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A Doll's House: Illustrated Platinum Edition (Free Audiobook Included)

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How is this book unique? 15 Illustrations are included Short Biography is also included Original & Unabridged Edition Tablet and e-reader formatted Best fiction books of all time One of the best books to read Classic historical fiction books Bestselling Fiction A Doll's House is a three-act play in prose by Henrik Ibsen. It premiered at the Royal Theatre in Co How is this book unique? 15 Illustrations are included Short Biography is also included Original & Unabridged Edition Tablet and e-reader formatted Best fiction books of all time One of the best books to read Classic historical fiction books Bestselling Fiction A Doll's House is a three-act play in prose by Henrik Ibsen. It premiered at the Royal Theatre in Copenhagen, Denmark, on 21 December 1879, having been published earlier that month.The play is significant for its critical attitude toward 19th-century marriage norms. It aroused great controversy at the time, as it concludes with the protagonist, Nora, leaving her husband and children because she wants to discover herself. Ibsen was inspired by the belief that "a woman cannot be herself in modern society," since it is "an exclusively male society, with laws made by men and with prosecutors and judges who assess feminine conduct from a masculine standpoint." Its ideas can also be seen as having a wider application: Michael Meyer argued that the play's theme is not women's rights, but rather "the need of every individual to find out the kind of person he or she really is and to strive to become that person." In a speech given to the Norwegian Association for Women's Rights in 1898, Ibsen insisted that he "must disclaim the honor of having consciously worked for the women's rights movement," since he wrote "without any conscious thought of making propaganda," his task having been "the description of humanity." In 2006, the centennial of Ibsen's death, A Doll's House held the distinction of being the world's most performed play for that year.[6] UNESCO has inscribed Ibsen's autographed manuscripts of A Doll's House on the Memory of the World Register in 2001, in recognition of their historical value.


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How is this book unique? 15 Illustrations are included Short Biography is also included Original & Unabridged Edition Tablet and e-reader formatted Best fiction books of all time One of the best books to read Classic historical fiction books Bestselling Fiction A Doll's House is a three-act play in prose by Henrik Ibsen. It premiered at the Royal Theatre in Co How is this book unique? 15 Illustrations are included Short Biography is also included Original & Unabridged Edition Tablet and e-reader formatted Best fiction books of all time One of the best books to read Classic historical fiction books Bestselling Fiction A Doll's House is a three-act play in prose by Henrik Ibsen. It premiered at the Royal Theatre in Copenhagen, Denmark, on 21 December 1879, having been published earlier that month.The play is significant for its critical attitude toward 19th-century marriage norms. It aroused great controversy at the time, as it concludes with the protagonist, Nora, leaving her husband and children because she wants to discover herself. Ibsen was inspired by the belief that "a woman cannot be herself in modern society," since it is "an exclusively male society, with laws made by men and with prosecutors and judges who assess feminine conduct from a masculine standpoint." Its ideas can also be seen as having a wider application: Michael Meyer argued that the play's theme is not women's rights, but rather "the need of every individual to find out the kind of person he or she really is and to strive to become that person." In a speech given to the Norwegian Association for Women's Rights in 1898, Ibsen insisted that he "must disclaim the honor of having consciously worked for the women's rights movement," since he wrote "without any conscious thought of making propaganda," his task having been "the description of humanity." In 2006, the centennial of Ibsen's death, A Doll's House held the distinction of being the world's most performed play for that year.[6] UNESCO has inscribed Ibsen's autographed manuscripts of A Doll's House on the Memory of the World Register in 2001, in recognition of their historical value.

30 review for A Doll's House: Illustrated Platinum Edition (Free Audiobook Included)

  1. 4 out of 5

    Ahmad Sharabiani

    Et Dukkehjem = A Doll's House and Other Plays, Henrik Ibsen A Doll's House is a three-act play written by Norway's Henrik Ibsen. It premiered at the Royal Theatre in Copenhagen, Denmark, on 21 December 1879, having been published earlier that month. The play is set in a Norwegian town circa 1879. The play is significant for the way it deals with the fate of a married woman, who at the time in Norway lacked reasonable opportunities for self-fulfillment in a male-dominated world. Ghosts (Gengangere) Et Dukkehjem = A Doll's House and Other Plays, Henrik Ibsen A Doll's House is a three-act play written by Norway's Henrik Ibsen. It premiered at the Royal Theatre in Copenhagen, Denmark, on 21 December 1879, having been published earlier that month. The play is set in a Norwegian town circa 1879. The play is significant for the way it deals with the fate of a married woman, who at the time in Norway lacked reasonable opportunities for self-fulfillment in a male-dominated world. Ghosts (Gengangere) was written in 1881 and first staged in 1882 in Chicago, Illinois, in a production by a Danish company on tour. Like many of Ibsen's plays, Ghosts is a scathing commentary on 19th-century morality. Because of its subject matter, which includes religion, venereal disease, incest, and euthanasia, it immediately generated strong controversy and negative criticism. Since then the play has fared better, and is considered a “great play” that historically holds a position of “immense importance”. Theater critic Maurice Valency wrote in 1963, "From the standpoint of modern tragedy Ghosts strikes off in a new direction.... Regular tragedy dealt mainly with the unhappy consequences of breaking the moral code. Ghosts, on the contrary, deals with the consequences of not breaking it." تاریخ نخستین خوانش: روز هفدهم ماه آگوست سال 1976 میلادی عنوان: خانه عروسک و اشباح؛ نویسنده: هنریک ایبسن؛ مترجم: مهدی فروغ؛ تهران، بنگاه ترجمه و نشر کتاب، 1339، در 289 ص، موضوع: دو نمایشنامه از نویسندگان نروژی - سده 19 م عنوان: خانه ی عروسک؛ نویسنده: هنریک ایبسن؛ مترجم: اصغر رستگار؛ چاپ: گلدیس؛ چاپ اول: سال 1378؛ تعداد صفحات : 139 صفحه؛ خانه عروسک یا عروسکخانه؛ داستان بیرون آمدن از توهم، و طغیان زنی به نام: «نورا» را، باز می‌گوید. شخصیتها: نورا - همسر توروالد هلمر؛ توروالد هلمر - همسر نورا؛ کروگستاد - وکیلی از آشنایان توروالد؛ خانم لینده - دوست دوران کودکی نورا؛ دکتر رانک - دوست نزدیک توروالد؛ باب، امی و ایوار - سه فرزنده خانواده هلمر؛ آن ماری - خدمتکار خانواده هلمر؛ و پدر نورا که مرده است. داستان در کریستیانیا و در مدت سه روز از ایام هفته ی میلاد مسیح، روی می‌دهد. توروالد هلمر حقوقدانی خودبین ولی با وجدان است، به تازگی در بانک ترفیع رتبه پیدا کرده، و همسرش نورا که زنی زیبا، مو بور و ظاهراً نادان و بوالهوس است، احساس می‌کند که آنها می‌توانند در جشن کریسمس کمی ولخرجی کنند. هلمر که با نورا همچون بچه‌ ها رفتار می‌کند و او را «جوجه کاکلی» می‌نامد، به وی هشدار میدهد که بیشتر مواظب باشد، چون همیشه پول در پنجه‌ های او آسان خرج می‌شود، ولی نورا مدام تقاضای پول بیشتری می‌کند. خانم لیندن یکی از دوستان بیوه و پیر نورا، به او می‌گوید: خبر ترفیع شوهر او را شنیده، و از نورا می‌خواهد که کاری در بانک شوهرش برای وی پیدا کند. هلمر در نخستین سال ازدواجشان بسیار مریض و علیل بوده، و برای نجات زندگی خویش باید مسافرتی به ایتالیا می‌کرد. نورا پول لازم را قرض کرد، ولی به هلمر گفت که ارث کمی از پدرش به ارث برده است. او ترتیبی داد تا نزول قرضش را، از بابت کرایه ی لباس‌ها و گاهی با یافتن کارهای پنهان از شوهرش، بپردازد. قرض تقریباً ادا شده است. هلمر موافقت می‌کند، که کار شخصی به نام نیلز کروگستاد را، که حقوقدان مرموزی ست، و محکوم به جعل اسناد شده، به خانم لیندن دوست نورا تفویض نماید. ولی کروگستاد همان مردی ست که نورا از او پول قرض کرده بود، و او نورا را تهدید می‌کند، که اگر کارش را از دست بدهد، موضوع قرض را برای شوهر نورا فاش خواهد نمود. او همچنین متوجه می‌شود، پدر نورا که قرار بود پای سند قرض را امضاء کند، در آن زمان مرده بوده است. نورا سرانجام تصدیق می‌کند که امضای پدرش را جعل کرده، و سعی می‌نماید شوهر را متقاعد نماید که کروگستاد را که سعی دارد اعتبار خود را در اجتماع به دست آورد، در شغل خود نگه دارد؛ ولی هلمر می‌گوید که کروگستاد یک کلاش جاعل است، و به جایگزینی او اصرار می‌ورزد. خانم لیندن که از دوستان قدیمی کروگستاد محسوب می‌شود، قول می‌دهد که از طرف نورا از او خواهش و تمنا کند، ولی درمییابد که او از شهر بیرون رفته است. کروگستاد نامه‌ ای به هلمر مینویسد، و تمام ماجرا را تعریف می‌کند. به این ترتیب نورا کاملاً مأیوس می‌شود. او نامه را در جعبه نامه‌ ها می‌یابد، اما نمی‌تواند به نحوی آن را از بین ببرد، چون کلید جعبه پیش شوهر است. هر کار که ممکن است می‌کند تا مانع از خواندن آن نامه، توسط شوهرش شود. آنها به یک مجلس بالماسکه در آپارتمان بالایی می‌روند. در آن جشن یکی از دوستانشان، دکتر رانک نیز با آنهاست. دکتر می‌داند که در حال مرگ است و لذا نومیدانه سودای عشق نورا را در سر می‌پروراند. نورا لباسی ایتالیایی می‌پوشد، و تارانتلا می‌رقصد و سعی دارد صورت ظاهر را حفظ کند، تا ناراحتی‌ اش هویدا نگردد. نورا در حالتی از یأس و نومیدی، تصمیم می‌گیرد که اگر شوهرش نامه را بیابد، خودکشی کند. وقتی هلمر نامه را می‌خواهد. او را به جرمی بزرگ متهم می‌کند، جرمی که هلمر را از میان خواهد برد. هلمر به نورا می‌گوید که لایق معاشرت فرزندانشان نیست. درست‌کاری هلمر خیلی بیش از انتظار و پیش بینی نورا ست. کروگستاد سند وعده دار را پس می‌فرستد، و هلمر با خوشحالی فریاد می‌زند، که نجات یافته است؛ ولی ضربه عمیقی بر روح نورا وارد شده؛ و درحقیقت بیش از آن نمی‌تواند در خانه ی شوهرش بماند، و سرانجام در یک صحنه ی دراماتیک، هلمر را ترک می‌کند تا خود به تنهایی زندگی جدیدی را آغاز کند؛ و بیش از آنکه متلون مزاج باشد به مسائل زندگی بیندیشد. او امید کوچکی به هلمر می‌دهد، که اگر معجزه‌ ای رخ دهد، شاید آنان دوباره زندگی را با هم از نو شروع کنند. ...؛ ا. شربیانی

