A Doll's House

A Doll's House (Bokmål: Et dukkehjem;

also translated as A Doll 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.[1] The play is set in a Norwegian
town circa 1879.
 A Doll's House

Original manuscript cover page, 1879

Written by Henrik Ibsen

Characters Nora
Torvald Helmer
Krogstad
Mrs. Linde
Dr. Rank
Children
Anne-Marie
Helene
Date premiered 21 December 1879

Place premiered Royal Theatre

in Copenhagen, Denmark

Original language Danish

Subject The awakening of a middle-

class wife and mother.

Genre Naturalistic / realistic

problem play
Modern tragedy

Setting The home of the Helmer

family in an unspecified
Norwegian town or city,
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. It aroused a great
sensation at the time,[2] and caused a
“storm of outraged controversy” that
went beyond the theatre to the world
newspapers and society.[3]

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.[4] 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.[5]

The title of the play is most commonly

translated as A Doll's House, though
some scholars use A Doll House. John
Simon says that A Doll’s House is "the
British term for what we call a
'dollhouse'".[6] Egil Törnqvist says of the
alternative title: "Rather than being
superior to the traditional rendering, it
simply sounds more idiomatic to
Americans."[7]

List of characters
Nora Helmer – wife of Torvald, mother
of three, is living out the ideal of the
19th-century wife, but leaves her family
at the end of the play.
Torvald Helmer – Nora's husband, a
newly promoted bank manager,
suffocates but professes to be
enamoured of his wife.
Dr. Rank – a rich family friend, he is
secretly in love with Nora. He is
terminally ill, and it is implied that his
"tuberculosis of the spine" originates
from a venereal disease contracted by
his father.
Kristine Linde – Nora's old school
friend, widowed, is seeking
employment (sometimes spelled
Christine in English translations). She
was in a relationship with Krogstad
prior to the play's setting.
Nils Krogstad – an employee at
Torvald's bank, single father, he is
 pushed to desperation. A supposed
scoundrel, he is revealed to be a long-
lost lover of Kristine.
The Children – Nora and Torvald's
children: Ivar, Bobby and Emmy
Anne Marie – Nora's former nanny,
who gave up her own daughter to
"strangers" when she became, as she
says, the only mother Nora knew. She
now cares for Nora's children.[8]
Helene – the Helmers' maid
The Porter – delivers a Christmas tree
to the Helmer household at the
beginning of the play.

Synopsis
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 she spent weeks making gifts
and ornaments by hand last year
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 explains that things have not been
easy for them either: Torvald became
sick and they had to travel to Italy, so he
could recover. Kristine further 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 reveals
that she borrowed 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.
Over the years, she has been secretly
working and saving up to pay it off.

Krogstad, a lower-level employee at

Torvald's bank, arrives and goes into the
study. Nora is clearly uneasy when she
sees him. Dr. Rank leaves the study and
mentions that he feels wretched, though,
like everyone, he wants to go on living. In
contrast to his physical illness, he says
that the man in the study, Krogstad, is
"morally diseased".
After the meeting with Krogstad, Torvald
comes out of the study. Nora asks him if
he can give Kristine a position at the
bank and Torvald is very positive, saying
that this is a fortunate moment, as a
position has just become available.
Torvald, Kristine, and Dr. Rank leave the
house, leaving Nora alone. The nanny
returns with the children and Nora plays
with them for a while until Krogstad
creeps into the living room and surprises
her. Krogstad tells Nora that Torvald
intends to fire him at the bank and asks
her to intercede with Torvald to allow him
to keep his job. She refuses, and
Krogstad threatens to blackmail her
about the loan she took out for the trip to
Italy; he knows that she obtained this
loan by forging her father's signature.
Krogstad leaves and when Torvald
returns, she tries to convince him not to
fire Krogstad. Torvald refuses to hear her
pleas, explaining that Krogstad is a liar
and a hypocrite and that he committed a
terrible crime: he forged someone's
name. Torvald feels physically ill in the
presence of a man "poisoning his own
children with lies and dissimulation".

Act Two

Kristine arrives to help Nora repair a

dress for a costume function that Torvald
and she 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 not deferential
enough to 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 tries clumsily to
tell him that she is not in love with him,
but that she loves him dearly as a friend.

