IMAGE OF WOMAN IN HENRIK ][BSEN'S

A DOLL'S HOUSE

A Thesis
Submitted in Partial Fulfilhnent of the Requirements
for the Degree of Letters Scholar

Written by:
Hendrizal Rasyid

ENGLISH LETTERS DEPARTMENT

LETTERS AND HUMANITY FACULTY
STATE ISLAMIC UNIVERSITY
SYARIF HIDAYATULLAH JAKARTA
1428/2007
 ABSTRACT

HENDRIZAL RASYID, NIM. 299026000191, "Image of Woman in Henrik Ibsen's

A Doll's House, Thesis. Jakarta: English Letters Depmtment,Letters and Humanities
Faculty, State Islamic University SyarifHidayatullah, April 2007

This research is aimed to discover the image of women in A House,

and also to know how the opinion of the author, Henrik Ibsen upon the feminism.
Since the feminism is not only the subject for women but also for men. So it is
probably that an author can be contrary against the idea of feminism or support it.
This research is divided into two parts, first the analysis of the intrinsic
elements of drama, such as characterization, plot, setting and theme. The second is
the analysis of the feminism in A Doll's House by applying the feminist literaly
criticism. This research focuses on one subdivision of Feminist Criticism: ideological
critic about women reveals in literary works, or as the feminist ideological
criticism.
Through this research, it is found that Nora is positioned as private and
domesticated woman, she is introduced as the weak, stupid, and dependent wife.
However, her decision to leave Torvald is a symbol of women's rebellion against
men's domination through patriarchy. Henrik Ibsen, through this drama wanted to tell
the readers and the audiences that women have freedom. The mle that shackled
women in the patriarchy must be eliminated.
 APPROVEMENT

IMAGE OF V\TOMAN IN HENRIK ][BSEN'S

A DOLL'S HOUSE

A Thesis
Submjtted in Partial Fulfillment of the Requirements
for the Degree of Letters Scholar

Written by:
Hendrizal Rasyid

an Tarihoran. M. Hum
IP. 150326885

ENGLISH LETTERS DEPARTMENT

LETTERS AND HUMANITIES FACULTY
STATE ISLAMIC UNIVERSITY
SYARIF HIDAYATULLAH JAKARTA
1428/2007
 LEGALIZATION

The thesIs entitled "Image of Woman in Hennk Ibsen's A Doll's HOllse" was

examined before the Letters and I-!umanitJes Faculty's EXamJl1atl0n CommIttee, State

Islamic Umversity (UIN) Syanf Hidayatuliah Jakarta on Apnl 20'h, 2007 The thesis

has already been accepted as a part131 fulfillment of the reqUlrement for acqUJrlng the

degree of Strata I (S1) 111 EngiJsh Letters Department

Jakalia, Apnl 20'h, 2007

Examination Committee

Chai.. Person

I) ... lVlul Fad{hau, M.pd I)"s. Asel) Saefmldill, 1H.pd

NIP, .0299480 1'111'.150261902

Members:

E1ve Olttavivani, lVI.Hum

1'111'.150317725
 DECLARATION

I hereby declare that this submission is my own work and that, to the best of my
knowledge and belief It contains no material previously published or written by
another person nor material which to a substantial extent has b"en accepted for the
award of any other degree or diploma of the university or other institute of higher
learning, except where due acknowledgment has been made in the text

Jakmia, April 20''', 2007

Hendrizal Rasyid
 PREFACE

IN THE NAME OF ALLAH THE BENEFICENT THE MERCIFUL

Praised be to Allah, Lord of the universe

The researcher is very grateful to Allah the Almighty who has given me the
favor and He will always be. The Almighty has allowed the researcher to finish this
paper. Peace and blessings be upon our prophet Muhammad SAW and His families,
His Relatives.
This paper is written to fulfill one of the requirements to obtain the Sarjana
Degree at Depatiment of English Letters, Faculty of Adab and Humanities, State
Islamic University Syarif Hidayatullah Jakarta.
On this occasion the writer would like to express the deepest gratitude and
highest appreciation to those who have contributed their helps in writing this paper.
I. Prof. Dr. Komaruddin Hidayat, MA. The head of State Islamic University
Syarif Hidayatullah Jakarta.
2. Dr. Abdul Chair, MA. The Dean Faculty of Adab and Humanities
3. Dr. Muhammad Farkhan, M.Pd, The head of the English Letters Department,
whom the researcher owes a debt gratitude to, and who was so generous with
his time and expertise. He has done everything wisely.
4. Nafan Tarihoran, M.Hum, who has spent his time by counseling and
supervising the researcher until the paper is finished. Without his guidance,
this paper will never be completed.
5. All of the lectures who have given support directly and indirectly
6, My parents, brothers, sisters, and all of friends who helped and motivated the
researcher in finishing this paper.
May Allah, The Almighty bless them all, Amien.
 Finally, the writer realizes that the paper is not in perfection, therefore he
would like to accept any constructive correction and suggestion to make this paper
better

Jakarta, April 2007

Writer
 TABLE OF CONTENTS

ABSTARCT ..
APPROVEMENT.................................................................. ii
LEGALIZATION... iii
DECLARATION................................................................... iv
PREFACE........................................................................... v
TABLE OF CONTENTS ,............. vi
CHAPTER I: INTRODUCTION , .
A. Background ofthe Study.............................. I
B. Focus of the Study........... 4
C. Research Questions......................................................... 4
D. Significance of Research........ 4
E. Research Methodology..................... 5
1. Objective............................................................. 5
2. Method , , 5
3. Instrument............................................................ 6
4. Unit of Analysis...................................................... 6
5. Technique of Data Analysis............ 7
CHAPTER II: THEORETICAL FRAMEWORK...................... 8
A. The Nature of Drama.. 8
I. Definition of Drama ,............. 8
2. Kinds of Drama.. .. .. .. .. .. .. . .. .. .. .. .. 9
3. The Elements of Drama II
a. Characterization.................................................... 12
b. Plot 12
c. Setting................................................................ 13
d. Theme...... 14
 B. Feminism in Literary Work........................... 14
I. The History of Feminism............ 14
2. The Meaning of Feminism............................................. 15
3. Feminist Ideological Criticism..................................... 18
CHAPTER III: RESEARCH FINDINGS............... 25
A. The Intrinsic Elements of A Doll's House............................ 25
I. Characterization...................................................... 25
2. Plot...... 31
3. Setting................................................................. 34
4. Theme................................................................. 34
B. Feminism in A Doll's House............................................................... 37
I. The Image of Nora Helmer........................................... 37
2. Ibsen's Opinion Upon The Feminism in A Doll's House.......... 41
CHAPTER IV: CONCLUSION AND SUGGESTION..................... 47
A. Conclusion................................................................... 47
B. Suggestion................................................................... 48
BIBLIOGRAPHy................................................................... 49
SYNOPSIS........................................................................... 51
 CHAPTER I

INTRODUCTION

A. Background of the Study

Many decades ago literary work had become culture regime and had the strong

power of attraction concerning to gender issue. The view abollt women as a graceful

human, jewel, flower, on the other hand men as intelligent human, active, and the

kinds -always influence the literary work. Those images as if have conceived tightly

in the mind of authors.

Up to now, the concept which is difficult to eliminate is the male hegemony to

female. Almost in all kinds of literary works, whether written by men or women,

male domination much bigger and wider than female. Male figure must be the

authority, and women assume as a fantasy and dream. Woman always considers as a

second sex, the second class which is subordinated. The image of woman as second

sex, which even beautiful but her existence was not regarded as a normal human

being. Moreover, among the philosophers said that women were created to

accompany men. Aristotle stated that women are sex determined based on their

incomplete qualities for certain stuffs. I Women are usually responsible for domestic

work such as nurture of children, family health, cooking, providing food and other

household services.

1 Uta West, ed, Women in Changing World, (London: BCC, 1975), p.5
 2

The feminism is apparent here. Feminists question women's right and interest

which are ignored and forgotten. They do not have equal portion of rights and roles

on their capacity as individuals and society's members. They are restricted and can

not gain the freedom to have their own activities and have the initiative to struggle

their rights and interest.

In correlation between literary work and feminist movement, Stimpson in

Adib Sofia stated that literary work is useful to women's liberation movement:

"Because of its origin in the women's liberation movement, feminist criticism

values literature that is of some use to the movement. Prescriptive criticism, then, is
best defined in terms of the ways in which literature can serve the cause of liberation.
To earn feminist approval, literature must perform one or more of the following
function: (I) serve as a forum for women, (2) help to achieve cultural
androgyny,(3)provide role-models, (4)promote sisterhood, and (5) augment
consciousness-raising.,,2

A Doll's House is one of Henrik Ibsen's well-known plays, this play was written

111 1879 and considered as his groundbreaking play. Ibsen's A Doll's House was

written while Ibsen was in Rome and Amalfi, it was published in a time of revolution

in Europe. It is Ibsen who can be credited for mastering and popularizing the realist

drama derived from this new perspective. 3

This play focused on the way that women were seen, especially in the context of

marriage and motherhood. A Husband, in particular, had a very clear and narrow

definition of women's role. Torvald Helmer believed that it is sacred duty of women

2 Adib Sofia, Sugihastuti, Feminisme dan Sastra, Menguak Citra Peremplian Do/am Loyal'
Terkembang, (Bandung: Katarsis, 2003), p 26
3 From the article "A Doll's HOllse in http/www.gradesaver..com/ClassicNotes/Titles/adollshouse/
(February 24th 2007)
 3

to be good wife and mother; moreover he told his wife that women were responsible

for the morality of the children.

