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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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Nora’s True Identity

      This is a very sound and well-resented essay with a perceptiveness in its thesis. There are a few glitches in some of the sentences, but not enough to detract for the overall impression of intelligent commentary. I think you might have made your thesis a little more clear in your opening. For instance, you might have said: "Even in the life she lives with Torvald, there are signs that beneath the "twitterbird" and "squirrel," there is a strong and capable woman functioning in secret. It is this secret Nora who emerges in the end, ready to openly seek an independent life where her attributes needn't be concealed." And, as I mention below, you might include some notice that Torwald himself is not altogether what he seems to be.

     Again, some fine thinking through the implications of the play and a clear exposition. This is a good example of an A paper. I would probably give it in the vicinity of a 96.

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A Doll's House

Henrik ibsen.

Ask LitCharts AI: The answer to your questions

As a play focused around the marriage between Nora and Torvald , A Doll's House can be seen as an exploration of love and marriage, or even, more profoundly, on whether there can be love in marriage. At the beginning of the play, Nora and Torvald appear to be very happily married, even to themselves. Nora talks joyfully about her love for Torvald, and Torvald refers to Nora using affectionate pet names. Their loving marriage stands in stark contrast with the lives of the other characters: the marriages of Krogstad and Mrs. Linde were based on necessity rather than love, and were unhappy. While Dr. Rank was never married, and, it is revealed, has silently loved Nora for years. Yet although Nora and Torvald’s marriage is based on love (as opposed to necessity, as was the case with Krogstad and Mrs. Linde), it is nonetheless still governed by the strict rules of society that dictated the roles of husband and wife. It is clear that Nora is expected to obey Torvald and allow him to make decisions for her; meanwhile, it is important for Torvald’s career that he is able to show off a successful marriage to a dutiful woman.

At first it seems that Nora and Torvald both enjoy playing the roles of husband and wife in a way that is considered respectable by society. However, Nora soon reveals to Mrs. Linde that she went behind Torvald’s back by borrowing the money from Krogstad, and therefore has already broken both the law and the rules of marriage at the time. This creates a dilemma: Nora broke the rules of marriage, yet did so in order to save her husband’s life—a true act of love. Yet this is an act of love that society condemns, thereby placing the rules of marriage above love. In the final moments of the play, it's revealed that Nora's fear of the secret getting out is not a fear that she will end up shamed and punished, but rather is based on her certainty that Torvald will protect her by taking the blame, and in so doing will ruin himself.

Nora is certain that beneath the role Torvald is playing, that he loves her just as deeply as she loved him when she secretly broke the rules of society. Of course, Torvald's reaction reveals that he's not in fact "playing a role" at all—he really does put his reputation first, and he would never sacrifice it to protect Nora. What Nora thought was role-playing was in fact the entire reality. This cements Nora’s disillusionment with her marriage, and with marriage in general—she comes to the conclusion that not only does Torvald not love her, but that the institution of marriage, as it is conceived and practiced in her society, may make love impossible. While Krogstad and Mrs. Linde's joyous choice to marry may suggest that the play does not entirely share Nora's view, it is important to note that their marriage does not at all conform to the norms of society. Mrs. Linde yearns for the purpose she would get by truly caring form someone she loves, while Krogstad sees Mrs. Linde not as some ornament to augment his reputation but as the source of the salvation of his integrity.

Love and Marriage ThemeTracker

Love and Marriage Quotes in A Doll's House

Nora! Just like a woman. Seriously though, Nora, you know what I think about these things. No debts! Never borrow! There’s always something inhibited, something unpleasant, about a home built on credit and borrowed money.

I would never dream of doing anything you didn’t want me to.

Oh, I think I can say that some of us have a little influence now and again. Just because one happens to be a woman, doesn’t mean… People in subordinate positions, ought to take care they don’t offend anybody… who… hm…

Just think how a man with a thing like that on his conscience will always be having to lie and cheat and dissemble; he can never drop the mask, not even with his own wife and children. And the children— that’s the most terrible part of it, Nora… A fog of lies like that in a household, and it spreads disease and infection to every part of it. Every breath the children take in that kind of house is reeking evil germs.