Desperate after being fired by Torvald,

Krogstad arrives at the house. Nora
convinces Dr. Rank to go into Torvald's
study so he will not see Krogstad. When
Krogstad confronts Nora, he declares
that he no longer cares about the
remaining balance of Nora's loan, but
that he will instead preserve the
associated bond to blackmail Torvald
into not only keeping him employed but
also promoting him. Nora explains that
she has done her best to persuade her
husband, but he refuses to change his
mind. Krogstad informs Nora that he has
written a letter detailing her crime
(forging her father's signature of surety
on the bond) and put it in Torvald's
mailbox, which is locked.

Nora tells Kristine of her difficult

situation. Having had a relationship with
Krogstad in the past before her marriage,
Kristine says that they are still in love and
promises to try to convince him to relent.

Torvald enters and tries to retrieve his

mail, but Nora distracts him by begging
him to help her with the dance she has
been rehearsing for the costume party,
feigning anxiety about performing. She
dances so badly and acts so childishly
that Torvald agrees to spend the whole
evening coaching her. When the others
go to dinner, Nora stays behind for a few
minutes and contemplates killing herself
to save her husband from the shame of
the revelation of her crime and to pre-
empt any gallant gesture on his part to
save her reputation.

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 is
moved and offers to take back his letter
to 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.

A maid enters, delivering a letter to Nora.

The letter is from Krogstad, yet Torvald
demands to read the letter, taking it from
Nora. Torvald exults that he is saved, as
Krogstad has returned the incriminating
bond, which Torvald immediately burns
along with Krogstad's letters. He takes
back his harsh words to his wife and tells
her that he forgives her. Nora realizes
that her husband is not the strong and
gallant man she thought he was, and that
he truly loves himself more than he does
her.

Torvald explains that, when a man has

forgiven his wife, it makes him love her
all the more, since it reminds him that
she is totally dependent on him, like a
child. He dismisses the fact that Nora
had to make the agonizing choice
between her conscience and his health,
and ignores her years of secret efforts to
free them from the ensuing obligations
and the danger of loss of reputation. He
preserves his peace of mind by thinking
of the incident as a mere mistake that
she made owing to her dumbness, one of
her most endearing feminine traits.

Nora tells Torvald that she We must come

is leaving him, and in a to a final
confrontational scene settlement,

between the two of them, Torvald.

During eight
she expresses her reasons
whole years. . .
and explanations. She
we have never
reminds him of harsh exchanged one
things he has said about serious word

her and about her ability to about serious

things.
raise their children. She
Nora, in Ibsen's
says he has never loved
A Doll's House
her, they have become
(1879)
strangers to each other.
She feels betrayed by his response to the
scandal involving Krogstad, and she says
she must get away to understand herself.
She has lost her religion. She says that
she has been treated like a doll to play
with for her whole life, first by her father
and then by him. Concerned for the
family reputation, Torvald insists that she
fulfill her duty as a wife and mother, but
Nora says that she has duties to herself
that are just as important, and that she
cannot be a good mother or wife without
learning to be more than a plaything. She
reveals that she had expected that he
would want to sacrifice his reputation for
hers and that she had planned to kill
herself to prevent him from doing so. She
now realizes that Torvald is not at all the
kind of person she had believed him to
be and that their marriage has been
based on mutual fantasies and
misunderstandings.

Torvald is unable to comprehend Nora's

point of view, since it contradicts all that
he has been taught about the female
mind throughout his life. Furthermore, he
is so narcissistic that it is impossible for
him to understand how he appears to her,
as selfish, hypocritical, and more
concerned with public reputation than
with actual morality. Nora leaves her keys
and wedding ring, and as Torvald breaks
down and begins to cry, baffled by what
has happened, Nora leaves the house,
slamming the door behind herself.
Whether or not she ever comes back is
never made clear.

