An Analysis Of Absurd Elements In Henrik Ibsen’s Play A Doll’s House

(1)

AN ANALYSIS OF ABSURD ELEMENTS IN HENRIK

IBSEN’S PLAY A DOLL’S HOUSE

A PROPOSAL

By:

FRIDA HARTATY PUTRI H

Reg. No. 080721035

UNIVERSITY OF SUMATERA UTARA

FACULTY OF LETTERS

ENGLISH DEPARTMENT

EXTENSION PROGRAM

MEDAN

(2)

ACKNOWLEGEMENTS

First of all, I, the writer of this thesis, would like to thank Allah, SWT for the health, insight and wise and care given to me during the preparation until the completing of this thesis writing. Praise Allah, SWT whose love never ends till the ultimate time will come.

Whether or not, I have to address my great thanks to my father, Harry W.H and my beloved mother Hj. Tiar Juliaty who are always ready to support me both morally and financially during the days of my study. Their deep and true support has opened my sincere felt-heart thankfulness for their care and attention. May God bless you, father and mother with love and tenderness.

On this opportunity, I am thankful the Dean of Fakultas Sastra, Bapak DR. Syahron Lubis, MA., for his giving admittance for me to follow the final test. I also thank Ibu, Dra. Swesana Mardia Lubis, M.Hum- the Head of English Literature Department, who is also my supervisor for her kindness and guidance to complete my thesis. I do thank as well Bapak Drs. Parlindungan Purba, MHum, the secretary of English literature Department as well as my co-supervisor for his patience to supervise the thesis writing.

(3)

ABSTRAK

Judul skripsi ini adalah analisis tentang unsur absurditas sebagaimana digambarkan dalam karya sastra drama Henrik Ibsen A Doll’s House. Sebagai salah satu jenis ‘genre’ sastra yang berbeda dari pusi dan prosa, karya ini lebih ditekankan pada unsur lakon dan dialog yang diciptakan dalam bentuk tulisan. Istilah absurd dimaknai sebagai sesuatu yang aneh atau ganjil dalam arti kurang berterima oleh akal sehat karena manusis tidak menemukan jawaban sejati atas persoalan hidup yang dihadapi. Istilah ini lebih diupengaruhi oleh faham filsafat eksistentialisme di mana manusia gagal menemukan jawaban atas dirinya dengan mempertanyakan keberadaannya. Oleh karena jawaban tidak ditemukan secara pasti maka manusia terperangkap pada situasi yang absurd.

Skripsi ini menjelaskan unsur absurditas pada situasi kekecewaan dan kesiasiaan serta perasaan terasing tokoh utama yang ada pada drama A Doll’s House. Situasi absurd hanya dialami manusia karena mengedepankan logika, dan

manusia dalam karya sastra diwakili oleh tokoh atau karakter. Melalui kajian tematik melalui teks sastra drama tersebut, deskripsi tentang unsur absurd didasarkan pada dialog dan tindakan oleh para tokoh. Dengan demikian metode analisis pendeskripsian dilakukan dalam analisis data yang dikenal dengan sebutan descriptive method of analysis.

(4)

ABSTRAK

Judul skripsi ini adalah analisis tentang unsur absurditas sebagaimana digambarkan dalam karya sastra drama Henrik Ibsen A Doll’s House. Sebagai salah satu jenis ‘genre’ sastra yang berbeda dari pusi dan prosa, karya ini lebih ditekankan pada unsur lakon dan dialog yang diciptakan dalam bentuk tulisan. Istilah absurd dimaknai sebagai sesuatu yang aneh atau ganjil dalam arti kurang berterima oleh akal sehat karena manusis tidak menemukan jawaban sejati atas persoalan hidup yang dihadapi. Istilah ini lebih diupengaruhi oleh faham filsafat eksistentialisme di mana manusia gagal menemukan jawaban atas dirinya dengan mempertanyakan keberadaannya. Oleh karena jawaban tidak ditemukan secara pasti maka manusia terperangkap pada situasi yang absurd.

Skripsi ini menjelaskan unsur absurditas pada situasi kekecewaan dan kesiasiaan serta perasaan terasing tokoh utama yang ada pada drama A Doll’s House. Situasi absurd hanya dialami manusia karena mengedepankan logika, dan

manusia dalam karya sastra diwakili oleh tokoh atau karakter. Melalui kajian tematik melalui teks sastra drama tersebut, deskripsi tentang unsur absurd didasarkan pada dialog dan tindakan oleh para tokoh. Dengan demikian metode analisis pendeskripsian dilakukan dalam analisis data yang dikenal dengan sebutan descriptive method of analysis.

(7)

INTRODUCTION

1.1The Background of Analysis

The question fundamental to literary study is to answer the question what literature is. The word literature etymologically derives from Latin word “litterature”, or “littera” means the smallest element of alphabetical writing or letter (Klarer, 2004:1). This definition of course is not enough to give an understanding on the essence of literature. In addition, literature is a fictitious kind of writing. It has three kinds in general that is poetry, prose or novel and drama or play.

Each genre of literary works has much in common. Poetry is centered on rhythmical writing in which lines are arranged by stanzas; while prose is focused on narrative kind of writing ; meanwhile, drama is dominantly emphasized on action by having dialogue as dominant feature. Yet, the three genres are closely connected on the emphasis of imaginative creation in terms of literature.

(8)

The word absurd simply means illogical for it is unique in its sense. To quote Albert Camus in Esslin (1969:5) the definition of absurdity refers to human condition in the world. He further stated:

A world that can be explained by reasoning, however faulty, is a familiar world. But in a universe that is suddenly deprived of illusions and of flight, man feels a stranger. His is an irremediable exile, because he is deprived of memories of a lost homeland as much as he lacks the hope his life, the actor and his setting, truly constitutes the feeling of absurdity.

It is worthy to grasp the quotation above that the word absurd originally means out of harmony with reason or propriety; incongruous, unreasonable, illogical. In common usage, absurd simply may ridiculous which is devoid of purpose because man has already cut of from his religious, metaphysical, and transcendental roots, man is lost; all his actions become senseless, absurd, useless, to quote Esslin (1969: 5).

Basically, the presents of absurd elements is related to thematic study of literary woks. What is meant by thematic study is restricted to idea or main idea reflected in the story of the literary works. In Henrik Ibsen’s A Doll’s House the nuance of absurdity is explicitly drawn in the text of the play. How Nora as one of the main character feels disappointed on herself because she fails to find out her existence as a wife. She feels lonely and disparate for being treated as a doll in her own house by her husband.

(9)

life such a portrayal is clearly pictured in the play A Doll’s House. This is the reason as well as the background of this thesis writing. That is why the title of this thesis is: An Analysis of Absurd Elements in Henrik Ibsen’s Play A Doll’s House.