When a poor girl’s been in trouble she must make the best of things.

You see Torvald is so terribly in love with me that he says he wants me all to himself. When we first married, it even used to make him sort of jealous if I only as much as mentioned any of my old friends back home. So of course I stopped doing it.

A man’s better at coping with these things than a woman…

If it ever got around that the new manager had been talked over by his wife… As long as the little woman gets her own stubborn way…! Do you want me to make myself a laughing stock in the office? Give people the idea that I am susceptible to any kind of outside pressure? You can imagine how soon I’d feel the consequences of that!

Now Dr. Rank, cheer up. You’ll see tomorrow how nicely I can dance. And you can pretend I’m doing it just for you—and for Torvald as well, of course.

Tell me what to do, keep me right—as you always do.

But my dear darling Nora, you are dancing as though your life depended on it.

What else is there to understand, apart from the old, old story? A heartless woman throws a man over the moment something more profitable offers itself.

Without work I couldn’t live. All my life I have worked, for as long as I can remember; that has always been my one great joy. But now I’m completely alone in the world, and feeling horribly empty and forlorn. There’s no pleasure in working only for yourself. Nils, give me somebody and something to work for.

Helmer must know everything. This unhappy secret must come out. Those two must have the whole thing out between them. All this secrecy and deception, it just can’t go on.

His suffering and his loneliness seemed almost to provide a background of dark cloud to the sunshine of our lives.

The thing must be hushed up at all costs. And as far as you and I are concerned, things must appear to go on exactly as before. But only in the eyes of the world, of course… From now on, their can be no question of happiness. All we can do is save the bits and pieces from the wreck, preserve appearances…

I wouldn’t be a proper man if I didn’t find a woman doubly attractive for being so obviously helpless.

For a man, there is something indescribably moving and very satisfying in knowing that he has forgiven his wife—forgiven her, completely and genuinely, from the depths of his heart. It’s as though it made her his property in a double sense: he has, as it were, given her a new life, and she becomes in a way both his wife and at the same time his child.

I have been your doll wife, just as at home I was Daddy’s doll child. And the children in turn have been my dolls. I thought it was fun when you came and played with me, just as they thought it was fun when I went to play with them. That’s been our marriage, Torvald.

I believe that first and foremost I am an individual, just as much as you are—or at least I’m going to try to be. I know most people agree with you, Torvald, and that’s also what it says in books. But I’m not content anymore with what most people say, or what it says in books. I have to think things for myself, and get things clear.

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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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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.

A Doll's House: an Examination of Gender Roles

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

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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

• A Raisin in The Sun
• Macbeth Guilt
• Death of a Salesman
• Hamlet Theme
• Oedipus Rex
• Hamlet Madness

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113 A Doll’s House Essay Topic Ideas & Examples

🏆 best a doll’s house topic ideas & essay examples, 👍 interesting topics to write about a doll’s house, 🎓 good essay topics on a doll’s house, ❓ a doll’s house essays questions.

