restrict their movement and choices

Deceit // Facades

• The stove vs the outside world


o The stove: a façade, seemingly warm (warm → emotion, not temperature) o The outside world: cold, but this is real and allows her to find herself)

• As the play progresses, it becomes clear to us, the audience, that things are not as good as it seems • Play is foregrounded with Nora’s concealment

o “Hide” the Christmas tree and macaroons Sacrifices: Women

• Nora o Couldn’t see her father even though he was dying to save Helmer o Didn’t talk about her old friends to Helmer because he got jealous

• Mrs Linde got married someone she didn’t love and toiled for 3 years after her husband died to provide for her two younger brothers and dying mother

• Nurse → she had to leave her children to get a job • And it shows how women cannot rely on men → they are unreliable and leave them constantly

o Linde: no kids, no money nothing o Nurse: she was unexpectedly pregnant and her lover left (“A poor girl what’s got into trouble

can’t afford to pick and choose. That good-for-nothing didn’t lift a finger.” – Nurse page 56) o Nora: definitely not Helmer

Symbolism / Motifs The Christmas Tree

• Metaphor for Nora • Symbolises family happiness and unity

o Deterioration of the tree’s condition = disintegration of family Macaroons

• Represent Nora’s disobedience and deceit • Helmer has banned them, but Nora eats them anyway in the opening of Act I • After the Tarantella dance, she asks that they be served

o Aligns with the Tarantella symbolising her breaking free → disobedience The Tarantella

• Ibsen bringing the Mediterranean warmth from Italy to the bleakness and serenity of Norway • Represents Nora’s hidden passions → breaks her façade of a mild-mannered wife • Nora does use this dance to please Torvald, but in one instance, we can see how it more so

represents a chance for her to rebel • Tarantella → a traditional dance for women who were bitten by spiders (venomous)

o Nora is playing the role of a victim, perhaps to Helmer? As he is always asking her to dance o Venom / poison → Krogstad

• Tarantella Dress o Brightly coloured, and revealing (her ankles are shown, and some cleavage)


• Piano – only played by Helmer and Dr Rank The Doll’s House

• Symbolic of her own situation → trapped and caught in un-reality • First allusion is when she buys her daughter some dolls → then her leaving Helmer is foreshadowed

when she says Emmy (daughter) will soon break them apart • Towards the end, during her and Helmer’s argument, the reference of the doll’s house is clear → she

has been treated as such, and been living as such Stove

• Contrasts with the cold Norwegian winter o We know this because the characters all come in taking off their big coats

• Safety space for Nora → symbolises unease • Role reversal: initially, it is Nora going towards the stove, but towards the end, it is Helmer moving

towards the stove for comfort o Nora is being empowered → growing autonomy and independence o Helmer is disempowered, and not as strong as he’d like to think

• Also used to destroy Krogstad’s letters and IOUs Miracle

• Helmer taking the blame / responsibility • It would be a miracle because it means Helmer would have to put aside his reputation in favour for

his wife. This was largely unheard of, and perhaps looked down upon in the 19th century Doors

• Represent opportunities and freedom o There are other worlds beyond the one main room o Helmer’s study – we don’t know things happening in here (Krogstad, Dr Rank talking to him)

• Nora is surrounded by a lot of doors, but we do not see her go through any of her own volition (minus the first act where she enters) → she is trapped

• At the end, she enters into a side room to change out of her dress, and finally she slams the door and leaves

Lamp

• Represent moral high ground • Nora calls the nurse out to bring the lamp – and clear the confusion and illuminate the boundaries

Characters There were only 5 significant characters

o Nora, Helmer, Linde, Krogstad, Rank o Ibsen breaking the mould (prior, plays had tons of characters)

A Doll’s House, Henrik Ibsen Non-Nora and non-Helmer characters act as a reflection or contrast against them

Nora

• She is adept at playing the role society / her husband gives her (the squander bird stuff in Act I) • She is also a great liar → emphatically denying her macaroon eating (Act I) • Love for her children

o “How the children will love it!” – Nora (Page 27, Act I) Her response to Helmer talking about their evening with Dr. Rank Ibsen is trying to show that Nora really loves her kids Whereas Helmer doesn’t really care

o Doesn’t take any money from what Helmer gives to the children, whilst she buys herself “what was the cheapest and plainest.” (Nora, page 37)

• Portrayed like a child o Mrs Linde and Helmer both use words such as “dear” and “child” to patronize Nora → it

makes Nora seem really childish and incompetent • Development of self-responsibility / strength (Mrs Linde conversation)

o “And it saved Torvald’s life.” (page 31, in reference to the trip to Italy) “It was I who saved Torvald’s life.” (page 34, about the Italy thing)

o “It was me that [the doctors] told his life was in danger….” – Nora (page 35, Nora on how the doctors told her) → the doctors perceive her as more capable

o “… I cried and prayed…” (page 35) etc. → Nora pulls into all her wifely charm to save Torvald’s life → so maybe when Nora is playing the role of squander-bird or smth it’s not because she’s dumb, but because she knows what she’s doing

o “For heaven’s sake, no! What an idea!” – Nora (page 36, in response to Mrs Linde asking if Helmer knows about the I.O.U.) Shows how Nora seems to be more developed than Mrs Linde Now Mrs Linde is seen as a child / naïve

• Strength o “It was great fun, though, sitting there working and earning money. It was almost like being a

man.” – Nora (page 37, referring to when she did embroidery and other jobs to pay off her debt of borrowed money) Highlights the patriarchal system → clear difference in gender roles Nora enjoys it → maybe we shouldn’t be so surprised that she leaves

• Her relationship with the Nurse o Nurse has a maternal, intimate relationship with Nora o Nora was brought up by her, and she is Nora’s only mother figure

Helmer

• Overestimated self-image o “When the real crisis comes, you will not find me lacking in strength or courage. I am man

enough to bear the burden for us both.” – Helmer (p 63, after he sends Krogstad’s firing letter) o “So little Miss Independent’s in trouble and needs a man to rescue her, does she?” (page 52,

when Nora asks for his help in deciding a costume for the dance) Thinks he’s a hero → that Nora needs him → the irony


• Egoistic o Only cared about himself during the whole situation with Krogstad’s letters; Nora’s well-

being was merely an after thought • Patriarchal: objectifying and patronising Nora

o “My skylark”, “my squirrel”, “my little squander-bird.” – Helmer (throughout) o “…when it no longer amuses him to see me dance and dress up and play the fool for him.” –

Nora (page 36) o “It’s incredible what an expensive pet she is for a man to keep.” – Helmer (page 26, ‘she’

referring to Nora being a “squanderbird” and spending money) • Patriarchal: misogynistic

o “I am condemned to humiliation and ruin simply for the weakness of a woman.” – Helmer (page 94)

o “I would not be a true man if your feminine helplessness did not make you doubly attractive in my eyes.” – Helmer (page 95, after receiving Krogstad’s second letter and rejoicing)

• Façade // Shallow o “Helmer’s a sensitive chap, and I know how he hates anything ugly.” – Dr Rank (page 65,

talking to Nora about his own fate) → shallow o “As regards our relationship – we must appear to be living together just as before. Only

appear, of course.” – Helmer (page 94) → façade • Fantastical

o “I shall merely regard the whole business as a dream.” – Helmer (page 95, when the second letter arrives)

o “Nora: […] I don’t believe in miracles any longer. Helmer: But I want to believe in them.” (page 104, towards the end when everything falls apart)

• Older than Nora o Knew Nora’s father well o Nora says that she was “passed from papa’s hands to [Helmer’s]”

