Gender role portrayed in the play A Doll’s House by Henrik Ibsen

Report submitted to Rathinam College of Arts and Science (Autonomous)

In partial fulfilment of the requirement for the

Award of the Degree of

MASTER OF ARTS IN ENGLISH LITERATURE

Submitted by

ANGEL NIRMALA. J

(Reg. No. 21MEN008)

Under the guidance of

MS. S. KAVITHA. M. A. ,M. Phil. ,(Ph. D)

Head of the Department

DEPARTMENT OF ENGLISH

RATHINAM COLLEGE OF ARTS AND SCIENCE (AUTONOMOUS) POLLACHI

ROAD, EACHANARI, COIMBATORE-641 021.

April 2021
 ACKNOWLEDGEMENT

I take this opportunity to express my profound gratitude and deep regards to my supervisor
MS. S. KAVITHA. M.A. ,M.Phil. ,(Ph.D). Head of the Department of English for her valuable
guidance, monitoring and constant encouragement throughout the project. Her guidance helped
me in all the time of research and writing of this thesis. And once again I heartily thank MS. S.
KAVITHA. M.A. ,M.Phil.,(Ph.D).,Head of the Department of English for giving this
opportunity to undergo a project for my career development.

I acknowledge my deep sense of gratitude to our Principal, Dr. S. Balasubramanian, M.Sc.

,Ph.D.,(Swiss),PDF(Swiss&USA), Rathinam College of Arts and Science (Autonomous) for
giving me this Opportunity to get practical experience beyond the bounce of theoretical
knowledge through Project work.

I take this opportunity to express might be sense of gratitude to Dr. MADHAN. A. SENTHI,
M.Sc. , Ph.D., Chairman of Rathinam group for permitting to do the project work. I express
my gratitude to my parents and my friends for help and service bring this project as successful.
 DECLARATION

I J. ANGEL NIRMALA hereby declare that the dissertation entitled “Gender role portrayed
in the play A Doll’s House by Henrik Ibsen” submitted to the Rathinam College of Arts and
Science (Autonomous), Coimbatore in partial fulfilment of the requirement for the award of
MASTER OF ARTS IN ENGLISH LITERATURE is a record of original project work done
by me during 2021-2023 under the supervision and guidance of MS. S. KAVITHA. M.A.
,M.Phil.,(Ph.D)., Head of the Department of English, Rathinam College of Arts and Science
(Autonomous) Rathinam Techzone, Pollachi Road, Eachanari, Coimbatore-641021.

PLACE:

DATE:

Signature of the Candidate:

 CERTIFICATE

This is to certify that the work entitled “Gender role portrayed in the play A Doll’s House
by Henrik Ibsen” submitted to the Rathinam College of Arts and Science (Autonomous) in
partial fulfilled of the requirements for the award of the Degree of Master of Arts in English
Literature is a record of original project work done by Angel Nirmala J (Reg. No. 21MEN008)
during the period 2021-2023 of her Study in Department of English, at Rathinam College of
Arts and Science (Autonomous) under my supervision and guidance.

PLACE:

DATE:

Signature of the Guide

Signature of the Head of the Department Signature of the Principal

Internal Examiner External Examiner

VIVA VOCE EXAMINATION HELD ON…………………………….

 1

CHAPTER 1

INTRODUCTION

Any written work, including poetry, prose, essays, and novels, is considered literature. Its
root word, "Literatura," means "learning, writing, and grammar" in Latin. "Writing formed
with letters" is what it originally meant. Since the first person learnt to write, literature has
existed in our world and has continued to advance with humankind. Any written work or fine
art, such as dancing, painting, or music, that gives readers pleasure might be included. It
distinguishes from other sorts due to how beautiful it is to read and write.

The definition of literature is not a constant one as it keeps on changing with the changing
world. Many writers have defined literature in different words,

“Literature is strewn with the wreckage of those who have minded beyond reason the opinion
of others” - Virgina Woolf

“Literature anticipates life. It does not copy it but moulds to its purpose. ”-Chesterton

According to many writers, literature provides the lessons needed for an individual living in
the society. It is considered to be an integral part of a society as it has various effects on ways
and thinking of people living in the society. It shapes the people living in the society.

Literature is considered to be mirror of life. It helps us to understand more complicated

feelings like pain, hatred, love, death, sacrifice etc. Similarly, it also helps us to understand
the power of language through which people try to convey a universal message. It shows how
an individual life is and how he faces the problems and how he can overcome it. It also
teaches how to react at what situation.

As famous pioneer of Literature, Plato states “that literature is mere imitation of life”. There
is great connection between life and literature. He was the first person to relate life with
literature. It provides what an individual needs to live his life without any regrets and happily.
Literature can be dated back to the early literature which had derived from the stories
including myth and folklore. Storytelling emerged as the human mind evolved to apply causal
reasoning and structure events into narrative and language which helps to share information
with one another.
 2

English literature are the works written in the language of English by inhabitants of the
British isles from 7th century to the present. The works written thus separated under American
literature, Australian literature, Canadian literature and New Zealand literature.

During the Renaissance the renewed interest in Classical learning and values had an
important effect on English literature. English literature’s remarkable body of travel writings
in autobiography, biography, and historical writing, English literature compares with the best
of any culture; and children’s literature, fantasy, essays, and journals, which tend to be
considered minor genres, are all fields of exceptional achievement as regards English
literature.

The meaning in literature by looking at what the author writes or say and how does they
convey it. We may interpret and have an debate on author’s message by examining the words
he or she chooses in a given novel or work or observing which character or voice serves as a
connection to the reader. The word literature suggests a higher art form merely putting words
on a page doesn’t mean it is a work of literature.

For many people, literature is just some story created in the minds of authors to provide
enjoyment for readers. Others think literature is just ineffectual words on a page that won’t
help them deal with life in any way. However, they are wrong. While literature is indeed
stories created by authors, it has the power to galvanize many people; it can help people gain
self-esteem, overcome hardships, and inspire them to become better.

Literature is different from all other texts, and reading a variety of them gives people a
refuge, education, and inspiration. People read literature not just for pleasure, but to escape
from reality, learn historical and cultural facts, and inspire themselves to become better.
Stress is a constant factor in people’s daily lives—it has a permanent spot in a corner of their
minds and constantly comes forth to aggravate them.

Now, Literature can divided in various types namely biography, poetry, prose, drama, novels,
short stories and Epics.

A biography is a written account of one person’s life authored by another person. A

biography includes all pertinent details from the subject’s life, typically arranged in a
chronological order. The word biography stems from the Latin biographia, which succinctly
explains the word’s definition: bios = “life” + graphia = “write. ”
 3

Poetry is a literary genre that uses language that has been selected and organised for its
meaning, tone, and rhythm to elicit a focused imaginative awareness of experience or a
particular emotional reaction. Poetry is a broad topic that has been around for as long as
recorded history and maybe longer. It is present anywhere there is religion and, by some
definitions, may even be the first and fundamental form of language.

Prose in English literature is a very common type of writing - it refers to any writing that
follows the conventions of speech and language. As such, it’s grammatically and
syntactically correct, and flows like speech. Most of the writing that you read and produce
will probably be prose.

Poetry is the polar opposite of prose in that it frequently deviates from accepted grammar and
usage norms and has a different organisational scheme for its phrases. In writing, sentences
are made up of words, and sentences are made up of paragraphs. Verse is a kind of poetry in
which words are organised into lines, which then create stanzas. Prose lacks the consistent
rhyme or rhythm of verse.

The word epic is derived from the Ancient Greek adjective, “epikos”, which means a poetic
story. A long narrative poem known as an epic is used in literature to describe the heroic
exploits of someone with uncommon bravery and unmatched heroism. The epic adopts a
grand manner to illustrate this bravery and heroism.

A short tale is a succinct fictional prose narrative that is less than a novel in length and often
only has a small cast of characters. The focus of a short narrative is typically on a specific
consequence that is expressed in just one or a few key episodes or scenes. Character is
revealed via action and dramatic encounters, but is rarely completely developed. The form
fosters economy of setting, succinct narration, and the removal of a complex storyline.
Despite its generally constrained scope, a short tale is frequently assessed by how well it
treats its characters and main idea in a "complete" or fulfilling way.

A novel is an invented prose narrative of significant length and complexity that deals
imaginatively with human experience. Its roots can be traced back thousands of years, though
its origins in English are traditionally placed in the 18th century. A drama in literature is the
performance of written dialogue (either prose or poetry), which depicts real or imagined
occurrences. Dramas can be broadcast on the radio, filmed, or stage. Usually referred to as
plays, dramas are written by "playwrights" or "dramatists. "Some of the famous drama are
Julius Ceasar, Romeo Juliet, Doctor Faustus etc. .
 4

A play is a piece of literature created specifically for the theatre that dramatizes events using
spoken dialogue and stage instructions. The word play, meaning a dramatic performance,
originates from the early fourteenth century, with roots in the Greek paizo, meaning “to act.
”Playwrights, who write plays, divide their productions into acts and scenes to increase
suspense and make the narrative more engrossing for viewers. There are several distinct kinds
of plays, including those created for the stage, radio (radio plays), and television or film
(screenplays). Plays are typically divided into two main genres: dramas, which are serious in
tone and often tragic, and comedies, which are light-hearted and funny. All plays, however,
aim to entertain and share meaningful insights into this human experience. Even when plays
are more experimental or absurdist in nature, they speak to emotional truths and inspire
critical thought.

The earliest significant writers of the period were the Greco-Roman dramatists Livius
Andronicus (Achilles, Gladiolus), and Gnaeus Naevius (Aegisthus, Lycurgus), albeit only
remnants of their works have survived. For the Roman playwrights who would come after
them, such as Plautus (Casina, Mostellaria), Lucius Accius (Decius, Brutus), and Seneca the
Younger (Thyestes, Phaedra), they laid the groundwork—both physically and symbolically.
Plays had essentially moved within the church's purview by the Middle Ages, along with
most other aspects of Mediaeval society. Mystery plays frequently featured portrayals of
incidents from the Bible. These developed into the didactic dramas known as morality plays
of the 15th century, which were nevertheless strongly influenced by the Bible. The main
characters in morality plays are allegories who use straightforward plots to impart moral
teachings to the audience. Examples include the plays Everyman and The Castle of
Perseverance, both of which were written anonymously. Most academics agree that the 19th
century saw the beginning of the modern era of Western play. During this time, ground-
breaking plays actually began to explore realistic subjects, address contemporary problems,
and make social critiques, while also extending the form to welcome stylistic and linguistic
experimentation. Henrik Ibsen's A Doll's House and Hedda Gabler, Bertolt Brecht's Mother
Courage and Her Children and The Caucasian Chalk Circle, Anton Chekhov's The Cherry
Orchard and The Seagull, Federico Garca Lorca's The House of Bernarda Alba, and Federico
Garcia Marquez's Blood Wedding are just a few of the period's ground-breaking plays.

Acts and scenes, characters, dialogue, a storyline, a setting, and stage directions are all
common components of plays. Playwrights divide the action of their plays into larger sections
 5

known as acts, with individual acts being divided into smaller sections known as scenes. Each
scene, which is essentially a vignette that presents a crucial moment in the plot or in the
development of the characters, is found in some plays, such as Samuel Beckett's Endgame
and Arthur Miller's A Memory of Two Mondays, are one-act plays, where all the drama
unfolds in a single act.

The dramatic action of the play is driven by the characters' decisions, actions, and
interpersonal interactions. Any play's narrative revolves on its characters since the author
cannot tell the story without them. Characters are typically their own distinct selves, but
occasionally they can be allegories or archetypes; two instances of the latter are the characters
in Christopher Marlowe's Doctor Faustus and Thornton Wilder's The Skin of Our Teeth.