1.2 The Problems of Analysis

The sense of absurdity appears because man fails to define the truth of his existence. It happens because there is feeling of confusion to differentiate what is right or false, what is true or wrong in the world. It seems there is no boundary anymore between right or wrong, true or false in man’s deed that makes him lost in his own world or existence. In relation to this conception, the problem of this thesis analysis is:

1. What makes hopelessness, disappointment, alienation happen in the man’s world in running the life as expressed in the play A Doll’s House?

2. How are the ways out resolved in order to escape from the absurd world in terms of hopelessness, disappointment, alienation as expressed in the play A Doll’s House?

1.3 The Objective of Analysis

(10)

1.4 The Scope of Analysis

The scope of this analysis is directed to thematic expression of absurd elements through the portrayal of main characters such as Nora as a wife and Torvald Helmer as a husband including other characters such as Doctor Rank, Mrs. Linde and Nils Krogstad. Why characters are studied because the sense of absurd elements are directed to man, and man are embodied in the characters which are supposed to be human beings in the play or literary works thus the restriction is oriented to the characters’ feeling that result from hopelessness, disappo intment, alienation .

1.5 The Significance of Analysis

Theoretically, the significance of this analysis is to strengthen literary study through its relation with philosophical concepts of absurdity. It means that literary work can be studied interdisciplinary to show the richness of literary insights. Practically, this analysis can be useful for further study about literary works based on the framework analysis of this thesis.

1.6 The Review of Related Literature

(11)

Martin Esslin’s The Theatre of the Absurd gives broad explanation about the sense of absurd elements. This book has been a great help to construe the basic understanding of absurdity.

Edwin Wilson’s The Theater Experience directs an understanding of what play or drama is in general. This book also covers essential elements of drama or play as one kind of literary works.

(12)

CHAPTER II

THEORETICAL REVIEW

2.1The Essence of Literature

In general, literature is related to compositions that tell stories, dramatize situation, express emotions, and analyze and advocate ideas. The word ‘compositions’ is synonymous to fictitious kind of writing which is far from objective or scientific writing. To say simply, literature is containing more feeling than reasoning. As what Welleck (1965: 1) has stated that the subject matter of literature is irrational or at least contains strongly irrational elements.

What literature has provided is reading material for pleasure and appreciation. It is possible to understand literature by killing time in terms of within minutes all ideas in literature would be found out. For the truth, it is not that easy since literature has large insights to see. Its connection to philosophy, sociology and even psychology has made literature rich in ideas which are not easy, of course. Respectively, literature is a means of communication through medium language. Language itself is universal that contains arbitrary as the way literature exists.

(13)

sensibility and compassion for the condition of all living things, human, animals, to say some examples.

Released from what literature is the point needs considering seems to look at literature as product of mind. It has its own system for its own world. The way literature comes in not like the wind passes by. It may be based on observation through imagination which is shaped systematically. Thus, literature is a kind of knowledge or science at the very base, though it is not objectively arranged. Literature is like philosophy or history which belongs to humanly social knowledge.

For that reason, it is worthless arguing literature whether it is science or not. At least, it offers understanding of what man is. In short, literature is a kind of mirror to see our own faces in terms of humane understanding.

Whether or not, a vague term which usually denotes literary works belong to the major genres such as drama, novel, short story, poetry or lyric. If we describe something as ‘literature’, as opposed to anything else, the term carries with it qualitative connotations which imply written works. Yet, it is unique to know that George Eliot’s novels are literature, whereas Fleming’s James Bond books or even comic books are unquestionably not.

(14)

this old classification is still in use, the tendency today is abandon the term ‘epic’ and introduce “prose”, “fiction” or “prose fiction” for the relatively young literary forms of the novel and short story, to quote Klarer (2004 : 3).

Poetry is one of the oldest genre in literary history. Its earliest examples go back to ancient Greek literature. In spite of this long tradition, it is harder to define than any other genre. Poetry is closely related to the term “lyric” which derives etymologically from the Greek musical instrument “lyra” (‘lyre’ or ‘harp’) and points to an origin in the sphere of music. The term “poetry”, however, goes back to the Greek word “poieo” (“to make”, “to produce”), indicating that the poet is the person who “makes” verse. Although etymology sheds light on some of the aspects of the lyric and the poetic, it cannot offer a satisfactory explanation of the phenomenon as such (Klarer, 2004: 27).

Drama is literature designed to be performed by actors. Like fiction, drama may focus on a single character or a small number of characters, and it enacts fictional events as if they were happening in the present, to be witnessed by an audience. Although most modern plays use prose dialogue, in the belief that dramatic speech should be as lifelike as possible, many plays from the past, like those of ancient Greek and Renaissance England, are in poetic form ( Roberts, 1995 : 2).

(15)

human. A story is usually concerned with a major problem that a character must face. This may involve interaction with another character, with a difficult situation, or with an idea or general circumstances that force action. The character may win, lose, or tie. He or she may learn and be the better for the experience or may miss the point and be unchanged.

Plot covers all the actions or incidents, speeches, thoughts and observations which are linked together to make up an entirety, sometimes called an organic unity. The essence of this unity is the development and resolution of a conflict or conflicts in which the protagonist, or the central character, is engaged. The plot is based on the interpretations of causes and effects as they develop sequentially or chronologically. That is the story’s actions follow one another in time as the protagonist meets and tries to overcome the forces of opposition. Often the protagonist’s struggle is directed against another character that is an antagonist (Roberts, 1995: 52).

(16)

entire, but we may also direct our attention toward a smaller aspect of arrangement (Roberts, 1995: 53).

The very basic from of mind working in literary element is theme. It necessarily embodies issues and ideas. Even stories written for entertainment alone are based in an idea or position. Thus, writers of comic works are committed to the idea that human difficulties can be treated with humor. More serious works may force characters to make moral choices, in the thought that in a losing situation the only winner is the one who maintains honor and self-respect. Mystery and suspense stories rest on the belief that problems have solutions, even if they may not at first seem apparent. Writers may deal with the triumphs and defeats of life, the admirable and the despicable, the humorous and the pathetic, but whatever their goal, they are always expressing ideas about human experience (Roberts, 1995: 53). To say simply, in fiction the ideas take the form of an underlying theme or central idea which helps to tie the work together.

2.2Play as a Genre of Literary Works

(17)

meaning to do, to act, thereby referring to a performance or representation by actors ( Klarer, 2004 : 41).