• Feminism in “A Doll’s House” by Henrik Ibsen Nora is referred by her husband as a songbird, a lark, a squirrel, names that suggest how insignificant she is to her.
• A Doll’s House Modernism Theme In A Doll’s House, one of the outstanding depictions of this way of thinking was seen at the end of the play; in other words, the overall plot of the story has been used to […]
• Freedom in Henrik Ibsen’s “A Doll’s House” Literature Analysis In Henrik Ibsen’s A Doll’s House, the main character, Nora is not an intellectual, and spends no time scouring books or libraries or trying to make sense of her situation.
• A Doll’s House by Norway’s Henrik Ibsen 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.
• Analysis of Setting, Character Development, and Symbolism in the Play A Doll’s House by Henrik Ibsen. In the play, the author creates the unity of setting so as to underscore the feeling that the main heroine Nora is the prisoner of her life.
• Marriage in Plays “A Doll’s House” and “Fences” The revelation of her husband’s true character and perspective on life causes Nora’s disillusionment with her relationship and the institution of marriage in general.
• “A Doll’s House” and “Death of a Salesman” Comparison The main conflict of the play is thoroughly intergenerational and lies in Willy’s inability to accept the decision of his older son Biff, as the latter is willing to leave town to go to farmland […]
• Liberation of Women: “A Doll’s House” Analysis While in some scenes the lights are turned off, towards the end of the play the intensity of light increases especially when Nora is talking to her husband. This is escalated towards the end of […]
• Comparison of Nora From A Doll’s House by Henrik Ibsen and Elisa From The Chrysanthemums by John Steinbeck The story of John Steinbeck describes only one day of life of the character, while Henrik Ibsen uses three acts in order to provide the whole picture and to describe the rise of the conflict […]
• Relationships in “A Doll’s House” by Henrik Ibsen He cares mostly about his money and reputation, and through his pressure and arrogance, he makes Nora believe that her life has to only be devoted to her husband and children.
• Setting’s Influence: “A Doll’s House” and “The Handmaid’s Tale” This paper focuses on the setting in the works A Doll’s House and The Handmaid’s Tale and its impact on the characters and the author’s context through the prism of the chosen historical periods, culture, […]
• The Interpretation of Henrik Ibsen’s A Doll’s House Presented by Patrick Garland The role of women in the society of the 19th century is a rather controversial point for the discussion in literature because of the fact the end of the century can be characterized as the […]
• Drama Analysis: A Doll’s House This paper analyses the position of a woman in society, the aspect of social life as well as the importance of responsibility in the drama A Doll’s House.
• “A Doll’s House” by Henrik Ibsen Review Thus, in the story, the main theme, which is the sacrificial role of female characters, is supported by the conflict of societal standards and personal intentions alongside symbolic elements.
• “The Father” and “A Doll’s House” Resting on these facts, it is possible to analyze some works which belong to the same period of time in order to understand the main ideas of the epoch and the authors message to readers.
• “A Doll’s House” by H. Ibsen: Do Desires Have a Gender? In the end, many of the characters’ desires are shaped by social norms that are imposed on them, and while some characters choose to go along with society’s expectations of them, others revolt and seek […]
• Henrick Ibsen’s A Doll’s House Nora’s father is mentioned quite often in the play, a fact that makes him equal to his daughter because of the deeds of the daughter.
• Semiotic Analysis of “A Doll’s House” by H. Ibsen Nora is in an intermediate position between a man and a tree, decorating the tree and allowing her husband to such behavior.
• Henrik Ibsen’s “A Doll’s House” Analysis The purpose of this paper is to discuss the prominent elements of fiction used in A Doll’s House as the most vivid example of Ibsen’s approach, analyze the applied dramatic techniques, and describe different layers […]
