A Doll's House In A Nutshell Henrik Ibsen was born in Skein, Norway on March 20, 1888. After spending most of his early years in poverty, he eventually made a name for himself as one of the most respected playwrights of all time. He is often called "the father of modern drama" because he helped popularize realism, which a good portion of today's entertainment imitates without even knowing it. Just about every show on television owes a little something to Ibsen. Just imagine what Law and Order would be like in verse – Oh, dearest judge, do not slam your gavel; for if you do, justice will unravel. Weird. After a few smaller successes with plays such as Brand, Peer Gynt, and Pillars of Society, Ibsen took the world by storm with A Doll's House. Boy, was it controversial. Nora's door-slamming exit is sometimes described as a shot heard around the world. The very idea that a woman might have something to do other than keep house and raise children was pretty scandalous in the Victorian era. Party invitations were sent out, requesting that people not discuss the play. Hosts were afraid their elegant engagements would turn into all out brawls. Many critics were just as scandalized. They scathingly criticized Ibsen for undermining society's most sacred institution: marriage. However, a few critics, such as George Bernard Shaw, championed Ibsen because he was unafraid to challenge societal norms. Though the play is often pigeon-holed as a feminist manifesto, Ibsen denied it. Once when he was being honored by the Norwegian Society for Women's Rights he said, "I am not even quite sure what women's rights really are. To me it has been a question of human rights" (source). To Ibsen, it wasn't necessarily about the fact that Nora is a woman; it's about the fact that she's a human being. He thought that all people, men and women alike, should have the courage to stand up against society and form their own opinions. Think about it – in a way Torvald, Nora's husband, is just as caged by society as his wife. Society has programmed them both into their prescribed roles: dominant provider husband, submissive homemaking wife. In Ibsen's mind, all human beings have a sacred duty to themselves.

As we mention in "In a Nutshell," Ibsen didn't see his controversial play, A Doll's House, as feminist. He saw it as humanist. He thought every person, man and woman, had a right to self-actualization, to be who they wanted to be. Ibsen seems to think that people are often herded like sheep by society. He's famously quoted as saying, "The strongest man in the world is he who stands alone." People often get swept up by popular opinion, giving little thought to whether what's happening is right or wrong in their own minds. We have a sneaky suspicion that this might be just as true today as it was in Ibsen's time. We also suspect that it just might be as relevant to our children and grandchildren, and so on. The tension of the individual versus society will most likely never leave us.

SUMMARY At the beginning of the play, all seems well. Nora and Torvald Helmer appear quite happy together. Torvald speaks to his wife in a rather demeaning way, but she doesn't really seem to mind. The Helmers are both quite excited because Torvald has gotten a new job as the manager of a bank. The couple won't have to worry about money anymore. Nora's old school friend, Mrs. Christine Linde, arrives. She's been recently widowed and is looking for work. Christine is hoping that Torvald might be able to hook her up with a job. Nora tells her friend that she'll ask him. Over the course of their conversation, Nora confesses to Christine that she has a secret debt. Nora refuses to tell Christine who she borrowed money from, but does explain why she had to borrow it. Early in the Helmers' marriage, Torvald got sick from overwork. Doctors prescribed a trip south to warmer climates as the only way to save him. At the time, the Helmers didn't have the money for such a trip. To save Torvald's pride, Nora borrowed money without his knowledge and funded a year in Italy. In order to pay off the debt, she's been skimming from the allowance Torvald gives her and secretly working odd jobs. Nora is especially happy about Torvald's new job, because now money won't be a concern.

A creepy man named Krogstad shows up. He works at the bank that Torvald is about to manage. It seems like Nora knows him, but we aren't told why. He goes in to see Torvald. Christine tells Nora that she once knew Krogstad. We get the idea that they once had a thing for each other. Dr. Rank enters. He's a Helmer family friend and is dying of tuberculosis of the spine. He talks about how corrupt and morally diseased Krogstad is, to which Christine says we should try to help the diseased. Torvald comes out of his office and Nora asks him about a job for Christine Linde. Torvald agrees, and everybody is happy. Torvald, Dr. Rank, and Christine all skip away down the street together. Nora's children rush in. She frolics with them a bit and plays hide-and-goseek. Then creepy old Krogstad shows up again. Nora sends the kids away. Krogstad is furious because Torvald is going to fire him – Christine Linde is getting his job. It turns out that he is the person Nora borrowed money from. He's got a lot of power over Nora, because apparently she forged her father's signature after he was dead in order to get the loan. Krogstad threatens to expose Nora's crime if he loses his job. After he leaves, Nora freaks out. When Torvald returns, Nora tries to talk him into letting Krogstad keep his job. Torvald says he can't stand Krogstad, because he's does dishonest things like forgery. Nora's husband goes on to say that he can't stand being around such awful people. He talks about how such people's presence corrupts their children. Torvald goes back to work. The maid tries to bring the children back in to play. Nora, fearing she will corrupt them, refuses to see them. Act Two opens with Nora in a state of extreme agitation. She's hanging out with one of the maids, Anne, who was Nora's wet-nurse when she was a child. Nora asks Anne to take care of the kids if she ever disappears. Christine stops by. Nora shows her a costume that Torvald picked out for her. They're planning to go to a holiday party in couple night at the Stenborgs', their upstairs neighbors. Christine goes off to another room to mend the costume. Torvald shows up. Nora begs him to not fire Krogstad. Her begging only angers off Torvald, and he sends Krogstad his notice. Torvald goes to his office. Dr. Rank arrives. Nora does a little subtle flirting with him. She's planning to ask him for the money to pay off the loan. Her plans are foiled though when

