Henrik Ibsen became the owner of thoughts for his contemporaries, creating a problem theater, in which almost all ideas and themes of the 19th century were tested. The glorious reformer of the theater first introduced a new genre of synthetic play. Its peculiarity lies in the fact that tragedy and comedy are combined in it. This combination provides Ibsen’s “Doll’s House” with such a strange shade that this play amazes more than one of its readers and viewers.
The author managed to portray and submit to us in a laid-back, almost comedic form an extremely acute problem, through which, perhaps, more than one dream broke and more than one life collapsed. In the center of the play is the tragedy of the Helmer family: Nora and Torvald. They lived together for eight years, they have three children, a comfortable house dominated by wealth. Nora is ardently devoted to her husband and children. What, it would seem, is still necessary for the happiness of this family?
But this is at first glance. If we listen to the play with our hearts, we will see from the very beginning of the work some kind of artificiality in the house, which was appropriately emphasized by the author:
“There is a table between the stove and the doors. Skaterka with porcelain and other trinkets, a bookcase with books in luxurious covers. ”
Frequent use of the affectionate form makes you think: not the good life of this family, but something else the author wants to emphasize. Since childhood, Nora dreamed of an ideal family for which she could create coziness. These dreams are reminiscent of children’s games with dolls – everything is still tidy and cozy. Nora herself was such a doll, first for her father, and then for Torvald. These were her children’s dolls, with which Nora herself is now playing.
Torvald also dreamed of a happy family, but saw her from a slightly different angle. He perceived Nora not as a self-sufficient person, but as an integral part of his quiet family life. For him, she was his “doll”, “squirrel”, “bird”, but nothing more. Consequently, they do not live in this house, but only play marriage, prosperity, love, and even human dignity and honor. There is nothing real here. This is a doll house.
Nora, having borrowed money and hiding it from everyone, finds herself in the abyss of a lonely struggle with horror, conscience. But all this for the sake of love. She wanted to save the life of a loved one and not injure anyone. But Torvald receives letters and delivers the most “fairest” speech in which for some reason the pronoun “mine” prevails:
“You ruined all my happiness, ruined my whole future”, and when the debt comes back, we again hear his sweet words: “ here I will dove out to you like a chased turtledove that I saved unscathed from the claws of a hawk. ” But insight comes.
And Nora wants to lose her fancy dress. She can no longer live in this spiritually empty house, and goes to find herself as a person. “I think that first of all I am a man, just like you – or at least I should become a man.” Because only a person, not a toy, has the right to marriage, raising children.
Therefore, in the work “The Doll’s House” – our entire human house of false values is depicted, behind which lies egoism, spiritual emptiness. This problem is hidden in the title of the work.