A Doll's House Essay Outline
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A Doll’s House Essay Outline Template
I. Introduction
A. Some background details on the literary work
1. By Norwegian playwright Henrik Ibsen
2. First produced in 1879, it is one of the first feminist plays of the modern era
B. What the play is about
1. Nora Helmer and Torvald, her husband, are the main characters.
C. Thesis: Ibsen’s play A Doll’s House represents one of the first major works of literature in history to directly and purposefully criticize gender norms
II. First body paragraph
A. The play’s title refers to the way women have ta similar social role as that of a doll.
B. Examples or quotes from the play
C. Because he thinks she is a doll, Torvald totally underestimates Nora.
III. Second body paragraph
A. Ibsen shows that Nora is stronger than her husband, thereby further subverting gender norms.
B. Examples from the play.
IV. Third body paragraph
A. From a cultural and historical perspective, Ibsen’s play is remarkable.
B. The play depicts a woman with genuine agency, who directly confronts gender bias and patriarchy.
V. Conclusion
A. Restating the thesis: Presented to the public in the late nineteenth century, Henrik Ibsen’s play A Doll’s House shows how gender norms were dramatically changing after the industrial revolution
B. It would not have been common for a woman to make the choices Nora does.
A Doll’s House Essay Outline Example
I. One of the first feminist plays in the world was actually penned by a man in Norway named Henrik Ibsen.
A. A Doll’s House was written in the late nineteenth century, and that is also the time period in which the play was set.
B. The play consists of three acts, during which the audience learns about toxic masculinity and the repression of women in society.
C. In A Doll’s House, Ibsen sharply criticizes prevailing gender norms even in a modern and progressive society, making the play a poignant example of social commentary in literature.
II. The title of Ibsen’s play is deeply symbolic, showing how women are likened to and treated like children in middle class European society.
A. To be treated like a doll is also to be treated like a child, evidenced in the simple and condescending language Torvald uses to speak with his wife Nora.
1. Example: He calls her “featherhead” and “my little skylark”
2. More sinister examples of Torvald treating Nora like a doll is later in the play, when he scolds her for helping him.
B. Being thought of as a doll gives Nora and her kind no agency in society.
1. Having no agency means Nora has to sneak around to help her husband.
2. Torvald reminds Nora that she cannot survive without him because she is financially dependent upon him.
III. Furthermore, in “A Doll’s House,” Torvald becomes a symbol of toxic masculinity.
A. When Nora finally speaks her mind, Torvald refuses to listen or have any sense of self-awareness.
B. Nora realizes that the problem is with masculine gender norms, for she refers to the way her father also treated her.
IV. Through “A Doll’s House,” the playwright makes direct social commentary that champions the rights of women and foreshadows immanent social change in Norwegian—and indeed all of European—society.
A. The tone of the play is dark, and the play emerges as a real tragedy because Torvald never changes.
B. Ibsen shows, however that women are poised to take the initiative and protest the current social contract even if men are currently unwilling to negotiate their position of power.
Sources Used
Ibsen, H. (2008). A Doll’s House. Retrieved from: https://www.gutenberg.org/files/2542/2542-h/2542-h.htm
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A Doll’s House Essay
A Doll’s House was written by Henrik Ibsen in 1879. A Doll’s House is not only one of Henrik Ibsen’s most famous plays, but it has also been seen as the starting point for realist drama. A Doll’s House, along with Brand and Peer Gynt, are often considered to be the first modern plays written in Europe. A Doll’s House is a play about power, money, guilt, duty, and family relationships.
A Doll’s House starts with Mrs. Nora Helmer who decides that her family should have an evening at home to celebrate Torvald’s birthday even though there are various outside activities planned earlier on that day. After getting all the children to bed Nora makes some coffee and brings some cake for herself and Torvald. She notices that the maid is not coming in to clear the table, despite several requests. As it turns out, Aune (the maid) is sick and unable to come to work. Nora remarks on Aune’s “poor condition”, saying she will take up Aune’s duties while Aune is ill.
Eventually, Nora forgets about Aune entirely as she becomes engrossed in her own thoughts of how their life together has become stifling; all play rather than essential sustenance of family life had ceased, with Torvald preferring to read newspapers alone in his study each evening rather than engaging with his wife or children. Nora decides she must break free from the chains that bind her. Aune, who turns up at one point is too sick to help with Nora’s children. Nora promises Aune that she will hire a nurse for Aune once Aune has recovered from her illness.