he tells her that he'll soon be dying. He tells her that he'll put a card in the mailbox with a black cross when it begins. He admits that he is love with her, but Nora tells him that he's being very morbid and inappropriate. She feels too guilty to ask him for the money. Dr. Rank goes in to see Torvald. Krogstad busts in, super-mad about getting fired. He tells Nora that he's going to blackmail Torvald into giving him a better job than the one he had before. Eventually, he'll be running the bank instead of Torvald. Krogstad warns Nora to not do anything stupid like run away or commit suicide, because he'll still have power over Torvald anyway. He leaves, dropping a blackmail letter to Torvald in the mailbox on his way out. Nora spazzes out in a major way. Christine returns, and Nora tells her everything. She's afraid that when Torvald finds out, a wonderful terrible thing will happen. Torvald will take all the blame for her. Christine says that she used to have a relationship with Krogstad and that maybe she can change his mind. She runs off to talk to him for Nora. Torvald and Dr. Rank enter. In order to stop Torvald from opening the mail, Nora pretends she needs help with her dance for the Stenborgs' party. She dances the tarantella badly. Torvald is amazed that she forgot all he taught her. He promises to do nothing but help her practice until the party happens. That means for a little while, the Krogstad's letter will stay where it is. Rank and Torvald leave. Christine returns and reports that Krogstad wasn't home. She left a note for him. After Christine leaves, Nora counts down the hours she has to live. Act Three finds Christine alone in the Helmers' living room. The Stenborgs' party is going on upstairs. Krogstad enters. Apparently, they used to go out, but Christine eventually ditched him for a richer man. She had to because her mother was sick and she had two younger brothers to care for. Christine says that she wants to be with Krogstad again and help him raise his children. Krogstad is overjoyed. He says he'll demand his blackmail letter back unopened. Christine tells him not to. She thinks all the lies in the Helmer household need to be revealed. Krogstad takes off. The Helmers come down from the party. Christine tells them she was waiting to see Nora in her costume. Nora whispers, asking what happened with

Krogstad. Her friend tells her that she has nothing to fear anymore from Krogstad, but that she needs to tell Torvald the truth anyway. Christine exits. Torvald is kind of drunk and tries to get Nora to sleep with him, but she's not in the mood. Dr. Rank drops by. He's super-drunk. He makes allusions that he is going to die soon and then exits into the night. Torvald opens the mailbox. He finds cards that Rank left. They have black crosses on them. Nora tells him the cards are Rank's way of announcing his death. Torvald laments his friend's sickness. He tells Nora that sometimes he wishes she was in terrible danger so that he could save her. Nora tells him to open his mail. When Torvald reads Krogstad's letter he totally flips out, telling her that she is a terrible person. He laments that they'll have to do whatever Krogstad says. He insists that Nora is not to be allowed near the children anymore, because she may corrupt them. Just then, a letter arrives from Krogstad. In the letter, Krogstad says that he's had a change of heart and will no longer be blackmailing them. Torvald is really happy and forgives Nora. Nora, however, doesn't forgive Torvald. She tells him that she was expecting a wonderful thing to happen. She thought he would try to sacrifice himself for her, taking all the blame on himself. Nora, of course, wouldn't allow him to do that, and would've committed suicide to stop him. Torvald's actions made him seem cowardly in Nora's eyes. She tells him that she is leaving him, because they've never had a real marriage. She's never been more than a doll in his eyes. He begs her to stay, but she refuses, leaving both him and the kids, with the slamming of a door.