In the resolution of A Doll's House when Nora left her husband, home, and

children, there was no implication that it was the solution for every wife in whom

self-realization as an individual is being stifled by marriage; it is the course for Nora

because of what she is, what Helmer is, and all the individual circumstances of their

lives. Whether Nora's decision was right or wrong, when her universe crashed about

her, unaccustomed to decisions as she was, she stood up and used all the powers of

mind, feeling and will she possessed; the decision was inevitable one for her.

Nora's position in A Doll's House is a reflection of thousand of women in real

world. Women do not have as many important roles as men have. They were focused

on domestics work and caring the children.

The study which tries to analyze about how to analyze women and their rights and

roles on literary work is feminist literary criticism. Acwrding to Soenarjati

Djajanegara feminist ideological criticism is frequently used by many researchers in

order to analyze the women's image and their stereotypes that revealed in literary

work. 4

From the above reasons, the writer feels curious to analyze this drama to

know how the feminism issue is revealed in A Doll's House, How is the woman

image in A Doll's House. Through the above considerations, the researcher decides to

4Soenardjajati Djajanegera, Kritik Sastra Feminis, Sebuah Pengantar, (Jakarta: Gramedia Pustaka
Utama, 2000) p. 28
 4

write a thesis entitled: IMAGE OF WOMAN IN HENRIK IBSEN'S A DOLL'S

HOUSE.

B. Focus oftbe Study

Literary work is world of possibilities. It means as the reader reads the literary

work, it will bring about many interpretation. Every reader has a right, and often

makes a varied interpretation toward the meaning of such literary work.

Noticing that the problems which offered by the literature are widely opened

and complex. In this occasion thc writer bounds the scope in order to find a focused

discussion. So the writer tries to limit the discussion toward the intrinsic element of

the drama such as, theme, character, characterization, plot, setting. Afterward the

writers discusses about woman image in A Doll's House, and Ibsen's Opinion upon

the Feminism.

C. Research Questions

The questions that have to be answered in this research are:

1. What are the images of woman presented in A Doll's House?

2. How Ibsen's opinion upon the feminism in A Doll's House?

D. Significance of the Research

The writer hopes the result of the study can be used:

 5

I. For other readers who are interested to study literatun', sot they can increase

the new and some significant information about literature especially about A

Doll's House.

2. As one of the reference in the English educational institution, especially for

the English Letters Department of Faculty of Adab and Humanities, State

Islamic University (UIN).

3. For other researcher who want to do a study and get more knowledge about

feminist ideological criticism, especially about the image of women in literary

work.

F. Research Methodology

I. Objective.

The objective of this research is to answer the questions which are revealed in

the statement of the problem. The objective of this research is to know how the image

of woman in the main character A Doll's House and how is Ibsen's opinion upon the

feminism

2. Method

This research uses qualitative method, through a descriptive analysis

explanation, since there is no numeric data and only verbal data available. The

researcher tries to answer all of the questions revealed in the statement of problems

by analyzing the problem in the research. The researcher also tries to analyze the unit

of the analysis by using many literature references that related to the research.
 6

Soenarjati Djajanegara in Kritik Sastra Feminis stated the way how to apply

the feminist literary criticism as follow: Firstly we have to identify one or some

women character in literary work. Secondly we look for their position in society.

Afterward we should know their objective in their life. FUlthermore, through the

author or the playwright, we can get the description of the behavior and

characterization of those women.

The next step is the analysis of the male character who has the relationship

with the female character. Soenatjati also stated that even tbough the objective oftbis

research is the female character, tbe researcher will not gain the description of

feminism if he/she docs not analyze the other character, especially the male

character. 5

3. Instrument

The research instrument is the researcher himself who tries to read accurately

the phenomena that related with the statement problem that rev,eals in this research.

4. Unit of the Analysis

The unit that will be analyzed in this research is the drama A Doll's House

written by Henrik Ibsen in 1879. This Drama is in Norwegian. However, researcher

takes the translated play on English Publisbed by Airmont Company Publishing, in

1966 entitled Henrik Ibsen: Four Major of Plays. The analysis does not uncover

5 Soenarjati Djajanegara, op. cit., p.53.

 7

each element of the drama. It only discusses some important scenes that related to the

theory.

5. Technique of Data Analysis

The writer collected the data from several sources; such as books and internet

that related to the study and will be analyzing by descriptive analysis. The writer

analyzes the image of woman inA Doll's House by Feminist ideological criticism.
 CHAPTER II

THEORETICAL FRAMEWORK

A. The Nature of Drama

Unlike a shOlt story or a novel, a drama is a work of storytelling in which the

characters are represented by actors. It is not written to be re,ad in schoolbooks but to

be performed. A drama is addressed to a group of people seated together in a theater.

The performance of a drama is to exchange the emotions between performers

and audience. The performance is given by the actors to entertain the viewers. They

will catch their breath in excitement, murmur in surprise, laugh, sigh, or applaud.

The description below is written by researcher to give more about the theory

of drama

1. Definition of Drama
Drama is primarily different from fiction or even poetry, because drama is

tended to be perform in front of the audience by using stage. The playwright, in this

occasion, collaborates with the actors, directors, set, lighting, and costume designer

to perform the audio visual and social experience in front of the audience' eyes. For

this purpose, the actors are free to elaborate everything based on the play's concept

under the direction of the playwright to audiences. The

 9

function of it is presenting issues on stage. Afterwards, anything that related with the

drama must contain any particular message given for the audiences. 6

If a novel or a poem has art on its extension in general, a drama has its art as

an art of intensification. Its intensity greater develops on character, so the characters

have the primary function to perform the idea of the drama. Its resultant is , major

characters in serious drama, are depicted under the stress of rdatively high tension. 7

From the characters, the mi of drama perfonTIs.

2. Kinds of Drama

According to Aristotle on his Poetics, there are only two categories of drama:

Tragedy and Comedy. Based on this distinction, it can be discovered more about this

two terminologies. The third terminology, Tragic-Comedy, is given as an addition,

since it is Shakespeare's invention in the kinds of Drama.

a. Tragedy

Tragedy is the highest form of a literary mi, since it deals with conflicts and

problems more than it could be imagined. It also deals with story which ended by

unhappy ending or even full of sorrow.

The protagonist character of the drama may died and find what he or she is looking

for. The protagonists are heroes or heroines who are greater than any ordinm'y human

6 Sheena Gillespie, Terezinha Fonseca and Carol Sanger. Literature Across Culture, (Boston: Allyn
and Bacon, 1994), p. 993.
7 Herbert Barrows, Hubert Hefner, John Ciardi, and Wallace Douglas, An Introduction to Literature
(Massachussetts: The Riverside Press, 1959), p. 341.
 10

being. They are regarded best, since what they have to face the external causes and

they struggle to overcome it, although they are failed. These are their action to engage

the honorable and the dignity of man against fate, social system, or power. 8

b. Comedy

If tragedy is related with sorrow, comedy has the opposite position. Comedy

tries to present a happy ending that gives new social norms that is different from the

prevailing norms, or in the other words to reestahlish the social norms. Comedy deals

with problem that occur in the ordinary people live, such as sex, love, and social

class., that perfOimed in a humor and wit idea. It is apparently different from the

tragedy, since the last one deals with they who are regarded as heroes or heroine, but

the characters of the comedy are ordinary people. The conflicts that occur are more

than in tragedy, because the primary conflict usually has any deriving conflict that

involved many characters. 9

c. Tragic-Comedy

Tragic-Comedy is a mingle of tragedy and Comedy. Shakespeare did this

collaboration when he arose the tragedy in farce and arises farce in tragedy in

Anthony and Cleopatra. As Barrows has stated: "This third form resembles tragedy

in making use of a temporarily serious action and in raising one of the tragic powers,

6 Sheena Gillespie, op. cit., p. 995.

• Ibid., pp. 995-996
 11

fear. It resembles comedy by employing comic situations and characters and by an

ending that resembles that of comedy"IO

Christopher Russel Reaske adds the kinds of drama by delivering melodrama.,

a kind of drama that consist of music in its theatrical work. II But since these three

kinds of drama is sufficient to understand, any other explanation will vague.

