A Doll's House

A Doll's House

Henrik Ibsen's A Doll House centers around the life of Nora and Torvald, a young married couple from Norway with three small children. In the play, Ibsen takes the readers into the home of Nora and Torvald, allowing them to view the couple's relationship over a three-day period. Nora's introduction occurs in the first scene with a childlike enthusiasm for life and love of her husband and family. Later, when Torvald makes his entrance he appears as the doting yet somewhat condescending husband, who vividly displays a misogynistic attitude towards Nora, therefore, suppressing her ability to function in society. On the exterior, Nora and Torvald's relationship appears perfect; however, the unveiling of Nora's many deceptions and Torvald's overbearing control eventually lead to the destruction of their marriage, the onset of her independence, and the beginning of her transformation from a girl to a woman.

Nora's transformation from "girl to woman" begins through her defiance to Torvald's control. To illustrate, Torvald forbids Nora to eat her favorite treat, the macaroon, bringing his domineering nature to light; however, she does not abide by his rule. Exemplifying his authority and her deception, Torvald asks, "Not even munched a macaroon or two?" and Nora responds, "No, Torvald, I assure you, really--"(Ibsen 1329). Though Torvald prohibits Nora's consumption of the macaroon, she defiantly indulges herself supporting her silent declaration of freedom. Torvald's control extends through his need to believe Nora cannot take care of herself as critic Carol Tufts explains, " . . . but most of all [Nora's] 'innocence' and 'helplessness'--which fed [Torvald's] grandiose sense of self-importance, [provide] him with the constant attention and admiration his narcissism [requires]" (154). Torvald's self-absorption allows the readers to envision his obsession with appearances and need for dominance. In addition, his pet names for Nora exemplify his nature of supremacy as seen in Nora's statement, "Hm, if you only knew what expenses we larks and squirrels have, Torvald" (1328). Although Nora allows Torvald to keep his perceptions of her inability to understand the world and function in society, she nevertheless manages to keep her debts, indiscretions, and jobs hidden from him for eight years.

Nora's independence, which she conceals from her husband, also provides fuel to her development into a woman. During the era A Doll House takes place, the law did not allow a woman to borrow money without the signature of either her husband or her father. However, Nora's knowledge of Torvald's objections to borrowing money as he clearly professes, "No debts! Never borrow! Something of freedom's lost--"(1327) does not dissuade her from ignoring his disapproval. Instead, illustrating her resourcefulness, Nora obtains the finances needed for Torvald to survive rather than allow him to die due to his illness. Nora's blatant defiance to Torvald's expectations and her exclamation, "I have such a huge desire to say--to hell and be damned!" (1337) show her overwhelming hunger for autonomy and eventually aid in her becoming an adult. Knowing Torvald's opposition to debt, Nora has no choice but to repay the debt without his knowledgeable assistance and without his discovery of the note. In addition to taking odd jobs, out of necessity to hide her actions from her husband, Nora scrimps and saves every possible crown she can obtain in order to apply the money towards her loan. While her lies and deceit exhibit a level of immaturity, Nora's positive regard to accepting her responsibilities make visible her growth into womanhood.

Nora portrays herself as a dependent, innocent, and playful child, all the while appropriately shielding her husband from becoming aware of her capabilities as a woman. Elaine Baruch's following critique of Ibsen's work supports the idea that Nora's actions show her as much more capable of existing as an adult than her statements and outward appearances lead the readers to believe:

For much of the time [Nora] acts the part of a charming child, wheedling, cajoling, lying about not eating macaroons and playing with her own children as if they were her dolls. . . But at the same time that she is acting, she is working--sewing, crocheting, embroidering, copying, all to pay back the debt she contracted to save her husband's life. (376)

Unfortunately, Nora's mistake in obtaining her father's signature occurs when the date of his "John Hancock" takes place three days after his death, thus allowing her debtor, Krogstad, to come to the conclusion that she forged the signature. As parents tell their children one lie leads to another, Nora finds herself in a position where the unveiling of her lies will cause the destruction of her life as she knows it. Although she fears the outcome, she weighs her options and less than gracefully faces the challenge ahead, again exhibiting the characteristics