An Analysis Play of A Dolls House by Henrick Ibsen - Research Paper Example

? An Analysis of A Doll’s House Number] Norwegian novelist Henrick Ibsen’s renowned play A Doll’s House, is an artefact of modern perspective of European revolution in dramatic world and a denial of romantic convention of Victorianism. Written and staged in 1879-80, the play stirred the romantic literary flow and instantly raised controversy. The realistic approach adapted by Ibsen was appreciated by few, but it acted as a pioneer of realism and rejected the idealism of Victorian era. It gained instantaneous popularity due to its meta-theatrical facets. The daring style of Ibsen demonstrating the refutation of male authority through Nora’ character, stirred the conservatives and the liberals, in an assorted comportment. Sensational, controversial and highly, thought provoking drama revolved around many critical themes (Moi, 256). In the late nineteenth century, A Doll’ House signified the prejudiced and biased ideals of bourgeois decorum and patriarchal ideology. The three act play is well crafted in a sense that it challenges the Victorianism. First part consists of elucidation, then conditional factors signify and finally unscrambling of truth. Thus, it critically analyzes the position of each character and their participation in a personal and social context. The term bourgeois respectability depicts the milieu of the characters, which symbolizes economic solidity, incline in societal mobility, assigned roles played by both genders either in family or society, stable family system and lack of debt or moral morbidity. The condemnation of patriarchal model of family has been supported by the author. Although, Ibsen never claimed to be a liberal or feminist, but he openly announced to be a humanist. However, his keen interest to highlight the position of women in Victorian era, depicts his intentions to reveal the blatant power possessed by men. The social, psychological, economical and political power over women was apparent and uncontested. Thus, Ibsen formulated a concocted a way to enunciate the view of women, which was unfamiliar and strongly opposed. Victorian era encouraged, respectable women to indulge in spending rather than earning or savings. Thus, their world was considered to be inside the domestic sphere and aspects out of that sphere, should not be paid heed to. By the end of nineteenth century, the period of uncertainty began where the conventional ways were challenged and autonomy of women became a volatile issue. Nora’s scandalous and admirable gesture of slamming the door on Torvald’s face is a symbolic representation of denial and liberty. Nora’s denial was from patriarchal ideology and her acceptance of liberty for future mainly revolved around her freedom of choice. However, many sub-themes were underlined in Ibsen’s work like restrained anxieties, trust /betrayal, debt, marriage, repute, love, family and home. Nora Helmer, the controversial character of Ibsen, acts as a doll throughout the play, a dummy figure, who has altruistic nature to secure family at all times. Her presence is of vapid manner and her actions passive. Thus, one can clearly observe that her life revolves around austere social norms and expectations from her spouse or others. Nora’s personality was highly influenced by her father’s brought up, which according to bourgeois conventions, revolved around obedience shown as a wife. Along with it, she was made to believe the illusion that her fulfilment is enclosed in being a wife and a mother. However, Nora’s personality did not possess the true characteristics of mature individual; she beholds the complete meaning of doll. Expectations made her into someone, whom she couldn’t recognise; a pretty, chatty, whimsical, inane, squanderer , with lack or limited understanding of economic and world. Thus, Nora ended up with a partial understanding of moral obligations, a mere sense of right and wrong. However, throughout the play she is seen in a state of distress, either due to debt or due to the fear of losing prestigious reputation; personal and social both. The major reason for Nora’s trouble is debt, which is due to irresponsible escalation of finances. Her narrow understanding of controlling the finances for the sake of reimbursement is evident in the extra payment or tip made to the delivery boy (Ibsen, 8). However, the act of tipping is mundane, but with a debt one tends to save all he can. Consequently, Nora saves from house-keeping money, but spends more than her saving; a typical view of Victorian era, women shown to possess lack of understanding of fiscal matters and thus, end up being trapped in the hands of loan lenders. The notice worthy point in the entire loan and debt scenario is that, she bought something for everyone, but forgot herself (Ibsen, 10). A selfless Victorian ideal required from all women of that times. However, Torvald Helmer, in one way or the other notifies her that she possess the particular trait of wheedling money out of him like her father. A significant implication towards her flaw, as a spendthrift and wheedle (Ibsen, 11). Thus, through the portrayal of frail and docile women, Ibsen tried to represent the fact how consistent expectancy and fulfilment results in revelations. However, Ibsen’s intentions have been evident, only to illuminate the prevailing problem of human rights and identify the core reasons behind them. His work is non judgemental and thus, leaves one to indentify the potential rationale for collapsing marriage and suffocating relationships ( Templeton, 28). However, none solution were provided or suggested, this fact leaves the reader and critics in a state of dismay. Nora has been portrayed as a chief character whose life revolves around her husband and family. Initially she has been portrayed as foolish and spendthrift, but her conversations with Mrs. Linde show a generous women, who submissively obliges her husband without acknowledging herself ever (Ibsen , 17). Through Dr. Rank’s character Nora and Torvald’s relationship becomes more evident. Nora fulfils the domestic requirements and acts as a submissive wife, Torvald