4. Elements of Drama
A Drama must consist of several elements. Without these elements, a drama

will not occur. Each of these parts has specific function and plays the important role

in drama. These elements can not be substituted by others.

There are four elements in a drama. They are characterization, setting, theme,

and plot. Although Sheena Gillespie has explained that the elements of drama include

setting, character, plot, style and tone, and narrator,12 it will be sufficient to divide

drama into those four elements, since those are the most important elements of the

drama. Hence, these are description based on the explanation given by Donald Hall in

To Read Literature: Fiction, Poetry, Drama l3 when he wrote about elements of

drama:

a. Characterization

Characterization can be defined as the people created by the playwright

imagined by the audiences. He or she must be fictitious and non-real. But, if the story

10 Herbert Ban-ows, 0p. cit., p.345

II Christopher Russell Reaske, How To Anayze Drama. (New York: Monarch Press, /966) p. 40
12 Sheena Gillespie, op. cit., pp. 983-987
"Donald Hall, To Read Literature: Fiction, Poetry, Drama (New York: Holt Rinehart and Winston,
1981), pp. 735-744
 12

is based from a real fact, the character must be real. The charaeterization in the drama

itself can be divided into two: The protagonist and the antagonist. The protagonist is

the main character of the drama. He/she is the character which usually deals with

tmth and being conflicted by other characters. The antagonist is the opposition

character. He/she forces the protagonist and often gives any trouble or even conflict

to protagonist character.

In another way, the character can be divided based into its development into

two: the dynamic and the static one. The dynamic character has a fluctuate and

growth personae, meanwhile the static one opposites the dynamic characters

b. Plot

Plot is the most important element of a playas what Aristotle has stated in his

book, Poetics. It is an arrangement of the situation happened in the drama. It is a kind

of framework of the events that occur in the drama. Most of the dramatists use a

pattern of plot like exposition, raising action, climax, falling action, and resolution.

When the drama starts, there are several events occurred in the beginning of the story.

It is called as the exposition. When some of the events become greater and related

from one character into another, the raising action begins to start. The climax happens

when the characters are dealt with conflict each other and change the situation

occurred in the beginning of the story. After the climax is over, the stOly develops

into falling action and reveals a resultant called resolution.

Although most of the dramatist uses this conventional pattern, some of

modern playwrights break this nIle by using an absurd one. This is called as Theater
 13

of the Absurd which "sometimes eliminating one or more part of the plot and

sometimes obscuring altogether any sense that one event necessarily follows or

causes another."

Below is the diagram:

Crisi Climax

Exposition Resolution

c. Setting

Setting deals with both the physical location and the cultural environment. It

contains time and place of the drama. It answers the question when and where the

drama is happen. The setting is represented in the drama by stage. Which deals with

lighting, decoration and costume of the actors.

d. Theme

Theme refers into a term that related with the idea and message given by the

play wright to the audience through the drama. It can be any concept, ideologies, or

moralities that the play embodies. In some cases, drama does not bring any themes,

but bring some questions about life and its static structural institution, such as laws,

religious conviction, justice, and power.

 14

Below the writer quotes the explanation about principles to describe the theme

from Lawrence Perrine's book Literature: Structure, Sound, and Sense. 14 First, theme

must be expressible in the form of a statement with a subject and a predicate.

Secondly, the theme must be stated as a generalization about life. The third, the theme

is the central and unifying concept of a story. So It must account for all the major

details of the story, the theme must not be contradicted by any detail of the story, and

the theme must not rely upon supposed facts-facts not actually stated or clearly

implied by the story. The last principle is the theme should avoid any statement that

reduces the theme to some familiar saying that we have heard all our lives, such as

"you can't judge a book by its cover" or "a stitch in time saves nine."

B. Feminism in Literary Work

This research uses feminism ideological criticism. This theory recognizes the
image of women in literary work and the equality of their right and roles in literary
works. IS This is a simple description about feminism before attempting the idea of
feminist ideological criticism.

1. The History of Feminism

The history of Feminist movement is a long political history. This is

developing as a substantial force in two big countries, America and Britain.,

throughout the nineteenth and early twentieth centuries. 16 Histories of feminism have

14 Lawence Perrine, Literature, Sound and Sense, (New York: Harcourt Bra.ce Jovanovich Publisher,
1988) p. 825
15 Soenarjati Djajanegara, op. cit., p. 28
16 ibid.
 15

talked about the historical appearance of strong feminist movements as a series of

'waves' .

a. The First Wave

The 'first-wave' feminism is used to refer to the late··nineteenth-century and

early twentieth-century feminist movement that were concerned (although not

exclusively) with gaining equal rights of women, particularly the right of suffrage.

The first wave of feminism movement was begun in the 19th century, precisely in

1848. In that year, a convention in Seneca Falls, USA, was held. The convention tried

to declare another version of the Declaration of Independence which is not

represented the women inspiration, just because the Declaration of Independence

declared, "All men are created equal." So to bring the equality between men and

women, the convention declared another version, "all men and women are created

equal. " This event was the first bar of feminism movement and noticed in history as

Women Great Rebellion./ 7

The demand to declare women's aspiration was getting stronger. The feminist

arranged the government to fulfill their demands. At least, for the first time, women

were allowed to have political rights as they entered the parliamentary ballot in

1920. 18 It was the first opportunity for women to choose or to be chosen. After what

they did in political area. The movement of feminism has found new significant roles

in society such as in education, social, and politics.

17 Soenarjati Djajanegera, op. cit., p. ]

18 ibid., P 8
 16

b. The second wave

'Second-wave' feminism refers to the resurgence of feminist activity in the

late 1960s and I970s, when protest again centered around women's inequality,

although this time not only in terms of women's lack of equal political rights but in

the .areas of family, sexuality, and work. 19

Several themes dominate the second wave criticism: the omnipresence of

patriarchy, the inadequacy for women of existing political organization, and the

celebration of women's difference as central to the cultural politics of liberation. In

order of these purpose, there were several important feminists figures: Kate Millet,

Julia Kristeva, Luce Irigaraay, Helene Cixous, Shulamith Firestne, Elaine Showalter,

Juliet Mitchell. Each of them has specific idea that differ from others.

Although those figures have various idea, but their idea was on the line of that

women must be free from men's domination, so that they can put themselves

independent from the world ordered by men. This concept reveals through the

scientific research, so that in the scientific research, there is a motivation to view

about women's role.

c. The third Wave

The movement of feminism rises into the third wave. Some scholars say it is

the "rebirth of feminism"zo Which gives a new formulation to bring a new concept of

life for women. Moreover, it also produces fundamental transformations in many

field of life.

19 Jane Freedman, Feminism, ( Philadelphia: Open University Press, 200 I), p. I

20 Judith Pole and Ellen Levin, Rebirth ofFeminism, (New York: Quadrangle Books, 1971), P 194
 17

It can be said that women are liberate themselves. Their social function have

recreated and changed the social structures, so that their position in the society

transforms into public sphere. Obviously, this condition indicates that they are not

domestically any longer. In this case, globalization has cause positive effect in order

to stimulate the condition. No wonder if nowadays we ca.n see there are many

women work as driver, manager, lawyer, journalist, lecturer, parliament member,

minister, even president.

Even though, up to now the idea of feminism cannot reach all parts of women

segmentation in every part of the world, especially in the East Society. Only some of

those who are well educated can understand and apply the idea of feminism.

2. Meaning of Feminism.
According to Adib Sofia and Sugihastllti, feminism is a struggle to change the

structure of hierarchy between men and women toward the equality of rights, status,

opportunity and roles in society.21 While Mansour Fakih gave another opinion:

"Femnisme merupakan gerakan yang berangkat dari asumsi dan kesadaran bahwa

kaum perennpuan pada dasarnya ditindas dan dieksploitasL, selia harus ada upaya

mengakhiri penindasan dan pengeksploitasian tersebut.,,22

From the above definitions the writer concludes that feminism focuses on

analyzing gender inequality and the promotion of women's right, interest, and issues.

21Adib Sofia, Sugihastuti" op. cit., pp.27

22Mansour Fakih, Analisis Gender dan Transformasi Sosial, (Yogyakarta: Pustaka Pelajar, 1997), p.
79
 18

Theme explored in feminism include discrimination, stereotyping, objectification,

oppression, and patriarchy.

3. Feminist Ideological Criticism

The feminist tried to liberate women from their infe:riority. They did their

struggle by making women a field of study, so that gender studies and women

studies occurred after never seen before. In the relationship to literature there is new

way that attempt to analyze about women in literary work and anything related to

women in literary work. This is the primary concept of feminism in literary criticism.

This study aims to enrich the knowledge about experience, needs and life of women.

