Victorian society was characterized by the strict norms imposed upon its populace. All were expected to adhere to their designated societal role – men the workers, women the caregivers. In A Doll’s House, Henrik Ibsen probes the problems of the roles assigned to women in a male-oriented society. For women, their sharply defined roles did not allow for individuality, forcing them to sacrifice their identity in order to fit into society. A Doll’s House assess the dichotomy between who women are and who women are expected to be. Ibsen’s characters serve as a reflection of reality; his plays as a snapshot of time, exploring and questioning the world. Through the relationships between the characters of Nora Helmer, Torvald Helmer, and Christine
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Nora recognizes she was her father’s “doll-child” (63) and that she is Torvald’s “doll-wife” (64), with the house she shares with Torvald a dollhouse, a place where she is controlled – much like a child playing with their toys. This extended metaphor is further developed through Ibsen’s prose format to deliver the story. A Doll’s House is a play, and the never-changing set piece of the Helmer’s household with the three walls and invisible fourth wall are reminiscent of a dollhouse. When Nora undergoes her final change in clothing, from the Tarantella costume to her travelling cloak, she expresses her intention to leave her home, to leave her dollhouse. In taking off the costume, Nora chooses to forego society and its expectations. The travelling cloak is symbolic of the beginning of a journey to discover herself once and for all. Finally, when the door slams, indicating Nora’s departure from her symbolic dollhouse, she leaves society’s control.
A Doll’s House is a social commentary on the role of women in Victorian Society. Nora’s struggle to balance her individuality with her society result in one taking precedence over the other. In having Nora choose to fulfil herself, rather than fulfil society, Ibsen condemns Nora to a stigmatized life. However, in placing Nora’s quest for self-discovery above society’s expectations, Ibsen sends the message that society must be
Nora recognizes she was her father’s “doll-child” (63) and that she is Torvald’s “doll-wife” (64), with the house she shares with Torvald a dollhouse, a place where she is controlled – much like a child playing with their toys. This extended metaphor is further developed through Ibsen’s prose format to deliver the story. A Doll’s House is a play, and the never-changing set piece of the Helmer’s household with the three walls and invisible fourth wall are reminiscent of a dollhouse. When Nora undergoes her final change in clothing, from the Tarantella costume to her travelling cloak, she expresses her intention to leave her home, to leave her dollhouse. In taking off the costume, Nora chooses to forego society and its expectations. The travelling cloak is symbolic of the beginning of a journey to discover herself once and for all. Finally, when the door slams, indicating Nora’s departure from her symbolic dollhouse, she leaves society’s control.
A Doll’s House is a social commentary on the role of women in Victorian Society. Nora’s struggle to balance her individuality with her society result in one taking precedence over the other. In having Nora choose to fulfil herself, rather than fulfil society, Ibsen condemns Nora to a stigmatized life. However, in placing Nora’s quest for self-discovery above society’s expectations, Ibsen sends the message that society must be