Giant RRS: A Doll’s House
Emily Chen, Jerry Chen, Giselle Balanza, Mardy Diaz
Title: A Doll’s House
Publication Date: December 1879
Author: Henrik Ibsen
Nationality: Norwegian
Author’s Birth Date/Death Date: March 20, 1828 - May 23, 1906
Distinguishing Traits of Author
Henrik Ibsen was considered to be the founder of modernism in theatre and the father
of realism. He grew up in a city dominated by lumberjacks; his father was a wealthy
merchant, one respected in his city Skien. However, his good fortunes took a turn when
his father’s business collapse, forcing him to move out of his county. During this period
of time, Henrik spent the majority of his time as a playwright; he was involved in the
production of 145 plays. Though the plays were insignificant, the experience provided
Ibsen a foundation to his lucrative writing career ahead. Ibsen died by multiple strokes,
and upon his deathbed, his last words were “On the contrary.” His legacy as one of the
greatest playwrights continued to be flourished in his native country, Norwegian. Ibsen
was also a visionary; his production of A Doll’s House shows his critical thinking. He
criticized the martial roles of women in society, and scorned against the common
stereotypes of women during the late 18 century. Believing in women equality, Ibsen
continued to write plays portraying the evil of society, and he continued to fight for
women.
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Setting of Work
A Doll’s House takes place inside the household of Nora Torvald and Helmer Torvald.
They live inside a comfortable and spacious apartment with their children and
housemaids. After Helmer fell ill and required medical attention, Nora took her family to
Italy, where they are staying now, in order to save the life of Torvald. Inside this
household, Nora spends time working off her loan by shutting herself inside, copying
papers for low wages. As the Christmas season comes around, Nora and Helmer finds
themselves capable of spending more this year with Torvald’s new job position.
However, Nora and Torvald do not live together but they live in lies and stereotypes.
Nora is considered to be Helmer’s little doll…[he] would play with [her] just as [she]
played with her dolls.” (65) This shows how inside the household, although the two
couples live together, they are not in union with one another. The majority of the play
takes place inside the home where Nora contemplates about the mistakes and crime
she has committed, praying that a “wonderful thing” was going to happen once her
secret has been revealed.
Brief Plot Synopsis
The play opens with Nora coming home from her shopping trip and telling her
husband Torvald about the many products that she bought. However, Torvald, clearly
disinterested, scolds Nora on her spendthrift behaviors but gives her money later when
she becomes saddened at his criticisms. At this time, Torvald leaves to talk with Dr.
Rank while Nora meets with an unknown caller, who turns out to be Mrs. Linde, Nora’s
childhood friend. Mrs. Linde tells Nora of the hardships that she faced after her husband
died three years ago and asks Nora if she can find a job at the bank that her husband
works at for her. Nora agrees and tells Mrs. Linde of her secret: she has borrowed
money in order to pay for the trip to Italy that saved Torvald’s life. After the two discuss
this issue, Krogstad enters, asking to see Torvald, and Dr. Rank exits from Torvald’s
room to join the ladies in waiting for Torvald.
When Torvald enters, he approves Nora’s request for a position in the bank for
Mrs. Linde. Then the characters all leave the stage except Nora, who stays home to
play with the children. Krogstad comes in, interrupting their play, and requests Nora to
ensure that he does not lose his job at the bank. Nora refuses to agree to the request,
and Krogstad threatens Nora with the forgery that Nora made on the bond. After
Krogstad leaves, Nora meets with Torvald again and asks him to not relieve Krogstad of
his position. However, Torvald refuses, calling Krogstad a liar and showing disgust for
him. When the second act opens, Nora asks the nurse about her children and ponders
about whether she should stop taking care of the children in fear of corrupting them. At
this point, Mrs. Linde enters and sews Nora’s dress for her while the two talk about
Nora’s bond, but exits when Torvald comes in. Nora begs Torvald again to keep
Krogstad at the bank, but Torvald becomes displeased and asks the maid to send the
letter of dismissal to Krogstad, leaving Nora distressed and frustrated.
