A Doll's House

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Written during the Victorian era, the controversial play, “A Doll’s House” by Henrick Isben, features a female protagonist struggling for independence and self respect. During the time in which the play took place society frowned upon women asserting themselves. Women were supposed to play a role in which they supported their husbands, took care of their children, and made sure everything was perfect around the house. Work, politics, and decisions were left to the males. Nora serves as a symbol for women of the time; women who were thought to be content with the luxuries of modern society with no thought or care of the world in which they lived.

By presenting this theme of the relationship between women and their surroundings at the beginning, Ibsen indicates that this is the most basic and important idea at work in the play. As the play reveals, Nora does delight in material wealth, having been labeled a spendthrift from an early age. “You’re never at a loss for scaring up money; but the moment you have it, it runs right out through your fingers...Its deep in your blood. Yes, these things are hereditary, Nora” (Ibsen, 1), Torvald tells Nora. She has the attitude that money is the key to happiness. However, it is also clear that Noras simplistic approach to the world is not entirely her fault. Torvalds treatment of Nora as a small helpless child only contributes to Noras separation from reality. Just as Nora relates to the exterior world mainly through material objects, Torvald relates to Nora as an object to be possessed. He refers to her as his little lark (p.10), and squirrel” (p.11), implying that she is small and helpless. Similarly, Torvald repeatedly calls Nora his little one or little girl, maintaining the approach of a father rather than husband. Nora is fully dependent on Torvald, from money to diet (the macaroons); and, because she is so sheltered, her view of the world is deluded.

When Nora took upon herself to borrow money to save Torvald’s life, she was taking the first step to realizing that she can be in some control of her life. However, when pressed as to whether she will ever tell Torvald about the loan, she replies that she would, but only in time. For now, she believes that it would upset the lies that have built her home Torvalds manly independence and even the basis of their marriage . This suggests that Nora is at least vaguely aware that Torvalds position as the manly provider and lawgiver is just as fabricated as her role as the helpless child-wife and mother. She proved herself not to be helpless like Torvald implied you poor helpless little creature (Ibsen). However, Nora does not at first realize that the rules outside the household apply to her. This is evident in Noras meeting with Krogstad regarding her borrowed money. In her talk with Krogstad, Nora seems unable to accept that what she sees as acts of love could be seen as illegal and wrong. Nora explains, “The trip was to save my husband’s life. I couldn’t give that up” (p.). She refuses to believe that she is just as guilty as Krogstad. In her opinion, it was no crime for a woman to do everything possible to save her husbands life. She also believes that her act will be overlooked because of her desperate situation. She fails to see that the law does not take into account the motivation behind her forgery. Thus her first encounter with rules outside of her dolls house results in the realization of her naivety and inexperience with the real world.

By the end of the play this is evident as she eventually sees herself as an ignorant person, and unfit mother, and essentially her husbands wife. Nora has been spoon-fed everything she has needed in life, first by her father and then by her husband. Never having to think has caused her to become dependent on others. Not only a position in society, but also a state of mind is created. When circumstances suddenly place Nora in a responsible position, and demand from her a moral judgment, she has none to give. She cannot possibly comprehend the severity of her decision to borrow money illegally.




A Dolls House is also a prediction of change from this inferior roll. According to Ibsen’s play, women will eventually progress and understand her position. When Noras husband inadvertently deems her unfit in her role as a mother, she begins to realize that her actions consisting of playing with her children happily or dressing them nicely does not necessarily make her a suitable parent. She needs to be more to her children than a playmate. Although she progressively understands this position, she still clings to the hope that her husband will come to her protection and defend her from the outside world once her crime is out in the open. When she finally confronts Torvald with what she has done, he becomes understandably disturbed, “In all these eight years-she who was my pride and joy-a hypocrite, a liar-worse, worse-a criminal! How infinitely disgusting it all is!“ (p. 68). In his frustration he shares the outside world with her, the ignorance of the serious business world, she is extremely disappointed to discover that he clearly has no intention of sacrificing himself for her. This disillusion marks the final destructive blow to her dolls house.

Nora finally decides to leave Torvald, aware that a true marriage between them would be an act of a miracle because neither of them loves the other, or is even capable of doing so. Nora realizes that, before she can be a wife, she must first discover herself through venturing out into the world. “I have to try to educate myself. You can’t help me with that. I’ve got to do it alone. And that’s why I’m leaving you now...if I’m ever going to discover myself and the world out there” (7), Nora explains to Torvald. The one thing she is aware of is her ignorance, and her desire is not to prove herself but to discover herself. She must strive to find her individuality.



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