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Duties To One‟s Self: A Feministic look at A Doll’s House
Kimberly Grace
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Abstract
The 1879 Norwegian play A Doll’s House by Henrik Ibsen encompasses the inner workings of
the family unit, highlighting the roles of men and women according to society‟s expectations.
The goal of my research is to (1) unearth the various roles that Nora Helmer is thrust into, (2) to
show that the roles Ibsen gives Nora are used by the playwright to exploit the mistreatment of
women by a male society; and (3) to explore how Torvald‟s narrow mindedness and treatment of
Nora led to the destruction of his family unit. Ibsen‟s demeaning attitude toward marriage at the
end of the play created a great controversy amongst 19 th century critics. What would later be
known as the first feminist play is now an important and widely read work in society today.
Women‟s roles in the 21st century have dramatically changed from Ibsen‟s lifetime; partly due to
the issues Ibsen discuss in A Doll’s House. Ibsen understood the harmful consequences the male
treatment had upon women in his day. It is important for society today to be ever aware of past
events. My research will connect the past with the present; highlighting patterns in society where
women have been treated unjustly, emphasizing the solutions that Ibsen offered.
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“I have other duties just as sacred…duties to myself” (Ibsen 72). This quote by Nora
Helmer was the founding theme in A Doll’s House, the theme that left the audiences in silent
shock. In 1879 when Henrik Ibsen published A Doll’s House the world was astounded and in
some cases insulted. Marriage, as a core theme that the play centered around, was not shown in
the most positive light. When the family unit was shaken at the end of the production, audiences
were also greatly shaken. “A woman cannot be herself in the society of the present day”
(Rosenberg). This quote by Henrik Ibsen was an explanation for his character Nora, and for his
actions towards the betterment of women in society.
“A mother in modern society is as useless, after she bears children, as insects who go
away and die” (Rosenberg). Ibsen‟s attempt to readjust the role‟s of women in society and in
family life was not well received. Despite the lack of enthusiasm, A Doll’s House started people
thinking; it started a movement that would redefine the boundaries of society. The feministic
movement looked to Nora‟s experiences and actions, for encouragement. Nora‟s marriage to
Torvald was not a unique case; the two of them treated their marriage as it was supposed to be
treated; according to mainstream society, that is. Torvald played the role of the intelligent
breadwinner, while Nora perfectly portrayed the beautiful and obedient homemaker. Ibsen was a
head of his time, he saw through the façade and to the damage being done to women who were
put in these situations. Henrik Ibsen wrote A Doll’s House in an attempt to bring about change in
society and in private marriages; the play holds as much literary and social value today, in the
21st century as it did when published in the 19th century. Modern audiences can look to Nora and
Torvald‟s marital experiences as a reminder of how society used to be, and as a guide for
continual change in ethical and humanism movements.
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Elizabeth Baigent in her article “Work, Family, Household: Women in the NineteenthCentury Vadstena” states a theory that “women‟s role is not naturally determined, but is created
by particular social and economic relations” (Baigent 335). Society up till this point had placed
women as subordinate creatures, destined to marry and raise children. Times were changing in
Ibsen‟s day, albeit slowly, but the wind shifted none the less. Society began to redefine the role
of women, they were given a chance to reach a different type of potential. A Doll’s House took
things to the next level. Marriage was redefined; Nora slammed the door and took her life into
her own hands. Ibsen was not completely dismissing marriage; he introduced the idea of a deeper
relationship by showing the Helmer‟s simplistic marriage through Torvald‟s use of nicknames
for Nora.
During the entire production Torvald is constantly using teasing little nicknames that
keep Nora in a recessed mindset. From the very get go the audience begins to see the relationship
or lack thereof that takes place between Torvald and Nora. She panics when he comes home,
trying to hide the macaroons in her pocket for fear of displeasing him. Her actions suggest a
child like fear of getting one's hand caught in the cookie jar. In the article “First and Foremost a
Human Being: Idealism, Theatre, and Gender in A Doll‟s House” Toril Moi discusses Torvald
and Nora‟s name calling. Moi calls Torvald an idealist blindly living in his own fantastical
world. “Helmer‟s idealism and Nora‟s unthinking echoing of it make them [justifiably idealize]
both themselves and each other” (Moi). Torvald comes in the room looking for his little squirrel
“Is it my little Squirrel bustling about?”(Ibsen 2) From the very first time the audience sees Nora
and Torvald together there is role playing. He lightly calls her his squirrel and she acquiesces
instantly, becoming light minded and obedient.