When her husband leaves, Dr. Rank meets Nora and tells her of his impending
death and declares his love for Nora. Visibly displeased, Nora dismisses Dr. Rank,
although she promises to tell her husband of Dr. Rank’s death when it is confirmed.
Krogstad now meets with Nora and requests her to ask her husband to give him a
promotion at the bank. Nora informs him about the impossibility of this task, and
Krogstad threatens her with telling her husband about the bond. Nora tries to fight
against Krogstad by saying that she might kill herself, but Krogstad still stands his
ground. In the end, Krogstad puts a letter containing information about the bond in
Torvald’s mailbox and leaves. After seeing this action, Nora becomes frantic and pleads
Mrs. Linde to help her retrieve the letter. Mrs. Linde promises to talk to Krogstad but
asks her to delay her husband from opening the mailbox. When Torvald comes home,
she asks him to reteach the Tarantella dance that she will perform at the Christmas
party to her and successfully detains him from seeing the letter.
In the opening of the third act, Nora and her husband are attending a ball
upstairs while Mrs. Linde waits for Krogstad in the Helmer’s house. When Krogstad
meets Mrs. Linde, she proposes that they rekindle their past love and get married again
after ten years. She claims that the two are both missing something that the other can
fill and that they should partner up to fill each other’s void. Krogstad agrees happily and
asks Mrs. Linde if she wants to retrieve the letter that he sent to Torvald for Nora’s sake.
However, Mrs. Linde believes that the two should confront each other about this issue
and asks Krogstad to leave it in the letterbox. Krogstad then leaves the house before
Nora and her husband come in from the party. Mrs. Linde informs Nora that she has
failed to retrieve the letter, then leaves the house.
When the two are alone, Torvald shows the desire to spend time with Nora, but
Nora tries to distract him from it by telling him to open his mails. Dr. Rank comes in and
interrupts their conversation in order to tell Nora of the confirmation his death. After Dr.
Rank leaves, Nora informs Torvald that Dr. Rank is about to die and that they should
not be having fun themselves while their friend dies alone. Torvald agrees and opens
the mails, discovering the issue concerning the bond. Enraged, he repudiates Nora with
harsh words and tells her that she can’t take care of the children any longer. The maid
comes in with a letter now, and Torvald reads the letter, which contains the bond that
Nora forged her signatures on. Torvald exclaims that the two are saved and forgives
Nora for the issue about the bond. However, Nora’s view of Torvald has completely
changed due to this incident, and she leaves Torvald and his dollhouse in pursuit to
discover herself.
Brief Description of Characters
Nora Helmer
Nora Helmer is the main character of the play, as well as Torvald Helmer’s wife.
In the beginning of the play, Nora appears to be a family-oriented mother and a loving
wife. She is constantly being flirtatious with her husband and laughing at his attempts to
scold her. Being known as just a pretty woman to society, most people think that she is
“fit for nothing really serious” (Act I). However, she is quite deceptive in that she is able
to forge her father’s signature in order to get money to pay for a trip that saves her
husband’s life. When her secret comes out, she is betrayed by her husband and she
comes to realize her worth as an individual. She does not want to be controlled and
treated like a doll, nor live by the expectations of society.
Torvald Helmer:
Helmer is the husband to Nora; he is a clerk at a bank who has just recently been
promoted to a lucrative position during the midst of Christmas. He is a man who cares
about his appearances in the public, for he hires caretakers for his children despite
having economic difficulties in the past. This shows how he is a man who lavishly
spends on objects he deems appropriate and suitable for his appearances in society.
However, he is also stingy and stubborn about giving money to his wife, Nora. He
constantly tells her “no debt, no borrowing.” (2) His ideals about living in the 18 century
shows that Helmer is a typical man who cares about economic prosperity and treats
women as objects to be purchased and owned. Throughout the play, Helmer constantly
regards Nora as his “little squirrel… little skylark.” (2) Through his callings to his wife,
Torvald is not a man who holds respect for women, for he treats them like pets, giving
only superficial and monetary love. Torvald is also selfish in his own interests, making
sure he appears pleasant and wealthy in the public eye. When he learns about the
secret Nora has been holding, he bursts out in fury, saying how Nora has “ruined all
[his] future… all [his] happiness.” (62) Not once did Torvald stop and think about Nora’s
position. This shows that he is man that does not love but a man full of ignorance after
all that Nora has sacrificed for his sake.
