Due Dates - Ibsen Presentations & Plays

Overview:  Here are the due dates for the Ibsen presentations & plays  Please plan to work outside of the classroom if necessary.

Monday (2/3) and Wednesday (2/5) - Finish composing your work and completing your PowerPoint presentations.  Make sure you can send it to me and that it will open.  All troubleshooting must be complete before you present.

Friday (2/7) - Rehearsals.  Open a computer with your presentation and practice.  Make sure it flows seamlessly.  If you need to add/edit, please do so.  You may also find that when you read the play aloud, it needs to be edited to sound more like plain speech.  Rehearse over and over until the bell rings.

Monday (2/10) - Presentations and performances - It is the long block, so everyone will have time to present.  It should be no longer than 15 minutes, total.

Playwrights as Social Reformers - Composing Your Own Ibsen Plays

“A woman cannot be herself in the society of the present day, which is an exclusively masculine society, with laws framed by men and with a judicial system that judges feminine conduct from a masculine point of view.”

Henrik Ibsen, 1881

Overview: In A Doll House and Ghosts, Ibsen explored the role of women and men in our society. Sadly, many parallels to our present society are abound, yet there is something dated about the philosophical concepts. Yes, as a society, we have accepted that women and men should have equal rights, for example. However, is this truly happening? Are women paid the same as men for the same occupation? More importantly, what are we seeing with regard to sexual harassment, assault, and rape in the media today? Have you noticed the difference in male and female responses in the media? This goes beyond gender. In what ways has the idea of gender been challenged through the efforts of the LBGTQ community? Also, issues pertaining to race and immigration follow similar blueprints.  How would Ibsen have defended them today?  How do the efforts of all marginalized groups impact everyone?

Your task will be to explore current issues (like those mentioned above) connected to human rights in and around the world. Have a global focus. Ibsen challenged society through drama. Now it is your turn.

Directions: Each group will research a global issue happening right now. 1)  Each student in class will compose a blog response (here), exploring an issue seen in the current media that resembles the ghosts explored by Ibsen.  Make direct parallels to what we explored in Ibsen's plays and how we see a new but reminiscent thing happening now.  2)  Next, we will form groups and choose one concept to explore in an Ibsen play of your own.  The written work will be visual and it will include a performance of a single scene from your play.  Carefully read the criteria, below. Best of luck!

Ibsen Play Criteria

3)  Slideshow Presentation

Below is a guideline for your slideshow.  Obviously, you can spread out the slides in any manner you wish.  Use video, music, images, drawings - the sky's the limit.  Please share these with me so I can evaluate the work after class.  Important:  Be creative!  Here is a list of alternatives to PowerPoint.

• Slide 1:  Create a symbolic title for the play.

• Slides 2-3: Develop a statement of purpose with a focus on a global issue about the rights of women/LBGTQ community, immigrants, or another issue of concern (Please, check with me before you begin).  Tell us why you are composing this play?  What do you hope to teach your audience?  How do you expect them to respond?  What do you hope to achieve?

• Slide 4:  Share a list of characters (Make the cast look like Ibsen).

• Slide 5: What will the stage look like? Include setting, time, place, staging, etc.  Again, think Ibsen imagery and design.  See the examples on this page.

• Slides 6-8:  Develop an outline of the 3-4 acts in your play.  Include the basic plot, characters's actions, conflicts, symbols and resolution.  Use all of Ibsen's techniques: the characters who develop past their initial stereotypes, couples, the outlier, a shocking ending, etc.

• Slides 9-13: Share your scripted scene so we can all follow along as you perform.

4)  Presentation:

Everyone should been an active participant.  Perhaps some people give the above presentation, taking turns and the other group members perform.  Someone can act as narrator or help explain what is going on and how it will play out your play.  Again, play to your strengths as a group.

• Present slides (Be engaging.  Do NOT just read off the slides).
• Perform your scene.

Due Thursday, January 16th - Mid-term Essay on "Lady Windermere's Fan" by Oscar Wilde

Directions: Please compose an essay and post it to Turnitin.com.

Prompt:  The following passage is an excerpt from ACT I of Lady Windemere’s Fan, a play by Oscar Wilde, produced in 1892. Read the passage carefully. Then write a well-organized essay in which you analyze how the playwright reveals the values of the characters and the nature of their society through symbolic characters (Hint:  Do these characters resemble characters from The Importance of Being Earnest? How can you apply this knowledge to this essay?)