Alternative ending

Ibsen's German agent felt that the

original ending would not play well in
German theatres; therefore, for it to be
considered acceptable, Ibsen was forced
to write an alternative ending for the
German premiere. In this ending, Nora is
led to her children after having argued
with Torvald. Seeing them, she collapses,
and the curtain is brought down. Ibsen
later called the ending a disgrace to the
original play and referred to it as a
"barbaric outrage".[9] Virtually all
productions today use the original
ending, as do nearly all of the film
versions of the play.

Composition and
publication
Real-life inspiration
A Doll's House was based on the life of
Laura Kieler (maiden name Laura Smith
Petersen), a good friend of Ibsen. Much
that happened between Nora and Torvald
happened to Laura and her husband,
Victor. Similar to the events in the play,
Laura signed an illegal loan to save her
husband. She wanted the money to find a
cure for her husband's tuberculosis.[10]
She wrote to Ibsen, asking for his
recommendation of her work to his
publisher, thinking that the sales of her
book would repay her debt. At his refusal,
she forged a check for the money. At this
point she was found out. In real life, when
Victor discovered about Laura's secret
loan, he divorced her and had her
committed to an asylum. Two years later,
she returned to her husband and children
at his urging, and she went on to become
a well-known Danish author, living to the
age of 83.

Ibsen wrote A Doll's House at the point

when Laura Kieler had been committed
to the asylum, and the fate of this friend
of the family shook him deeply, perhaps
also because Laura had asked him to
intervene at a crucial point in the scandal,
which he did not feel able or willing to do.
Instead, he turned this life situation into
an aesthetically shaped, successful
drama. In the play, Nora leaves Torvald
with head held high, though facing an
uncertain future given the limitations
single women faced in the society of the
time.

Kieler eventually rebounded from the

shame of the scandal and had her own
successful writing career while remaining
discontented with sole recognition as
"Ibsen's Nora" years afterwards.[11][12]

Composition

Ibsen started thinking about the play

around May 1878, although he did not
begin its first draft until a year later,
having reflected on the themes and
characters in the intervening period (he
visualised its protagonist, Nora, for
instance, as having approached him one
day wearing "a blue woollen dress").[13]
He outlined his conception of the play as
a "modern tragedy" in a note written in
Rome on 19 October 1878.[14] "A woman
cannot be herself in modern society," he
argues, 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."[15]

Publication

Ibsen sent a fair copy of the completed

play to his publisher on 15 September
1879.[16] It was first published in
Copenhagen on 4 December 1879, in an
edition of 8,000 copies that sold out
within a month; a second edition of 3,000
copies followed on 4 January 1880, and
a third edition of 2,500 was issued on 8
March.[17]

Production history
A Doll's House received its world
premiere on 21 December 1879 at the
Royal Theatre in Copenhagen, with Betty
Hennings as Nora, Emil Poulsen as
Torvald, and Peter Jerndorff as Dr.
Rank.[18] Writing for the Norwegian
newspaper Folkets Avis, the critic Erik
Bøgh admired Ibsen's originality and
technical mastery: "Not a single
declamatory phrase, no high dramatics,
no drop of blood, not even a tear."[19]
Every performance of its run was sold
out.[20] Another production opened at the
Royal Theatre in Stockholm, on 8 January
1880, while productions in Christiania
(with Johanne Juell as Nora and
Arnoldus Reimers as Torvald) and Bergen
followed shortly after.[21]

In Germany, the actress Hedwig

Niemann-Raabe refused to perform the
play as written, declaring, "I would never
leave my children!"[20] Since the
playwright's wishes were not protected
by copyright, Ibsen decided to avoid the
danger of being rewritten by a lesser
dramatist by committing what he called a
"barbaric outrage" on his play himself
and giving it an alternative ending in
which Nora did not leave.[22][23] A
production of this version opened in
Flensburg in February 1880.[24] This
version was also played in Hamburg,
Dresden, Hanover, and Berlin, although, in
the wake of protests and a lack of
success, Niemann-Raabe eventually
restored the original ending.[24] Another
production of the original version, some
rehearsals of which Ibsen attended,
opened on 3 March 1880 at the Residenz
Theatre in Munich.[24]
In Great Britain, the only way in which the
play was initially allowed to be given in
London was in an adaptation by Henry
Arthur Jones and Henry Herman called
Breaking a Butterfly.[25] This adaptation
was produced at the Princess Theatre, 3
March 1884. Writing in 1896 in his book
The Foundations of a National Drama,
Jones says: "A rough translation from the
German version of A Doll's House was
put into my hands, and I was told that if it
could be turned into a sympathetic play, a
ready opening would be found for it on
the London boards. I knew nothing of
Ibsen, but I knew a great deal of
Robertson and H. J. Byron. From these
circumstances came the adaptation
called Breaking a Butterfly."[26] H. L.
Mencken writes that it was A Doll’s
House “denaturized and
dephlogisticated. … Toward the middle of
the action Ibsen was thrown to the
fishes, and Nora was saved from suicide,
rebellion, flight and immortality by
making a faithful old clerk steal her
fateful promissory note from Krogstad’s
desk. … The curtain fell upon a happy
home.“[27]