Dialogue is equally as crucial as character since it moves the action along and lets the
audience know what's going on, who the characters are, and how they relate to one another.
All of the play's spoken portions are included in the dialogue. This appears in the form of
character-to-character dialogue or audience-facing asides. Ancient and ancient playwrights
commonly used poetry to write dialogue; nevertheless, more informal rhythms and structures
have mostly been replaced by modern speech and language. The series of events that make up
a tale in creative or narrative writing, whether it is delivered orally, in writing, on film, or via
song. The story's development, course, and chronological progression are all part of the
narrative. There are normally five key components that make up a plot:

1. Exposition: Characters, place, and the primary conflict are often introduced at the
beginning of the tale

2. Rising Action: The primary character is in a precarious situation as the events building
up to the conflict start to take place. The narrative gets convoluted.

3. Climax: The main character encounters a significant antagonist, fear, challenge, or

other cause of strife at the story's climax. Here is where there is the most excitement,
drama, change, and action.

4. Falling Action: As the tale nears its conclusion, it slows down and begins to tie up
loose ends.
 6

5. Resolution/Denoument: Also known as the denouement, the resolution settles all

outstanding concerns and brings the tale to a close.

Plots, usually referred to as storylines, detail the crucial moments of the narrative as well as
how the characters' issues evolve through time. In literature, the location and time frame in
which the action of a narrative takes place is called as Setting. The makeup and behaviour of
fictional characters often depend on their environment quite as much as on their personal
characteristicsInstructions in a play's script that specify how actors should arrive, stand, and
move on stage as well as details concerning the lighting, scenery, props, and sound effects are
known as Stage directions. Stage directions provide crucial details for the action and
connections between characters, objects, and locations in the play. Additionally, they may be
used to instruct actors on how to hone their performances.

The origins of Norwegian literature go back more than a thousand years, to the time the
Vikings dominated what is now Norway. Throughout its development, Norwegian literature
was strongly entwined with Danish and Icelandic literature. It is only feasible to identify
literature that can be categorically referred to be Norwegian after Norway's secession from
Denmark in 1814.

The definition of "Norwegian literature" in this context refers to works written in Bokml
(Dano-Norwegian; also known as Riksml) and, subsequently, Nynorsk (New Norwegian) by
authors of Norwegian ancestry from the 16th century onward. Because early works of
Norwegian and Icelandic literature sometimes have similarities, both are covered under the
heading of Icelandic literature.

Literature written in Norway or by Norwegians is referred to as Norwegian literature. The

skaldic poetry and pagan Eddaic poems of the ninth and tenth centuries, written by poets like
Bragi Boddason and Eyvindr Skáldaspillir, are where Norwegian literature's history begins.
Around the year 1000, Christianity arrived in Norway, introducing it to European mediaeval
knowledge, hagiography, and historical writing. This was to blossom into an active phase of
literature production in the late 12th and early 13th century when it was combined with native
oral tradition and Icelandic influence. The Thidreks Saga, Konungs Skuggsj, and Historia
Norwegie are some of the most important writings from the time.
 7

Despite the fact that authors with Norwegian ancestry like Peder Claussn Friis, Dorothe
Engelbretsdatter, and Ludvig Holberg contributed to the joint literature of Denmark and
Norway during this time, the period from the 14th to the 19th century is regarded as a Dark
Age in the country's literature. A new age of national literature began with the rise of
nationalism and the fight for independence in the early 19th century. The great four Henrik
Ibsen, Bjrnstjerne Bjrnson, Alexander Kielland, and Jonas Lie emerged in a wave of
nationalistic romanticism. The most prominent writer of the era was the dramatist Henrik
Wergeland, but Henrik Ibsen's subsequent works would give Norway a significant position in
Western European literature.

Henrik Ibsen was a Norwegian playwright who rose to fame in the 19th century for having a
profound impact on generations of authors and playwrights who followed after him. He is
credited with founding modernism in theatre and is known as the "father of realism. " His
plays, which were widely debated outside of simply an academic atmosphere when they were
written in the morally strict 19th century, were frequently seen as highly problematic.

Ibsen is a famous person who lived a fantastic life. The man who would go on to write works
that were frequently only surpassed by Shakespeare was born into a wealthy family in the
Norwegian town of Skien, albeit this wealth eventually dissipated, leaving him to spend the
remainder of his youth and a portion of his adult life in poverty. Due to his answers to the
social and political events of the period, his inherent skill flourished.

His plays were informed by events in his personal life, including his political involvement,
ultimate isolation from society, relationships with younger women, and eventual marriage to
another lady. He was enthralled by the stunning scenery of Norway as well as the local
legends. Even Edvard Munch, whose paintings featured themes strongly influenced by
Ibsen's characters, was captivated by his mystique. His major works include Brand, Peer
Gynt, An Enemy of the People, Emperor and Galilean, A Doll’s House, Hedda
Gabler, Ghosts, The Wild Duck, Rosmersholm, and The Master Builder.

Ibsen is frequently recognised as one of the all-time great writers in the canon of European
drama. He is referred to as "a profound poetic dramatist the best since Shakespeare" by
Richard Hornby. He had an impact on writers of plays and novels including Eugene O'Neill,
George Bernard Shaw, Oscar Wilde, and James Joyce. He is regarded as the best writer since
Shakespeare by many commentators.
 8

Ibsen was severely divided into two halves: a magnificent genius and a timid, tiny philistine.
He frequently listened to the troll voices of narrow-minded egotism and compromise in daily
life instead of living up to his own heroic goals and revolutionary views. Afterward, the
genius in him emerged as a judge without compassion. He experienced lifetime anguish as a
result of this ongoing struggle, yet it was this internal conflict that made him a master
playwright and repeatedly drove him to engage in a profound self-examination.

He passed away in 1906. His grave marker merely has the miner's symbol a hammer and
makes reference to a young Ibsen poem. The verse's short conclusion

"Break me the way, you heavy hammer,

To the deepest bottom of my heart,"

captures the intensity of Ibsen's unique vision and his dramatic craft. Harsh self-analysis was
one of his life principles. In each play he expresses this constant introspection, always
underscoring a thesis based on self-seeking. In Emperor and Galilean, for example, Julian
fails to establish the "first empire" of pagan sensuality, then casts aside the "second empire"
of Christian self-abnegation. As the hero expires, he envisions a "third empire," where, in the
words of the biographer Zucker, "men were to find God not on Mount Olympus nor on
Calvary but in their own souls, wills, and senses. " Ibsen himself once wrote in a poem, that
"to live is to fight with trolls in heart and brain. To be a poet is to pronounce a final judgment
upon oneself. "

“The majority is always wrong; the minority is rarely right”-Henrik Ibsen

1862 Love’s Comedy

1863 The Pretenders
1866 Brand
1869 The League of Youth
1873 Emperor and Galilean
1877 Pillars of Society
1879 A Doll’s House
1881 Ghosts
1882 An Enemy of the People
 9

1884 The Wild Duck

1886 Rosmersholm
1888 The Lady from the Sea
1890 Hedda Gabler

Ibsen's famous contemporaries include:

Anton Chekhov (1860–1904): Along with Ibsen and August Strindberg, Chekhov is
considered one of the three most important early-modern playwrights; his works deliberately
challenged traditional dramatic structure. Elizabeth Cary Agassiz (1822–1907): An
American educator, Agassiz cofounded Radcliffe College and served as its first president.
The college was founded in order to give women access to the high educational standards
offered by neighbouring Harvard, which at the time was open only to men. Thomas
Edison (1847–1931): Perhaps the best-known inventor of all time, Edison pioneered several
devices that are today considered indispensable to modern life as well as a new, industrial
approach to scientific research. Leopold II (1835–1909): King of the Belgians, Leopold
became infamous in his own time for his ruthless exploitation of the Congo region of Africa,
which he claimed as his own personal domain. His colonialism was too much to stomach for
many of his fellow Europeans, and a campaign eventually forced him to relinquish his

personal control of the region. Charles Darwin (1809–1882): The English naturalist famous

for his theory of evolution and natural selection. His Origin of Species caused a sensation
upon its publication and stirred a fierce public debate that reverberates to this day.

A Doll’s House opens on Christmas Eve. Carrying numerous parcels, Nora Helmer walks
into her tastefully decorated living room, which serves as the play's main stage. When he
hears Nora enter, Torvald Helmer, Nora's husband, emerges from his study. He gives her a
light-hearted and kind greeting before criticising her for overspending on Christmas presents.
The Helmers have had to be frugal with their money for many years, but their chat reveals
that Torvald has lately been given a new job at the bank where he works, giving them the
opportunity to live a more comfortable life.

Dr. Rank, a close friend of the Helmers, has arrived, Helene, the maid, informs. Another
mystery person has also come at the same time. Kristine Linde, a former classmate, enters the
room, much to Nora's shock. Nora adds having heard that Mrs. Linde's husband had gone
away a few years before, despite the fact that the two haven't seen one another in years. Mrs.
 10

Linde explains to Nora that after her husband passed away, she was left childless and
penniless. Mrs. Linde is informed by Nora of her first year of marriage to Torvald. They both
had to work a lot of hours and were in extreme poverty, she explains. She continues, "Torvald
was ill, and the couple had to go to Italy so that Torvald could get better.

When Nora presses Mrs. Linde for more information about her life, Mrs. Linde replies that
she spent many years taking care of her ailing mother and her two younger brothers.
However, she claims that her mother has died away and that the boys are grown enough to
not require her. Mrs. Linde claims that her lack of job makes her feel empty rather than
relieved; she is hoping that Torvald can assist her in finding work. After making a pledge to
talk with Torvald, Nora tells Mrs. Linde a shocking secret: she and Torvald travelled to Italy
while Nora illegally borrowed money, telling Torvald that it was her father's money. For
years, Nora reveals, she has worked and saved in secret, slowly repaying the debt, and soon it
will be fully repaid.

Krogstad makes reference to his own bad reputation while claiming that Torvald wants to get
him fired from his job at the bank. He requests that Nora utilise her power to keep his
position stable. When she declines, Krogstad explains that he already has a contract in his
hands that Nora forged her father's signature on. If Nora does not stop Torvald from firing
him, he will blackmail her by revealing her crime and bringing shame and dishonour on both
Nora and her husband. When Torvald comes back after Krogstad has left, Nora attempts to
talk him out of firing Krogstad, but Torvald is unconvinced. He calls Krogstad an unethical
man and claims that being around him makes him physically unwell.

The following day, Christmas, Act Two begins. Nora paces her living room by herself,
anxious. When Mrs. Linde gets there, she assists Nora in making her costume for the ball she
will attend the next night at her neighbours' house. Dr. Rank has a fatal condition that he got
from his father, Nora informs Mrs. Linde. Mrs. Linde surmises that Dr. Rank is the originator
of Nora's debt as a result of Nora's suspicious behaviour. Nora disputes Mrs. Linde's
accusation but won't say why she is upset. Once again, Nora urges Torvald to keep Krogstad
working at the bank when he comes, but Torvald declines.

When Nora confronts him, he confesses that Krogstad's moral actions aren't the only thing
that annoys him, he also dislikes his excessively familiar demeanour. Before sending the
maid to deliver Krogstad's termination letter, Torvald and Nora dispute. Torvald leaves.
 11

When Dr. Rank comes, he informs Nora that he is on the verge of passing away. She starts to
flirt with him while trying to cheer him up. She seemed to be getting ready to ask him to step
in and help her in her conflict with Torvald. Dr. Rank abruptly confesses to Nora that he
loves her. Nora declines to request anything from Dr. Rank as a result of this information.