Mrs Christine Linde

• Function of her as a minor character o Contrast with Nora and bring out / prompt character development → allows Nora to tell the

truth and stuff → and Nora is no longer a child after the conversation with Mrs Linde o Her own hardships (Act I) highlight the significance of it – at the end of Act III Nora leaves,

knowing what it will be like → hence Nora can be seen as more courageous // or just foolish, since Linde didn’t manage it own her own “These last three years have been just an endless slog for me, without a moment’s

rest.” – Linde (page 32) • Linde has been a widow for three years → they’re supposed to be good friends, but Nora has not

managed to send her condolences (their conversation in Act I) o Somehow Nora manages to move on straight past this topic of Linde’s dead husband onto

her good news with Helmer’s new job at the bank o Nora sounds really childish: “heaps of money” (page 30) o But then at the end of the conversation with Mrs Linde, we see that Nora is not as childish

though… Nora reveals how she borrow money and works to save Helmer’s life


o It was acceptable for Mrs Linde to work, because she’s a widow • Believes that honesty is better than deceit

o “Helmer must know the truth. […] There must be an end of all these shifting and evasions.” – Mrs Linde (page 84, talking to Krogstad)

o ^She tells Krogstad not to take back the letter to Helmer Nils Krogstad

• Minor character → mirrors Nora’s character • When he first enters in Act I, Mrs Linde turns away, and Nora whispers to him → he is portrayed as

suspicious and negative o Dr Rank later describes Krogstad as a “morally twisted” (page 39) person

• But we see that Krogstad cares deeply about his children → UNLIKE HELMER‼ o “My sons are growing up: for their sake, I must try to regain what respectability I can.” –

Krogstad (page 46, when talking to Nora the first time) • Later, he is depicted as cruel and ruthless

o “If I get thrown into the gutter a second time, I shall take you with me.” – Krogstad (page 50) • But we see that it is society / circumstances which have forced him to do such things

o “[…] it’s your husband who has forced me to act like this.” – Krogstad (page 73) Dr Rank

• Bitter man – he criticises the charity of society (when talking about Krogstad) o Should we as a society tolerate Krogstad, or deprive a moral man of a job? o Will Rank expose Nora or not? He doesn’t though, is this contradictory?

Setting Stage Setting

• Most of the colours are grey and pastel – brightly coloured objects are pronounced and symbolic o Nora’s Tarantella dress o Multi-coloured shawl Nora puts on just before she leaves

• The entire play is set inside the house o Could be limiting o Nora is always in the living room (a public place) → she has no privacy, and is constantly on

“display” → appearance // but Helmer has his own office and this is mentioned throughout o Nora never goes through doors, but everyone else does → caged bird

• A stove is constantly mentioned in the plays o Function: to heat and keep warm o Nora moves to the stove a lot when she’s uncomfortable

When Helmer talks about borrowing money being detrimental to the beauty of a family / home (Act I)

When Krogstad arrives to talk to Helmer (Act I) o The cold Norwegian winter juxtaposes against the warm stove


Whenever someone enters the house, Ibsen always has stage directions about the character taking their jackets / coats off → a sense of chilliness

Time Setting

• Christmas → miracle o Jesus’ birth was a miracle for Christians (in the 19th century, people were much more

religious so this would be significant) o “Oh, it’s really all just like a miracle.” (Page 28, Act I)

Miracle → Christmassy The idea of a miracle is really important → towards the end of the play, when Helmer

finds out, Nora is waiting for the miracle: for Helmer to take the blame and they’ll both figure it out // but that doesn’t happen and so Nora leaves

o At the end of the play, Nora rejects religion → challenging society, but also maybe CELESTIAL DICTATORSHIP → rise of the marginalised / oppression

• Christmas → winter (death) o Death of Nora and Helmer’s marriage o Spring → archetypal image of beginning anew + life etc. (Nora, page 37) o Sea → archetypal image of freedom (Nora, page 38)

Act One The play begins with Nora knocking on the door

o Maybe she does not even have the keys to the house o Contrasts with the ending where she slams the door

Their three kids (kids create a very happy, harmonious vibe) Converses with Helmer about macaroons and money etc. Mrs Linde arrives and more conversation Dr Rank arrives, then Krogstad appears Has a conversation with Krogstad about her borrowing money and how she faked the I.O.U.

signature by her father → Krogstad is threatening to expose her if she does not try to preserve his job at the bank (Helmer is now boss)

Towards the end there is a change in tone, as she remembers how she borrowed money to help Helmer

o Patriarchal society – money could only be borrowed if a man signed it // but Nora could not ask Helmer to sign it, because he would be too prideful // and her father was dead // so she forged the signature

Helmer starts bad-mouthing Krogstad, saying how corruption will destroy a family, and Nora worries that her corrupt tendencies will damage her children

Ibsen uses time of the day to symbolise a change in the mood Initial stage directions (Page 23)

• A very cozy atmosphere is created


o “a fire in the stove”, “a rocking-chair” → the contrast against the winter day o And we know it’s cold outside because Nora is wearing a bunch of warm winter clothes

• Lots of doors are mentioned – it’s ironic because Nora doesn’t go through any, yet she is surrounded by them all

• Naturalism → through the detail given in the stage directions o As the play progressed more and more audience were able to see their own selves reflected

in the performance • “Engravings”, “leather books” → idea of being cultured and well educated, which resonates with the

audience who must be relatively well off to be able to go to a theatre. • “… the Maid, who has opened the door for [Nora and the porter].”

o Is Nora being pampered, being superior? o She never opens the door → lack of autonomy? No choice? No keys?

Money foregrounds the play → money is essential and important

• Nora gives the porter a very large tip – gives a pound instead of a shilling and tells him to keep the charge (Page 23)

• Helmer only comes out of the play because Nora says she has spent money → “Bought, did you say?” – Helmer (Page 24)

• Nora goes towards the stove after Helmer expresses his distaste towards borrowing money (Page 25) o “A home that is founded on debts and borrowing can never be a place of freedom and

beauty.” – Helmer o Nora is thinking about when she borrowed money to take Helmer to Italy and saved his life

Concealment

• “Hide” → first word of the play o Hiding the Christmas tree, the children can’t see it until it is perfect / ready o If Christmas tree = symbol for Nora → Nora is a doll, only presenting herself as perfect; also

perhaps the expectations for women • Nora “pops the bag of macaroons in her pocket and wipes her mouth”, before Helmer comes out –

and later on we find out that Helmer has banned her (Page 24) o Maybe she has a rebellious streak already

Patriarchal family → man > woman

• “My skylark”, “my squirrel”, “my little squander-bird.” (Page 24) o Possessive pronoun “my” – Nora belongs to Helmer o Some think it is patronising, others at the time 19th century may have just seen it as terms of

endearment o Yet Nora plays along with it – “Yes it is your skylark.” (Page 24)

• Torvald “takes her playfully by the ear.” (Page 24 – stage directions) o Low-key abusive → on the surface it’s all banter, but it’s a bit odd

• “Ugh, it was the most boring time of my life.” (Page 28) o Helmer talking about Nora shut away during last year’s income making “Christmas

decorations” → women are there just to entertain men


o But the truth is, Nora was only just doing lots of work to pay off debt, which links back to idea of concealment

• “And besides – he’s so proud of being a man –it’d be so painful and humiliating for him to know that he owed anything to me.” – Nora (page 36)

o Criticising prideful masculinity, raises questions about gender o We no longer like Helmer because he’s prideful o Also here Nora shows that she knows what’s happening, and stuff → she understands the

patriarchal system • “…when it no longer amuses him to see me dance and dress up and play the fool for him.” – Nora

(page 36) o She seems to know exactly what she’s expected to do o Also highlights how men perceive women → “fool”: stupid etc.

Foreboding / foreshadowing

• “And a doll and cradle for Emmy – they’re nothing much, but she’ll pull them apart in a few days.” – Nora (Page 25) (When Nora describes what she bought for her kids.)

o “Doll and cradle” → A Doll’s House → Nora’s situation o “She’ll pull them apart in a few days.” → what Nora will do o Cyclical entrapment – Emmy is her daughter, given a doll and cradle

And Nora fulfils the role and stereotypes Mrs Linde

• When she comes in and talks to Nora, when she finds out what Nora did, she is incredulous and asks a lot of questions in response

o “Nora, you’re crazy!” (page 35) o “You couldn’t have borrowed it.”

