The Modern Tragic Hero

In Ibsen, the modern sad hero and the modern tragic conflict are to be found in the bourgeois individual--often a adult female--who rebels against society and tradition. Ibsen develops a type of dramatic realism and creates a pattern of talks which combines the ease of daily speech with the urgency of the drama. In A Doll's House, Ibsen ch in allenges the assumptions about the place of women in society and finds that the confinement of women has produced a situation under which men also loafernot be actually free, though they may not realize it. Nora is a woman who has an understanding that ext residues beyond the limited education she has been allowed to have by her father and married man. Her childish innocence turns to resolve by the end of the play. The play represents the state of relations among men and women in the nineteenth century, with the males clearly in a dominant touch and the women serving as adjuncts to their fathers and husbands. The play suggests that the prevailing situation can be changed, and at the end of the play Nora stands as an exemplar to other women. She may be a victim of her society, and she is a victim who now knows she can fight fanny and change her situation.

Specifically, Ibsen criticizes the view expressed by Tor

This speech says much about the relationship between Nora and Torvald. Torvald says people will think him responsible because that is what he would think. He tries here to make himself into the victim, but it is Nora who is the victim. She has been complicitous in her own victimization. When she faces up to what she has done, her response it to offer herself as a martyr to hold her husband. What begins to shift her thinking is the eagerness with which he would embrace having her be the forfeiture if he thought it would do any good. She sees that she is only a decoration in his life and only serves his interests so long as she fulfills his needs. She is not seen as a clement being with needs of her own.

Even when she does something wrong, society blames her husband--Nora is not considered well-grounded enough, autonomous enough, or moral enough to be diabolic herself. She had al looks accepted the "protection" of her husband as start out of this package, but now she begins to see the need to be amply responsible, to escape from being a victim by judge responsibility for her own actions and by escaping from the gilded cage into which she and all other women of her time have allowed themselves to be placed.

Miller, Arthur. "Death of a Salesman." In Literature, X.J. Kennedy (ed.). New York: Harper Collins, 1991. 1507-1576.

How would it help me if you were "gone from this world," as you put it? It wouldn't assist me in the slightest (Ibsen 1365).

vald in the play that women should sacrifice themselves to their family and should uphold the highest moral position as a way of protecting their husbands. Torvald is a staid and pompous man much concerned with what society thinks than with caring for his wife. Nora fears what will happen if her husband finds out she borrowed money from Krogstad. When Torvald does learn the truth, he shows that he cares more(prenominal) for his own reputation than for any trouble that might cum to his wife. Again and again he expresses hi
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