After Dr. Rank departs, Krogstad shows up and requests an explanation for why he was fired.
He has altered the conditions of the blackmail because he wants respectability; he now
demands of Nora that he not only be rehired at the bank, but also be rehired in a better
position. He next drops a note in the Helmers' letterbox outlining Nora's debt and fraud. Nora
tells Mrs. Linde everything in a fit of fear, and Mrs. Linde orders Nora to keep Torvald from
reading the letter as long as she can while she goes to meet with Krogstad. Nora starts to
practise the tarantella she would perform at the costume party that evening to divert Torvald
from the mailbox.

She dances wildly and aggressively in her unsettled emotional state, annoying Torvald.
Torvald makes a vow to Nora not to check his inbox again until after she performs at the
party. After a brief absence, Mrs. Linde returns and informs Krogstad that she has left him a
letter, but that he won't be back until the next evening. The next evening, Krogstad meets
Mrs. Linde in Helmers' living room while the costume party is going on upstairs.
Conversation between the two indicates that they were once very in love, but Mrs. Linde
chose to leave Krogstad for a more affluent man who would enable her to provide for her
family. She informs Krogstad that she no longer has to attend to her own family and now
wants to be with him and take care of his kids.

Overjoyed, Krogstad declares that he will demand his letter back before Torvald can read it
and discover Nora's secret. Mrs. Linde, on the other hand, insists that he leave the letter
because she thinks that once the truth is out, Torvald and Nora will benefit from it. Nora and
Torvald walk in just after Krogstad leaves after returning from the masquerade ball. After
bidding Mrs. Linde good night, Torvald compliments Nora on how attractive she was while
dancing. Torvald immediately stops making efforts on Nora in favour of Dr. Rank, who
attended the party as well and has come to say goodbye. After Dr. Rank departs, Torvald
discovers two of his visiting cards in his letterbox, each of which has a black cross over the
name.
 12

This indicates that Dr. Rank has left to die, Nora tells Torvald. Despite his anguish, Torvald
concludes that everyone could benefit from Dr. Rank's passing since it would make him and
Nora "quite dependent on each other. " He admits to Nora that he cares for her so deeply that
he had previously yearned for her life to be in danger so that he might risk everything to
protect her. Torvald argues that he would rather to spend time with her than read his letters,
despite Nora encouraging him to do so. She prompts him to keep his dying buddy in mind,
and he eventually concedes that reading his letters would help him to rid himself of thoughts
of "death and decay. "

The maid presents a message from Krogstad stating that he no longer wants to extort Nora,
along with the IOU. Torvald rejoices, declaring his rescue and his forgiveness of Nora. Nora,
however, admits that she was planning on killing herself because she believed Torvald would
intervene and stand up for her, jeopardising his life and career. She says that she has come to
the conclusion that she cannot continue to live with Torvald, whom she views as a stranger,
and that she needs to leave in order to come to terms with who she is. Torvald first mocks her
and calls her nuts until he softens his tone and pledges to make changes to keep her.
Determined Nora declares that she has to go. Torvald is left alone onstage in despair. The
play ends with the sound of the slam of the front door as Nora exits.

One of the most significant plays in all of contemporary theatre is A Doll's House. It may be
considered the birth of contemporary theatre. It was a turning point in naturalist theatre when
it was first presented in 1879, especially because of its gripping finale. James Huneker
delivered the phrase that has become arguably the most renowned about the play: "That
slammed door reverberated across the roof of the world. "

The typical family situations that frequently served as the basis for European plays
throughout Ibsen's time of composition provide the key to the solution. Since A Doll's House
is a typical example of this style of traditional drama, these scenes are widely known to
anybody who has read Ibsen's play. The closing scene of Ibsen's play, which undoes and
undermines all that has come before, is where the play's stunning force rests.

This traditional drama is part of the French tradition known as the "well-made play," which
Ibsen follows with faultless perfection in A Doll's House. The beginning of a well-written
play typically features a secret that is kept from one or more of the characters backstory that
is gradually revealed throughout the play, and a dramatic resolution that may involve either
 13

reconciliation when the secret is revealed or, in the case of tragedies, the death of one or more
of the characters.

At the conclusion of A Doll's House, Ibsen toy with both happy and tragic endings: when
Nora realises her secret has been revealed, she considers on suicide. But after receiving
Krogstad's second letter, Torvald decides to forgive her, giving the impression that a sad
conclusion has been avoided in favour of a humorous one.

Ibsen is cautious to represent Torvald Helmer and his wife Nora as a typical middle-class
married couple, much as the play's storyline generally adheres to similar traditions. Though
Nora is hardly what we would now consider a militant feminist, her actions at the play's
conclusion indicates that she has had an awakening. In a similar vein, despite calling her his
"doll" or "bird" and encouraging her to act like a stupid little thing for him, her husband does
not mistreat, beat, or degrade her. Nora, however, implores him to continue doing so. Both of
them are enmeshed in bourgeois ideology: the woman is there to give birth to her husband's
children and to dote on him a little, dancing for him and caving in to his irregular whims.
Financial security is vital, Torvald's work at the bank. A Doll's House applies such a strong
torch to all of this by lighting a single match below it rather than covering it in petrol and
lighting everything on fire.

It's also important to note that despite Ibsen's support for women's rights and his view of them
as intellectually equal to their husbands, A Doll's House leaves it up to the audience to decide
whether to applaud or criticise Nora for leaving her husband. After all, she has abandoned her
three innocent children, leaving them without a mother, at least until she comes back, if she
ever does. Is she selfish? Of course, the play won't provide us with a solution to that. Like a
good dramatist, Ibsen explores themes that readers and audiences may not have been
encouraged to explore before, but he refuses to bang what we would now call the "feminist"
drum and turn his play into a piece of political protest. Ibsen himself later claimed that he was
not "tendentious" in anything he wrote.
 14

Hypothesis

Does dolls represent Nora as a character?

How has the gender roles evolved throughout time?

Is still women are considered to be stuck in a dolls house ?

Is it unchangeable, the subordinate role the women are expected to play in their married life?
 15

CHAPTER 2

Review of Literature

Lisa said that “Ibsen’s famous A Doll’s House is a landmark in the development of truly
independent female heroines, rejecting the patriarchy they were socialised to accept
unconditionally. Nora, the main character, fails to make her husband understand that their
perception of reality is incompatible as he keeps seeing her as a doll, acting out a pretty life
for his pleasure and reputation. In the original version, Nora shows the path to independence
by opting for the uncertain future of a life lived alone and independently, but Ibsen was
confronted with dominant misogyny and power play when German theatres in 1880 asked for
“an alternative ending” (yes!), one in which Nora is emotionally blackmailed into staying
with her family for the sake of the children. Curtain falls on that “barbaric act of violence”, as
Ibsen himself put it when commenting on the "politically correct" alternative ,a rewriting of
literature to suit a misogynistic society protective of all documentation of the role of women.
Well, unfortunately we are watching an all too real alternative ending to a century of
increasing women’s rights at the moment as well. Across the world, "alternatives" to freedom
of speech, movement, and choice are implemented in “so-called democratic processes”,
hijacked by the resurrected mindsets of 19th century white, male, heterosexual, pseudo-
Christian figures. Domestic violence, rape culture, law-making against family planning and
abortion, the alternatives to women’s rights are scarily real. ”

Sean Barrs said that, “Imagine what it would be like to live in a doll’s house: it's a house in
which you are controlled and have no power to make any strong decisions; it's a house in
which you are a play thing for someone else’s entertainment. This sounds a lot like a bad
marriage, so it's a house in which your husband holds the purse strings, so to speak, and
leaves you with no control over your family’s finances. Indeed, your husband keeps you on a
very tight leash. Such is the perceived life of Nora Helmar. Yet, this work is in favour of
women. Note the word perceived for that is the appearance Nora gives to the outer world.
Indeed, the doll’s house is a metaphor for Nora’s life in which she takes on the role of a doll.
Her husband is now in charge and before then her farther. She has no idea who, or what, she
is because she has been conditioned by society to behave in the manner of an acceptable wife,
which is one that obeys her husband’s wishes. The result is a woman who appears week and
controllable, but she has kept a big, big, secret from her husband that challenges everything
 16

he thinks her to be. She, this simple minded doll, has managed to borrow money (something
unheard of for a women of this time) to keep her family afloat whilst her husband was too ill
to work. So yeah, this play is very feminist. Ibsen has used Nora’s situation to comment on
the ridiculous nature of marriage in the nineteenth century. The play is rooted in the then
rising field of naturalism, which endeavoured to portray life accurately with no idealisations;
thus, Nora’s marriage can be seen as an accurate portrayal of what most women had to put up
with in their marriages. Ibsen shocked his audience. Moreover, this means that the play was
an absolute shocker to the Victorian audience. This is not because of Nora’s disobedience,
but the way her marriage has been used as a disguise to hide her freedom. Despite being in a
controlling marriage she had managed to be able to borrow money off her own accord, by
herself. This indicates that Nora’s role as a housewife was nothing more than a charade
because she did, in fact, have some freedom to make her own choices such as the life
changing one she makes at the end of the play. Thus, the play was a milestone for questioning
the traditional view of marriage; it suggested that marriage was overbearing and controlling,
but if one was careful they could gain some freedom from their bigoted spouse; it suggested
that marriage appeared like a doll’s house in which the doll was destined to be free. ”

Piyangie said, “This is a brilliant play by Henrik Ibsen which is also my first introduction to
the author. The play mainly revolves around the theme of a woman's place in society as
opposed to the woman's right of independence and individuality. Nora Helmer, the main
protagonist, has a secret to conceal from her conservative husband. This secret is a cause of
action that has been taken by her which is although partly a crime, has been done in good
faith and to the advantage of her family at a difficult time. However, when the secret comes
out in open, the consequences that follow show the women's position, their vulnerability and
men's perception of women in the patriarchal society they live in. This play, to me, is Ibsen's
voice which is raised to the world to say that it is time that women are to be looked as
individuals, as humans with feelings, and as an important part of a society, especially in a
family; it is time that they should be respected as equals; and that they should not be viewed
mere possessions to keep and treat as the men fancy. Such a perception on women coming
from a man of his era is praiseworthy. It is also a bold venture to write and stage such a play
in a conservative society where it is decidedly being viewed as scandalous. Bravo to Ibsen for
his brave effort in bringing out the "women voice".

