A Doll ‘s House, written by Henrik Ibsen in 1879, is a drama that follows the matrimony of a adult female named Nora and her hubby Torvald. It is set around Christmas clip in “ a comfy room, furnished cheaply, but with gustatory sensation. ” ( p147 ) One of the cardinal subjects in the drama is Nora ‘s journey of self find. When the drama opens, the audience sees Nora as a juvenile homemaker with small apprehension of the ways of life, although by the terminal of the last act, she becomes a resolved adult female determined to educate herself.
As the rubric of the drama suggests, Nora is a ‘doll ‘ , trapped in a doll ‘s house. She is a typical 19th century Victorian homemaker life in a patriarchal society, dominated by work forces. At the start of the first act, when Nora arrives place after she has been out shopping, Torvald accuses her of being “ up to mischief today ” ( p151 ) . He asks her “ did n’t Small Sweet-Tooth ” “ nibble on a macaroon or two? ” This instantly shows Nora ‘s limited independency and deficiency of freedom as even simple rights such as what she can and can non eat are restricted by her hubby. It besides shows the dishonesty in their relationship as Nora straight out prevarications to Torvald about the macaroons the audience is cognizant she has been eating.
Torvald and Nora ‘s relationship is more similar to that of a male parent and girl than of a hubby and married woman. Torvald ‘s doll like intervention towards her is brooding of the infantile intervention she antecedently received from her male parent. The take downing names such as “ featherbrain ” , “ small song-bird ” , “ my small Alauda arvensis ” and “ forgetful person ” ( p148 ) that Torvald uses when pass oning with her, besides indicate Nora ‘s unintelligence and his laterality.
In the last act, Nora realises that throughout their matrimony, Torvald and herself have “ ne’er exchanged a serious word on any serious topic. ” ( p225 ) Although, when she confronts him about this, Torvald replies “ but, Nora dearest, what good would that have been to you? ” He believes, as most work forces of the clip would hold, that Nora does non necessitate to be involved in anything serious as she is simply a adult female.
Nora confesses a deep secret when she is reunited with an old friend, Kristina. She tells Kristina that when her male parent died, he did non really go forth her money to pay for the trip to Italy that saved Torvald ‘s life and “ it was [ her ] who raised the money. ” ( p159 ) When Nora is stating Kristina this she claims “ I ‘ve something to be proud of ” , this makes her look as if she is boasting about how fantastic a title it was, doing her appear childish. It can nevertheless, be seen as a strength of Nora ‘s as she went against society and risked her married woman position in order to salvage the adult male she loves. The audience realises that she is non every bit helpless as she was originally perceived to be.
Throughout the drama, it is as if Nora is populating in a infantile phantasy where everything is immaculate. Her matrimony to Torvald consists of him supplying her with generous sums of money that she wastes on assorted spots and pieces. He believes that Nora merely needs protection and amusement, as most adult females were thought to necessitate. This indicates a mercenary relationship with no existent deepness. Their matrimony, Nora subsequently realises has been of suitableness and an facet of public demand for Torvald. As she says to him “ you do n’t understand me. And I ‘ve ne’er understood you – until tonight. ” ( p224 ) There is nil under the surface of what appears to be their matrimony.
When Torvald reads the missive Krogstad wrote him sketching Nora ‘s errors, he is outraged claiming Nora has “ wholly wrecked [ his ] felicity. ” ( p221 ) Although despite his choler, he says to Nora, “ we must look to travel on merely as earlier. . . but merely in the eyes of the universe of class. ” This shows that their matrimony has been based on societal repute as even when Torvald sees their matrimony as over, he still wants to keep the visual aspect of the matrimony to society.
Nora realises that she has “ been awfully wronged – first by Papa, and so by [ Torvald ] ” . Throughout her matrimony with Torvald she has been his “ doll-wife ” as she was her male parent ‘s “ doll-child ” before. She has ne’er been her ain individual as her male parent “ used to state [ her ] his sentiment about everything, and so [ she ] had the same sentiment. ” She was forced to take on the traits of her male parent as if she thought otherwise “ he would n’t hold liked it. ” ( p225 ) This shows how Nora is confined by the male influences around her.
When Krogstad states “ the jurisprudence is non concerned with motivations ” , Nora replies “ so it must be a really stupid jurisprudence. ” ( p175 ) This shows how Nora is little educated as she knows small about the universe around her. She believes that “ a married woman [ has ] the right to salvage her hubby ‘s life ” despite any offenses she must perpetrate in order to salvage him. As this is non preponderantly true, Nora realises that the universe is a much more complicated topographic point so what she had thought it to be.
At the terminal of the drama when Nora ‘s ‘miracle ‘ does n’t go on, she realises that she has “ lived by executing fast ones for [ Torvald ] . ” ( p226 ) The tarantella is a good illustration of Nora executing for Torvald. When practicing, she tells him “ Torvald beloved ; knock me, and demo me where I ‘m incorrect, the manner you ever do. ” ( p203 ) This demonstrates Nora ‘s demand to fulfill him. Shortly after Nora has danced for her life, Torvald brings her downstairs to fulfill his desires. When Kristina walks in to the room, Torvald takes Nora ‘s shawl off declaring “ yes, merely expression at her! She ‘s deserving visual perception, if you ask me! Is n’t she lovely, Mrs Linde? ” This shows that to Torvald, Nora is simply something that he can demo off to society.
When Nora comes to footings that her matrimony with Torvald is a prevarication, she realises that she must go forth him. As she becomes cognizant that the universe is a really different topographic point from what she thought it to be, she realises that in order to be able to understand the ways of the universe “ [ she ] must seek to educate [ herself ] ” ( p227 ) into a mature adult female.
At the clip, society would hold been outraged at Nora for go forthing her “ most sacred responsibility ” ( p227 ) buttocks. When Nora walks out on Torvald, she is non merely go forthing him behind ; she is besides go forthing her kids behind. As Nora says “ before everything else [ she ‘s ] a human being ” therefore she must care for herself before she does anyone else.