CHAPTER 1BACKGROUND OF THE STUDY

IntroductionHenrik Ibsen’s A Doll’s House reject itself from the drama that existed in his time, the 19th century.

Unlike the works of Ibsen’s contemporaries, his characters exhibit real human emotions, conflict and struggle, a real issue to deal with and had a real interaction with each other. That being said a research was made to analyze the prevailing human behavior of the characters based also on the author’s belief and his principles. Issues concerning marriage could also be observed from the play, as it played a vital role in the progress of the play.

This study is intended for people who are inclined to the field of psychology, as well as those who are interested to study literature. Using Psychological approach, it seeks to promote deeper understanding and fuller appreciation of the literature as well as to further nurture the story for the benefit of literature. The psychological motivation of the characters and of the author himself is given priority. Statement of the Problem

A Doll’s House clearly reveals the psychological implications in the characters’ actions, reactions and emotions which can be referred from Henrik Ibsen’s principles and beliefs.

The researchers seek to answer the following questions:1. What are the psychological issues concerning the behavior of the characters that support the

development of the plot in the play A Doll’s House?2. How did an ideal marriage affect Nora’s decision in the end?3. How does the writer consider his beliefs and principle as reflected in the play?

Significance of the StudyThe study of A Doll’s House tries to explain the different behaviors concerning the characters, which

would help in distinguishing the deeper meaning of the story. It attempts to show the diverse characteristics of the characters that affect their actions, reactions and emotions to others. It would also give benefit in the field of literature, as it is a further understanding of the messages that the author would like to convey. It also tries to impart the values of equality, love and trust, as marriage plays an important part in the play. It also shows the strong influence of the ideals in the society that served as one of the main reason why a character behaves such.Scope and Limitation of the Study

The researchers aim to discover how the psychological implications affect the shifting characterization of the characters in the play, A Doll’s House and the resemblance of this play to the biography of Henrik Ibsen. This study focuses on his experiences and how those incidents prompted him to write a play with such ideas. It is concerned about how a character acts, reacts, and feels about certain issues mentioned in the play. The study also focuses on the involvement of marriage and divorce in the development of the characters, as well as the strong influence of the Victorian society regarding gender inequality.

The feminist ideas, however, are not discussed in this research. Although equality in marriage is indeed discussed, the researchers choose to focus more on the nature and behavior of the characters. Also, the analysis of other characters, such as Krogstad, Mrs. Linde and Dr. Rank, are not included in the study, since the researchers opt to focus on the two main characters, Nora and Torvald. Also, the further analysis as well as the relation of Ibsen’s other plays to A Doll’s House would not be thoroughly discussed.Definition of Terms

Dissolution. This means to come apart, as a person does during an illness.Extravagant. This means luxurious, having in excess of what is really needed.Feminism. This means the idea of having gender equity in society, with a focus on issues pertaining to women.Flat. This means an apartment.Indiscrete. This means not keeping a sensitive or delicate matter private.IOU. This means “I owe you,” a written document acknowledging a debt.Lament. This means to express sorrow about a bad choice or bad circumstance.Lark. This is a bird known for its melodious song, and it is one of the Nora’s nicknames given by her husband, Torvald.

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Macaroon. This is a chewy, sweet cookie made with egg whites and sugar.Moral/Philosophical Approach. This is used for works which do present obvious moral philosophy. It is useful when considering the themes of works. It does not view literature merely as art isolated from all moral implications; it recognizes that literature can affect readers, whether subtly or directly, and that the message of a work is important.Patronizing. This means condescending, expressing the idea that someone is lower than oneself.Psychological Approach. Used for works in which characters obviously have psychological issues. Like the biographical approach, knowing something about a writer's psychological makeup can give us insight into his work. Psychological critics view works through the lens of psychology. They look either at the psycho motivations of the characters or of the author themselves.Psychology. This is the study of mental life, which is the systematic investigation of the mind, including behavior, cognition, and affect.Sixpence. This means a small coin worth six old pennies.

CHAPTER IIREVIEW OF RELATED LITERATURE

This chapter discusses the topics related to the present study. Victorian Era

According to Ilana Miller, “the Victorian era is generally agreed to stretch through the reign of Queen Victoria, from 1837-1901. It was a tremendously exciting period when many artistic styles, literary schools, as well as, social, political and religious movements flourished. It was a time of prosperity, broad imperial expansion, and great political reform. It was also a time, which today we associate with "prudishness" and "repression". It was an extraordinarily complex age, without a doubt, that has sometimes been called the Second English Renaissance. It is, however, also the beginning of Modern Times.” (http://www.victoriaspast.com/FrontPorch/victorianera.htm) The information on the Victorian era is essential to the study of A Doll’s House since the story happened during that time. Also, the author, Henrik Ibsen, lived on that era.

Women’s role during the era. Although women during these times were seen as pure and clean, they were deprived of their rights as they are only expected to stay at the household, giving children and tending the household, according to the information from http://en.wikipedia.org/wiki/ Women_in_the_Victorian_era. In the household, women were seen as merely “properties” of their husbands. Married women could not enjoy their earned profits or any of their possessions, since they would be accredited to their husband. One of the roles of women back then was being generals of the household, wherein they have to ensure that the

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family experiences happiness and comfort, in order to have a respectable household. They also had to ensure that their servants are reliable, and they had to be the “nurse” who takes care of the ill family members. In the earlier part of the era, upper class and middle class girls were educated mainly just for drawing, painting, dancing, singing, etc. As for the jobs of women in the earlier times of the Victorian era, nursing became the most respectable job for women. In the later part, however, women were increasingly employed in offices and also worked as typists. In addition to being able to sing, play an instrument and speak a little French or Italian, the qualities a young Victorian gentlewoman needed, were to be innocent, virtuous, biddable, dutiful and be ignorant of intellectual opinion. Whether married or single all Victorian women were expected to be weak and helpless, a fragile delicate flower incapable of making decisions beyond selecting the menu and ensuring her many children were taught moral values.  A gentlewoman ensured that the home was a place of comfort for her husband and family from the stresses of Industrial Britain (http://www.fashion-era.com/a_womans_place.htm).Victorian masculinity. As mentioned by Ilana Miller, religious movements flourished back then (http://www.victoriaspast.com/FrontPorch/ victorianera.htm). During the first half of the 19 th

century, Victorian men were expected to be faithful believers. The Christian religion defined the status of the man within his home in terms of patriarchy. Colossians 3:18-19 states that, "Wives, submit yourselves to your own husband, as it is fit in the Lord.Husbands, love your wives and be not bitter against them.Children, obey your parents in all things, for this is well onto pleasing the Lord." This proves that the Victorian men were influenced by the religion, as they believe that they are superior to women. “Man was the head of the household, but his duty was not only to rule, but also to protect those whom he viewed as weak -- his wife and their children.” It was also stated that work was crucial in order to achieve a fully masculine status, so men believe that they fulfill their duty as breadwinners of the family if they work to provide for the family (http://en.wikipedia.org/wiki/Victorian_masculinity).Divorce laws. Different laws were passed during the 19th century, especially regarding the situation in women, in particular about marriage laws and legal status of women. Before some laws about changes were passed, the situation that fathers always received custody of their children, leaving the mother entirely without any rights. The Custody of Infants Act in 1839 gave mothers of unblemished qualities admittance to their children in the event of separation or divorce, and the Matrimonial Causes Act in 1857 gave women limited access to divorce. But while the husband only had to prove his wife's infidelity, a woman had to verify her husband had not only committed adultery but also incest, bigamy, cruelty or neglect. In 1873 the Custody of Infants Act extended access to children to all women in the event of separation or divorce. In 1878, after an amendment to the Matrimonial Causes Act, women could secure a separation on the grounds of cruelty and claim custody of their children. Magistrates even authorized protection orders to wives whose husbands have been convicted of aggravated assault. An important change was caused by an amendment to the Married Women's Property Act in 1884 that made a woman no longer a 'chattel' but an independent and separate person. Through the Guardianship of Infants Act in 1886 women could be made the sole guardian of their children if their husband died (http://en.wikipedia.org/wiki/Women_in_the_Victorian_era).