Connie said, “ Written in 1879, "A Doll's House" was a very modern look at marriage for its
time. The play's name comes from the way Nora is treated like a doll or a young child by
 17

Torvald, her domineering husband. Nora has a problem since she had secretly forged a note
for a loan to finance a trip to a warm climate when her husband was seriously ill. Although
Nora seems flighty and silly at the beginning of the play, one senses that she is acting that
way partly to please and manipulate her husband. She has imperfections, but there is a strong
woman underneath who wants to experience the world. She needs to find herself as a human
being outside the roles of wife and mother. This is a play that can be looked at from many
points of view regarding a woman's moral obligations to her family as well as her obligations
to herself. The play was entertaining with both comic and serious moments, and its ideas
could generate a good discussion. ”

David said, “First things first. Nora, the protagonist of Ibsen's A Doll's House, is a twit.
There's no getting around it. We may choose to assign blame for her twittishness to her
husband, her milieu, or her era, but this will never adequately mitigate her essential twit
nature to that reader or spectator of the play who must endure her self-identification as her
husband's 'squirrel' or her childlike idiocy. I myself couldn't stop wondering if Nora is an
actual twit (i. e. , a twit absolutely, regardless of her context) or relative twit (i. e. , a woman
who seems a twit to us now as a result of the changes in custom, gender roles, and society
itself). And I haven't of course ruled out a combination of the two. Then my mind became
even more scrupulous. Was my judgment that Nora is a twit itself a condition of my entitled
position in a (still) phallocentric society? I'm not kidding. I actually thought this. This is what
a culture of loudly warring intellectual discourses does to a man. Am I guilty because I think
Nora is twit?Well, I abandoned that idea. Now I am convinced that she really is a twit, but
now I ascribe some of her twittishness to the artificiality of drama itself, especially at the end
of the nineteenth century. I think I've temporarily settled on this opinion. But ask me
tomorrow, and who knows?Since I've spent so much time convicting Nora of being a twit, it
might seem surprising that I've given this play four stars. But really—there are plenty of fine
stories to be told about twits and their ostensible transformations into non-twits. We shouldn't
discriminate against twits. Don't they have hopes, dreams, sorrows, disappointments like the
rest of us?A Doll's House is the story of a silly, naive Norwegian wife named Nora who is
being blackmailed by an unsavory bank clerk; apparently, she forged a document some time
before, but the backstory is too contorted and contrived to bother with here. (I'm more than a
little annoyed that Ibsen couldn't come up with a more elegant MacGuffin—one that's not
entirely reliant upon Nora's [guileless or stupid, as you see it] admission of wrongdoing to her
blackmailer. ) Nora works overtime to keep her husband Torvald from finding out about her
 18

transgression. (Here, a cultural difference comes into play: given the circumstances, it's
difficult for a modern audience to imagine that Torvald would be outraged at her confession.
) Eventually, he does find out though and rips Nora a proverbial new one. This leads up to a
famous and infamous confrontation between husband and wife punctuated by Nora's door
slam heard 'round the world. It's a fascinating and prescient play, no doubt, but it's also more
than a little creaky—at least in translation. The conclusion, I think, retains much of its
provocation today, well over a hundred years later. It is very difficult to watch or read the
play and not react to Nora. She will always be subject to moral condemnation, but she's
intriguing—even in her twittishness—because she isn't entirely right or wrong. . . She's just
human. In an often infuriating way. ”

Helga said, ““It is so marvelous to live and be happy. ”I have a confession to make. I always
thought A Doll’s House was a children’s story. How wrong was I! So much to learn…so
much to learn…A Doll’s House is a controversial three-act play about the self-discovery of
one woman who goes against conventions and rules of a man-made society. Nora is a married
woman, who does everything to make her husband and children happy and content. She is
supposed to dress up and look pretty. She is referred to by her husband as “my little” this and
that. She is the Doll. She has been the Doll in her father’s house and has merely changed one
Doll House for another. But Nora has a secret. She has borrowed money from a dubious
individual to help pay for improving her husband’s health. She has been economizing and
saving money to pay back the debt while being called spendthrift and reckless by her
husband. When the secret is disclosed, instead of thanking her, her husband becomes a self-
righteous prig and calls her a hypocrite, a liar and a miserable creature and declares her not to
be fit to bring up their children. Nora then awakens and makes a decision that changes
everything. And her new life begins with the slamming of a door. ”

Jonfaith said, “Our home has been nothing but a playroom. What a wonderful surprise! I
didn't expect to be so moved. The honesty is scalding. My reading as of late has focused on
language: an exploration of poetics and the resonance of such. Ibsen acted as a sort of
antithesis to that approach and the experience was all the more satisfying. Remarkably
modern, We find Nora a wife and mother—who out of interest for her husband she has
blurred the lines of propriety. This incident bobs to the surface the trials involved afford her
an unexpected perspective. ”
 19

David Sarkies, “I had given this play a fairly ordinary review when I first commented on it
(and that review is below this one), simply because when I studied it at high school I was put
off by the fact that Nora simply up and left, and in a way it felt like she had undergone an
inexplicable and sudden change. However, after reading Peer Gynt I decided that I should
give A Doll's House another try. So, when I visited the bookstalls at Federation Square I kept
an eye out for a collection of plays containing this particular one – obviously since I am now
writing a second review on this play indicates that I was successful in my quest. The one
thing that I paid particular attention to as I read this play was the events leading up to Nora's
decision to leave Tolmer and in a way it sort of starts to make sense. Okay, I am still not
convinced that Nora made the right decision, however I can appreciate a little more of what
Ibsen was getting at when he wrote this play, and we also must remember that the play was
somewhat controversial at the time, namely because women simply did not up and leave their
husbands for any reason. In a way, what the play is doing is showing how Nora, by leaving
her husband, has become empowered because by doing so she says to Tolmer that she is
capable of making her own decisions, living her own life, and making her own mistakes – she
does not need Tolmer to make those decisions for her.

This, I believe, is the key to the play because back then it was believed that women were not
able to make their own decisions. Women would grow up under the guardianship of their
fathers until such a time as they married at which point the guardianship would pass over to
the husband. Tolmer clearly believes that this is the case, especially in the way that he speaks
to Nora and treats her as if she were a child that is in need of protection. He holds all of the
money and makes all of the decisions – Nora is simply expected to follow along and not to
ask any questions. The catch is that there was a point in their marriage when Tolmer
developed a serious illness and the doctors had said that if he did not leave Norway for a time
then he would likely die (it sounds as if it may have been pneumonia). However, they did not
have any money. While Tolmer is a barrister he was very particular about the cases he would
accept (though barristers, at least in the common law jurisdictions, aren't allowed to turn
down cases due to 'moral scruples'). Obviously, having such principles meant that he wasn't
any good at being a barrister, which meant that they did not have all that much money. So, to
solve that problem, Nora borrows some money, forges her father's signature, and then tells
Tolmer that it was a gift from her father.

During the play all of this comes to a head because the person, Krogstad, who leant the
 20

money to Nora is also an employee at a bank of which Tolmer becomes the manager. Now,
Krogstad doesn't have a very good reputation (and with a name like Krogstad, I am not
surprised – sorry to any Krogstad's that may be reading this) so Tolmer sacks him. Krogstad,
to whom Nora is indebted, then approaches Nora and blackmails her by telling her that unless
Tolmer reinstates her then he will spill the beans about the loan, and the forged signature – of
which he knew about all along. So, things come to a head, Tolmer discovers the truth, flies
off the handle, and basically disowns Nora, though does not go as far as kicking her out of the
house because that would make a bad situation much worse. However, Krogstad repents of
his actions and destroys the letter, but the damage has already been done.

It is not Tolmer that is left with a bitter taste in his mouth – he is glad that Krogstad has let it
go because all that he was worried about was his reputation. No, in fact it is Nora who is left
really, really upset because this little episode has shown her the type of character Tolmer
really is, and she comes to the conclusion that she really wants nothing to do with him
anymore, which is why she leaves. In a way it is a complete rebuke against Tolmer because it
is clear that Tolmer did not care that Nora saved his life, nor did he care that Nora could go to
gaol – all he cared about was his reputation and that through Nora's actions his reputation was
going to be ruined.

In a way, what is happening is that Nora is not being treated as a human, but rather as a child
– this is what she resents, and this is why she walks out. She wants a real marriage where she
is an equal, an adult, and a human, not some child that needs to be cared for and looked after
by a responsible male. In fact, Tolmer's actions when he learns about the debt clearly
demonstrates how he really cares very little about Nora. While I still do not approve of Nora
walking out on Tolmer, I have a much better understanding of why she did, and how Ibsen is
using this play as a rebuke against the chauvinistic attitudes of his conservative society. I am
a little unsure about this play the more that I think about it. This was one of those plays that I
read in year 12 English that my English teacher loved and that I hated, but the reasons that I
hated it back then have changed a lot now and I suspect that if I were to see it in a book shop
(along with some of Isben's other plays) I would be tempted to purchase it. The reason being
is that Bernard Shaw seems to write a bit about Ibsen and as I look at some of the images of
this book which shows an open bird cage, it makes me think that this book is a lot deeper than
I expected. The play is effectively in two parts and deals with a husband and a wife. The first
part of the play the wife is a loyal subservient wife to her husband and from what I can
 21

remember the husband is not a particularly bad person (though I cannot remember his
character all that well). In the second part the relationship suddenly changes (something that
put me off the play) and the wife is suddenly talking about leaving her husband. The play
finishes with her walking out of the door. Leaving behind the dramatic change in the wife's
character, the reason that I hated the play was simply because of the Christian propaganda
that was being piled onto me at the time. Okay, granted, God hates divorce because the idea
of marriage is supposed to be permanent in that it is a representation of our relationship with
God. God is ever faithful and expects the same faithfulness in return. However, we cannot
forget that this is a reflection of a perfect world and we cannot expect people to be loyally
faithful to somebody who does not show the same faithfulness in return. Divorce is what I
call a necessary evil.

Christians are up in arms over the changes to the divorce law (at least in Australia) in 1975
when they made divorce a no fault system. This was because prior to this change there had to
be a reason for a divorce. The idea for the change was not so much as to make divorce easier
(it was still pretty easy back then) but rather to take the whole mudslinging that fault based
divorce systems (which still exist in the United States) out of the court room. Okay, it does
not actually do that because there is still a lot of mud slung during broken marriages, and I
guess it does make divorce easier, but then again it is another example of a minority
attempting to impose their morality onto a world that does not want it. The cage, I suspect,
represents marriage as a prison. I have suggested previously that marriage is a form of chattel
slavery, particularly in the 19th century, in that the wife was simply seen as the possession of
the husband. Unfortunately that still continues today. For instance, when a pastor preaches on
the passage in Ephesians regarding marriage, many of them seem to talk about the husband
loving their wives (though not always drumming the point of 'as Christ loved the church and
gave up his life') and then spending more time on wives obeying their husbands (as well as
proving that the Greek says exactly the same thing). Even if they do give each equal
weighting, many of the husbands will simply glaze over the 'love your wife' part of the
sermon and focus on the 'obey your husband' part, and then proceed to remind their wife of
such when they get home. The interesting thing that I have noticed is the whole hypocrisy of
this. One example was an old friend who got married and discovered that her husband was a
violent pig, so divorced him. She was immediately excommunicated because she had broken
the bonds of marriage (despite the fact that the marriage had already been broken when he
became violent) and the husband kept as a privileged member, more so after his wife walked
 22

out of him. The second was a couple in the church that held positions akin to that of an elder.
They were the perfect couple with the perfect wedding. Everybody wanted to be like them,
but then they went overseas to live, and after a number of years we hear that they have
become divorced. I simply do not know the facts behind the divorce, and I am loathe to
speculate, but they are two examples of how this whole idealistic marriage idea has broken
down. Further, the other thing that goes out of the window when there is a marriage
breakdown is truth (much like war). I hear of an elder in the church getting divorced because
his wife walked out on him, and he tells me the story of what happened, and I feel sorry for
him. Then I wake up and realise that I have never heard her side of the story. However, at this
stage, I am now hesitant to trash this play on the grounds of my previous, narrow minded,
Christian outlook on the world. Further, since it has been a very long time since I read this
play, it may be an idea that if I do see it, to pick it up again and reread it. ”
 23

CHAPTER 3

Gender Role portrayed in A Doll’s House by Henrik Ibsen

Henrik Ibsen wrote the short story "A Doll's House," which was published on December 4 of
the same year it was written in Norway. Men and women played various roles during the 19th
century. Ibsen wrote during a time when men were imposed by the prevailing culture and
women were enslaved in their gender roles. The play A Doll's House, which is about a lady
named Nora Helmer who has lived her entire life as though she were her husband's property.
She is reportedly quiet and obedient, but when she finds out that her husband is about to lose
his job, she secretly steals money so that he may take a lengthy vacation to Italy. She is aware
that if he stays at home, they would go without food and shelter.