The word ‘drama’ seems to be interchangeable with the word play. That is why the well known Shakespeare can be said as a dramatist or a playwright. The former suggests a performance and a stage in terms of theatrical viewpoint, the latter is the written drama or closet dram which functions as reading material. To say short, the dramatist invites audience and the playwright gathers the reader.

What makes drama a drama is an important point to answer. Commonly, there must be two ideas of understanding drama that is doing and seeing. The act of doing and seeing is complementary and defines the area of the study of drama or play in its largest sense. The sense that includes both the play and the performance lie behind the common pairings that repeatedly appear in dramatic criticism: play and performance, script and production, text and staging, author and actor, creation and interpretation, theory and practice. In short, the rood ideas contain the essence and the range of the whole field of the study of drama or play, to quote Tennyson (1966: 1).

(18)

by means of speech and gesture. Its subject-matter is the action and reaction of human will and it is treated with a view, not to the sequence of events, but to their essential relations as causes and effects.

From the explanation above, it can be simplified that a play is not really a piece of literature for reading. A true play is three-dimensional; it is literature that walks and talks before our eyes. The material process of verbs “walk” and “talk” show the characteristics of play as one genre of literature. In accordance to this, in a play there must be an action; that is, events and situations must be presented with accompanying tension, sudden changes and climax.

The sense of action is sometimes confusing for common readers. It emphasizes the actual movement and speech of person performing the action. One who reads a book shows an action too, but he does not show a drama because the action does not contain a story. Within the frame of the story, there must be a concept of beginning, middle and an end which refers to action. For further understanding, the action at least involves the sense of conflict which resolves at the end. Thus, the action wraps well the story that reflects tension or conflict to make it alive. Of course, the principle of action says little about the way in which the action to be presented.

(19)

purpose in the rise and fall of Macbeth’s fortune and in the shaping of our understanding of it. The play, then, exploits our interests in the particular and, often, idiosyncratic while it uses the particular for the purpose of the whole play.

It is understood that action is an indispensable element of all drama or play. It covers the dialogue, gesture of actors of the stage and pattern of events that the movements depict and manifest to the audience, a pattern based on human life. This should be clear that play or drama must centre on an action; by nature, drama presents that action, to consider Tennyson’s ideas (1967: 5-6).

(20)

2.3A Brief View on Absurdity

By 1942, Albert Camus was calmly putting the question why, since life had lost all meaning, man should not seek escape in suicide. In one of the great, seminal heart-searching of our time, The Myth of Sisyphus, Camus tried to diagnose the human situation in a world of shattered beliefs. There has been a sense of divorce between man and his life which is better known as the feeling of absurd (Esslin, 1969: xix).

In a dictionary definition, the word absurd may simply mean ‘ridiculous’. Absurd is that which is devoid of purpose, cut off from his religious, metaphysical, and transcendental roots, man is lost; all his actions become senseless, absurd, useless. A similar sense of the senselessness of life, of the inevitable devaluation of ideals, purity, and purpose, is also the theme of much of the work of dramatists like Giraudoux, Sartre and Camus himself. Yet these writers differ from the dramatists of the Absurd in an important respect: they present their sense of the irrationality of the human condition. The sense of the human condition and the inadequacy of the rational approach by the open abandonment of rational devices and discursive thought (Esslin, 1069: xix).

(21)

veritable barrage of wildly irrational, often nonsensical going-on that seem to go counter to all accepted standards of stage convention ( Esslin, 1969 : 204).

The unsatisfying search for the meaning of real life has made man bored on the earth he lives. There is no clear boundary anymore between right or wrong, true or false, love and hatred which restricts man to hold principle on going lives whatever the reason is. When the feeling of uncertainty is over the man’s mind, the situation results the sense of absurdity. The basic question of “What am I?”, “Who are you?” and “Does life make sense?” has left unanswered satisfactorily. Titus (1959: 138) quoted one psychologist’s idea as follows:

“Below the level of the problem situation about which the individual is complaining, behind the trouble with studies or wife or employer, or with his own controllable or bizarre behavior, or with his frightening feelings, lays one central search. It seems to me that at bottom each person is asking “Who am I, really? How can I get in touch with this real self, underlying all my surface behavior? How can I become myself ?”

(22)

Dostoevsky, and others were voicing their protests and registering their concern about the condition of man, to quote Titus (1959 : 290).

Existentialism is found wherever men are concerned with describing and diagnosing the human predicament. In this way it is a re-emphasis on some older ways of thinking. Existentialism as a universal element in all thinking is the attempt of man to describe his existence and its conflicts, the origin of these conflicts, and the anticipation of overcoming them. Wherever man’s predicament is described either theologically or philosophically, either poetically or artistically, there we have existentialist elements.

In his play Caliguda, Albert Camus has one of the characters say : ‘To lose one’s life is a little thing and I shall have the courage to do so if it is necessary; but to see the meaning of this life dissipated, to see our reason for existing disappear, that is what is unbearable. One cannot live without meaning. Yet, Soren Kierkegaard (1813-1855) in Titus (1959: 295) is usually considered the founder of modern existentialism. He was subject to melancholy and doubt and a sense of sin and guilt induced, in part, by his father’s sense of guilt. He wants men to come to an understanding of the central factors of existence, their own immortal souls, their destiny, and the reality of God the absolute sovereign.

(23)

Friedrich Nietzsche (1844-1900) in Titus (1959: 297) emphasizes the opposition on God by stating the man who has the will to power. He wanted to make way for the higher man and the super man that is the will to live becomes the will to power. The will to dominate is a fundamental principle in nature which will produce a race of supermen. The superman who is beyond good and evil is to be the creator of the new values for man.

Nietzsche’s main contribution was to confront men with the implications of existence in a world in which there were no secure values and goals. This nihilistic outlook has been reflected in much literature and art which expresses the sense of hopelessness and meaninglessness of today’s world. Yet Nietzsche’s works have some religious overtones in the desire to escape human finiteness and frustration and in the yearning for a new wholeness. He is one of many who see the dangers in a technical and industrial age that has discarded the guidance of human values and wisdom.

(24)

these literary and artistic forms as a method of symbolizing what they experience in the depth of their lives (Titus, 1959:304).

(25)

CHAPTER III

METHODOLOGY

3.1 Source of Data

Source of data is a part of methodology because it includes in the framework of way or systematic way in finding scientific truth. The word methodology is defined as science of methods or discussion of methods, to quote a dictionary definition that is Webster New International Dictionary. Principally, methodology restricts the procedure of finding scientific truth by using logic principles through reasoning and acceptable assumption. All this pattern in order to find the truth must be proved objectively through the existing of data.

Data are the object material of research that supports the inquiry upon the truth. Data provide certain phenomena which are found to strengthen the analysis of truth consequence. In other words, data give clue for further understanding of what is being done in research. Research itself can be grouped into classifications such as field research, library research and experimental research, to say some examples. The present thesis belongs to library research because the data are focused on document material or reading one that is literary works or literature.