“Oh, why not?” o “But Nora, I simply don’t understand- “

• “It is foolish to save one’s husband’s life?” – Nora (page 35) o Nora is later accused of breaking the law → raises moral questions! :D

• Helmer doesn’t know who Mrs Linde is (page 41), but Dr Rank does → Nora has a different relationship with Dr Rank and her husband → foreshadowing?

Nora: Rebellious Side → Rule Breaking

• The macaroons are forbidden → yet they still eat it (page 40) o She forces Mrs Linde and Dr Rank to eat it – she pops a macaroon into Dr Rank’s mouth →

foreshadowing Act II o Nora blatantly blames Mrs Linde → Nora is feisty, and has a wit / humour o Nora is clearly breaking the rules

• There’s one thing she wants to say to Helmer: “Bloody hell!” (page 41) o Dr Rank and Mrs Linde eventually draw it out of her o First thing Dr Rank says after is “are you mad?”

And then when Helmer appears Rank says “Say it. Here he is.” (page 41)


o Nora has to quickly hide her macaroons and go to meet Helmer: “Well, Torvald dear…” (page 41) → she gracefully transitions from being a rule breaker to the ideal wife ^Helmer is really dumb and oblivious to the nature of their marriage

Nora: Motherly Human There is a scene with Nora playing with her children (page 42-43)

• Ibsen includes this to set a foundation that Nora genuinely loves her children and cares about them • They are playing Hide and Seek → Nora is the one hiding again → naturalist

o She’s an unconventional mother – playing with her kids in a massive dress • She calls Emmy “my sweet little baby doll” (Page 42) • Monosyllables, exclamatives, repetition → show excitement and childish reaction

o Nora stoops to their level to kiss them o Proud of them: “look at them Christine, aren’t they beautiful?” → the same way Helmer

shows her off to Christine as well ^“She’s worth looking at, don’t you think?” – Helmer (page 85, to Christine, post-Tarantella)

• Helmer: “Come Mrs Linde, this is for mothers only.” o Cold, distant, an unloving father → and highlights the gender roles

• Then Nora take her children to a different room and closes the door after them (just as Krogstad appears)

• She doesn’t go back to playing with her children after stupid Krogstad, the last thing she says to her children: “Go away, my darling, go away.” (page 50), and closes the door behind them → and then the children mia forever

Nora: Confidence, Player

• Nora flatters Helmer (page 41) to help Mrs Linde get a job o She lies to Helmer about Mrs Linde coming all the way just to find a job → but these lies are

not for her own interest → but also this suggests that Nora’s relationship with Helmer is based on lies and deceit

o Previously she said to Linde, “just you leave it to me. I’ll lead up to it so delicately, so delicately; I’ll get him in the right mood. Oh Christine, I do so want to help you.” (page 33)

• “I arranged it, Mr Krogstad.” (page 45) when talking to Krogstad about Mrs Linde’s employment at Helmer’s company

o She’s prideful and makes her seem more important than necessary • “You know I trust your taste more than anyone’s.” (page 52)

“Yes, Torvald. I can’t get anywhere without your help.” (page 53) o Nora knows how to flatter him and make him feel good o Dramatic irony: she can go places without his help

Krogstad’s Appearance

• Build up to his entry: “knock” → “door is half open” → “Krogstad enters” o Nora doesn’t see him there until after a moment → creepy o Tension is introduced, as Krogstad has been built up to be the villain

• His entry changes the tone completely, and tension is created

A Doll’s House, Henrik Ibsen The Law: Man vs Woman’s Conscience

• Krogstad: “The law does not concern itself with motives.” Nora: “Then the law must be very stupid.” (page 49)

o Difference in man and woman’s conscience o Women care about intent, but also take into account situation, emotion, and humanity →

men are more rigid and straightforward o Most of the audience in the 19th century would agree with Krogstad o Also because patriarchy, the law = man’s conscience → Ibsen saying how it’s dumb to expect

women to cope with a man’s world • “Hasn’t a daughter the right to shield her father from worry and anxiety when he’s old and dying?

Hasn’t a wife the right to save her husband’s life?” – Nora (page 50) o “A”, “Daughter” and “wife” → not directed to herself, it is universal → appeals to the audience

and shows that she is going beyond herself o Rhetorical questions, repetition “Hasn’t a…” o Appeals to pathos

Nora x Krogstad: Conversation

• Krogstad changes his tone from flattering her to aggressive: “Will you have the kindness to use your influence on my behalf” (page 45) “Now listen to me, Mrs Helmer. If I’m forced to, I shall fight for my little job at the bank as I would fight for my life.”

o Then Krogstad later reveals it is for his sons, who are growing up, and Krogstad is also a widower, on his own

o “And your husband wants to kick me off that ladder back into the dirt.” – Krogstad (page 46), about how Krogstad had had to struggle to get where he is now → Helmer is portrayed as inhumane and savage

• When Krogstad says he has the means to make Nora help him, Nora asks “you don’t mean you’d tell my husband that I owe you money?”

o Here everything comes together, and we find out Nora owes Krogstad money • When Krogstad brings up the problem with the IOU and her father’s death

o “Nora is silent.” (page 48, stage directions) , and this is repeated after Krogstad has a follow up question → this is the first time Nora doesn’t have a response, she is literally struck dumb

• HOWEVER, there is also some pathos for Krogstad o “My sons are growing up: for their sake, I must try to regain what respectability I can.” –

Krogstad (page 46) Nora: Genuine and Honest

• When Krogstad asks if her father’s signature is genuine or not, she doesn’t lie (page 49) → this is important, because we know she’s great at lying, but when it comes down to big things she doesn’t lie → her honesty is demonstrated

• Pathos is created, and we see that Nora cares a lot about Helmer and her father o “Papa was very ill.” “I couldn’t tell my husband.”


o She repeats “I couldn’t” → to all of Krogstad’s alternative suggestions → shows that she really had no choice

Naturalism

• They wrap the bank notes in gold paper → Ibsen did this with his wife (Page 27) • Nora plays Hide and Seek with her kids (page 43)

Nora: Fragmentation (p 50-51)

• After talking to Krogstad o Nora’s mind is fragmented → she keeps trying to do things, but keeps stopping, and her

sentences are cut short: “But – ? No, it’s impossible. I did it for love, didn’t I?” → trying to convince herself *link to Blanche “Never inside, I didn’t lie in my heart.”

o Then she asks Helen for the Christmas tree and says “I’ll sing for you, I’ll dance for you” to Helmer → she’s trying to maintain the appearance of a perfect wife

• After she and Helmer talk about Krogstad’s corruption o She keeps talking to herself in short sentences, trying to convince herself o And then she goes to the Christmas tree again → a form of consolation, and the illusion of

perfection • She is interrupted a lot, never free and trapped in playing a certain role

o Talking to children, Krogstad comes in o Talking to Helmer, Linde comes in o Helmer turns up unexpectedly

Corruption

• When Dr Rank and Helmer talk about Krogstad, this is really ironic because everything applies to Nora as well

• Nora semi defends Krogstad: “Mightn’t he have been forced to do it by some emergency?” (page 53) • When Helmer is talking about corruption:

o Lexical set: punishment, crime, “lying and cheating and dissembling” → harsh o Medical lexis: germs, contaminates, poisons → similar to the words Dr Rank used o “(comes closer behind him).” (page 53) → Nora is behind Helmer

Helmer cannot see her, and this could symbolise how he doesn’t really know her, and we, as the audience know her better