In Norwegian society, a man was expected to be a strong, honourable member of the

community. In comparison to current times, the roles of men and women were very different.
Nora and Torvald Helmer's power struggle and relationship are reminiscent of the normal
relationships in 19th-century Norway. Nora obeys Torvald's commands since she is expected
to do so by society because he is the man of the home. While Torvald is constrained to live as
the man of the house, Nora is bound within her home by social norms. In A Doll's House,
Henrik Ibsen explores the issue of gender inequality in a patriarchal society via symbolism,
conversation, and characterisation.

Although radical feminists claim that alienation exists in all current economic systems,
feminists often portray women as being especially distant from capitalism. Women have
fought against male dominance and exploitation for a very long time in many different
regions of the world, whether they are developing or developed. They have made organised
efforts to fight against exploitation and worsening conditions on their own behalf. Women
were discouraged from writing novels, poems, and other literary genres throughout the
nineteenth century. Even Mary Evans Ann had to adopt the name George Eliot in order to
disguise her gender. Despite the fact that there were female authors in Victorian literature, the
culture was not at all admired. Even though they worked in fields, hospitals, teaching
institutions, and other professions, women's contributions to social formation were not
recognised, and they were portrayed as simple meek and compliant animals. Ibsen's "A Doll's
House" had a significant impact on the mobilisation of women's movements during a time
when male dominance was harsh and tyrannical. The earliest American women who spoke up
for women's rights were Elizabeth Stanton in the 19th century and Emma Goldman at the
 24

start of the 20th century. In the second part of the 20th century, other feminism theorists
urged that women should have the same rights granted to men. Patricia Hill Collins and other
feminist thinkers led this demand.

The radical feminist theory is best summarised by Eisenstein, who wrote: "Historically,
radical feminism started with the assumption that the sexes are adversarially poised, that men
have power over women, and that society and its various social relationships can be best
understood in terms of their relationship to that situation". All of these details were also made
public in order to convey Nora's persona and her desire to help her unwell husband, who
accuses her of committing a crime and acting dishonestly after recovering from his illness. In
order to avoid falling victim to men's prejudice and unfair behaviour, the play exhorted
women to live alone and break the chains of men's dictatorial behaviour towards them.

The expectations placed on women at this period were set by society. The males had power
over them since they were seen as the fathers' and, after marriage, the husbands' property. At
the time, women were limited to becoming submissive housewives and mothers with no
rights or liberties. Men, meanwhile, took on the duty of supporting the family financially.
This made it quite obvious why Nora remained with Torvald for as long as she did. Nora was
ignorant of the options available to her to live a new life and chart a route for her future
without the help of men. She had always been a chattel, first for her father and later for
Torvald.

The topic of gender roles is perhaps the main theme of A Doll's House because it is
emphasised throughout the narrative. The marriage of Nora and Torvald is but one illustration
of the disparity in power between the sexes at the time the play was written. Ibsen also
emphasises the issues brought on by the limited role of women in society. Male characters in
particular don't appear to take Nora seriously in the narrative. Her spouse frequently treats her
like a child and patronises her. Even Mrs. Linde, an old friend of Nora's, seemed to be
annoyed by her petty actions. The woman simultaneously goes along with everyone's jokes
and presents a casual attitude as though she doesn't mind.

As the story progresses, Nora demonstrates some symptoms of disobedience and displeasure
with the boundaries of her duty. She not only consumes the sweets Torvald forbids, but also
takes great risks and stealthily borrows money from him. Nora takes delight in what she
accomplished and admits that it feels nice to be in a position of power while doing it as she
reveals the secret to Mrs. Linde. Her financial speculation eventually proves to be a danger to
 25

the Helmers. Nevertheless, as the play progresses, she becomes increasingly eager to acquire
more advantages. By the conclusion, Nora admits to Torvald that she hasn't been viewed as a
stand-alone individual with a unique viewpoint.

She must leave the family if she wants to survive. Torvald's assurances of reform are
ineffective. It implies that Nora is aware of the underlying source of her problems. Her
husband is just one aspect of the issue. The underlying issue is concealed by the social rules
that society has established for family life. Legally and culturally, women weren't considered
to be independent beings. Men are represented as powerful and ambitious at the same time.
They take up the duty of providing for their family and work hard to advance both personally
and professionally. Both Mrs. Linde and Nora's need to discover their place in life serve as a
focal point for feminism in A Doll's House.

A Doll's House highlights the limited status of women at the time of its creation as well as the
issues brought on by a stark disparity in power between men and women. Nora experiences
constant childlike treatment from the other characters in the play. Torvald refers to her as his
"pet" and "property," implying that she lacks the intelligence and maturity necessary to be
trusted with money. She is not taken seriously by Krogstad or Dr. Rank, and even Mrs. Linde
refers to her as a "child. " Despite the fact that Nora seems to be moderately annoyed by this
treatment, she accepts it, referring to herself as "little Nora," and vowing that she would never
consider defying her husband.

There are hints that she is not fully content with her restricted status as a woman, though. She
calls it her "pride" and says it was exciting to be in charge of money, adding that it was
"almost like being a man," as she reveals the secret of how she borrowed money to pay for
the trip to Italy. Nora's discontent with her position as a woman worsens throughout the play,
even if she eventually regrets her choice to borrow money. She complains to Torvald in the
finale that she isn't being treated like a free-thinking individual.

Torvald has promised to reform, but her bold answer to this problem is to abandon household
life. The play and Nora's choice seem to agree that Torvald is only partially to blame for the
problem. The more underlying problem is in the conception and practise of home life at the
period, which infantilized women both legally and culturally and prevented them from being
acknowledged or treated as whole people.
 26

The play's male characters are also required to fulfil specific roles. Both Torvald and
Krogstad have a high level of ambition, which is fuelled by both a need to support their
families and a desire to rise in social standing. Both of them place a high value on reputation;
when Nora's borrowing is discovered, Torvald's initial concerns are for his reputation.
Krogstad, meantime, is hooked on success now that he has "gone straight," and he has
aspirations to someday succeed Torvald and control the bank.

Ibsen portrays a dark portrait of the self-sacrificing role that women of all economic strata
play in his society in A Doll's House. The female characters in the play mostly support Nora's
claim that "hundreds of thousands" of women have sacrificed their integrity in spite of men's
refusal to do so (spoken to Torvald in Act Three). Mrs. Linde was forced to leave Krogstad,
her true but poor love, and wed a wealthier man in order to support her mother and two
brothers. The nanny was forced to give up her own kid in order to sustain herself by taking
care of Nora and later, Nora's children. The nanny tells Nora that she feels fortunate to have
landed the position because she was "a poor girl who'd been led astray. "

Despite having more money than the other female characters in the play, Nora still has a
tough existence since society expects Torvald to be the dominating spouse in the marriage.
Nora is subject to Torvald's orders and honour, and she is forced to keep her loan a secret
from him since she is aware that he would never accept the notion that his wife or any other
woman might have contributed to his survival. Additionally, she is required to labour in
secret to repay her loan because it is against the law for a woman to do so without her
husband's consent.

The views of Torvald and society make Nora susceptible to Krogstad's blackmail by inspiring
her dishonesty. It is also possible to see Nora's decision to leave her kids as a selfless gesture.
Despite having a strong bond with her children and being extremely afraid of corrupting
them, Nora decides to abandon them. Nora really thinks that leaving her children with the
nanny will be in their best interests since the nanny will be a better mother.

Ibsen depicts a stereotypically gendered home in A Doll's House with Torvald and Nora
Helmer before illustrating how individuals, both male and female, suffer as a result of the
roles that society expects them to fulfil. The play's two primary female characters, Nora and
Mrs. Linde, serve as particularly stark examples of the restrictive nature of gender roles. At
the time, women were expected to marry, have children, and stay at home to care for their
husbands and kids. When a woman truly worked and made money, like Nora did when she
 27

secretly copied lines, it was "like being a man. " Women had little opportunity to earn money
on their own and were dependent on their husbands or dads to meet their necessities.

Because she didn't have a father or elder brothers, Mrs. Linde looked for a wealthy husband
in order to be financially secure. However, even this strategy was hazardous because she had
no means of knowing his genuine financial condition. Mrs. Linde can only remark that she
thought the guy she married was wealthy at the time when Nora inquires about his financial
status. Women missed out on numerous chances because they were expected to stay at home,
care for their children, and follow their husbands' rules. They sometimes need their husbands'
permission to handle straightforward commercial concerns.

Due to the gender stereotypes they purposefully enforce, the males in the play also
experience negative effects, albeit more discreetly and unintentionally. Torvald likes his job
of upholding social norms, but he doesn't understand that he can't genuinely love his wife
since he doesn't really view her as a person. As a result of his "manly independence," he is
unable to accept assistance from anybody else, especially not a woman. As a result, Nora
believes that lying to her husband is preferable to upsetting his pride. Most significantly,
Torvald's incapacity to reject social gender stereotypes prevents him from understanding that
his wife's love is more essential than his reputation.

Ibsen challenges readers and viewers to consider how society and the treatment of the two
major characters throughout the 19th century impose various gender roles on them. A
significant part in history, literature, and everyday life has been played by gender. Each
gender is subject to expectations throughout their life. The one-of-a-kind drama truly
addresses issues including the woman question, gender roles, and money. Henrik Ibsen's play
A Doll's House dramatically depicts these positions, particularly in the opening act.

In the play the women are expected to fulfil the role of angel of the house which the women
is expected to perform role by being there for her husband and staying faithful, Nora is taking
a big responsibility and that’s what makes her marriage survive. Whether you were married
or lived alone, women's duties in the 19th century were different from those now. Women
had to make the decision to be married or not back then since they were considered
independent. The dad had to provide food and money to the houses of the unmarried women
since they were regarded as being reliant on them. Women were required to follow their
fathers' desires since it was the right thing to do. Women who were not married could not
work unless there was a financial emergency at home.
 28

In the 19th century, men's roles were viewed considerably differently from women's roles.
Basically, everything was under the control of the males of the house. Every day, the men
had to put forth a lot of effort to provide for their families. The majority of males worked as
farmers, artisans, and metalworkers. Men were expected to take part in government
operations as well. Women were frequently subordinate to males, and many had to follow
their husbands' instructions. In this century, men were viewed as the family's primary
providers of income.

Our history, literature, and many people's lives all across the world have been significantly
influenced by gender. According to what is claimed or what a lot of people say, there are a
number of things that each gender role is supposed to undertake during their marriage.
Dramatically addressing the woman's question, gender norms, and money in this one-of-a-
kind play. Henrik Ibsen's play A Doll's House dramatically depicts these positions,
particularly in the opening act. The treatment of Nora Helmer by Torvald Helmer towards his
wife. In the play A Doll's home, the women are required to fulfil the part of "women of the
house," which calls for a woman to act like a good wife by following her husband's
instructions. This can mean by staying faithful or doing what he says. The character that Nora
survives her relationship with Torvald by taking a submissive role.

In this play, Ibsen clearly portrayed the role of women. The play's female heroine, Nora, has
a significant part in this narrative. Torvald treats Nora almost like a toy because he is the one
in charge of the household. Torvald refers to his wife Nora as various animals at the start of
the play and even while it is being performed.

"Is it my little squirrel bustling about? " said HELMER.