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Krogstad
Krogstad is the play’s antagonist who is both dishonest and unscrupulous. Since
Nora borrowed a large sum of money from him in order to save Torvald when he was
extremely ill, he uses Nora’s debt against her as a form of blackmail when he learns that
he could potentially be laid off from his job at the bank. He is ruthless for telling Nora
that she can’t do anything in her power to prevent him from blackmailing her because “A
precious little pampered think like [her]” can’t frighten him (II,49). He is a man full of
flaws because he was caught for forgery, which hindered his chances of landing secure
jobs with respectable positions. When Mrs. Linde left him for another man in the past,
he became a bitter man filled with unhappiness and moral corruption. When he
rekindles his love with Mrs. Linde towards the end of the novel, he drastically changes
into a happier man when they decide to tie the knot in marriage.
Mrs. Linde:
Mrs. Linde is a childhood friend of Nora who comes into the play during Act I as a widow
begging for a job to earn her wages. She is the foil of Nora, for she is a character who
understands about the necessary sacrifices and sufferings. After losing her husband,
she has walked this society alone, without anyone to love, and has become
independent of her actions. Her path of choice is “unspeakably empty. No one to live for
any more.” (9) This shows that Mrs. Linde is a character that has had a hard past, but is
willing to move forward in life despite her downfalls. Later in the play, the audience
learns more about the past of Mrs. Linde. She is a practical person who sacrificed her
love for Krogstad in order to support her two brothers and herself. She once loved
Krogstad, but she terminated her love in order to help her family financially. Thus, Mrs.
Linde is a character who has experience suffering, but she is capable and independent
enough to move on in life despite her rough past.
Doctor Rank
Dr. Rank is a friend of the Helmers’ who is a foil to Torvald. When Dr. Rank
discovers that his disease is getting worse and that he will die soon, he confesses his
love for Nora and claims that he would “gladly give his life for [Nora]” (II, 39). In
comparison with Torvald, Dr. Rank loves Nora wholeheartedly. He loves her for who
she is and not the role she plays. While Torvald values his reputation and appearance
over his love for his wife, Dr. Rank will do anything in order to save Nora. The contrast
between the two men emphasizes Torvald’s selfishness and his poor choice of
priorities.
Three Children and Nurse
Anne, the Helmers’ nurse, serves as a source of knowledge about children for
Nora because she has experience taking care of children. When Nora discusses her
desire to leave the children in fear of corrupting them, she claims that “young children
easily get accustomed to anything” (II, 29). This offhand comment by the Nurse has
affected Nora in a negative way, unbeknownst to the Nurse. Nora hypothesizes that her
children will forget her if she leaves long enough, and the Nurse’s words only strengthen
that hypothesis. Nora’s interaction with three children reinforces how Torvald regards
her as a doll. When she plays with her children, she calls them her “nice little dolly
children” (I, 19). The name that she gives her children shows that she regards her
children as her dolls and her playthings, though with more love than Torvald regards
her. The parallelisms between the situations reinforce the idea that Nora is but a doll to
Torvald.
Symbols
Christmas Tree
The Christmas tree acts as a symbol for Nora and the emotions that she
experiences throughout the play. In the beginning, when Nora first brings the tree home,
she orders that “the children do not see it until this evening, when it is dressed” (I, 4). In
this case, the tree is similar to Nora is that they are both decorations in the house that
cannot be seen by others until they are dressed. This situation concerning the tree
parallels a later incident when Nora refuses to show Torvald her dress until the actual
party. Nora is really just a doll in the house that Torvald plays dress up and other games
with. Torvald regards her as a mere decoration that needs protection and shelter
instead of his equal or his wife.
