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“Nevertheless the severance is rather casual and it drops a stain on our admiration of Nora. Ibsen has put the leaving of her children on the same moral and emotional level as the leaving of her husband and we cannot, in our hearts, asssent to that. It is not only the leaving but the way the play does not have time for suffering, changes of heart. Ibsen has been too much a man in the end. He has taken the man's practice, if not his stated belief, that where self-realization is concerned children shall not be an impediment.”
― Elizabeth Hardwick, Seduction and Betrayal

“Zar nije neobično dražesna? To je bilo mišljenje i čitavog društva. Ali užasno je tvrdoglavo - to slatko malo stvorenje.”
― Henrik Ibsen, A Doll's House

“Odlazak uvijek mora biti efektan.”
― Henrik Ibsen

“A onda kad polazimo, i kad stavljam šal oko tvojih nježnih, mladenačkih ramena - na taj divni zatiljak - onda zamišljam da si ti moja mlada nevjesta i da upravo dolazimo iz crkve, da te po prvi put vodim u svoj stan, da sam po prvi put nasamo s tobom - sasvim sam s tobom, ti mlada, ustreptala ljepotice! Čitavo ovo veče bila si moja čežnja.”
― Henrik Ibsen

“A Doll’s House is about money, about the way it turns locks.”
― Elizabeth Hardwick, Seduction and Betrayal

“Fru Linde: "Man må jo leve, herr doktor."
Rank: "Ja det er jo den almindelige mening at det skal være så nødvendig.”
― Henrik Ibsen, A Doll's House

“Enten går Nora, eller så går JEG!”
― Johannes Møllehave, Replikker og pointer: Noter og anekdoter fra humorens depoter

“So, Nora leaves him in the end," she said, as they walked down the stairs.
"What?"
"In the play. A Doll's House."
"That's right." Beatrice went to the sink. "She says she can't be anyone's wife or anyone's mother until she knows who she is. She walks out of their house and closes the door behind. It's this iconic moment. At least, that's what our teacher said."
"That's very interesting.”
― Jennifer Weiner, That Summer

“She thought about Hal, the man she'd lived with for almost twenty years, the man she'd slept beside almost every night. She remembered a famous optical illusion; a drawing that could be either a beautiful young woman or an ugly old hag, depending on how you saw it. For almost twenty years, she'd seen only the good- a loving, kind, generous husband; a beautiful house; a beloved, cherished daughter. But for the past weeks and months, things had been changing. It felt like she had finally seen the witch, after years of only seeing the young woman, and now she couldn't un-see. I lived by performing tricks for you, Torvald. But you would have it so.”
― Jennifer Weiner, That Summer