More handpicked essays just for you.
Social changes during the industrial revolution
Social changes during the industrial revolution
Effects of industrial revolution on society
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Henrik Ibsen, who was born in Norway but made his name internationally, was a painter as well as the one of most famous playwrights during the period of Realism. Ibsen’s plays are well-known by the themes of domestic and political issues and conflict in nineteenth century. Scholars call it “Ibsen’s problems play” (Henrik Ibsen, 650). In addition, in Ibsen’s plays, the general topics that are usually discussed are hypocrisy of the society, restriction of women, and the self-sacrifice.
Under the influence of Industrial Revolution, the conflict between classes and the struggle among workers were becoming more and more intense, especially among women. By responding to French Rvolution, “Liberty” was the key word for nineteenth century (The Nineteenth Century, 509). Henrik Ibsen wrote a famous play called A Doll’s House in 1879. Ibsen illustrates the status and confinement of the women at the time, but his play does not attempt to solve the problems. However, A Doll’s House does express the need and desire for the women to escape from the restriction in the nineteenth-century society.
In the play A Doll’s House, Nora Helmer is the major character as well as a symbol of the majority of house wives in the middle class of the nineteenth century. Also, Nora’s husband, Torvald Helmer, is another symbol represents the majority of men at the time. Through their marriage and relationship, we can clearly see the recreation of the realistic role and characteristic of the suffering women in the nineteenth century.
First of all, The nineteenth-century society was a male dominated society. The most women in nineteenth century were perceived as nonsense and dependent. In the opening act of the play, Torvald talks to Nora, “Is it my little squi...
... middle of paper ...
...tatus in a happy marriage. Nora’s realization in the end of the play expresses the desire and need for the women who are also suffering from their marriages to fight for their equal rights, mutual respect and being themselves again.
Works Cited
Ibsen, Henrik. “ A doll’s House.” SparkNotes LLC. Sparknotes.com. n.d. Web. 19 Mar. 2012.
“Henrik Ibsen.” The Norton Anthology of World Literature, shorter 2nd edition, vol.2. Eds. Petter Simon and Conor Sullivan. New York, London: W. W Norton& Company, inc., 2009. 649-653. Print.
SparkNotes Editors. “SparkNote on A Doll’s House.” SparkNotes.com. SparkNotes LLC. n.d. 2002. Web. 20 Mar. 2012
“The Nineteenth Century: Realism and Symbolism.” The Norton Anthology of World Literature, shorter 2nd edition, vol.2. Eds. Petter Simon and Conor Sullivan. New York, London: W. W Norton& Company, inc., 2009. 509-515. Print.
In Henrik Ibsen’s A Doll House, a drama written in the midst of an 1879, middle-class, suburban Europe, he boldly depicts a female protagonist. In a culture with concern for fulfilling, or more so portraying a socially acceptable image, Nora faces the restraints of being a doll in her own house and a little helpless bird. She has been said to be the most complex character of drama, and rightfully so, the pressure of strict Victorian values is the spark that ignites the play's central conflicts. Controversy is soon to arise when any social-norm is challenged, which Nora will eventually do. She evolves throughout the play, from submissive housewife to liberated woman. It seems as though what took women in America almost a century to accomplish, Nora does in a three-day drama. Ibsen challenges the stereotypical roles of men and women in a societally-pleasing marriage. He leads his readers through the journey of a woman with emerging strength and self-respect. Nora plays the typical housewife, but reveals many more dimensions that a typical woman would never portray in such a setting.
Bentley, Eric. "Henrik Ibsen: A Personal Statement." Columbia University Forum, I (Winter 1957): 11-18. Rpt. In Ibsen: A Collection of Critical Essays. Ed. Rolfe Fjelde. Englewood Cliffs, New Jersey: Prentice-Hall, 1965. 83-92.
Ed. John Schilb and John Clifford. Boston: Bedford / St. Martin's, 2000. 127. The Ibsen, Henrik.
Ibsen, Henrik. “A Doll’s House.” Literature for Composition. Ed. Sylvan Barnet, William Burto, and William E. Cain. 9th Ed. New York: Longman, 2010. 792-841. Print.
Simonds, W. E. "Henrik Ibsen." Dial 10.119 (Mar. 1890): 301-303. Rpt. in Literature Resource Center. Detroit: Gale, 2011. Literature Resource Center. Web. 25 Mar. 2011.
Now, this construction certainly arises from what is in the play, and I don't wish to dismiss it out of hand. However, today I would like to raise some serious question about or qualifications to it. I want to do so because this vision of A Doll's House has always struck me as oversimple, as, in some sense, seriously reductive, an approach that removes from the play much of its complexity and almost all its mystery and power.
