A Doll’s House – Henrik Ibsen (Translated by Michael Meyer)
Protagonist Nora Helmer
Major Conflict Nora’s struggle with Krogstad, who threatens to tell her husband
about her past crime, incites Nora’s journey of self-discovery and provides much of
the play’s dramatic suspense. Nora’s primary struggle, however, is against the
selfish, stifling, and oppressive attitudes of her husband, Torvald, and of the society
that he represents.
Rising Action Nora’s first conversation with Mrs. Linde; Krogstad’s visit and
blackmailing of Nora; Krogstad’s delivery of the letter that later exposes Nora.
Climax Torvald reads Krogstad’s letter and erupts angrily.
Falling Action Nora’s realisation that Torvald is devoted not to her but to the idea
of her as someone who depends on him; her decision to abandon him to find
independence.
An Overview:
Notions of power and powerlessness are integral to Ibsen’s “A Doll’s House”. The play,
premiered in 1879, is set in the domestic sphere but it also reflects the oppressive rules and
expectations of the broader Norwegian and western society. Ibsen’s targets in terms of political
and social protest writing are marriage, financial institutions and the role of women. Most
obviously the play explores the repression of women in a society that expects them to be caring
and dutiful daughters, wives and mothers but which gives them minimal opportunity to take
control of their own lives. Ibsen said that he wrote the play because 'a woman cannot be herself
in modern society'. The play is evidently a feminist text. The character of Krogstad demonstrates
how society’s expectations, and the emphasis that is placed upon reputation, can also repress
people and make them powerless to change their lives. The powerful are represented in the play
by the figure of Torvald who not only exerts control over and manipulates his wife but also has
authority over Krogstad. By the end of the play Nora asserts her independent thoughts and makes
a stand against the oppressive, superficial nature of her marriage. Her exit from the house at the
end of the play where she leaves her husband, children and the doll’s house itself, to this day has
the power to shock audiences and has the capacity to excite both admiration and
condemnation.
The play’s resolution is likely to produce lively debates in the classroom.
Teachers Resource/ Classroom Discussion:
, Think about the definitions attributable to the words ‘wonderful’ and ‘miracle.’ Make notes that
outline the various definitions and connotations of these words. Read Act 1 and find the point at
which Nora proclaims to Mrs Linde: ‘When you’re happy, life is a wonderful thing!’
• Consider what it is that makes Nora so happy here.
• Why do her family’s circumstances seem so ‘wonderful’ to her?
• What is Nora’s definition of ‘wonderful’ at this point in the play?
• Who enters shortly after Nora uses this word?
• How does the entrance of this character call into question and render ironic the ‘wonderful’ life
Nora has been imagining?
Think particularly about the religious definitions attributable to the word ‘miracle.’
• Who is generally considered responsible for ‘miracles’? At the close of Act 2, Nora speaks of a
‘miracle’ to Mrs Linde (in some translations the word ‘wonderful’ is reiterated here rather than
‘miracle’). • What is the difference between ‘wonderful’ and ‘miracle’?
• Why do you think some translators prefer ‘miracle’ to ‘wonderful’?
• What is the ‘miracle’ that Nora anticipates?
• Who will fulfil the ‘miracle’? Think back to Nora’s use of ‘wonderful’ in Act 1, what has
changed?
Think about the way that both Nora and Torvald’s repeated use of the word ‘miracle’ at the close
of the play (again, some translators use ‘wonderful’ here). Do Nora and Torvald apply the same
definitions to ‘miracle’/’wonderful’?
• Why does Nora no longer believe in ‘miracles’ and/or the ‘wonderful’ by the play’s ending?
What does her rejection of the idea of the ‘wonderful’ and of the possibility of ‘miracles’ suggest
about Nora’s development as a character in the course of the play?
• Does Nora’s rejection of these terms have any religious significance? If so, how does this add
to the play’s meaning/s?
Look up the definition of ‘iconoclast.’ Having studied A Doll’s House do you think that it would
be appropriate to consider it as an iconoclastic drama?
Nora tells Torvald that the “miracle of miracles” would have to happen for them to stay together
as husband and wife.