  2. 4 out of 5

    Lisa

    Ibsen’s famous A Doll’s House is a landmark in the development of truly independent female heroines, rejecting the patriarchy they were socialised to accept unconditionally. Nora, the main character, fails to make her husband understand that their perception of reality is incompatible as he keeps seeing her as a doll, acting out a pretty life for his pleasure and reputation. In the original version, Nora shows the path to independence by opting for the uncertain future of a life lived alone and Ibsen’s famous A Doll’s House is a landmark in the development of truly independent female heroines, rejecting the patriarchy they were socialised to accept unconditionally. Nora, the main character, fails to make her husband understand that their perception of reality is incompatible as he keeps seeing her as a doll, acting out a pretty life for his pleasure and reputation. In the original version, Nora shows the path to independence by opting for the uncertain future of a life lived alone and independently, but Ibsen was confronted with dominant misogyny and power play when German theatres in 1880 asked for “an alternative ending” (yes!), one in which Nora is emotionally blackmailed into staying with her family for the sake of the children. Curtain falls on that “barbaric act of violence”, as Ibsen himself put it when commenting on the "politically correct" alternative (http://ibsen.nb.no/id/11111794.0), a rewriting of literature to suit a misogynistic society protective of all documentation of the role of women. Well, unfortunately we are watching an all too real alternative ending to a century of increasing women’s rights at the moment as well. Across the world, "alternatives" to freedom of speech, movement, and choice are implemented in “so-called democratic processes”, hijacked by the resurrected mindsets of 19th century white, male, heterosexual, pseudo-Christian figures. Domestic violence, rape culture, law-making against family planning and abortion, the alternatives to women’s rights are scarily real. - Nora, keep walking!

  3. 4 out of 5

    Sean Barrs the Bookdragon

    Imagine what it would be like to live in a doll’s house: it's a house in which you are controlled and have no power to make any strong decisions; it's a house in which you are a play thing for someone else’s entertainment. This sounds a lot like a bad marriage, so it's a house in which your husband holds the purse strings, so to speak, and leaves you with no control over your family’s finances. Indeed, your husband keeps you on a very tight leash. Such is the perceived life of Nora Helma. Yet, Imagine what it would be like to live in a doll’s house: it's a house in which you are controlled and have no power to make any strong decisions; it's a house in which you are a play thing for someone else’s entertainment. This sounds a lot like a bad marriage, so it's a house in which your husband holds the purse strings, so to speak, and leaves you with no control over your family’s finances. Indeed, your husband keeps you on a very tight leash. Such is the perceived life of Nora Helma. Yet, this work is in favour of women Note the word perceived for that is the appearance Nora gives to the outer world. Indeed, the doll’s house is a metaphor for Nora’s life in which she takes on the role of a doll. Her husband is now in charge and before then her farther. She has no idea who, or what, she is because she has been conditioned by society to behave in the manner of an acceptable wife, which is one that obeys her husband’s wishes. The result is a woman who appears week and controllable, but she has kept a big, big, secret from her husband that challenges everything he thinks her to be. She, this simple minded doll, has managed to borrow money (something unheard of for a women of this time) to keep her family afloat whilst her husband was too ill to work. So yeah, this play is very feminist. Ibsen has used Nora’s situation to comment on the ridiculous nature of marriage in the nineteenth century. The play is rooted in the then rising field of naturalism, which endeavoured to portray life accurately with no idealisations; thus, Nora’s marriage can be seen as an accurate portrayal of what most women had to put up with in their marriages. Ibsen shocked his audinece Moreover, this means that the play was an absolute shocker to the Victorian audience. This is not because of Nora’s disobedience, but the way her marriage has been used as a disguise to hide her freedom. Despite being in a controlling marriage she had managed to be able to borrow money off her own accord, by herself. This indicates that Nora’s role as a housewife was nothing more than a charade because she did, in fact, have some freedom to make her own choices such as the life changing one she makes at the end of the play. Thus, the play was a milestone for questioning the traditional view of marriage; it suggested that marriage was overbearing and controlling, but if one was careful they could gain some freedom from their bigoted spouse; it suggested that marriage appeared like a doll’s house in which the doll was destined to be free.