Nora Helmer Character Analysis At first our protagonist, Nora, seems like a bit of a ditz. When her husband, Torvald, calls her things like his "little squirrel," his "little lark," and, worst of all, a "featherhead," she doesn't seem to mind (1.5-1.16). In fact she seems to enjoy and even play into it. When Torvald first calls her a spendthrift, we're inclined to agree. So far, we've seen her give the porter an overly generous tip, come in with tons of Christmas presents, and shrug at the idea of incurring debt. Soon, though, we see that Nora has a lot more going on than

we first imagined. When Nora's old friend Christine arrives, Nora divulges a little secret. She's not just leaching off her husband. On the contrary, she saved his life. Unbeknownst to Torvald, Nora borrowed money so that they could afford a year-long trip to Italy. Doctors said that Torvald would die without it. Rather than being the spendthrift that both Torvald and Christine accuse her of, she's actually quite thrifty indeed. She's been secretly working odd jobs and even skimming money from her allowance to pay back the debt. Later on we learn that Nora was so determined to save her husband that she committed fraud to do so. This choice shows that Nora is both daring and tenacious. She values love over the law. When her secret is revealed we know that, beneath the ditzy character she plays for her husband, there's a whole other Nora waiting to come out. This other, more capable Nora is eventually brought out into the open. The anguish of Krogstad's blackmail starts the process, but the final blow is Torvald reaction when he finds out the truth. When the wonderful thing doesn't happen, when Torvald fails to attempt to sacrifice himself for her, Nora realizes that their relationship has been empty. The love she imagined never existed. There was never any chance of the wonderful thing she'd hoped and feared. She tells her husband, "Our home has been nothing but a playroom. I have been your doll-wife, just as at home I was papa's doll-child" (3.286). In the end, Nora has a sort of spiritual awakening. She walks out into the night alone but, for perhaps the first time in her life, she's on the path to becoming a fully realized, fully independent human being. For further analysis of Nora look at her entries under "Character Roles."

Torvald Helmer Character Analysis Torvald gets a pretty bad rap most of the time. We can see why. He's incredibly overbearing, treating Nora more like a child than a wife. He calls her silly names and scolds her for eating macaroons. Towards the end of the play, he even says that Nora is "doubly his own" because she has "become both wife and child" (3.257). When he gets her to do things like dress up and dance for him, we see Nora is actually less than a child in Torvald's mind. She's only a plaything – a doll, if you will.

Of course, Nora doesn't seem to mind Torvald's demeaning treatment at first. She even encourages it, saying things like "Your squirrel would run about and do all her tricks if you would be nice, and do what she wants" (2.92). It's easy to judge Torvald from a modern standpoint, but his behavior really isn't that outrageous given the time period. Yes, it seems that Ibsen created in Torvald nothing more than what he considered a typical Victorian male. Torvald is a product of his society, just like Nora is. In a way, he is equally as imprisoned. Nevertheless, Torvald certainly seems to relish the role of the all-knowing provider. He says things to Nora like, "My frightened little singing-bird. […] I have broad wings to shelter you under. […] I will protect you like a hunted dove that I have saved from a hawk's claws" (3.257). He feels he must guide his helpless wife through the perils of the world. It's almost as if Torvald has cast himself as the hero in his own melodramatic play. He tells Nora, "I have often wished that you might be threatened by some great danger, so that I might risk my life's blood, and everything, for your sake" (3.214). Of course, this is realism a la Ibsen, the opposite of melodrama; Torvald's harsh and selfish reaction to Nora's crime is anything but heroic. For more on this moment check out the entries on Torvald in "Character Roles." Also, look at "What's Up With the Ending?" for a discussion of Torvald's journey and possible redemption.

Nils Krogstad Character Analysis Nils Krogstad, the play's antagonist, uses some villainous tactics over the course of the play. He intimidates, blackmails, and threatens Nora in an effort to keep his job at the bank. After Torvald fires him, Krogstad takes it a step further saying, "I want to get into the Bank again, in a higher position. […] Within a year […] It will be Nils Krogstad and not Torvald Helmer who manages the Bank" (2.83-2.285). Now, if this were a melodrama, Krogstad would most likely twirl his black mustache and cackle diabolically after such a statement. This, however, is realism; Ibsen's characters demonstrate a nuanced complexity absent in the characters of the popular melodramas of his day. Krogstad is a prime example of these new, more textured, more realistic

