Ibsen Feminism Quotes

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 think sometimes the one and sometimes the other.

She was an extraordinary person too! Would you believe it, she cut her hair short, and used to go about in men’s boots in bad weather

When I was at home with papa, he told me his opinion about everything, and so I had the same opinions; and if I differed from him I concealed the fact, because he would not have liked it. He called me his doll-child, and he played with me just as I used to play with my dolls.

I believe that I am first and foremost a human being, I, just as much as you, - or at least that I must try and become one.

NORA: No; only merry. And you were always so friendly and kind to me. But our house has been nothing but a nursery. Here I have been your doll-wife, just as at home I used to be papa's doll-child. And my children were, in their turn, my dolls. I was exceedingly delighted when you played with me, just as children were whenever I played with them. That has been our marriage, Torvald.

Jeg tror at jeg er først og fremst et menneske, jeg, likså vel som du, - eller iallfall at jeg skal forsøke på å bli det.

But our home has never been anything but a playroom. I've been your doll-wife, just as I used to be papa's doll-child. And the children have been my dolls. I used to think it was fun when you came in and played with me, just as they think it's fun when I go in and play games with them. That's all our marriage has been, Torvald.

NORA: Yes; it is just so, Torvald. While I was still at home with father, he used to tell me all his views, and so of course I held the same views; if at any time I had a different view I concealed it, because he would not have liked people with opinions of their own. He used to call me his little doll, and play with me, as I in my turn used to play with my dolls. Then I came to live in your house.

In 1908, the great Russian actress Alla Nazimova played Nora in New York in performances that became legendary. In the audience was Halvdan Koht, who describes Nazimova in the last scene acting “with a passionate intensity that made Nora’s transformation at the end completely an inner reality, conveyed in low-pitched, emotion-laden words” (K 323). Koht recalls his horror when members of the audience, mistaking “the work of art” for “a collection of ideas,” began to applaud Nora’s every line “as though it were a political harangue” (K 323). But while not a harangue, Nora’s words are nevertheless resoundingly political, for in representing the “inner reality” of an obscure Norwegian housewife, they constitute a discourse of recognition for every woman who has ever lived her life for a man, and by Nora’s count, there are “millions.” Displaying what the modern theatre condemns as bad manners, the 1908 audience was responding to Ibsen’s powerful feminist poetry, the exhilarating promise that on the other side of the doll house, women, no less then men, could learn to take themselves seriously: “I believe that, before all else, I’m a human being, no less than you — or anyway, I ought to try to become one” (193). The universality of A Doll House does not come from “its demand for truth in every human relation” (K 323), but in its demand for equality in the relation between women and men.