_Nora._ My duties toward myself. _Helmer._ Before all else you are a wife and a mother. _Nora._ That I no longer believe. I think that before all else I am a human being, just as much as you are--or, at least, I will try to become one. I know that most people agree with you, Torvald, and that they say so in books. But henceforth I can't be satisfied with what most people say, and what is in books. I must think things out for myself and try to get clear about them.... I had been living here these eight years with a strange man, and had borne him three children--Oh! I can't bear to think of it--I could tear myself to pieces!... I can't spend the night in a strange man's house. Is there anything more degrading to woman than to live with a stranger, and bear him children? Yet, the lie of the marriage institution decrees that she shall continue to do so, and the social conception of duty insists that for the sake of that lie she need be nothing else than a plaything, a doll, a nonentity. When _Nora_ closes behind her the door of her doll's house, she opens wide the gate of life for woman, and proclaims the revolutionary message that only perfect freedom and communion make a true bond between man and woman, meeting in the open, without lies, without shame, free from the bondage of duty. GHOSTS The social and revolutionary significance of Henrik Ibsen is brought out with even greater force in "Ghosts" than in his preceding works. Not only does this pioneer of modern dramatic art undermine in "Ghosts" the Social Lie and the paralyzing effect of Duty, but the uselessness and evil of Sacrifice, the dreary Lack of Joy and of Purpose in Work are brought to light as most pernicious and destructive elements in life. _Mrs. Alving_, having made what her family called a most admirable match, discovers shortly after her marriage that her husband is a drunkard and a _roué_. In her despair she flees to her young friend, the divinity student _Manders_. But he, preparing to save souls, even though they be encased in rotten bodies, sends _Mrs. Alving_ back to her husband and her duties toward her home. _Helen Alving_ is young and immature. Besides, she loves young _Manders_; his command is law to her. She returns home, and for twenty-five years suffers all the misery and torture of the damned. That she survives is due mainly to her passionate love for the child born of that horrible relationship--her boy _Oswald_, her all in life. He must be saved at any cost. To do that, she had sacrificed her great yearning for him and sent him away from the poisonous atmosphere of her home. And now he has returned, fine and free, much to the disgust of _Pastor Manders_, whose limited vision cannot conceive that out in the large world free men and women can live a decent and creative life.