Henrik Ibsen and Realism

1. Henrik Ibsen and Realism A Doll House or A Doll’s House

2. Author background • Born in 1828, in Norway (at the time part of Sweden) • Son of well-to-do merchant whose business failed when Henrik was young • Father died not long thereafter • When Henrik was 19 , the household servant bore his illegitimate child • Longed to go to university but failed Greek (heance no admission) • Early plays and writings were romantic • Began developing more realistic plays in 1860’s (even though audience preferred lighter works) • Published plays first, then staged them

3. A Doll House or A Doll’s House • Norwegian does not distinguish whether “doll” should be possessive, so it is translated both ways (significant interpretive implications) • Play was hugely controversial but also very popular when it opened in Copenhagen in 1879 (mostly because of its ending) • Based on a real story (details after you finish reading) • Very tight structure—every word counts—in some ways a direct line to outcome as in the Greek plays • Secondary characters (Krogstad and Mrs. Linde) are important foils to the main characters (Torvald and Nora Helmer) • Realist especially in its implied social commentary—Ibsen very sympathetic to rights of women and individual rights in general (we will get to characteristics of realism in class)

4. Themes-motifs to consider • Male-female relationships in 19th century, especially as related to marriage—and connected images (birds, small animals, household items • Secrecy-evasion-avoidance of the truth • Male moral code vs female moral code (ethics) • Costumes; pretending or playing • Corruption-illness-poison • Aggression-passivity • Confinement-isolation • Nature of bravery • Love vs friendship

5. Instructions for reading Act One • Watch for clues to the social standing of Nora and Torvald and the nature of the relationship between them • This is the exposition of the play—be attuned to the conflict being set up • Choose a couple of the themes or motifs—or find another one you notice—and list 3 or 4 passages that would be good to discuss in class. • For two of those passages, pose a question raised by the passage or its context