The mask and façade Nora has And Helmer’s lack of understanding of his wife

o “Helmer: Nearly all young criminals are the children of mothers who are constitutional liars. Nora: Why do you say mothers? Helmer: It’s usually the mother – though of course the father can have the same influence.” (page 53) Stereotypical that mothers are greatest influence Helmer doesn’t answer Nora’s question as to why it is only mothers

• Helmer: “And yet this fellow Krogstad has been sitting at home all these years poisoning his children with his lies and pretences.” (page 54)


o Krogstad is depicted here by Helmer to be really terrible, but it’s clear from his conversation with Nora that he really cares about his kids

o Dichotomy between being a bad dad and a good dad Patriarchal: Man > Woman

• Helmer speaks a lot more then Nora (page 53-54) o He gets to speak his mind and talk a lot, but Nora doesn’t get to say much, only short

sentences → Helmer is dominant o This contrasts with Act III later on when Nora reverses the role

• “Didn’t you say no one had been here? (Wags his finger.) My little songbird must never do that again… Otherwise she’ll start twittering out of tune. (Puts his arm round her waist.) Isn’t that the way we want things? Yes, of course it is. […] Ah, how cosy and peaceful it is here!” (page 52, after reprimanding Nora for attempting to cover up Krogstad’s visit, where he asked Nora to put in a good word for him to Helmer)

o “out of tune” → Helmer is trying to keep the status quo o Helmer thinks he knows all about Nora, that she has been lying, but dramatic irony because

he doesn’t know the real massive thing she’s hiding o Putting his arm around her waist → controlling o He answers his own question: “Yes, of course it is.” → Nora doesn’t get a say, Helmer gives

his own opinion in place of hers o “Peaceful and cosy” → Helmer likes safety and warmth → this is lovely but it is artificial →

contrasts with how Nora ends up leaving Corruption

• Nora: “No, no, no – don’t let them in. You stay with them, Anne-Marie.” (page 54, when the nurse says that the children want to see her)

o Nora has been affected by the conversations with Krogstad and Helmer o She’s terrified for them, afraid → cares about her children, a good mother

• “(pale with fear). Corrupt my little children –! Poison my home! (Short pause. She throws back her head.) It isn’t true! It couldn’t be true!” – Nora (page 54, end of act)

o She is wrought with fear, and has clearly been affected by Helmer → shows that at this point Helmer is still dominant, and in power

o Short sentences, exclamatives → she’s panicking and unravelling o Her throwing her head back is a physical defiance / form of hope

Act Two Nora is really unsettled initially, seen in her mannerisms, and she talks to the Nurse about being a

mother → foreshadowing stuff Mrs Linde comes, and Nora talks to her about her relationship with Helmer and Dr Rank and the

I.O.U. and money

A Doll’s House, Henrik Ibsen Helmer explains his two petty reasons for kicking Krogstad, then sends the resignation letter Dr Rank comes, and she and him talk about his impending death, and Nora struggles to ask him for

money – then he confesses and she refuses to ask for / accept his money, because she feels as if it is manipulative

Krogstad comes, and he talks with Nora again – they allude to suicide and we see that he has been through the same – he ends up sending the I.O.U. letter

Helmer asks why his study door has been bolted, just after Krogstad leaves Nora panic-practice-performs the Tarantella → dancing out of tune, too fast, and then after she

blatantly calls for lots of macaroons Initial Stage Setting (page 55)

• “The same room.” → claustrophobic, trapped nature of Nora’s existence • “In the corner by the piano the Christmas tree stands, stripped and dishevelled, its candles burned to

their sockets.” o “stripped and dishevelled” → Christmas tree → Nora → her disguises are falling apart, and so

is her mental state o “its candles burned to their sockets” → she’s losing her fight

• “She is alone in the room, walking restlessly to and fro.” o Alone → mirroring how she was also alone at the end of Act I o Walking restlessly → her fragmented state of mine

Nora: Fragmentation → this is a different Nora (neurotic, paranoid)

• She talks to herself whilst trying to do many things at one but never really finishing anything, and saying to herself things (page 55)

o Mirrors the idea in Act I when her mind was fragmented o “There’s someone coming! (Goes to the door and listens.) No, it’s no one.” → delusional and a

bit out of it → a bit like Blanche’s insanity • “One, two, three, four, five, six – (Cries.) Ah – they’re coming –!” (page 56) • “Call her back, Torvald! There’s still time. Oh, Torvald, call her back! Do it for my sake – for your own

sake – for the children! Do you hear me, Torvald? Please do it! You don’t realise what this may do to us all!” – Nora (page 63, after Helmer sends the letter)

o Repetition, exclamatives → Nora is panicking o Tripling → my sake, your own sake, the children! → trying to extend and emphasise the

impact of the letter o “Do you hear me, Torvald?” → patriarchy, women are silenced and ignored o “You don’t realise what this may do to us all!” → dramatic irony

Nora x Nurse

• “Nora: …do you think [the children] would forget their mother if she went away from the – for ever? Nurse: Mercy’s sake, madam! For ever!” (page 56)

o Forever → is Nora thinking of suicide? Of leaving? • “Nora: Oh, I wish I could tear [those fancy dress clothes] into a million pieces!

Nurse: Why, madam! They’ll be all right. Just a little patience.” (page 55, when the Nurse finds the fancy dress clothes)


o Wants to break free of social expectations → and be herself o Doesn’t want to dress up for Helmer anymore → distaste, dislike → reveal her real self and

break free o Helmer picked the dress for her → screw Helmer

Also fancy dress → putting on a persona → Nora is putting on a façade for Helmer o Nurse’s insistence that the dress can be fixed → Nora and Helmer’s marriage is slowly

unravelling, but not quite yet • “Nurse: What, out again? In this dreadful weather? You’ll catch a chill, madam.

Nora: Well, that wouldn’t be the worst.” (page 55) o Nora isn’t concerned / afraid of the cold → foreshadowing how she leaves in the end?

• “Nurse: They’re so used to having their mummy with them.” (page 55) o Nora is a hands on, responsible, loving mother

Nora x Mrs Linde

• Dr Rank and Nora’s relation is brought up (page 58-59) → which actually foreshadows how Nora later talks to Dr Rank about money and Linde actually puts the idea into Nora’s mind

• “Nora to Linde: Ssh! There’s Torvald. Would you mind going into the nursery for a few minutes? Torvald can’t bear to see sewing around.” (page 60)

o Gender roles → women do sewing, and men don’t like it o Also the idea that everything needs to be perfect for Helmer

• “You’re being awfully sweet.” – Nora (page 57, when Linde offers to fix her dress) o Awfully → double entendre → hints that Nora doesn’t actually appreciate it

• “When we were first married, he got quite jealous if I as much as mentioned any of my old friends back home.” – Nora (page 58, about Helmer)

o Low-key abusive → Helmer is controlling o Also the idea of women sacrificing things for men / marriage

Patriarchy: Nora x Helmer

• He has two reasons for not giving Krogstad back his job 1) Doesn’t want people to think that he can be influenced: “If the rumour got about that the

new vice-president had allowed his wife to persuade him to change his mind…” – Helmer (page 62)

o Wife → gender roles → the fact that if his wife suggests something it’s automatically looked down upon

o Also the idea that he cares more about putting up a façade to other people, than the actual situation

2) Krogstad and Helmer were childhood friends, and Krogstad calls him by his first name, Torvald

o Helmer wants to be respected, and portrayed as superior o He seems insecure, immature, and rather snobbish o Nora calls him ‘petty’

• “But I forgive you, because it so charmingly testifies to the love you bear me.” – Helmer (page 63, when Nora tries to convince Helmer to keep Krogstad) → ironic


• “Helmer: When the real crisis comes, you will not find me lacking in strength or courage. I am man enough to bear the burden for us both. Nora: (fearfully) What do you mean? Helmer: The whole burden, I say – Nora: (calmly) I shall never let you do that. Helmer: “[…] Are you happy now? There, there, there […]” (page 63)

o Extremely ironic o “Man enough” → gender roles, and Helmer thinks so highly of himself o Nora’s change form fearful to calm → character development o Helmer is trying to appease Nora

