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  • Feminists are often bothered by the reconciliation between Kristine and Krogstad. Just as Nora is breaking free of the confines of her marriage, Kristine is embracing marriage. Do you agree with some feminists critics that Kristine's decision to reunite with Krogstad negates Nora's flight to personal freedom? Investigate the role of women in late nineteenth-century marriage and compare the two different ways that Nora and Kristine seek to define their identity within the social convention of marital life.
  • In a second ending that Ibsen was forced to write, Nora looks at her sleeping children and realizes that she cannot leave them. Instead of seeking her freedom and discovering her identity, she decides to remain in the marriage. Compare the two endings offered for this play. Given the social and cultural context in which the play is set, which ending do you think best reflects the realities of nineteenth-century European life?
  • The Helmer's marriage can best be described as a marriage of deception. Torvald has no idea who Nora really is and is in love with the wife he thinks he possesses. Nora is also in love with a vision rather than reality. During the course of the play, these deceptions are stripped away, and each sees the other as if for the first time. The audience also sees the reality of Victorian life. The ideal family and house, the decorated tree and the festivities of the holidays also perpetuate the Victorian myth; but is it a myth? Investigate the economic and social conditions of the nineteenth century. Charles Dickens's view of this society predates Ibsen's by less than half a century, and yet Dickens' s view of the social condition is often regarded as especially bleak and pessimistic. Would you agree or is the artificiality of the Helmer household just as bleak as that outlined in any Dickens novel?

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