A DOLL’S HOUSEHENRIK IBSEN

NIKITAMARKSATYA

DRA

MAT

IC IR

ON

YIbsen uses dramatic irony to build tension towards the climax of the play. It also means that we see the real nature of the Helmer’s relationship without pretence.

This is a virtue that Ibsen wished there to be more of in his contemporary society.

The main example of this in Act 3, is when the audience is aware of Linde & Krogstad’s plan to reveal the loan to Thorvald.

“Helmer must know all about it. This unhappy secret must be disclosed.” (P.63)

JUXT

APO

SITI

ON We also see Thorvald and Nora contrast Linde and Krogstad, as the

Helmer’s relationship falls apart the other’s is rekindled. Ibsen uses this technique to emphasise how society had become so fixated on outward appearance that the true reasons for coupling.

T and N appear happy but have real problems.

“All these eight years – she who was my joy and pride – a hypocrite, a liar- worse, worse- a criminal!” (P. 72)

K and L have had problems but are happy with each other.

“All my life...I have worked, and it has been my greatest and only pleasure...Nils, give me someone and something to work for.” (P.61)

JUXT

APO

SITI

ON In particular Mrs. Linde’s importance as a minor character is as to

juxtapose Nora

Nora has never had to work

and treats her relationships as way to be cared

for.

Mrs. Linde has had to work all her life, and treats relationships as way of caring for others

FOIL

SYM

BOLI

SMSLAMMING DOOR

Nora walks out on her husband and children and asserts her humanity

The final stage direction of the sound of the door slamming shut could symbolize the closing of the 19th century beliefs and the birth of modernism

“my duty to myself” –Nora (act 3)

SYM

BOLI

SMCLOTHES

When she leaves Torvald in the last act, she first changes into different clothes

Nora's fancy dress for the party symbolizes the character she plays in her marriage to Torvald

This represents her decision to become new woman. She takes out her dress to wear a usual everyday day garment, with that she puts her new persona of a free women.

Pg. 55, Act 2 NORA: Yes, nobody is to have the chance of admiring me in my dress until to-morrow.

SYM

BOLI

SMTARANTELLA DANCE

-The dance itself centralizes around dancing until one is so exhausted that they fall to the ground or a miracle occurs and the person is saved

-The dance originated in Taranto, where Italians would attempt to rid themselves of Tarantula venom through dancing. They would dance until death.

Someone bitten by the tarantella usually moves around widely in agony, but in the process of such wide movements, ends up working the poison out of the system.

SYM

BOLI

SM

RELEASE OF POISON

"An atmosphere of lies like that infects and poisons the whole life of a home.” (Torvald)

-Act 1

TARANTELLA DANCE

=

“I don’t believe in wonderful things anymore” (Nora) -Act 3

(p.82)

By leaving Torvald (upon finishing the dance) she has in effect rid herself of poison. She manifests her psychological discomfort physically.

“Wonderful things” could be a reference to a miracle – like the one that has just occurred – unexpected, surprising, unlikely

SYM

BOLI

SM

CyclicFrantic

AggressiveFast-paced

Tense

Uncomfortable

Her mental and physical pain is manifested in her

rapid and often undirected movements.

Torvald?

“…a trifle too realistic” - Torvald -Act 3

SYM

BOLI

SMRINGS

Rings = Symbol of perpetuity and continuity

Exchange of rings represents change. There is a concept of time without end explored.

Cyclic

“I have been performing tricks for you, Torvald,”

Nora comes to realize that in addition to her literal dancing and singing tricks, she has been putting on a show throughout her marriage…

SYM

BOLI

SM Summary

MO

TIFS

(Despite Nora illegally taking out a loan, Nora’s motives were honest and innocent. She losses this innocence when she leaves Torvald.)

“It gives me great pain, Torvald, for you have always been so kind to me, but I cannot help it. I do not love you anymore” (pg. 79)

Loss of innocence

IMAG

ERY

DOLL IMAGERY

Torvald rules Nora as if she were a marionette on a string. This is comparable to the hanging horse heads on the set of Equus which are also used as a pointed reference to the puppet-like ways of the society Dr. Dysart grew up in (70’s Britain).

Also Torvald?

IMAG

ERY

DOLL IMAGERY

EVIDENCE OF DOLLHOUSE –(Nora lives in a doll house and is played with like a doll throughout her life by her father or Trovald.) “I

have been your doll-wife, just at home I was was papa’s doll-child” (77)

EVIDENCE OF DOLL AS OBJECTIFICATION OF NORA-“Doll-child (…) play (…) transferred from Papa’s hands into yours (…) arranged everything (…) tricks for you

(…) room has been nothing but a playroom p.76

IMAG

ERY

BIRD IMAGERY

Lexical field of bird imagery “singing-bird (74)

dove (74) hawk’s claws (74)

poor beating heart (74) scared, helpless, darling (75)

Birds are normally appreciated by most people, but they are still locked in cages…

NORA (+ OTHER 19TH CCENTURY WOMEN) = Admired and idolized (“lovely singing bird,” “look at

my dearest treasure”) but not Respected (“silly feather brain”)

IMAG

ERY

These nicknames that Torvald gives Nora are all usually followed by the possessive "my," signaling Torvald's belief that Nora is his.

DOLL AND BIRD IMAGERY

Constriction and restraints within her own home

One purpose could be Social criticism

CHAR

ACTE

R D

EVEL

OPM

ENT Ibsen shows character development

through the use of language. The use of past tense and describing her past self shows how she has developed as a character.

“When the whole thing was past, as far as you were concerned it was exactly as if nothing at all had happened.

Exactly as before, I was your little skylark, your doll which you would in future treat with doubly gentle care, because it was

so brittle and fragile” (80).

CHAR

ACTE

R D

EVEL

OPM

ENT