Throughout history, a woman's role is to be an obedient and respectful wife. Her main obligation is to support, serve, and live for her husband and children. In Henrik Ibsen's A Doll's House and Susan Glaspell's Trifles, two different women make a decision to take matters into their own hands by doing what they want to do, no matter what the outcome may be and in spite of what society thinks. These two women come from different homes and lead very different lives yet, these two women share similar situations--both are victims, both are seeking individuality, and initially, both women end up alone. There are many ways that Nora and Mrs. Wright differ. First of all, both come from completely different households. Nora's home is "tastefully [. . .] furnished" and always "pleasant"(917). She lives in a lavish home eating macaroons, drinking champagne, and hosting banquets. Nora often has guests at the house and there are even maids to watch her children. Her husband, Torvald, is often home and has guests over. On the other hand, Mrs. Wright's home is unpleasant, in an "abandoned farmhouse"(977) in a secluded area. Mrs. Wright seldom has company, nor does she have any children. She does not leave the house very often and her husband, Mr. Wright, wants no outside interference. Mr. Wright refuses to get a "party telephone"(978) because he enjoys his "peace and quiet"(978). It is obvious that these two women lead different lives with different types of people, yet they share similar situations that are not so obvious.
The enforcement of specific gender roles by societal standards in 19th century married life proved to be suffocating. Women were objects to perform those duties for which their gender was thought to have been created: to remain complacent, readily accept any chore and complete it “gracefully” (Ibsen 213). Contrarily, men were the absolute monarchs over their respective homes and all that dwelled within. In Henrik Ibsen’s play, A Doll’s House, Nora is subjected to moral degradation through her familial role, the consistent patronization of her husband and her own assumed subordinance. Ibsen belittles the role of the housewife through means of stage direction, diminutive pet names and through Nora’s interaction with her morally ultimate husband, Torvald. Nora parades the façade of being naïve and frivolous, deteriorating her character from being a seemingly ignorant child-wife to a desperate woman in order to preserve her illusion of the security of home and ironically her own sanity. A Doll’s House ‘s depiction of the entrapment of the average 19th century housewife and the societal pressures placed upon her displays a woman’s gradual descent into madness. Ibsen illustrates this descent through Torvald’s progressive infantilization of Nora and the pressure on Nora to adhere to societal norms. Nora is a woman pressured by 19th century societal standards and their oppressive nature result in the gradual degradation of her character that destroys all semblances of family and identity.Nora’s role in her family is initially portrayed as being background, often “laughing quietly and happily to herself” (Ibsen 148) because of her isolation in not only space, but also person. Ibsen’s character rarely ventures from the main set of the drawi...
Throughout A Doll’s House, Henrik Ibsen illustrates through an intriguing story how a once infantile-like woman gains independence and a life of her own. Ibsen creates a naturalistic drama that demonstrates how on the outside Nora and Torvald seam to have it all, but in reality their life together is empty. Instead of meaningful discussions, Torvald uses degrading pet names and meaningless talk to relate to Nora. Continuing to treat Nora like a pampered yet unimportant pet, Torvald thoroughly demonstrates how men of his era treat women as insignificant items to be possessed and shown off. While the Helmer household may have the appearance of being sociably acceptable, the marriage of Torvald and Nora was falling apart because of the lack of identity, love, and communication.
Nora engages in a mutually dependent game with Torvald in that she gains power in the relationship by being perceived as weak, yet paradoxically she has no real power or independence because she is a slave to the social construction of her gender. Her epiphany at the end at the play realises her and her marriage as a product of society, Nora comes to understand that she has been living with a constr...
Those of you who have just read A Doll's House for the first time will, I suspect, have little trouble forming an initial sense of what it is about, and, if past experience is any guide, many of you will quickly reach a consensus that the major thrust of this play has something to do with gender relations in modern society and offers us, in the actions of the heroine, a vision of the need for a new-found freedom for women (or a woman) amid a suffocating society governed wholly by unsympathetic and insensitive men.
Ibsen, Henrik. A Doll House. The Bedford Introduction to Literature: Reading, Thinking, Writing. 5th ed. Ed. Michael Meyer. Boston: Bedford/St. Martin's, 1999. 1564-1612.
“A Doll’s House” gives the reader a firsthand view at how gender roles affected the characters actions and interactions throughout the play. The play helps to portray the different struggles women faced during the 19th century with gender roles, and how the roles affected their relationships with men as well as society. It also helps to show the luxury of being a male during this time and how their higher status socially over women affected their relationships with women and others during this time period. Torvald Helmer starts off the story with a new job as a bank manager. He has a wife, Nora, who does not have a job in the workforce since that was the man's role.
Ibsen, Henrik. A Doll's House. Trans. William Archer. Boston: Walter H. Baker & Co., 1890. Gleeditions. Web. 12 April 2014
Societal problems prevail throughout the history of the world and exist within all countries, regions, and cultures. The controversial aspects in societies are based on a large variety of subjects, and have to be identified in order to cause societal change. Therefore, Realism is the portrayal of difficulties in societies that are depicted in everyday life, which includes common situations and actions. Realism allows authors to describe and emphasize the incompetence of some aspects within communities, while enabling writers to call for societal reform. Henrik Ibsen portrays and addresses the concepts of Norway’s society in the 19th century in A Doll House, which is a tragic play translated by Rolf Fjelde. Ibsen desires to challenge assumptions as well as rules of Norwegian life, and most importantly wants to depict society accurately, as he meticulously incorporates everyday life. Therefore, A Doll House represents a Realistic drama due to the issues involving women, illnesses, and laws within the play, while conveying Ibsen’s desire of controversy and change in Norway’s society.