The second instance in which the tree is mentioned is when it is “stripped of its
ornaments and with burnt-down candle-ends on its disheveled branches” (II, 29). The
state of the tree now reflects Nora’s turbulent emotion and her distress due to the
confrontation with Krogstad. In addition, the tree does not have any ornaments on it,
which foreshadows that Nora will strip herself of her ornaments in the future. She will
not play dress up and dollhouse with Torvald anymore as she comes to realize her role
as a doll and a decoration instead of a person and a wife in Torvald’s eyes.
Lastly, the absence of the Christmas tree from the play’s setting signifies Nora’s
departure from Torvald. When Nora finally leaves Torvald, the room becomes “Empty
[because] She is gone” (III, 67). Nora realizes her role as a Christmas tree, a
decoration, in Torvald’s house and how meaningless that role has been for her. She is
unable to express her own opinions, and she simply follows her master’s orders. A life
spent this way is bland and uneventful, and Nora refuses to live this way any longer.
Therefore, she refuses to stay in this house any longer and leaves Torvald in an attempt
to discover herself or find her own personality.
Key:
The symbol of power shown through the key to the letterbox portrays how dominant
men are to women during the late 18 century. Failing to hold the power to the “key that
opens the letterbox,” Nora is considered powerless and second to that of men. (67) The
symbol of the key, a object that holds the potential to unlock something greater, is the
power that Torvald posses. When Nora tried and failed to pick the lock open with her
hair tie, it shows how much power and control Helmer has over Nora. This relates back
to the stereotype of women in the late 18 century being completely powerless and
unable to have any jurisdiction in a marriage. Thus, the key to the letterbox is a symbol
of Torvald’s dominance over Nora, holding the power to do whatever he pleases and
having complete control over his wife like his own property.
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Children:
Another symbol that is portrayed in this play is the children. The children of Nora are
portrayed as her love and as her fear simultaneously. In the play, the children bring joy
and happiness to Nora. She is willing to sacrifice her debt to buy them clothing items,
for they are “adorable little creatures.” (15) Also, Nora plays with her children by
crawling on all fours and giving them her attention. However, once Krogstad steps foot
into her house, the children no longer becomes loving adorable beings, but something
she tries to avoid desperately in order to not “poison the house from her crime.” (37)
Thus, the children are the symbol of Nora’s love and fear, for she loves them with all her
heart but realizes how her crime can affect her children as well. Though she will
continue to love them and continue to cherish them as her creation, Nora can no longer
raise them knowing that she is a criminal and does not have the capability of raising
them. Therefore, the children are a symbol to Nora’s passion for them and her
inadequacy to bring them up righteously.
Macaroons
The macaroons that Nora eats without Torvald’s knowledge is a symbol for
Nora’s secretiveness. Before going to see Torvald, she makes an effort to “put the bag
of macaroons into her pocket and wipes her mouth” (Act I). This shows that she is trying
to hide the fact that they were in her possession in the first place. She is not allowed to
buy macaroons because Torvald wants to keep her spending limited. Her secretiveness
represented by the macaroons is also applicable to her choice to keep quiet about
forging her father’s signature. In order to keep Torvald happy, Nora tries to conceal the
problems and bad situations that could possibly upset him.
New Year’s Day
New Year’s Day acts as a symbol of renewal and self-realization for Nora.
Although her and Torvald are both looking forward to this day as a start of a new and
improved happy life, the play takes a turn when Nora’s secret is revealed. Seeing how
quick Torvald is to be unappreciative of her thoughtful actions, Nora finally says
“Goodbye” and “goes out through the hall” with “the sound of a door shutting” (Act III).
With the new year, Nora is ready to start an actual new life where she lives by her own
rules and is no longer Torvald’s doll.