Protagonist Nora Helmer
Major Conflict Nora’s struggle with Krogstad, who threatens to tell her husband
about her past crime, incites Nora’s journey of self-discovery and provides much of
the play’s dramatic suspense. Nora’s primary struggle, however, is against the
selfish, stifling, and oppressive attitudes of her husband, Torvald, and of the society
that he represents.
Rising Action Nora’s first conversation with Mrs. Linde; Krogstad’s visit and
blackmailing of Nora; Krogstad’s delivery of the letter that later exposes Nora.
Climax Torvald reads Krogstad’s letter and erupts angrily.
Falling Action Nora’s realisation that Torvald is devoted not to her but to the idea
of her as someone who depends on him; her decision to abandon him to find
independence.
An Overview:
Notions of power and powerlessness are integral to Ibsen’s “A Doll’s House”. The play,
premiered in 1879, is set in the domestic sphere but it also reflects the oppressive rules and
expectations of the broader Norwegian and western society. Ibsen’s targets in terms of political
and social protest writing are marriage, financial institutions and the role of women. Most
obviously the play explores the repression of women in a society that expects them to be caring
and dutiful daughters, wives and mothers but which gives them minimal opportunity to take
control of their own lives. Ibsen said that he wrote the play because 'a woman cannot be herself
in modern society'. The play is evidently a feminist text. The character of Krogstad demonstrates
how society’s expectations, and the emphasis that is placed upon reputation, can also repress
people and make them powerless to change their lives. The powerful are represented in the play
by the figure of Torvald who not only exerts control over and manipulates his wife but also has
authority over Krogstad. By the end of the play Nora asserts her independent thoughts and makes
a stand against the oppressive, superficial nature of her marriage. Her exit from the house at the
end of the play where she leaves her husband, children and the doll’s house itself, to this day has
the power to shock audiences and has the capacity to excite both admiration and
condemnation.
The play’s resolution is likely to produce lively debates in the classroom.
Teachers Resource/ Classroom Discussion:
, Think about the definitions attributable to the words ‘wonderful’ and ‘miracle.’ Make notes that
outline the various definitions and connotations of these words. Read Act 1 and find the point at
which Nora proclaims to Mrs Linde: ‘When you’re happy, life is a wonderful thing!’
• Consider what it is that makes Nora so happy here.
• Why do her family’s circumstances seem so ‘wonderful’ to her?
• What is Nora’s definition of ‘wonderful’ at this point in the play?
• Who enters shortly after Nora uses this word?
• How does the entrance of this character call into question and render ironic the ‘wonderful’ life
Nora has been imagining?
Think particularly about the religious definitions attributable to the word ‘miracle.’
• Who is generally considered responsible for ‘miracles’? At the close of Act 2, Nora speaks of a
‘miracle’ to Mrs Linde (in some translations the word ‘wonderful’ is reiterated here rather than
‘miracle’). • What is the difference between ‘wonderful’ and ‘miracle’?
• Why do you think some translators prefer ‘miracle’ to ‘wonderful’?
• What is the ‘miracle’ that Nora anticipates?
• Who will fulfil the ‘miracle’? Think back to Nora’s use of ‘wonderful’ in Act 1, what has
changed?
Think about the way that both Nora and Torvald’s repeated use of the word ‘miracle’ at the close
of the play (again, some translators use ‘wonderful’ here). Do Nora and Torvald apply the same
definitions to ‘miracle’/’wonderful’?
• Why does Nora no longer believe in ‘miracles’ and/or the ‘wonderful’ by the play’s ending?
What does her rejection of the idea of the ‘wonderful’ and of the possibility of ‘miracles’ suggest
about Nora’s development as a character in the course of the play?
• Does Nora’s rejection of these terms have any religious significance? If so, how does this add
to the play’s meaning/s?
Look up the definition of ‘iconoclast.’ Having studied A Doll’s House do you think that it would
be appropriate to consider it as an iconoclastic drama?
Nora tells Torvald that the “miracle of miracles” would have to happen for them to stay together
as husband and wife.
