Essays and Criticism
The Doll's House is one of the strongest plays that Ibsen has produced. In the way of character-painting, and artful and artistic handling of the situations, he has done nothing better. It is a pity that we could not have had The Enemy of Society, with its strong autobiographic suggestiveness, first; but there is no more characteristic play upon the list, nor one more indicative of the author's mind and power—if only it be read with fairness and appreciation—than the one selected. The heroine of The Doll's House is its light-hearted pretty little mistress, Nora Helmer. She has been eight years the wife of Torvald Helmer, and is the mother of three bright vigorous children. She is her husband's doll. Torvald Helmer calls her his little lark, his squirrel, provides for her every fancy, hugely enjoys her charms of person, forgets that she has a soul—and is sure he loves her most devotedly. Nora has always been a child; her father, a man of easy conscience, has brought her up entirely unsophisticated. She knows nothing of the serious side of life—of its privileges, its real opportunities—nothing of the duties of the individual in a world of action. Nora is passive, she submits to be fondled and kissed. She is happy in her "doll-house," and apparently knows nothing outside her home, her husband, and her children. Nora loves her family with an ideal love. Love, in her thought, is an affection which has a right to demand sacrifices; and in turn is willing to offer up its own treasures, whether life, honor, or even its soul, be the stake. She is not merely ready for such a sacrifice—poor sentimental Nora!— she has already, though in part ignorantly, made it, and has committed a crime to save her husband's life.
There is much machinery to carry on the plot; but in spite of the abstract nature of the theme, the episodes are so dramatic and the dialogue so brisk and natural that the drama moves without perceptible jar, and our interest intensifies and the suspense increases until the denouement occurs. Herein lies the secret of the success of this and all the other of Ibsen's kindred dramas. Along with the...
(The entire section is 882 words.)