In the play, Torvald frequently addresses his wife by her pet names rather than by her given
name. He probably refers to her as her pet to express how much he cares about her. Helmer
tends to degrade his wife most of the time during the play, as seen by the quotation where he
frequently refers to Nora by her pet names. Torvald plays with Nora or treats her like his little
toy. He supplies food and everything they require in the house, so Nora regards him as the
man of the house with the power to do anything he pleases. Because women in the 19th
century were expected to obey their husbands even at the cost of their dignity, Nora doesn't
respond or refute Torvald. His use of harsh terms also suggests that he thinks less of his wife
Nora.
 29

Another example of how Nora was handled in this play comes from the moment she decided
to finally have an honest discussion with her husband “ I was moved from Daddy's to your
custody. You set everything up according to your preferences. So I mimicked, or shared, your
taste. My life has been restricted, and both you and Daddy have done me immense harm.”
The reader and Nora both find this statement to be highly enlightening. When Nora confronts
Torvald, like in this quotation, she makes it plain that her relationships with her husband and
her father are quite similar. The same treatment Nora received from her father is now being
extended to her spouse.

Nora is compelled to adopt their ideas and views, and she finds herself unable to uphold her
own. illustrating the oppression of female characters in this drama and the social demands
placed on them by society, and reflecting the condition experienced by many women of this
age. In her marriage, Nora mostly believes that she has little control. Many professions were
segregated between men and women in the 19th century. Men had to put forth a lot of effort
every day to support their families in the 19th century. In general, males worked as farmers,
artisans, and metalworkers. Men were expected to take part in government affairs as well.

Because they had to bring the money home to feed their wives and children, males held the
most authority during this period. In other words, guys were superior to women and made
sure that women performed what they were expected to do. Since they were in responsible of
delivering things to their houses, the males were the family's primary source of income. In the
19th century, men held more authority over women. Men had better education levels, were
permitted to vote, and could work at whatever profession they choose. But more crucially,
males enjoyed total control over their relationships with their wives.

There are several statements from the play ‘A Doll's House’ that highlight Mr. Torvald
because of how strong he is. Torvald Helmer is Nora's dominating husband, making him a
typical 19th-century man. Because males held the majority of the authority at the time, this
may be traced back to the 19th century. Men were free to act whatever they pleased. The first
statement occurs when Torvald begins to flirt with Nora sexually. When Nora refuses to
accept it, Torvald says

”Darling, you’re joking, it’s a game. Won’t? Won’t? I’m your husband. ”

By telling Nora that it is her duty to oblige to her husband’s sexual advances, it shows that he
ultimately treats her as an object and doesn’t care how he feels. Torvald is just worried about
 30

working and money he doesn’t seem to care about his wife at all and treats her however he
wants.

In order to be accepted by society or simply to be able to live a decent life, Nora's female
character must make sacrifices. This dates back to the 19th century since women were
instructed by their husbands that they had a certain function to play in society. They had to
dress and behave just how they were instructed. This was done in order to raise the kids in a
particular way and maintain the home perfectly. During this time, a lot of women strove to be
the ideal housewife. Torvald was one of those men that had complete power in the
relationship and men had that power back then, even then many women. Women had to be
the picture of perfection in their house and as a wife to give a good first impression. All of
this can reflect back to the 19th century because Nora was unable to do anything other than
be home and be with her children and that's what a typical wife would do during this time.

“And besides – he’s so proud of being a man – it’d be so painful and humiliating

for him to know that he owed anything to me. It’d completely wreck our relationship. ”

Mrs. Linde is given an explanation by Nora as to why she kept her loan from Torvald a
secret. Such an explanation demonstrates that Torvald's relationship with Nora is predicated
on his acting as the typical male family provider. Nora is aware that supporting the family
will make Torvald feel threatened in addition to the fact that he feels compelled to support his
family. Her secret would "wreck" their relationship, demonstrating the unstable foundation of
conventional gender norms that underlies their connection.

“Oh, I often got so tired, so tired. But it was great fun, though, sitting there

working and earning money. It was almost like being a man”

Mrs. Linde is informed by Nora that she accepted a copying job to help pay back a debt she
took out without Torvald's knowledge. Nora is clear that she has no prior work experience
because it is a man's domain. Although she enjoyed the novelty of earning money, she was
unable to communicate her delight with her husband since working and earning money are
not seen as her domain.

“Nice – to give in to your husband? All right, little silly, I know you didn’t mean it like that. ”

When Nora says she reluctantly consented to Torvald's suggestion for her Christmas party
attire, Torvald takes offence. Torvald contends that a wife lacks the freedom to express her
 31

own opinions since her husband has the power to impose his will on her. At the conclusion of
the play, Torvald realises that there is nothing he can do to stop Nora from leaving, which
challenges the notion that the husband is the head of the family and that the household
includes his wife.

“I would not be a true man if your feminine helplessness did not make

you doubly attractive in my eyes. ”

Torvald is pleased that the threat presented by the fake loan Nora acquired to aid in his
recovery has been eliminated. Nora told Torvald how difficult it had been after Krogstad
threatened to blackmail her before returning the contract. Torvald makes an effort to reassure
Nora by downplaying her accountability. When Torvald first learned of Nora's loan, he was
enraged with her and solely worried about how he might maintain his good name. He
eventually came to see what she done for him as a mistaken and naive expression of love.
Torvald's admiration for Nora depends on her being subordinate to him in both physical and
emotional ways, as evidenced by the fact that he finds a wife's total reliance on her husband
to be appealing.

Due in large part to the fact that two of the key characters are husband and wife, the play's
plot has a home focus. However, the play did touch on bigger concerns. It demonstrated how
society saw marriage in the 1800s, the responsibilities allotted to husband and wife, and the
restrictions it placed on women more generally. Additionally, the structure is climactic.

The entire play is set in a single location, a particular room in the house that is dominated by
Nora's persona. The story's main character, Nora, first takes pleasure in being cooped up in
her comfortable home. She joyfully accepts Torvald's treatment of her as the norm. However,
the play's developing events caused a rapid change in Nora's mentality; she went from being a
disobedient housewife to an autonomous member of society.

In order to play the part that her father, her husband, and society at large have chosen for her,
Nora is compelled to appear to be someone she is not. However, she only becomes aware of
her unreasonable compliance at the play's pivotal meeting with Torvald. She ultimately
acknowledges that she must distance herself from things and people that pressure her to
adhere to social norms.

Taking into consideration the social and political attitude of Europe during Ibsen’s time
towards women, Nora made a courageous decision to leave her family and walk into an
 32

uncertain future examining her life even though she’s aware that the society may not going to
support her. The consequences of her decision are very uncertain whether she will succeed or
fail as a person after gaining her independence.

However, it may appear selfish for a mother to leave her children in order to achieve
independence, which raises the question of whether it is appropriate for Nora to do so. The
play generated a great deal of controversy because of Nora's emotional and direct display of
her resentment as well as her desire to leave her family since it seemed wrong. Ibsen himself
created a different conclusion "in which Torvald makes Nora takes a last look at their
children before leaving and, seeing them, she loses her will to go"

This suggests that Ibsen may not be promoting drastic change as some may want to think, but
rather is only conveying the simple facts that were very visible in his time. The book ‘A
Doll's House’ is not feminised. In reality, Ibsen, the author, recognises the value of exercising
individual independence in addition to believing in the necessity of home responsibilities and
motherhood. The majority of people would agree that a woman's family and children come
first, but a woman's ultimate duty is also to herself. The idea that Ibsen effectively conveys in
this play is that wives and mothers should never cease discovering who they truly are, their
actual abilities, and their true potentials.

True independence for women must be experienced. In this drama, Nora stands in for a
woman in a culture where men frequently see women as objects of play and oppression.
Because of this tyranny, they were frequently unable to completely enjoy their own freedom
and eventually their God-given potentials. Men and women were thought to belong in the
home and the office, respectively, in the nineteenth century, though these realms were not
entirely equal. Feminist critics have noted that femininity has traditionally been seen as
something to be battled against and subdued whereas masculinity has frequently been
connected with light, goodness, and culture.

In contrast, Judith Butler contends that there is no such thing as natural masculinity or
femininity in her 1990 book Gender Trouble: Feminism and the Subversion of Identity.
Instead, our gender as opposed to our biological sex is something we do. For long years,
society has believed that some behaviours are "natural. " Working for a living, battling, and
social control are some examples of these for males. They entail having children, providing
for others, and submissively appeasing men for women. Costumes from the nineteenth
century make this quite clear. Men dressed simply to match their status as wage earners, and
 33

their beards and moustaches emphasised how different they were from women. Even
somewhat well-off ladies wore lavish clothing that emphasised their 'feminine' proportions of
a tiny waist and big hips.

Nora is a fashionable dresser and probably conforms to this style and her Capri dress, chosen
by Helmer, will reflect his taste. Helmer and Nora can both be seen adamantly acting out
their gender roles. She portrays herself as the submissive and charming wife who flatters
Helmer into giving Mrs. Linde a job, as if work were something only 'intelligent' people did
(Act One). In Act Three, Helmer says to Nora, "I would not be a true man if your feminine
helplessness did not make you doubly attractive in my eyes," and promises to shield her with
his "wings. " To more vividly show what they think, they both symbolically dress up. For
Helmer's amusement, Nora dons the role of the peasant who is dancing; he takes control of
the dance by wearing a robe that resembles ‘wings’. Both indulge in the language
of melodrama, a genre which deals in strong heroes and helpless heroines.

By the play's conclusion, Nora has stopped categorising individuals as either "us" or
"strangers," at least she can recognise these roles as corrupting and humiliating. She has
experimented with the traditionally male-dominated position of breadwinner and found it
appealing. Helmer is still learning how to be unique. For instance, he criticises Nora for
neglecting 'her' children. He doesn't actually engage with them in the play, though. The
'maternal' aspect of him is nonexistent. Whether Helmer and Nora can have a marriage that
allows for a more flexible interpretation of gender roles is up to the audience to determine. As
Toril Moi writes, ‘What will it take for two modern individuals to build a relationship based
on freedom, equality and love?’ (Henrik Ibsen and the Birth of Modernism: Art, Theater,
Philosophy, 2006, pg, 147).

Nora's femininity is also shaped by the expectations of a culture that prioritises men. The
'Clique of Genuine Womanhood,' as Welter refers to it, was the governing social code at the
time Ibsen was writing. The 'clique' supported a set of standards for acceptable female
behaviour, including: 'The characteristics of Genuine Womanhood, by which a lady made
decisions about herself and were made by her better half, her neighbours furthermore, society
could be partitioned into four cardinal ethics devotion, virtue, accommodation, and family
life. When they were arranged together, they became the words mother, daughter, sister, and
spouse, lady. Nora consistently alters her persona during the play to suit the person she is
with at the moment, either as the tease around Dr. Rank or the strong lady while she is with
 34

Krogstad. The role she finds easiest to play is the 'real' woman, the nice lady, as seen most
obviously by her friendship with Torvald. Some commentators agree that Nora had a
wonderful awakening in the last scene and suddenly realises that her marriage has been one
"where neither of the accomplices is straightforward to the other".

However, I am convinced that Nora recognises the 'performative structure of personality'

from the very beginning and tries to use her femininity to express her own brand of passion in
the male-centered culture. Since it diverts Torvald to watch her "move and spruce up and
play the trick," Nora acknowledges to Mrs. Linde early on in the play that she acts with a
specific objective in mind

Afterward, when she is attempting to occupy Torvald from reprimanding Krogstad’s phony,
she again transforms into the piece of the powerless spouse and argues, ‘You realize I confide
in your taste more than anyone’s. I’m so on edge to look extremely delightful at the
extravagant dress ball. Torvald, wouldn’t you be able to assist me with deciding what I will
go as, and what sort of ensemble I should wear?’. At long last, with a letter from Krogstad
holding up in the post box, Nora utilizes the tarantella move to control her better half. She
bids to his male personality, saying, ‘I can’t go anyplace without your assistance. I’ve totally
overlooked everything. Help me, Torvald. Guarantee me you will?’