Before 1899 there were two private

productions of the play in London (in its
original form as Ibsen wrote it) — one
featured George Bernard Shaw in the role
of Krogstad.[8] The first public British
production of the play in its regular form
opened on 7 June 1889 at the Novelty
Theatre, starring Janet Achurch as Nora
and Charles Charrington as
Torvald.[28][29][30] Achurch played Nora
again for a 7-day run in 1897. Soon after
its London premiere, Achurch brought the
play to Australia in 1889.[31]

The play was first seen in America in

1883 in Louisville, Kentucky; Helena
Modjeska acted Nora.[29] The play made
its Broadway premiere at the Palmer's
Theatre on 21 December 1889, starring
Beatrice Cameron as Nora Helmer.[32] It
was first performed in France in 1894.[21]
Other productions in the United States
include one in 1902 starring Minnie
Maddern Fiske, a 1937 adaptation with
acting script by Thornton Wilder and
starring Ruth Gordon, and a 1971
production starring Claire Bloom.

A new translation by Zinnie Harris at the

Donmar Warehouse, starring Gillian
Anderson, Toby Stephens, Anton Lesser,
Tara FitzGerald and Christopher
Eccleston opened in May 2009.[33] In
August 2013, Young Vic,[34] London,
Great Britain, produced a new
adaptation[35] of A Doll's House directed
by Carrie Cracknell[36] based on the
English language version by Simon
Stephens. In September 2014, in
partnership with Brisbane Festival, La
Boite located in Brisbane, Australia,
hosted an adaptation of A Doll's House
written by Lally Katz and directed by
Stephen Mitchell Wright.[37] In June 2015,
Space Arts Centre in London staged an
adaptation of A Doll's House featuring the
discarded alternate ending.[38]

Analysis and criticism

A Doll's House questions the traditional
roles of men and women in 19th-century
marriage.[22] To many 19th-century
Europeans, this was scandalous. The
covenant of marriage was considered
holy, and to portray it as Ibsen did was
controversial;[39] however, the Irish
playwright George Bernard Shaw found
Ibsen's willingness to examine society
without prejudice exhilarating.[40]

The Swedish playwright August

Strindberg criticised the play in his
volume of essays and short stories
Getting Married (1884).[41] Strindberg
questioned Nora’s walking out and
leaving her children behind with a man
that she herself disapproved of so much
that she would not remain with him.
Strindberg also considers that Nora’s
involvement with an illegal financial fraud
that involved Nora forging a signature, all
done behind her husband’s back, and
then Nora’s lying to her husband
regarding Krogstad’s blackmail, are
serious crimes that should raise
questions at the end of the play, when
Nora is moralistically judging her
husband. And Strindberg points out that
Nora’s complaint that she and Torvald
“have never exchanged one serious word
about serious things”, is contradicted by
the discussions that occur in act one and
two.[42]

The reason Nora leaves her husband are

complex; various reasons are hinted at
throughout the play. In the last scene she
tells her husband she has been “greatly
wronged” by his disparaging and
condescending treatment of her, and his
attitude towards her in their marriage —
as though she were his “doll wife” — and
the children in turn have become her
“dolls”, and she has come to doubt her
own qualifications to raise her children.
She is troubled by her husband’s behavior
in regard to her and the scandal of the
loaned money. She does not love her
husband, she feels they are strangers,
she feels completely confused, and
suggests that her issues are shared by
many women. George Bernard Shaw
suggests that she left to begin “a journey
in search of self-respect and
apprenticeship to life,” and that her revolt
is “the end of a chapter of human
history”.[8][43][3]