• Personal Freedom in A Doll’s House, A Room of One’s Own, and Diary of a Madman In Chapter Three of Virginia Woolf’s A Room of One’s Own, the protagonist attempts to make sense of the nonsensical elements of female history, namely, how it could be that “in Athena’s city, where women […]
• Deception in “A Doll’s House” by Henrik Ibsen It is important to note that the topic of deception and self-deception in Henrik Ibsen’s “A Doll’s House” is of paramount criticality in order to understand the underlying message and characters’ actions.
• “A Doll’s House” by Henrik Ibsen He watches and describes the atmosphere of all-absorbing illusion in the society, drawing attention to the rights and destiny of a woman in it. The core of this illusion is a woman’s position in society, […]
• Plays Comparison: Pygmalion, A Doll’s House and Trifles This especially appears to be the case in the situations when what happened to be the actual truth, simply does much of a logical sense in the concerned person’s eyes.
• The Play “A Doll’s House” by Henrik Ibsen: Feminist Themes Hossain’s article explores the manifestations of the ideas of post-modernist feminism in the play through the analysis of the main character’s development and the overall social order where women were subordinate to men.
• Positive Role Model in “A Doll’s House” by Henrik Ibsen To sum up, A Doll’s House presents the harsh life of the mother and wife, Nora, who is trapped with her husband with no choices and goals.
• Feminism in “A Doll’s House” by Ibsen Benhabib’s chapter, “Feminism and the Question of Postmodernism,” highlights the connection between feminism and postmodernism in contemporary society. Nasrin examines the role of feminism in enforcing justice and human rights activism.
• Feminism in “A Doll’s House” Play by Ibsen Her father used to refer to her as his doll-child, and he used to play with her in the same way she used to play with him. As a result, near the end of the […]
• Similarities and Differences in “The Little Foxes” and “A Doll’s House” The same parallel exists with Ibsen’s Nora, who realized that to her husband, she was a doll to be played with and admired.
• Ibsen’s A Doll’s House Play From a Biographical Perspective Later in the play, the reader learns that this is a childhood trait and she cannot allow her husband to feel obligated to her.
• The Play ‘A Doll’s House’ The play A Doll’s House is the best play the audience is presented to. Besides, the actors must come up to the audience from behind the scenes because the viewer does not need to […]
• Henrik Ibsen’s History of “A Doll’s House” Drama While I desired Nora to become a type of Everyman in the exploration of the development of the individual as a real and valid human being, this type of exploration was only possible within this […]
• Symbolism in “A Doll’s House” Play by Henrik Ibsen The main objective of the play “A Doll’s House” is to advocate for the ability of each individual in making decisions that are not based on the influences of other persons around him or her. […]
• Drama: A Doll’s House by Henrik Ibsen Given actions at the end of the play, she may appear to be a villain, but, in fact, she is a victim of her circumstances she was driven to her decision by the blackmail and […]
• The Change of Gender Roles This similarity is one of the most important to focus on the structure of the narrative. In both plays, the main actions of the characters are not directly described by the authors.
• “A Doll’s House”, “The Storm” and “The Victims” Even though Nora is loyal to her husband in the “Doll’s House”, she is brave enough to look forward to a future on her own due to her husband’s unwillingness to become more considerate.
• Costs and Benefits of Conformity and Rebellion in Selected Literature The works are often a depiction of the way of life of the people in the society at that particular period of time In this essay, the author uses the works of chosen authors to […]
• Parents as Failed Role Models: A Doll’s House and Fight Club The drinking culture of parents revealed in the story of the Fight Club underscores the elements that increase children’s exposure to alcohol and drug taking.
• Women’s Refusal in Euripides’ “Medea” and Henrik Ibsen’s “A Doll’s House”
• Nora’s Character Development in Ibsen’s “A Doll’s House”
• Using Soren Kierkegaard’s “Philosophies of Truth” to Analyze “A Doll’s House”
• The Transformation of a Woman in Ibsen’s “A Doll’s House”