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He continues to question about her macaroon eating habits, and in an order to distract his
questioning she joyfully shows him her purchases of the day. He condescendingly calls her his
little spend thrift. “Has my little spend thrift been wasting money again?”(Ibsen 2) Torvald
calling Nora a spend thrift sets a more serious tone for the characters relationship. Ibsen is
foreshadowing to some more serious issues that are raised later in the production. Nora once
again slips into a role, (in this case the spend thrift) it‟s what her husband expects of her and her
role playing continues in order to get her the money she needs. Nora does an excellent job of
fulfilling her husband‟s nicknames. She dances and sings in an effort to get what she wants from
her husband. “I would play the fairy and dance in the moonlight for you Torvald” (Ibsen 34).
Torvald's nick names and Nora's subtle manipulation are one way in which Ibsen shows
societies faults in its treatment of women. When concerned with the ethical treatment of others,
mankind, as individuals and as members of various classes, tend to have nicknames for those
who are different from them. Whether used in a condescending manner or merely as a way of
referencing to one another, nicknames do not create a united front. They do not encourage
members of assorted societies to treat each other fairly. The use of nicknames, instead, causes a
sense of differentiation and separation. The ending of A Doll’s House begins to defy both the
negative treatment of women and takes a step toward the ethical treatment of all mankind.
While Torvald does not think of Nora as a human being, he also is constantly reminding
her of her lack of thinking abilities. In Ibsen‟s day men were usually the protagonists in stories,
so the audience goes in thinking of Torvald as the hero; but ends up observing his chauvinistic,
sexist attitude. Torvald uses the nicknames he gives to Nora to teach her his idea of necessary
moral lessons. “A song bird must always have a clean beak to chirp with…no false notes!”
(Ibsen 25) Throughout the entire production Torvald takes Nora and attempts to mold her into
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his perception of a perfect wife. His song bird is expected to dance around and sing all day
long...while keeping to society‟s definition of a matriarch.
Nora: “Everything I think of seems so silly and insignificant” Torvald: “Does my little
Nora acknowledge that at last?” (Ibsen 26) The supposed protagonist in this exchange is once
again tearing his wife down, rather than encouraging her to think for herself; he manipulates her
thought process to believe that she is coming to terms with her needful nature. This action of
Torvald‟s is not a new concept; as previously stated women‟s roles are not naturally determined.
Even today entire races, classes, and people of all ages have been taught or manipulated to
believe a certain thing. As Mark Twain once eloquently put it “Don‟t go around saying the world
owes you a living, the world owes you nothing; it was here first” (Twain). So many different
people are mistakenly led to believe certain things, whether it be that they cannot reach for
certain dreams because of their family circumstances, or those who are told they are better than
others because of their life situations. A Doll’s House takes a stand against the manipulation of
minds as a method of masses conforming to popular lifestyles.
A major factor in all marriages is communication between husband and wife. Without
communication, two individuals can almost never reach an understanding or stand on equal
ground. At the beginning of the play the audience learns that the Helmer‟s have been married for
eight years; the dialogue between characters insinuates that Nora was very young when she left
her father‟s house and married Torvald. Within a short amount of time Nora was pregnant and
Torvald was sick and dying, hence Nora taking matters into her own hands. Over the eight years
of their marriage Nora secretly worked to pay off her debt, all the while playing the happy little
housewife. One might expect circumstances like Nora‟s to develop the individual's thought
process; sadly such was not the case for Nora Helmer.
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In the days of Nora Helmer, women typically had one goal in life, to marry into society; a
wealthy man who has influence in society. An article from Oxford College concerning the
education of women in the 19th century states that “They (males) argued that women were
mentally unequal to men, and would not be able to comprehend or find use in higher
education. Women belonged in the home; performing domestic chores…higher education was
not suitable for the 'role' of women” (McElligot). Women were mothers, they saw to the rearing
of the children.
Nora's perception of motherhood responsibilities stems from her own raising by her
father and her husband. Nora sees her children as dolls, “My sweet little baby doll” (Ibsen 18),
Nora is talking and playing with her children. The title A Doll's House prepares the audience for
the character's perception of life. Nora avoids responsibilities, sometimes picking up motherly
jobs, all the while viewing it all as a game. “I will take their things off, Anne, please let me do it,
it is such fun” (Ibsen 18). She does not talk to her children in a rational manner because no one
has ever spoken to her in a rational manner.