(26)

form. Thus, the text of the play is dominantly considered and estimated for supporting data in the analysis.

The form of data in this thesis is selected from the text of the play through quotations. In other words, the quotations are selected and then interpreted for further analysis before arriving at the conclusion. Simply to say, the quotations are not taken as the way they are. They must be considered to be relevant to the analysis of the thesis. Therefore, the data at least provide logical order to the concept of scientific framework as the thesis suggests.

3.2 Method of Analysis

The method of analysis applied in this thesis is better known as descriptive qualitative analysis. It is said so because the data are analyzed by concept or theory in terms of description. The description is based on the text of the play in which it is selected by taking quotations as data analysis. So, the data are selected and then interpreted in order to get better analysis objectively.

The kind of this research belongs to library research. It is so because the data analysis are based on books or references that are related to study of literary works in terms of play and the meaning of absurdity which is analyzed in this thesis. The source of data analysis is taken from Henrik Ibsen’s play A Doll’s House.

(27)

restricted on the method applied. In other words, the scientific process can be said as a science if it fulfills the conditions of scientific method. It can be stated as follows:

“Whatever choices are made such issues of facts and goals, the decisions cannot therefore be labeled true or false but can be rated only on scales such as naturalness. However, when it comes to the choice of means that syntactic meta theories prescribe for their derivative descriptions, the choices can be labeled true or false, since it is possible that meta theoretically prescribed means of syntactic accounts are capable of accounting for the facts and it is also possible that they are not”

From the quotation above, it can be seen that the word means is synonymous to method in selecting things which are true or false. Thus, method is an instrument to inquire the factual truth. It is arranged at first through finding the research question in terms of determining problem of analysis. The form of problem statement brings some concepts of research matters in the analysis.

This thesis provides an analysis of absurd elements as portrayed in the play written by Henrik Ibsen that is A Doll’s House. The absurd elements are selected in the form of quotation through the text of the play. The method applied indicates the inductive and deductive reasoning in the analysis. Inductive method means a particular fact is taken for general conclusion. Simply to say, example first then comes the description. The deductive reasoning gives a general conclusion from particular fact which implies description first then comes example.

(28)

(2004: 2) remarks qualitative and quantitative are not distinct. Yet in many social sciences, quantitative orientations are often given more respect. This may reflect the tendency of the general public to regard science as relating to numbers and implying precision.

Certainly, qualitative methodologies have not predominated in the social sciences. After all, qualitative research takes much longer, requires greater clarity of goals during design research. Qualitative research method has left its mark conceptually and theoretically on the social sciences. The lasting contributions to social understanding from qualitative research, as well as the sheer number of contributing social thinkers are significant.

To differentiate between quantitative and qualitative approaches indicates that the notion of quality is essential to the nature of things. On the other hand, quantity is elementally an amount of something. Quality refers to the what, how, when, and where of a thing. Qualitative research, thus, refers to the meanings, concepts, definitions, characteristics, metaphors, symbols and descriptions of things. In contrast, quantitative research refers to counts and measures of things.

(29)

3.2 Data Analysis

As what has been explained before that the data in this thesis are taken from the text of literary work in the form of quotations. The quotations are planned in some procedure steps. At the very first time, the play A Doll’s House is read several times. The reading is focused on the context of absurd elements portrayed in the text. After that, the separation of selected quotation is made in order to divide the points relevant to the data analysis. To say simply, reading the text is an absolute deed for finding the data.

The data are not analyzed based on population or sampling technique. The relation of each context in the text of the play is possible to be data analysis; so far they are connected to the topic analyzed. It means all the texts are possibly accepted to be waiting data before they are made fixed into concrete data in the analysis. Thus, the data are properly considered through reading all without making the sample in finding them.

The duration of time is taking three months including reading, selecting and analyzing the data. Two weeks of each month is arranged in order to invent and collect the data. In other words, the fix data are determined according to their importance in the analysis. Finally, the place of finding data is domestically in the play which has been read at home. Thus, domestic documentation found in the play or literature is alone focused in the analysis.

(30)

CHAPTER IV

ANALYSIS OF ABSURD ELEMENTS

4.1 Hopelessness

The title of the play itself A Doll’s House has offered a light sense of absurdity in symbolical implication. The word ‘doll’ is representing Nora, Torvald Helmer’s wife, who stays as a housewife. Thus, the definite article ‘a’ definitely addresses to Nora who has prominent duty looking after the kids, serves the husband and cleans the house. In addition, her position as a wife is the same as a doll that is ready to be played and placed as decoration or domestic play at home.

Nora is not just a wife, she is also a mother of three children, Bob, Ivar and Emmy. From the family life point of view, Nora is supposed to be a happy wife because she has a good husband whose position is a bank manager. That position is socially prestigious both in the status and financial gain. Yet, the habit of treating Nora as a doll in terms of woman is the same as a doll implies sense of degradation. In other words, the implication of such treatment sounds absurdity for a living creature or grown up woman is truly not similar to a doll.

What the point of such symbolical meaning is the emphasis of nonsense meaning. Nonsense meaning should be related to the intention of the idea. When the idea is supposed to be less in intention because the implication seems to be useless or indignant. G.K. Chesterton in Cuddon (1998 : 557) asserts the sense of nonsense as follows :

(31)

faith are the two supreme symbolic assertions of the truth that to draw out the soul of things with a syllogism is as impossible to draw.”

From the quotation above it can be pointed that total fulfillment on the earth is impossible to gain. When man fails to satisfy what he needs the tendency to talk something nonsense is possible. Just say, for instance, Helmer’s concept of being a man which is higher in status than a woman. Or, the position of a husband is stronger than a wife sounds nonsense in family life perception. In the concept of marriage, both man and woman are united to be one either in happiness or bitterness.

The situation of nonsense concept brings hopelessness because there is no clear boundary of what is proper and what is improper anymore. Nora thinks she has a right to manage the family life without any negative image. She cannot tolerate underestimate treatment that makes her down or senseless. She wants to raise her existence to be meaningful as an individual and as a living creature. That situation can be traced in the following dialogues:

Helmer : Still, you know, we can’t spend money recklessly. Nora : Yes, Torvald, we may be a wee bit more reckless

now, mayn’t we? Just a tiny wee bit. You are going to have a big salary and earn lots and lots of money. Helmer : Yes, after the New Year, but it then will be a

whole Quarter before the salary is due. Nora : Pooh! We can borrow till then.

Helmer : Nora! The same little featherhead! Suppose, now, that I borrowed fifty pounds today, and you spent it all … and killed me.