Freud’s Super-ego Psychoanalytic TheoryThe super-ego is the Freudian structure of personality that is the moral branch of personality. It

takes into account whether something is right or wrong. The Super-ego works in contradiction to the id which is based on pleasure principles-- in other words, the id wants whatever feels good at the time, with no consideration for the reality of the situation.. Moreover, it acts as conscience and strives to act in a socially appropriate manner, whereas the id just wants instant self-gratification. The Super-ego controls our sense of right and wrong and guilt. It helps us fit into society by getting us to act in socially acceptable ways (http://en.wikipedia .org/wiki/Id,_ego,_and_super-ego#Super-ego).Other Theories on Psychology

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Other theories on psychology includes humanistic theories and personality theories These theories would further justify the reasons behind the actions of the characters and the factors that affect the character’s reactions to real situations in their lives.

Humanistic theories. According to Erwin Segal, humanistic psychology is a growth psychology with the goal of finding ways for the person to achieve full potential. It wanted to emphasize what it means to be human, to go beyond lack of stress and into positive health and achievement (http://www.cas.buffalo.edu/classes/psy/segal/4212001/Humanistic.html). As pointed out by Kendra Van Wagner, Humanistic Psychology stressed the importance of free will and self-determination. It focused on each individual’s potential and stressed the importance of growth and self-actualization. The fundamental belief of humanistic psychology was that people are innately good, with mental and social problems resulting from deviations from this natural tendency (http://psychology.about.com/od/historyofpsychology/a/hist_humanistic.htm).

Self theory or self-actualization theory. Self-actualization is an innate tendency toward growth that motivates all human behavior. Personality shaped partly by self-actualization tendencies and partly by others' evaluations as stated in http://maxpages.com/carlrogers. It suggests that personality development is guided by each person’s unique self-actualization tendency. Rogers’ self- actualization tendency refers to an inborn tendency for one to develop own capacities in ways that best obtain and benefit own life. Self-actualization tendency relates to biological functions, such as meeting one’s basic need for food, water and oxygen, as well as psychological functions, such as expanding one’s experiences, encouraging personal growth, and becoming self sufficient (Plotnik 444).Ideal self. Ideal self, according to Rogers, is based on one’s hopes and wishes and reflects how we would like to see own self (Plotnik 444).Real self. Real self, according to Rogers, is based on one’s actual experiences and represents how one really sees oneself (Plotnik 444).

Personality theories. Personality psychology studies personality and individual differences. One emphasis in this area is to construct a coherent picture of a person and his or her major psychological processes. Another emphasis views personality as the study of individual differences, in other words, how people differ from each other. A third area of emphasis examines human nature and how all people are similar to one other. These three viewpoints merge together in the study of personality according to the information from http://www.mood.ws/Personality_psychology/encyclopedia.htm.

Trait theories. According to Kendra Van Wagner, trait theories. View personality as the result of internal characteristics that are genetically based (http://psychology.about.com/mbiopage.htm).Determinants of personality. Various factors affects personality. Classes of determinants are distinguished as constitutional, group-membership and role.

Constitutional determinant. According to Henry A. Murray and Clyde Kluckhohn, traits are not inherited in any simple sense. Trait is the product of a long series of complex interactions between biologically-inherited potentialities and environmental forces. Different genetic structures may carry with them varying potentialities for learning, for reaction time, for energy level, for frustration tolerance. Different people appear to have different biological rhythms: of growth, of menstrual cycle, of activity, of depression and exaltation. The various biologically inherited malfunctions certainly have implications for personality development, though there are wide variations among those who share the same physical handicap (http://www.panarchy.org/kluckhohn/personality.1953.html)Group membership determinant. “Culture determines" is a highly abstract way of speaking. What one actually observes is the interaction of people. One never sees "culture" any more than one sees "gravity." But "culture" is a very convenient construct which helps in understanding certain regularities in human

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events. Those who have be trained in childhood along traditional lines, and even those who have as adults adopted some new design for living, will be apt to behave predictably in many contexts because of a prevailing tendency to conform to group standards. Culture determines only what an individual learns as a member of a group - not so much what he learns as a private individual and as a member of a particular family. Individual personality is never directly affected by the group as a physical totality. Rather, his personality is modified by the particular members of the group with whom he has personal contact and by his conceptions of the group as a whole. Concretely, not the group but group agents with their own peculiar traits determine personality formation. Of these group agents, the most important are the parents and other members of the individual's family (http://www.panarchy.org/kluckhohn/personality.1953.html)Role determinants. As mentioned by Henry A. Murray and Clyde Kluckhohn, culture defines how the different functions, or roles, necessary to group life are to be performed - such roles, for example, as those assigned on the basis of sex and age, or on the basis of membership in a caste, class, or occupational group. In a sense, the role determinants of personality are a special class of group-membership determinants; they apply to strata that cross-cut most kinds of group membership. The long-continued playing of a distinctive role, however, appears to be so potent in differentiating personalities within a group that it is useful to treat these determinants separately. Etymologically and historically, personality is the character that is manifested in public. From one point of view, this constitutes a disguise. Public personality shields the private personality from the curious and censorious world (http://www.panarchy.org/kluckhohn/personality.1953.html)

Responsibilities in MarriageMarriage is a sacred institution established by God for the primary purpose of bringing Him

glory.  Its main purpose is not, as some think, to procreate, or to have companionship, or to fulfill sexual needs.  Its primary purpose is to bring glory and honor to God.  It is only in marriage that we are able to carry out the commission of God to replenish the earth and to subdue it.  This commission by God can only be properly accomplished in marriage when the husband and wife are faithful, covenantal relationship purpose to glorify God by having children, raising them in a godly fashion, and sending them out into the world having trained them in the ways of the Lord (http://www.carm.org/devotions/marriage.htm). 

Unfortunately, every marriage is going to experience some serious challenges and difficulties like with what happened to Nora and Torvald in the latter part play. One of the primary reasons for the break-up of so many marriages today is the failure of men and women to understand and apply the specific roles and responsibilities God has given to them. Both man and woman carry the bulk of responsibility equally on their shoulders (http://www.carm.org/devotions/marriage.htm).

Husband’s responsibility in marriage. Husbands are the "head of the wife" and as the ruler of the marriage, he must bear chief responsibility for the failure of it. First, the husband is to love his wife above all other human beings. They should be considerate and tender. This means that she is to be treated with gentleness and affection. This would mean that since love must be fed, there is to be a warm demonstrative love relationship. The husband has the responsibility of not only demonstrating his love and concern, but telling her. He should not sit in such self-absorption that he does not talk with her and communicate with her socially, mentally, verbally and physically. The husband should demonstrate his love for his wife in other ways, rather than just at the time of sexual relationship. If this is the only time that affection and consideration is shown, then a wife will get the idea that all a husband is interested in is her body and that she is merely a sex object. Second, the husband is to honor his wife. Honor means that he should show her respect and this involves courtesy, consideration and emotional support. Third, marriage is a financial venture and the husband has a responsibility to finance or support or provide for his family. This is talking about money. As a husband, your earnings are not your

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own but belong to your wife as well and your children. Therefore, the Christian father should set an example for his family as he earns a living, directs the household with concern for each member, and as he fulfills his role as head of the house. He should see to their spiritual development by the life he lives and the direction in which he leads his family (http://www.bible.ca/f-husbands-responsibility.htm).Wife’s responsibility in marriage. The wife’s role in marriage is just simple. First, she is to honour her husband. Too often this is equated by men to believe it is only a sexual relationship and in the mind of some women, that is all they think they are good for. To love your husband means that you are a partner with him, working together toward a common goal. Then you can be appreciative of his actions, efforts and work in supporting the family. You will do all that you possibly can to see that they are comfortable and happy when they come home. Second is to love her children. Men provide for the family financially, mothers stay home and rear the children. This might often be considered a thankless job. Sometimes, children can become exasperating, but remember, they are children who are still developing and learning. They need that sober guiding hand of the mature mother who lets them know that they are the objects of her love and concern. Last is to be obedient to her husband. This obedience does not mean that she is a slave or an indentured servant, but rather that she is sharing a mutual goal. The harshness of the word obedient is tempered by the display of love and affection that the husband shows his wife (http://www.bible.ca/f-wifes-responsibility.htm).