characters. For starters, his goal isn't evil for evil's sake. He's not plotting world domination or anything. Krogstad just wants to regain his standing in the community. He tells Nora, "I want to rehabilitate myself" (2.83). Ever since he got caught in a forgery scheme back in the day, everybody thinks he's a nasty, terrible person. Sure, he did commit a crime, but it was pretty small. Nora, our sympathetic protagonist, is guilty of the exact same thing. After the community turned its back on him, Krogstad was forced into the unsavory business of money lending and black mailing in order to support his family. In a way, it was the community's close-minded lack of forgiveness that created him. Here again we see the central motif of all of Ibsen's plays: the individual vs. society. We get hints throughout the whole play that, underneath Krogstad's villainous exterior, there's a respectable gentleman waiting to emerge. Whenever he deals with Nora, he's pretty courteous (for a blackmailer). One of the most poignant moments between the two is when they commiserate about their suicidal thoughts. He tells her, "Most of us think of that at first. I did, too – but I hadn't the courage" (2.271). She replies quietly, "No more had I" (2.272). When Krogstad reunites with Christine, he is fully redeemed. If not for Christine's dissuasion, he would've even demanded his letter back unopened, so that Torvald would've never known anything. Instead he writes a new letter, telling the Helmers that he "regrets and repents" his actions, and willingly releases them from his clutches (3.249). It's interesting that our antagonist's final revelation is one of self-fulfillment, just like our protagonist Nora. Yes, it seems that when Christine reassuringly says, "Nils, I have faith in your real character," Krogstad is finally able to once again find faith in himself (3.58). For more on Krogstad, check out his entries in "Character Roles."

Mrs. Christine Linde Character Analysis Christine is a tough, world-wise woman. This lady has been through a lot. She tells Krogstad, "I have learned to act prudently. Life, and hard, bitter necessity have taught me that" (3.32). In her younger days, she had to sacrifice love for the sake of her family. Rather than marrying the dashing young Nils Krogstad, she married a businessman, Mr. Linde, so that she

could support her sick mother and her two younger brothers. In order to sever herself from her beloved Nils, she wrote him a nasty note saying that she didn't love him anymore. (A little harsh, Christine.) Now her brothers are all grown up and her mother is dead. Her husband has passed away, too. Mr. Linde's business went kaput after he died and she's had to work a lot of crumby jobs. Still, Christine is finally free. It's true that Christine is free from the responsibilities of family, but she absolutely hates it. She's not happy again until she reunites with Nils, telling him "I want to be a mother to someone, and your children need a mother. We two need each other" (3.58). Hmm, now that's a pretty interesting thing for a woman to say, in a play that's often painted as being a feminist paean. Here we have a woman who is capable, intelligent, and self-sufficient. Christine is a liberated lady smack dab in the middle of Victorian Europe, and what does she go and do? She willingly jumps back into the role of wife and mother, because it's the only way she knows how to be happy. What are we to make of Christine's decision to become a part of Krogstad's household? How does this fit into the overall message of the play? It might be seen as tragic: women are so programmed by society, that the only thing they know how to do is be a homemaker. On the other hand, it's not like Christine is making this decision from a place of ignorance. Unlike Nora, Christine is well aware of what life is like without men. The major difference between Christine's new relationship and that of the Helmers seems to be that Christine and Krogstad are entering into it as equals. Christine says to Krogstad, "Nils, how would it be if we two shipwrecked people could join forces? […] Two on the same piece of wreckage would stand a better chance than each on their own" (3.42-3.44). Perhaps, the union of Nils and Christine is Ibsen's example of "the most wonderful thing of all," which Nora defines as "a real wedlock" (3.376-3.378). Don't miss more information on Christine in "Character Roles."

Dr. Rank Character Analysis Dr. Rank is often overlooked in analyses of A Doll's House. This is most likely because he doesn't do much. No of his actions directly affect the action of the play. He's in love with Nora, but that goes nowhere. Nora considers asking

him for money, but then decides against it. Even Rank's impending death doesn't really affect the action in any major way. His supposed friends briefly lament him and continue on with their domestic squabbling. So, why is Dr. Rank in the play at all? Ibsen knew a thing or two about writing plays. He must have had some purpose for Rank, right? The first function we see Dr. Rank fulfill is providing a little exposition on Krogstad. Rank tells Nora and Mrs. Linde, that Krogstad "suffers from a diseased moral character" (1.247). The good doctor goes on to relate Krogstad's history as a criminal and blackmailer. This function doesn't seem to totally justify Rank's existence in the play, though. Another character could've just as easily got that information out to the audience. Rank's talk of moral disease and his own affliction are often cited as symbolic. He has tuberculosis of the spine. This could possibly be meant to represent the diseased backbone of unenlightened society, a society where men and women don't live as equals. His death also could be seen as symbolic. It comes at the same time as the "death" of the Helmers' marriage. The two ideas are linked when the cards with black crosses come in the same mailbox as Krogstad's marriage-shattering letter. It seems that Rank's most important purpose in the play is to reveal things about other characters. His relationship with Torvald reveals Torvald's superficiality. This is shown when Rank decides not to tell Torvald directly about his impending death. Rank tells Nora, "Helmer's refined nature gives him an unconquerable disgust at everything that is ugly; I won't have him in my sick-room" (2.152). The doctor knows his friend well and is well aware that Torvald has a child-like horror anything remotely unattractive. Statements like this show that Torvald may be the sheltered one in the Helmers' relationship. Rank's relationship with Nora gives us one of our first big clues into the distance that truly lies between the seemingly perfect Helmers. Nora says that her husband "used to seem almost jealous if I mentioned any of the dear folk at home, so naturally I gave up doing so. But I often talk about such things with Doctor Rank" (2.44). It's pretty telling that Nora is only able to reveal her true self to Rank. Nora also admits to Rank that "being with Torvald is a little like being with papa" (2.217). This is a pretty major statement and,