Afterward, the study that makes women as a field of study that occurred in the

literary work is defined as feminist literary criticism. 23

According to Raman Selden, there were two significant feminist literary

ciriticusts. The first one was Virginia Woolf. She was the author of A room of One's

Own and Three Guineas. She principally concerned with the differences that

compared between men and women. She recognized that gender identity is socially

constructed and can be challenged and transformed. The second one was Simone De

Beauvoir. She was the author of The Second Sex. De Beauvoir has distinguished

between sex and gender and has seen an interaction between social and natural

functions, without any notion of biological determinism. She wanted freedom from

23 Soenarjati Djajanegara, op. cit., pp. 17-19

 19

biological and the social enfranchisement of women's rational abilities, where she

can distrust of 'feminity' .24

The development of feminist literary criticism itself was begun by the

publishing of Feminine Mystique, written by Betty Friedan. Friedan has stated

"women had gone back to the house abandoning their jobs to men who came back

from the war to claim their positions, and a feminine mystique was created in the

media making the housewife and mother the ideal models for all women." Of

course, this condition has brought women into the reduction of their identity and

socio-cultural passivity.

Kate Millet has continued Friedan's ideas by attempting the publication of

Sexual Politics. Sexual Politics argues that ideological indoctrination as much as

economic inequality is the cause of women's oppression. Millet has seen that

patriarchy has subordinated female to male. Patriarchy treats female as an inferior

male, where women coerced by a system of sex-role stereotyping to which they are

subjected from the earliest age. She continued the sociological concept about 'sex'

and 'gender', where 'sex' is determined biological but 'gender' is physiological.

She showed the "first modern principles of feminist criticism by embarking

upon a critique of sexist assumptions in male-authored texts and introducing some of

the fundamental terms, such as "patriarchal,' which gained considerable significance

in feminist literary studies." She has argued that the politic of patriarchy has

differentiated between man and women and put them into domination and put

24 Raman Selden, A Reader's Guide to Contemporary LiterOlY Theory, (K"ntucky:The University

Press of Kentucky, (991), pp. 20-21
 20

women as inferior. Moreover, patriarchy has reduced many of women's right and

their role in the society. Unfortunately, this image also reveals: in literary work when

many men author did the same as the real world.

There are three assumptions about feminist literary crliticism that encourage

feminism approaches upon literary works:

I. All literature, like all culture, dramatizes impl.icitly or explicitly the

difference between the masculine and the feminine.

2. All literature, like all history, records the struggle of women and men

with the social forces of patriarchy

3. Criticism functions, as does reading itself, to facilitate the awakening

of human consciousness to the gender-delimiting elements of human

experience. 25

Since the problem of women are very complex, it must be very naif, if there

is no more details specification. That is why the feminist literary criticism has three

subdivision as Cheri Register has stated on her mticle:

Feminist criticism has three distinct subdivision, each its own target. The first
two are well defined and frequently practiced: (I) the analysis of the "image of
women," nearly always appears in works by male researchers; and (2) the
examination of existing criticism of female researchers. The third type still needs
formulating, but it may become the crux offeminism critieism in the future. It is a
"prescriptive" criticism that attempts to set standards for literature that is "good"
from feminist viewpoint. .. 26

25From the article "Feminist Litermy Criticism ..www.cddc.edu/feminism/lit.html(March 12, 2007)

26Cheri Register, "American Litermy Criticism: A Bibliographical Introduction" in Josephine
Donovan (Ed.). Feminist Litermy Criticism: Exploration in Theory, (Kentucky: The University of
Kentucky, 1975) p 3
 21

Until this point,. it can be assumed that there are three subdivision that

focused in literary critic of feminist literary criticism They are ideological critic

about women reveals in literary works, or known as the feminist ideological criticism;

The critic about women authors in literary works, or tlw gynocritics; and the

reference critic of literary standard based on women's viewpoint.

The analysis of women's description in a literary work has a close

relationship with the description or image of women in the literary work itself. On the

other hand, this critic tries to make an analysis about how the image of women built

in literary works which are dominated by men. This critic is called feminist

ideological criticism. It has aim to research about misunderstanding and biased about

women and all of the causes why they are marginalized or even not regarded as

significant component of the society in the literary work. As Soenatjati Djajanegara

has stated:

... Kritik sastra yang paling banyak dipakai adalah kritik ideologis. Kritik
sastra feminis ini melibatkan wanita. Khususnya leaum feminis sebagai
pembaca. Yang menjadi pusat perhatian pembaca wanita adalah citra serta
stereotype wanita dalam karya sastr. Kritik ini juga meneliti
kesalahpahaman tentan wan ita dan sebab-sebab mengapa wan ita sering
tidak diperhitungkan ... 2 9
It is clear that feminist ideological criticism is an effOli to interpret the text

and to know more about image of women throughout the text. Through this spot, it

can be considered how much do this critic is needed in order to analyze the

phenomena of women reveal in a literary work. Without this approach, it must be

difficult to understand more.

27 Soenarjati Djajanegara, op. cit., p. 28

 22

Related to this concept, there is Marry Ellman's idea that must not be denied.

She has stated her opinions through her outstanding book, Thinking About Women.

which has generated many public debates about women and their effOlt for gaining

social equality in the 1960s. According to Ellman, there are several attributes that

reveals in literary works which always dominated by men. The attributes are usually

negative rather than positive. In most of men's literary works, women are stereotyped

by coward, passive, irrational, complex, materialism, low rationality, melancholic,

and seems to be instable. 28

From the psychological point of view, what Ellman has stated above is true,

since most of literary works are represent women with those kinds of attributes. From

the classical period until the modern era, this problem has not changed. The literary

works represent women to be weak, coward, irrational, passive, complex,

materialistic, melancholic, and emotionally unstable. Thes,; attributes apparently

different from men's which are considered to be brave, rational, active, dynamic, and

stable.

An outstanding analysis about the image of women in literary work has

delivered by Virginia Woolf. In her book, "A Room ofOne 's Own "(1929), Woolf has

discerned in some cases, like classical literary works, that women were imagined as

a creature with no education, no money, an ideological antipathy, unoriginal, private

and domestic (as a housewife, a girl, or who taken care the household).

28 Cheri Register, op. cit., p. 3

 23

Creative only with their biology, and self-doubt with fem'ness (and obedience).29 Yet,

the image can be stereotyped as social, biological, and psychological. Thus, it can be

concluded that women were stereotyped socially when they positioned domestically

as a housewife, servant, or girl, with no money, no education, no social rules;

biologically when they were performed as beautiful, weak, and charming people; and

psychologically when they were performed to be self-doubt, passive, complex,

irrational and coward.

Barracano Schmidt explained 111 American Literary Criticism: A

Bibliographical Introduction" in Josephine Donovan 30 , there are three reasons why a

particular stereotype might appear in the works of several author over a period of

time: (1) The character is derivative, the writer having used a l;ommon model (2) The

character is a product of social conditioning, an ideal or counter-ideal of the

prevailing values of the society, and (3)The character is symbolic fulfillment of the

writers' need.

For the author itself, it can be discovered about his/her opinion about women.

As what Stephen Heath has stated that feminism is a subject both for women and

men, it is possible that an author can be contrary against the idea of feminism or

suppOli it. 3\ It can be concluded that when an author repres(mt women stereotyped

and discourages women's right, he must support, minimally did not deny the idea of

29 Virginia Woolf, "A Room oJOne 's Own ", in Mary Eagleton, "Feminist Literary Criticism ",
llJondon: Longman, 1991), p. 7
o Cheri Register, op. cit., p. 5
31 Stephen Heath, Male Feminism ", in Mary Eagleton. "Feminist Litermy Criticism ", (London,
H

Longman, 1991), p. 201

 24

feminism in his work, but when he represent women positively and encourages the

rights of women, he has criticized feminism. Thus an author can be concluded to be

the one who supports or denies the patriarchy based on his/her literary work

From the above theories and explanation the writer thinks that feminist

ideological criticism is the right approach to analyze the feminism in A Doll's House.

This approach will help the researcher to understand how is women's image in A

Doll's House, and Ibsen's opinion upon the patriarchy based on feminism ideological

criticism. By using this theory, the researcher also tries to discover the conclusion of

these two problems.

 CHAPTER III
RESEARCH FINDINGS

A. Intrinsic Elements of A Doll's House

1. Characterization

The treatment of character is a basic part of the playwright work. That is

why the character plays an important role in a play. The function of character's

analysis is to know the moral quality and particular character's preference from

his/her attitude, speech, and action. The research about the characters applied by

identifYing the characters themselves and classifYing those characters into the

kinds of character in the play such as explained in chapter two.

a. Characters in A Doll's House

There are nine characters in A Doll's House:

I. Nora Helmer

Nora Helmer: Main character, the wife ofTorvald Helmer. Nora has never

lived alone, going immediately from the care of her father to that of her husband.