  4. 4 out of 5

    Ahmad Sharabiani

    Dukkehjem = A Doll House = A doll's House, Henrik Ibsen A Doll's House, is a three-act play written by Henrik Ibsen. It premiered at the Royal Theatre in Copenhagen, Denmark, on 21 December 1879, having been published earlier that month. The play is set in a Norwegian town circa 1879. Act One: The play opens at Christmas time as Nora Helmer enters her home carrying many packages. Nora's husband Torvald is working in his study when she arrives. He playfully rebukes her for spending so much money o Dukkehjem = A Doll House = A doll's House, Henrik Ibsen A Doll's House, is a three-act play written by Henrik Ibsen. It premiered at the Royal Theatre in Copenhagen, Denmark, on 21 December 1879, having been published earlier that month. The play is set in a Norwegian town circa 1879. Act One: The play opens at Christmas time as Nora Helmer enters her home carrying many packages. Nora's husband Torvald is working in his study when she arrives. He playfully rebukes her for spending so much money on Christmas gifts, calling her his "little squirrel." He teases her about how the previous year she had spent weeks making gifts and ornaments by hand because money was scarce. This year Torvald is due a promotion at the bank where he works, so Nora feels that they can let themselves go a little. The maid announces two visitors: Mrs. Kristine Linde, an old friend of Nora's, who has come seeking employment; and Dr. Rank, a close friend of the family, who is let into the study. Kristine has had a difficult few years, ever since her husband died leaving her with no money or children. Nora says that things have not been easy for them either: Torvald became sick, and they had to travel to Italy so he could recover. Kristine explains that when her mother was ill she had to take care of her brothers, but now that they are grown she feels her life is "unspeakably empty." Nora promises to talk to Torvald about finding her a job. Kristine gently tells Nora that she is like a child. Nora is offended, so she teases the idea that she got money from "some admirer," so they could travel to Italy to improve Torvald's health. She told Torvald that her father gave her the money, but in fact she managed to illegally borrow it without his knowledge because women couldn't do anything economical like signing checks without their husband. Over the years, she has been secretly working and saving up to pay it off. ... Act Two: Christine arrives to help Nora repair a dress for a costume function that she and Torvald plan to attend the next day. Torvald returns from the bank, and Nora pleads with him to reinstate Krogstad, claiming she is worried Krogstad will publish libelous articles about Torvald and ruin his career. Torvald dismisses her fears and explains that, although Krogstad is a good worker and seems to have turned his life around, he must be fired because he is too familial around Torvald in front of other bank personnel. Torvald then retires to his study to work. Dr. Rank, the family friend, arrives. Nora asks him for a favor, but Rank responds by revealing that he has entered the terminal stage of tuberculosis of the spine and that he has always been secretly in love with her. Nora tries to deny the first revelation and make light of it but is more disturbed by his declaration of love. She then clumsily attempts to tell him that she is not in love with him, but that she loves him dearly as a friend. ... Act Three: Kristine tells Krogstad that she only married her husband because she had no other means to support her sick mother and young siblings and that she has returned to offer him her love again. She believes that he would not have stooped to unethical behavior if he had not been devastated by her abandonment and been in dire financial straits. Krogstad changes his mind and offers to take back his letter from Torvald. However, Kristine decides that Torvald should know the truth for the sake of his and Nora's marriage. After literally dragging Nora home from the party, Torvald goes to check his mail but is interrupted by Dr. Rank, who has followed them. Dr. Rank chats for a while, conveying obliquely to Nora that this is a final goodbye, as he has determined that his death is near. Dr. Rank leaves, and Torvald retrieves his letters. As he reads them, Nora steels herself to take her life. Torvald confronts her with Krogstad's letter. Enraged, he declares that he is now completely in Krogstad's power; he must yield to Krogstad's demands and keep quiet about the whole affair. He berates Nora, calling her a dishonest and immoral woman and telling her that she is unfit to raise their children. He says that from now on their marriage will be only a matter of appearances. ... عنوانها: خانه عروسک و اشباح؛ عروسکخانه؛ نویسنده: هنریک ایبسن؛ تاریخ نخستین خوانش: ماه آگوست سال 1976 میلادی عنوان: خانه عروسک و اشباح؛ نویسنده: هنریک ایبسن؛ مترجم: مهدی فروغ؛ تهران، بنگاه ترجمه و نشر کتاب، 1339، در 289 ص، موضوع: دو نمایشنامه از نویسندگان نروژی - سده 19 م عنوان: عروسکخانه؛ نویسنده: هنریک ایبسن؛ مترجم: منوچهر انور؛ تهران، کارنامه، 1385، در 310 ص، نمایشنامه نروژی در سه پرده به همراه ایبسن شاعر، و چند اشاره به چالش ترجمه؛ پیشتر از اینها این نمایشنامه با عنوان «خانه عرسک» به همراه نمایشنامه ی «اشباح» ایبسن، دو نمایشنامه در یک جلد، منتشر شده است؛ خانه عروسک یا «عروسکخانه» داستان بیرون آمدن از توهم، و طغیان زنی به نام «نورا» را شرح می‌دهد. داستان در مدت سه روز از ایام هفته میلاد مسیح، رخ می‌دهد. «توروالد هلمر» که حقوقدانی خودبین، ولی با وجدان است، به تازگی در بانک، ترفیع رتبه پیدا کرده، و همسرش «نورا» که زنی زیبا، مو بور، و ظاهراً نادان و بوالهوس است، احساس می‌کند، که آن‌ها می‌توانند در جشن «کریسمس» قدری ولخرجی کنند، «هلمر» که با «نورا» همچون بچه‌ ای رفتار می‌کند، و او را «جوجه کاکلی» می‌نامد، وی را آگاه می‌سازد، که بیشتر مواظب باشد، چون همیشه پول در پنجه‌ های او سهواً خرج می‌شود، ولی «نورا» مدام پول بیشتری می‌خواهد. خانم «لیندن»، یکی از دوستان بیوه، و پیر «نورا» به او می‌گوید، که خبر ترفیع شوهرش را شنیده، و از «نورا» می‌خواهد، که کاری در بانک شوهرش، برای وی پیدا کند. «نورا» با غرور به دوستش می‌گوید، که او هم پول زیادی به دست آورده‌ است. «هلمر» در نخستین سال ازدواجش، بسیار مریض و علیل بود، و برای نجات زندگیش، باید مسافرتی به «ایتالیا» می‌کرد. «نورا» پول لازم را قرض کرد، ولی به «هلمر» گفت، که پول کمی از پدرش به ارث برده‌ است. او ترتیبی داده تا نزول پول را از بابت کرایه لباس‌هایش، و گاهی با یافتن کارهای پنهانی از شوهرش، بپردازد؛ ولی حالا قرض تقریباً ادا شده‌ است. «هلمر» موافقت می‌کند، که کار شخصی به نام «نیلز کروگستاد» را، که حقوقدان مرموزی است، و محکوم به جعل اسناد شده، به خانم «لیندن» دوست «نورا» تفویض نماید. ولی «کروگستاد» همان مردی است، که «نورا» از او پول قرض کرده بود، و او «نورا» را تهدید می‌کند، که اگر کارش را از دست بدهد، موضوع قرض را برای شوهرش فاش خواهد نمود. او همچنین متوجه می‌شود پدر «نو»را که قرار بود پای سند قرض را امضاء کند، در آن زمان مرده بوده‌. «نورا» سرانجام تصدیق می‌کند، که امضای پدرش را جعل کرده، و سعی می‌نماید شوهرش را متقاعد نماید، که «کروگستاد» را که سعی می‌کند اعتبار خود را در اجتماع به دست آورد، در شغل خود نگه دارد؛ ولی «هلمر» می‌گوید که «کروگستاد» یک کلاش جاعل است و در تعویض او اصرار می‌ورزد. خانم «لیندن» که از دوستان قدیمی «کروگستاد» محسوب می‌شود، قول می‌دهد که از طرف «نورا» از او خواهش و تمنا کند، ولی ناگهان درمییابد که او از شهر بیرون رفته‌ است. در همین ضمن «کروگستاد»، نامه‌ ای به هلمر نوشته، و تمام جریان را تعریف می‌کند، و به این ترتیب «نورا» کاملاً مأیوس می‌شود. او نامه را در جعبه نامه‌ ها می‌یابد، اما نمی‌تواند به نحوی آن را از بین ببرد، چون کلید جعبه پیش شوهر است. او هر کاری که ممکن است می‌کند تا مانع از خواندن آن نامه توسط شوهرش شود. آنها به یک مجلس بالماسکه در آپارتمان بالایی می‌روند. در این جشن یکی از دوستانشان، دکتر «رانک» نیز با آنهاست. دکتر می‌داند که در حال مرگ است، و لذا نومیدانه سودای عشق «نورا» را در سر می‌پروراند. «نورا» لباسی ایتالیایی می‌پوشد و «تارانتلا» می‌رقصد، و سعی دارد صورت ظاهر را حفظ کند و حتی المقدور ناراحتی‌اش هویدا نگردد. نورا در حالتی از یأس و نومیدی تصمیم می‌گیرد، که اگر شوهرش نامه را بیابد، خودکشی کند. وقتی «هلمر» نامه را می‌خواهد. او را به جرمی بزرگ متهم می‌کند، جرمی که هلمر را از میان خواهد برد. هلمر به نورا می‌گوید که لایق معاشرت فرزندانشان نیست. درست‌کاری هلمر خیلی بیش از انتظار و پیش‌بینی نورا است. کروگستاد سند وعده دار را پس می‌فرستد، و هلمر با خوشحالی فریاد می‌زند، که نجات یافته است؛ ولی ضربه عمیقی بر روح نورا وارد شده‌ است و در حقیقت بیش از آن نمی‌تواند، در خانه شوهرش بماند و سرانجام در یک صحنه دراماتیک هلمر را ترک می‌کند، تا خودش به تنهایی زندگی جدیدی را آغاز کند و بیش از آنکه متلون مزاج باشد به مسائل زندگی بیندیشد. او امید کوچکی به هلمر می‌دهد که اگر معجزه‌ ای رخ دهد، شاید آنان دوباره زندگی را با هم از نو آغاز کنند. ا. شربیانی