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."[15] 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."[44] 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."[45]

Because of the departure from traditional

behavior and theatrical convention
involved in Nora's leaving home, her act
of slamming the door as she leaves has
come to represent the play itself.[46][47]
One critic noted, "That slammed door
reverberated across the roof of the
world."[48]
Adaptations
Film

A Doll's House has been adapted for the

cinema on many occasions, including:

A 1922 lost silent film A Doll's House

starring Alla Nazimova as Nora.[49][50]
A 1923 German silent film Nora was
directed by Berthold Viertel. Nora was
played by Olga Chekhova, who was
born Olga Knipper, and was the niece
and namesake of Anton Chekhov’s
wife. She was also Mikhail Chekhov's
wife.[51]
A 1943 Argentine film, Casa de
muñecas, starring Delia Garcés, which
modernizes the story and uses the
alternative ending.[52]
Two film versions were released in
1973: one was directed by Joseph
Losey, starring Jane Fonda, David
Warner and Trevor Howard;[53] and the
other by Patrick Garland with Claire
Bloom, Anthony Hopkins, and Ralph
Richardson.[54]
Dariush Mehrjui's film Sara (1993) is
based on A Doll's House, with the plot
transferred to Iran. Sara, played by Niki
Karimi, is the Nora of Ibsen's play.[55]
The Young Vic theatre in London
released a short film called Nora with
 Hattie Morahan portraying what a
modern-day Nora might look like.[56]
A scheduled 2017 film adaptation is
set against the backdrop of the current
economic crisis and stars Ben Kingsley
as Doctor Rank and Michele Martin as
Nora.[57][58]

Television

A live version for American TV was

broadcast in 1959 which was directed
by George Schaefer. This version
featured Julie Harris, Christopher
Plummer, Hume Cronyn, Eileen
Heckart and Jason Robards.
A 1974 West German television
adaptation, titled Nora Helmer was
 directed by Rainer Werner Fassbinder
and starred Margit Carstensen in the
title role.
In 1992, David Thacker directed a
British television adaptation with Juliet
Stevenson, Trevor Eve and David
Calder.

Radio

A June 6, 1938 Lux Radio Theatre

production starred Joan Crawford as
Nora and Basil Rathbone as Torvald.
A later version by the Theatre Guild on
the Air on January 19, 1947, featured
Rathbone again as Torvald with
Dorothy McGuire as Nora.
 In 2012, BBC Radio 3 broadcast an
adaptation by Tanika Gupta
transposing the setting to India in 1879
where 'Nora', now Niru, is an Indian
woman married to 'Torvald', now Tom,
an English man working for the British
Colonial Administration in Calcutta;
this production starred Indira Varma as
Niru and Toby Stephens as Tom.[59]

Re-staging

In 1989, film and stage director Ingmar

Bergman staged and published a
shortened reworking of the play, now
entitled Nora, which entirely omitted
the characters of the servants and the
children, focusing more on the power
 struggle between Nora and Torvald. It
was widely viewed as downplaying the
feminist themes of Ibsen's original.[60]
The first staging of it in New York was
reviewed by the Times as heightening
the play's melodramatic aspects.[61]
The Los Angeles Times stated that
""Nora" shores up "A Doll's House" in
some areas but weakens it in
others."[62]