DivorceThe research about divorce is vital to the study since it would justify the factors that lead to

Nora’s decision to part from her husband.Potential causes. According to http://www.smithgarglaw.com/articles-0207divorcecauses.html, there are many factors that compel an individual or couple to decide to permanently dissolve their marriage. In most cases, the causes of divorce are complex and are specific to a couple's relationship, their problems, and their own life experiences.

Pseudo and blind trust. According to By Peter K. Gerlach, pseudo trust is declaring or acting like one trust the other partner, but other actions imply contradictory. A widespread false-self wound is reality distortion, like denials, repressions, “forgetting,” intellectual-izing, rationalizing, idealizing, projecting, and so on. Pseudo trust results from some subselves trying valiantly to protect one from the pain of facing that (a) one don’t or can’t trust someone he/she want to depend on, or (b) one is unable to trust in a balanced, healthy way (http://sfhelp.org/Rx/wounds/distrust.htm).Control. Controlling a partner without caring about their feelings or needs is destructive in a relationship. When controlling causes psychological or physical harm, it may be an abuse. One who is being controlled feels uncomfortable and manipulated (http://sfhelp.org/Rx/ex/control.htm).

Potential effects. According to by Kathleen O'Connell Corcoran, typical impacts of divorce could be gradual shifting from marital and family hope and optimism to pessimism and possible despair. The decision to end a relationship can be traumatic, chaotic, and filled with contradictory emotions, resentments among adults and kids, including concerned relatives and key friends. Unresolved guilt may lower self-respect and hinder grieving, co-parental teamwork, and (c) forming new bonds. It also creates psychological wounding of minor children, possibly slowing or blocking their normal development; and creating a group of difficult adjustment needs which they don't understand, and need informed adult help to fill (http://www.mediate.com/articles/psych.cfm).

Hernik IbsenHenrik Ibsen is a Norwegian playwright who stands as one of the giants of modern drama. He

had helped in bringing about a revolutionary change in playwriting in the last quarter of the nineteenth century, with his play, A Doll’s House, so information about his life is vital for the literary study. Also, the happenings in his life would be needed so that the researchers could connect his real-life experiences to the play (Judine 265).

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Ibsen’s beliefs and principles. Comparing to the plays in the era wherein the themes are romantic and artificial which showed little resemblance to life as people back then knew, with Ibsen, the drama became a serious and realistic presentation of the psychological as well as social problems of the ordinary people and the effect of their environment to them. Ibsen criticized the hypocrisy of social conventions and the selfishness and complacency of people through audacious plays. This shocked many people, that his works could not be produced in England or America. As a craftsman, Ibsen raised playwriting to a new level of artistic achievement. As Ibsen said himself: “What I wanted to do was to depict human beings, human emotions, and human destinies upon a groundwork of certain social conditions (Judine 265).Ibsen’s other plays. Some of his famous plays include Hedda Gabler, The Master Builder, and Ghosts.

Hedda Gabler. The play centers around Hedda, the famous daughter of General Gabler, married George Tesman out of desperation. She however found life with him to be dull and wearisome. During their honeymoon, her husband spent most of his time in libraries doing research in history for a book that is soon to be published. He is hoping to receive a position in the university. Meanwhile, an old friend of Hedda’s comes to visit her and tells her of Eilert Lövborg. Lövborg is an old friend of the two women and has also written a book on history that is highly respected. In the past, however, he was an alcoholic; so now he has quit drinking and has devoted himself to serious work. His new book has all the imagination and spirit that is missing in Tesman’s book. Hedda’s friend, Thea Elvsted, tells how she has helped Eilert stop drinking and begin constructive work. Later at a visit, Lövborg is offered a drink. He refuses and Hedda, jealous over the influence that Thea has on Lövborg, lured him into taking a drink. He then goes to a party where he loses his manuscript. When George Tesman returns home with Lövborg’s manuscript, Hedda burns it because she is jealous of it. Later, Lövborg comes to her and confesses how he has failed in his life. Hedda talks him into committing suicide by shooting himself in the temple. Lövborg does commit suicide later, but it is through a wound in the stomach. George then begins to reconstruct Lövborg’s manuscript with the help of notes provided by Thea Elvsted. Suddenly, Hedda leaves the room, takes her pistols, and ends the play by committing suicide (http://www.cliffsnotes.com/WileyCDA/LitNote/Hedda-Gabler-About-the-Play-A-Brief-Synopsis.id-86,pageNum-4.html).The Master Builder. The Master Builder is about the career and personal relationships of Halvard Solness, a man who has not let anything stand in the way of his rampant ambition, even setting aside having a private life with his wife, Aline. As he struggles with the destructive consequences of his monomaniacal pursuit and his growing fear that he has lost his creative powers, a mysterious young woman appears. She will help Solness gain a glimpse of his former robust self as she leads him to his tragic fate. In The Master Builder, Ibsen shows an intriguing interpretation of one man’s consuming desire for success (http://www.enotes.com/ master-builder/).Ghosts. The story is about a woman, Mrs. Alving, who is preparing for the opening of an orphanage in memory of her husband, Captain Alving, on the tenth anniversary of his death. The captain was an important and respected man in his society, and Mrs. Alving plans to raise this immense memorial to him so that she will not have to ever again speak of him. She wants to avoid the terrible truth: that he was a cheating, immoral philanderer whose public reputation was a sham. Their son Oswald has come home from Paris with the news that he is dying of syphilis, which he contracted in the womb, and planning to marry the family’s maid. He hopes that she can nurse him as his illness progresses, and Mrs. Alving has to tell him that the maid is actually Captain Alving’s illegitimate daughter. Henrik Ibsen’s Ghosts surprises modern audiences with some of the issues that it discusses, including out-of-wedlock children, venereal disease, incest, infidelity, and euthanasia (http://www.enotes.com/ghosts).

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Laura Kieler. Laura Smith Petersen - her later married name was Kieler - had had a novel published in 1869. The following year she got to know Ibsen and the two of them became friends. She visited him in Dresden in 1871 and five years later - with her husband Victor Kieler - in Munich. In 1876 Victor Kieler developed tuberculosis and his doctor advised a stay in a more southerly climate. Unknown to her husband, Laura Kieler borrowed money to finance this, but gradually got into such trouble with her creditors that she committed forgery in order to get hold of some money. The affair ended in tragedy as the forgery was revealed, her husband demanded a divorce, her children were taken away from her, and the strain on her nerves led to her being committed to a mental hospital for a time. Ibsen knew about all this when he was working on A Doll`s House (http://ibsen.net/index.gan?id=472&subid=0).

Kinds of LoveLove is defined as an emotion related to a strong sense of affection and connection. It is a

variety of feelings, states and attitudes ranging from generic pleasure to strong attraction. Love in its various forms such as Storge, Eros, Ludus and Pragma acts as a major facilitator of interpersonal relationships and, owing to its central psychological importance, is one of the most common themes in the creative arts. In the play A Doll’s House, one of the few reasons why the characters’ relationship with each other was growing and alive was love. Without love a relationship would probably not even begin.