  5. 5 out of 5

    Tadiana ✩Night Owl☽

    This is the story of a marriage that superficially seems happy, but a critical turn of events reveals a sham relationship. Torvald and Nora Helmer, who've had some financial struggles, are delighted because Torvald has gotten major promotion at the bank where he works. But Nora, behind her lightheartedness and childish behavior - encouraged, always, by Torvald, who calls her diminutive, vaguely (or sometimes explicitly) insulting names names like "my sweet tooth" and "little spendthrift" - is hid This is the story of a marriage that superficially seems happy, but a critical turn of events reveals a sham relationship. Torvald and Nora Helmer, who've had some financial struggles, are delighted because Torvald has gotten major promotion at the bank where he works. But Nora, behind her lightheartedness and childish behavior - encouraged, always, by Torvald, who calls her diminutive, vaguely (or sometimes explicitly) insulting names names like "my sweet tooth" and "little spendthrift" - is hiding a major secret. She borrowed a substantial sum of money a few years ago to finance a trip to Italy to help Torvald recover from a major illness. She told Torvald the money was left to her by her father, but it was actually loaned to her by one Nils Krogstad, and she has been slowly paying it back. But now Nils is threatening to tell Nora's husband ... especially since he realized that Nora forged her father's signature as co-signer of the note. I first read this play many years ago as a college English major, and frankly it didn't leave much of an impression on me at the time. But rereading this now, as a married woman with children, the utter wrongness and superficiality of Torvald's and Nora's relationship hits me hard. Almost everything Torvald says to Nora diminishes her as a person:"Now, now, the little lark's wings mustn't droop. Come on, don't be a sulky squirrel." Nora, in turn, treats her children - especially her daughter - with the same type of carelessness of their value as a person. As the problem of the forged promissory looms closer to disclosure, Nora becomes more frantic. But she still thinks that Torvald, who has shown nothing but disdain for her mind and financial ability, will stand by her and protect her if her misdeed (which was done because of her love and concern for her husband) becomes public. This is one of the earliest feminist works of literature, written in 1879 by Norwegian playwright Henrik Ibsen. It's hard to believe that this hard-hitting play, about a woman who realizes she's been treated as a mindless doll all her life by her father and then her husband, and what she decides to do about it, was written over 130 years ago. It raises some important questions of true communication and finding yourself, not just for women but for all people. British actress Hattie Morahan, who played Nora, made some comments about it that really struck me:"... the things Ibsen writes mean it ceases to be about a particular milieu and becomes about marriage (or partnership) and money. These are universal anxieties, and it seems from talking to people that it resonates in the most visceral way, especially if they are or have been in a difficult relationship. Someone said to me the other night, 'That's the play that broke my parents' marriage up.' It shines a very harsh light on the messy heart of relationships, and how difficult it can be to be honest with another human being even if you love them."https://www.theguardian.com/stage/201.... I'll admit that the ending leaves me unsettled, with its burning all bridges approach. Although I have some sympathy with German actress Hedwig Niemann-Raabe, who famously refused to perform the play unless Ibsen rewrote the ending, I don't think changing it was the right decision from a literary point of view. As a literary work, the ending is tremendously powerful. However, as a practical guide to life, I'm not convinced that what Nora does is right. (view spoiler)[ She leaves her husband, which I can understand: he's tremendously selfish and has never treated her as anything but a mindless doll. Still, giving him at least a chance to change, once she realizes that they both need that change, would seem like the right thing to do in real life. What bothers me more is Nora also leaving her children and cutting off all communication with them as well, at least until she finds herself as a person. (hide spoiler)] I guess the question for me is, should you hurt innocent people in your quest to go pursue self-fulfillment? Nora, at least, didn't feel like she had a choice, but I wasn't convinced. In any case, this is a very thought-provoking play that's still relevant 137 years after it was written.

  6. 5 out of 5

    Brina

    I read Henrik Ibsen's A Doll's House back in high school as required reading but did not grasp the scope of his masterpiece then. Ibsen penned his classic play about the story of Nora and Thorvald Helmer at a time in his life when he was coping with his former love Laura being confined to an insane asylum. In 1872 Laura married a man other than Ibsen and he fell ill with a lethal disease. Their doctors prescribed a southern climate but Laura did not have funds to move her husband to such a clima I read Henrik Ibsen's A Doll's House back in high school as required reading but did not grasp the scope of his masterpiece then. Ibsen penned his classic play about the story of Nora and Thorvald Helmer at a time in his life when he was coping with his former love Laura being confined to an insane asylum. In 1872 Laura married a man other than Ibsen and he fell ill with a lethal disease. Their doctors prescribed a southern climate but Laura did not have funds to move her husband to such a climate, so she borrowed the money from a trusting friend. On her return she still did not have the money to cover the loan, so she forged a bank note, which subsequently lead to her entering the asylum. Ibsen started work on A Doll's House shortly after this episode took place. Clearly it is an example of art imitating life as Nora is Laura, Thorvald her husband, et al. What I found the most interesting is Ibsen's view on the place of women in society. He believed that women were not objects who were chained to their husbands with no voice in society. On the contrary I feel he saw women as independent thinkers who were free to make their own decisions rather than the dolls stuck living their lives according to their husbands' wills. We see this with both the characters of Nora and Kristin Linde. I read A Doll's House in less than an hour as the text is less than one hundred pages long. It is what is contained in these pages that packs a punch and why A Doll's House has become timeless. A classic, I recommend to all who haven't read it before.

  7. 5 out of 5

    Chelsea

    This review has been hidden because it contains spoilers. To view it, click here. Mr. S, let me make myself very clear. I will never, never believe that Ibsen intended for Nora's grabbing of her husband's cloak as she ran out the door to indicate his guilt in her implied suicide. It was Christmas. In Norway. The woman was cold. (This is why I didn't do so well in your class, isn't it, Mr. S?)

  8. 5 out of 5

    David

    First things first. Nora, the protagonist of Ibsen's A Doll's House, is a twit. There's no getting around it. We may choose to assign blame for her twittishness to her husband, her milieu, or her era, but this will never adequately mitigate her essential twit nature to that reader or spectator of the play who must endure her self-identification as her husband's 'squirrel' or her childlike idiocy. I myself couldn't stop wondering if Nora is an actual twit (i.e., a twit absolutely, regardless of h First things first. Nora, the protagonist of Ibsen's A Doll's House, is a twit. There's no getting around it. We may choose to assign blame for her twittishness to her husband, her milieu, or her era, but this will never adequately mitigate her essential twit nature to that reader or spectator of the play who must endure her self-identification as her husband's 'squirrel' or her childlike idiocy. I myself couldn't stop wondering if Nora is an actual twit (i.e., a twit absolutely, regardless of her context) or relative twit (i.e., a woman who seems a twit to us now as a result of the changes in custom, gender roles, and society itself). And I haven't of course ruled out a combination of the two. Then my mind became even more scrupulous. Was my judgment that Nora is a twit itself a condition of my entitled position in a (still) phallocentric society? I'm not kidding. I actually thought this. This is what a culture of loudly warring intellectual discourses does to a man. Am I guilty because I think Nora is twit? Well, I abandoned that idea. Now I am convinced that she really is a twit, but now I ascribe some of her twittishness to the artificiality of drama itself, especially at the end of the nineteenth century. I think I've temporarily settled on this opinion. But ask me tomorrow, and who knows? Since I've spent so much time convicting Nora of being a twit, it might seem surprising that I've given this play four stars. But really—there are plenty of fine stories to be told about twits and their ostensible transformations into non-twits. We shouldn't discriminate against twits. Don't they have hopes, dreams, sorrows, disappointments like the rest of us? A Doll's House is the story of a silly, naive Norwegian wife named Nora who is being blackmailed by an unsavory bank clerk; apparently, she forged a document some time before, but the backstory is too contorted and contrived to bother with here. (I'm more than a little annoyed that Ibsen couldn't come up with a more elegant MacGuffin—one that's not entirely reliant upon Nora's [guileless or stupid, as you see it] admission of wrongdoing to her blackmailer.) Nora works overtime to keep her husband Torvald from finding out about her transgression. (Here, a cultural difference comes into play: given the circumstances, it's difficult for a modern audience to imagine that Torvald would be outraged at her confession.) Eventually, he does find out though and rips Nora a proverbial new one. This leads up to a famous and infamous confrontation between husband and wife punctuated by Nora's door slam heard 'round the world. It's a fascinating and prescient play, no doubt, but it's also more than a little creaky—at least in translation. The conclusion, I think, retains much of its provocation today, well over a hundred years later. It is very difficult to watch or read the play and not react to Nora. She will always be subject to moral condemnation, but she's intriguing—even in her twittishness—because she isn't entirely right or wrong... She's just human. In an often infuriating way.

  9. 4 out of 5

    stephanie

    oh, nora. you are much maligned, and yet. i wonder why people find you so much more annoying than emma bovary, etc. i think there's so much about this play as a historical document that i appreciate and enjoy and love that sometimes i forget it's supposed to be a PLAY. that said, i don't think nora was *supposed* to be entirely sympathetic. i think her annoying behaviors are supposed to get on your nerves - but somewhere, i think, Ibsen hoped that you would see the way she acts is not simply who oh, nora. you are much maligned, and yet. i wonder why people find you so much more annoying than emma bovary, etc. i think there's so much about this play as a historical document that i appreciate and enjoy and love that sometimes i forget it's supposed to be a PLAY. that said, i don't think nora was *supposed* to be entirely sympathetic. i think her annoying behaviors are supposed to get on your nerves - but somewhere, i think, Ibsen hoped that you would see the way she acts is not simply who she is, but because of how she is brought up, the situation she is in, the situation women are in, the realities of life for a woman in that time. fascinating, in general, and a true testament to Ibsen that this is even being discussed today. i kind of adore this play, and not because i am a "feminist".

