Doll's House

A Doll’s House by Henrik Ibsen, despite eventual critically acclaimed success, received opposition even in countries less emancipated than its Scandinavian origin. In China, for example, productions of a Doll’s House were forbidden even in the 1920s on the grounds that ‘the play incited women to leave their homes and their families, and thus ruined the morals of society’. Ibsen’s portrayal of Nora is one of a woman who is, despite the outward appearance, discontent with her current status. However, how far this portrayal is evident in the opening act is questionable, for one would argue that the opening act sets the foundation of Nora and Torvald’s relationship.

Initially, the exposition of the play sets the basis of Nora’s relationship with wealth, peppered with juxtaposed ideals. Made evident when it states, “not expensively furnished” but goes on to suggest that the Helmer’s are comfortable enough to offer a porter a pound and insist he “keep it”. Norway in the 19th century cited the Great Boom of 1843-75, a significant economic growth relative to the adoption of new structures and technology which in turn increased labour productivity. Nora’s insistence of the porter to accept the pound, presents a frail façade of petit bourgeois respectability, that despite being of lower middle class is to poor for the lifestyle she desires. Furthermore, Ibsen further develops this idea of Nora and her dependence on wealth when Helmer exclaims what “a little spendthrift”. There is an underlining sense of disdain in his words which was not uncommon in the 19th century. In Norway 1879, rights previously enjoyed by women before marriage were withdrawn. Indeed, a woman gave up civil and property rights upon crossing the threshold that she was said to be entering a state of ‘civil death’. A woman was to have no access to a family’s fund as that was to be controlled by the male. Torvald’s words suggest that he is expectant of her behaviour, that because she has little access to a family’s funds she would take to spending the little she receives.

On the other hand, the opening act of Ibsen’s A Doll’s House portrays the 19th century typical marriage. Act One suggests that Torvald and Nora’s relationship is not one of equal marital status, but rather one in which the male (Torvald) is the dominant figure and evidently the female (Nora) is the submissive. This is exemplified when Torvald’s reveals “what an expensive pet she is for a man to keep”. The suggestion of a man being a keeper of a woman, that she is a pet that is under the control of her husband is reflective of the traditional role of a man being the ‘bread winner’. The traditional role of women was of wives, mothers, and daughters; therefore it would not have been repugnant for a 19th century Scandinavian audience to witness a man who is so assured in his position. In addition, this notion of a relationship built on the words of the husband, is expressed in Torvald’s continual assurance that what he says should be taken as truth. “All young criminals are the children of mothers whom are constitutional liars”, Torvald’s words create a teacher student situation in which Torvald is essentially right. Torvald expresses such assurance on the supposed intellectual inferiority of women. A popularly accepted lore expressed it: “average weight of man’s brain 3½ lbs; woman’s 2 lbs, 11 ozs”. It was such inferiority that justified Nora’s dependent role, for she knows no better than her husband.

Finally, one would argue that Ibsen’s portrayal of Nora in the opening act of a Doll’s House is one of a woman who despite suggestion that she has completely inhabited the role and attitude of subservience, has begun to understand the ramifications of her precarious situation. Previously, Nora stresses the fact that it was her “who saved Torvald’s life”, it could be argued that Nora’s hubristic boasting that she was able to save her husband’s life despite the notion that she “never had any worries like the rest” is to her own detriment. However, women were to possess the characteristics of her sex: tenderness of understanding, unworldliness and innocence, domestic affection, and in various degrees, submissiveness. By virtue of these qualities a woman was to be an “angle in the house”, Ibsen’s portrayal of Nora in such a manner is rather a response to these sexist ideals. That a woman could be far more useful in manners that society may not even deem plausible. Nevertheless, Nora’s expression would have come as a particular shock to the contemporary audience familiar with the traditional order of a man leading the home. As the act progresses, Nora comes to the realisation that despite the motives and good intentions a woman has no right to command a household. Nora’s exclamation that “hasn’t a daughter the right (…) hasn’t a wife the right”. Ibsen’s use of two prominent stages in a 19th century women’s life, indicates that no matter the regard society holds a position it does not equate to a role of the man.