Aune leaves and Torvald enters. He asks about Aune, not believing that an important event would prevent Aune from attending work. The two converse until Nora suggests that they go out to visit Mrs. Linde (who had earlier announced temporary departure due to poor health). Torvald becomes irate over this suggestion as he does not have time to waste on “unimportant” people currently immersed in newspaper reading. He complains of the dinner being cold, further displaying his ignorance of his family and Aune’s conditions.
Nora sees past Torvald’s narrow-mindedness and decides to sit down and play the piano without his permission. He becomes even angrier because Nora has lost track of time while playing; instead of taking up Aune’s duties, she should be finishing the housework such as what Aune would typically do. Nora sees that her husband is quite ignorant in not understanding why Aune is unable to come into work, yet he will not allow Aune a few days’ leave when needed. She tells Torvald about Aune’s illness, but he does not believe it to be a serious affliction.
Not wanting to argue with him so late night, Nora decides to postpone Aune’s endeavor to find a nurse for Aune. The play moves to the following morning, as Nora narrates her daily routine (how she is to be “the perfect wife”). She is aware of Torvald’s explicit caresses every time he returns home from work, but his attentions are merely symbolic gestures signifying their financial arrangement. Aune enters, having recovered from her illness enough to return to work.
Aune relates that one of Mrs. Linde’s family friends has offered Aune a better-paid position in another town. Aune asks Nora whether she believes she is doing the right thing by leaving Nora in need of help with the children and housework. Aune also asks Nora if Torvald will speak to Aune about her departure. Aune requests that Nora not mention Aune’s leaving to Torvald, because Aune does not want him to feel obliged to give Aune a reference. Aune also discloses why she has taken the position, stating she is leaving for “personal reasons”.
Mrs. Linde enters, stating that an old friend of hers who works as a lawyer in Rome has offered her well-paid work caring for his motherless daughter. She requests permission from both Aune and Nora before accepting the job offer. The two are supportive; they will need help while Aune is gone. Mrs. Linde remarks on how overjoyed she is by the prospect of finding employment once again after such a long period of unemployment. Aune also shares her plans of finding a nurse for Aune, but Nora is reluctant to share the news, Aune, leaving with Torvald because he will be disappointed at Aune’s departure.
Aune warns Mrs. Linde that she must not mention Aune’s departure to Torvald either. Aune leaves and Mrs. Linde takes over Aune’s duties in the kitchen while Nora continues playing the piano. Torvald once again returns from work, ruining his routine when he finds no one in the sitting room waiting for him. He calls out “Nora”, and Nora responds by going into her bedroom where Torvald sits on a chair reading a newspaper. She tells him about Aune having left the house. Aune, Nora points out, will definitely provide a reference for Aune.
Torvald begins to worry about Aune leaving, citing that Aune’s work has been outstanding and she would be an exceptional nurse even to his children. He accuses Nora of not being considerate enough towards Aune in allowing Aune the choice of whether or not to stay. Torvald proceeds with his newspaper reading while Nora returns to playing the piano; he comments on how well-played the piece is and praises her talent at playing it so excellently together with such speed and agility. Torvald remarks that Nora never ceases to amaze him (“”Det star mig sa n? som for/Og det driver mig saa forf? rdeligt til vanvidd””).
Aune returns from the kitchen, where Aune has been packing her belongings. Aune asks Nora if she could have a few moments alone with Torvald to say goodbye. A few minutes later Aune asks Mrs. Linde to take a peek at Aune and Torvald to see whether they are finished talking yet because Aune cannot hear anything from Aune’s bedroom. Mrs. Linde enters first before calling for Aune; she tells Aune that it would be best for Aune not to come inside as it appears that there is trouble between them.
Aune stays anyway, deciding that enough time should have passed by now as Mrs. Linde re-enters Aune’s room. Aune enters the bedroom to see Torvald embracing Aune; they are back in love. Aune overhears that Torvald has no idea Aune is leaving until Aune hears Torvald describe how it feels like Aune has left him all alone with three children—he knows exactly how much Aune means to Nora (and vice versa); he wants Aune to stay, even though he can offer her very little except for his gratitude and admiration of Aune’s work.
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A Doll's House Henrik Ibsen
A Doll's House essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Henrik Ibsen's play A Doll's House.