Nora : Oh! Don’t say such horrid things (A Doll’s House, 1972, Act I : p. 4 )

(32)

small Nora is in managing the family life. Her role is so limited to the consumption of family finance as well. Thus, the situation is responded by Nora’s expression ‘pooh’! which signifies a sign of protest. The contradictory situation has resulted a sense of confusion for each of the husband and the wife. At one side, Helmer wants to protect the family life in strictly tied-money policy; at the other side, Nora needs more money to run the family. Because of that, the expression ‘little featherhead’ and ‘pooh’ contradicts the moment as hopelessness.

Basically, the sense of hopelessness appears because there is no feeling of satisfaction upon the existing choices in life. Socially, the position of bank manager held by Helmer needs a high social status as well. The value of status can be judged from what he owns. Nora knows very well on that situation. Though it is not legally written as a law of life, it happens so in social living in which the haves spend more. In one way or another, Nora has been in union with Helmer; so, what belongs to her husband is hers too. As a matter of fact, it does not come true as what she dreams of.

A very hopeless expression can be traced when Nora says “it’s something I should dearly love to say, if Helmer could hear me ( A Doll’s House, 1972, Act I :p. 17). The phrase ‘could hear me’ warns the moment how Helmer is quite selfish on himself. As what the risk of that expression is the voice of hopelessness in order to avoid all personal error. She wants to draw her own conclusion that her error is nothing more than to wait.

(33)

build the family life in happy end. Yet, she cannot stop maintaining in silence for there is no mutual understanding between the husband and wife. Nora’s hopelessness has been implicitly stated in her expression. This is not to say that Nora is representative of mass attitudes. It is an over-simplification to assume that her opinion presents a homogenous pattern. She is an individual who regards herself as a lone outsider. Such a picture has made her in great hopelessness for what she thinks right is never heard by her husband.

In the beginning, it has been stated that the sense of absurd element is related to condition which is out of harmony. It contains the sense of the senselessness of life. In relation to this, Nora is not able to decide what things are right for her since she has lack of capacity to confirm with her husband. She is always treated as something little who knows little as well. She has a tongue tied when she opens the talk with her husband. The situation can be seen in the following dialogue:

Nora : A lie?

Helmer : Didn’t you tell me no one had been here? My little song-bird must never do that again. A song bird must have a clean back to chirp with no false notes. That is so, isn’t it?

Nora : It was very silly of me to want to do that. (A Doll’s House, 1972, Act I: p.26)

(34)

bad effect it may result. For instance, Nora can spend the money for her children’s need when time is urgent without asking for permission from her husband.

Again, Helmer’s remark ‘little song bird’ implies senseless position of his wife. He seems to place Nora as number two in his own home though she is his wife. He is too arrogant for his own identity who is the boss that is responsible for the family. He does not realize that Nora is also a manager for the boss in running the family life. In this case, Nora realizes that her hopelessness has made the world she lives by has ceased to make sense. For Nora it seems to be ridiculous to reach the impossibility of possession in love, and the illusion of friendship between husband and wife.

The priceless lesson which Nora learns from her husband is the meaning of suffering and disillusion or hopelessness. She considers her marriage is a kind of heel that directs her to find out how suffers she is. She learns that her scheme for an untroubled but perfect marriage has come to ruin. She believes if there were no suffering and no hopelessness, she would not be driven to ask the profound truth of marriage relation between husband and wife.

(35)

Nora : And what if it did?

Helmer : Of course! If only this obstinate little person can get her way! Do you suppose I am going to make myself ridiculous before my whole staff, to let people think that I am a man to be swayed by all sorts of outside influence? I should very soon feel the consequences of it, I can tell you! And besides, there is one thing that makes it quite impossible for me … as long as I am manager. Nora : whatever is that ?

(A Doll’s House, 1972, Act II. : p.35 )

Nora feels confusing in searching the meaning of her role as a wife. She is unable to understand her husband’s arrogance. In her own perception, she has her own right to run the family life as what it considers. She has no desire to ruin the family as far as it shelters sense of togetherness and meaningfulness. As a fact, Helmer as a husband thinks mostly of his own decision. He cannot understand that the need of a woman is not always the same as the need of man. Commonly, it is accepted that a woman runs her feelings more than reasoning; on the other hand, man is more logical by denying feelings in making up a decision.

(36)

future career. Yet, the absurd condition happens when the haves borrow the money is illogical.

When there is a high wall to hinder the communication between husband and wife, the result will be hopelessness. It happens so because there is no trust anymore among the two for everyone believes in what he or she thinks right. In the case of Nora and Helmer, the conflict situation becomes absurd or illogical because the two are hardly ever to consider what they have to resolve together. As a matter of fact, the situation becomes worse and worse.

Absurd element in terms of hopelessness can be explored through Nora’s revolt. She is unable to be patient anymore under the dominance of her husband. She has strong belief that what she has done is for the family goodness. There is nothing more than what is expected by family life business. When hopelessness dominates the mind, the risk of utterance is the final judgment of the solution how good or bad it is. Nora then expresses her hopelessness, as she says:

Nora : I have waited so patiently for eight years; for, goodness! knows, I knew very well that wonderful things don’t happen every day. Then this horrible misfortune came upon me; and then I felt quite certain that the wonderful thing was going to happen at last …

Helmer : Nora

Nora : When that was done, I was so absolutely certain; you would come forward and take everything upon yourself and say: I am the guilty one.

(A Doll’s House, 1972., Act III.: p. 66)

(37)

end of relation between a husband and a wife. Nora cannot stand living anymore under the uncertain situation of her existence. As a wife, she feels she cannot identify herself in relation to her role as an individual and a mother of her kids. It makes her so frustrated and despair or hopeless. What the key for running from this absurd situation is asking for divorce. And then Nora says:

“That our life together would be a real wedlock. Good-bye”

( A Doll’s House, 1972. Act III : 68)

There has been no alternative for Nora to escape from her hopelessness. She has arrived at her total hopelessness to find her life meaning is useless as a wife. She does not think anymore about her biological and psychological connection towards her kids for divorce decision. What exists in her mind is the better solution to run away from the sense of hopelessness. And the result of it is the divorce that makes her life separate from her husband.

(38)

raise of hopelessness may make woman stronger that what she has expected for too long living in despair. Thus, divorce is a sort of hopelessness to find a new way of understanding the meaning of life on earth.

4. 2 Disappointment

In a dictionary definition the meaning of disappointment is the feeling of failure to do or equal to what is hoped for or expected. In other word, disappointment may come when what we expect does not come true as what we dream or want. To say simply, when choices of life we need face some hindrances the result will be a kind of disappointment.