Storge. Storge refers to familial love. It is the warm affection that parents have toward their children. It is about family affection between family members. Also, when love is based on Storge, getting to know someone comes before having intense feelings for that person. Love based on Storge takes time, it requires genuine liking and understanding of a partner, and it develops slowly over time. It is often compared to the love that one has for a friend. In fact, people who experience love as Storge often fall in love with their friends. Storgic lovers place much importance on commitment, and find their motivation to avoid committing infidelity to preserve the trust between the partners (http://www.suite101. com/blog/ briantubbs/the_four_kinds_of_love). Eros. Eros is the desire to draw out all that is good, beautiful and true. It is motivated by need. Love based on Eros has a strong sexual and emotional component. People who experience love this way want to be emotionally and physically close to their romantic partners and they tend to idealize love. Such love is marked by passion as well as compassion. It is best viewed as romantic, passionate love - the type of love that creates excitement at the beginning of a new relationship (http://psychology.suite101.com/article.cfm/6_styles_of_love).Ludus. Some people experience love as a game to be played with other people’s emotions. The goal or desire is to gain control over a partner through manipulation. People who experience love as Ludus like to have multiple love interests where they are in complete control. Ludus lovers are addicted to the excitement of forming a romantic relationship, and aren’t as enthralled by building a healthy long-lasting relationship. Lying, cheating and deception are common for people who experience love as Ludus. A ludus lover’s approach to a healthy romantic relationship involves the thrill of the chase and the thrill of new romance, not the work of building a long-term commitment (http://www.psychologytoday.com/articles/pto-19930301-000029.html). Pragma. Pragma love is the form of love based on practical reasons. Such lovers are rational and practical – and so is their approach to romance and healthy relationships. This type of lover decides to love someone who best fits their requirements and meets their needs. Pragma lovers assess potential partners for appropriate education levels, professions, income, social status, common interests, parent potential, and material possessions. A pragma lover’s approach to a healthy romantic relationship doesn’t focus on the emotional aspects of love (http://psychology.suite101.com/article.cfm/6_styles _of_love).

SynthesisThe abovementioned information guide the researchers in providing the answers to the questions

raised about the play and it shall be the basis of the study in proving that the actions, reactions and emotions in

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the play contribute to the psychological implications of the main characters. Furthermore, the beliefs and principles of the author enable the researchers to have a more in-depth study of the play.

CHAPTER IIIMETHODOLOGY

This chapter discusses the methods of research, as well as the approaches to literary criticism used by the researchers in the analysis and interpretation of the play, A Doll’s House. The procedures and instruments used to support the content of this literary paper will also be tackled in this chapter.Research Method

In this literary paper, the researchers conducted a descriptive method of research on the play, A Doll’s House, to describe the different characteristics and behavior that the characters show. Since the research focused about the existing literary material, content analysis which is under the descriptive research is applied to analyze further the literary piece.Approaches to Literary Criticism

The psychological and moral approach were also used as a guide for the researchers to have a more comprehensive and extensive study of the play. Psychological implications could be noted from the behaviors

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of the characters, so the psychological approach was used. Also, it was noted that the behavior shown by the characters proves some instances in questioning about their morality. Procedure

The researchers decided to analyze the play, A Doll's House since during the Victorian era, it was one of the most controversial plays that gave way for more modern themes in literature. Based from research, it was one of the literary pieces that opened the eyes of people regarding the hypocrisy in the society.

Different methods and procedures were used by the researchers to have a more thorough study about the play, A Doll’s House. First, the connection of the Gender Inequality in the Victorian Era with the story will be discussed, relating the beliefs of a typical Victorian couple back then. The beliefs and principles of the author, Henrik Ibsen, will also be examined. Second, an in-depth study on the behavior and principles of the main characters will be done by the researchers. Through their present data and information, the researchers would interpret how the actions, reactions and emotions affect their behavior all throughout the play. Then, the psychological implications as well as the moral beliefs of the characters would be discussed. Instruments Used

The researchers chose sources based on the suitability to the story, and its convenience to the study. To back up the analysis about the psychological implications of the characters in the play, psychology books, articles, websites and other related resources to behavior were used by the researchers. Resources concerning marriage and divorce were also utilized to examine the behavior of the main characters. Other factors that contributed to the development, such as themes of realism, were given focus as those also played vital role in the play. The biography of the author, Henrik Ibsen, was also necessary for the study because it implicates the relation of the play to his real-life experiences.

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CHAPTER IVPRESENTATION, ANALYSIS AND INTERPRETATION OF DATA

This chapter presents, analyzes and interprets the data for the present study.Psychological Issues Concerning the Behavior of the Main Characters

The characters from Henrik Ibsen’s, A Doll’s House, exhibited real human emotions, actions and interactions based from their interactions with the other characters in the play. The shifting characterizations of the characters, particularly Nora Helmer, Torvald Helmer, and Nils Krogstad, all throughout the play signifies that the different behavior they showed were the effect of their corresponding psychological issues. The play took place at the Victorian era, where gender inequality was apparent as women were deprived of their rights. The prevailing culture regarding the belief that men were superior to women was observed in the play, as seen from the treatment of Torvald to his wife Nora.

Nora, the main protagonist in the play, was portrayed first as a merry, naive and spendthrift wife of Torvald. In the early parts of the play, she always seemed excited whenever her husband gives her money which she would seemingly spend on some material things. Also, she even doesn’t seem to mind that Torvald was calling her pet names such as skylark, squirrel and songbird, and sometimes, she refers to herself as one of those pet names whenever she interacts with her husband. Although she is old enough to have three children, she still shows her childish behavior especially in the early parts of Act 1. Because she was seen as an ignorant being particularly by her husband, she lacked the freedom to show her true potential as a human being. The possible reason why she could tolerate her husband’s treatment was because not only did Torvald treat her like a doll, but also her father. Another probable reason was because she was contented to know that her husband loves and cares about her, with Torvald promising that he would save her from trouble. In return to his love, she would act as what he expected her to be, which is to be an innocent wife that he likes to tease around. All seemed to be well, until Christine Linde came to visit her. Through their sharing of experiences Nora revealed that she had saved the life of her husband by loaning a big amount of money. Nora expected that her husband would be furious when he finds out about the deal since it was Torvald who wanted to save her from harm, and not the other way around. She also knows that it would destroy his pride, so she did everything she could so as Torvald would not find out about the bond. Nevertheless, in the end, Torvald discovered the deal. When Torvald unleashed his great anger of Nora’s “immoral” doings, which is lending money without him knowing it, Nora realized that her husband doesn’t really love her, and only looks at her as a child-wife. Even though afterwards Torvald decided to forgive her, Nora thinks that all he said about her being a hypocrite, liar and a criminal could not be taken back. He still treated her as if she’s a doll, and not his wife.

Nora’s behavior in the play could be explained through different psychological theories such as the Super-ego Psychoanalytic theory, Humanistic theory and Personality theory. Nora’s decisions could be justified through the Super-ego Psychoanalytic theory since it discusses about the conscience playing a role in decision-making. Nora’s other psychological implications could also be validated through the other theories on psychology. The constitutional determinant applies to Nora’s behavior since her decisions in the end resulted from all of her experiences in the play. With Torvald’s treatment

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to her, as well as her interactions with Krogstad, she was awakened in the end and decided to leave his husband. The issue on gender inequality was also evident in the play since it happened in the Victorian era. Women, especially married ones, were expected to stay at home. Married women were only seen as properties to the ones they’re married with, and they could not have their own possessions since they are accredited to their husbands. Women back then were also good in the fields of artistry such as dancing and singing. Nora entertains Torvald in the play by dancing and wearing fancy clothing. To summarize all of these, Victorian women, like Nora, were expected to be submissive to their husbands.