Be that as it may, while Nora accepts that she is picking up power from these
communications with Torvald, by persistently putting herself in a sub-par position, she both
enables him to keep up his sentiments of manliness and sustains the male centric culture
which initially gave such assurance to female subjection.

When A Doll's House debuted, it was criticised for being "anti-marriage. " The account of
Mrs. Linde says otherwise. The play's conclusion implies that "true wedlock" can only occur
between equals who can plainly and fairly view one another. While Krogstad and Mrs. Linde
establish a mutually advantageous and attractive cooperation, Nora and Torvald become
aware that their marriage is founded on illusions. In the end, Ibsen seems to be advocating for
women to be encouraged to think critically and have autonomous lives. The institution of
marriage would stop being a tool of oppression if women could sustain themselves
independently of males. Thus, as it did for Mrs. Linde and Krogstad, marriage would
represent a sincere relationship.

All of the main characters in A Doll's House value pride, although different genders value
pride in different ways. Pride is a public issue for the male characters since a man's reputation
 35

affects his socioeconomic chances. Krogstad's falsification did a lot of damage to his
reputation. Because of this, he has few job possibilities and must turn to shady tactics in order
to support his family. Torvald, on the other hand, has a spotless record and was just given a
promotion at the bank.

Torvald informs Nora that "no man" would give up his reputation for his wife during their
argument in Act three. Torvald believes that his position is sound since he relies on his
reputation to support his family. Torvald's obsession on upholding appearances, however, is
criticised by Nora as being cowardly. Ibsen contends that feminine pride is obtained via
selflessness, as opposed to the public aspect of masculine pride. Nora and Mrs. Linde take
great satisfaction in the arduous labour they put in on behalf of their family.

In an act of selflessness, Mrs. Linde got married to a man she did not adore in order to
support her mother and brothers. With the loan, Nora takes great joy in having spared
Torvald's life. Instead than upsetting her ailing father or Torvald, she reasoned that faking the
signature was preferable. Anne-Marie, Nora's nursemaid, gave up her child to support Nora
financially. Despite the difficulties they face as a result of their choices, all three women are
proud of the support they have provided for their family. Feminine pride is based on genuine
achievement and sacrifice, in contrast to male pride, which is concentrated on the meticulous
development of outer appearances.

Ibsen purposefully gives spectators the wrong impression about his characters in order to
highlight the philosophical contradictions between appearances and truth. Ibsen provides
information about Nora, Torvald, and Krogstad during the play that skews our original
impressions of them. Nora is introduced in the play as a foolish spendthrift who receives
attention from people around her. She subsequently proves to be a bright and capable
individual, nevertheless, who has been constrained by the societal standards that women in
Norwegian culture are expected to live up to.

As the play opens, Torvald is a decent, honourable, and self-assured guy. Even though he
treats Nora with contempt, he seems to genuinely care about her. However, he comes out as a
shallow, immature guy who has never made an effort to understand his wife. Krogstad, who
appears in the play as a villain at first, develops into a sympathetic figure and shows himself
to be a guy who has done the best he can given the circumstances.
 36

These 180-degree turns highlight how numerous Ibsen's characters are and serve as a helpful
reminder to viewers that initial impressions are not always reliable. Underneath the gloss of
appearances is the truth.

Try and calm yourself, and make your mind easy again, my frightened little singing-bird. Be
at rest, and feel secure; I have broad wings to shelter you under. - A Doll’s House, act 3

I will advise you and direct you. I should not be a man if this womanly helplessness did not
just give you a double attractiveness in my eyes. - A Doll’s House, act 3

There is something so indescribably sweet and satisfying, to a man, in the knowledge that he
has forgiven his wife… It seems as if that had made her, as it were, doubly his own; he has
given her a new life, so to speak; and she has in a way become both wife and child to him. -
A Doll’s House, act 3

Papa… called me his doll-child, and he played with me just as I used to play with my dolls. -
A Doll’s House, act 3

I have existed merely to perform tricks for you, Torvald. But you would have it so. You and
papa have committed a great sin against me. It is your fault that I have made nothing of my
life. - A Doll’s House, act 3

Women were denied full rights in the nineteenth century because society was patriarchal and
ruled by males. In all spheres of culture religious, political, and economic women were made
utterly dependent on males due to the way that society was built and operated. This serves as
the setting for the drama "A Doll's House" by Henrik Ibsen. Nora, the woman whom Ibsen
gave life to, comes to the realisation that her marriage "has been nothing but a playroom. "

Nora’s words in the final scene reflects the feminist rebellion against the patriarchal ideology
when she says, “But henceforth I can’t be satisfied with what most people say, and what is in
books. I must think things out for myself and try to get clear about them. ” . Nora decides to
leave her husband and children in order to find her own identity. She recognizes that she has
“Duties to herself. ” . For duties to self are higher than that of a wife and mother, she has not
only a right but also a duty to develop it.

In this play, Ibsen demonstrates how women's roles were depicted at the period. He explains
his opinions on how this play represented the roles of men and women. Ibsen vividly
 37

portrayed the position of women in this historical period; Nora followed her husband's
commands, put up with his insults, and took use of her femininity to obtain what she desired.
In order to acquire stability and provide for their families, Mrs. Linde and Anne Marie made
significant sacrifices. All of these ladies give up things for their families throughout the book.

Torvald and Nora are married, and both of them play roles that are representative of the
Norwegian Society at the time. Nora is described as a doll who does everything her husband
asks of her. Torvald, her husband, treats her as if she were his property, and she complies
with all of his requests. The drama makes it clear that in their society, women aren't given a
lot of independence. Men, meanwhile, are free to act whatever they choose since our society
is patriarchal.

Women had certain duties to fulfil in this culture. They had to act and dress the role. Both
their home and their children had to be maintained to the highest standards. In addition to
"taking care" of their children, satisfying their husbands, and maintaining a healthy social
life, they had to be the ideal housewife. When it came to their husbands, their children, and
how they presented themselves, women had to always be ideal. This is what Anne Marie
could never be, what Nora had to be, and what Mrs. Linde longed to be.

Nora Torvald calls Nora many nicknames throughout the book, including "My little lark,"
"featherhead," "you squirrel," and "My little songbird. " Nora acknowledges that
Torvald refer to her in this way. She calls herself such names so she may take advantage of
people. Nora is prepared to minimise herself in order to fulfil Torvald's expectations of her.

The female characters in the play demonstrate how occasionally we must forfeit our dignity
in order to make a sacrifice. For instance, Mrs. Linde married a man she believed to be
wealthy in order to support her mother and her two brothers after breaking off her
engagement to Krogstad. "At the time, my mother was still alive, bedridden, and dependent
upon me, and I had to take care of my two younger brothers, so I did not think I was justified
in turning down his offer. "- Act . The nanny at Noris's children's school informs Nora that
she is really fortunate to have this position because she was forced to give up her daughter for
security.

Nora makes sacrifices as well: "You see, I have had to save a little bit here and there. I've also
struggled to save much of my housekeeping earnings. " She can't tell Torvald about the loan
because she knows he will never accept the thought that his wife, a woman who is degraded
 38

in society, has helped save his life but she must pay it back. Torvald grants her an allowance,
but she must spend some of that money to pay off her debt.

However, because they require the consent of the male who is the women's owner in this
culture, women are unable to run their own enterprises or manage their own finances. For
instance, Nora committed a crime when she took out a loan without her husband's consent.
Additionally, they aren't seen as having the necessary education for responsibility. However,
Nora was unable to meet the requirements since she obtained a loan from a financial
institution without restrooms for her mission arm; as a result, Krogstad is allowed to continue
extorting money from her because he hasn't moved on. Mrs. Linda, a single woman, appeared
to have more independence than married ladies. They could do anything they pleased at their
own discretion since they generated their own income and were not required to pay it over.
However, the only employment accessible were in retail, manufacturing, and teaching, and
the salary for women was extremely poor, exactly like in Mrs. Linde's case. Mrs. Linde
requested that Nora help her find employment because her husband worked there.

”Nora :you mean that perhaps Torvald could get you something to do. ”

”Mrs Linde: Yes, that was what I was thinking of. ” If she could find a job then she could be
more stable.

Whether they are married or not, ladies play distinct roles in society in a doll home. We
watch these ladies, Nora, Anne Marie, and Mrs. Lindy, doing everything they can to live
sustainably in this society throughout the play. To care for her ailing mother, Mrs. Linde
married a man she did not love; Anne Marie gave up her daughter to look after other people's
children for pay; and Nora risked her life to rescue her husband. She sacrifices her marriage
and loses her children in search of herself. For financial security, each of these ladies made a
sacrifice.

Nora is not cast in the typical image that equates women with angelic beings. She is depicted
as a human person with both strengths and weaknesses. In the closing scene, she tells Torvald
that she has come to terms with the fact that she is not a doll with the responsibilities of a
wife and mother, but rather that she is “before all else a reasonable human being. ” . As
Torvald refers to Nora several times in the play as his "little squirrel" and "singing skylark,"
when she is submissive and obedient.
 39

Nora is the ideal wife for him since she does what he asks, but when he finds himself on the
verge of losing both his reputation and his job due to Nora's error, Nora transforms into a
"Wretched woman!". Torvald threatens, "to not allow her to bring up the children," since he
does not dare "trust her" with them. According to a patriarchal viewpoint, "good girls are
rewarded for their behaviour by being placed on a pedestal by patriarchal culture," but "bad
girls are discarded because they don't deserve better" and "they're not good enough to bear a
man's name or his legitimate children. " Children that grow up badly are the result of mothers
failing to keep themselves and their family pure. Torvald even remarks that “almost everyone
who has gone to the bad early in life has had a deceitful mother”. The effect of the play is to
raise in us a great deal of sympathy for the cause of women.

Last but not least, the play's main theme is the oppression of women by males. The play's title
has symbolic significance and is a strong indicator of the message that Ibsen wants to get
through with it. As she was her father's toy child back at home, Nora "has been Torvald's doll
wife. " In her father's home before being married, Nora is treated like an object; "he used to
give her all his ideas, and she had the same opinions. He wouldn't have liked it if she had
other ones, so she kept them hidden. She "passed from father's hands into husband's hands"
after being married. As Tyson said, "patriarchy treats women, whatever their role, like
objects: like objects, women exist, according to patriarchy, to be used without consideration
of their own perspectives, feelings, or opinions. " comes to mind. The title alone implies the
objectification of women in the home sphere. Torvald forbids Nora from discussing her
friends since she is only the property of her husband. Nora tells Mrs Linde: “Torvald loves
me so indescribably, he wants to have me all to himself, as he says. ” Torvald depicts the
patriarchal attitude towards women as a blend of sexual arousal and a sense of ownership.
Nora finally breaks away from the institution of marriage and also leaves her children for her
desire to build her own identity, she “must stand quite alone to know herself and her
surroundings;”

Overall, the play seeks to expose the injustice done upon women, which was inherent in the
culture, and the attitude of the male-dominated society of the late nineteenth century. In the
earlier half of the play, we see Nora as a submissive wife and a dutiful mother. through her
conversation with Mrs Linde telling her about how it’s delightful “to have things tasteful and
pretty in the house, exactly as Torvald likes it!” As she knows her husband better, she
becomes aware of her own position, and more self-conscious. She finally realizes that “It is
Torvald’s fault that she has made nothing of her life. ”
 40

Slamming the door at the end of the play has significant symbolic meaning since it represents
a woman's rebellion against her husband and, thus, a jab at patriarchy. Slamming the door
symbolises the feminine energy eruption against masculine dominance. It is a person's quest
for freedom. This form of self-realization, which often results in a new starting, is one in
every of Ibsen’s fundamental ideologies posed in his play. Nora opens her eyes and observes
that her individuality and freedom have been taken in living with Torvald Helmer. Nora is a
woman who won’t go on living her life on illusions and with an odd man anymore.