From Lady Windermere's Fan by Oscar Wilde - ACT I

Duchess of Berwick. [Coming over and shaking hands.] Dear Margaret, I am so pleased to see you. You remember Agatha, don’t you? [Crossing L.C.] How do you do, Lord Darlington? I won’t let you know my daughter, you are far too wicked.

Lord Darlington. Don’t say that, Duchess. As a wicked man I am a complete failure. Why, there are lots of people who say I have never really done anything wrong in the whole course of my life. Of course they only say it behind my back.

Duchess of Berwick. Isn’t he dreadful? Agatha, this is Lord Darlington. Mind you don’t believe a word he says. [Lord Darlington crosses] No, no tea, thank you, dear. [Crosses and sits on sofa.] We have just had tea at Lady Markby’s. Such bad tea, too. It was quite undrinkable. I wasn’t at all surprised. Her own son-in-law supplies it. Agatha is looking forward so much to your ball to-night, dear Margaret.

Lady Windermere. [Seated] Oh, you mustn’t think it is going to be a ball, Duchess. It is only a dance in honour of my birthday. A small and early.

Lord Darlington. [Standing] Very small, very early, and very select, Duchess.

Duchess of Berwick. [On sofa] Of course it’s going to be select. But we know that, dear Margaret, about your house. It is really one of the few houses in London where I can take Agatha, and where I feel perfectly secure about dear Berwick. I don’t know what society is coming to. The most dreadful people seem to go everywhere. They certainly come to my parties—the men get quite furious if one doesn’t ask them. Really, some one should make a stand against it.

Lady Windermere. I will, Duchess. I will have no one in my house about whom there is any scandal.

Lord Darlington. Oh, don’t say that, Lady Windermere. I should never be admitted! [Sitting.]

Duchess of Berwick. Oh, men don’t matter. With women it is different. We’re good. Some of us are, at least. But we are positively getting elbowed into the corner. Our husbands would really forget our existence if we didn’t nag at them from time to time, just to remind them that we have a perfect legal right to do so.

Lord Darlington. It’s a curious thing, Duchess, about the game of marriage—a game, by the way, that is going out of fashion—the wives hold all the honours, and invariably lose the odd trick.

Duchess of Berwick. The odd trick? Is that the husband, Lord Darlington?

Lord Darlington. It would be rather a good name for the modern husband.

Duchess of Berwick. Dear Lord Darlington, how thoroughly depraved you are!

Lady Windermere. Lord Darlington is trivial.

Lord Darlington. Ah, don’t say that, Lady Windermere.

Lady Windermere. Why do you talk so trivially about life, then?

Lord Darlington. Because I think that life is far too important a thing ever to talk seriously about it. [Moves up]

Duchess of Berwick. What does he mean? Do, as a concession to my poor wits, Lord Darlington, just explain to me what you really mean.

Lord Darlington. [Coming down back of table.] I think I had better not, Duchess. Nowadays to be intelligible is to be found out. Good-bye! [Shakes hands with Duchess.] And now—[goes up stage] Lady Windermere, good-bye. I may come to-night, mayn’t I? Do let me come.

Lady Windermere. [Standing up stage with Lord Darlington.] Yes, certainly. But you are not to say foolish, insincere things to people.

Lord Darlington. [Smiling.] Ah! you are beginning to reform me. It is a dangerous thing to reform any one, Lady Windermere. [Bows and exits.]

Scoring Guide for Prompt on Lady Windermere's Fan by Oscar Wilde

General Directions: The score that you assign should reflect your judgment of the quality of the essay as a whole—its content, its style, its mechanics. Reward the writers for what they do well. The score for an exceptionally well-written essay may be raised by one point above the otherwise appropriate score. In no case may a poorly written essay be scored higher than a (C-).

(A Essays) 

These essays offer a persuasive analysis of how the playwright reveals the values of the characters and the nature of their society. The writers make a strong case for their interpretation of character and situation, developing the relationship between language and values. The writers consider literary and dramatic elements such as characterization, diction, and tone, engaging the text through apt and specific references. Although these essays may not be error-free, their perceptive analysis is apparent in writing that is clear, precise, and effectively organized. Generally, essays scored a (A) reveal more sophisticated analysis and more effective control of language than do essays scored an (A-).

