Order 6218464 “Discussion English”
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Nov 24, 2024
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Discussion Questions
In Henrik Ibsen's "A Doll's House,"
Nora is a complex character who can be seen as both
a victim of circumstances and someone who brings about problems. Ibsen's view is that Nora is
primarily a victim of the societal norms and expectations of her time, which force her into a
submissive role in her marriage and life. He portrays her as a woman who is trapped in a doll-
like existence, constantly trying to please her husband and society. However, I share Ibsen's view
to a large extent (Ibsen 15). Nora's actions and also the decision to leave her family at the end of
the play could be seen as problematic and selfish. It's a morally complex situation, but ultimately,
I sympathize with Nora's struggles in a society that restricts her autonomy.
Throughout most of the play, the relationship between Torvald and Nora is characterized
by traditional gender roles and societal expectations of the time. Torvald treats Nora as his "little
lark" and "spendthrift," often patronizing and infantilizing her (Ibsen 26). Nora, in turn, plays the
role of the obedient and submissive wife, catering to Torvald's desires and expectations. Their
relationship is based on a power dynamic where Torvald is the dominant figure, and Nora is
expected to fulfill the role of a docile wife. Gender roles play a significant role in shaping their
interactions, with Nora conforming to the ideal of a submissive and dependent woman. Also,
Nora's secret inner life, as revealed through her actions like eating macaroons, engaging with Dr.
Rank, and her overall behavior, contributes to a more complex and multi-dimensional portrayal
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of her character. These actions suggest that beneath her facade of the perfect wife and mother,
Nora has desires, secrets, and a level of autonomy that she hides from her husband and society.
These elements contribute to our sense of Nora as a woman who is trapped in a stifling
social role but is also trying to assert her independence in subtle ways. Nora's saving of Torvald's
life and her interactions with Dr. Rank reveal her capacity for selflessness and genuine affection,
while her indulgence in macaroons and her playful demeanor with Dr. Rank show her desire for
some personal enjoyment and connection outside her marriage (Ibsen 56). As for my feelings
towards Nora, I admire her courage in challenging societal norms, but I also recognize the
complexity of her character. She evokes sympathy for her struggles but also raises ethical
questions about her actions. Nora's character makes me reflect on the constraints placed on
women in the past and the sacrifices they made to survive in a patriarchal society.
Regarding Langston Hughes' "Mulatto," given the historical context of racial segregation
and prejudice, the outcome of the play is tragically inevitable. During that time, social norms and
the prevailing racial attitudes would not have allowed for a different outcome (Hughes et al. 27).
Any deviation from the tragic ending would have been unrealistic and would not have conveyed
the harsh realities of the era. If there were an alternative outcome where the protagonist was
accepted and treated with equality, it would certainly impact readers differently, invoking a sense
of hope and justice. However, such an outcome would likely undermine the play's intended
message about the devastating effects of racial prejudice.
Lastly, from Anton Chekhov's farcical elements, the breaking of chairs, shouting,
challenges, and shifts in emotions all contribute to the chaos and absurdity typical of farce as a
dramatic form (Chekhov 44). Farce often relies on exaggerated situations and over-the-top
characters to create humor and provoke laughter. Smirnov's attitude about being shot, for
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example, is comically cavalier, adding to the farcical nature of the scene. As a result, farce serves
as a commentary on the absurdity of human behavior and social conventions, highlighting the
irrationality of our actions. It often exposes the flaws and contradictions in characters'
personalities and motivations. Chekhov's use of farce in his plays can be seen as a satirical
critique of human folly and societal norms, showcasing the unpredictability and irrationality of
human nature.
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Works Cited
Anton, Chekhov. “Plays by Chekhov, Second Series on the High Road, the Proposal, the
Wedding, the Bear, a Tragedian in Spite of Himself, the Anniversary, the Three Sisters,
the Cherry Orchard - the Original Classic Edition|EBook.” Barnes & Noble
,
www.barnesandnoble.com/w/plays-by-chekhov-second-series-on-the-high-road-the-
proposal-the-wedding-the-bear-a-tragedian-in-spite-of-himself-the-anniversary-the-three-
sis-anton-chekhov/1124449029
. Accessed 19 Sept. 2023.
Henrik Ibsen. A Doll’s House
. 1879. S.L., Bloomsbury Methuen Drama, 1879.
Hughes, Langston, et al. The Collected Works of Langston Hughes. : Volume 5, the Plays to
1942 “Mulatto” to "the Sun Do Move
. Columbia ; London, University Of Missouri Press,
Cop, 2002.