The feeling of disappointment may result conflict situation that offers choices of action. Nora is deeply in conflict with herself because she has a bad habit in spending money. Yet, what makes her consume a lot is for her own family prestige because she is the wife of a manager bank that is Helmer. Nora rejects to be treated as a doll that is a kind of instrument to be decorated at home or it is just a kind of a play thing.

(39)

Helmer is a kind of man or husband who believes the dominance of being a man in the past. He is not merely more worry because of yesterday still exists. It means the story of being a man dominates woman is strongly held by Helemer in running his family life. He is the man who becomes the foundation of the family to follow. As a husband, he thinks he is the king over the wife and kids whatever the reason is. It can be seen from the dialogue below:

Helmer : Is that my little lark twittering out there? Nora : Yes, it is.

Helemr : Is it my little squirrel bustling about? Nora : Yes!

( A Doll’s House, 1972. Act I.: p. 3-4 )

What to be noticed from the dialogue above is the situation of the topic which is the remark of ‘little lark’ and ‘little squirrel’ which are addressed to Nora as a wife. They are kinds of small birds which physically are regarded less important than other animals. By doing so, Nora’s answer by accepting the situation ‘yes, it is’ is supposed to be absurd. The pronoun’ it’ refers to a grown up woman, married, a wife and a mother of three children indicates how much she depends on her husband. That’s why she just agrees on what her husband judges her according to the value judgment of her husband.

(40)

Nora’s weakness is the sense of fear to tell the truth towards her husband. She thinks too much of being small in front of her husband. It makes her depend and cannot be strong enough to stand over her decision. She fails to make her husband understand her inside or outside. She develops her feeling more often than her reason. As a matter of fact, she has been left one step behind which makes her disappointed for what she expects is always in contrast with her husband.

At the other side, Helmer as a husband moves to hold the principle of historical heritance of being a man. He enjoys to be a king at his own home in which he has the absolute right to do what he thinks good. As the saying ‘the king can do no wrong’, Helmer practically implies the sense to Nora, his wife. Thus, the habit of being true has resulted a centre of arrogance on his own identity. For that reason, he does not realize that it has tortured his wife deeply in disappointment. As the way it is, Helmer treats Nora as a kind of doll whose role is just decoration at home.

(41)

Nora is facing the same situation in running her family life. as a wife of a bank manager, she wants to own better social prestige in which the haves must own expensive things at home. If not, the social judgment will underestimate the family status. Such a dilemma comes over Nora in which she must choose one of the choices. Thus, she spends some money in order to buy things which are not accepted by her husband. The conflict then comes up that make Nora feels to be put in the corner. The following dialogue shows the difference of their contradictory principles:

Helmer : My little Nora, there is an important difference between your father and me. Your father’s reputation as a public official was not above suspicion. Mine is, and I hope it will continue to be so, as long as I hold my office.

Nora : You never can tell what mischief these men may contrive. We ought to be so well off, so snug and happy here in our peaceful home, and have cares, you and I and the children. That is why I beg you so earnestly.

(A Doll’s House, 1972., Act II :34 ) .

There is something lack of miscommunication between Nora and Helemr. Helmer always brings his own position at home as a bank manager and treats Nora as one of his employee. It does not make sense when Helmer comparing himself with his parent in law who works as a public official. The phrase ‘mine is different’ indicates his arrogance towards his wife. Such a condition has influenced the harmonious living style of a family. The more Helmer thinks higher of himself, the greater Nora feels disappointed towards the things going on in their family life.

(42)

not always coming right, the nuance of absurdity becomes the medicine to cure the senseless meaning of life and life itself is un-measurable because there is no real meaning of what life is. It is absurd to see what is absolutely right can be modified to be wrong; and what is wrong has been accepted as a truth. It strengthens the sense of absurdity as what Nora faces with her husband, Helmer.

Nora cannot tolerate the way Helmer treats her so badly. Her disappointment has come to the level of deep frustration. She regards her life is meaningless and she is trying to find out the meaning by her own without the interference of her husband. In short, she wants to release her status as a wife from Helmer because she thinks that their lives are nothing except the suffering that results unforgotten desperation. The situation can be seen through the following dialogue which goes:

Nora : You know very well that would not last long. Good-bye Helmer : I won’t see the little ones. I know they are in better hands

than mine. As I am now, I can be of no use to them. Helmer : But some day, Nora, some day?

Nora : How can I tell? I have no idea what is going on to become of me.

(A Doll’s House, 1972. Act III: p. 67)

(43)

Nora has found out her existence to see the truth of her own. She does not want to be treated little things any more at home by her husband.

The feeling of disappointment is very closely connected to the sense of hopelessness. What the difference is the former is the effect of the unsolvable choices and the latter is the situation which is not connected to be materialized as what is hoped. Thus, the two situations are interchangeable to show how the feeling of desperation attacks the human beings. Such an attack is unexpected to come because when one is not ready to face the unwillingness, it comes finally. It happens to Helmer as a respond to his pride. The way Nora asks for divorce has tortured him into pieces which he does not expect before.

It is true that life needs the respond towards the challenge. How heavy the feeling of disappointment is, the life must go on. Nora seems to realize her role over her existence. How bitter it is to be a wife with Helmer has made her see the truth of her life meaning. With Helmer she finds senseless meaning which she does not need to keep on going. As the result, she must find her own way of defining her life through the divorce. It is a new start for her to go on her living in which the show must go on whatever the condition is.

(44)

being freed from the oppression of her husband. She is not little canary any more, but she is someone else who needs to look for her own existence in order to escape from the feeling of disappointment. To say simply, the world is a stage where everyone takes the role of her own to understand the true meaning of their own lives.

4.3 Alienation

The meaning of alienation is apart from its everyday meaning; this term has been used to refer to the results of the estrangement effect when the spectator or receptor detaches himself emotionally from the work better to follow its didactic import. This term has been great issues of philosophy, psychology, religion and daily living center around this question of the existence and nature of the self. From one point of view it can be argued that we are objects among other objects located at particular points in time and space aith a dated existence. A man has no prominence above the beasts: for all is vanity. From another point of view, man seems to rise above all of the objects of his experience and the particular data of consciousness and even above space and time, to quote Titus (1959: 189).

(45)

some all embracing unity or system. Since the sense of alienations stress the intimate, concrete aspects of man’s experience, or that which is unique and personal, they are likely to turn to literary forms of expression and the other arts through which man’s feelings and moods may be more vividly portrayed, to quote Titus (1959: 293).

