[Luminance-devel] ication. It is due to this ignorance tha

[Dunkelberger <ove...@di...>]

Uted. Her rebelling soul rises in protest against the existing. In her
own words: "I must make up my mind which is right, society or I." In her
childlike faith in her husband she had hoped for the great miracle. But
it was not the disappointed hope that opened her vision to the
falsehoods of marriage. It was rather the smug contentment of Helmer
with a safe lie--one that would remain hidden and not endanger his
social standing. When Nora closed behind her the door of her gilded cage
and went out into the world a new, regenerated personality, she opened
the gate of freedom and truth for her own sex and the race to come. More
than any other play, GHOSTS has acted like a bomb explosion, shaking the
social structure to its very foundations. In DOLL'S HOUSE the
justification of the union between Nora and Helmer rested at least on
the husband's conception of integrity and rigid adherence to our social
morality. Indeed, he was the conventional ideal husband and devoted
father. Not so in GHOSTS. Mrs. Alving married Captain Alving only to
find that he was a physical and mental wreck, and that life with him
would mean utter degradation and be fatal to possible offspring. In her
despair she turned to her youth's companion, young Pastor Manders who,
as the true savior of souls for heaven, must need