Inexperienced in the ways of the world as a result of this sheltering, Nora is

impulsive and materialistic. However, the play questions the extent to which these

are mere masks that Nora uses to negotiate the patriarchal oppression she faces

every day. Over the course of the three Acts, Nora emerges as a fully independent

woman who rejects both the false union of her man'iage: and the burden of

motherhood. Nora initially seems like a playful, naive child who lacks knowledge

of the world outside her home. She seems comnletelv hannv. She
friends. She does not seem her doll-like existence. In which she is coddled,

pampered and patronized.

As the play progresses, Nora reveals that she is not just a "silly girl," as

TOl"Vald calls her. She does have some worldly experience, however and the small

acts of rebellion in which she engages indicate that she is not as innocent and

happy as she appears. Her understanding of the business details related to the debt

she incurred in taking out a loan to preserve Torvald's health indicates that she is

intelligent and possesses capacities beyond mere wifehood. Her description of her

years of secret labor undertaken to payoff her debt manifests her fierce

determination and ambition. Additionally, the fact that she was willing to break

the law in order to ensure Torvald's health shows her courage:.

Krogstad's blackmail and the trauma that follows do not change Nora's

nature; they simply open her eyes to her unfulfilled and underappreciated

potential. "I have been performing tricks for you, Torvald," she says during her

climatic confrontation with Torvald. Nora comes to realize that in addition to her

literal dancing and singing tricks, she has been putting on a show She comes to

see her position in her marriage. She has pretended to be someone she is not in

order to fulfill the role that Torvald, her father, and society at large expect of her

Torvald's severe and selfish reaction after learning of Nora's deception and

forgery serves as the final catalyst for Nora' awakening. But, even in the first act,

Nora shows that she is not totally unaware that her life is at odds with her true
 27

macaroons and then lying to him about it, for instanee. She also swears,

apparently just for the pleasure she derives from the minor rebellion against

societal standards. As the drama unfolds, and as Nora's awareness of the truth

about her life grows, her need for rebellion escalates. This need culminates in her

walking out on her husband and children in order to find independence and finds

the strength to free herself from her oppressive situation.

2. Torvald Helmer

: Torvald embraces the belief that a man's role in marriage is to protect and guide

his wife. He clearly enjoys the idea that Nora needs his guidance, and he

constantly interacts with her as a father would. He instructs her with trite,

moralistic sayings, such us: "A home that depends on loans and debt is not

beautiful because it is not free." He is also eager to teach Nora the dance she

performs at the costume pariY. Torvald likes to envision himself as Nora's savior,

asking her after the pmiy, "Do you know that I've often wi,shed you were facing

some terrible dangers so that I could risk life and climb, risk everything, for your

sake?"

Although Torvald seizes the power in His relationship with Nora and

refers to her as a "girl," it seems that Torvald is actually the weaker and more

childlike character. Dr. Rank's explanation for not wanting Torvald to enter his

sickroom -"Torvald is so fastidious, he can not face to anything ugly"- suggests

that Dr. Rank feels Torvald must be sheltered like a child from the realities of the

world. Furthermore, Torvald reveals himself to be childishly petty at times. His

real objection to working with Krogstad is not deficiencies in Krogstad Moral

 28

decision to fire Krogstad stems ultimately from the fact that he feels threatened

and offended by Krogstad's failure to pay him the proper respect.

Torvald is very conscious of other people's perception of him and of his

standing in the community. His explanation for rejecting Nora's request that

Krogstad be kept on the office - that retaining Krogstad would make him "a

laughing stock before the entire staff'- shows that he prioritizes his reputation

over his wife's desire. Torvald further demonstrates his deep need for society's

respect in his reaction to Nora deception. Although he says that Nora has mined

his happiness and will not be allowed to raise the children, he insists that she

remain in the house, because his chief concern is saving "the appearance" of their

household.

3. Nils Krogstad

Krogstad is one the mmor character in A Doll's House, but he is not

necessarily a villain. Though his willingness to allow Nora's torment to continue

is cruel, Krogstad is not without sympathy for her. Ashe says, "Even money-

lenders, hacks, well, a man like me, can have a little of what you call feeling, you

know." He visits Nora to check on her, and he discourages her from committing

suicide. Moreover, Krogstad has reasonable motives for behaving as he does: He

wants to keep his job at the bank in order to spare his children from the hardships

that come with a spoiled reputation. Unlike Torvald, who seems to desire respect

for selfish reason, Krogstad desires it for his family's sake.

Like Nora, Krogtad is a person who has been "''fonged by society, and
 29

Though he did break the law, Krogstad's crime was relatively minor, but society

has saddled him with the stigma of being a criminal and prohibited him from

living down his past. Additionally, Krogstad's claim that his immoral behavior

came about when Mrs. Linde abandoned him for a man with money so she could

provide for her family makes it possible for us to understand Krogstad as

something of a victim of circumstances. One could argue that society forced Mrs.

Linde away from Krogstad and thus prompted his crime. Though society's unfair

treatment of Krogstad does not justify his actions, it does align him more closely

with Nora and therefore tempers the readers perception of him as a despicable

character.

4. Mrs. Kristine Linde

Kristine Linde is Nora's childhood friend old schoolmate of Nora. Mrs. Linde

comes back into Nora's life after losing her husband and mother. Mrs. Linde's

account of her life of poverty underscores the privileged nature of the life that

Nora leads. Also, it is known from the play that Mr. Linde takes responsibility for

her sick parent, whereas Nora abandoned her father when he was ill. Pressed for

money, Mrs. Linde successfully asks Nora to help her secure a job at Torvald's

banle; ultimately, Mrs. Linde decides that she will only be happy if she goes off

with Krogstad. Christine's older, weary viewpoint provides a foil for Nora's

youthful impetuousness as well as a symbol of the ultimate hollowness of the

matriarchal role. Her relationship with Krogstad also provide a point of

comparison for that of Nora and Torvald

 30

5. Dr. Rank

Friend of the family and physician of Torvald, Dr. Rank embodies and

subverts the theatrical role of the male moral force that had been traditional in the

plays of the time. Rather than providing moral guidance and example for the rest

of the character, Dr. Rank is a corrupt force, both physically and morally. Sick

from consumption of the spine as a result of his father':; sexual exploits, the

Doctor confesses his desire for Nora in the second Act and goes off to die in the

third.

6. Three children (Bob, Emmy, and IvaI')

Bob, Emmy, and IvaI' are Nora and Torvald's three small children. In her brief

interaction with her children, Nora shows herself to be a loving mother. Her later

refusal to spend time with her children because she fears she may morally conupt

them reveals Nora's belief that the quality of parenting strongly influences a

child's development. These three young children rose primarily by Anne, the

Nurse (and Nora's old Nurse), the children spend little time with their mother or

father. The time they do spend with Nora consists of Nora playing with them as if

she were just another playmate.

7. Anne-Marie

The Helmer's nanny. Though Ibsen doesn't develop her character much,

Anne-Marie seems to be a kindly woman wh6 has genuine affection for Nora. She

had to give up her own daughter in order to take the nursing job offered by Nora's

father. Thus, she shares with Nora and Mrs. Linde the act of sacrificing her own
 31

8. Helen

A housemaid, and there is no more explanation about her.

9. A porter

This character appears only in the beginning of the act I

2. Plot

Below, the writer quotes some dialogues which can describe the

development of Plot in Henrik Ibsen's play.

a. Exposition: as it stated in the Chapter two about the plot that every

playwright has to put the audience or reader in the know about whatever has

"happened" before the play begins. This necessity of doing this is the task of

exposition. So the writer will quote the situation of the beginning ofthe play:

"A room furnished comfortably and tastefully but not extravagantly. At the
back, a door to the right leads to the entrance-hall, another to the leflleads
to Helmer's study. Between the doors stands a piano. ... 37

There are also some expositions introducing the person in the play, for

instance, the introduction of Dr. Rank, Mrs. Linde and Krogstad.

b. Rising Action: is the entire first part of the play in which the forces creating

conflict are delineated, enlarged, and prepared for some disaster.

NORA. Ifyour little squirrel were to ask you for something very, ve,:v prettily-
-?
NORA. Would you do it?
HELMER.] should like to hear what it is,first.
NORA. Your squirrel would run about and do all her tricks if you would be
nice, and do what she wants. 38

The rising is built upon three effmi to find a way out, each a more difficult

way than the preceding. Here, Her first effort begins, the simplest if it works,
 32

direct action on Helmer to keep Krogstad in the bank. Nora led up to the subject

with her established feminine methods.

c. Climax/Crisis: The first major pause in the play occurs when the hero makes a

decision or makes some all-important discovery about eithe:r himself or someone

else in the play, the act which interrupts everything else that happening, is always

referred to as the climax. This is the end of the rising action, for it constitutes a

major turning point in the play.

HELMER. What is this? Do you know what is in this letter?