  10. 5 out of 5

    Carlie

    This review has been hidden because it contains spoilers. To view it, click here. I did not like this book because the main character got on my last nerves. A supposedly intelligent woman pretending to be an idiot to fit her husband's idea of what women are like? And in the end abandons her family. I have no sympathy for characters who punish the innocent children of their idiotic patnerships in order to "find themselves". Then again, I read this in high school so perhaps if I reread it I'll see what all the hoopla surrounding it is about. No wonder people hate feminists! If t I did not like this book because the main character got on my last nerves. A supposedly intelligent woman pretending to be an idiot to fit her husband's idea of what women are like? And in the end abandons her family. I have no sympathy for characters who punish the innocent children of their idiotic patnerships in order to "find themselves". Then again, I read this in high school so perhaps if I reread it I'll see what all the hoopla surrounding it is about. No wonder people hate feminists! If this is what passes for feminist fare, then I don't want to be one anymore. Women don't have to abandon their children to free themselves from this patriarchal society. It only makes you look like a bad selfish mother. A real feminist would not marry an idiot for money not love and produce offspring with him only to scar them for life later by abandoning them.

  11. 5 out of 5

    David Schaafsma

    “HELMER: But this is disgraceful. Is this the way you neglect your most sacred duties? NORA: What do you consider is my most sacred duty? HELMER: Do I have to tell you that? Isn't it your duty to your husband and children? NORA: I have another duty, just as sacred. HELMER: You can't have. What duty do you mean? NORA: My duty to myself.” The Doll’s House is an 1879 masterpiece play about Nora Helmer, married to Torvald; Nora is treated, as she herself observes, as her husband’s little pampered doll, in “HELMER: But this is disgraceful. Is this the way you neglect your most sacred duties? NORA: What do you consider is my most sacred duty? HELMER: Do I have to tell you that? Isn't it your duty to your husband and children? NORA: I have another duty, just as sacred. HELMER: You can't have. What duty do you mean? NORA: My duty to myself.” The Doll’s House is an 1879 masterpiece play about Nora Helmer, married to Torvald; Nora is treated, as she herself observes, as her husband’s little pampered doll, infantilized in a way that is painful to observe. He’s “nice” to her, and she likes the positive attention and gifts lavished on her. She participates in her own subjugation in exchange for wealth and ease fo eight years, but she comes to see through a crisis that she has no real power in society, and has had no real relationship to him. She is a doll for him as she was a doll for her father, and she is dollifying her children, too, with her husband’s help. The conclusion, when it was first produced, caused both outrage and cheering, divided largely according to gender, though when you realize that this is 1879, it is amazing. Of course there are many strong women characters in Victorian literature, and there are other key texts in conversation with this play such as “The Awakening” by Kate Chopin, or Ibsen’s own Hedda Gabler, and of course there are many others, but this was a great and controversial moment in world drama. I heard an LA Theater works production and liked hearing (especially) that finish. A Playmobil “summary” enactment of the play in 9 minutes: https://www.youtube.com/watch?v=ztTHN...

  12. 4 out of 5

    PattyMacDotComma

    3.5★ “HELMER: ‘You can’t deny it, little Nora, now can you?’ [Putting an arm around her waist] ‘It’s a sweet little bird, but it gets through a terrible amount of money. You wouldn’t believe how much it costs a man when he’s got a little song bird like you!’ NORA: ‘Oh, how can you say that? I really do save all I can.’ HELMER [laughing]:‘Yes, that’s very true “all you can”. But the thing is, you CAN'T!’ NORA [nodding and smiling happily] ‘Ah, if you only knew what expenses we skylarks and squirrels 3.5★ “HELMER: ‘You can’t deny it, little Nora, now can you?’ [Putting an arm around her waist] ‘It’s a sweet little bird, but it gets through a terrible amount of money. You wouldn’t believe how much it costs a man when he’s got a little song bird like you!’ NORA: ‘Oh, how can you say that? I really do save all I can.’ HELMER [laughing]:‘Yes, that’s very true “all you can”. But the thing is, you CAN'T!’ NORA [nodding and smiling happily] ‘Ah, if you only knew what expenses we skylarks and squirrels have, Torvald.’ HELMER: ‘What a funny little thing you are . . .’” Sounds like father and 8-year-old daughter, doesn't it? Would you believe husband and wife, mother of his three children, mistress of their household? This play was written in 1879, and the cloyingly sweet simpering of Nora to try to hide a financial indiscretion from her husband is truly irksome to a reader in the 21st century. But the fact is, there are still relationships like this, and there are still women being reduced to using their “feminine wiles” to coax the “housekeeping money” from the men in their lives. Girls today may find it hard to believe the level of childishness that Nora needs to sink to, but their mothers and grandmothers will certainly be familiar with the scenario. And, of course, little girls still try to wrap daddies around their little fingers! But this is in a class of its own. At one point, the husband says “I shouldn't be a proper man if your feminine helplessness didn't make you twice as attractive to me.” And there's more where that came from. [ACK! Shoot me now.] The play takes place in one room with people and children coming and going, but the crux of the story is about Torvald Helmer having just gained a good position at the bank which is a great relief to the family's finances. Hence, Nora is trying to turn this to her advantage to get a little money out him for Christmas to deal with a problem of her own. How this turns out is more interesting than I thought it might be. She realises she's been nothing more than a doll all her life, first in her father's house, then in her husband's. How that is revealed is in a surprising ending (for the times). Apparently, Ibsen was forced to rewrite that end for a German production, describing it as “an act of barbarous violence against the play.” The irony was not lost on me that Germany was the country that later gave us the two barbaric World Wars, but nobody was to know that then. So I will outline the change under a spoiler in the event that someone doesn't want to know. (view spoiler)[The play ends with the husband discovering his wife had forged her father's signature on a loan document, so he rants and raves and is ready to throw her to the wolves. When the next letter he opens is the loan document that has been sent back to him with her loan forgiven, he rejoices that he is SAVED, throws it in the fire and wants things to go back the way they were. Suddenly, Nora is just an inexperienced little songbird, after all. Nora says she is leaving, now, in the middle of this night, and she's not taking the children. SHE HAS HAD ENOUGH. It's goodnight and farewell, and off she goes. THE END. The Germans made Ibsen write that her husband makes her look in on her sleeping children before she goes, which causes her to relent and stay with him, because she couldn't bear to leave them. What an awful change! (hide spoiler)] He was a controversial writer and said: “I revel in adverse criticism. . . My enemies have been a great help to me - their attacks have been so vicious that people come flocking to see what all the shouting was about.” It's worth wading through the skylark, songbird language for the story, but I don't think I could sit through a production of it or even the movie.

  13. 4 out of 5

    Lyn

    A Doll’s House by Norwegian playwright Henrik Ibsen is alike with Ernest Hemingway’s The Sun Also Rises in that it may more often than not be misinterpreted. First published in 1879, the play tells the story of Nora Helmer and her marriage to Torvald Helmer. But the play also depicts two other female characters and between the three Ibsen has composed a female triumvirate of the European nineteenth century Everywoman. Along with Nora are Kristine and Anne Marie, who Ibsen has displayed as a fema A Doll’s House by Norwegian playwright Henrik Ibsen is alike with Ernest Hemingway’s The Sun Also Rises in that it may more often than not be misinterpreted. First published in 1879, the play tells the story of Nora Helmer and her marriage to Torvald Helmer. But the play also depicts two other female characters and between the three Ibsen has composed a female triumvirate of the European nineteenth century Everywoman. Along with Nora are Kristine and Anne Marie, who Ibsen has displayed as a female image of subservience, disadvantage and obliging self-sacrifice. But Ibsen’s caricature of Victorian dysfunction does not end with feminism; the male characters are wooden and enslaved to self-deprecating attitudes and behaviors that perpetuate the failures of society and contaminate an already poisonous culture. Most compelling, though, was reading this from the vantage of the twenty-first century. Some ultra-conservatives might share the nineteenth century interpretation of the play (Ibsen was castigated into amending the ending and later regretted the cave-in) but others may fail to see the consequences of the socio-economic results of a feminist movement (of which Ibsen as a modernist was in the far forward vanguard) that has played its part in changing, some for the better and some for the worse, Western civilization. Without a doubt an important drama on the world stage.

