Henrik Ibsen's, A Doll House, is a play set in Norway in the year 1879, a time when women were considered strictly the property of the male head of the household, usually a husband or father. Ibsen denies any connection between Nora Helmer and women's suffrage; Kristin Brunnemer, author of "Sexuality in Henrik Ibsen's A Doll's House," points out that, "during a speech at the Norwegian Woman's Rights League in 1898, not only did Ibsen deny A Doll House was a feminist reading but stated he wasn't even quite sure what the feminist movement was." However, it is hard to ignore the coincidence of Nora leaving her husband around the time when the women's rights movement in Norway was beginning. The evolution of women's rights were evident in several events around the time of the play. For example, in 1854, women were granted the right to gain an inheritance, but it was not until 1890 that women were allowed to be in control of their own money; therefore, if a woman received an inheritance it belonged to her husband. Given that context, it makes sense that Nora would feel more secure taking the risk to leave Torvald since the "law states that if she deserts her husband's home, he is free of all responsibility"; therefore, she is then free to inherit Dr. Rank's money (Ibsen 1188). In 1882, Norway was moving toward industrialization and women were given more opportunities than ever before; including access to higher education and "careers as teachers, secretaries and industrial workers" (Mørkhagen). Neverthelss, being a woman in Norway in 1879 was not easy because women had few options. It is no surprise, therefore, that women of that time just assumed the role of a subservient member of the household in order to survive Nora does in A Doll's House. Unfortunately, by stereotyping and subordinating women, as A Doll's House shows, the men of that time almost certainly missed out on what could have been loving, supportive, and meaningful marriages and, as a result, short changed both sexes in the end.
When Henrik Ibsen's A Doll House begins on Christmas Eve, the two main characters, Torvald and Nora Helmer seem to be a perfectly happy couple; yet inside the Helmer household, "Nora is characterized by others as childish, irresponsible and dim witted. Her identity is characterizations" (Haller). The dynamic between Nora and Torvald reveals the impact of the social limitations that were placed on women in that time. Torvald gives Nora pet names such as lark, squirrel, doll or dove, insinuating that Nora has little intelligence and keeping in her a subordinate position within the household. Because Torvald's arrogance and unattainable standards cloud his perceptions, he will never be able to treat Nora as anything more than a doll or plaything. Nora seems to play the role Torvald has created for her, chattering like a squirrel or pouting if she does not get her way. Although Nora seems simple on the surface, she shows a quiet, restrained strength underneath that surface as she tolerates Torvald's egocentrism and as she tolerates the mockery of her friends. Throughout it all, Nora longs to show those around her that she is a woman of strength and capabilities beyond what they can see. Ironically, Torvald's use of a bird as pet name will come back on him as he watches Nora fly from the family nest. Nora likes to play along with Torvald's adolescent behavior in order to keep her life peaceful and safe, but just like any animal that is kept in a cage will do, but at the end of the play, she will escape for good.
Just as Torvald keeps Nora in a box, so do Nora's friends. The limitations placed on women are revealed in the limited relationship between Nora and Torvald, and they are also revealed in the limited relationships Nora has with her friends. Torvald and Nora's friends have never known Nora's true nature, and Nora has never been her true self with anyone she knows. For instance, as A Doll House begins, Nora's old school friend, Kristine Linde, surprises Nora with a visit after being away for ten years; during their visit, Nora brags to Kristine about her three children and the wonderful life she and Torvald will have once Torvald's promotion is complete. Kristine, a little disgruntled by Nora's bragging, unveils that her husband and mother have passed away and she has returned to find work since she has been struggling for so long. Nora, who lives in Torvald's domineering shadow, finds Kristine's new freedom attractive, which Kristine admonishes her for, accusing Nora of, "[k]nowing so little of life's burdens", being spoiled by her father's money and calling her a child (Ibsen 1145). To which Nora crossly replies, "You're just like all the others. You all think I'm incapable of anything serious!" After this exchange, Nora is determined to prove to Kristine that Nora is capable of much more than Kristine gives her credit for. Elizabeth Haller reveals in her essay "Identity in A Doll's House " that, "Nora . . . possesses a secret that she is certain will transform her identity from that of a brainless object to that of a caring and clever business-minded woman." Nora's and Kristine's situations show how the women of that time period had limited choices and were often completely and hopelessly dependent on men for their survival.