as a bread-earner of the family, possessed a superior position and does not indulge in domestic issues. The truth of love between Nora and Torvald Helmer has been evident with her frank relationship with Dr. Rank. Feminist theory of emancipation and dejection of oppression gave way to the late nineteenth century and many authors after Ibsen, narrowed down the feminist approach appropriately. Thus, famous philosopher John Stuart Mill represented women’s right to vote before the parliament in 1867. However, it was rejected by the Prime Minister Gladstone, but it gave way to college education for upper class women in prominent institutions. Moreover, the 1870 Education Act, primary education was made mandatory for girls and boys, which improved the intellectual development of the women, belonging from all classes. Thus, with the emergence of Women’s social and Political Union WSPU, in 1897, the rights of women were further explored and attained. Thus, when Ibsen’s play was first theatrical in Britain, the society was divided into two groups, the ones who feared women’s upsurge and the other who endorsed the basic human rights for women and their position in society. Through, Ibsen’s play many feminist movements gained audacity to fight against feudalism in marriage. Mrs. Christine Linde’s character highlights the characteristics of typical Victorian women. She sacrificed love due to family constraints and financial instabilities and a married a man of prominent position to stabilize her family. Thus, women incorporated in the act of securing family property through exchange of marriage. Her reunion with her former lover after the death of her husband and her desperate financial situation again asked for to make a deal on behalf of herself and only for the sake of her children. However, Mrs. Linde has been portrayed as a woman, who prefers to be dependent on her husband rather to earn for herself. This show not all the women were in favour of feminism, only those who realized them as equal individuals. On the other hand, Nils Krogstad the antagonist, blackmails and threatens Nora for the sake of his job in bank, where Torvald has been assigned as a manager. Even as an antagonist Krogstad did not possess the melodramatic qualities, but he established his point clear in a realistic manner. He needs financial security through his job and therefore, he takes all the measure to secure it. Thus, Krogstad was a victim of inferiority complex and acted in the expected way. Society and people play major role in influencing others. Consequently with Mrs. Linde appearance and reunion, he acted in a completely different manner. According to psychological view, acceptance from a highly inspired or adored individual encourages one to change even the most despised habits. The loan from Krogstad was not for Nora’a shopping spree or for renovation purpose; it was taken for the sake of her husband’s health. An expensive trip to Italy which Torvald with his distress health couldn’t afford was arranged by Nora. She wanted to save him from any shame of debt and embarrassment, which was repaid in an appalling manner by Torvald towards the end. The relationship is reconciled by finances and is reliant on economical and sceptical social structure. “how painful and humiliating it would be for Torvald, with his manly independence, to know that he owed me anything! It would upset our mutual relations altogether; our beautiful happy home would no longer be what it is now” (Ibsen, 23-24) In 1970, the materialist feminism, established the gender ideology according to historical context and thus, established to the commercial social relations. Therefore, the biological differences between men and women originated the public/domestic dichotomy, which was the prominent feature of Victorian era. Thus, Torvald’s sexual demand from Nora, to act like a doll, and to be pretty and appealing to his advances, also demanded submission. The first and foremost obligation of Nora was to fulfil Torvald’s expectations and needs. Although, after the ball she refused the idea of sex due to drunken state of Torvald, but the supremacy of male gender and her compliance to it, was expected again. From psychological perspective trust game was played among the characters. Torvald trusted Nora, Nora trusted Krogstad for loan, Nora’s father trusted Torvald for the sake of his prestigious job, Mrs. Linde trusted Nora’s word for her economic well being, Nora trusted Mrs. Linde to handle Krogstad from telling the truth about forgery of the loan to Torvald and Krogstad trusted Mrs. Linde for the sake of marriage and Dr. Rake trusted Nora out of nothing, but as a lover and sincere friend. Thus, the main aspect here is to develop a sense of guilt when one betrays the other. However, Torvald chose to believe that Nora is guilt avert, but she discredits his trust in her, human psychology to refrain trust for the sake of pride or honour. All the characters played their role in either trusting or becoming a subject of trust. Therefore, sense of obligation was necessary for them to be in the chain of trust, either to be trustworthy or to be betrayers. Although, the obligatory subordination of one character to the other for their individual means is evident throughout the play, but Nora’s autonomy in the end revitalized the domestic dichotomy that persisted in patriarchal society and was an integral part of Victorian era. Thus, the bourgeois scale of excessive male dominance and conviction did become a reason to jeopardize relationships. However, Ibsen’s realism encouraged admiration along with liberty a vital part of human psychology, which secures communal deference among individuals. Work Cited Ibsen, Henrik. A Doll's House. Lawrence, Kan.: Digireads.com, 2009. Print. Top of Form Top of Form Top of Form Moi, Toril. ""first and Foremost a Human Being": Idealism, Theatre, and Gender in a Doll's House." Modern Drama. 49.3 (2006): 256-284. Print. Templeton, Joan. "The Doll House Backlash: Criticism, Feminism, and Ibsen."Publications of the Modern Language Association of America. 104.1 (1989): 28-40. PrintBottom of Form Bottom of Form Bottom of Form Read More