By Teophil Vera
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Extra resources for Idiomactive English
There is certainly a double edge to her final decision: what looks like a victory for rationality could also be interpreted as a victory for safe conventionality. But it is more than anything a victory for freedom of will, which she could not have won or, rather, not have sustained, if she had gone off with the sailor.  It was also not nearly as widely publicised in England, for all of bleanor's efforts to give it currency. Her earlier interest in A DoLL'8 House has been partly explained in terms of the play's relevance not only to her views on women's rights but also to her own situation visa-Vi8 her notorious common-law husband.
The sailor whom Ellida finds so alluring is actually called 'the Stranger'; and in both his irrational attraction for Ellida and in his reputation as a criminal, Eleanor may well have seen reflections and extensions of the personality of Edward Aveling, for whom she herself felt an awful fascination in spite (or perhaps partly because) of his notoriety as an embezzler and his powerful attraction for and to other women. It is not impossible that even Aveling's interest in the play may have stemmed in part from an intuitive identification with the Stranger; but there are some clear hints from Eleanor of her tendency to see broad parallels between the situations and people in Ibsen's plays and the situations and people in the life she lived.
The doll's house is repaired in this version by Nora returning to Helmer in a mood of great contrition and despair, and submitting to his plans to keep their marriage going on a platonic basis - just for appearance's sake. The story ends not with Nora slamming the front door on Helmer, but with Helmer slamming the bedroom door on Nora. The more recent chroniclers of Ibsen's reception in England have referred to the contributions of individual socialists such as Shaw and the Avelings. None of them, however, has noted - as contemporaries and near-contemporaries were quick to note - the peculiar concentration of interest in Ibsen and the 'New Drama' among those who belonged to 'the literary fringe of the Fabian Society and other reform and revolutionary organisations'.