without Rank there, Nora never would have said it. All in all, it seems that the doomed Dr. Rank is really around just to help us learn more about the main characters.

A Doll's House Theme of Marriage The main message of A Doll's House seems to be that a true marriage is a joining of equals. The play centers on the dissolution of a marriage that doesn't meet these standards. At first the Helmers seem happy, but, over the course of the play, the imbalance between them becomes more and more apparent. By the end, the marriage breaks apart due to a complete lack of understanding between them. Together in wedlock, the two are incapable of realizing who they are as individuals. They'll don't know how to act as equals.

Questions About Marriage

1. How are ideas of marriage different today than during the time period of the play? How are they similar? 2. Can the Helmers' marriage be salvaged? 3. How could the Helmers make their marriage equal? 4. Is the destruction of the Helmers' marriage a good or bad thing?

A Doll's House Theme of Women and Femininity

Nora of A Doll's House has often been painted as one of modern drama's first feminist heroines. Over the course of the play, she breaks away from the domination of her overbearing husband, Torvald. The playwright, Henrik Ibsen, denied that he had intentionally written a feminist play, preferring to think of it as humanist. Still, though, throughout this drama there is constant talk of women, their traditional roles, and price for them of breaking with tradition.

Questions About Women and Femininity

1. What are some characteristics of the roles of women in the play? 2. How does Christine's perception of motherhood differ from Nora's by the end of the play? 3. What unique powers do the women in the play have? Are they really as submissive as they seem? 4. What is the difference between feminism and humanism? How can this difference be applied when interpreting the play?

A Doll's House Theme of Men and Masculinity

The men of A Doll's House are in many ways just as trapped by traditional gender roles as the women (Torvald Helmer being the chief example). The men must be providers. They must bear the burden of supporting the entire household. They must be the infallible kings of their respective castles. By the end of the play these traditional ideas are truly put to the test.

Questions About Men and Masculinity

1. In what ways is Torvald caged by society's prescribed masculine roles? 2. There is usually a lot of discussion about Torvald's sexist behavior, but what sexism does Krogstad demonstrate? Dr. Rank? 3. In what ways is Torvald's masculine self-worth tied into his public reputation? Krogstad's? 4. Are there any moments in the play where the men defy the gender roles prescribed for them by society?

A Doll's House Theme of The Home When a play is called A Doll's House, chances are that home might be a prevalent theme. Early on in the text, the home is seen as a thing of joy, a place of comfort and shelter. The idea of home is enmeshed with the idea of the happy family, which the Helmers seem to be. Towards the play's

conclusion, however, the imbalance of power in the family becomes an issue. Now the seemingly happy home is revealed as having been a façade, a doll's house, hiding the gulf between the Helmers. The Helmers' home is really more of a prison than a shelter.

Questions About The Home

1. 2. 3. 4.

How does the concept of home change over the course of the play? What does it mean that the Helmers' home is "a doll's house"? How does the idea of home differ for each character? In what ways is Nora's home with Torvald similar the one she shared with her father?

A Doll's House Theme of Respect and Reputation The men of A Doll's House are obsessed with their reputation. Some have good standing in their communities and will do anything to keep it, others have lost their good name and will do anything to get it back. Though the play is set in the living room of a private residence, the public eye is constantly peeking through the curtains.

Questions About Respect and Reputation

1. Why is scandal so scary for Torvald? 2. What methods does Krogstad use to try and regain his reputation? 3. Does Dr. Rank seem concerned with reputation in any way? Why or why not? 4. In what ways do the women in the play demonstrate concern or lack of concern for their reputations?

A Doll's House Theme of Love

There is much talk of love in A Doll's House, but in the end, the Helmers discover that true love never existed between them. Throughout the play we hear of and see many different forms of love: familial, maternal, paternal, and fraternal. Romantic love even blossoms for two of the secondary characters. However, for the main characters, the Helmers, true romantic love is illusive.