The term man’s experience in the above refers to what Nora has experienced as a wife in the play. She regards the things she dreams of have been faded away because she meets at a stranger at her own home. The stranger is addressed to Helmer that is Nora’s husband. Why it happens because the family life situation does not run well. Helmer treats his wife Nora as a small creature whose role is less important than what she should be. What makes the situation raises harder and harder because Helmer makes himself stronger and more powerful than Nora.

Actually, the hierarchical concept of Helmer derives from patriarchal mind pattern that places man is higher than a woman. The attributes such as little squirrel, little featherhead, and a doll indicate how small Nora is in her existence. Such a treatment has brought feeling of alienation into frustration. Nora becomes skeptical to face the future of her family life both as a wife and a mother of her children. The situation can be seen in the following dialogue:

Helmer : Let me help you if you are in want Nora : No, I can receive nothing from a stranger

Helmer : Nor can I never be anything more than a stranger to you?

(A Doll’s House, 1972. Act III : p.68 )

(46)

The bad treatment that makes her less important than what she should be has resulted deep frustration for Nora. She feels alienated in her own home as a wife and a mother of three children only because of being independent over her husband. She is not able to live under the shadow of her husband which is strongly very dominant on her. As a matter of fact, the going on life sense seems to be stale for there is no harmony between the two anymore.

Nora’s decision to live in separation with her husband is the final alternative that she has to take. She cannot bear the suffering to be treated as a doll anymore. She wants to exist for she thinks it is her right to define the meaning of life for her own. Since life is an abstract concept, everybody is allowed to run what he or she thinks good for her or him, including Nora. Thus, divorce is an instrument for moment of finding self-identity. Nora does not reject upon her choice for it is good for her to determine her own life sense. Nora than expresses her feeling:

Nora : How can I tell? I have no idea what is going to become of me.

Helmer : But you are my wife, whatever becomes of you. Nora : Listen, Torvald. I have heard that when wife

deserts her husband’s house, as I am doing now, he is legally freed from all obligations towards her. In any case I set you free from all your obligations. You are not to feel yourself bound in the slightest way, any more than I shall. There must be perfect freedom on both sides. See, here is your ring back. Give me mine.

(A Doll’s House, 1972. Act III.: p. 67 )

(47)

unrecognized individual at her own home with her husband. For Nora, Helmer seems to be a stranger who does not know who and what his wife should be. Thus, the respond of Helmer “wherever becomes of you’ cannot cure the long suffering. The feeling of being alienated has been too long which results deep frustration for running the life.

Such a conflicting situation has discovered something new to be faced. It is a new starting life both for Nora and Helmer. Nora wants to revolt what becomes her right as a woman and a wife. She is more than a canary bird which is not only flying but also is free to decide the destiny of the life. Nora breathes a new life in order to be freed from the sense of alienation. Alienated situation makes Nora lose her own sense of living. She feels alone on her world though she has the husband and the children to run the life away.

Whatever the condition should be the sense of alienated environment denotes the loneliness of the world. The world is defined more than the place to live, but the values it offers to go on living. Helmer does not provide the values in cooperative manner. He just thinks the right thing for his own side. He is not able to divide what belongs to man and what belong to a woman. That is why perhaps there is difference between man and woman. It is said that man is full with logical mind whereas woman is full with feelings to look at the truth. To say simply, the world we live by is a kind of mystery to all individuals. For better or worse, the sense of alienation suggest the loneliness to find the truth of live.

(48)

(49)

CHAPTER V

CONCLUSION AND SUGGESTION

5.1 Conclusion

As a genre of literary work, the play A Doll’s House is a domestic play. It is said so because the story covers domestic matter between husband and wife in terms of family. Torvald Helmer as a husband treats his wife, Nora as a doll which indicates the sense of absurdity. The doll symbolizes a play thing that underestimates Nora’s existence.

The feeling of absurdity results from human mind that tries to discover the absolute truth of the world he lives by. Because it is in touch with man, the sense of absurdity refers to characters. In literature, characters are supposed to be living persons who are portrayed imaginatively. They talk and communicate to one another. They have names and social status as common man do in finding their meaning on the earth. In addition, they have desire to know anything in their own living which never end in full satisfaction.

The sense of absurdity reflects the dissatisfaction of man to find the real truth of his existence. In one way or another, the feeling of confusion is directly influencing the reasoning of man whether there is justice on earth or not. The search of such truth brings to terrible choices that result absurd situation. To say shortly, the sense of absurdity is synonymous to disharmony or illogical situation faced by human beings.

(50)

which then brings the unsatisfying moments such as hopelessness, disappointment and alienation. The hopeless feeling happens when situation offers choices that are not congruent to the fact. It happens to Nora whose position as a wife cannot face the reality of her life. She cannot accept her Husband’s ill treatment for making her world as elementary in terms of doll. She feels disappointed as well because there is no clear cut of better solution in her choices of life sense. The feeling of emptiness to define the meaning of family life being a wife has resulted deep frustration in terms of disappointment.

The picture of alienation as portrayed in the play comes up when Nora and Helmer are not able to bridge the differences among the two. As a wife, Nora needs more respect as a human; whereas, Helmer thinks as a husband he is the king who arranges everything. Because of that Nora feels as a stranger in her own home that has placed her in alienation to meet her destiny. As a result, divorce ias made up in the way resolution exists from being alienated.

5.2Suggestion

Henrik Ibsen’s play A Doll’s House is an interesting story that provides domestic matter of family life between husband and wife. It offers large insight that reflects understanding of man’s life as literature means so. Thus, reading the play at least gives our understanding of what life is.

(51)

real answer of the question, the sense of absurdity comes up. For the truth, this analysis gives insights of absurd elements that can be traced by others.

(52)

BIBLIOGRAPHY

Adams, Hazards. 1969. The Interests of Criticism: An Introduction to Literary Theory. New York: Harcourt, Brace and World. Inc.

Berg, Bruce L. 2004. Qualitative Research Methods for the Social Sciences. Boston : Pearson.

Cuddon, J.A. 1998. Literary Terms and Literary Theory. New York : Penguin. Damono, Sapardi Djoko. 1979. Sosiologi Sastra: Sebuah Pengantar Ringkas.

Jakarta: Pusat Pengembangan Bahasa Depdikbud.

Esslin, Martin. 1969. The Theatre of the Absurd. New York: Doubleday & Company, Inc.

Fananie, Zainuddin. 2001. Telaah Sastra. Surakarta: Muhammadiah University Press.

Harmon, Holman and William, C. Hugh. 1999. A Handbook to Literature. New Jersey: Prentice-Hall, Upper Saddle River.

Ibsen, Henrik. 1972. A Doll’s House. New York: Conflield Press.

Klarer, Mario. 2004. An Introduction to Literary Studies. London: Routledge. Ratna, Nyoman Kutha. 2004. Teori, Metode, dan Teknik Penelitian Sastra.