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A Summary and Analysis of Henrik Ibsen’s A Doll’s House
By Dr Oliver Tearle (Loughborough University)
A Doll’s House is one of the most important plays in all modern drama. Written by the Norwegian playwright Henrik Ibsen in 1879, the play is well-known for its shocking ending, which attracted both criticism and admiration from audiences when it premiered.
Before we offer an analysis of A Doll’s House , it might be worth recapping the ‘story’ of the play, which had its roots in real-life events involving a friend of Ibsen’s.
A Doll’s House : summary
The play opens on Christmas Eve. Nora Helmer has returned home from doing the Christmas shopping. Her husband, a bank manager named Torvald, asks her how much she has spent. Nora confides to her friend Mrs Linde that, shortly after she and Torvald married, he fell ill and she secretly borrowed some money to pay for his treatment. Mrs Linde is looking for work from Nora’s husband.
She is still paying that money back (by setting aside a little from her housekeeping money on a regular basis) to the man she borrowed it from, Krogstad – a man who, it just so happens, works for Nora’s husband … who is about to sack Krogstad for forging another person’s signature.
But Krogstad knows Nora’s secret, that she forged her father’s signature, and he tells her in no uncertain terms that, if she lets her husband sack him, Krogstad will make sure her husband knows her secret.
But Torvald refuses to grant Nora’s request when she beseeches him to go easy on Krogstad and give him another chance. It looks as though all is over for Nora and her husband will soon know what she did.
The next day – Christmas Day – Nora is waiting for the letter from Krogstad to arrive, and for her secret to be revealed. She entreats her husband to be lenient towards Krogstad, but again, Torvald refuses, sending the maid off with the letter for Krogstad which informs him that he has been dismissed from Torvald’s employment.
Doctor Rank, who is dying of an incurable disease, arrives as Nora is getting ready for a fancy-dress party. Nora asks him if he will help her, and he vows to do so, but before she can say any more, Krogstad appears with his letter for Torvald. Now he’s been sacked, he is clearly going to go through with his threat and tell his former employer the truth about what Helmer’s wife did.
When Mrs Linde – who was romantically involved with Krogstad – arrives, she tries to appeal to Krogstad’s better nature, but he refuses to withdraw the letter. Then Torvald arrives, and Nora dances for him to delay her husband from reading Krogstad’s letter.
The next act takes place the following day: Boxing Day. The Helmers are at their fancy-dress party. Meanwhile, we learn that Mrs Linde broke it off with Krogstad because he had no money, and she needed cash to pay for her mother’s medical treatment. Torvald has offered Mrs Linde Krogstad’s old job, but she says that she really wants him – money or no money – and the two of them are reconciled.
When Nora returns with Torvald from the party, Mrs Linde, who had prevented Krogstad from having a change of heart and retrieving his letter, tells Nora that she should tell her husband everything. Nora refuses, and Torvald reads the letter from Krogstad anyway.
Nora is distraught, and sure enough, Torvald blames her – until another letter from Krogstad arrives, cancelling Nora’s debt to him, whereupon Torvald forgives her completely.
But Nora has realised something about her marriage to Torvald, and, changing out of her fancy-dress outfit, she announces that she is leaving him. She takes his ring and gives him hers, before going to the door and leaving her husband – slamming the door behind her.
A Doll’s House : analysis
A Doll’s House is one of the most important plays in all of modern theatre. It arguably represents the beginning of modern theatre itself. First performed in 1879, it was a watershed moment in naturalist drama, especially thanks to its dramatic final scene. In what has become probably the most famous statement made about the play, James Huneker observed: ‘That slammed door reverberated across the roof of the world.’
Why? It’s not hard to see why, in fact. And the answer lies in the conventional domestic scenarios that were often the subject of European plays of the period when Ibsen was writing. Indeed, these scenarios are well-known to anyone who’s read Ibsen’s play, because A Doll’s House is itself a classic example of this kind of conventional play.
Yes: the shocking power of Ibsen’s play lies not in the main part of the play itself but in its very final scene, which undoes and subverts everything that has gone before.
This conventional play, the plot of which A Doll’s House follows with consummate skill on Ibsen’s part, is a French tradition known as the ‘ well-made play ’.