Questions About Love

1. In what ways is Nora's love for Torvald similar to her love for her father? How is it different? 2. What different breeds of love are seen throughout the play? 3. Is Dr. Rank's love of Nora just as superficial as Torvald's, or does he have a deeper understanding of her? 4. Do you think the Helmers ever truly loved each other? What does "truly loved" even mean?

A Doll's House Theme of Lies and Deceit

The essential tension, running throughout A Doll's House comes from Nora's fear of a secret being discovered. Her absolute terror of this revelation leads her to tell lie after lie. When her web of lies finally caves in around her, her marriage proves too weak to bear the strain.

Questions About Lies and Deceit

1. 2. 3. 4.

How could Nora have saved Torvald without lying? In what ways have Nora's lies weakened her marriage? What deceitful behavior does Torvald demonstrate? Since Nora's forgery saved her husband's life, was it really a bad thing?

A Doll's House Theme of Money

Early in A Doll's House, the characters spend a good deal of time talking about their finances. Some are on the upswing, with the promise of free flowing cash in the future. Others are struggling to make ends meet. Either way, each character's financial status seems to a defining feature.

Questions About Money

1. 2. 3. 4.

What is the relationship between money and power in the play? Which is more valuable to Krogstad: money or reputation? Why do you think Torvald is so horrified of debt? In what ways has financial hardship made Christine a stronger person?

Christmas Tree Symbolism, Imagery, Allegory The Christmas tree itself can also be seen as symbolic. For one, its presence reminds us what season it is, and brings to mind all the points made in the above section. Beyond that, however, it can be seen as being directly symbolic of Nora. How, you ask? First of all, the tree seems to mimic Nora's psychological state. At the beginning of Act Two, stage directions tell us, "The Christmas Tree is […] stripped of its ornaments and with burnt-down candle-ends on its disheveled branches" (2.1). But what does that have to do with Nora? Stage directions go on to say that, "[Nora] is alone in the room, walking about uneasily" (2.1). Basically, Nora is a mess and so is the tree. She's gotten the bad news from Krogstad, and as a result her mind is just as disheveled as the tree. You could also interpret the tree's state as symbolic of Nora's disintegrating web of lies. The pretty decorations which Nora used to cover up her deceit are falling away. Soon the bare ugly truth will emerge. Lastly, Nora's function in the household is pretty much the same as the tree. She's merely decorative, ornamental if you will. She dresses up the tree just as Torvald dresses up her for the Stenborgs' party. It's interesting that she tells the maid not to let the children see the tree until it's decorated. This is reminiscent of when she tells Torvald that she can't be seen in her costume until the party. It seems that Ibsen built in many parallels between Nora and her tree.

Christmas and New Year's Symbolism, Imagery, Allegory The play is set during the holidays. Yes, it's Christmas time for the Helmers and New Year's is swiftly approaching. Chances are that this isn't random. Christmas and New Year's are both associated with rebirth and renewal. Several of the characters go through a kind of rebirth over the course of the play. Both Nora and Torvald have a spiritual awakening, which could be seen as a

rebirth. Nora's trials and tribulations wake her up to the pitiful state of her marriage. When the "wonderful thing" fails to happen, she realizes she'll never be a fully realized person until she severs herself from her husband. When she slams the door behind her, she is in a way reborn. Nora is not alone in her spiritual awakening, however. Torvald's last line, "The most wonderful thing of all?" (3.381), seems to indicate that Nora's words haven't fallen on deaf ears. Torvald, like his wife, has realized the complete inadequacy of his existence. By the end of the play, both Helmers have been reborn. Krogstad and Christine are reborn as well. When these "two shipwrecked people […] join forces" (3.42), they each get a fresh start in life. Both of them view their renewed love affair as a chance for salvation. Krogstad hopes that it will help increase his standing with the community, and that Christine's influence will make him a better person. Christine is overjoyed that she will have someone to care for. She once again has purpose in her life. Yes, it seems that, in A Doll's House, 'tis the season for rebirth.

A Doll's House Genre Family Drama; Tragedy It's a drama because it's a play, a piece of literature that's never fully realized until it's put on stage in front of an audience. We call it a family drama for the obvious reason that it concerns a family. Over the course of the play, we watch the Helmer family disintegrate as fast as Kool Aid in water. We also dub it a tragedy, though it's a bit different than the Greek or Elizabethan versions. Ibsen's version of tragedy is all about the individual vs. a corrupt popular society. This is the opposite trajectory of a lot of previous tragedy. In Hamlet, for example, the good society has been thrown out of wack by the murderous, incestuous actions of Prince Hamlet's uncle. Hamletmust restore the kingdom to the lovely place of goodness that it once was. In Ibsen's version of tragedy, society was never any good to begin with. A Doll's House, for example, shows Nora (and debatably all its characters)

trapped in a society defined by restrictive gender roles. In order to become more than a doll, Nora must shatter the cornerstone that her entire society is based on: marriage. There you go: individual vs. corrupt popular society. In this tragedy, we don't get blood and death at the end; we get the death of a marriage and of the characters' old selves. Ibsen presents these things as the price of self-fulfillment.

