Breaking out of the “A Doll’s House”

A Doll’s House by Henrik Ibsen is a challenging read that overturns traditional views of gender roles from the past and paves the way for the initiation of feminism. The story revolves around a woman named Nora Helmer, who lives with her husband, Torvald Helmer. Nora dutifully completes tasks for her husband and socializes with a few friends. She soon discovers that the man who had illicitly helped her secure funds for a vacation might soon lose his job at the hands of her husband.

Hence, she succumbs to the man’s threats of blackmail in order for him to retain his job, and her secret remains safe. Despite these efforts, Torvald stumbles upon her secret, leading to a confrontation resulting in Nora leaving him. The evolution of Nora from the start to the finish of the narrative is noteworthy. Nora discovers her individuality by observing the environment she inhabits, overcoming hurdles to find love, and recognizing how Torvald truly perceives her.

The setting of A Doll’s House is the Helmer household. Torvald, as the man of the house, works to provide for his wife and three children. This dependence on her husband designates Nora as a typical housewife and puts her into a submissive role. They employ a maid, Helene, who manages the household chores. Nora fills her time with her children, acting in the same immature manner, skimming over any life lessons due to a lack of responsibility she has towards her children. Nora cheerfully complies with all of Torvald’s commands to please him. Occasionally, he addresses her affectionately as “little squirrel” or “My pretty little pet.” This dynamic mirrors the title “A Doll’s House,” reflecting how Nora is manipulated by her husband just like a doll. She is also influenced by those with wealth. Dr. Rank, a good friend of the Helmers, visits them despite knowing his life is ending soon. As a wealthy man with no dependents, someone will soon inherit his wealth. As Natalie Hamm Devaull suggests, “It is probable that Nora is subconsciously aware of her impending inheritance.” (276) This might suggest that Nora understands Dr. Rank’s affection towards her and the treatment she should be receiving. However, the looming inheritance would not prevent the obstacles she has to traverse in this narrative.

By forging papers with her father’s signatures to get money for a trip, Nora unknowingly put herself in a bad situation. She did this to help improve Torvald’s health by going on a trip to Italy. She later realized the problem due to Krogstad, the man who helped her receive the money and who is in a subordinate position to Torvald. Knowing that he will soon be fired, he blackmails Nora to save his job by meeting his demands, or else he will tell her husband what she did behind his back. Nora becomes aware of the consequences if she is caught. She discovers that she is at risk of going to jail and that losing face or reputation is another problem she would face if discovered by Torvald or the authorities. The biggest obstacle Nora has is her limited education and life lessons. She was silver-spoon-fed by Torvald and brainwashed to do what he says. This gives her the fantasy of how much she believes they love each other. Katherine M. Rogers explains in the article “A Woman Appreciates Ibsen”:

“Morris Freedman likewise blames Nora personally for a weakness which resulted from her limited education, as he criticizes her inconsistency in moving from the conventional chivalric code she has been taught, under which she expected the noble male to sacrifice himself to save her, to the truth she discovers for herself, that the male is not superior, on which she bases her claim to equality.” (96)

Nora believed that Torvald would do anything for her, like that time she illegally forged papers to have enough money for them to go to Italy. Torvald, however, completely shocked Nora.

Instead of sticking by her side, Torvald was enraged when he found out what Nora did. He felt like she disgraced his name and reputation if her actions became public. He showed no appreciation for the things she did for him.

“‘What a horrible awakening! All these eight years—she who was my joy and pride—a hypocrite, a liar—worse, worse—a criminal! The unutterable ugliness of it all! For shame! For shame!’ (Nora remains silent and looks steadily at him. He stops in front of her.) ‘I ought to have foreseen it. All your father’s lack of principle—be silent—all your father’s lack of principle has come out in you. No religion, no morality, no sense of duty. How I am punished for having overlooked what he did! I did it for your sake, and this is how you repay me.'” (Ibsen 799; act 3)

The context of his speech shows the rage in his eyes and his feelings towards his little doll, Nora. This opens her eyes to who he truly is, uncovering her discovery of her individuality. Despite this, she is still somewhat child-like due to the lifestyle she had within the household. In “A Modern View of Ibsen’s Emancipated Women” by Helen Popovich, she discusses how Nora breaks away from being a subordinate housewife to Torvald, adding that she will eventually return to him since her upbringing didn’t consist of learning important life lessons. Nora is still a child at heart and Torvald knows how to manipulate her. “He wants her home, and he knows the game he will have to play to coax the doll back into his house.” (6)

In the end, by living in her present environment and through the obstacles she overcomes, Nora discovers her individuality and how Torvald perceives her. This realization allows her to understand her worth. She is not just a doll in the eyes of Torvald or her father; she is an individual with emotions and opinions. She doesn’t mind returning home to relearn what she missed in the Helmer’s household, even if it means leaving Torvald and their children. Joan Templeton in “Ibsen’s Nora” claims that Nora needed to be deceitful and selfish in her evolution- she needed to fully mature and become self-aware of her identity. (896)

Work Cited

DeVaull, Natalie Hamm. Nora’s Final Inheritance in Henrik Ibsen’s A DOLL HOUSE Explicator. 2012, Vol. 70 Issue 4, p275-278. http://web.a.ebscohost.com.libaccess.hccs.edu:2048/ehost/pdfviewer/pdfviewer?vid=0&sid=928ffb9c-b94f-44af-a2b2-7b634892a6a1%40sdc-v-sessmgr02

Ibsen, Henrik. “A Doll’s House.” Making Literature Matter: An Anthology for Readers and Writers. Eds. John Schilb and John Clifford. 7th ed. Boston: Bedford/St. Martin’s, 2009. 752-805. Print.

Popovich, Helen. “SHELF OF DOLLS: A MODERN VIEW OF IBSEN’S EMANCIPATED WOMEN.” CEA Critic, vol. 39, no. 3, 1977, pp. 4-8. JSTOR, www.jstor.org/stable/44378720.

Rogers, Katharine M. “A WOMAN APPRECIATES IBSEN.” The Centennial Review, vol. 18, no. 1, 1974, pp. 91-108. JSTOR, www.jstor.org/stable/23738068.

Rosenberg, Marvin, and Joan Templeton. “Ibsen’s Nora.” PMLA, vol. 104, no. 5, 1989, pp. 894-896. JSTOR, www.jstor.org/stable/462581.

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