A Doll's House Term Papers

 

For scholars of modern theater, Henrik Ibsen’s body of work represents an important juncture in the changing dramatic sensibility that would play a significant role in twentieth-century works. Henrik Ibsen’s A Doll’s House illustrates, through the characters of Nora and Torvald Helmer, the subordinate and confining position of women in marriages of the late nineteenth century. Through the character of Nora, Ibsen shows us that a woman was expected to be little more than a child in her own marriage, incapable of taking on serious issues, and useful only for her ability to amuse her husband. Nora’s decision at the end of the play conveys Ibsen’s idea that a woman has a duty to herself and that marriage is so confining that she can fulfill that duty only by leaving.

     Ibsen creates in Nora a woman whose husband sees her first and foremost as a child who lacks the sophistication to understand serious matters and whose will must be subordinate to his. She tells her husband, “I passed out of Daddy’s hands into yours,” suggesting that she has gone from being her father’s child to being her husband’s. The truth of Nora’s observation is evident in the playful and condescending manner in which Torvald speaks to Nora about money, calling her a “sky-lark,” a “little squirrel,” and his “little singing bird,” and teasing her about the extra money she spends for Christmas. Behaving like a father, Torvald uses her Christmas spending as an opportunity to lecture her about her “frivolous ideas” about money. Despite his scolding, Torvald takes out his wallet and, like a teasing father, says, “Nora, what do you think I’ve got here?”. In addition, the seemingly trivial flow of Torvald’s terms of endearments for Nora convey little expository information, but they are an enormously effective means of conveying Nora’s objectification and inferiority within the marital relationship

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