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Norwegian playwright Henrik Ibsen, famously known as the father of modern drama, wrote the three- act play A Doll’s House in 1879. This was a time when gender roles were clearly defined and inequality between men and women in different matters was not uncommon. Both genders were expected to conform to the social norms and play their given roles in society, in reality the role of women was often self-sacrificial. The social conflict that oppressed women’s rights were often ignored. However, through the representation of women by the portrayal, actions, and dialogues of female characters in Ibsen’s realistic drama, he has successfully been able to express his criticism on society in nineteenth century Scandinavia, intending to raise questions and recognising that society needed to stop disregarding certain unsolved problems.
A Doll’s House portrays the protagonist Nora, who in the beginning of the play fulfils the role that society prescribed for women, that of dutiful mother and wife. Her role is confined to activities such as creating a comfortable home, meeting the needs of her family and singing and dancing prettily for her husband. Ibsen does not suggest that anything is inherently wrong with this, but he does point out the dangers of having individuals lives defined by society in a way that disregards their personal identity and journey. The dialogue and actions of the characters illustrate this. Torvald speaks for the majority whilst Nora answers obediently. He talks to her in a condescending manner and never consults her about important matters. He uses nicknames such as ‘’featherbrain’’, ’’my frightened little singing bird’’ 1 and ’’my poor, helpless, little darling”. 2 Nora cannot decide for herself how to feel, act nor think since Torvald does this for her, she says; ’’You have never understood me. A great wrong has been done to me, Torvald. First by papa, and then by you.’’ 3 Nora has little free will and Torvald believes she is incapable of decision-making: ‘’this feminine helplessness’’ and ’’Just lean on me. I shall counsel you. I shall guide you.’’ 4 Other examples are Nora secretly eating macaroons illustrating their relationship based on dishonesty, 5 or the Tarantella dance scene where Torvald is the one deciding how Nora should dance. He corrects her when she makes mistakes and instructs her to dance as he wishes, treating her as an ornament or trophy to augment his reputation. 6 As a whole, Ibsen has cleverly illustrated how society has programmed them both into their prescribed roles, the dominant provider husband and submissive homemaking wife.
However, we learn Nora opposes this by first of all sacrificing herself in borrowing money to save Torvald from his illness, something which was not legally permitted in the context of Ibsen’s time. Then secondly how Nora eventually decides to end her superficial marriage and leaves her children she undoubtedly loves when she decides to pursue her own identity. At the end of the play when her conformist husband Torvald finds out about the loan and forged signature to obtain that loan, she says: ‘’Does it occur to you that this is the first time we two, you and I, man and wife, have ever had a serious talk together?’’, 7 she continues; ‘’You have never loved me. You just thought it was fun to be in love with me.’’ 8 Nora tells Torvald: ‘’Now I look back on it, it’s as if I’ve been living here like a pauper, from hand to mouth. I performed tricks for you, and you gave me food and drink. But that was how you wanted it. You and papa have done me a great wrong. It’s your fault that I have done nothing with my life.’’,9 and ‘’Yes. You were perfectly right. I’m not fitted to educate them (her children). There’s something else I must do first. I must educate myself. And you can’t help me with that. It’s something I must do by myself. That’s why I’m leaving you.’’ 10 Nora realises that a duty equally ‘’sacred’’ as the duties towards her husband and children is ‘’My duty towards myself.’’, 11 she continues; ’’I believe that I am first and foremost a human being, like you – or anyway, that I must try to become one. I know most people think as you do, Torvald, and I know there’s something of the sort to be found in books. But I’m no longer prepared to accept what people say and what’s written in books. I must think things to for myself, and try to find my own answer.’’ 12
Nora, having risked everything to save her husbands life, realises towards the end of the play that she cannot sacrifice her own happiness by continuing to live with him when she doesn’t love him anymore. Her story illustrates the struggle to break away from the social norms of the late nineteenth century, upper-middle class and patriarchal Europe. She takes her own journey in search of self- actualisation, liberty, independence, individuality and, as the prominent Irish playwright George Bernard Shaw notes, ‘’self-respect and apprenticeship to life”. 13 Ibsen wishes his audience to contemplate on the prevailing social order and how many adhere to the conformist attitude, thereby causing themselves to be trapped in their given roles without having any true freedom or identity.
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