  14. 4 out of 5

    Duane

    Ibsen claimed he wasn't denouncing 19th century marriage norms with this play, he was just "describing humanity". I take that to mean he thinks these kinds of things, like wives leaving their husbands, happened everyday. In fact they probably did, or even worse, especially in literature, if Tolstoy's Anna or Flaubert's Emma can be used as examples. Whatever Ibsen's intent, the play had an impact, and it's success has helped solidify his position as one of the worlds best playwrights.

  15. 4 out of 5

    Shaindel

    I read this in college (of course) and didn't "get it" until I taught it a few years ago when I took over an Introduction to Drama as Literature course for another instructor. Wow, Ibsen understood how stifling marriage was for women in this era and how hypocritical men were. I would go into more detail but don't want to drop a "spoiler." A must-read, a classic, but I don't know at what age most readers will get it. This is why I think you should be required to have the practice marriage that do I read this in college (of course) and didn't "get it" until I taught it a few years ago when I took over an Introduction to Drama as Literature course for another instructor. Wow, Ibsen understood how stifling marriage was for women in this era and how hypocritical men were. I would go into more detail but don't want to drop a "spoiler." A must-read, a classic, but I don't know at what age most readers will get it. This is why I think you should be required to have the practice marriage that doesn't work--so you can understand literature.

  16. 4 out of 5

    Piyangie

    This is a brilliant play by Henrik Ibsen which is also my first introduction to the author. The play mainly revolves around the theme of a woman's place in society as opposed to the woman's right of independence and individuality. Nora Helmer, the main protagonist, has a secret to conceal from her conservative husband. This secret is a cause of action that has been taken by her which is although partly a crime, has been done in good faith and to the advantage of her family at a difficult time. Ho This is a brilliant play by Henrik Ibsen which is also my first introduction to the author. The play mainly revolves around the theme of a woman's place in society as opposed to the woman's right of independence and individuality. Nora Helmer, the main protagonist, has a secret to conceal from her conservative husband. This secret is a cause of action that has been taken by her which is although partly a crime, has been done in good faith and to the advantage of her family at a difficult time. However, when the secret comes out in open, the consequences that follow show the women's position, their vulnerability and men's perception of women in the patriarchal society they live in. This play, to me, is Ibsen's voice which is raised to the world to say that it is time that women are to be looked as individuals, as humans with feelings, and as an important part of a society, especially in a family; it is time that they should be respected as equals; and that they should not be viewed mere possessions to keep and treat as the men fancy. Such a perception on women coming from a man of his era is praiseworthy. It is also a bold venture to write and stage such a play in a conservative society where it is decidedly being viewed as scandalous. Bravo to Ibsen for his brave effort in bringing out the "women voice".

  17. 4 out of 5

    Helga

    “It is so marvelous to live and be happy.” I have a confession to make. I always thought A Doll’s House was a children’s story. How wrong was I! So much to learn…so much to learn… A Doll’s House is a controversial three-act play about the self-discovery of one woman who goes against conventions and rules of a man-made society. Nora is a married woman, who does everything to make her husband and children happy and content. She is supposed to dress up and look pretty. She is referred to by her husba “It is so marvelous to live and be happy.” I have a confession to make. I always thought A Doll’s House was a children’s story. How wrong was I! So much to learn…so much to learn… A Doll’s House is a controversial three-act play about the self-discovery of one woman who goes against conventions and rules of a man-made society. Nora is a married woman, who does everything to make her husband and children happy and content. She is supposed to dress up and look pretty. She is referred to by her husband as “my little” this and that. She is the Doll. She has been the Doll in her father’s house and has merely changed one Doll House for another. But Nora has a secret. She has borrowed money from a dubious individual to help pay for improving her husband’s health. She has been economizing and saving money to pay back the debt while being called spendthrift and reckless by her husband. When the secret is disclosed, instead of thanking her, her husband becomes a self-righteous prig and calls her a hypocrite, a liar and a miserable creature and declares her not to be fit to bring up their children. Nora then awakens and makes a decision that changes everything. And her new life begins with the slamming of a door.

  18. 5 out of 5

    Shriya

    You'll ask me, "Why five stars?" I'll answer, "Why not?" even though I felt like docking off one at first. Well, the reason is Nora and the last few dialogues of the play and probably my obsession with feminism (thanks to Ms. Atwood!) The play overwhelmed me so much that I am now ready to disagree with anyone who has anything to say against Nora and hit all those who call Ibsen a destroyer of domestic felicity. All I have to say is if you want to know why they call Ibsen "the father of pro You'll ask me, "Why five stars?" I'll answer, "Why not?" even though I felt like docking off one at first. Well, the reason is Nora and the last few dialogues of the play and probably my obsession with feminism (thanks to Ms. Atwood!) The play overwhelmed me so much that I am now ready to disagree with anyone who has anything to say against Nora and hit all those who call Ibsen a destroyer of domestic felicity. All I have to say is if you want to know why they call Ibsen "the father of prose drama", read 'A Doll's House'. If you want to know whether a man can also be a feminist, read 'A Doll's House'. For knowing what women are, what they can be and mainly to understand that just like men, women, too, are primarily human beings whose sacred duties include not only husband, hearth and home but also their own opinions, read 'A Doll's House'. True, the play isn't about what an ideal wife should be like but it certainly is about wives being more than dolls.

  19. 4 out of 5

    Mariel

    Helmer: Just think how a guilty man like that has to lie and play the hypocrite with every one, how he has to wear a mask in the presence of those near and dear to him, even before his own wife and children. And about the children- that is the most terrible part of it all, Nora. Nora: How? Helmer: Because such an atmosphere of lies infects and poisons the whole life of a home. Each breath the children take in such a house is full of the germs of evil. Nora (coming nearer him): Are you sure of that Helmer: Just think how a guilty man like that has to lie and play the hypocrite with every one, how he has to wear a mask in the presence of those near and dear to him, even before his own wife and children. And about the children- that is the most terrible part of it all, Nora. Nora: How? Helmer: Because such an atmosphere of lies infects and poisons the whole life of a home. Each breath the children take in such a house is full of the germs of evil. Nora (coming nearer him): Are you sure of that? Helmer: My dear, I have often seen it in the course of my life as a lawyer. Almost everyone who has gone to the bad early in life has had a deceitful mother. Nora: Why do you only say-- mother? I wanted to see Nora dance her Tarantella. I can see her husband correcting her steps, a dark Geppeto holding the strings. Curtain closed before she can hear the applause, or search for understanding eyes in the audience. How did she feel when she was put on the shelf again, only sure to be taken down again when he remembered to want her. I didn't need anything but the way he talks about Nora to someone else as if she wasn't in the room. I could hear his bitchy inner junior high school girl complaining to Nora about the woman he had been talking to before his two faced nature has had the chance to show itself. Those cookies are bad for your teeth. Where is my cute little dog. I think that the way to understand another person is through understanding yourself. Nora comes to understand that she has never understood anything. Before her husband Helmer there was her father. If we are to know him through Helmer he was a disreputable sort of person. I could see him petting Nora and teaching her to not want anything that matters. Helmer likes to think a lot about himself. I had a sense of him (mind not based on many interactions, although I'm positive they were enough) that he has morals to look good with his nice suit. Helmer would always dress well. Nora has to employ her imagination on how to look good with nothing to go on. She has slowly been paying back a fraudulent loan. The chips are called in A Doll's House when the weight is finally lifted from her shoulders. Helmer has the bank manager's position. Good for him. I can see his smug face with or without an actor to fill his bloated head. Nora is in the same sucky boat as a lot of people in the past few years. Loans given out to people who cannot afford to pay them back, let alone their interest rates. I'm not sure how she managed. It must have taken more energy than she realized until it was over to keep the game going. Smile for your husband. Be a sexy little kitten. Don't enjoy it too much. Sitcoms weren't invented yet when this was published (1897) or perhaps those pristine wives might have proven inspiring role models. I think that Nora let go of her illusions of dancing for a good cause when Helmer rejects her when he learns of her crimes. Accepting blackmail from the loaner is among them. I felt for her trying to hold onto the illusion a little longer, dancing a little longer. More than that I wanted her to get it over with already. Nora makes her speech to her husband about a life lived without choice. She's going to run away. No, I won't see you or the children ever again. It's a childish speech, made from a voice unused to speaking. It's hurt and it doesn't have words for anyone else. See, she plans to run away to her friend Christine first (the same Christine she didn't take the time to send a letter to when her friend's husband had died). Then her home village (bad idea. Everyone will know she left her husband) and then everything will fall into place. At least she will make her own choices. I hear that, but she doesn't ask Christine if this is okay. How adult is it to acknowledge you let two men live for you only to burden someone else with your troubles? Was there nowhere in her heart that didn't hope Christine would have her answers? Teach me how to live? I can believe it. It does make me wonder how far her words are going to carry. They are on wobbly Bambi legs. Her freedom from social scandal and likely jail is because Christine happened to have once been loved by the banker blackguard. Well, what about the doctor friend in love with Nora? He leaves his card that he is going off to die all alone. Maybe Nora knew he was in love with her and maybe she didn't. To her credit she didn't take money from him and solve the Helmer doom. Maybe all she wanted was for her life to not have been a lie. Why did it take Nora this long? She closed her eyes and danced? A childish hope or was it parts the callous voice that thought it for the best her friend go off to die by himself without a kind word for him. Don't trouble me with it, I don't want to hear it, this house is my own. I wonder what will happen to her on her own. I don't believe Christine isn't going to help her again. Christine walked into that house and asked Nora to ask all of those questions. She didn't have to see much of it. If Nora's world was as small as a doll's house maybe some of it was because she didn't take her experiences and push them back until they were bigger. She doesn't know anyone, let alone herself. I can't eat what cookies I want. She snuck them into her pocket and ate them on the sly. She should have eaten them in the open. But she didn't want to look into the audience and see something else. I wish I could see what happens to her when she goes into the world and it isn't a smiling audience. Then she'll be a real person. I read this/saw a televised version in high school drama class (I suspect this may be the case for others?). I remember that I wasn't too taken in by it. I don't think that I liked the actors too much. What I would like is an actress who could show when Nora hopes that Helmer is going to believe in her. This is why she stayed with him. It was a refusal to accept that she hadn't been living this way her whole life. She babies herself too. It isn't only Helmer who belittles her. That she took out that loan, forged her deceased father's name for it, and frittered away a small fortune on an Italian vacation to "save" her ill husband's life speaks to me the same as the young woman who blew money she didn't have. She reminds me of young women I know who go on massive credit card sprees on clothes and they can never afford it. It's digging a hole. If she wanted to dig a hole, and wanted Helmer to stick up for her anyway, her I want to choose for myself speech feels a bit of a lie. It's a bit temper tantrum-y. She runs away to Christine. I don't know. I want to feel this is a feminist play because there were (still are) many trapped under another person without the will or courage to break out. Maybe Nora was one of those people. Anyway, I hadn't meant to reread this initially. The Recognitions and Woodcutters got me curious about Ibsen again. I had this in my huge box of plays so that's how it happened. It's interesting to go back and compare how young me felt to how older me feels. Fourteen year old Mariel holds out sometimes. That's a relief, really. I read Harper Lee's To Kill a Mockingbird between classes. Simply couldn't put it down. That is still one of the best feelings I've ever known. To get so lost in something, to believe in fictional people so much. I'm really happy that I'm thirty-three and never lost it. Nora is real to me only... I feel like I got the lay of the land and there's a part of her that she doesn't know so I can't know it? It's a play, though, so maybe I'm missing the part that a person shows and they don't know they are showing it. What did she look like when she was performing? What was she trying to get (other than money to pay off that stupid loan). Did she ever love anyone without thinking about how much they loved her?