Nora does all of the fun things with her children, (shopping for them and periodic games)
but at the end of the day they are placed back in the care of the same nurse who, ironically,
brought Nora up. This is important because it further sets up the concept of a child like view on
life, which Ibsen was clearly making a statement against. Nora brings the same woman who
raised her, to her and Torvald‟s marriage bed; the only difference being that this time she is the
lady of the house, and gets life like dolls to play with. Torvald encourages this concept by his
treatment of her, in that he keeps her for play time but dismisses her (sending her off shopping or
to dance) when he needs grown up time.
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To a 19th century audience this relationship would not have seemed so ridiculous. To a
21st century audience, the relationship between Torvald and Nora would be seen as a bit more
ludicrous. Perhaps nearly incomprehensible, women are human beings with the full ability to
comprehend, to learn, to grow and to rationalize. The times have changed, yet the play is still
relevant and popular amongst audiences today. This is because when Henrik Ibsen wrote about
Nora Helmer‟s disastrous marriage he wasn‟t just making a statement about communication
between men and women, he was taking a stand on communication of humanity.
Later in the play after Krogstad has first confronted Nora about his dealings with
Torvald, she turns to her husband and tries to get the details of the situation. Torvald proceeds to
discuss the dangers of a broken home and how these things get started. “Almost everyone who
has gone to the bad early in life has had a deceitful mother” (Ibsen 27). Unbeknown to Torvald,
with that simple phrase he acknowledged a concept that society at that time taught all women to
tremble at; the idea of being a bad mother. Ibsen shows many faults in society‟s treatment of
women by the agony Nora silently undergoes when she begins to believe she has poisoned her
family.
The pressure on women to be perfect mothers was overwhelming; it nearly drove Nora to
insanity. 21st century society, equally pressures its inhabitants; media and other devices are used
to create foundations of what is deemed „proper thought,‟ men and women, very similar to
Torvald and Nora, are taught to think and act according to whatever society currently deems
fashionable.
A sense of humanity is lost; individualism is sacrificed in the name of continuity. Ibsen‟s
entire plot rejects this concept; Nora rages that her chance to be human was taken from her
merely for proprieties sake. Not only does Nora leave to learn to be a proper wife, but she slams
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the door as a step towards becoming a proper human. Toril, continuing the discussion on
idealism, quotes Amalie Skram, whose support of Ibsen‟s shocking ending is reiterated by the
author‟s statement about the marital status of Nora and Torvald, and marriage in general.
„„Marriage is judged here. Its high and holy idea has fled away from earth” (Skram).
Along with the pressures on women to be perfect, a reader can easily see the dangers of
mistreating any human being. Ibsen said that a theme in his play was humanism; the ethical
treatment of others in all classes has been an issue from the beginning. Nora is a wife, mother,
and a female, but she also is a she says “before all else I am a reasonable human being” (Ibsen
68). Society in the 19th century did not place women as individuals; women‟s roles in the 21 st
century have very obviously changed, but the world continues to fight for all men to be treated as
individuals. A Doll’s House is a story about a marriage, but with themes of humanism and faith
in mankind that can be applied to all audiences in all centuries.
“But I shall not allow you to bring up the children; I dare not trust them to you” (Ibsen
63). It is with this simple phrase that Ibsen can bring his audience to the ultimate awareness of
societies dangers, how can a man dare to take away a woman from her children. When all the
issues with Krogstad have been resolved and Nora tells her husband that she is leaving, he
accuses her of the blackest blasphemy. “To abandon your husband and children! And you don't
consider what people will say...This is how you would neglect your most sacred duties” (Ibsen
68). “I have duties to myself” (Ibsen 68). That simple statement concretes Nora's changed
outlook on life.
Ibsen shows us that Nora has learned to think beyond her husband and societies
expectations. She is going to learn how to think and survive by her own means. Initially when
Torvald refuses to listen to Nora‟s justifications he is rejecting any move that would force him to
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reevaluate his life and see Nora as a rational human being. Torvald in this situation can be
interpreted as the members of society who refuse to move on with their lives. They are stuck in
the old ways; they reject attempts of embracing humanity, taking all men as brothers.
Torvald is responsible for much of the downfall of their marriage because he was too
prideful to listen to Nora's warnings about his treatment of Krogstad, and she comes to realize
that he has never respected her in the end. “Is it to get about now that the new manager has
changed his mind at his wife's bidding?” (Ibsen 35) Torvald's obsession with being respectable
was done by Ibsen to show the fault in carrying more about society than one‟s own family.