Yogyakarta: Pustaka Pelajar.

Roberts, Edgar V, and Henry E. Jacobs. Literature: An Introduction to Reading and Writing. New Jersey: Prentice-Hall, Inc.

Selden, Raman et.al. 1979. A Reader’s Guide to Contemporary Literary Theory. London: A Pearson Education Company.

Wellek, Rene and Austin Warren. 1965. Theory of Literature. New York: Penguin Books.

Wilson, Edwin. 1976. The Theater Experience. New York: McGrow-Hill Book Company.

(53)

BIOGRAPHY OF THE AUTHOR

Henrik Ibsen was born in March 20, 1828 in Skien, Norwegia. He who has another name, Johan is a Norwegian poet and play wright, creator of modern realistic drama. His major works include Peer Gynt (1867), A Doll’s House (1879), Ghosts (1881) and Gabler (1890).

Early years, Ibsen was the second child of a prosperous businessman. In an unfinished autobiographical fragment written in 1881, Ibsen described born as a boy, he saw from his window ‘only buildings, nothing green’. He remembered particularly the church, the pillory, the jail, and the mad house, and remarked how the many sawmills filled the air all day with a sound like the noise of whining, moaning, shrieking woman. In the mid 1830, his father went bankrupt, the ibsen moved to nearby Venstop. This more away from familiar surroundings, together with the disgrace attacked to it, led the already introverted young Ibsen to find comfort in daydreams, in reading and his puppet theatre. Impressions and memories from these early years are found in many his later plays. Skien provided the small-town background of the League of Youth; the attie in The Wild Duck (1884) and members of his family often served as models for his characters.

(54)

Pillars of Society’ where he was apprenticed to a chemist. In spare hours he

studied for his matriculation examination and also found five for writing. His first drama, Catilina, was in part inspired by the revolution throughout Europe in1848 and in part by the Latin texts set for his examination.

In April 1850 he moved to Christiania, the capital, stopping on the way at Skien to take-final leave of his family; in Christiania, he studied at crammer’s but he was not wholly successful at his examination in August (Greek, Arithmetic, Latin). In particularly, he contributed to and helped to edit a periodical called Adhrimner. On September 26, 1850, the first performance of an Ibsen play took place. The Burrial Mound, a historical play strongly nationalistic in style. It was unsuccessful and for the rest of the year he earned a meager living by journalist.

In September 1856 he became engaged to Suzannah Thoresen, but it was another two years before they could afford to marry, their son and only child, Sigurd, was born on December 23, 1859.

In September 1857 he returned to Christiania to become artistic directors of the Norwegian theatre. Admittedly, the three dramas he completed in Christiania between 1857 and 1864. The Vikings at Helgeland Love’s Coney and The Pretender, are an altogether higher level than anything he had written

previously.

The next few year saw a breakthrough in his career Brand 1865, Peer Gynt 1867. Both plays are in a sense polemic pieces directed against what Ibsen

(55)

After nearly years in Rome, he moved in1868 to Dresden. He published Digte (poem 1871) and drama Emperor and Galilean (1873). In 1875 he moved to

(56)

Henrico Ibsen wrote some play and poem. The writer lists below there are some of his works which are worth while to be read and discussed by the readers who wants to deepen their studies on Henrico Ibsen and his works below are chronologically listed that is easy for the readers to trace as a writer:

1. The Pillar 1874

2. Catilina 1848

3. Adhrimner 1850

4. The Burrial Mound 1850

5. St. John’s Night 1853

6. Lady Inger 1855

7. The Feast at Halhoung 1856

8. The Viking at Helgeland Loves Coney 1857

9. Paa Vidderne (poem) 1859

10.Terie Vigen (poem) 1862

11.Episke Brand (poem) 1864

12.The Pretenders 1864

13.Brand 1864

14.Peer Gynt 1867

15.Digte (poem) 1868

16.Emperor and Galilean 1873

17.A Doll’s House 1879

18.Ghost 1881

(57)

20.The Wild Duck 1884

21.Rosmersholn 1886

22.The Lady From The Sea 1888

23.The Master Builder 1892

24.Little Eyolf 1894

25.John Gabriel 1896

26.When We Dead Awaken 1896

(58)

SUMMARY OF HENRIK IBSEN’S PLAY

A DOLL’S HOUSE

A Doll’s House is a play which tells about the way of family live of Torvald Helmer and Nora as a couple of husband and wife. They have three small children, Bob, Ivar and Emmy.

This play begins while Nora comes back from shopping for Christmas while Nora is busy to welcome Christmas Day; Torvald is also busy with some works dealing with his new position, a bank manager in the beginning of New Year, at his study room.

When they are talking about Nora’s behavior in spending money, Dr. Rank who a best friend of Helmer comes. Dr. Rank is a doctor that always checks Helmer’s health. In the same time, Mrs. Linde comes to visit Nora. Nora welcomes Mrs. Linde who an old friend of Nora. She tells Nora that after her husband’s death nothing left because his business was a precarious one. She has to fight for her living. Because of this, she wants Nora to persuade her husband to give her a position in the bank that he is going to lead. On the other hand, Mrs. Linde admires Nora’s happy life that like a child who does not know the burden of live and not capable of the trip is borrowed from someone.

(59)

Krogstad disappointed in failing Nora to prevent his dismissal. He comes to Nora again and reminds her that he will reveal her secret to her husband unless she will insure his position at the bank Hlemer manager. Nora’s secret not only borrows some money from Krogstad but also do forgery. It happen when Nora borrowed money from him at the time, Krogstad suggested Nora to have her father signature on the loan letter for guarantee the loan. On the other hand, Nora did not do so. She involved a criminal acted b signing the loan letter by her self. It happened because her father is bad. She didn’t have another risk after knowing daughter problem.

Finally, Krogstad send a letter for Helmer. The laetter is about Nora’s action in the past that had clone a criminal act and he can bring her into a court. After reading the letter, Helmer gets angry with her wife. He says Nora as a woman who have not moral and religion. She doesn’t think the effect by putting false signature in the letter. In the same time, he says he not believe to her in growing up their children. Nora just sends and keep silence to Helmer’s angry.

Next, Krogstad feels sorry and ashamed of what he done to Nora. He sends a second letter for changing his mind. He will withdraw his treat from Nora. It happens because of presence of Mrs. Linde who promises him to take a risk together with him Mrs. Linde’s confession makes him happy. Really, Krogstad needs someone to care herself. Mrs. Linde sympathy with Krostad in withdrawing his treat from Nora, her old friend.

(60)

An Analysis Of Absurd Elements In Henrik Ibsen’s Play A Doll’s House