Nora: Façade

• “She passes her hand across her face, composes herself, walks across and opens the door to the hall.” (page 64, Nora stage directions)

o Here it is clear how Nora plays different roles and personas • “Yes, yes – I’m trying on my costume. I’m going to look so pretty for you, Torvald.” – Nora (page 75)

o Nora is talking to Mrs Linde about Krogstad’s letter when Helmer calls out from his study. Nora has locked his study room door, and so Helmer asks if she is trying on her new dress

Naturalism

• “During the following scene it begins to grow dark.” (page 64, stage directions) o The light is fading outside, it is getting late → atmosphere inside gets uncomfortable and

darker o Just before Dr Rank enters → foreshadowing → change of tone

Nora x Dr Rank

• “Helmer’s a sensitive chap, and I know how he hates anything ugly.” – Dr Rank (page 65, talking to Nora about his own fate)

o Ironic → Helmer has a very distorted view of his own character o “Sensitive” – contrary to stereotypical ideas of masculinity, and unlike what Helmer literally

just said about being ‘man enough’ o “Ugly” – Helmer is superficial and doesn’t really care for depth → resonant of his fixation on

reputation • They start talking about food (page 65)

o Food → indulgence, and may have some sexual undertones o Mention of oysters → aphrodisiac

• She shows him her silk stockings (page 66) → sexual undertones again o This would be very shocking – because usually she would be closely dressed from head to

toe showing absolutely no skin • “Nora: Suppose I were to ask you to –? No –

Rank: To do what? Nora: To give me proof of your friendship – Rank: Yes, yes?


Nora: No, I mean – to do me a very great service –“ (page 67)

o Nora struggles to actually ask him for money / a favour → shows that she still has some sense of morality

• Nora stands up after she finds out Dr Rank loves her (page 68) o Symbolic of a moral high ground (imagery), as Rank stays sitting o Then she asks the Nurse to bring the lamp

Light → making things clear, clarity o Then she goes to the stove → symbolic of Nora needing comfort

• Nora cannot take money from Rank after he confesses (page 68) o Because once he has explicitly said so, it feels manipulative and as if she is cheating on

Helmer (and maybe “selling” herself??) • Ibsen portrays Dr Rank as repugnant

Nora x Krogstad

• Krogstad arrives, and the Nurse hands Nora a visiting card (has Krogstad’s name on it) o “Rank: anything wrong?

Nora: No, no, nothing at all. It’s just something that – it’s my new dress.” (page 69) Nora is back into deception, hiding things and secrets

• “Nora: Show some heart, then. Think of my little children. Krogstad: Have you and your husband thought of mine? Well, let’s forget that.” (p 71)

o Krogstad and chosen to not go down the path of fighting children • Krogstad and Nora are quite paralleled → Krogstad mirrors Nora and he understands exactly how

she feels o “Krogstad: […] In case you were thinking of doing anything desperate –

Nora: I am. Krogstad: Such as running away – Nora: I am. Krogstad: Or anything more desperate – Nora: How did you know? Krogstad: – just give up the idea. Nora: How did you know? Krogstad: Most of us think of that at first. I did. But I hadn’t the courage – Nora: (dully) Neither have I.”

o ‘Anything more desperate’ → hinting towards suicide • Krogstad explains his motives (page 72, bottom)

o Portrayed as selfish → he uses a lot of “I”s o But also pathos:

“For eighteen months now my record’s been clean. I’ve been in hard straits all that time: I was content to fight my way back inch my inch.”

“Now I’ve been chucked back into the mud.” • “Under the ice? Down in the cold, black water? And then, in the spring, to float up again, ugly,

recognizable, hairless –?” – Krogstad (page 73, on Nora’s suicidal thoughts)


o Emotive language → tripling → harsh reality o Krogstad’s function: ground Nora in reality, as she is usually dreaming

The Letter

• We never see Krogstad putting the letter into the letter box → Ibsen tells us what happens through Nora’s eyes (page 73, bottom)

o Really dragged out → delay tactics to build suspense • “A letter falls into the letter-box. Krogstad’s footsteps die away down the stairs.” (page 73, stage

directions) o Sound effects

• “Come here. Do you see that letter? There – look – through the glass of the letter-box.” – Nora (page 74, talking to Mrs Linde)

o Glass → Nora can see it, but she can’t reach it Nora: Tarantella Scene (Patriarchy)

• “Rank’s been preparing me for some great transformation scene.” – Helmer (page 76, just before the tarantella scene)

o Transformation → change: Nora hasn’t changed her clothes but she has changed as a person • “Nora seizes… a long multi-coloured shawl…” (page 77, stage directions)

o Multi-coloured → her many facades • “Helmer: (as he plays) slower, slower!

Nora: I can’t! Helmer: Not so violently, Nora. Nora: I must! Helmer: (stops playing) No, no, this won’t do at all.” (page 77)

o Metaphor for the patriarchal 19th century society o Helmer is playing the piano → dictating how society functions → patriarchy o Nora is out of sync with the rhythm → rebelling against 19th century norms o ‘slower’

She’s ahead of the times, leaving them behind Smarter than them? Also the idea that men are trying to oppress women

o ‘violently’ → also rejecting stereotypical gender roles • “Helmer has stationed himself by the stove and tries repeatedly to correct her, but she seems not to

hear him.” (page 77, stage directions) o Stove‼ → role reversal, Helmer is the one who needs comfort, perhaps becoming ‘Nora’ o ‘She seems not to hear him’ → role reversal, he is the ‘woman’ in a patriarchy

• “Helmer: […] but tomorrow night, when your dance is over – Nora: Then you will be free.” (page 78)

o Dance = tarantella → removal of poison o Nora is almost talking to herself

• “Put out some macaroons! Lots of macaroons – for once!” – Nora (page 78, after the tarantella)


o She is outwardly rebelling against Helmer’s wants, whilst usually she has done so surreptitiously

Patriarchy

• Helmer addresses Nora with words such as ‘my child’ (page 78), ‘my poor, helpless, little darling’ (page 76) → very patronising

Ending

• “Five o’clock. Seven hours until midnight. Then another twenty-four hours till midnight tomorrow. And then the tarantella will be finished. Twenty four and seven? Thirty-one hours to live.” – Nora (page 79)

o Melodramatic o ‘Thirty-one hours to live’ → ambiguous

Literally: suicide Metaphoric: life as she knows it, will end → end of patriarchy!

o Tarantella ends → the facades will be over

Act Three Linde and Krogstad reconcile – Krogstad sends the second letter Nora performs a Tarantella dance piece at the Christmas party

o She is dressed up as a fisherwoman from Naples → mention of Italy juxtaposes against the cold of Norway

o The Tarantella is so different from 19th century Norwegian norms, and perhaps symbolise how Nora is gradually moving away from traditions

o Mentioned Italy here could be symbolic of how she is preparing to revolt against social systems / norms → because Italy is essentially representative of how Nora first challenges the patriarchy

Helmer tries to rape her Dr Rank arrives with news of his death, which ruins Helmer’s pleasant mood Krogstad’s I.O.U. letter → Helmer shows his egoistic side → second letter arrives, and Helmer is the

most two-faced idiot ever Nora changes out of the Tarantella dress into her everyday clothes She and Helmer eventually sit down and have a longass talk / argument about the problems of their

marriage Nora leaves –more importantly:

o She voluntarily leaves the warm house and goes out to brave the cold o Would rather face the cold IN THE MIDDLE OF THE NIGHT than stay inside, which could

highlight her need to be free Play ends with the door slamming → symbolic

o Contrasts with the beginning of the play where she knocks on the door

A Doll’s House, Henrik Ibsen Play Setting (stage directions, page 80)

• “The same room.” → claustrophobic • “A lamp is burning on the table.” → night-time

Krogstad x Linde

• We are given the backstory of Krogstad and Linde’s relationship → arguably, it also humanises Krogstad

• They use each other’s first names (Nils, and Christine) → intimacy • “You mustn’t forget I had a helpless mother to take care of, and two little brothers.” – Linde (page 81)

o The idea of women sacrificing again • They partially mirror Nora and Helmer’s falling out‼

o “Mrs Linde: You said just now that with me you might have become a different person. Krogstad: I know I could have. Mrs Linde: Couldn’t it still happen?” (page 83, then ensues their reconciliation) Here Linde and Krogstad are able to adapt and reconcile with each other, but with

Nora and Helmer... Even though Helmer says, “I have the strength to change (page 102),” when Nora

responds, “perhaps – if your doll is taken from you (page 103),” Helmer cannot take it, and reacts: “But to be parted […] from you! No, no, Nora, I can’t conceive of it happening (page 103)!”