(B Essays)  

These essays offer a reasonable analysis of how the playwright reveals the values of the characters and the nature of their society. The writers provide a sustained, competent reading of the passage, with attention to literary and dramatic elements such as characterization, diction, and tone. Although these essays may not be error-free and may be less perceptive or less convincing than (A) essays, the writers present their ideas with clarity and control and refer to the text for support. Generally, essays scored a (B+) present better-developed analysis and more consistent command of the elements of effective composition than do essays scored a (B/B-).

(C Essays) 

These essays respond to the assigned task with a plausible reading of the passage, but they tend to be superficial or undeveloped in their treatment of how the playwright reveals the values of the characters and nature of their society. While exhibiting some analysis of the passage, implicit or explicit, the discussion of how literary elements contribute to the author’s purpose may be slight, and support from the passage may be thin or tend toward paraphrase. While these writers demonstrate adequate control of language, their essays may be marred by surface errors. generally, essays scored a (C) lack the more effective organization and the more sustained development characteristics of (B) papers.

(D Essays)  

These essays fail to offer a less than thorough understanding of the task or a less than adequate treatment of how the playwright reveals the values of the characters and the nature of their society. Often relying on summary or paraphrase, the writers may fail to articulate a convincing basis for understanding the relationship between language and the values of the characters and the nature of society. They may misread the passage or may present an unfocused or repetitive reading characterized by an absence of textual support or an accumulation of errors. Generally, essays scored a (D+) exhibit better control over the elements of composition than those scored a (D/D-).

(F Essays)  

These essays compound the weaknesses of the papers in the (D) range. They may persistently misread the passage or be unacceptably brief. They may contain pervasive errors that interfere with understanding. Although an attempt has been made to respond to the prompt, the writers’ ideas are presented with little clarity, organization, or support from the passage.

Due Wednesday, January 15th - Close Reading Critical Analysis Essay for "Ghosts" by Henrik Ibsen

Directions:  Please compose an essay and post it to Turnitin.com.

The following passage is an excerpt from Ghosts, a play by Henrik Ibsen, produced in 1881. Read the passage carefully. Then write a well-organized essay in which you analyze how the playwright reveals his values with regard to the nature of the society through symbolic characters.  Your essay should include an introduction, at least three body paragraphs, and a conclusion. Use direct quotations of the passage in your essay. Suggested time - 60 minutes


OSWALD. My stay is indefinite, sir.-But, ah! It is good to be at home!
MRS. ALVING. [Beaming.] Yes, isn't it, dear?
MANDERS. [Looking sympathetically at him.] You went out into the world early, my dear Oswald.
OSWALD. I did. I sometimes wonder whether it wasn't too early.
MRS. ALVING. Oh, not at all. A healthy lad is all the better for it; especially when he's an only child. He oughtn't to hang on at home with his mother and father, and get spoilt.
MANDERS. That is a very disputable point, Mrs. Alving. A child's proper place is, and must be, the home of his fathers.
OSWALD. There I quite agree with you, Pastor Manders.
MANDERS. Only look at your own son--there is no reason why we should not say it in his presence--what has the consequence been for him? He is six or seven and twenty, and has never had the opportunity of learning what a well-ordered home really is.
OSWALD. I beg your pardon, Pastor; there you're quite mistaken.
MANDERS. Indeed? I thought you had lived almost exclusively in artistic circles.
OSWALD. So I have.
MANDERS. And chiefly among the younger artists?
OSWALD. Yes, certainly.
MANDERS. But I thought few of those young fellows could afford to set up house and support a family.
OSWALD. There are many who cannot afford to marry, sir.
MANDERS. Yes, that is just what I say.
OSWALD. But they may have a home for all that. And several of them have, as a matter of fact; and very pleasant, well-ordered homes they are, too.

[MRS. ALVING follows with breathless interest; nods, but says nothing.]

