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A Doll's House | Introduction

A Doll's House was published on December 4, 1879, and first performed in Copenhagen on December 21, 1879. The work was considered a publishing event, and the play's initial printing of 8,000 copies quickly sold out. The play was so controversial that Ibsen was forced to write a second ending that he called "a barbaric outrage" to be used only when necessary. The controversy centered around Nora's decision to abandon her children, and in the second ending, she decides that the children need her more than she needs her freedom. Ibsen believed that women were best suited to be mothers and wives, but at the same time, he had an eye for injustice, and Helmer's demeaning treatment of Nora was a common problem. Although he would later be embraced by feminists, Ibsen was no champion of women's rights; he only dealt with the problem of women's rights as a facet of the realism within his play. His intention was not to solve this issue but to illuminate it. Although Ibsen's depiction of Nora realistically illustrates the issues facing women, his decision in Act III to have her abandon her marriage and children was lambasted by critics as unrealistic, since according to them, no "real" woman would ever make that choice.

That Ibsen offered no real solution to Nora's dilemma inflamed critics and readers alike who were then left to debate the ending ceaselessly. This play established a new genre of modern drama; prior to A Doll's House, contemporary plays were usually historical romances or contrived comedy of manners. Ibsen is known as the "father of modern drama" because he elevated theatre from entertainment to a forum for exposing social problems. Ibsen broke away from the romantic tradition with his realistic portrayals of individual characters and his focus on psychological concerns as he sought to portray the real world, especially the position of women in society.

A Doll's House Summary

Act I
The play opens on the day before Christmas. Nora returns home from shopping; although her husband is anticipating a promotion and raise, he still chides her excessive spending. In response, Nora flirts, pouts, and cajoles her husband as a child might, and, indeed, Torvald addresses her as he might a child. He hands her more money but only after having berating her spending. Their relationship parallels that of a daughter and father and, indeed, is exactly like the relationship Nora had with her father. Early in this act, the audience is aware that the relationship between the Helmers is based on dishonesty when Nora denies that she has eaten macaroons, knowing that her husband has forbidden her to do so.

Nora is visited by an old friend, Kristine Linde. Mrs. Linde tells Nora that she has had some difficult problems and is seeking employment. Nora confesses to Mrs. Linde that she, too, has been desperate and recounts that she had been forced to borrow money several years earlier when her husband was ill. The money was necessary to finance a trip that saved her husband's life, but Nora forged her father's signature to secure the loan and lied to Torvald that her father had given them the money. Thus, she has been deceiving her husband for years as she worked to repay the loan. She tells this story to Mrs. Linde to demonstrate that she is an adult who is capable of both caring for her family and conducting business. Unfortunately, Nora's secret is shared by Krogstad, an employee at Torvald's bank. After a confrontation with Krogstad, Torvald decides to fire Krogstad and hire Mrs. Linde in his place.

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