“Nowhere is Ibsen's knowledge of humanity more evident than in his depiction of women” (Joyce). Discuss and illustrate: Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”?Get the original essayIn his oft-quoted “Notes for a Modern Society,” Ibsen said that “in practical life, woman is judged by male law, as if she were not a woman but a man – a woman cannot be herself in modern society.” These thoughtful reflections sparked much positive acclaim from feminists at the turn of the century, despite Ibsen's categorical declaration that "I am not a member of the Women's Rights League" (McFarlane, p. 90). The extent to which Ibsen directly sympathized with feminists is still debated today, but it hardly matters when considering his depiction of women. More engaging is the idea that Ibsen did indeed have a deep knowledge of the nature of women and a fervent interest in how it was affected by contemporary society. This resulted in the creation of colorful female protagonists such as Nora Helmer and Hedda Gabler, whose character traits are not only entertaining for the purposes of the drama, but also remarkably well observed. We should not overlook Ibsen's equally convincing depiction of marital relationships; the emphasis on the attitude of the Victorian husband towards his wife is particularly revealing. The way in which the behavior of married couples was dictated by society is explored by Ibsen in A Doll's House, in part through Torvald's blind determination to adhere to the right set of rules. David Thomas goes so far as to say that Torvald lived his role as authoritarian husband without thinking, because "men were much more likely to be dominated by the social prejudices of their time." Ibsen highlights this notion by giving Torvald a dominant role over Nora, sometimes almost comical in its intensity. He delights in perceiving his wife as a silly childish figure, affectionately taunting her with references to "you and your frivolous ideas", and moaning in a clearly approving manner that she is "just like a woman". When interested in Dr. Rank's health questions, Torvald happily exclaims, "Look at our little Nora talking about lab tests!" . It is reminiscent of a proud father, amused that his daughter expresses a naive curiosity regarding a question about which she clearly understands nothing. This interpretation of Nora's words reinforces his powerful status and gives him the satisfaction that his wife is as ignorant as she should be. It could be argued that throughout the play, Torvald unconsciously deludes himself into understanding Nora's actions in this inaccurate way. He is certainly disgusted by the idea of ​​his secret involvement in Krogstad's affairs, warning him that "the little songbirds must keep their pretty little beaks out of trouble" (p. 31). This allegorical language is probably just as beneficial to him as it is to hers: he is reluctant to directly address the possibility that his wife is intrigued by topics that, according to the rules of society, should exclude her completely. When he discovers the extent of his deception, he is moved by his anger and fear calling the situation "utterly sordid", but upon realizing that he is "saved", his first instinct is to comfort " poor little Nora.” Torvald is clearly eager to return to the previous state of decorum in which his wife was just his little pet, flattering himself that "I don't"I wouldn't be a decent man if I didn't find a woman doubly attractive for being so obviously helpless." embodies a husband who less visibly succumbs to society's expectations of a good marriage, but who nonetheless still quietly encourages his wife to act more appropriately. it is not” (McFarlane, p. 100), and it is true that he is fascinated by “medieval domestic crafts…” Perhaps he unconsciously seeks to compensate for the lack of domestication. in the home of a woman disgusted by the “smells of lavender and potpourri.” More obviously, Jorgen is used to constantly seeking approval and attention from Hedda, encouraging her to “think.” to this, Hedda” three times in a few lines of text (p. 182-3). His mechanical “yes, I think so” response to these calls clearly reflects his disinterest, and yet poor Jorgen is never deterred from trying to gain his wife's devotion. Likewise, her allusions to her suggested pregnancy are an almost pathetic attempt to encourage discussion on the subject within the household. “Isn’t she thriving?” he asks Brack suggestively, trying to portray her as a healthy mom-to-be. This recalls Torvald's comment to Mrs. Linde as Nora greets the children, contentedly proclaiming that "the place is now becoming unbearable for anyone but the mothers" (p. 22). Like Jorgen, he revels in the idea of ​​his wife being preoccupied with her maternal instincts, because in the eyes of society this constitutes a perfect demonstration of the most essential quality of the good wife. Ibsen's understanding of different types of women is very apparent in his feminine style. the various attitudes of the characters towards pregnancy and motherhood. On the rare occasions when Nora refers to her children, she refers to them as "such sweet little things", "my sweet little darlings" and "my pretty little dolls" (p. 22), suggesting that although she does not lack maternal material, feeling, she considers her children above all as toys to play with and show off when it suits her. Her final decision to leave because of her "duty to herself" (p. 82) is not hindered by feelings of genuine guilt towards her children, in sharp contrast to the alternative German ending of the play where, " trembling,” she declares that “I can’t leave them. The fact that Ibsen called this conclusion a "barbaric scandal" (Thomas, p. 74) shows that he specifically wanted Nora to be presented as a woman who did not devote herself exhaustively to family life: he knew that not all women shared the same thing. priorities and wanted to make society aware of them. Ibsen's sensitivity to women's thought processes is evident in the contrast between Hedda, Miss Tesman, and Thea Elvsted's approaches to pregnancy. Jorgen's old aunt devoted her life to raising him, asking him insistently: "Isn't it the only joy I have in the world to help you on your path, my dear boy?" (p.174). Her maternal instinct is never questioned, from the moment she eagerly speaks to Jorgen about her pregnancy, asking him for news from “all perspectives” (p. 172). As for Thea, her childlessness pushes her to cling to Lovborg's manuscript: Ibsen clearly demonstrates that some women will always need something to nourish. Her reaction to Lovborg's account of the destruction of the manuscript is striking, as she "screams" and declares: "For the.