Critical interpretations of Nora in Act 1 ( A Doll's House)

Rogers (1974) critics observe Ibsen's damning portrayal of men, society and the institution of marriage (H's bcbarcotmattf)

Helmer's belittlement covered by affection remains characteristic of the male's attitude to the female

Binion (1994) critics observe Ibsen's damning portrayal of men, society and the institution of marriage (itetlamaaup)

Ibsen taught Europe to look at marriage as an unequal partnership

Rosenberg (1969) this critic challenges this criticism of patriarchy (tig)

Torvald is groundless

Templeton (1989) 19th century stereotype of weak, unstable, even dangerous femininity (aiafn)

an irrational and frivolous narcissist

Crawford (1891) 19th century stereotype of weak, unstable, even dangerous femininity (cbu)

charming but unprincipled

Templeton (1989) 19th century stereotype of weak, unstable, even dangerous femininity (hituei)

her inability to understand ethical issues

M.V.Brun (1879) stereotypical of 19th century ideal woman (itfasasgusal,nabpoty,i,najwam)

in the first and second acts she gave us such a lovely, natural and beautiful picture of the young, inexperienced, naive and joyful wife and mother

Valency (1963) 19th century stereotype of weak, unstable, even dangerous femininity (the,npf)

the hysterical personality, not particularly feminine

Bentley (1954) critics observe Ibsen's damning portrayal of men, society and the institution of marriage (ttoohbooa)

the tyranny of one human being over one another

Social Demokraten Review (1879) stereotypical of 19th century ideal woman (yadyw)

young and delightful young woman

Brustein (1962) critics observe Ibsen's damning portrayal of men, society and the institution of marriage (n's raint,bsi,iairhdfsr)

Nora's real antagonist is not Torvald, but society itself, insofar as it restricts her desire for self realisation