NORA. Yes, I know. Let me go! Let me get out!
HELMER. (holding her back). Where are you going?
NORA. (trying to getfree). You shan't save me, Torvald!
HELMER. (reeling). True? Is this true, that I read here? Horrible! No, no--it
is impossible that it can be true.
NORA.It is true. I have loved you above everything else in the world. 39

With the revelation of the forgery, comes an unforeseen development,

revelation of an entirely different character and relation to her in Helmer than she

had expected. Her former decision is no longer a solution; she is confronted with

the necessity of a new and final decision. The major dramatic question goes

through three phases for the audience: Will revelation of the forgery averted?

What will happen when it is revealed? What Will the effed be on Nora of the

revelation of Helmer's character and what will she do?

d. Falling Action: : The falling action follows the climax and usually presents the

ways in which the hero is slowly overpowered and becomes increasingly helpless.

The falling action does not usually last as long as the rising action. Because there

is inevitably such intense emotionalism in the falling action. the playwright often

provides comic-relief.
 33

(A ring is heard at the front-door bell.)

HELMER. (with a start). What is that? So late! Can the worst--? Can he--?
Hide yourself, Nora. Say you are ill.
(NORA stands motionless. HELMER goes and unlocks the hall door.)
MAID. (half-dressed, comes to the door).A letter for the mistress.
HELMER. Give it to me. (Fakes the letter, and shuts the door.) Yes, it is from
him. You shall not have it; I will read it myself
NORA. Yes, read it. 40
The complication of the letter introduces a dramatic: reversal for Helmer,

and with Helmer's reaction toit, clears the ground for Nora's final decision and

the movement to the resolution. The letter gives Helmer one last chance to show

some thought for Nora

e. Resolution: The ending is the final portion of the play.

The resolution of the play is accomplished when Nora says "Good bye. "

Ibsen introduces a note of hope at the end of the play. Nora feels it for a moment,

and then in weariness and disillusion after holding up so bravely through the

scene, she can only say, "Oh, Torvald, I don't believe any longer in wonderful

things happening. " Her last few speeches reveal her emotion at parting and the

depth of the love she has felt for Helmer. When Helmer says eagerly, "But I will

believe in it. Tell me?" one feels this is no longer his false air of superiority

asseliing itself, but a hint of fresh strength which may grow in him out of

suffering. That he welcomes the idea of change in himself shows a change has

already begun. The hope for the future is emphasized by Helmer's last words after

Nora is gone, "The most wonderful thing of all- 7" Helmer as well as Nora needs

to stand alone for realization of his character. Helmer's self-centeredness is given

such extreme emphasis at the crisis, that the suggestion a.t the end is highly
 34

desirable to round out the reality of the character. The ending of the play suggests

a new play but does not interfere with the completeness and finality of the action.

When the sound of the door shutting is heard, one phase of the lives of Nora and

Helmer has closed.

3. Setting
The setting of A Doll's House was taken occurance in the late 1970s,
since Ibsen wrote it in 1979. A Doll's House setting is only in Norway. There is
no other country as the place of the drama. Moreover, the whole acts of A Doll's
House took place in one room, in Helmer's living room. All of the activities held
in the living room. Nora as the major character never leave the living room. The
only chance that she left the room when she was at the party.

4. Theme
It is difficult to formulate the themes of A Doll's House, because there are

so many substantial issues brought by this play, so the writer preserves some

possibilities. The first is: The Sacrificial of Women. In A Doll's House, Ibsen

paints a bleak picture of the sacrificial role held by women of all economic classes

in his society. In general, the play's female characters exemplify Nora's assertion

(spoken to Torvald Helmer in Act Three) that even though men refuse to sacrifice

their integrity.

Helmer: I'd gladly work for you day and night, Nora-and take on pain and
deprivation. But there's no one who gives up honorfor love.
Nora: Millions ofwomen have done just that. ( d344-345 -Act 111)'1

In order to support her mother and two brothers, Mrs. Linde found it necessary to

abandon Krogstad, her true but penniless love and many a richer man.

Mrs. Linde: Don't forget I had a helpless mother and two small brothers. We
couldn't wait for you, Nils; your prospect seem hopeless then. (d. 20- Act III)"
 35

The nanny had to abandon her own child to support herself by working as Nora's

children's caretaker. As she tells Nora, the nanny considers herself lucky to have

found the job, since she was "a poor girl who'd been led astray. (d.20 Act Il)43

Though Nora is economically advantaged in comparison to the play's other

female characters, she nevertheless leads a difficult life be,cause society dictates

that Torvald be the marriage's dominant member. Torvald issues decrees and

condescends to Nora, and Nora must hide her loan from him because she knows

Torvald could never accept the idea that his wife or any other woman had helped

save his life. Furthermore, she must work in secret to payoff her loan because it is

illegal for a woman to obtain a loan without her husband's permission, By

motivating Nora's deception, Torvald's and society's attitudes leave Nora

vulnerable to Krogstad's blaclanail.

Nora's abandonment of her children can also be interpreted as an act of

self-sacrifice, Despite Nora's great love for her children (d.283 Act It4 -manifested

by her interaction with them and her great fear of corrupting them- she chooses to

leave them. It seems that Nora truly believes in her statement that the nanny will

be a better mother and that leaving her children is in their best interest.

The second is: Parental and filial Obligations. Nora, Torvald, and Dr. rank

each express the belief that a parent is obligated to be honest and upstanding,

because a parent's immorality is passed on to his or her children like a disease. In

fact, Dr. Rank does have a disease that is the result of his father's depravity. Dr.

42 ihid n ""
 36

Ran implies that his father's immorality -his many affairs with women- led him

to contract a veneral disease that he passed on to his son. Causing Rank to suffer

for his father's misdeeds.

Torvald voices the idea that one's parent determine one's moral character

when he tells Nora, "Almost everyone who goes bad early in life has a mother

who's a chronic liar."(d.448 Act I). He also refuses to allow Nora to interact with

their children after he learns of her deceit, for fear that she will corrupt them.

Yet, the play suggests that children too are obligated to protect their

parents. Nora recognized this obligation, but she ignored it, choosing to be with

and sacrifice herself for her sick husband instead of her sick father. Mrs. Linde, on

the other hand, abandoned her hopes of being with Krogstacl and undertook years

of labor in order to tend to her sick mother. Ibsen does not pass judgment on

either woman's decision, but he does use the idea of a child's debt to her parent to

demonstrate the complexity and reciprocal nature offamilial obligation.

It can be noted that A Doll's House is a play about Women's right. The

women -Nora- in this play breaks the stereotype or mold that is put on her. Nora

chooses to simply walk away from the problem she faces. This action goes along

with most mothers tell their children when they face similar situations. Nora is

suppressed by Torvald's word. She tries to help her husballdand, according to the

author, saves his life. Torvald is unaware of her sacrifice and is ashamed of Nora's

deceitful behavior. She is finally sick of being called a little skylark and a

spendthrift and decides to leave Torvald, which is unheard during that time. The

play ends with Nora slamming the door and Torvald mumbling to himself. It
 37

shows a woman taking charge of her life and breaking the mold that stereotypes

her.

B. Feminism in A Doll's House

1. The Image of Nora Helmer in the Beginning of The Play

a. Dependent Woman

From the beginning of the play it is obvious that man's treatment of

woman -Nora- is very badly and in a way insulting her because she is a woman.

He calls her little pet names, and says that she is frail. Nora also does thing

according to what Torvald wants. Everything is done by his standard.

"NORA. (moving towards the stove).

As you please, Torvahl 5

b. Weak Woman

Torvald didn't allow her to have very much freedom. He didn't leave

decisions to Nora. It obviously shown when they talk about what Nora is going to

wear and do for ball.

HELMERWasn't that a happy thought a/mine, now?

NORA.Splendid! But don't you think it is nice a/me, too, to do as you wish?46

Torvald's chosen names for Nora reveal that he doesn't see her as an equal

by any means, Nora is at times predictable and silly doll and at times a captivating

and exotic pet or animal, all created for Torvald.

 38

c. Private and Domesticated Woman.

It can be seen in the title A Doll's House. This title invites the reader at

once to wonder about the issue of power. It describes the readers of this play to

see what is going on the Helmer household as somehow analogous to a child's

game featuring an artificial life of dolls manipulated by the doll master.

As it is known that Nora had never left the living room since the very

beginning of the play until the last act

So it obviously clear that in the begilming of the play Nora is introduced as

the weak, stupid and dependent wife. The treatment continued to Act II and Act

III:

NORA.
I mean that I was simply transferred from papa's hands into yours. You
arranged everything according to your own taste,and so I got the same
tastes as your else I pretended to, I am really not quite sure which--I think
sometimes the one and sometimes the other. When !look back On it, it seems
to me as if I had been living here like a poor woman-just ji'om hand to
mouth. I have existed merely to pelfarm tricks for you, TOl'vald.But you
would have it so. You and papa have committed a great sin against me. It is
your fault that I have made nothing ofmy life.
NORA.
No, only merry. And you have always been so kind to me. 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; and here the children have been my dolls. lthought it
great jim when you played with me, just as they thought it great fun when I
played with them. That is what our marriage has been, Torvald. 47

From the above statements we know that Torvald has treated her like a

"doll" to be played with and admired. It is the social satisfaction he derives from

having a beautiful young wife to himself, someone he dmparade around in frorit

of other men as his trophy, arousing their jealousy when he takes her away from

the party to gratify the sexual stimulation he has gained by her dance.
 39

This scene can be analyzed by using feminist ideological criticism. Based

on the theory, the image of Nora can be discovered. Nora is a woman who lives in

a patriarchy system. As what Kate Millet has said, the system of patriarchy which

differs men and women and gives advantages to men has reduced women rights. It

shackles women's right and oppresses them as inferior. Kate Millet has argued

that ideological indoctrination as much as economic inequality is the cause of

women's oppression. Millet has seen that patriarchy has subordinated female to

male.