Nora has two depictions in the play: one is seemingly naïve and childish, while the other is clever and mature. These two characterizations may be classified as real self and ideal self, which are under the Humanistic theory. Real self, which is based on one’s actual experiences and represents how one really sees oneself, may be seen as Nora’s naïve side. The treatment of Nora as a doll started with her father, until she grew up and then became Torvald’s wife. She has gotten used to being treated as a doll so it may be her real self. Ideal self, which is based on one’s hopes and wishes and reflects how one would like to see own self, on the other hand may be seen as her mature side. When she figured out that Torvald never really loved her as she loved him, she was determined to get out of her dollhouse and wanted to be free. According to Nora, she and Torvald could only be together again if both of them would change, but Nora thinks that would only happen in a “miracle of miracles.” Nora herself believe that perhaps it was too late for her to change—the change being the ability to accept and love Torvald again—since Torvald has already done great damage to her feelings. Deep within Nora, she wanted to change for love, but this willingness to change was blinded by the thought that Torvald never really loved or cared about her. Her behavior in the end points out that Nora wanted to experience freedom, which could be further explained by the Self-actualization theory. Nora, having experienced being treated as a doll in her entire life, desires to have independence in her life. It was also hinted in the early part of the play that Nora would soon disobey Torvald, which could be seen when she secretly ate macaroons even if her husband told her not to eat those sweet things again. Her will to be independent was further strengthen when she was secretly pays her debts to Krogstad. She was able to gain money by deceiving Torvald that she wanted to buy something for some special occasion. She completely tricks Torvald since he thought that she was using all of the money he had given her in buying all the extravagant things she wants. He didn’t know that most of the money she gets was used to pay her debt little by little. While Nora pays for her debt behind her husband’s back, it could also be said that Nora’s real self is her mature side, since her immaturity only served as a mask to deceive Torvald. Her ideal self may also be portrayed as naïve side, since she wanted to be the best wife for Torvald because she loves him. In addition, the society in the Victorian era had an effect on the characters. Since gender inequality was evident, and was a quite accepted culture back then. The group membership determinant and role determinant further defends since it was shown that Nora accepted the culture back then, only staying at home and being with the children. In the play, some instances showed that Nora questions the view on morality in the society. When Krogstad said that it was illegal to forge a signature for loans, Nora asks what was immoral of a woman caring for her father and her husband. She was only concerned of her father, who was sick that time, for he might be more worried and depressed of all the happening on the life of his daughter. She too showed concern for her husband Torvald so he may be cured of his sickness; however, the price for this was high. She needed a big amount of money to pay for the traveling expenses to Italy, where Torvald could regain his health. Her behavior does not reflect a typical Victorian woman who accepts whatever the society thinks what is right. She openly admits to Krogstad her views on the laws of the society, which she thinks are foolish. She also shows instances wherein she reflects on her own morality. She has implied that she has thought of committing suicide when Krogstad discussed their deal. In Act II, when Krogstad came to visit Nora, he mentioned that she should give up the idea of doing something worse that running away from home, which could mean commiting suicide. Nora was surprised that Krogstad knew that, but she said that she doesn’t have enough courage to execute the act. However, when Krogstad said that he would be managing the bank when he spills of their bond, Nora said that she has the courage to do that. When Dr. Rank also revealed that he would be dying soon, she said that she wants to “sleep well” too. In addition, at the start of Act II, it was evident that she was becoming paranoid, though in

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denial, thinking that Krogstad might send the letter regarding Nora’s loan since she wasn’t able to convince Torvald not to fire Krogstad from his position in the bank. Though she appears quite optimistic that Krogstad wouldn’t spill the details about their bond, it appears that she really was bothered by her current situation. Nora’s decision in the end to leave the children to her husband shows hints of her morality as well. If she does not leave the household, the children would be more affected with the relationship of their parents. She may probably think of the future of their children, since a broken family would be more tolerable for their children than having two parents who does not love each other entirely. Also, as depicted in the play, Nora was most likely knows that Torvald and her father’s ways of treating her as a doll influenced her as well. In one part of the play, she treats her children as dolls too. She thinks that leaving may be the best option in the situation.

The next character which also showed psychological issues is Torvald Helmer. First of all, it could be perceived that Torvald was a very successful businessman in the era. He manages a bank and it shows that he earned his success. He couldn’t have done that if he weren’t a hard-working and a professional man in his field. However, what he lacks is the knowledge on socializing. This has also affected his relationship with her wife since though he appears as a loving and mindful husband who would do anything for his wife; he clearly cares more about the society’s view on him rather than his wife. It seems like he was very concerned about his wife, like for instance, his constant reminder to Nora not to eat sweets. He likes to call his wife certain nicknames, which would at first be thought to be sweet. However, as the play continues, it was revealed that Torvald was more of a self-centered man rather than a family man.

Back then, men were just like Torvald, since in the Victorian era men dominated women. Men were the head of the household, but their duty was to protect those whom he viewed as weak, such as their wives and their children. Torvald believes that it is his duty to protect his wife, Nora, and he promises her that he would. In the Victorian era, it was also stated that work was crucial in order to achieve a fully masculine status. Torvald showed that he has the determination to be a full Victorian man by being successful in his job as a manager. Torvald does what was expected of him as a man in the era.

In the play, it could be observed that Torvald doesn’t have any vital inner self which he is aware of: He thinks of himself in the eyes of other people, and not through his own point of view. He only thinks of others when it concerns of his own social status. This could be further justified with the reasons why he wanted Krogstad out of the position. He does not care about past connections, character and even the abilities of the people around him—all he cares is that whenever Krogstad converses with him, it was embarrassing to his part. He only does what his society expects of him, which is the reason why he only seems to care about his social position. To Nora, Torvald told her that he would do anything for her, though he did not want to grant Nora’s request of not firing Krogstad. It depicts that he clearly cares for himself rather than Nora. What further justifies his self-centeredness was the real reason why he wanted Krogstad out of the job—he wanted to protect his image. Torvald’s ideal self is a successful Victorian man and a perfect husband with a perfect wife. He wanted to be accepted in the society so he does everything he could to improve his social status. Though he seems to love his wife, Nora was portrayed as more of his property rather than his wife. His view on morality is based on the rules of the society, that one must scrupulously follow those standards. For him, all those who break the rules are automatically immoral, regardless of the reasons behind their doings. With these reasons, Torvald doesn’t have a sympathetic understanding about people unless they are important in the development of his social status. For instance, when Nora told Torvald that Mrs. Linde needs a job, he only treats her casually since she is irrelevant to Torvald’s status. The same goes for Dr. Rank. Their relationship doesn’t have a complex understanding, and Torvald may only befriended him since his “friendship” with the doctor serves as an important asset in the development of his social status. Torvald even mentions in the play that death is not a beautiful thing, so in his part, it could mean that their relationship is meaningless with sickness or death, which happens to Dr. Rank.

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Factors that Led to and the Consequences of Nora’s Decision in the EndMarriage is a sacred institution established by God for the primary purpose of bringing Him

glory. To strengthen this bond, every marriage will run through challenges and difficulties. If the foundation of marriage is weak, it will fall apart like with what become of Helmer’s marriage in the latter part play.  In the play, factors that caused Helmer’s marriage to collapse were mainly irresponsibility, psychological wound, distrust, control, and social lie and duty.

God gave specific roles and responsibilities to both husband and wife. Failure to act upon these responsibilities may result a marriage to end.

The first responsibility of Torvald is to love Nora. His love could be categorized as Ludus, not because he was a cheater nor he is thrilled to have multiple love interests, but because his love was manipulative in nature.

Honoring his wife is the second responsibility. Torvald failed to perform his second obligation, given that he views Nora only as his doll-wife. He never listened to her feelings and needs, which helped Nora build the foundation she needed to express herself in the future. He treats Nora like a child in both personal and financial matters. Torvald says, "Remarkably lovely, isn't she? And that's what

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everybody at the dance thought, too. But this sweet little thing's dreadfully obstinate. What are we to do with her? You'd hardly believe it, but I practically had to use force to get her away." He disregards Nora's feelings and considers Nora as his plaything.

The third responsibility was to finance or to provide for his family. As a husband, his earnings are not his only but belong to his wife as well and his children. This Torvald was able to fulfill. He was able to provide his family their material and physiological needs.

Wives’ first responsibility is to honour her husband. Nevertheless Nora has gone beyond honouring her husband. Indeed, she worships her husband. She believes everything Torvald says and is confident that if ever she would be in jeopardy, Torvald would fulfil the 'miracle.' However, she claims that she would rather kill herself than have him take the blame for her act.

Second is to love her children. Nora loves her children. However, she was forced to leave them for good, though it was excruciating. She knew that she may only corrupt them. She also wishes not to deprive them from their needs.

Last is to be obedient to her husband. This obedience should invoke that she is sharing a mutual goal with her partner. However, Nora has always been submissive over Torvald to the extent that she abandoned her real self. Her purpose in life is to be happy for her husband's and children's sake. Torvald did not give Nora an opportunity to share a goal with him.

Another reason why marriages end was previously stated. According to studies, marriage falls apart when one or both mates are psychologically wounded from childhood deprivations, and they are not aware of this. They also wish to discover it themselves. In the play A Doll's House, Nora was psychologically deprived since her childhood. She was her father’s doll-child. This did not much change with Torvald who view her as his doll-wife. Nora had always blocked her thoughts to carry out these men’s expectation.