A Doll's House Tone Take a story's temperature by studying its tone. Is it hopeful? Cynical? Snarky? Playful?

Biased for a while, but ultimately objective In the beginning, the play seems to be biased toward Nora. We're definitely asked to sympathize with her. It's pretty hard to get on Torvald's side. From the moment he gets on her case about eating macaroons, we know that he's overbearing, even for a Victorian era male. His demeaning little pet names for Nora don't help his case. To Ibsen's credit, however, Torvald does seem to be redeemed in the end. His last line, "The most wonderful thing of all?" indicates that he's gone through the same spiritual awakening as Nora (3.381). Overall, it seems that the play shifts in tone. We go from seeing Nora as Torvald's prisoner to seeing that all the characters, Torvald included, have been prisoners in some way. In the end, the tone of the play becomes more objective. Sympathy can be found for all its characters.

A Doll's House Writing Style Realism Ibsen is often thought of as the founder of realist drama. Other playwrights who wrote in this genre include Chekhov, Strindberg, Shaw, and O'Neill. In realist drama, the characters talk in a close approximation of everyday speech. The vast majority or modern plays, TV shows, and movies, are written in a similar style, though most fail to rise to the same level of social

critique. Realism shouldn't be confused with its Naturalism. Though the two styles were being developed around the same time, they have some significant differences. Basically, Naturalism was just a lot more hard core about representing everyday life exactly as it is. Naturalist plays wanted to show a slice of life exactly as it is. Characters might talk on and on about nothing in particular and the plays might have no obvious climax – just like most days are for most people. Realism, however, is unafraid to be a little unrealistic. Look at A Doll's House. Sure the characters talk in a generally conversational way, but the plot is obviously and unapologetically contrived. There are melodramatic devices like secret revealing letters. The doorbell rings at convenient times, bringing trouble for Nora. People enter and exit just when Ibsen needs to move on to the next scene and bring on new ideas. This wasn't a bad thing to Ibsen. His goal was to examine ideas, to challenge individuals to really think about their society, not to present photographic reality. A Doll's House is widely considered to be one of the prime examples of realism.

A Doll's House Plot Analysis Most good stories start with a fundamental list of ingredients: the initial situation, conflict, complication, climax, suspense, denouement, and conclusion. Great writers sometimes shake up the recipe and add some spice.

Initial Situation The Helmers have a seemingly perfect happy home. In the beginning, all seems well. Nora and Torvald Helmer appear to be the perfect happy couple. Torvald is getting a new job, managing the bank. They won't have to worry about money ever again. We meet Nora's old friend Mrs. Linde who's fallen on hard times. Torvald gives her a job. Also, there's Dr. Rank, a Helmer family friend who is slowly dying from tuberculosis. (So not everything is great.)

Conflict Krogstad brings trouble. Nora is afraid. Things start to go bad for Nora when Krogstad shows up. She borrowed money from him and forged a signature in the bargain. Now Torvald wants to fire him from his job at the bank. He threatens to reveal Nora's little secret if he gets fired.

Complication Nora begs. Torvald fires. Krogstad blackmails Nora begs Torvald not to fire Krogstad. Her begging only makes her husband mad and fires Krogstad anyway. Krogstad tells Nora that he's going to blackmail both her and Torvald and there's nothing she can do about it. He drops a letter detailing everything in the mailbox. Nora tells Christine her troubles, and Christine runs off to try and talk to Krogstad.

Climax Nora dances the tarantella. To stall Torvald from opening the mail, Nora dances a wild and crazy tarantella. She convinces him that he must do nothing but help her practice until they go to a party the next night. For one night at least she is safe.

Suspense Nora allows Torvald to open the letter. Krogstad and Mrs. Linde get together. Krogstad has a change of heart about the blackmail, but Christine tells him to still let Torvald read the letter. She thinks there are too many lies in the Helmer household. Nora and Torvald come home from the party. Dr. Rank stops by to let everybody know he's dying. Nora finally allows Torvald to open the letter.

Denouement Torvald flips out. Nora severs the marriage. When Torvald finds out Nora's secret, he flips out on her, saying all kinds of terrible things. Krogstad, overjoyed at being with Christine, sends a letter, saying he's not blackmailing them anymore. Torvald forgives Nora, but she doesn't forgive him. She tells him that they're strangers and that they've never had real marriage. She's been his doll, not his wife.