Virginia Woolf in Mary Eagleton has stated that a woman be stereotyped

socially, biologically, and psychologically.48 In this drama the image of Nora

socially is being private and domestically. And biologically, she is beautiful and

charming, that Dr. Rank was in love with her.

b. TheTransformation of Nora's Image

In Act III, it is noted the transformation from Nora from doll-like puppet

to real life human being concludes with her decision to leave her family. Nora

realizes that woman should be free to discover their own true identities.

Nora realizes that before she can be wife, she must first discover herself through

venturing out into the world, she leaves an unformed soul, determined to become

a full person rather than the doll of the male figure in her life.

Nora is woman who has the potential to be independent and forceful, when

Torvald selfishly said:

HELMER.
I would gladly work night and day for you, Nora·--bear sorrow and want
for your sake. But no man would sacrifice his honor for the one he loves.
 40

NORA.
It is a thing hundreds ofthousands ofwomen have done

In this statements she realizes that she has had many accomplishments and that

she is worthy of a larger award than what she has given.

NORA. (undisturbed).
I mean that I was simply transferred ji-om papa's hands into yours. You
arranged everything according to your own taste, and so I got the same
tastes as your else I pretended to, I am really not quite sure which--I think
sometimes the one and sometimes the other. When I look back on it, it seems
to me as if I had been living here like a poor woman--just ji-om hand to
mouth. I have existed merely to perform tricks for you, Torvald. But you
would have it so. You and papa have committed a great sin against me. It is
your fault that I have made nothing ofmy life.
NORA.
No, only mer/Yo And you have always been so kind to me. 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; and here the children have been my dolls. I thought it
great jim when you played with me, just as they thought it great fun when I
played with them. That is what our marriage has been, Torvald
NORA.
Indeed, you were pelfectly right. I am not fit for the task. There is another
task I must undertake first. I must try and educate myself--you are not the
man to help me in that. I must do that for myself And that is why I am going
to leave you now. 49

In conclusion, one can see Nora's struggle to break free of her caged

prison. In the beginning of the play she was characterized as weak and childlike

person, as a doll wife who revels in the thought of luxuries that can be afforded.

She gains some strength to stand up to Mrs. Linde, even going as for as helping

her, and to push off Krogstad, she finally after realizing Torvald's true character,

breaks free of her cage and does what birds do best -fly.

Up to this point, the writer encourages himself to deny the theory given by

Virginia Woolf and Mmy Ellman so When they have stated that women must be

put as coward, irrational, complex and dependent to men in literary work written
 41

by men. Oppositely, through the character of Nora, Ibsen has showed how a

woman, even though being domestically, still can be a brave person to challenge

the life rather than to be something she does not like. It is proved that in the

character of Nora, there is no character of a woman for being coward, irrational,

passive, and complex, or even dependent to men. A woman can be imagined as

private and domestically but has positive attitude such as courage and dynamic as

what the character of Nora shows through this drama. The character of Nora gives

a positive image about women when she reveals as a brave and independent girl

who has challenge the patriarchy bravely.

Although Nora is put domestically, Ibsen has brought her into a glorify

challenge against the patriarchy. When Nora leaves her husband, the

representation of patriarchy, Nora becomes the symbol of women's rebellion

against the patriarchy. Thus the image of Nora in this drama seems to bea private

and domesticated woman but powerful to decide her lit:e based on her own

consideration. In the other words, it can be said that not every women were

imagined in literary works as coward, irrational, passive, or even dependent to

men, since the character of Nora challenges the opinion.

B. Ibsen's Opinion upon the Feminism in A Doll's House

The last act gives the resolution of the drama. Nora leaves her husband.

The actis also the deciding point of Nora' life: will the "wonderful thing" happen

or not? It begins with a foil for Nora and Torvald's marriage. In fact, Mrs. Linde

and Krogstad's decision to be together can be seen as ironic in the context of Nora
 42

significant personal and moral problems, they have a better chance of a happy and

true marriage than Nora and Torvald. Mrs. Linde advoeates revealing all to

Torvald because, as her union with Krogstad suggests, she believes that it is

possible to build a relationship of mutual dependence of unformed characters as

long as both parties are fully aware of each other's motives. Mrs. Linde hopes that,

through this union, both she and Krogstad can become the better people they

know that they can be.

The extent of Tor"Vald's investment in a fantasy world and the importance

of Nora's false characterization is revealed when he describes how, at parties, he

pretends dot to know her so that he may seduce her all over again. And, perhaps

more importantly, Nora is quite candid about her understanding of all this, telling

him flatly that she knows.

It is important to notice that Nora's time at the party has been the first time

that she has left the confines of the one room in the entire play. Moreover, she has

to be dragged back in. This suggests that it is Torvald's own desires to have Nora

entertain him that necessarily forces Nora to journey into the real world. Also, it is

interesting to note that she also temporarily leaves the room to exchange her party

dress for everyday clothing, her first lone foray from the room. This new trend is

the beginning of her final depatture from the room (a departure that ends the play,

shattering the values that had supported the walls of the house.

But, when she leaves for the final time, she is leaving for reasons other

than what she had intended at the begimling of the Act. Before Torvald confronts

her with the letter, she is on her way to commit suicide, determined that Torvald
 43

thing to do because she believes that he would willingly give his life fro hers as

well. In this way, they have an equal relationship. However, she is extremely

disappointed to discover that he clearly has no intention of sacrificing himself for

her. Instead of refusing to abide by Krogstad's demands and taking the blame on

himself, Torvald accuses Nora of ruining his life, telling her that she will no

longer be able to see her children or maintain their man-lage except in public

appearances. Nora even asks him whether he would give his life for her and her

fears are confirmed when he answers that he would never sacrifice his honor for a

loved one. Consequently, Nora resolves to leave Torvald, aware that true wedlock

is impossible between them because neither of them loves the other, or even

capable of doing so. Nora realizes that, before she can be a wife, she must first

discover herself through venturing out into the world. She leaves an unformed

soul, determined to become a full person rather than the doll of the male figures in

her life.

A Doll's House Henrik Ibsen's popular play, as literary product written

during 19th century, shows the playwright opinion toward the feminism. In his

work Ibsen emphasizes that, indeed, women's place is their homes, and working

outside their homes creates problems for women. In addition to this Ibsen points

out that in this world men are acting as the superior and women are the inferior.

Men dominate every single aspect of life and, accordingly, women's place is

marginalized. Through the description of the female characters, Ibsen shows that

women are dependent on men and that women are the objects rather than the

subject.
 44

In A Doll's House at least three major conflicts are present: a conflict

between Nora and Torvald, conflict between Nora and Krogstad and a conflict

between Nora and society. Through Nora's conflict with Torvald, the writer found

that patriarchy socialization of women into servicing creature is the major

accusation. Nora's painful account to Torvald of how Torvald, -and her father-

used her for their amusement. How she had no right to think for herself, only duty

to accept their opinion. Excluded from meaning anything, Nora has never been

subject but only object. Nora is imprisoned within her respective roles; she must

be passive and nurturing.

The second conflict is Nora's conflict with Krogstad. When Krogstad

comes to visist her, after she took matters in her own hands, forged her father

signature and saved her husband's life. Krogstad decide to manipulate her.

However she turns on him a classical show of strength. Not only did Nora refer to

Krogstad as "a stupid lawyer", but she also calls the law "a very stupid law." Her

strong statements show that she has the potential of being a strong woman.

The third conflict is Nora's conflict with the society. Ibsen sheds light on

the forces that subjugate women. Nineteenth-century, society was male-

dominated. Married women could not borrow money without their husbands'

signature. Nor could they own real estate in their own names or enter into

contract. In addition, all their assets -including inheritances and trust funds-

automatically become the property of their husbands at time of marriage.

Ibsen showed his disagreement to patriarchy by le:tting Nora leave her

husband rather than to be something she does not like. He shows woman's
 45

the patriarchy through the character of Torvald, by showing Torvald self-

centeredness and his cowardice. As what Stephen Heath has stated, an author,

through his literary work, must be contrary to or support the patriarchy.51 In this

case, Ibsen not only has put himself contrary against patriarehy, moreover, he also

criticizes the patriarchy itself. This what feminism stmggle for, to against

inequality between male and female.