In addition, marriage collapses if the couple fails to trust each other. Neither Torvald nor Nora trusts each other. Nora deceives Torvald about the loan, even lying to him about trivial matters such as eating sweets. Torvald in return deceives Nora and himself when he claims that he would take upon himself any burden that would fell upon Nora. In Act I, Torvald express his distrust towards Nora saying that he does not trust his "little spendthrift" with money. He also tells her later that "… you can't be allowed to bring up the children; I don't dare trust you with them…" Furthermore, distrust is brought about by abrupt traumatic discoveries. When Nora discovered Torvald's true nature, she was taken back. She no longer believes the love Torvald was offering her.

Ibsen revealed the social lie and duty that is the domineering expectations of marriage and the interactions of two people unknowingly pretending to be in love.

Torvald during his time was the ideal husband. He clearly performs his task of authority over his family. He says to Nora as though she belongs to him saying, "My little song-bird must never do that again. A song-bird must have a clean beak to chirp with - no false notes!" Torvald manipulates Nora into believing that she is dependent on him, for he always butts in all aspects regarding to her personal choice. Nora mentions in the play, while preparing for the dance, "Oh, it's absolutely necessary, Torvald, but I can't get anywhere without your help. I've forgotten the whole thing completely."

At the same time, Nora, all throughout the marriage was the perfect and ideal image of a wife, thought was not who she wanted to be. Following the rules set by the society, she said to Torvald, "I should not think of going against your wishes." This aligns with the stereotype that women should obey their husbands. She was willing to do anything Torvald wishes.

They act in the way the society perceives is correct and moral. They have been sharing an ideal marriage in eight years, but it was not a "real" marriage.

Their marriage has been merely play-acting. They accept the roles they felt they had to take. Nora said to Torvald, "But our home has been nothing but a playroom. I have been your doll-wife, just as at home I was papa's doll-child." Before, their bogus happiness was enough for her, yet she realized that something is missing. Nora's love for Torvald was based on ideas she had about her husband and their marriage. She believed that when she was in her greatest hour of need, Torvald would come to her rescue at any expense. Unfortunately for her, it did not happen.

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On the other hand, Torvald was blinded by the desire to become successful. He works harder at his job not solely to support his family and live more comfortably, but to become what the society demands from him. Every man struggles for more power in a hierarchal system, and it is expected of him to maintain a powerful and respected position in society.

Nora went through the painful process of discovering that they are not truly in love. She said, "I mean that I was simply transferred from papa's hands to yours. You arranged everything according to your own taste, and so I got the same tastes as you - or else I pretended to, I am really not quite sure which...I have existed merely to perform tricks for you, Torvald.” Nora sees herself as she really is; she has gained some sense. She comes to see that their love was never real, and that she needs more than their feigned affection. She goes as far as questioning his love for her, saying "You never loved me. You've thought it fun to be in love with me, that's all." Nora said to Mrs. Linde, "Yes - some day, perhaps, after many years, when I am no longer as pretty as I am now. Don't laugh at me! I mean, of course, when Torvald is no longer as devoted to me as he is now; when my dancing and dressing-up and reciting have palled on him then it may be a good thing to have something in reserve." This proves that even at the beginning Nora is aware that Torvald's feelings for her are shallow and based on her beauty and ability to amuse him. She knew that someday she will lose all the beauty that keeps Torvald seduced towards her.

Torvald, still viewing life through society's eyes, tells her that her main duties lie in being a wife and a mother. Nora then responds, "I don't believe that any longer. I believe that before all else I am a reasonable human being, just as you are - or, at all events, that I must try and become one..." At this point, Nora is determined to leave, but Torvald still clings to his superficial needs and is desperate to keep her.

Men and women have different reactions after their marriage collapse. Based on Kathleen O'Connell Corcoran idea, Torvald is less willing than Nora to give up their relationship. While Nora was about to leave, he asks her, "Nora, can I ever be more than a stranger to you?" Nora then responds to Torvald that it would take the ‘greatest miracle’ to save their marriage. Nora says that for this miracle to occur, she and Torvald would have to transform themselves to the point "that our living together could be a true marriage." Torvald would more likely suffer due to lost of power over Nora and the lost of social connection Nora is able to give. On the other hand, Nora would experience less stress and better adjustment. In the marriage, Nora suffered the most and would most likely to feel relief when such marital problems end. Moreover, Nora would be able to rely on social support systems unlike Torvald. Also, Nora would likely to experience an increase in self-esteem when after she left the house and add new roles to her life. It is not unusual for Nora who initiated the separation to experience fear, relief, distance, impatience, resentment, doubt, and guilt. Likewise, Torvald who disapproved Nora’s decision may feel shock, betrayal, and loss of control, victimization, decreased self esteem, insecurity, anger, and wishes to reconcile.

Nora, after all the revelations, has become an independent matured woman. Nora is ready to set her foot on the real word. She is capable to support herself since she had experienced jobs which she could do to earn a living. Nora may find it hard to cope up with the world she claimed to explore to find her identity. While Nora was trying to find herself in the real world, Torvald was left to restore his reputation.

Ibsen’s A Doll’s House, published on December 4, 1879, and first performed in Copenhagen on December 21, 1897 was controversial. Many critics and theatre-goers questioned the morality of the play’s resolution wherein Nora left her children. Ibsen was forced to write an alternate ending in which Nora beg and cries to Torvald to let her stay, but only for her children’s sake.

Some argue that Nora leaves her home purely because she is selfish. She does not want to forgive Torvald. She would rather start another life than try to fix her existing one, or perhaps she feels that Torvald was right, that she is a child who knows nothing of the world. Since she knows so little about herself or the society, she feels that she is an inadequate mother and wife. She leaves the children because she feels it is for their benefit--painful as it may be to her.

Based on the idea of Kathleen O'Connell Corcoran, with Nora’s decision to leave her children, they are more likely to experience psychological wounding, possibly slowing or blocking their normal

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development, thus creating a group of difficult adjustment needs which they don't understand. This is possible if proper communication and bonding with the children was not done.

“To love others one must first love oneself.” Nora does not love herself; she doesn’t even have a self that is hers. She had no real and sovereign aspirations, thoughts, will and feeling. She was expected to act the way Torvald and the society desired and required. Both Torvald and her father treated Nora as a child and that she behaves. Instead of fostering her children, she plays with them. Nora has never live through as human being but a doll not until she stands against her husband.

In Act III, Nora says to Torvald: “I have been your doll-wife, just as at home I was papa’s doll-child; and here the children have been my dolls. I thought it great fun when you played with me, just as they thought it great fun when I played with them.” She then declared that they had to end the ridiculous play. Nora knew she was not fit to become a mother either. Life is a reality to experience. Nora is yet able to have a life herself. Nora can’t give to her children what she has not. She had nothing at all; no real education and experience to share with them. She did this because she knew if she stayed with the children it would not be fair for them. She inflicts tragedy upon herself by leaving everything she has by walking away. She was not best mother for her children even though she loved them like how a real mother loves her children.

Nora has become an independent matured woman. Nora is ready to set her foot on the real word. She is capable to support herself since she had experienced jobs which she could do to earn a living. Nora may find it hard to cope up with the world she claimed to explore to find her identity. While Nora was trying to find herself in the real world, Torvald was left to restore his reputation.

Beliefs and Principles of the Author as Reflected in the PlayThe beliefs and principles of the author, Henrik Ibsen, were revealed in his writing which

contributed to the development and assimilation of the play. He found his inspiration in the life experiences of her friend Laura Kieler, from which the play was mainly patterned. Furthermore, being born during the 19th century, he was able to witness a society that looked down on women, which led him to express the truth that surrounds him through his writings.