Criticise Nora

• She criticises Nora for treating her like a doll / non-autonomous human o But Nora herself was perpetuating the same patriarchal things → Emmy o Can we blame Helmer too much?

• Metaphor: shipwreck o “Now I’m a shipwrecked man, clinging to a spar.” – Krogstad (page 81) o “Help may be near at hand.” – Linde (page 81) o “Nils, suppose we two shipwrecked souls could join hands?” – Linde (page 82) o “Castaways have a better chance of survival together […]” – Linde (page 82)

• “What a change! Oh, what a change! Someone to work for – to live for! A home to bring joy into!” – Linde (page 84)

o Change → Nora o Also the ideas of homes and someone to work for contrasts with Nora does in the end

Gender Roles

• “I need someone to be a mother to; and your children need a mother. […] I am afraid of nothing – with you.” – Linde (page 83, speaking to Krogstad)

o She is fulfilling gender roles by talking about being a mother o This contrasts with Nora’s choice o Her courage is dependent upon Krogstad o A little similar to how Stella still clings to Stanley / forgives him

Patriarchal → man > woman


• “A key is turned in the lock and Helmer leads Nora almost forcibly into the hall.” (page 84, stage directions)

o Leads → Helmer has the key, and is in charge o Almost forcibly → he is bringing Nora back to the home → patriarchy, trying to keep Nora

caged • “An exit should always be dramatic, Mrs Linde. But unfortunately that’s just what I can’t get Nora to

realise.” – Helmer (page 85, on Nora’s tarantella) o Ironic → Nora ends up having a very dramatic exit o Helmer thinks he is right → man > woman

• “But knitting, now – that’s an ugly business […]” – Helmer (page 86) o Ugly business → reminds us of Rank talking about Helmer o Ugly → shallow

• “Nora: Oh, you’re always right, whatever you do. Helmer: Now my little songbird’s talking just like a real big human being.” (page 87)

o Only considered ‘human’ when she compliments Helmer, fuelling the idea that men are always right

Helmer: Being a Dick

• “Well, we’ve got rid of her at last. Dreadful bore that woman is!” – Helmer (page 87, talking about Mrs Linde)

• “(quietly, annoyed) Oh, what does he want now?” – Helmer (page 88, about Rank) o Rank is Helmer’s really good friend, yet he is treating him this way

• “His suffering and loneliness seemed to provide a kind of dark background to the happy sunlight of our marriage.” – Helmer (page 91, about Rank’s death)

o Not compassionate, doesn’t even care about his best friend o Only cares about Rank in relation to them, not Rank in himself

Helmer: Being Shallow

• “[…] though possibly a trifle too realistic – more so than was aesthetically necessary, strictly speaking.” – Helmer (page 85, talking about Nora dancing the tarantella)

o Realistic → foreshadowing o Aesthetically necessary → Helmer doesn’t want to get to the truth, only cares about

appearances • “Helmer: Know what? You ought to take up embroidery.

Linde: Oh? Why? Helmer: It’s much prettier. Watch me, now. […] I am right, aren’t I?” (page 86)

o Knitting and embroidery is a thing traditionally for women o Prettier → he only cares about appearances, moreover, it is during the winter, and

embroidery is very impractical • “As regards to our relationship – we must appear to be living together just as before. Only appear, of

course.” – Helmer (page 94, after the Letter) o Cares excessively about appearances → facades

A Doll’s House, Henrik Ibsen Helmer’s Fantasies: Tarantella He is like Blanche, constantly trying to create a fantastical world and avoid realism

• “[…] a swift round of the ballroom, a curtsey to the company, and, as they say in novels, the beautiful apparition disappeared!” – Helmer (p 85, about Nora’s exit)

o A very fantastical atmosphere → detached from the real world • “I pretend to myself that you’re my secret mistress, my clandestine little sweetheart, and that

nobody knows there’s anything at all between us.” – Helmer (page 88) o He’s still stuck in a make-believe realm

• “I pretend to myself that you are my young bride…” – Helmer (page 88) Helmer: Objectifying Nora

• “She’s worth looking at, don’t you think?” – Helmer (page 85, to Christine) • “My beautiful little Capri signorina – my capricious little Capricienne […]” (page 85) • “Well, Mrs Linde, finished admiring her?” (page 86)

Helmer: Being a Creepy Shit (also low-key abusive again)

• “Nora: Leave me, Torvald! Get away from me! I don’t want all this. Helmer: What? Now, Nora, you’re joking with me. Don’t want, don’t want –? Aren’t I your husband?” (page 88)

o Entitled chauvinist • “Nora: Don’t look at me like that, Torvald!

Helmer: What, not look at my most treasured possession? At all this wonderful beauty that’s mine, mine alone, all mine.” (page 87)

o Forcing his will upon her, not respecting her • “Nora: (goes round to the other side of the table) You mustn’t talk to me like that tonight.”

Helmer: (follows her) You’ve still the tarantella in your blood, I see. And that makes you even more desirable.” (page 87)

o Nora is trying to avoid Helmer, but he’s still being a creep and ignoring her body language o Helmer perceives her as more desirable when she isn’t reciprocating his desires → almost

rape-like → like Stanley and Mitch… • “[…] I am alone with you – quite alone with you, as you stand there young and trembling and

beautiful.” – Helmer (page 88) o Predatory tone → low-key abusive again

• “[…] my blood grew hot, I couldn’t stand it any longer! That was why I seized you and dragged you down here with me.” – Helmer (page 88)

o Forceful – ‘seized’, ‘dragged’ Rank Conversation

• “What a happy, peaceful home you two have.” – Rank (page 88) → ironic • Talking to Nora in euphemisms about his impending, certain death – they want to hide this from

Helmer because Helmer dislike ugliness etc. o “Nora: […] Dr Rank – you’ve been carrying out a scientific experiment today, haven’t you?

Rank: Exactly. […] Rank: The best possible finding – both for the doctor and the patient.


Nora: Certainty? Rank: Absolute certainty. […]” (page 89)

o “At the next masquerade, I shall be invisible.” – Rank (page 90) Nora knows what Rank is alluding to, but Helmer does not → role reversal, as Nora is

no longer the child and Helmer is the one who is unknowing o “Nora: Sleep well, Dr Rank.