Motifs
Wonderful things
The second motif that can be seen in the play is Nora’s expectation that a “wonderful
thing” was going to happen after the secret about her borrowing money from Krogstad
has been revealed. (25) During the first conversation between Nora and Mrs. Linde,
Nora tells Mrs. Linde that she expects this “wonderful thing” to happen when Torvald
finds out about what she has done to save his life. In the end, she says to Torvald that
for them to be back together as a couple, the “wonderful thing” has to happen. The
“wonderful thing” is a motif that highlights Nora’s longing for Torvald to love her fully that
he is willing to sacrifice himself for the both of them. Nora wants Torvald to profess his
love profoundly and live their life together despite the crime. However, the “wonderful
thing” does not happen, for Torvald is an ignorant and stubborn man who cannot see
reason before his eyes. Thus, the motif shows that the relationship between Helmer and
Nora is superficial, for Torvald only sees Nora as property to be owned and something
to give him pleasure when he demands.
Letters
The motif is letters is the most prevalent one throughout the play, and its
reoccurrences play an integral part in moving the plot forward. The letter that Krogstad
sends to Torvald is probably the most important one in the play, as it reveals Nora’s
secret that she has kept for ten years. In order to “have complete understand between
[Nora and Helmer],” “this unhappy secret must be disclosed” (III, 52). The letter clears
up the deception between the married couple and drives Nora to a complete
understanding of her own situation. After seeing Torvald’s reaction to her secret, Nora
comes to the understanding that Torvald does not love her as much as she with him.
Additionally, the letter reveals Torvald’s true colors and his placement of honor above
love. The letter enables Nora to discover the truth about their marriage and end her
miserable years with Torvald.
Another letter of importance is the one containing Krogstad’s repentance and the
bond for Nora’s loan. When the maid gives the letter to the Nora, Torvald rudely takes it
and opens it while claiming that he “scarcely have the courage to do it [because] it may
mean ruin for both of [them]” (III, 60). Helmer’s reaction to this letter shows that he is but
a coward who only cares about himself and his appearance. He only concerns himself
with Nora because being with her will make him seem like an honorable and respected
man and not because he truly loves Nora as a person. Shocked at Torvald’s
indifference to her future, Nora learns that deception will only lead to misunderstandings
and confusion for a married couple and reveals her independent self to Torvald by
leaving him to his own device.
Money and Banking
The motif of money and banking is used to show that true and genuine
happiness cannot be simply bought. Nora and Torvald are looking forawrd to the
luxuries of having a higher pay with Torvald being promoted at the bank. Nora excitedly
exclaims that they Torvald is “going to have a big salary and earn lots and lots of
money” (Act I). Nora also says her husband’s life-saving trip to Italy was only made
possible because she was able to get enough money. The Helmers believe their lives
and reputations are fully dependent on their financial and economical situations. This
leads to their belief that without money, the difficult outcomes make it nearly impossible
to be content with life.
Clothing
Clothes are central in the play because it was the only constant item throughout
the entire playwright. Clothes reflect Nora’s adversity and tribulations. When she dances
the Tarantella, she is dressed in a glamorous ball gown that Torvald forced her to wear
in order to indicate the idea of wealth and high standing within society. Nora wears a
facade, mainly forced upon her by her husband, in order for society to depict the
Helmer’s as a family who comes from affluence. Torvald dresses her up and
manipulates Nora like a his own personal dll in order to put on a show for others to
watch. Nora realizes this when she talks to Mrs. Linde and mentions to her that she
wishes for “a time will come when Torvald is not as devoted to [her], not quite so happy
when [she] dance[s] for him, and dress[es] for him, and play with him” (I,25). In the end,
Nora changes into clothing fit for any ordinary woman as a indication of her freeing
herself from Torvald’s control.
Archetypes
Giselle
Nora has an archetype of being the innocent and naïve female character. In the
beginning of the play, Torvald treats her like a child and she does not seem to see
anything wrong with that. He calls her a “poor little girl” when she brings back memories
of the hardships of the last holiday season (Act I). When Nora is playing with her
children, she is crawling on all fours, being youthful, yet childish. Her reaction to
Krogstad threatening to tell Torvald her secret is parallel to that of a child hiding a secret
from his or her parents.