Having lived during the 19th century, Henrik Ibsen’s plays were considered one of the most scandalous to his era. Victorian values of family life and propriety were largely implemented in Europe and any challenge to them was considered immoral and outrageous. Ibsen's work examined the realities that lay behind many faces, possessing a revelatory nature that was disturbing to many contemporaries. His work A Doll’s House was primarily based on the atmosphere during the Victorian Era, exposing the realities of marriage, the real roles of women, and the difficult interactions and expectations between a husband and a wife. In the play, Nora was treated by her husband, Torvald as a little child; like a doll calling her pet names such as, little lark, little featherbrain, etc. The way Torvald uses nicknames to Nora suggests how he considers her as an inferior being to him, and the adjective "little" further strengthens this. This little display of name calling shows who is in control. Thus, this attitude of Torvald forces Nora to obey or to break from this fake relationship called marriage. Torvald's rationing out money to Nora puts her under his control and the only way Nora can break from this is getting a job for herself, which he thinks is highly unlikely for her to do. Moreover, Torvald makes all the decisions for Nora and establishes rules for her to adhere to. Nora is known only as an extension of her

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husband, known as Torvald’s wife who reflects his beliefs and valuing. Unfortunately, Nora, in the end, decided to leave Torvald and her children declaring separation from the fixed role of a wife and pulling herself away from her husband’s view of her as a stereotypical partner.

During the reign of Queen Victoria, though prosperity, broad imperial expansion, and great political reform flourished, women were deprived of their rights as they are only expected to stay at the household. They were treated as mere properties by their husbands. On the other hand, because men were influenced by the religion, they believe that they are superior to women. They were expected to be faithful lovers and diligent breadwinners. They are considered as the “Head of the Wife” and must bear chief responsibility for the failure of it. Furthermore, during the Victorian Era, laws were passed regarding women’s situation about marriage and their situation on divorce. Before, women were oppressed from their rights giving fathers full custody of their children. Women were not given much priority, for their only purpose is to support their husbands.

Since Henrik Ibsen (1828-1906) lived during the Victorian Era, his beliefs and principles were influenced by the social occurrences likes women’s injustices, which inspired him to write plays and publish books uplifting women’s reputation. A Doll’s House established a method Henrik Ibsen would use to convey his views about individuality and the pursuit of social freedom and self liberation. Also, he used Nora's secessions as an example to illustrate that society's expectations of a woman's role in society and marriage were incorrect. The characters of A Doll's House display his belief that although people have a natural longing for freedom, they often do not act upon this desire until a person or event forces them to do so. One can easily point out that Nora's change was gradual and marked by several incidents. It reveals these gradual changes are actually not changes at all, instead small revelations for the reader to see Nora's true independent character. In the first act, she admits to Christine that to keep Torvald happy, she will "dance and dress up and play the fool". This was Ibsen's way of telling the reader that Nora had a hidden personality that was more serious and controlling. He wants the reader to realize that Nora was not the fool she allows herself to be seen.

Still during the 19th century, realism began as an experiment to make theater more useful to society. In Norway, Henrik Ibsen was considered the “Father of Modern Realistic Drama”. His plays attacked society’s values and dealt with unconventional subjects within the form of the well-made play. His plays usually presented a very shocking subject matter but were still acceptable to the public. Exposition in the plays was motivated, there were causally related scenes, inner psychological motivation was emphasized, the environment had an influence on characters’ personalities, and all the things characters did and all of things the characters used revealed their socio-economic condition. He became a model for later realistic writers. It could be noted his other plays, such as Hedda Gabler, The Master Builder and Ghosts, have tragic endings. In Hedda Gabler, the main character committed suicide, while in The Master Builder, the protagonist fell to his death. In Ghosts, it was revealed that in the end, the protagonist had lost all hope. These are similar to A Doll’s House, where Nora leaves her husband and children in the end, giving an immense shock to the Victorian audience. During the Victorian Age, women began to slowly become more independent. More and more women began to enter the work force and take on more responsibilities. However, this change was a gradual process. Just because it was becoming more acceptable to work does not mean a woman could merely decide to get a job working alongside a man.

In A Doll’s House, the main female character, Nora, decided to take her life choices in her own hands and step outside of the box society has made for her. Her choices and the timing of the 19th century feminist movement caused the plays and Ibsen to become associated with being supportive of feminism. Nora could be seen as victims in situations caused by the men around her. As a result, many began to argue that Nora was Ibsen's way of advocating feminism. Ibsen never confirmed or denied this, but many critics feel that others focused too much on the gender of the main character and the play is actually a representation of realism. They feel if one looks past the gender labels applied to each character they will realize that there is more to each character's story than being a woman that is "stuck" in a situation. Ibsen was a writer of drama and realism. Realism by definition is "a manner of treating subject matter that presents a careful description of everyday life, usually of the lower and middle classes". Feminism was an issue among all classes during the 19 th century. Based on

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the definition of realism, a piece of literature that depicts the everyday inequalities that exists between men and women would qualify as realism. Ibsen did not set out to write a piece on feminism; nor did he specifically set out to write plays to empower women. He was only trying to capture life's situations. He felt that drama should tackle subjects that had been prohibited in theatre-economic injustice, sexual double standard, and unhappy marriages. However, he challenges the traditional form by refusing to make simple moral judgments or resolve the dramatic action neatly the norm in the well-made play of the era. Unlike popular well-made melodramas, realistic plays frequently implied that morality and immorality were relative and not clearly distinct or easily defined. Not surprisingly, lbsen and other realists met a great deal of opposition in producing their plays and were constantly plagued by censorship.

In the play, realism was clearly revealed when Nora, in order to save her husband’s life, had to commit the act of forgery. However, she discovers her unequal status in her home when her forgery is revealed in a letter sent to Torvald by a fired employee, Krogstad. Even when Krogstad resends the letter because he is to marry Nora's friend Mrs. Linde, Nora realizes that she can no longer live with Torvald in a relationship in which she is treated like a child. The fact that she was able to realize this and want to do something about it shows tremendous character growth. If you look at Nora's situation for what it really is, you will realize she is a person that is trying to form her own opinions. This does apply to realism due to the fact that there are many people today regardless of sex, race, age, and nationality that are stuck in situations where others have made choices for them. It could be family members or a group of peers. 

The inspiration for Nora came directly from the life of a young female friend of his; he wrote the play after her scandalous financial actions were revealed to the public. Though she did not leave her husband, her person and story were recognized in the character of Nora, an identification she did not appreciate. Years after the play was written, Ibsen remarked that he never intended to be a speaker for the rights of women, yet his powerful vindication of his young friend and his ability to recognize the injustice of her situation leaves us no choice but to credit him for his recognition of society’s double standards.

Laura Kieler was a writer Ibsen first met during his time in Dresden. Laura had written a sequel to one of Ibsen’s plays and sent it to him. The two kept in touch for several years and Ibsen served as a mentor of sorts to the young woman. Sometime after their meeting, Laura’s husband, a Danish schoolteacher, contracted tuberculosis. Laura was told that the only way to save her husband’s life was to arrange for them to move to a warmer climate. In order to avoid agitating her husband by asking him for money, Laura secretly arranged to take out a loan with the assistance of a friend. The couple visited Italy where Laura’s husband experienced a full recovery. Ibsen had previously heard nothing of Laura’s situation, as she had been careful to keep the whole affair quiet, though he did notice that she has something heavy weighing on her mind. In the early part of 1878, Ibsen received a manuscript and a letter from Laura begging him to pass on her newest novel to his publisher Frederik Hegel. Ibsen refused to recommend the inadequate book and wrote Laura to tell her so. In his letter, he wrote that he suspected something was bothering her and advised her to take the matter directly to her husband. But Laura had not told either her husband or Ibsen that she was being forced to pay back the money she had borrowed to send her husband to Italy. She did not have the money and was too terrified to tell her husband, hoping instead that the sale of a new novel would allow her to pay back the loan without getting her husband involved. When she received Ibsen's letter refusing to support her manuscript and advising her to speak to her husband, Laura forged a check. The forgery was discovered and Laura was forced to tell her husband everything. He was unable to appreciate that Laura had borrowed money to help save him when he was deathly ill or that she had dealt with the financial fall-out alone in an attempt to keep any unnecessary burdens from him. He told her she was a criminal and sought a legal separation to keep her from having any involvement in the rearing of their children. Laura suffered a nervous breakdown and was committed to a mental institution. When she was released a month later, she begged her husband to take her back for the children’s sake. He did, but not happily. Later that year, Ibsen began writing  A Doll's House. When it was published and produced in 1879, Laura Kieler was widely recognized as the inspiration for Nora. Unfortunately, this literary tribute only made married

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life more difficult for her, so she was unable to see the vindication Ibsen offered in his dramatization of her situation.