MANDERS. But I'm not talking of bachelors' quarters. By a "home" I understand the home of a family, where a man lives with his wife and children.
OSWALD. Yes; or with his children and his children's mother.
MANDERS. [Starts; clasps his hands.] But, good heavens--
OSWALD. Well?
MANDERS. Lives with--his children's mother!
OSWALD. Yes. Would you have him turn his children's mother out of doors?
MANDERS. Then it is illicit relations you are talking of! Irregular marriages, as people call them!
OSWALD. I have never noticed anything particularly irregular about the life these people lead.
MANDERS. But how is it possible that a--a young man or young woman with any decency of feeling can endure to live in that way?--in the eyes of all the world!
OSWALD. What are they to do? A poor young artist--a poor girl-- marriage costs a great deal. What are they to do?
MANDERS. What are they to do? Let me tell you, Mr. Alving, what they ought to do. They ought to exercise self-restraint from the first; that is what they ought to do.
OSWALD. That doctrine will scarcely go down with warm-blooded young people who love each other.
MRS. ALVING. No, scarcely!
MANDERS. [Continuing.] How can the authorities tolerate such things! Allow them to go on in the light of day! [Confronting MRS. ALVING.] Had I not cause to be deeply concerned about your son? In circles where open immorality prevails, and has even a sort of recognized position--!
OSWALD. Let me tell you, sir, that I have been in the habit of spending nearly all my Sundays in one or two such irregular homes--
MANDERS. Sunday of all days!
OSWALD. Isn't that the day to enjoy one's self? Well, never have I heard an offensive word, and still less have I witnessed anything that could be called immoral. No; do you know when and where I have come across immorality in artistic circles?
MANDERS. No, thank heaven, I don't!
OSWALD. Well, then, allow me to inform you. I have met with it when one or other of our pattern husbands and fathers has come to Paris to have a look round on his own account, and has done the artists the honour of visiting their humble haunts. They knew what was what. These gentlemen could tell us all about places and things we had never dreamt of.
MANDERS. What! Do you mean to say that respectable men from home here would--?
OSWALD. Have you never heard these respectable men, when they got home again, talking about the way in which immorality runs rampant abroad?
MANDERS. Yes, no doubt--
MRS. ALVING. I have too.
OSWALD. Well, you may take their word for it. They know what they are talking about! [Presses his hands to his head.] Oh! That that great, free, glorious life out there should be defiled in such a way!
MRS. ALVING. You mustn't get excited, Oswald. It's not good for you.
OSWALD. Yes; you're quite right, mother. It's bad for me, I know. You see, I'm wretchedly worn out. I shall go for a little turn before dinner. Excuse me, Pastor: I know you can't take my point of view; but I couldn't help speaking out. [He goes out by the second door to the right.]

Scoring Guide for Prompt on Ghosts by Henrik Ibsen 

General Information: The score that you are assigned will reflect the quality of the essay as a whole—its content, its style, its mechanics. I reward the writers for what they do well. The score for an exceptionally well-written essay may be raised a half step above the otherwise appropriate score (i.e. from an A- to an A). In no case may a poorly written essay be scored higher than a D.

A

These essays offer a well-focused and persuasive analysis of the assigned prompt. Using apt and specific textual support, these essays fully explore all three characters, analyzing their symbolic qualities and demonstrating what it contributes to the meaning of the work as a whole. Although not without flaws, these essays make a strong case for their interpretation and discuss the literary work with significant insight and understanding. Generally, essays scored an A reveal more sophisticated analysis and more effective control of language than do essays scored an A-.

B

These essays offer a reasonable analysis of the assigned prompt, and what it contributes to the meaning of the work as a whole. They may only zero in on one or two of the characters, but they clearly define the symbolic significance. Therefore, these essays show insight and understanding, but the analysis is less thorough, less perceptive, and/or less specific in supporting detail than that of the A essays. Generally, essays scored a B+ present better developed analysis and more consistent command of the elements of effective composition than do essays scored a B or B-.

C

These essays respond to the assigned task with a plausible reading, but they tend to be superficial or underdeveloped in analysis. Perhaps they describe the characters, but do not actually define their symbolic significance. They may discuss characterization and meaning, but only with regards to the plot. Or they may describe the symbolic significance, but never actually explain why it is significant or bother to walk us through the rest of the passage. As a result they may often rely upon plot summary that contains some analysis, implicit or explicit. Although the writers attempt to discuss the assigned prompt and how the relationship contributes to the work as a whole, they may demonstrate a rather simplistic understanding of the work and/or the question at hand. The essays demonstrate adequate control of language, but they may lack effective organization and may be marred by surface errors.

D

These lower-half essays offer a less than thorough understanding of the task or a less than adequate treatment of it. They reflect an incomplete or over simplified understanding of the work, or they may fail to address the assigned prompt directly. They may not address or develop a response to how it contributes to the work as a whole, or they may rely on plot summary alone. Their assertions may be unsupported or even irrelevant. Often wordy, elliptical, or repetitious, these essays may lack control over the elements of composition. Essays scored a D- may contain significant misreading and demonstrate inept writing.