Conclusion Torvald hopes. Nora slams the door. The play concludes with Torvald alone in the room. He seems to have a lastminute revelation. Perhaps he's realized what the most wonderful thing of all really is. We don't know for sure. The last thing we hear is Nora slamming the door as she leaves. Is it really for forever? Who knows? Either way both Helmers have finally woken up to the emptiness of their lives.

Three-Act Plot Analysis For a three-act plot analysis, put on your screenwriter’s hat. Moviemakers know the formula well: at the end of Act One, the main character is drawn in completely to a conflict. During Act Two, she is farthest away from her goals. At the end of Act Three, the story is resolved.

Act I At first Nora and Torvald Helmer seem happy. Torvald is overbearing, but Nora doesn't seem to mind. They're both really happy because Torvald will soon start a new job as bank manager. The only grey cloud in the sky seems to be their friend Dr. Rank, who is slowly dying of tuberculosis of the spine. Nora's old friend, Mrs. Christine Linde, turns up. She's fallen on hard times. No worries, though, because Helmer gives her a job at the bank. Troubles arise when Krogstad arrives. Nora secretly borrowed money from him in the

past, to fund a trip, which saved Torvald's life. In order to do so, she had to forge her father's signature. Krogstad is mad because Torvald wants to fire him from his job at the bank. He threatens to expose Nora if she doesn't convince Torvald to not fire him. As the act draws to a close, Nora asks her husband to spare Krogstad's job. Torvald says he gets sick when he's around corrupt lawbreakers like Krogstad.

Act II Act Two begins with Nora talking to her old wet-nurse, Anne. She asks Anne to look after her children if she's ever not around anymore. Nora makes a second attempt at begging Torvald for Krogstad's job. This attempt backfires. Torvald gets angry and sends Krogstad his notice. Nora is getting desperate. She begins to ask Rank for the money to pay off the loan, but feels guilty when he tells her that he will soon die and that he's in love with her. Krogstad returns, steaming mad about getting fired. He tells Nora that he's going to blackmail the heck out of both of them now. Krogstad plans to force Torvald into giving him an even better job than before. He drops a letter in the mailbox, detailing his demands to Mr. Helmer. Nora confesses everything to Christine, who runs off to try and appeal to Krogstad. At the end of the act, Nora dances a wild tarantella to distract Torvald from opening the mail. She convinces him that he must spend every waking second helping her practice her dance for the party the next night. Torvald agrees to not open the mail until after the party.

Act III At the top of Act Three Mrs. Linde is hanging out in the Helmers' living room by herself. Krogstad comes by. Christine tells him that she wants to be with him. He is super-happy and decides not to blackmail the Helmers anymore. Christine tells him to let Torvald still receive the letter. She thinks there are too many lies between Nora and Torvald. The Helmers return from the party. Christine tells Nora that she needs to fess up. Dr. Rank stops by and intimates that he's dying. Nora eventually lets Torvald open his mail. When he reads Krogstad's blackmail letter, he goes nuts and calls her all kinds of awful things. A new letter from Krogstad arrives, saying that he's no longer blackmailing them. Torvald tells Nora he forgives her. Nora, however, doesn't

forgive him. She tells him that she's leaving him because the wonderful thing didn't happen. He didn't try to sacrifice himself for her. She tells him that they've never had a real marriage. She's just been his doll wife. At the end, Nora leaves, slamming the door behind her.

The Helmers marriage fell apart due to an imbalance of power. Ibsen's concept of a true marriage seems to be a union of equals. Mrs. Linde craves the role of mother and seems to draw strength and purpose from it. Though Nora is certainly submissive to Torvald, she is often able to manipulate him into getting what she wants.

Torvald is just as much a prisoner of society's prescribed gender roles as Nora is. At the end of the play, we are given hope that Torvald will reach beyond his society's concept of masculinity. Over the course of the play, Nora's conception of her home goes from a place of shelter to a prison. It is ironic that most of the other characters envy the Helmers' home. Maintaining the respect of the community seems to be closely tied into maintaining the community's prescribed gender roles. Krogstad and Torvald are both driven by fear of unfavorable public opinion. Nora's conception of love seems to be linked to the idea of sacrifice. A Doll's House seems to convey the idea that real love can only exist between equals. It is ironic that Krogstad uses deceitful methods in an attempt to regain his good reputation. Nora's lying is the only tool society has left her. She must manipulate the truth in order to have any power at all.

By deciding not to borrow money from Dr. Rank, Nora shows that she values their friendship and her own personal integrity. Torvald's fear of debt is what drives Nora to commit forgery. In a way, it is the cause of all the problems in the play.