Torvald Helmer has a habit of fantasizing. Nora openly admits to Christine that she often
day dreams about a rich elderly man dying and leaving her his fortune. Torvald, however, has
day dreams about proving his manhood by rescuing Nora from some desperate situation; the end
result being her constant worship of Torvald. The play is full of dramatic irony in that the one
thing Torvald day dreams about finally comes to pass and he fails miserably. Nora lowers herself
to begging her husband to rethink his decision to fire Krogstad, she of course knows the danger,
but her husband sees it all as some form of foreplay.
“Aha! So my obstinate little woman is obliged to get someone to come to her rescue?”
(Ibsen 26) He reassures her that he has the ability to take care of everything. “You will see that I
am man enough to take everything upon myself” (Ibsen 36). This constant reminder of manhood
gives a slight hint to Torvald's reasoning behind his treatment of his wife and societies
expectations. Torvald is constantly placing Nora in and reminding her of his wish for her to be in
trouble.
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The Tarantella dance is another example of role playing. Torvald takes Nora and dresses
her up as his little Capri maiden, parading her around the room for all the spectators to see. This
treatment Nora receives is Ibsen's way of explaining the title of his play. Nora is Torvald's little
doll for him to dress up, and to play with. Torvald once again reminds Nora of his fantasizing. “It
is because I make believe to myself that we are secretly in love...and that no one suspects there is
anything between us” (Ibsen 58). He consciously chooses to keep their relationship at a distance,
perhaps a method of keeping things within his control.
Throughout the entire play Nora gives Torvald chances to listen to her and to see her
differently, while Nora told a lie that spun a web, Torvald was too prideful to discuss the matter
in a rational manner. During their final discussion Torvald digs a crater by refusing to talk to
Nora as a rational human being. Nora voices her desire to talk as man and wife, while her
husband skirts around the issue naming off all of the things he has done and will still do for her.
“There is something sweet and satisfying, to a man, in the knowledge that he has forgiven his
wife...It seems as if that had made her, doubly his own...she has become both wife and child to
him” (Ibsen 65). Torvald is relieved for all of their troubles to be over, Nora was finally in need
of a rescue, and Helmer believes he handled the situation excellently. Her distress only makes
Nora more appealing in her husband‟s eyes. It is after his speech about his great rescue that Nora
becomes fed up and sits her husband down for the talk.
It was this final resolution of Nora‟s that audiences found so conflicting, on one hand
Nora and women in general have an obligation to their husbands and children; it was the way
things had been done since the beginning. On the other hand the audience had witnessed
firsthand the workings of Nora and Torvald‟s marriage, the damage that had been done to Nora
as an individual. Perhaps the door slamming did not seem so absurd after all. The question that
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men and women were forced to asked themselves after seeing A Doll’s House was where was the
balance? Was it possible for Nora and Torvald to learn to have a real relationship, one where
both were equal partners? What had their society done to women? What has modern society
done with ethical treatment of those who are different? A Doll’s House is a political statement
that has lasted and will continue to be produced for years to come. Henrik Ibsen wrote A Doll’s
House with a complicated marriage; Torvald and Nora are two individuals who are selfish and
somewhat decietful. The end of the show has a door slamming, but Torvald looks up and “a hope
flashes across his mind,” Ibsen has not given up completely on humanity, he leaves the audience
with a sense of catharsis, a small glimmer of light, as if to assure them that it is not too late to
change things around.
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Works Cited
Baigent, Elizabeth. Work, Family and Household: Women in Nineteenth-Century Vadstena.
Geografiska Annaler. Blackwell Publishing, November 1988. February 2010. Web
Caitlin, McElligot. Women‟s Higher Education in the United States: The 19 th Century Debate.
Oxford College Online. Web. 15th February 2010
Ibsen, Henrik. A Doll’s House. New York City: Dover, 1992, Print.
Moi, Toril. First and Foremost a Human Being: Idealism, Theatre, and Gender in A Doll’s
House. New York City: Oxford University Press, May 2006. February 2010. Print.
Rosenberg, Marvin. Ibsen’s Nora. PMLA. Modern Language Association, October 1989.
February 2010. Web.
Skram, Amalie. En Betragtning over ‘Et dukkehjem [Considerations on A Doll’s House].
Dagbladet, 19 Jan. 1880. February 2010. Web
Twain, Mark. The Wit and Wisdom of Mark Twain. New York City: Dover, 1999, Print