• An Analysis of a Woman’s Manhood in “A Doll’s House”
• The Role of the Dress in “A Doll’s House”
• Reasons for Nora Helmer to Stay in Henrik Ibsen’s “A Doll’s House”
• Male Roles in the Plays “Antigone” and “A Doll’s House”
• Searching for a Hero in Ibsen’s “A Doll’s House”
• The Binary Opposition of Phylogeny Versus Misogyny in Henrik Ibsen’s “A Doll’s House”
• The Theme of Feminism in Henrik Ibsen’s “A Doll’s House”
• Women’s Rights as a Theme of “A Doll’s House”
• The Role of Symbolism in “A Doll’s House”
• Deception of Family in “Death of a Salesman” and “A Doll’s House”
• Gender and Theatricality in “A Doll’s House”
• How Does the Title “A Doll’s House” Demonstrate an Allegory for Women’s Role at That Time
• Plot, Irony, Characterization of Ibsen’s “A Doll’s House”
• Representation of Patriarchal Ideology in “A Doll’s House”
• Rights of Women in the Nineteenth Century and in Henrik Ibsen’s “A Doll’s House”
• Role Playing and Control in “A Doll’s House”
• Escaping the Cage of Marriage in Henrik Ibsen’s “A Doll’s House”
• Significance of Nora’s Financial Contract With Krogstad in Henrik Ibsen’s “A Doll’s House”
• The Morality of Relationships in “A Doll’s House”
• Symbols of Personal Renewal in Henrik Ibsen’s “A Doll’s House”
• The Problem of Free Will in Henrik Ibsen’s “A Doll’s House”
• The Detrimental Nature of a Love for Money in Ibsen’s “A Doll’s House”
• Historical Context of “A Doll’s House”
• Metaphors and Realistic in the Play “A Doll’s House”
• Societal Views of Women in the Victorian Era in Henrik Ibsen’s “A Doll’s House”
• The Position of Masculinity and Femininity in “A Doll’s House”
• Symbols and Symbolism as Indicative of Key Themes in Ibsen’s “A Doll’s House”
• Reading “A Doll’s House” Through Aristotelian Ideas
• The Importance of Truth in “A Doll’s House” by Henrik Ibsen
• Themes and Symbols in Henrik Ibsen’s “A Doll’s House”
• A Double Standard in “A Doll’s House”
• Perception of Love and the Institution of Marriage in “A Doll’s House”
• The Character Develpoment of Nora Helmer in “A Doll’s House”
• Mrs. Linde’s Influence on Nora’s Personal Development in “A Doll’s House”
• Links Between “Crime and Punishment” and “A Doll’s House”
• Comparison of Feminist Literary Heroines Nora in Ibsen’s “A Doll’s House” and Antigone in Sophocles’ “Antigone”
• Appearance vs. Reality in Henrik Ibsen’s “A Doll’s House”
• Limitations on Women in “A Doll’s House”
• Individual Growth, Marriage, and Social Convention in “A Doll’s House”
• Society’s Influence on the Relationships in “A Doll’s House”
• Inferior Role of a Married Woman Nora in “A Doll’s House” by Henrik Ibsen
• Social Issues as Reflected in “A Doll’s House” by Henrik Ibsen
• How Does Nora Helmer Change by the End of “A Doll’s House”?
• Why Was Ibsen Forced to Create an Alternate Ending for “A Doll’s House”?
• How Is Feminism Portrayed in “A Doll’s House”?
• What Does the Play’s Title “A Doll’s House” Mean?
• Why Is Nora From “A Doll’s House” a Hypocrite?
• What Are Three Main Themes of the Play “A Doll’s House”?
• What Is the Moral of “A Doll’s House”?
• What Is the Symbolic Meaning of the Tarantella in “A Doll’s House”?
• What Are the Symbols in “A Doll’s House”?
• Why Did Nora From “A Doll’s House” Borrow Money?
• What Is Wrong With the Relationship of Nora and Torvald in “A Doll’s House”?
• What Does “A Doll’s House” Say About Society?
• Why Does Nora Dance Wildly in “A Doll’s House”?
• What Does the Christmas Tree Symbolize in “A Doll’s House”?
• How Is “A Doll’s House” an Example of Realism?
• What Crime Did Nora Commit in “A Doll’s House”?
• In What Ways Does Dr. Rank Provide a Contrast to Torvald in “A Doll’s House”?
• Who Is the Antagonist of “A Doll’s House”?
• What Does Nora’s Happiness Symbolize in “A Doll’s House”?
• Why Is Nora Compared to a Doll in “A Doll’s House”?
• What Does the Lamp Come To Symbolize in “A Doll’s House”?
• What Does Nora Sacrifice in “A Doll’s House”?
• What Do Macaroons Represent in “A Doll’s House”?
• What Is the Most Wonderful Thing That Nora Helmer Talks About in the Last Scene of “A Doll’s House”?
• Why Does Nora Forge Her Father’s Signature?
• What Is the Central Problem of “A Doll’s House”?
• What Does the Mailbox With a Key Symbolize in “A Doll’s House”?
• What Secret Has Nora Been Keeping in “A Doll’s House”?
• How Did Ibsen Use Dramatic Irony in “A Doll’s House”?
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