Laura Kieler was Ibsen’s main inspiration in writing A Doll’s House. Most of what happened to Nora Helmer in the play was patterned on Laura’s experiences when Ibsen met her. Through her, Ibsen promoted the idea of a housewife’s craving for personal freedom and self-realization. 

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CHAPTER VSUMMARY, CONCLUSIONS AND RECOMMENDATIONS

This chapter serves as the overview of the whole study. In this, the researchers summarized and concluded the main ideas pointed out. Furthermore, to be of great help to forthcoming writers who would try to come up with new results and enhanced analysis, the researchers provided recommendations. Summary

This literary criticism intends to prove that the beliefs and principles of the author, Henrik Ibsen, play an important role in the development of the plot in play, A Doll’s House. Furthermore, the researchers aim to examine how characters feel and respond about certain issues mentioned and how the psychological implications affect their shifting characterization in the play.

Through research, evidences and facts will support the statements of the researchers which will then prove the reliability of the study. This study was done under descriptive research, particularly the content analysis which is focused on the verification of literary materials that already exist. Collected information is located in Chapter 2 of this literary criticism, which was obtained from several resources such as books, magazines and internet sites. The topics that were relevant to the present study include information about the Victorian Era—particularly about the roles of men and women back then, different Psychological theories, marriage, divorce, kinds of love and the author, Henrik Ibsen. Since the view of the society on marriage and gender roles played an essential role in the development of the play, the researchers opted reference materials related to the given topics.

The play was analyzed under two literary approaches, which includes the psychological and moral approaches. The researchers used these approaches because these methods could validate the aspects in the play that the study would want to ponder on. The psychological approach is used to scrutinize the prevailing behavioral issues regarding the characters in the play. On the other hand, the Moral approach is used to examine the different views of the main characters regarding morals and principles.

To have a more comprehensive study, different theories on behavior were used by the researchers. These include the Super-ego Psychoanalytic theory, Personality theory and Behavioral theory. These theories aided the researchers to have a more thorough study regarding the actions done by the main characters.

The researchers were able to answer the following questions:1. What are the psychological issues concerning the behavior of the characters that support the development of the plot in the play A Doll’s House?2. What are the factors that lead to and the consequences of Nora's decision in the end?3. How does the writer consider his beliefs and principle as reflected in the play?

The discovery that the author’s own experiences were similar to the plot presented explains that his beliefs and principles were essential in writing the play. In addition, through the analysis of each main character, the researchers learned that the shifting characterizations depicted were greatly affected by the psychological and moral outlook of each of the characters. The prevailing culture on the society also played a vital role in affecting the different behaviors portrayed by the characters. Nora, in the start of the play, showed that by simply violating Torvald’ rule not to eat sweets, she was inclined to rebel towards him, and thus gaining her independence in the end by leaving him. At first, Nora does not seem to mind that Torvald was treating her as a doll since it was accepted in society. However, when she was awakened of the unjust laws in the society, she strived to have freedom. Torvald, on the other hand, only thinks of himself and the view of the general public on him. He was influenced of the ideals of the society that it has affected his way of thinking—even giving damage to the bonds in his family. In the play, it was observed that the society played a major role in affecting the behaviors of the main characters.

ConclusionAfter a thorough study on A Doll’s House, a comprehensive deduction can be obtained from the

analysis of the play. Based on the scrutiny and information presented by the researchers, the following conclusions were made:

1. Through the different actions, reactions and emotions portrayed by the main characters presented in the play, different psychological issues could be interpreted from the selection, since the characters in

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the play have exhibited different behaviors depending what the society thinks of them, as well as their own beliefs.2. The awakening of Nora due to the realization that their marriage was more likely made-up than real, as well as Torvald's treatment to her as a doll rather than as a wife, opened a new predicament for Torvald, her children, and herself as it led her decision to finally leave the house in the end.3. Through systematic research and comprehensive analysis on the beliefs and principles of Henrik Ibsen such as his idea on realism and who was his key inspiration, the researchers concluded that he was indeed affected by the different social injustices prevalent during his time, which has affected his writing style.

RecommendationThe researchers suggest doing the following recommendations for future researchers who may be

interested in studying the same selection.1. Further study the play under the same approach by having more questions that may be answered through research, such as having an in-depth study of the other characters, like Krogstad, Mrs. Linde and Dr. Rank.2. Use a different approach for broader study and fuller comprehension of the literary work, such as using the Symbolical Approach, since the Ibsen used several symbols to portray the different messages in the play, and Sociological Approach since it was evident that the society affected the author’s perception. 3. Study the possible connection of this selection, A Doll’s House to other works of Henrik Ibsen.

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Corman, Avery. “The New Parent Trap.” Australian Reader’s Digest Dec. 2004: 76-82.

A Doll’s House. Dir. Patrick Garland. Perf. Claire Bloom, Anthony Hopkins, Ralph

Richardson, Denholm Elliot, Edith Evans, and Anna Massey. Elkins Productions

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Judine, Sister M. Goethe to Ibsen. New York: Macmillan Company, 1962.

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Learning, 2005.

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APPENDIX

Overview of the Play

The story starts on Christmas Eve.  Nora makes preparation for Christmas, and while she eats

macaroons, Dr. Rank and Mrs. Linde enter.  Rank then goes to speak with Torvald. Linde, on the other hand,

speaks with Nora, wherein the former explains that her husband has died and that she needs to find a job. 

Nora agrees to ask her husband to offer Linde a job at the bank.  Nora then narrates her story about borrowing

money to pay for the trip to Italy for her and her husband, wherein Torvald’s illness may be healed.  She

explains that Torvald doesn’t know that she paid for it.  Then, Rank leaves the study and begins to speak with

Nora and Linde.  He complains about the moral corruption in society. 

Krogstad arrives and goes to the study to converse to Torvald regarding the former’s job.  A few

minutes later, he leaves and Rank comments that Krogstad is one of the most morally corrupt people in the

world.  Rank and Linde leaves, and Krogstad reenters.  He tells Nora to ask her husband to keep Krogstad in

the job, or else he will reveal Nora’s crime of forgery.  Krogstad leaves and when Torvald reenters, Nora

requests him not to fire Krogstad.  Torvald says that he must fire him because of his immorality. Another

reason is that he’ll be giving Krogstad’s position to Linde instead.  Torvald returns to his study. 

The Nurse, Anne-Marie, enters and gives Nora her ball gown.  Anne-Marie relates that she had to leave

her own children to take the job taking care of Nora when she was little.  Anne-Marie then leaves.  Linde

returns and begins to help Nora with stitching up her dress, while they talk for a while about Dr. Rank.  Torvald

enters and Linde leaves to the nursery.  Nora inquires Torvald again not to fire Krogstad, but he refuses.  He

mentions that a pink slip would be sent to Krogstad telling him that he’s out of the job.  Torvald leaves to his

study.  Rank enters and tells Nora about his worsening illness.  They talk, while showing hints of flirting at the

same time.

That night, during the dance, Linde talks to Krogstad in Helmer’s apartment. She explains to him that

she left him for financial reasons, but that she still loves him. They get back together and Krogstad chooses to

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disregard about the whole matter of Nora’s debt. However, Linde asks Krogstad not to ask for his letter back

since she thinks Torvald has the right to know it.

Torvald and Nora enter from the dance. After checking hi letter box, Torvald finds some letters and two

Business cards from Dr. Rank with black crosses on them. Nora explains that they mean that Rank is

revealing his death.

After the bad news, Torvald enters his study and Nora prepares to leave. However, before she can get

out the door, she is stopped by Torvald who read Krogstad’s letter. He is angry and renounces his love for

Nora. The maid comes with a letter. Torvald read the letter which is from Krogstad. It says that he forgives

Nora of her crime and will not reveal it. Torvald burns the letter along with the IOU that came with it. He is

pleased and tells Nora that everything will go back to normal. However, Nora changes. She returns to talk with

Helmer. She tells him that they don’t understand each other. She leaves her husband and children.

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