Dr Rank: Thank you for that kind wish. Nora: Wish me the same. Dr Rank: You? Very well – since you ask. Sleep well. And thank you for the light.” (page 90) Sleep well → allusion to death, and the idea that Nora still has suicidal thoughts

• “[Nora] must go as the Spirit of Happiness.” – Rank (page 90) “Your wife need only appear as her normal, everyday self.” – Rank (page 90, speaking about what Nora should wear to her next masquerade ball)

o Everyday self → Nora can throw away her disguises, foreshadowing her breaking free from Helmer and patriarchal constraints

o Spirit of Happiness → leaving Helmer is what will make her happy • Recurring colour of black symbolises: Rank’s death, death of marriage

o “Black Havanas” – Rank (page 90) o “Big, black hat” – Rank (page 90) o “Black cross” – Helmer (page 91) o “The icy black water” – Nora (page 92)

Helmer: Cold and Uncaring

• Helmer actually cares more about Krogstad’s letter than Rank’s death → the scenes are right after each other → juxtaposition

• “Helmer: […] Tonight I want to be with you, my darling wife - Nora: When your friend is about to die –?” (page 92)

Helmer’s Fantasies: Escapism

• “An ugliness has come between us; thoughts of death and dissolution. We must try to forget them.” – Helmer (page 92)

o Upon hearing of Rank’s death o Ugliness → Helmer cannot stand un-beauty o Forget → instead of handling the situation he seeks to escape it

• “What a dreadful awakening!” – Helmer (page 93) o When the first letter arrives

• “I shall merely regard the whole business as a dream. (He tears the I.O.U. and both letters into pieces, throws them into the stove and watches them burn.)” – Helmer (page 95, when the second letter arrives)

o Dream → distorted, crazy, denial of reality o Stove → he desperately needs comfort (also the idea of role reversal again)

• “We’ll forget the whole sordid business.” – Helmer (page 95)

A Doll’s House, Henrik Ibsen The Letters: Helmer x Nora

• Abrupt change in Helmer’s attitude from endearing to furious o “Oh, my beloved wife – […] often I wish some terrible danger might threaten you, so that I

could offer my life and my blood, everything, for your sake.” – Helmer (page 92) He doesn’t actually care for her safety, but only wants to get something out of the

whole situation o “Wretched woman!”

“A hypocrite, a liar – worse, worse – a criminal […] Shame on you, shame!” “No religion, nor moral, no sense of duty!” (page 93)

• As soon as the second letter from Krogstad arrives, bringing the good news, Helmer gets all happy and ‘nice’ to Nora again

o “My poor little Nora.” – Helmer “You have loved as me as a wife should love her husband.” – Helmer (p 95)

o Krogstad is reconciled with human characteristics → we no longer see him as a massive asshole → it is his voluntary decision, because Mrs Linde had told him not to cancel the debt

Helmer: Egotistical Butthead and Problematic

• “Now you have destroyed all my happiness. You have ruined my whole future.” – Helmer (page 93)→ doesn’t care about Nora herself at all

• “I am condemned to humiliation and ruin simply for the weakness of a woman.” – Helmer (page 94) o Misogynistic, self-centred → does not consider how he may be responsible

• “As regards our relationship – we must appear to be living together just as before. Only appear, of course.” – Helmer (page 94) → prioritising appearance and reputation

• “Helmer: Yes, yes, it’s true! I am saved! Nora, I am saved! Nora: What about me? Helmer: You too, of course.” (page 95, when Krogstad’s second letter arrives)

• “Why are you looking so pale? Ah, my poor little Nora, I understand. You can’t believe that I have forgiven you.” – Helmer (page 95) → overestimates his importance

• “I have forgiven you, Nora.” – Helmer (page 96) o Audacity to think that he is all-powerful and the one who hasn’t done wrong

• Misogyny: “It was simply that in your inexperience you chose the wrong means. But do you think I love you any the less because you don’t know how to act on your own initiative? No, no. Just lean on me. I shall counsel you. I shall guide you. I would not be a true man if your feminine helplessness did not make you doubly attractive in my eyes.” – Helmer (page 95)

o ‘Inexperience’, ‘lean’, ‘counsel’ → patronising o ‘True man’, ‘feminine helplessness’ → misogynistic, toxic masculinity, and perpetuates

patriarchal values o Initiative → ironic: Nora went off and did the thing to save his ass

Nora: Screw You Helmer


• Her attitude becomes very cold and calm, and her responses monosyllabic when Helmer does not try to shoulder the blame → in contrast, Helmer’s going on really long rants

o “Looks unflinchingly at him, and, her expression growing colder.” (page 93, stage directions for Nora) → similar to how Blanche faces off with Stanley

o “Yes. Like this.” – Nora (page 93) o “Nora: (coldly calm) Yes.” (page 94)

• “Helmer: Hide yourself, Nora. Say you’re ill. Nora does not move.” (page 94)

o Nora disobeys Helmer → and so it begins • “Nora: Thank you for your forgiveness. (she goes out through the door, right)

Helmer: No, don’t go – (looks in.) What are you doing there? Nora (offstage): Taking off my fancy dress.” (page 96)

o Fancy dress → symbolic of Helmer’s grasp on her, fantasies Helmer: Longass Speech (page 96)

• Egoistic – portraying himself like a hero o “I have broad wings to shield you.” o “I shall watch over you like a hunted dove which I have snatched unharmed from the claws of

the falcon.” → also alludes to his fantastical tendencies o “I shall be both your will and your conscience.”

• Patriarchy o “It means that she has become his property is a double sense.” (referring to a husband

forgiving his wife) → he wants to keep control over Nora • Patronising Nora

o “My frightened little songbird.” o “My poor, helpless, bewildered little creature.”

• “She goes out through the door, right.” (page 96, stage directions, to change out of her Tarantella dress and into her normal dress)

o This is the first time she exits into another room / goes through a doorway o Symbolising the beginning of her freedom → she has changed indeed

• “Helmer: Have you changed? Nora (in her everyday dress): Yes, Torvald. I’ve changed. […] I shall not sleep tonight.” (at the end of Helmer’s speech)

o Changed → dress-wise but also in terms of character o Everyday dress → freed of Helmer’s fantasies o Shall not sleep → not contemplating suicide → empowered, and changed

“Yes, I am very tired. Soon I shall sleep.” – Nora (page 87) ^At that stage, her “sleep” could have been an allusion to her contemplation of

suicide The Argument: ‘Serious’ Talk

• Everyday clothes = reality, not fantastical • “Serious” is repeated a lot (page 97)


• Nora is in control o “Sit down there, Torvald.” – Nora (page 97) o “Helmer: […] You look quite drawn –

Nora: Sit down. […] Helmer (sits down on the other side of the table): […]” She interrupts him to repeat her instruction a second time → this is also a role

reversal → she’s doing what Helmer usually does to her He actually obeys her

o “She sits down on one side of the table.” (page 97, stage direction) Table → business-like, unemotional

• Patriarchy: “A great wrong has been done to me, Torvald. First by papa, and then by you.” – Nora (page 97)

• Helmer o Egoistic: “Did you expect me to drag you into all my worries – worries you couldn’t possibly

have helped me with?” – Helmer (page 97) → ironic o Escapism: “You just thought it was fun to be in love with me.” – Nora (p 98)

The Argument: Doll-House

• Nora starts talking about the doll-house analogy o “Play” is repeated a lot (page 98) → used for entertainment, amusement

• Vicious cycle of patriarchal values → she blames not just Helmer, but her father as well, and herself for pushing it upon her own children

o “I’ve been your doll-wife, just as I used to be papa’s doll-child. And the children have been my dolls.” – Nora (page 98) Links back to the time she was playing hide and seek with them The squeals of delight etc.

• With her father (page 98) o “I never had any opinions but his. […] And if I did […] I kept them quiet, because he wouldn’t

have liked them.” – Nora o “He called me his little doll.” – Nora

• With Helmer (page 98) o “I passed from papa’s hands into yours.” – Nora

No autonomy, as if she is a commodity o “I performed tricks for you, and you gave me food and drink.” – Nora o “No. [Not happy]. I’ve just had fun.” – Nora o “Our home has never been anything but a playroom.” – Nora

The Argument: Education (Page 99)

• “Education” is repeated • “I must educate myself.” – Nora

o Reconciling her autonomy o Foreground and ending is first person singular

• Nora > Helmer


o “Helmer: […] I forbid you! Nora: It’s no use […]. I shall take with me nothing but what is mine.”