References
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2. Krutch, Joseph Wood (1953).
"Modernism" in Modern Drama, A
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Cornell University Press. p. 9.
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3. Walter, McFarlane, James; Jens, Arup
(1998). Four Major Plays . Oxford
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OCLC 39674082 .
4. "Henrik Ibsen's psychodramas still grip
the world 100 years after his death" .
Pravda Report. 22 May 2006. Retrieved
30 May 2017.
5. "Henrik Ibsen: A Doll's House" .
UNESCO. Retrieved 30 May 2017.
6. "Bapuage=en" .
7. Törnqvist, Egil (1995). Ibsen: A Doll's
House . Cambridge University Press.
p. 54. ISBN 9780521478663.
OCLC 635006762 .
8. Byatt, A. S. (1 May 2009). "Blaming
Nora" . The Guardian. ISSN 0261-3077 .
Retrieved 30 May 2017.
9. "The alternative ending of A Doll's
House" . National Library of Norway. 30
May 2005. Retrieved 30 May 2017.
10. A. S. Byatt (2 May 2009). "Blaming
Nora" . The Guardian. Guardian News and
Media. Retrieved 20 June 2017.
11. Törnqvist, Egil (1995). Ibsen: A Doll's
House . Cambridge University Press. p. 2.
ISBN 9780521478663. OCLC 635006762 .
12. Worthen, William B (2011). The
Wadsworth anthology of drama .
Wadsworth. p. 667.
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14. Meyer (1967, 466).
15. Ibsen, "Notes for a Modern Tragedy";
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Innes (2000, 79–81).
16. Meyer (1967, 474).
17. Meyer (1967, 475).
18. Meyer (1967, 477) and Moi (2006, 227,
230).
19. Quoted by Meyer (1967, 477).
20. Meyer (1967, 480).
21. Meyer (1967, 479).
22. Fisher, Jerilyn (2003). "The slammed
door that still reverberates". In Fisher,
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23. Meyer (1967, 480–481).
24. Meyer (1967, 481).
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26. Jones, Henry Arthur. The Foundations
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lectures, essays and speeches, delivered
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(January 1, 1913). 1 January 1913.
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House, A". In Rines, George Edwin.
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38. ."A Doll's House at The Space" .
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Bernard Shaw . Routledge. pp. 164–165.
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(1972) ISBN 0-575-00629-3
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59. "BBC Radio 3 - Drama on 3, A Doll's
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Sources
Brockett, Oscra G; Hildy, Franklin J
(2002). History of the theatre . Boston:
Allyn & Bacon. ISBN 9780205410507.
OCLC 228061773 .
Dukore, Bernard F., ed. 1974. Dramatic
Theory and Criticism: Greeks to
Grotowski. Florence, KY: Heinle &
Heinle. ISBN 978-0-03-091152-1.
Innes, Christopher (2000). A
sourcebook of naturalist theatre .
London: Routledge. ISBN 0415152291.
OCLC 896687433 .
Meyer, Michael (1974). Ibsen: a
biography . Penguin.
ISBN 9780140217728.
OCLC 223316018 .
Moi, Toril (2006). Henrik Ibsen and the
Birth of Modernism: Art, Theater,
 Philosophy . Oxford: Oxford University
Press. ISBN 0199295875.

Further reading
Ibsen, Henrick (trans McLeish). A Doll's
House , Nick Hern Books, London,
1994
Unwin, Stephen. Ibsen's A Doll's House
(Page to Stage Study Guide) Nick
Hern Books, London, 1997
William L. Urban. "Parallels in A Doll's
House." Festschrift in Honor of Charles
Speel. Ed. by Thomas J. Sienkewicz
and James E. Betts. Monmouth
College, Monmouth, Illinois, 1997.
Merriam, Eve, After Nora Slammed the
Door: From Doll's House to Paper Doll
Lives? Merriam looks at the " Women's
Revolution" in America. World Publishing
Company, Cleveland, 1964.

External links
Wikisource has original text related to
  this article:
A Doll's House

Norwegian Wikisource has original

  text related to this article:
Et dukkehjem

Wikimedia Commons has media

 
related to A Doll's House.
Texts and other resources at the
National Library of Norway
A Doll's House at the Internet
Broadway Database
A Doll's House at the Internet off-
Broadway Database
A Doll's House at the Internet Movie
Database
A Doll’s House: A Study Guide
A Doll's House at Project Gutenberg
A Doll's House at Project Gutenberg
(alternate edition)
  A Doll's House public domain
audiobook at LibriVox
 The Social Significance of the Modern
Drama, a book by Emma Goldman,
contains a chapter on A Doll's House .
1946 Theatre Guild on the Air radio
adaptation at Internet Archive
A Doll's House review for the London
production of the play by Simon
Stephens.

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