Jerry
In the play, Helmer Torvald is the archetype of selfish, greedy, and unloving man
who cares only about himself and regards all women as property. Torvald calls his wife
by these animalistic dictions, thus showing his dominance over woman and portraying
his lack of respect for her as an individual. Torvald is selfish in that he “would [never]
sacrifice his honor for the one he loves.” (72) This shows how Helmer is not a man with
a genuine and loving heart, but a man who cares only about himself and his self
interests. When having an argument with his wife about he borrowed money, Torvald
continues to state how he is in complete ruins and never once mention the state of his
wife, Nora. Thus, Torvald is the archetype of a stereotypical male living in the 18
century where men do not regard women as individuals but only as property to be
owned; they lack the respect for women and fail to see them truly as equals. Though
Torvald is in a marriage, he is not in love but only for the sake of appearances in public.
Shown through his resolution after learning about Nora’s secret, Torvald will continue to
cherish his own appearance in public by having Nora remain by his side. This shows
how Helmer Torvald is an archetype of a selfish and egocentric man who disrespects
women and continues to treat them as pieces of property in his possession.
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Mardy
Ibsen develops her characters to either follow or go against certain gender roles
prevalent in society during the time. Women, like Nora, is expected to be a traditional
and subservient housewife, while men like Torvald is presented as an individual of
power. Torvald explicitly mentions to Nora that she has “duties to [her] husband and
your children" (III,87). Men were typically viewed as the main source of income for most
families, therefore they are the head leader of the family. Both men and women embody
different generalizations that contribute to gender roles.
Allusions
The allusion to the Tarantella depicts Nora’s role as Torvald’s doll. When Mrs.
Linde and Nora are speaking, Nora tells her that “Torvald wants [her] to go as a
Neapolitan fisher-girl, and dance the Tarantella that [she] learned at Capri” (Act II). Just
like a toy one can play with, Nora is allowing herself to be dressed up and do playful
dances for an audience. This shows that the relationship between the Helmers consists
of Torvald being superior over Nora. Not only does the Tarantella represent this, but it
also conveys how isolated Nora is in her commitment to Torvald. The Tarantella is
usually danced by two or more people, but Torvald pushes Nora to dance it by herself
so he can focus and visually indulge on her alone.
Themes
Sexism:
Another theme that can be seen in the play is sexism and how it shapes the life
of late 18 century. The relationship between Nora and Torvald is dominated by the
stereotypical belief that women are inferior to men, for they are property under the
ownership of men. Throughout the entire play, Torvald does not address his wife by her
name but by animal dictions. This shows that Helmer does not respect his wife as an
individual and only consider her as a pet to be played with. Also, women in the late 18
century did not have the right to borrow money. This proves that women did not have
jurisdiction over their own actions, making them submissive to the word’s of men.
Women did not have independence over their actions, for they are to be loyal to their
husband and children; their only place in society is being a mother caring for their
children and fulfilling the needs of men. The fact that women also were not suppose to
work shows that they are bound to men, dependent upon them financially. Thus, the
theme of sexism highlights the inequality between men and women. Stereotypes and
discrimination against women’s rights prove how unjustified society was during the late
18 century, for men dominated society.
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Pride
Another theme is the detrimental effect of excessive pride. When Torvald focuses
too much on his pride and his outer appearance, he loses sight of what is really
important to him. Torvald regards Nora as his doll because he puts too much emphasis
on his pride. Although he tries to convince himself that he loves Nora with all his heart,
he cannot change his prideful nature. Although he tries to mend his relationship with
Nora after showing her his superfluous concern with pride, the harm has been done,
and Nora refuses to return after he breaks her heart.
Deception
Another theme emphasizes that lies and deception can cause problems and
difficulties with personal relationships. Since Nora committed her fairly minor crime, she
has been hoping that it would just be left in the past and never be brought up again.
When Krogstad comes and threatens to expose her, she freaks out because she is
afraid of how Torvald will react. Nora claims to love Torvald passionately and deeply,
and she does not want to lose him because of an action she did some time ago.