  20. 4 out of 5

    Hend

    Nora a woman who comes to understand that her marriage wasnt as she supposed it to be , an illusion, and that her husband is a very different person from she once believed him to be..when he cant undergo one of the hardships in their life for her sake .... She leaves her husband and her children because she feels it is for their benefit.. her husband accused her of being a "child-wife"she feels that he was right, that she is a child who knows nothing of the world. Since she knows so little about Nora a woman who comes to understand that her marriage wasnt as she supposed it to be , an illusion, and that her husband is a very different person from she once believed him to be..when he cant undergo one of the hardships in their life for her sake .... She leaves her husband and her children because she feels it is for their benefit.. her husband accused her of being a "child-wife"she feels that he was right, that she is a child who knows nothing of the world. Since she knows so little about herself or society, she feels that she is an inadequate mother and wife..... her last words was that they could become a man and wife once again, but only if a miracle occurred....... i liked the last scene....

  21. 5 out of 5

    Lucy Banks

    SUCH an important book (or play, if we're being precise). I love Ibsen's plays, not least for their disarming honesty and commentary on human nature (I'm a particular sucker for The Master Builder!) - and A Doll's House is an extraordinary feat of achievement, given that it was written in the late 19th century... and we all know how women were perceived back then... Nora's triumphant break-through, from vacuous housewife to fierce, independent woman, is a joy to read; not least because it was al SUCH an important book (or play, if we're being precise). I love Ibsen's plays, not least for their disarming honesty and commentary on human nature (I'm a particular sucker for The Master Builder!) - and A Doll's House is an extraordinary feat of achievement, given that it was written in the late 19th century... and we all know how women were perceived back then... Nora's triumphant break-through, from vacuous housewife to fierce, independent woman, is a joy to read; not least because it was also written by a man who clearly sympathised with females of the era, and didn't like the fact that they were treated as mindless property belonging to their husbands. Having said that, Ibsen himself would argue he was merely commenting on the rights of all humans to be true to themselves, not just women. He remains one of my favourite playwrights - if you haven't read / watched A Doll's House, you must!

  22. 4 out of 5

    emma

    3.25/5 i respect this play for how badass it was for its time, and i think everyone should read it at some point or another. (it has a lot to say about nineteenth century female oppression/gender roles/etc.) but the execution can be grating and come off as unrealistic, and ibsen's idea of men and women having separate, gendered moral compasses doesn't fully sit well with me. (he thought of western law being male, and it's unfair for women to have to live like men. sweeping generalizations about g 3.25/5 i respect this play for how badass it was for its time, and i think everyone should read it at some point or another. (it has a lot to say about nineteenth century female oppression/gender roles/etc.) but the execution can be grating and come off as unrealistic, and ibsen's idea of men and women having separate, gendered moral compasses doesn't fully sit well with me. (he thought of western law being male, and it's unfair for women to have to live like men. sweeping generalizations about genders aren't my fave.) all the same, this play has done more good than bad. bottom line: this is a definitely-read-in-your-lifetime book. and it's short and a play and easy to read. so in some ways i recommend!

  23. 4 out of 5

    Sandy

    A doll's house. What image comes to mind when you hear those words? A "perfect" family? A peaceful, innocent domestic situation? Friends dropping in? Preparations for a holiday celebration? Play-time! Yes, Nora and Torvald seem to have the perfect life. Certainly, they have weathered some challenges in life but they have survived. Here we see them with a lovely home, two servants, three playful children, friends, and enough money to celebrate Christmas in the traditional way. Nora plays with the A doll's house. What image comes to mind when you hear those words? A "perfect" family? A peaceful, innocent domestic situation? Friends dropping in? Preparations for a holiday celebration? Play-time! Yes, Nora and Torvald seem to have the perfect life. Certainly, they have weathered some challenges in life but they have survived. Here we see them with a lovely home, two servants, three playful children, friends, and enough money to celebrate Christmas in the traditional way. Nora plays with the children while Torvald chats with a friend in his study. Another friend arrives unexpectedly. There are fond memories of "the old days". How pleasant! But ... enter one more character - a childhood friend, a disgruntled colleague, a jilted lover, a partner in crime (all wrapped up in one person) - and the situation deteriorates quickly. Beneath the calm surface swirls an overwhelming tangle of secrets, fears, suspicions, deceptions, and expectations. Ignorant of her own complicity, Nora attempts to manage the situation but the tangle is too complex. The unravelling is beyond anyone's control. Nora is panic-stricken, anxious, and agitated; she distracts herself by "waiting for a wonderful thing to happen" after the Boxing Day costume party, after she dances her famous tarantella for all the party-goers. In the end, though, the " wonderful thing" was not what anyone expected - neither Nora nor Torvald nor the reader/audience. Play-time is over. The doll's house is a house of mirrors. The distortions are revealed for Nora to see. How will she respond? Listening to the Librivox recording of this play has been my first experience of the work of Henrik Ibsen. This single short review cannot do it justice. I continue to pore over my notes. I continue to be amazed. I need to hear it all again. You need to read it for yourself.