Well-made plays have a tight plot, and usually begin with a secret kept from one or more characters in the play (regarding A Doll’s House : check), a back-story which is gradually revealed during the course of the play (check), and a dramatic resolution, which might either involve reconciliation when the secret is revealed, or, in the case of tragedies, the death of one or more of the characters.
Ibsen flirts with both kinds of endings, the comic and the tragic, at the end of A Doll’s House : when Nora knows her secret’s out, she contemplates taking her own life. But when Torvald forgives her following the arrival of Krogstad’s second letter, it looks as though a tragic ending has been averted and we have a comic one in its place.
Just as the plot of the play largely follows these conventions, so Ibsen is careful to portray both Torvald Helmer and his wife Nora as a conventional middle-class married couple. Nora’s behaviour at the end of the play signals an awakening within her, but this is all the more momentous, and surprising, because she is hardly what we would now call a radical feminist.
Similarly, her husband is not nasty to her: he doesn’t mistreat her, or beat her, or put her down, even if he patronises her as his ‘doll’ or ‘bird’ and encourages her to behave like a silly little creature for him. But Nora encourages him to carry on doing so.
They are both caught up in bourgeois ideology: financial security is paramount (as symbolised by Torvald’s job at the bank); the wife is there to give birth to her husband’s children and to dote on him a little, dancing for him and indulging in his occasional whims.
A Doll’s House takes such a powerful torch to all this because it lights a small match underneath it, not because it douses everything in petrol and sets off a firebomb.
And it’s worth noting that, whilst Ibsen was a champion of women’s rights and saw them as their husbands’ intellectual equal, A Doll’s House does not tell us whether we should support or condemn Nora’s decision to walk out on her husband. She has, after all, left her three blameless children without a mother, at least until she returns – if she ever does return. Is she selfish?
Of course, that is something that the play doesn’t answer for us. Ibsen himself later said that he was not ‘tendentious’ in anything he wrote: like a good dramatist, he explores themes which perhaps audiences and readers hadn’t been encouraged to explore before, but he refuses to bang what we would now call the ‘feminist’ drum and turn his play into a piece of political protest.
2 thoughts on “A Summary and Analysis of Henrik Ibsen’s A Doll’s House”
This powerful play foretold the 1960’s monumental epic of Betty Friedan’s The Feminine Mystique, A similar awakening for middle class women, of their unnamed discontent within a marriage. Both paved the the way to the Feminist Movement of the 1970’s where with increased consciousness of economic inequities, women rebelled, just as Nora had done. Homage is owing to both Ibsen in his era and Friedan in hers. Today there are increasing numbers of women serving as Presidents of their nations and in the USA a female Vice-President recently elected to that prestigious office.
I remember reading the play while being a college student. It seemed so sad but at the same time so close to real life. Maybe our lives are quite sad after all.
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Home — Essay Samples — Literature — A Doll's House — The Inner Revolution of Nora in A Doll’s House
The Inner Revolution of Nora in a Doll's House
- Categories: A Doll's House
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Words: 2451 |
13 min read
Published: Jul 2, 2018
Words: 2451 | Pages: 5 | 13 min read
NORA: I have courage enough for it now. KROGSTAD: Oh, you can't frighten me. A fine, spoilt lady like you NORA: You will see, you will see. KROGSTAD: Under the ice, perhaps? Down in the cold, coal-black water? And then, in the spring, to float up to the surface, all horrible and unrecognisable, with your hair fallen out- NORA: You can't frighten me. KROGSTAD: Nor you me. People don't do such things Mrs. Helmer. (Ibsen 43-44)
HELMER: My dear darling Nora, you are dancing as if your life depended on it. NORA: So it does. (47)
NORA: Sleep well Dr. Rank. RANK: Thank you for that wish. NORA: Wish me the same. RANK: You? Well, if you want...to sleep well. And thanks for the light. (57)
Works Cited
- Durbach, Errol. A Doll's House: Ibsen's Myth of Transformation. Boston: Twayne Publishers, 1991.
- Ibsen, Henrik. "A Doll's House." Four Great Plays By Ibsen. Trans. R. Farquharson Sharp. New York: Bantam, 1958. 3-68.
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Home / Essay Samples / Literature / A Doll's House / “A Doll’s House” Analysis: The Role of Deception and Betrayal
“A Doll's House” Analysis: The Role of Deception and Betrayal
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A Doll's House literary analysis (essay)
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