After the heated exchange between Nora and Kristine, apologies between Nora and Kristine ensue, and Nora persuades Torvald into giving Kristine a job at the bank by ". . . bring[ing] it up so delicately—find something attractive to humor him [Torvald] with" (1145). Torvald seems almost eager to give Kristine a job when Nora tells him that Kristine has traveled a long way in order to, ". . . come under a capable man's supervision and add more to what she already knows—" (1145). Obviously, Nora knows how to manipulate Torvald in order to ensure that she has some sense of control over what goes on in her life. In this scene, Nora's actions show that she can have some influence in her husband's life only if she plays to his ego.
While Nora's ability to help Kristine obtain a job shows that Torvald can have his opinion swayed, at the same time, Torvald is a man with a strict moral code and very little patience for anyone who does not follow his rules, including Nora and her manipulative ways. Torvald's braggadocio can be seen when Nora mentions borrowing money to see them through until Torvald gets his raise. After she suggests the loan, he reprimands Nora harshly with insults; Torvald declares, "Something of freedom's lost—and something of beauty, too—from a home that's founded on borrowing and debt" (1140). Torvald's pretentiousness spotlights his view on debt, insinuating that a man who goes into debt is a slave and a woman who goes into debt has lost her beauty. Although a slave, a man with debt could still be considered useful, yet a woman whose value at that time was based on her beauty would appear to have lost any value she may have had. Torvald's comments illustrate that men and women did not experience the fullness of true intimacy if a woman could lose her beauty—her appeal—because of a debt.
Other instances reveal Torvald's value system. For instance, Torvald can be easily undone if he believes that others do not think respect him or if they see him as less than anything but an upstanding gentleman. For example, Nils Krogstad, a man whom Torvald refers to as, "one of those rash friendships that crop up again and again to embarrass you later in life" (1163) is a subordinate at the bank. Torvald worries about the perception of friendship with Krogstad because Torvald judges Krogstad harshly because years earlier Krogstad forged a document which ruined his reputation and led him into a series of bad decisions for himself and his young sons. When Torvald realizes that Krogstad will treat Torvald with a "familiar air" (1163) at the bank, Torvald plans to fire Krogstad immediately, even though Torvald has heard that Krogstad is an efficient employee. Not unlike men today, Torvald defines his success based on his occupation and reputation; and, like most men, Torvald is not above taking his ambitions to an extreme. Thus, the play reveals that a limited view of others, whether they are male or female, places limitations on individual relationships.
By the same token, Torvald's judgments are not simply directed at one person in particular but laid upon the entire family. For him and others of that time, mistakes are not regrettable errors made in a moment of time; instead, mistakes reflect inherent character flaws that are passed down to one's children. For instance, since Krogstad committed forgery as a young person he is inherently and irrevocably immoral, and Krosgstad's sons must be as well. Nora also suffers from Torvald's harsh judgments. Torvald seems to enjoy reminding her that, "there's a notable difference between your father and me. Your father's official career was not above reproach. But mine is… " (1163) The only person who seems to pass Torvald's moral tests is Dr. Rank, the local physician and family friend. As a physician, Dr. Rank already has good standing within the community; however, a conversation among Dr. Rank, Kristine, and Nora about Krogstad reveals that Dr. Rank is as judgmental and egotistical as Torvald even though Dr. Rank's father was known for morally inappropriate choices. Viewers realize that Torvald's judgmental nature limits Torvald's relationships with others, including his wife, but is flexible when Torvald wants it to be.
Nora's attitude toward the loan she acquired prior to the time of the play illustrates the narrow nature of relationships between men and women in the nineteenth century. Prior to the time of the play, Torvald was very sick, and at that time, doctors told Nora that Torvald needed to recover someplace warm, such as Italy, or he would surely die. Nora never told Torvald what the doctors said and tried to persuade Torvald to borrow money so that they could to go to Italy. When her attempts to persuade Torvald did not work, Nora decided she needed to "save" Torvald herself. Nora went to Nils Krogstad and borrowed the money for the trip even though she could not legally borrow money on her own. When she received the money, she told Torvald the money came from her father. However, when Nora needed the loan, Nora's father was also ill, so to save her father from experiencing stress, Nora forged her father's name on the loan documents. Nora views the loan and her saving Torvald as a way to maintain her relationship later in their marriage. She tells Kristine wants to use the fact of saving Torvald's life later when Torvald, "loves me [Nora] less" and "he stops enjoying me [her] dancing and dressing up and reciting for him" (1147). Nora's desire to have something to maintain her standing with Torvald once her beauty fades illustrates the lack of depth in their relationship. The subordination of women creates a situation in which Nora knows that Torvald values her for her body and in which Nora knows that her position in the relationship is tenuous.
