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The symbolism in the doll's house
A doll's house character analysis essay
The symbolism in the doll's house
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The Problem of Social Unawareness
While the plays Walsh by Sharon Pollock and A Doll’s House by Henrik Ibsen take place in apparently opposite social settings – the former in the sometimes wild and savage environs of a frontier trading post of early Canada, and the latter in the “refined” world of European bourgeois respectability of the late 1800’s – they both act as problem plays when they illustrate aspects of the problem of acquiring individual human understanding. Although both plays shape this theme through many examples of characters who have obvious flaws in their human understanding, the plays also offer examples of characters who have generally successful social awarenesses. It is these “successful” characters that attempt to build a solution to the problem of acquiring human understanding.
Much might be gained from examining the traits of the major characters, but in this discussion it is the supporting characters of both plays that lead to greater insights into the theme of acquiring individual human understanding. It is beneficial to observe the social awareness displayed by the characters Christine in A Doll’s House and Louis in Walsh, and the manner in which these characters show their knowledge of the world. In Walsh, Louis’ understanding of the world is effectively a bridge between two cultures which gives him a fuller-encompassing world view. But his cross-cultural background is not what gives him his entire worldly perspective – he is imbued with an intense practical and spiritual knowledge of the world’s local social concerns, and this is evident in the way he attempts to teach Clarence about the art of “knowing something”:
You wanna learn, you study inside here. . . He taps his head. . . .and here. . . He taps his chest. . . .and how it is wit’ you and me. . . He indicates the two of them. . . .and how it is wit’ you and all. . . . He indicates the surroundings. Travel ‘round da Medicine Wheel. Den you know somethin’. (30)
While Pollock may be saying through Louis that world knowledge should come from a profound understanding of the self, of others, and of nature, through Christine’s practical character Ibsen also gives evidence to suggest that deeper understandings of the world are possible, and that essentially, the world is composed of “trials and tribulations” that must be overcome for a person to become knowledgeable and practical.
The characters address the audience; the fast movement from scene to scene juxtaposing past and present and prevents us from identifying with particular characters, forcing us to assess their points of view; there are few characters who fail to repel us, as they display truly human complexity and fallibility. That fallibility is usually associated with greed and a ruthless disregard for the needs of others. Emotional needs are rarely acknowledged by those most concerned with taking what they maintain is theirs, and this confusion of feeling and finance contributes to the play's ultimate bleak mood.
May, C. E. (2012). Critical Survey of Short Fiction: World Writers (4th ed.). Ipswich: Salem Press.
Ibsen, Henrik. A Doll House. The Bedford Introduction to Drama. Ed. Lee A. Jacobus. Boston: Bedford/ST. Martin’s, 2001. 659 – 688.
Spanking, a fictitious form of child abuse, is an appropriate action toward unruly children. It is a popular practice used to instill discipline and values in children, and is more effective than talking to or yelling at the child or placing the child in “time out” sessions. In the long run, spanking causes no damage to the child’s mental or physical health. Instead, it creates a basis for good behavior.
In both Anton Chekhov’s The Cherry Orchard and Henrik Ibsen’s A Doll’s House the subversion of perception and the insubordination of supposedly inferior characters has massive implications on the overall message of the play. These mechanisms bring to light a multitude of questions about the correctness of social norms and the future of both Russian and Norwegian society. They are powerful reminders of ever-changing society and the nature of human relationships, and they leave the reader at once confused and motivated for change.
In the play A Doll House, by Henrik Ibsen, the convention of marriage is examined and questioned for its lack of honesty. The play is set in the late 1800s, which provides the backdrop for the debate about roles of people in society. Ibsen uses the minor character, Dr. Rank, to help develop the theme of conflicts within society. This, in turn, creates connections with the plot. Dr. Rank's function in the play is to foreshadow, symbolize, and reflect upon the truth of life and society and to break down the barrier between appearance and reality.