The system of patriarchy which built by the egoism and man's dominance-

it is what feminist stmggle for- must be eliminated. Properly, a husband has to be

wise and must not be selfish. He must be a good model for his wife in overcoming

the problem, not by threatening his wife's life.

When Torvald blamed his wife for the forgery and Nora said Torvald is

not the man to educate her into being a proper wife for him, obviously, is a critic

from Ibsen to the patriarchy. Ibsen believes that in many maniages as the relation

of men and women conventionally existed in his day, the woman seemed against

in the manner described by Nora. Actually a husband and wife can have worked

out the problem together.

HELMER.
You blind, foolish woman!
NORA.
J must try and get some sense, Torvald.
HELMER.
To desert your home, your husband and your children! And you don't
consider what people will say!52
 46

Ibsen again criticized what male first concern for appearances, a part of

social hypocrisy and ignores the feeling of Nora, as the victim of his manner

which consider woman as a household-unit.

Finally Ibsen shows that the feminism is brought into reality in Nora

emancipation as a woman. She fought against the dehumanizing oppression of

women. She offers the readers a vision of the need for a freedom for

woman amid a suffocating society governed wholly by unsympathetic and

insensitive men
 CHAPTER IV

CONCLUSION AND SUGGESTION

A. CONCLUSION

After analyzing A Doll's House written by Henrik Ibsen viewed fi'orn the

feminist ideological criticism, the writer concludes throughout this drama, the image

of Nora reveals in variations. She is a beautiful and lovely lady. She is also positioned

as private and domesticated woman. However she is courageous or brave and

independent. She has no fear to challenge her husband, the representation of

patriarchy. She chooses to be "free" rather than a doll's house. Based the theory in

chapter two, these stereotypes appear from Ibsen because the character is a product of

social conditioning, and ideal or counter-ideal of the prevailing values of the society.

The feminism focuses on analyzing gender inequality and the promotion of

women right, interest and issues. The themes explored in feminism include

discrimination, stereotyping, objectification, oppression, and patriarchy. The writer

finds that The feminism is brought into reality in Nora emancipation as a woman. She

fought against the dehumanizing oppression of women. She offers the readers a

vision of the need for a new-found fi'eedom for woman amid a suffocating society

governed wholly by unsympathetic and insensitive men.

Nora has wriggled the IUles of patriarchy when she decides not to stay with

her husband. The decision is a symbol of women's rebellion against men's

domination through patriarchy. When the IUles shackled her, she opposes it. She
 48

struggles all of that oppression, in the same time to show that as a human being, she

also has right to decide. She prefers leaving to being shackled by the patriarchy.

Through three conflicts in A Doll's House - a conflie;t between Nora and

Torvald, conflict between Nora and Krogstad, and conflict Nora and society- Henrik

Ibsen wanted to guide the audiences and the readers to recognize that women have

freedom. The rule that shackled women in the patriarchy must be deleted. The rule is

not properly with human right, so it is must not be endured. Thus, in the end of the

drama it can be seen how Ibsen blames the patriarchy. Through this drama, it is

proved that Ibsen agrees the idea feminism

cl-' B. SUGGESTION

In analyzing a play or literary works, the writer would suggest to start

research by making the methodology of research. The building of methodology

would give direction of the process research. The next step, the researcher should

look for the right approaches or theory to discuss the problems.

The researcher suggests those who are interested to do the same study about

relationship between the feminist ideological criticism and litermy work to read more

about feminist literary criticism. Some books that are suggested by the researcher to

study such as Felll/idst LitercllY Criticism edited by Mary Eagleton, Feminist Litermy

Criticism: Erploring ill theOly edited by Josephine Donovan, and Kritik 8ostro

Femillis written by Soenatjati Djajanegara.

 BIBLIOGRAPHY

Barrows, Herbert, Hubert Hefner, John Ciardi, and Wallace Douglas, An Introduction
To Literature, Massachusetts, The Riverside Press, 1959

Belsey, Catherine, & Jane More, The Feminist Reader, London, Macmillan, 1997.

Coyle, Martin, Encyclopedia ofLiterature and Criticism, New York, Gale Research,
1990.

Djajanegara, Soenarjati, Kritik Sastra Feminis: Sebuah Pengantar, Jakmia,

Gramedia, 2000.

Donovan, Josephine, Feminist Literary Criticism: Exploratation In Theory,

Kentucky, The University of Kentuckyk, 1975

Endraswara, Suwardi, Metodologi Penelitian Sastra, Yogyakarta, Pustaka Widya

Tama,2003.

Eagleton, Mary, Feminist LiteralY Criticism, London, Longman, 1991

Faqih, Mansour, Analisis Gender dan Transformasi Sosial, Yogyakarta, Pustaka

Pel ajar, 1997.

Freedman, Jane, Feminism, Philadelphia, Open University Press, 200 J.

Garcia, Hubenka, The Design of Drama, New York, David McKay Company Inc,
1973

Gillespie, Sheena, Terezinha and Carol Sanger, Literature Across Culture, Boston,
Allyn and Bacon, 1994

Hall, Donald, To Read Literature. Fiction, Poetry, Drama, New York, Holt Reinhart
and Winston, 1981

Ibsen, Henrik, Four Major ofPlays, New York, Airmont Publishing, 1966.

PetTine, Laurence, Literature: Structure, Sound and Sense, New York, HBJ Inc, USA

Pole, Judith and Ellen Levin, Rebirth of Feminism, New York, Quadrangle Books,
1971
 50

Rose, William Benet, The Reader's Encyclopedia 3'd ed, London,

A & C Black, 1987.

Russell, Christopher, Reaske, Analyze Drama, New York, Monarch Press, 1966.

Selden, Raman, A Reader's Guide to Contemporary Literary Theory, New York,

Harvester Wheatsheef, 1993.

Sofia, Adib & Sugihastuti, Feminisme dan Sastra, menguak Citra Perempuan Dalam
Layar Terkembang, Katarsis, Bandung, 2003.

Sugihastuti & Suharto, Kritik Sastra Feminis: Teori dan Aplikasinya, Pustaka Pelajar,
Jogjakarta, 2002.

West, Uta, ed, Women in Changing World, London, B L C, 1975.

www.cddc.vt.feminism/lit.html

www.gradesaver/classicnotes/titles/adollshouse
 51

SYNOPSIS

The story starts on Christmas Eve. Nora makes preparation for Christmas.

While she eats macaroons, Dr. Rank and Mrs. Linde enter. Rank goes to speak with

Torvald while Linde speaks with Nora. Linde explains that h,:r husband has died and

that she needs to find a job. Nora agrees to ask her husband to give Linde a job at the

bank. Nora tells her about borrowing money to pay for the trip to Italy for her and her

husband. She explains that Torvald doesn't know that she paid for it. 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 talk to Torvald about

keeping his 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, or else he will

reveal Nora's crime of forgery. Krogstad leaves and when Torvald reenters. Nora

asks him not to fire Krogstad. Torvald says that he must fire him because of his

dishonesty and because he gave Krogstad's job to Linde. Torvald returns to his study.

The Nurse, Anne-Marrie, enters and gives Nora her ball gown. Anne-mare

explains that she had to leave her children to take the job taking care of Nora. Anne-

Mare leaves. Linde returns and begins to help Nora with stitching up her dress. They

talk for a while about Dr. Rank. Torvald enters and Linde leaves to the nursery. Nora

asks Torvald again not to fire Krogstad and Torvald refuses. He gives Krogstad's

pink slip to the maid to be mailed to Krogstad. Torvald leaves to his study. Rank

enters and tells Nora about his worsening illness. They talk and flht for a while. Rank
 52

tells Nora that he loves her. Nora said that she never loved Rank and only had fun

with him. Rank leaves to the study and Krogstad enters. He is angry about his

dismissal and leaves a letter to Torvald explaining Nora's crime in the letter box.

Nora is frightened. Nora tells Linde about the matter and Linde assures her that she

will talk to Krogstad and set thing right. Linde leaves after Krogstad and Rank and

Torvald enter from the study. They help Nora practice the tarantella. After practice,

Rank and Torvald exists. Linde enters and tells Nora that Krogstad left town, but she

left a note for him. Nora tells her that she's waiting for miracle to happen.

That night, during the dance Linde talks to Krogstad in Helmer's apartment.

She explains to him that she left him for money, but that she still loves him. They get

back together and Krogstad decides to forget about the whole matter of Nora's

borrowing money. However, Linde asks Krogstad not to ask for his letter back since

she thinks Torvald needs to know of it. Both leave and Torvald and Nora enter from

the dance. Torvald checks his letter box and finds some Idters and two Business

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

Rank is announcing 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 angri and disavows 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 happy and tells Nora that everythingwillretul'11