Helmer has lived according to the justifications and logic of a person, and his worldview is
mostly structured around power and order. Reputation is more important to this systematised,
disciplined guy than sacrificing himself for his family. He now realises that because reason is
no longer effective, the only chance that remains is for a miracle. Nora's success in exercising
her right to privacy is intended to help her develop as a person, both in her own right and in
the eyes of others. She has painfully realised that she has been treated as a nullity and that
this needs to change.

The primary objective of feminism is to understand the nature of women's inequality and
places emphasis on gender politics, power dynamics, and sexuality. It advocates for causes
including equitable pay, sexual harassment, domestic abuse, maternity leave, reproductive
rights, and sexual assault. Feminism examines topics like prejudice, stereotyping,
objectification, oppression, and patriarchy. The fundamental tenet of feminist philosophy is
that gender should not be used to determine one's rights, advantages, position, or duties.

Nora first looks to live in a peaceful home. Although it seems as though Helmer, her spouse,
adores her and views Nora as everything, the truth is that Helmer is merely a self-centred
individual who only considers his social standing, and Nora's persona holds no significance
for him. Although Nora's actions to preserve most of his life are against the law, she still
performs them out of love for him. She believes that Helmer will protect her if this secret is
ever revealed, but when she realises that it was all a dream and an illusion and that she was
really just a pet animal in Helmer's care, she makes the decision to leave her home and her
children one dark night and go outside.

Because social expectations forbid her from having a significant, deep, and crucial role in her
private life, Nora's frivolity, romanticising, and frequent lying are not particularly exceptional
in such a system of society. The fantasy of Helmer's protection from Krogstad's accusations
should be enough for the wife to govern her circumstances, along with any escape fantasies
 41

or small-minded deceptions. Nora is initially described as an imaginative macaroon-eater

with a sweet taste. She comes out as frivolous, but when she tells us that she faked money to
get them to Italy for a year in order to save her husband's life, she demonstrates to us that she
is much tougher than she seems.

Nora is deceiving her husband by giving them all a much-needed trip to Italy in order to pay
off the enormous debt she accrued when she saved Torvald's life. Her husband believes her to
be a flighty, reckless, but utterly lovable little creature. From a modern angle point, Nora's
activity seems inventive and adventurous rather than just illegal and sneaky. We find Torvald
Helmer's moralistic worldview to be essentially oppressive. He condemns Nora’s father for
the same failure to secure correct signature, “All your father’s recklessness and instability he
has handed on to you, no religion, no morals no sense of duty”.

The hierarchical power structures that rule the outside world are manifested in the domestic
home's power structure. Ibsen focuses on specific instances in contemporary life where a
hidden calamity becomes instantly apparent. In this approach, he is prepared to use the fate of
women as a vehicle for contemporary issues in society.
 42

CHAPTER 4

Conclusion

Since the beginning of time, a person's gender has played a crucial part in shaping the duties
that each gender is expected to play in society. Women are commonly perceived as the
weaker or more subservient gender, only helpful in the house, unfit to succeed in a man's
society, and not entitled to the same rights and benefits as men. On the other side, men have
traditionally been seen as the dominant or stronger gender, the one whose responsibility it is
to provide for his family and the one who makes all of the crucial decisions.

These assumed gender roles are enforced to the utmost degree throughout the bulk of Henrik
Ibsen's play A Doll's House, and they are not overturned until the crucial conclusion, when
Nora makes it very plain how she feels about this way of life. Ibsen explores a society that
was very different from the one we live in now during the Victorian era in the 19th century.
He examines a civilization where males run enterprises and manage the economy while
women take care of the family and the kids and live in that culture.

The expectations of society at this period controlled the lives of women. The males had
power over them since they were seen as the fathers' and, after marriage, the husbands'
property. At the time, women were limited to becoming submissive housewives and mothers
with no rights or liberties. Men, meanwhile, took on the duty of supporting the family
financially. This made it quite obvious why Nora remained with Torvald for as long as she
did. Nora was ignorant of the options available to her to live a new life and chart a route for
her future without the help of men.

Genders is the norms that follow when born as a girl or as a boy. What is being connected to
male norms of masculinity is strength, aggression and dominance, while woman more often
than not follow norms such as passivity, nurturing and subordination. We have come to
realise in recent years that your gender and your sex is not the same thing.

Because the guys in her life treat her more like a toy than a real person, Nora thinks of herself
as a doll. She is seen by them as a gorgeous thing that they may use anyway they choose.
Nora's father used to refer to her as his "doll child," and he "played" with her "as she used to
play with her dolls. " Nora feels that her job in Torvald's life is "merely to perform tricks" for
him, like dressing up for the ball. Dolls stand symbolically for the delicate, lovely items that
housewives in Nora's day were expected to imitate, keeping silent about important issues.
 43

Nora Helmer is evidently perceived as the Doll trapped in the Doll house, as she is viewed as
an entertainer rather than her own person in the eyes of her husband and children. The
representation of the doll is symbolically significant as Nora is compared to a beautiful
feminine figure, being the doll, but also someone who is treated as a toy and as someone who
is disrespected.

The men in A Doll’s House treat women differently than how they treat other men. To
society at the time men were above women. This idea is supported by the way that Nora is
treated like a child by her husband Torvald, the way Nora has to follow all her husband’s
decisions, during that time period women didn’t typically have a job or education. When all
of the evidence is presented the reader can, therefore, decided whether or not they agree that
women are treated very unjustly compared to men. First, Nora is treated like a child by her
husband Torvald. Torvald had nicknames for Nora like squirrel or skylark that was often
accompanied by dementors like sweet or little. At the end of the play, Nora tells her husband
that he treated her like a weak, fragile doll just like her father. Nora’s feelings about
Torvald’s attitude is evident in the quote from Nora and Torvald’s conversation ”I was your
little songbird just as before- your doll whom henceforth you would take particular care to
protect from the world because she was so weak and fragile. ”

In A Doll's House, the males have different attitudes towards women than they do towards
other men. Men were viewed as superior to women in the culture. This view is confirmed by
the fact that Nora is treated like a kid by her husband Torvald and that she must obey all of
his choices at the time, when women were not commonly employed or enrolled in school.
The reader can decide whether or not they concur that women are treated very unfairly in
comparison to males once all the material has been given. Torvald, Nora's spouse, first treats
her like a child. Torvald gave Nora the nickname as "squirrel" or "skylark," which was
sometimes paired by the adjectives "sweet" or "little. "

“Torvald: It's shocking. This is how you would neglect your most sacred duties.

Nora: What do you consider my most sacred duties?

Torvald: Do I need to tell you that? Are they not your duties to your husband and your
children?

Nora: I have other duties just as sacred.

Torvald: That you have not. What duties could those be?”
 44

(Ibsen, Act three).

Ibsen employs everyday speech to give spectators a genuine, accessible drama. Instead of the
traditional metered or rhymed lines employed by playwrights, his characters communicate in
normal English and whole phrases. For instance, when Nora welcomes her kids back after
playing outdoors, the viewer may relate to Nora as she tries to communicate to all three kids
at once.

A Doll's House is a realistic prose drama and a good example of realism in theatre. As a
protest against prevailing theatrical norms, realism in the theatre first appeared about the
1870s. In plays written before this time period, characters frequently found themselves in
improbable situations, and occasionally even addressed the audience directly through
monologues. Realists thought that having characters encounter real-life difficulties would
make for more fascinating storytelling and considered these earlier plays as being
manufactured.

Some of the positions that women played in society and, more often than not, in the home,
were viewed as being significantly inferior than those played by males, who were also given
an advantage in society's decision-making. Women's rights were socially, culturally, and
legally restricted in Norway at the time Ibsen wrote "A Doll's House," as they were in much
of Europe. At the time, Nora's decision to leave her husband and children in favour of
independence even after her secret is revealed and the debt is forgiven was seen as a bold
feminist statement.

The readers of A Doll's House must deal with Helmer's rigid moral code and his wife's desire
to completely give up her life for him since she cannot be herself in modern society. Nora
halts her flow of emotion and declares, "we have never sat down in earnest together to try and
get to the bottom of anything," in a society governed by rules that are only applied to men
and have no regard for women. One of the most important statements in the feminist
approach is probably this one, since it captures Nora's epiphanic realisation that she has been
treated like a lesser being and that her inalienable rights have been ignored.

The fundamental tenet of feminist philosophy is that gender should not be used to determine
one's rights, advantages, position, or duties. Modern feminist theory has received harsh
criticism for being mostly, but not exclusively, associated with western middle-class
academics. However, feminist action is a grassroots movement that transcends racial and
 45

class lines. It is culturally specific and deals with issues specific to the women in that
community. Common themes include things like rape, incest, and mothering.

In A Doll's House, Helmer upholds a patriarchal society and works to keep Nora in it.
However, as Nora learns self-awareness and recognises her own worth, she struggles against
such oppression. It suggests that she has an in-depth, individualised awareness of social
reality. In The Quintessence of Ibsenism, Shaw believes: “Ibsen gives us not only ourselves,
but ourselves in our own situation. They are capable both of hurting us cruelty and of filling
us with excited hopes of escape from idealistic tyrannies, and with visions of intense life in
the future. ”

When people are not under the pressure of the general perception of macho culture, A Doll's
House shines a spotlight on society. In general, social issues are discussed in this play, and
people in particular, women are looked of as victims and society as a victim. Nora triumphs
as a brand-new woman; her road to self-realization happened miraculously, unexpectedly,
and just in time. The main character of this play discovers that she is nothing more than a
useful tool in her husband's hands while living in a beautiful setting as a doll. This
information enables her to make deliberate attempts to identify the values she has been
ignoring or misplacing in a traditional culture.

Helmer's family is surrounded by an uncomfortable atmosphere. Everything is put up for his

amusement, and he is unaware that other people may be on an equal footing with him. Ibsen
establishes Nora's forging early on in the play; she explains that in order to repay her loan,
she had to work for a copy house. Although she resents her labour, she observes that it makes
her feel great, as it should. “oh, we’ve been in no position for me to waste money. We’ve
both had to work. I too have done something to be proud and happy about”.

For her, the latent potentialities of a long period of past time may be brought into sharp
perspective by the capacity of structural implication, which she uses to build up the picture of
the strange world. The past in A Doll's House is not only illuminated by the present; the past
is also changed by the present so that it takes on a new meaning. As Nora gradually discovers
the genuine nature of her relationships with Torvald and the true nature of his feelings for
her, her marriage appears to transform into eight years of prostitution
 46

“you have never loved me. You just thought it was fun to be in love with me.

I’ve learned now that certain laws are different from what I’d imagined them to be.

But now I intend to learn.

I must try to satisfy myself which is right, society or I”

In fact, Nora's decision to disregard her responsibilities as a wife and mother is condemned
by society because Ibsen, in creating her, disregarded not only the rules of morality but also
those of literary creation. Nora is portrayed as being unscrupulous and unfeminine. Nora acts
against societal mores and morality while rejecting and resisting the domestic stance. The
play's criticism of women's rights as human rights relates to this. It concerns the need for
every woman to discover herself and speak up for what she believes to be the truth about
herself, her life, and her society.
 47

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