Henrik Ibsen’s famous play A Doll’s House was first published in 1879 and contains elements and characters that appear to support feminism, and drew attention from the women’s rights movement. However, Ibsen himself said that he was not a feminist; rather, his play is about the human nature in general, and is not specifically about women’s rights. Over the years, this was the view that most scholars used to interpret the play, but more recently scholars have produced an opposing argument. Margaret Stetz, one such scholar, writes that “To call Ibsen a feminist playwright or to describe A Doll’s House as a drama in favor of women’s rights is no longer controversial” (150). The most obvious example of Ibsen’s view on gender roles is the relationship between Nora and Helmer and, more specifically, Nora’s self-discovery at the end of the play. Other characters, however, such as Mrs. Linde and Krogstad, as well as Anne-Marie, play a part in defining gender roles in A Doll’s House. In this essay, I will discuss the ways in which Ibsen represents gender roles in A Doll’s House through the characters in his play and the differing views about feminism and gender roles in the play.
The nineteenth-century play ‘A Doll’s House’ by Henrik Ibsen focuses on the family and friends of Nora Helmer, a Norwegian housewife under control of her husband, who wishes for her to be a status symbol. Nora’s initial behaviour of childishness and naivety reflects the way in which her husband and father have been treating her. However as the play develops, Nora’s independence grows and her persona shifts into an independent individual, with a realisation that she deserves better treatment from those around her.
“Faulkner’s structural problem in “A Rose for Emily” demanded that he treat all of miss Emily’s life and her increasing withdrawal from the community and...
Henrik Ibsen’s A Doll’s House is a three-act play significant for its attitude toward marriage norms. In the drama, Ibsen explores idealism between the wife Nora and her husband Helmer. Nora’s and Helmer’s idealism forces the pair to see themselves and each other starring in various idealist scenarios of female sacrifice and heroic male rescue. As a play, the scenes are act out on stage. The staging of a house reveals the dramaturgical aspects and dynamics of the play. The presence of the house is significant to the depiction of women on stage. The action of the play traces Nora’s relationship to the house. Ibsen’s play focuses on the aspect of the expected idealism of the wife and husband, and how the domestic abode can hinder freedom.
Henrik Ibsen paints a sad picture of the sacrificial role of women throughout all social economical classes in his play “A Doll House”. The story is set in the late 19th century and all minor female characters had to overcome adversity to the expense of love, family and self-realization, in order to lead a comfortable life. While the main female protagonist Nora struggles with her increasingly troubled marriage, she soon realizes, she needs to change her life to be happy as the play climaxes. Her journey to self-discovery is achieved by the threat of her past crime and her oppressing husband, Torvald and the society he represents. The minor female characters exemplifying Nora’s ultimate sacrifice.
If drama is a tension, then Henrik Ibsen’s A Doll’s House must be an all-out war, with Ibsen taking on the role of a Realistic Period Patton. The play, first published in 1879, tells the story of Nora, a middle-aged house wife living in a society in which she has no rights or voice. However, with disregard to societal norms and the law, Nora forges her father’s signature to borrow money so that she and her family may go on a vacation that is responsible for saving her husband’s life. With Nora’s action unbeknownst to him, Nora’s husband, Torvald, fires the man from whom Nora loaned the money.
“A Doll’s House” is unique in a way that it seems to explore aspects of feminism, such as the independent woman, although critics and Ibsen himself would have argued otherwise considering it to be more of a social commentary centred upon role playing in society. For this very reason, “A Doll’s House” can be seen as being relevant to twenty-first century society, since society will always attempt to group people together, whether categorised by gender, morality or wealth. The very fact that the themes presented were controversial during the Ibsen’s time, and are yet of concern in modern society, makes it one of the most influential plays ever written.
Ibsen, Henrik. A Doll's House. In Four Major Plays. Trans. James McFarlane and Jens Arup. Oxford: Oxford University Press, 1981.
Although Ibsen portrays A Doll House as a Realistic play due to the societal problems, which include women, illnesses, and laws; he attempts to address society and cause change within the Norwegian society without openly talking about these issues. The actions of characters, such as Nora, represent the fact that an individual can make progress in societal reform. Therefore, Ibsen’s identification and attempt to change society symbolizes a Realistic desire of finding solutions to problems. The ultimate goal of Realism is to better everyday life for the majority of people, while trying to deepen the understanding of society’s problems.