  24. 5 out of 5

    Jenny (Reading Envy)

    My first read for the Books and Chocolate (blog) Back to the Classics challenge - a play, to fulfill this item: 12. Classic Play. Any play written or performed at least 50 years ago. Plays are eligible for this category only. The play premiered in Copenhagen in 1879. Ibsen was asked to write an additional ending for German audiences, one that ends more wretchedly and punishing for the woman. The play is set in a small Norwegian town in 1879, and takes place entirely inside a house. Technically th My first read for the Books and Chocolate (blog) Back to the Classics challenge - a play, to fulfill this item: 12. Classic Play. Any play written or performed at least 50 years ago. Plays are eligible for this category only. The play premiered in Copenhagen in 1879. Ibsen was asked to write an additional ending for German audiences, one that ends more wretchedly and punishing for the woman. The play is set in a small Norwegian town in 1879, and takes place entirely inside a house. Technically the translation into English of the title is "A Doll House," but this is often altered for English-speakers to A Doll's House. Nora is the wife and mother at the center of the story, seen as frivolous and needing direction by her father. She hasn't told him about money she's spent and borrowed (for his health care!) and it's about to unravel. Can I spoil the ending of a classic play? It's important that the character of Nora makes decisions for herself at the end after suffering an entire life as a "doll" for her father and then her husband. It's interesting that this is written not long before feminist texts like The Yellow Wallpaper come on the scene in America, although the play itself was not performed in the states until after that time. All relatively of the same era though, confronting the tension between old roles and new. Ibsen portrays the husband as completely bewildered when his wife starts charting her own path. He is a bit bumbling and out of sorts in the end. It is interesting that a male playwright could capture that so well. After an obstacle is cleared, he turns to her and says"Now we're thrown back on each other completely... My darling wife, how can I hold you close enough?"If you are female you are probably groaning the way the audience did. His controlling endearment is capture exactly right, and in many ways is a bit timeless. I listened to the LA Theatre Works version of A Doll House by Henrik Ibsen, in English of course. Calista Flockhart plays Nora and actors whose voices sound like more famous actors play the other roles (I could have sworn her husband is played by Kyle MacLachlan, but nope!) They do a nice job and you can hear responses from the audience, making the listening experience one notch above reading the text, but not as good as seeing it in person of course.

  25. 4 out of 5

    Lisa N

    This review has been hidden because it contains spoilers. To view it, click here. I can’t understand why this is considered by many to be the first true “feminist” play. I cannot stomach many more stories of “feminists” who feel the need to abandon home and family to “find” themselves. What is feminine about walking out on your children, and in this case not even saying good-bye? For a couple of days, I have been pondering what the masculine counterpart to a feminist is. I threw the question out to my family, and my 15-year-old daughter said, “You mean a jerk?” I think that s I can’t understand why this is considered by many to be the first true “feminist” play. I cannot stomach many more stories of “feminists” who feel the need to abandon home and family to “find” themselves. What is feminine about walking out on your children, and in this case not even saying good-bye? For a couple of days, I have been pondering what the masculine counterpart to a feminist is. I threw the question out to my family, and my 15-year-old daughter said, “You mean a jerk?” I think that sums up how I feel about the degeneration of feminism to the notion of self-centeredness and lack of responsibility for one’s actions. This play is very well-written, even intriguing, up until the end, but I’m giving it one star for the lousy ending.

  26. 5 out of 5

    Connie G

    Written in 1879, "A Doll's House" was a very modern look at marriage for its time. The play's name comes from the way Nora is treated like a doll or a young child by Torvald, her domineering husband. Nora has a problem since she had secretly forged a note for a loan to finance a trip to a warm climate when her husband was seriously ill. Although Nora seems flighty and silly at the beginning of the play, one senses that she is acting that way partly to please and manipulate her husband. She has i Written in 1879, "A Doll's House" was a very modern look at marriage for its time. The play's name comes from the way Nora is treated like a doll or a young child by Torvald, her domineering husband. Nora has a problem since she had secretly forged a note for a loan to finance a trip to a warm climate when her husband was seriously ill. Although Nora seems flighty and silly at the beginning of the play, one senses that she is acting that way partly to please and manipulate her husband. She has imperfections, but there is a strong woman underneath who wants to experience the world. She needs to find herself as a human being outside the roles of wife and mother. This is a play that can be looked at from many points of view regarding a woman's moral obligations to her family as well as her obligations to herself. The play was entertaining with both comic and serious moments, and its ideas could generate a good discussion.

  27. 5 out of 5

    Chrissie

    I will reread this. I want to see if: -I will still think it worth five stars. -I enjoy Audible dramatizations. It is an Audible Daily Deal today (2016-03-30), so it only costs 99 cents. ********** I did like this a lot, the second time around. I have given it four stars. There were lines that I objected to, that I thought could have been improved. I loved the denouement. I loved when at the end Nora lets Torvald “have it”. She talks and talks and tries to explain, for the first time after eight ye I will reread this. I want to see if: -I will still think it worth five stars. -I enjoy Audible dramatizations. It is an Audible Daily Deal today (2016-03-30), so it only costs 99 cents. ********** I did like this a lot, the second time around. I have given it four stars. There were lines that I objected to, that I thought could have been improved. I loved the denouement. I loved when at the end Nora lets Torvald “have it”. She talks and talks and tries to explain, for the first time after eight years of marriage, how she thinks and how what she values does not coincide with Torvald’s way of thinking. Of course, Torvald, he just cannot (view spoiler)[understand (hide spoiler)] ! What is wonderful is that this three-act play was published in 1879. It premiered at the Royal Theatre in Copenhagen December of the same year. Scandinavians were and are at the forefront of women’s emancipation. A really, really good play. It has content. It says something. About love, about relationships and shows the innate difference in how men and women think. We are equal, yet different. There are funny, funny lines, like this: Torvald says: "Almost everyone who goes bad early in life has a mother who’s a chronic liar." Nora asks: "Why just the mother?" Torvald responds: "It is usually the mother's influence that is dominant, but the father's ....." Torvald and Nora are husband and wife. They have three kids and have been married for eight years. And yes, they love each other…..but that does not mean they see eye to eye or that their personalities match. A play is different from a book. It has just an hour or two to deliver a message, draw characters and entertain. This play did all three wonderfully. Yet, I always prefer longer books over short. I do know now that I will try other drama performances on audio. Now a word about this full-cast performance by L.A. Theatre Works. It features: Calista Flockhart as Nora Helmer Tim Dekay as Torvald Helmer Tony Abatemarco as Dr. Rank Jeannie Elias as Anne-Marie and Helene Gregory Itzin as Nils Krogstad Jobeth Williams as Mrs. Linde Flockhart’s performance improves at the end. There she is mad and is speaking her mind to Torvald. In the beginning she is jumpy and nervous. I found both Dekay’s and Abatemarco’s intonation of the lines unconvincing. Elias’ voice well matched the voices of the governess and the maid. William’s intonation was good, convincing. Itzin’s narration was my favorite. His voice perfectly matched how I imagined Nils Krogstad to be. The sound effects could definitely have been improved. At the end a door is slammed, yet it sounds like a gunshot. I have difficulty with all dramatization, even in a regular audiobook. I prefer using my own imagination rather than being delivered theatrics. Demanding such here is unreasonable; this was a performance! In the background you hear laughter, groans, sighs from the audience. I could have done without that. The performance is based on a translation by Rolf Fjelde. I did not compare the lines with that of the book’s paper format; however I wondered at times if liberties had been taken.

  28. 5 out of 5

    Helly

    A brilliant tale following the pretentious marital life of Nora and Helmer. How foolishly we are conditioned to accept patriarchy as the norm! How foolish we all are. This book, or play, awakens the reader's sleeping conscience - alongside Nora's. HELMER: But this is disgraceful. Is this the way you neglect your most sacred duties? NORA: What do you consider is my most sacred duty? HELMER: Do I have to tell you that? Isn't it your duty to your husband and children? NORA: I have another duty, just as A brilliant tale following the pretentious marital life of Nora and Helmer. How foolishly we are conditioned to accept patriarchy as the norm! How foolish we all are. This book, or play, awakens the reader's sleeping conscience - alongside Nora's. HELMER: But this is disgraceful. Is this the way you neglect your most sacred duties? NORA: What do you consider is my most sacred duty? HELMER: Do I have to tell you that? Isn't it your duty to your husband and children? NORA: I have another duty, just as sacred. HELMER: You can't have. What duty do you mean? NORA: My duty to myself. This conversation changed everything I had ever been taught

  29. 4 out of 5

    Jonfaith

    Our home has been nothing but a playroom. What a wonderful surprise! I didn't expect to be so moved. The honesty is scalding. My reading as of late has focused on language: an exploration of poetics and the resonance of such. Ibsen acted as a sort of antithesis to that approach and the experience was all the more satisfying. Remarkably modern, We find Nora a wife and mother—who out of interest for her husband she has blurred the lines of propriety. This incident bobs to the surface the trials in Our home has been nothing but a playroom. What a wonderful surprise! I didn't expect to be so moved. The honesty is scalding. My reading as of late has focused on language: an exploration of poetics and the resonance of such. Ibsen acted as a sort of antithesis to that approach and the experience was all the more satisfying. Remarkably modern, We find Nora a wife and mother—who out of interest for her husband she has blurred the lines of propriety. This incident bobs to the surface the trials involved afford her an unexpected perspective.

  30. 4 out of 5

    Emma

    Nora Helmer is inspiring and brave. This is my favourite Ibsen.

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