• Helmer tries to appeal to her but gets shut down o “Helmer: What kind of madness is this?

Nora: Tomorrow I shall go […].” → she basically ignores him o “Helmer: But you’re blind! You’ve no experience of the world –

Nora: I must try to get some, Torvald.” The Argument: “Sacred Duties” Sacred → Christmas Nora’s shift in language → she keeps using first person pronouns

• “But to leave your home, your husband, your children! Have you thought what people will say?” –

Helmer (page 99) o Children come last as a form of appeal → Helmer doesn’t care about them o Reputation matters a lot to Helmer

• “Nora: What do you call my most sacred duties? Helmer: Do I have to tell you? Your duties towards your husband, and your children.” (page 100)

o Patriarchy: her duties are first to other people o “Do I have to tell you?” → it is expected of women to know their place / role in society, and

to accept it • “Nora: I have another duty which is equally sacred.

Helmer: You have not. What on earth could that be? Nora: My duty towards myself. Helmer: First and foremost you are a wife and mother. Nora: I don’t believe that any longer. I believe that I am first and foremost a human being.” (page 100)

o Helmer always puts himself first → ‘wife’ o Helmer is really ignorant / dumb → “What on earth could that be?” o Foreground and end with ‘my’ and ‘myself’

• Nora rejects religion (page 100) o Christianity → Christmas → 19th century people would be shocked o Nora questions the pastor: “I want to find out whether what Pastor Hansen said was right –

or anyway, whether it is right for me.” (page 100) o “But it’s unheard of for so young a woman to behave like this!” – Helmer (page 100)

Shows how the 19th century audience would react similarly Contextualises the shock factor

The Argument: Morality

• “Helmer: You feel sure that it is right to leave your husband and your children? Nora: Yes. I do. Helmer: Then there is only one possible explanation. Nora: What? Helmer: That you don’t love me any longer.” – Helmer (page 101)


o Helmer doesn’t even ask if she loves her children anymore o “One possible explanation” → Helmer is egoistical yet again

• “No, that’s exactly it.” – Nora (page 101, in response to Helmer stating that she doesn’t love him anymore) → she has changed, for sure

• “I must try to satisfy myself which is right, society or I.” – Nora (page 101) The Argument: The Miracle // Sacrifices

• Nora makes it clear what the miracle was (page 102, top): for Helmer to protect her o This would have been a miracle, because it is unbelievable, unheard of for a man to sacrifice

himself for a woman • “Helmer: No man can be expected to sacrifice his honour, even for the person he loves.

Nora: Millions of women have done it.” (page 102) o Nurse, Nora, Christine → difference between men’s views and women’s views

The Finale: GGWP

• Gulf-bridge imagery (page 102, bottom) • Nora is putting on her outdoor clothes as she speaks to him

o He is not worth her full attention o Her words are interspersed with stage directions such as “puts on her coat,” “fastens her hat,”

and “puts on her shawl.” • Nora: In Power

o “[…] because she was so weak and fragile. (Gets up.)” – Nora (page 102) This is when Nora is talking about how Helmer doesn’t care about her, and how he

saw her as his little songbird again once his fright was alleviated from Krogstad’s second letter. // ‘she’ is referring to Nora

Juxtaposition – ‘weak and fragile’ vs stage direction of getting up Getting up → moral high ground / power / breaking free / leaving him

o “I release you from any such obligations.” – Nora (page 103) o “Give me [my ring].” – Nora (page 103)

She demands it Symbolic → end of their marriage / union

o Using traditionally male lexis: “law”, “obligation”, “bound” etc. • Helmer: A Persistent Idiot

o “But you are my wife, both as you are and as you will be.” (page 103) • Nora: Shutting Him Down

o “I’ll leave the keys here.” – Nora (page 103) → truly the end o “Helmer: May I write to you, Nora?

Nora: No. Never. You mustn’t do that. Helmer: But at least you must let me send you – Nora: Nothing. Nothing. Helmer: But if you should need help – ? Nora: I tell you, no.” She consistently turns him down using negative lexis She is in power → dramatic → she will never turn back


• “Nora: […] I don’t believe in miracles any longer. Helmer: But I want to believe in them.” (page 104)

o Nora → realist o Helmer is still stuck in his fantasies and trying to cling onto make-believe o ^ALSO Helmer only cares about what he wants

Nora: GGEZ (page 104)

• “Helmer: […] (A hope strikes him.) The miracle of miracles – ? The street door is slammed shut downstairs.”

o The final stage direction of slamming the door is very powerful o Sound imagery → punctuates the reality of it

Alternative Ending Ibsen was pressured to write a ‘conciliatory’ ending A German actress who was to play Nora pressed for it too

Nora does not leave Helmer in the end, as he shows the children to her one last time, and this breaks her will to leave.

• Compared to the original ending this is not as dramatic → anticlimactic • The norms and social hierarchies are not broken → purpose of the play is defeated

o Nora being defined solely as a mother – her children is what breaks her o Women being dependent upon men / will not leave them

• BUT arguably, in this ending, Nora still rejects the idea that she is to be defined as a wife → it is the thought of her children that draws her back, not Helmer!


Interpretations 1 – Historical The success of a text comes from “investigating the social, historical and intellectual context that produced it - a context that necessarily includes the artist’s biography and milieu.” In the case of ‘A Doll’s House’ understanding the values and assumptions of 19th century Norway / Europe is key to understanding the play’s meaning. Understanding the effect the play had on its original audience is important, too. 2 – Gender / Feminist The success of a text comes from understanding how “sexual identity influences the creation and reception of literary works.” The bulk of gender criticism is feminist and takes as a central precept that patriarchal attitudes have dominated western thought and have resulted, consciously or unconsciously, in literature “full of unexamined ‘male-produced’ assumptions.” One goal of the feminist argument is to show understanding of how the images of men and women in literature reflect or reject the social forces that have historically kept the sexes from achieving total equality. Feminists would argue that ‘A Doll’s House’ focuses on the journey a woman takes from being disempowered at the beginning of the play to being empowered by the end of the play, and the patriarchal world Helmer represents is a sham. 3 – Marxist The success of a text is when it illuminates the precept that class struggle is political and/or economic. Everything revolves around money and to pretend it doesn’t shows a lack of understanding of society and the values that determine it. 4 – Biographical The success of a text is in understanding that “literature is written by actual people and that understanding an author’s life can help readers more thoroughly comprehend the work.” A biographical reading is able to amplify the meaning of a text. True understanding of authorial intention comes from understanding his life experiences. 5 – Mythological/Archetypal interpretation The success of a text is in understanding the archetypes employed - “a symbol, character, situation or image that evokes a deep universal response” and transcends time and place. These archetypes “trigger the collective unconscious” (Carl Jung) and allow a text to be timeless and universal - relevant to audiences throughout time. For example:

• Symbols - light vs darkness; cold vs warmth; colours; animals; clothes; dolls etc. • Characters - the hero; the villain; the downtrodden; the scapegoat; the mentor etc. • Situations - the journey (physical or emotional); the initiation (an experience that leads to maturity);

good vs evil; the fall • Settings - inside vs outside; seasons (spring - new life / hope; winter - death etc.); Christmas time

A Doll’s House, Henrik Ibsen 6 – Formalist interpretation The success of a text is through understanding that it is “a unique form of human knowledge that needs to be examined on its own terms.” All the elements necessary for understanding the work are contained within the work itself. Of particular importance are the elements of form - style, structure, tone and imagery etc. - that are found within the text. The way these elements work together shapes its effects upon readers. We do not need to have understanding of the author’s life or understanding of the context within which it was written.

Date post:	16-Oct-2019
Category:	Documents
Upload:	others
View:	12 times
Download:	1 times

A Doll’s House, Henrik Ibsen ~ TABLE OF CONTENTS · • Ibsen bringing the Mediterranean warmth...

Documents