The limitations women faced during the time of the play are critical because Nora and Torvald encounter the consequences of her decision to borrow money without her husband's permission as the play progresses. At the time of the play, Krogstad, desperate to keep his job with the bank, blackmails Nora because of the forgery she committed when she obtained the loan to save Torvald's life. To keep Torvald from discovering her secret, Nora tries to convince Torvald to allow Krogstad to keep his position with the bank; but the more Nora begs Torvald, the more determined Torvald is to fire Krogstad because Torvald will not be "vetoed by his wife" (1163). Torvald's unwillingness to be persuaded by Nora reinforces the subordinate position women held at the time of the play. Krogstad, realizing his blackmail has been a failure, approaches Nora with a new plan. No longer satisfied with his previous position at the bank, Krogstad wants a new position equal to Torvald, or he will turn Nora into the police. Krogstad writes a letter to Torvald with all the necessary instructions for his promotion and puts it in the mailbox, to which only Torvald has a key. Nora, facing the realization that Torvald will soon know her secret, contemplates suicide in order to save Torvald from disgrace or blame, yet she tells Kristine that she believes there is going to be a miracle. Nora hopes Torvald will forgive Nora for the debt and save her from Krogstad. Nora's thoughts of suicide demonstrate the precariousness women's lives in Norway in 1879; today's woman, even after making a significant mistake, can continue on with life whilst Nora sees that her only option is suicide.
After reading the letter, Torvald's reaction is considerably heinous; his reaction to Krogstad's letter is not the miracle Nora planned on but a miracle nonetheless; this miracle opens Nora's eye's to who her husband is, "a bully and a coward" (Goldman). Torvald's only concern is for himself and his reputation, and he blames Nora for ruining his very happiness and future. As Torvald berates Nora, the doorbell rings, and the maid brings another letter from Krogstad; Torvald reads the second letter in which Krogstad reveals his "change of heart" thanks to Kristine. Torvald's first words after reading the letter are, "I am saved. Nora, I'm saved" (1183). Nora's icy calm soon turns into the strength she longed to be able to show to everyone; in contrast, Torvald who has been the domineering brut, begins to show signs of weakness when being confronted with his own words. Clearly, both Nora and Torvald's reaction to Krogstad's blackmail, is a great example of how the two sexes sometimes approach and react to difficult circumstances.
Nora tries to take advantage of this weakness and help Torvald understand the charade their marriage has been for over eight years; yet through it all Torvald cannot overcome his ignorance, responding with, "You think and talk like a silly child" (1187). Nora decides Torvald needs to lose his doll in order to change his behavior, and as Nora slams the door on her doll house as she leaves the audience gets a glimmer of hope from Torvald when he finally understands "the greatest miracle" (1189).
A Doll House is full of stereotypes–from Torvald's pet names for Nora to the stereotyping of women as weak and incapable of survival without a man. Because of this stereotype, the relationships between men and women, husbands and wives, never reach their full potential. On the other hand, A Doll House also establishes that women can be beautiful, strong, intelligent, and are capable of doing what it takes to ensure they survive under any adversities. After reading A Doll House people can see that the culture has not changed dramatically since 1879; even though the feminist movement has brought so much change for women, many still chose to give up honor for love.
Works Cited
Brunnemer, Kristin. "Sexuality in Henrik Ibsen's A Doll's House." In Bloom, Harold, ed. Human Sexuality, Bloom's Literary Themes. New York: Chelsea
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Goldman, Emma. "The Social Significance of the Modern Drama: A Doll's House." The Social Significance of the Modern Drama: A Doll's House. The
Gorham Press, Boston, U.S.A., 2 July 2003. Web. 3 May 2014.
Haller, Elizabeth K. "Identity in A Doll's House." McClinton-Temple, Jennifer ed. Encyclopedia of Themes in Literature. New York: Infobase Publishing,
2011. Bloom's Literature. Facts On File, Inc. Web. 22 Apr. 2014
Ibsen, Henrik. A Doll House. Compact Literature: Reading, Reacting, Writing. Laurie G. Kirszner and Stephen R. Mandell. Compact 8th ed. Boston, MA:
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Mørkhagen, Pernille Lønne. "The Position of Women in Norway." Explore North: An Explorer's Guide to the North. Explore North. n.d. Web. 29 April
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Final comment: This paper is not perfect, but it does a good job of examining a theme relative to the events and characterization in the play.