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She dances so badly and acts so childishly that Torvald agrees to spend the whole evening coaching her.
When the others go to dinner, Nora stays behind for a few minutes and contemplates killing herself to save her husband from the shame of the revelation of her crime and to preempt any gallant gesture on his part to save her reputation. Act Three[ edit ] Kristine tells Krogstad that she only married her husband because she had no other means to support her sick mother and young siblings and that she has returned to offer him her love again.
She believes that he would not have stooped to unethical behavior if he had not been devastated by her abandonment and been in dire financial straits. Krogstad changes his mind and offers to take back his letter from Torvald.
However, Kristine decides that Torvald should know the truth for the sake of his and Nora's marriage. After literally dragging Nora home from the party, Torvald goes to check his mail but is interrupted by Dr. Rank, who has followed them. Rank chats for a while, conveying obliquely to Nora that this is a final goodbye, as he has determined that his death is near. Rank leaves, and Torvald retrieves his letters. As he reads them, Nora steels herself to take her life.
Torvald confronts her with Krogstad's letter. Enraged, he declares that he is now completely in Krogstad's power; he must yield to Krogstad's demands and keep quiet about the whole affair. He berates Nora, calling her a dishonest and immoral woman and telling her that she is unfit to raise their children. He says that from now on their marriage will be only a matter of appearances. A maid enters, delivering a letter to Nora. The letter is from Krogstad, yet Torvald demands to read the letter and takes it from Nora.
Torvald exults that he is saved, as Krogstad has returned the incriminating bond, which Torvald immediately burns along with Krogstad's letters. He takes back his harsh words to his wife and tells her that he forgives her. Nora realizes that her husband is not the strong and gallant man she thought he was, and that he truly loves himself more than he does Nora. Torvald explains that when a man has forgiven his wife, it makes him love her all the more since it reminds him that she is totally dependent on him, like a child.
He dismisses the fact that Nora had to make the agonizing choice between her conscience and his health, and ignores her years of secret efforts to free them from the ensuing obligations and the danger of loss of reputation.
He preserves his peace of mind by thinking of the incident as a mere mistake that she made owing to her foolishness, one of her most endearing feminine traits. We must come to a final settlement, Torvald. During eight whole years.
Nora, in Ibsen's A Doll's House Nora tells Torvald that she is leaving him, and in a confrontational scene expresses her sense of betrayal and disillusionment. She says he has never loved her, they have become strangers to each other. She feels betrayed by his response to the scandal involving Krogstad, and she says she must get away to understand herself. She has lost her religion. She says that she has been treated like a doll to play with for her whole life, first by her father and then by him.
Concerned for the family reputation, Torvald insists that she fulfill her duty as a wife and mother, but Nora says that she has duties to herself that are just as important, and that she cannot be a good mother or wife without learning to be more than a plaything. She reveals that she had expected that he would want to sacrifice his reputation for hers and that she had planned to kill herself to prevent him from doing so. She now realizes that Torvald is not at all the kind of person she had believed him to be and that their marriage has been based on mutual fantasies and misunderstandings.
Torvald is unable to comprehend Nora's point of view, since it contradicts all that he has been taught about the female mind throughout his life. Furthermore, he is so narcissistic that it is impossible for him to understand how he appears to her, as selfish, hypocritical, and more concerned with public reputation than with actual morality.
Nora leaves her keys and wedding ring, and as Torvald breaks down and begins to cry, baffled by what has happened, Nora then leaves the house, slamming the door behind her. Whether or not she ever comes back is never made clear. Alternative ending[ edit ] Ibsen's German agent felt that the original ending would not play well in German theatres.
In addition, copyright laws of the time would not preserve Ibsen's original work. Therefore, for it to be considered acceptable, and prevent the translator from altering his work, Ibsen was forced to write an alternative ending for the German premiere. In this ending, Nora is led to her children after having argued with Torvald. Seeing them, she collapses, and as the curtain is brought down, it is implied that she stays.
Ibsen later called the ending a disgrace to the original play and referred to it as a "barbaric outrage". Much that happened between Nora and Torvald happened to Laura and her husband, Victor. Similar to the events in the play, Laura signed an illegal loan to save her husband.
She wanted the money to find a cure for her husband's tuberculosis. At his refusal, she forged a check for the money. At this point she was found out. In real life, when Victor discovered about Laura's secret loan, he divorced her and had her committed to an asylum. Two years later, she returned to her husband and children at his urging, and she went on to become a well-known Danish author, living to the age of Ibsen wrote A Doll's House at the point when Laura Kieler had been committed to the asylum, and the fate of this friend of the family shook him deeply, perhaps also because Laura had asked him to intervene at a crucial point in the scandal, which he did not feel able or willing to do.
Instead, he turned this life situation into an aesthetically shaped, successful drama.
In the play, Nora leaves Torvald with head held high, though facing an uncertain future given the limitations single women faced in the society of the time. Kieler eventually rebounded from the shame of the scandal and had her own successful writing career while remaining discontented with sole recognition as "Ibsen's Nora" years afterwards.
Writing in in his book The Foundations of a National Drama, Jones says: "A rough translation from the German version of A Doll's House was put into my hands, and I was told that if it could be turned into a sympathetic play, a ready opening would be found for it on the London boards. I knew nothing of Ibsen, but I knew a great deal of Robertson and H. From these circumstances came the adaptation called Breaking a Butterfly. This is why I think you should be required to have the practice marriage that do I read this in college of course and didn't "get it" until I taught it a few years ago when I took over an Introduction to Drama as Literature course for another instructor.
This is why I think you should be required to have the practice marriage that doesn't work--so you can understand literature. S, let me make myself very clear.
I will never, never believe that Ibsen intended for Nora's grabbing of her husband's cloak as she ran out the door to indicate his guilt in her implied suicide. It was Christmas. In Norway. The woman was cold. This is why I didn't do so well in your class, isn't it, Mr. The play's name comes from the way Nora is treated like a doll or a young child by Torvald, her domineering husband. Nora has a problem since she had secretly forged a note for a loan to finance a trip to a warm climate when her husband was seriously ill.
Although Nora seems flighty and silly at the beginning of the play, one senses that she is acting that way partly to please and manipulate her husband. She has i Written in , "A Doll's House" was a very modern look at marriage for its time.
She has imperfections, but there is a strong woman underneath who wants to experience the world. She needs to find herself as a human being outside the roles of wife and mother. This is a play that can be looked at from many points of view regarding a woman's moral obligations to her family as well as her obligations to herself.
The play was entertaining with both comic and serious moments, and its ideas could generate a good discussion. First published in , the play tells the story of Nora Helmer and her marriage to Torvald Helmer. But the play also depicts two other female characters and between the three Ibsen has composed a female triumvirate of the European nineteenth century Everywoman. Along with Nora are Kristine and Anne Marie, who Ibsen has displayed as a female image of subservience, disadvantage and obliging self-sacrifice.
Most compelling, though, was reading this from the vantage of the twenty-first century. Some ultra-conservatives might share the nineteenth century interpretation of the play Ibsen was castigated into amending the ending and later regretted the cave-in but others may fail to see the consequences of the socio-economic results of a feminist movement of which Ibsen as a modernist was in the far forward vanguard that has played its part in changing, some for the better and some for the worse, Western civilization.
Without a doubt an important drama on the world stage. She leaves her husband and her children because she feels it is for their benefit..