F

Although these essays make some attempt to respond to the prompt, they compound the weaknesses of the papers in the D range. Often, they are unacceptably brief or are incoherent in presenting ideas. They may be poorly written on several counts and contain distracting errors in grammar and mechanics. The writer’s remarks are presented with little clarity, organization, or supporting evidence.

Due Monday, January 13th - Do you believe in Ghosts!

Overview: In class, we have been viewing, analyzing, and discussing Henrik Ibsen's Ghosts. If you have not done so, please read Act II.  Please, take this opportunity to review the text by reading and reviewing the play. Please use the three experiences on the right-hand side of the blog: text, audio and performance.

Assignment: When have you experienced Ghosts in your lives? Think back on your lives. Look at the decisions and experiences. Where have voices from the past impacted your decisions? Have there been times when you could not tell if you believed something to be true, or that you were supposed to believe? Think about the news. Do you see ghosts "in between the lines of the newspaper"?  In this blog space, please share these experiences. Begin your post with 1-2 direct quotations from Ghosts that match the feelings you are sharing, so we can see the direct parallels and engage with the text. I provided some moments from Act II, below, to help you get started.  I look forward to your responses.  Your post should be 300-400 words.

Quotations from Act 2

• Ghosts! When I heard Regina and Oswald in there, it was as though ghosts rose up before me. But I almost think we are all of us ghosts, Pastor Manders. It is not only what we have inherited from our father and mother that "walks" in us. It is all sorts of dead ideas, and lifeless old beliefs, and so forth. They have no vitality, but they cling to us all the same, and we cannot shake them off. Whenever I take up a newspaper, I seem to see ghosts gliding between the lines. There must be ghosts all the country over, as thick as the sands of the sea. And then we are, one and all, so pitifully afraid of the light.

• Yes--when you forced me under the yoke of what you called duty and obligation; when you lauded as right and proper what my whole soul rebelled against as something loathsome. It was then that I began to look into the seams of your doctrines. I wanted only to pick at a single knot; but when I had got that undone, the whole thing ravelled out. And then I understood that it was all machine-sewn.

• Oh, wait a minute!--now I recollect. Johanna did have a trifle of money. But I would have nothing to do with that. "No," says I, "that's mammon; that's the wages of sin. This dirty gold--or notes, or whatever it was--we'll just flint, that back in the American's face," says I. But he was off and away, over the stormy sea, your Reverence.

• It only shows how excessively careful one ought to be in judging one's fellow creatures. But what a heartfelt joy it is to ascertain that one has been mistaken! Don't you think so?

• At last he said: "There has been something worm-eaten in you from your birth." He used that very word… He said, "The sins of the fathers are visited upon the children." No other explanation was possible, he said. That's the awful part of it. Incurably ruined for life--by my own heedlessness! All that I meant to have done in the world--I never dare think of it again--I'm not able to think of it. Oh! if I could only live over again, and undo all I have done! [He buries his face in the sofa.]

• I only mean that here people are brought up to believe that work is a curse and a punishment for sin, and that life is something miserable, something; it would be best to have done with, the sooner the better…But in the great world people won't hear of such things. There, nobody really believes such doctrines any longer. There, you feel it a positive bliss and ecstasy merely to draw the breath of life. Mother, have you noticed that everything I have painted has turned upon the joy of life?--always, always upon the joy of life?--light and sunshine and glorious air-and faces radiant with happiness. That is why I'm afraid of remaining at home with you.

Due Wednesday, January 8th - "Ghosts" by Henrik Ibsen - Act I

Directions: Please re-read Ghosts by Henrik Ibsen, Act I. You can find links to the complete play, audio, and film in the right-hand margin of the blog. Next, compose a comprehensive blog response (300-400 words). Please use the questions below as a guide to your response. You may choose one quotation and explore it in depth, choose a combination of questions, or explore symbols listed in question 11. Please use at least 2-3 major quotations in your response. I provided a cross-section of quotations to help you begin.

