Nora's Miracle in A Doll's House
Henrik Ibsen skillfully and artistically shouts his disapproval of society by using a mixture of lies, deceit, and manipulation to create the perfect recipe for a doomed marriage and personal revelations in A Doll's House. In the Victorian Era men and women stayed together no matter how unhappy they might really be. It would be an atrocity if a woman were to abandon her husband and children. Nothing was considered more sacrosanct than the covenant of marriage, and to portray it in such a way was completely unacceptable (Wikipedia). Disdainful as it may have appeared to the 19th century audiences, Nora left Torvald. She walked out, and with the final slamming of the front door effectively condemned herself and crumbled Torvald's beautifully perfect world. The curtain fall brought social protest, criticism, and angry resistance because it caused a scandal that threatened the foundations of 19th century society. A Doll's House "questioned the sanctity of marriage and motherhood - institutions held dear in the nineteenth century" (Sturman 17). A Doll's House manifests Ibsen's concern for women's rights and for human rights in general (SparkNotes). First produced in 1879, Henrik Ibsen stated th
However, if he does continue to hold to the ideal that a mother's crime will spoil her children, she will accept that she doesn't understand the world and can not be a good mother anyway, so she will leave. Nora's struggles with her position in life began during the period of repayment. Some theatre houses refused to stage the play, so Ibsen was pressed to write an alternate ending that was far less bleak. This is a reflection of Ibsen's views of individual worth. Ibsen illustrates this by showing how Nora is basically mandated to play a role rather than be herself and how this required acting leads to the eventual deterioration of their marriage. This discrepancy helps merit the less popular interpretation that Ibsen was writing more to "attack[ed] the lies and hypocrisy of a bourgeois society" on all people, not only women (Kunitz 445). Rank teases Nora about going to the next costume party as a mascot in her own daily attire; he is subtly making a strong statement about her lack of identity and independence. Critics have often written about the theme of feminist independence and the so-called abomination of Nora leaving and breaking the bonds of marriage. But Torvald didn't know of this "life debt. Ibsen is again chastising the public's requirement of conformity which stunts a person's development as an adult and as a human being. Ibsen also scolds social expectations of a marriage.
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