Nevertheless, when the truth comes out that Nora did in fact lie, her relationship with
Torvald is torn apart.
Appearance vs Reality
Another theme of the play is that appearances and reputations can be deceiving.
It is fairly easy to put up a front and pretend like everything is okay, even when it is not.
Nora and Torvald have mastered this art because they have never truly loved each
other, but yet they are able to fool other people in society into thinking that they are a
happy couple. When Torvald reads Krogstad’s letter regarding Nora, Torvald has no
hesitation in making sure that people still think everything is fine, even though Torvald
wants little to do with his wife. Appearances and reputations are a priority to the
Helmers because of the importance of appearing that they are wealthy, as well as have
a high status in society.
Identity/Search for Self
Individuals typically struggle in finding their true identity, therefore they must
explore and experience their own unique path in life. Self-realization is a result of
embarking on a journey to find yourself. Within this journey, there is a divide between
one’s own desires and the expectation set by society. When Torvald informs Nora about
his promotion at the bank, Nora reacts with false enthusiasm in order to match her
husband’s excitement. Nora inadvertently conforms to Torvald and his expectations as
she readily obeys his requests. Nora complies to Torvald’s wishes as it manifests onto
her own, breaking down the line between her own thoughts and others’ beliefs. She
states that “[She] must make up [her] mind which is right – society or [her]” (III, 82).
Nora further fails to find her own identity because she doesn’t embrace her personal
opinions since she choses to follow Torvald’s desires. As a result, her happiness is
based on on what is dictated by society.
Sacrifice
Women are typically forced to sacrifice their independence due to their duties
towards their families. Nora’s life has been a trail of sacrifices because of all the
housewife duties she must fulfill. Her life becomes a constant battle for her own liberty,
as her ability to discern her own self-sufficiency is lost in her commitment to her family.
Despite this fact, Nora starts to recognize that as a human being, she is granted natural
rights even if society says otherwise. Torvald tells her that "No man would sacrifice his
honour for the one he loves” and Nora replies by saying that, "[Sacrifice] is a thing
hundreds of thousands of women have done" (III,87). She realizes that sacrifices within
her marriage is not a requirement, but rather an action based on free will.
Memorable Quotes
 “One day I might, yes. Many years from now, when I’ve lost my looks a little.
Don’t laugh. I mean, of course, a time will come when Torvald is not as devoted
to me, not quite so happy when I dance for him, and dress for him, and play with
him” (Act I)
 “From now on, forget happiness. Now it’s just about saving the remains, the
wreckage, the appearance” (Act III).
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“I have been performing tricks for you, Torvald. That’s how I’ve survived. You
wanted it like that. You and Papa have done me a great wrong. It’s because of
you I’ve made nothing of my life” (Act III).
“Free. To be free, absolutely free. To spend time playing with the children. To
have a clean, beautiful house, the way Torvald likes it.” (Act 1)
“But no man would sacrifice his honor for the one he loves. It is a thing that
hundreds of thousands of women have done.” (Act 3)
“You have never loved me. You have only thought it pleasant to be in love with
me...You see, there are some people that one loves, and others that perhaps
one would rather be with.” (Act 3)
Distinctive Characteristics of the Work
 This play is out of its time. Henrik Ibsen was writing about the importance of
gender equality and women’s rights during a time where women were expected
to act inferior to their husbands and to men in general.
 The first performance of this play was in Copenhagen in 1879. It increased in
popularity and created fame for Henrik Ibsen. A Doll’s House was noted as the
“world’s most performed play” in 2006.
 The ending is considered an unspeakable action by a woman. Because Nora just
walks out on Torvald, leaving her home and children as well, the ending is
criticized by the fact that she thought her own freedom was more important than
her motherly duties.
 “A Doll’s House” is a unique play where each character serves as an archetype.
 The characters all have different personalities what vary on a broad spectrum.
This is an important factor because Ibsen uses this technique to represent
various types of people in society.
 This is a well made play what has many underlying social themes.