Summary

Portrait of Henrik Ibsen Henrik Ibsen The Collected Works of Henrik Ibsen… (1907)

It is your fault that my life has come to nothing.
Helmer. Why, Nora, how unreasonable and ungrateful you are! Have you not been happy here?
Nora. No, never. I thought I was; but I never was.
Helmer. Not—not happy!
Nora. No; only merry. And you have always been so kind to me. But our house has been nothing but a play-room. Here I have been your doll-wife, just as at home I used to be papa’s doll-child. And the children, in their turn, have been my dolls. I thought it fun when you played with me, just as the children did when I played with them. That has been our marriage, Torvald.
Helmer.
Source: Gutenberg

Portrait of Henrik Ibsen Henrik Ibsen The Collected Works of Henrik Ibsen… (1907)

Alving. Ghosts! When I heard Regina and Oswald in there, it was as though ghosts rose up before me. But I almost think we are all of us ghosts, Pastor Manders. It is not only what we have inherited from our father and mother that “walks” in us. It is all sorts of dead ideas, and lifeless old beliefs, and so forth. They have no vitality, but they cling to us all the same, and we cannot shake them off. Whenever I take up a newspaper, I seem to see ghosts gliding between the lines. There must be ghosts all the country over, as thick as the sands of the sea.
Source: Gutenberg

Portrait of Henrik Ibsen Henrik Ibsen The Collected Works of Henrik Ibsen… (1907)

How impossible, too, in the poet’s after years, would have been the little tricks of ironic coincidence and picturesque contrast which abound in A Doll’s House! The festal atmosphere of the whole play, the Christmas-tree, the tarantella, the masquerade ball, with its distant sounds of music—all the shimmer and tinsel of the background against which Nora’s soul-torture and Rank’s despair are thrown into relief belong to the system of external, artificial antithesis beloved by romantic playwrights from Lope de Vega onward, and carried to its limit by Victor Hugo.
Source: Gutenberg

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