  

Study Questions

1. How do the stage directions for Ghosts set the mood for the play?
2. Given the realistic setting of the garden room Ghosts, what other components of realism should the audience or reader expect?
3. How is Regina representative of mobility between the classes?
4. How does the behavior of Regina Engstrand and Engstrand toward each other in show that Henrik Ibsen is challenging conventional expectations?
5. What role do Regina Engstrand and Engstrand fill in the development of the plot?
6. How does Pastor Manders's treatment of Regina Engstrand change over the course of Act I?
7. How do the two mysteries raised early in the conversation in Act I contribute to suspense in the plot?
8. What do Mrs. Alving's comments about the books she is reading in Act I suggest about the society she lives in?
9. How do Mrs. Alving's and Pastor Manders's responses to the books Mrs. Alving is reading define each character?  Who would Ibsen side with in this case?
10. How does Henrik Ibsen use Pastor Manders's ideas about insuring the orphanage to deepen his characterization of the pastor?
11. How are the following used as symbols in the play:  Orphanage, Ghosts, Artist, Priest, Sailors, Captains, Men. Woman, the characters themselves?

Quotations

• Regina:  Yes, you may be sure we'll see about it! Me that have been brought up by a lady like Mrs. Alving! Me that am treated almost as a daughter here! Is it me you want to go home with you?--to a house like yours? For shame!

• Engstrand:  Then never mind about marrying them. You can make it pay all the same. [More confidentially.] He--the Englishman--the man with the yacht--he came down with three hundred dollars, he did; and she wasn't a bit handsomer than you.

• Mrs. Alving:  Well, I seem to find explanation and confirmation of all sorts of things I myself have been thinking. For that is the wonderful part of it, Pastor Minders--there is really nothing new in these books, nothing but what most people think and believe. Only most people either don't formulate it to themselves, or else keep quiet about it.

• Pastor Manders:  Object to in them? You surely do not suppose that I have nothing better to do than to study such publications as these? … I have read enough about these writings to disapprove of them.

• Pastor Manders:  When Oswald appeared there, in the doorway, with the pipe in his mouth, I could have sworn I saw his father, large as life.

• Mrs. Alving:  Oh, how can you say so? Oswald takes after me.

• Pastor Manders:  But how is it possible that a--a young man or young woman with any decency of feeling can endure to live in that way?--in the eyes of all the world!

• Oswald:  Well, then, allow me to inform you. I have met with it when one or other of our pattern husbands and fathers has come to Paris to have a look round on his own account, and has done the artists the honour of visiting their humble haunts. They knew what was what. These gentlemen could tell us all about places and things we had never dreamt of.

• Mrs. Alving:  Soon after, I heard Alving come in too. I heard him say something softly to her. And then I heard--[With a short laugh]--oh! it still sounds in my ears, so hateful and yet so ludicrous--I heard my own servant-maid whisper, "Let me go, Mr. Alving! Let me be!"….It was my purchase-money. I do not choose that that money should pass into Oswald's hands. My son shall have everything from me--everything.

• Mrs:  Alving:  Ghosts!

Due Friday, December 20th - Alternate Ending of "A Doll House" by Henrik Ibsen

Overview and Directions:  We discussed Ibsen's play A Doll House and viewed the end of Act III. Nora leaving Torvald is famously called, "The door slam heard around the world."  At the time, the powers that be forced Ibsen's hand, and he reluctantly changed the ending in order to avoid the outright ban on his play.  Below, view the original ending and read the alternate ending.  How does this new ending make you feel?  How does it alter Ibsen's message and intent?  Ibsen wrote Ghosts as rebuttal to this ending and the public 's reaction.  What can we expect to see in Ghosts?  Explore. I look forward to your responses.

Original Ending of A Doll House

Alternate Ending of A Doll House 

NORA. ... Where we could make a real marriage out of our lives together. Goodbye. [Begins to go.]

HELMER. Go then! [Seizes her arm.] But first you shall see your children for the last time!

NORA. Let me go! I will not see them! I cannot!

HELMER [draws her over to the door, left]. You shall see them. [Opens the door and says softly.] Look, there they are asleep, peaceful and carefree. Tomorrow, when they wake up and call for their mother, they will be - motherless.

NORA [trembling]. Motherless...!

HELMER. As you once were.

NORA. Motherless! [Struggles with herself, lets her travelling bag fall, and says.] Oh, this is a sin against myself, but I cannot leave them. [Half sinks down by the door.]

HELMER [joyfully, but softly]. Nora!

[The curtain falls.]