A Doll's House Analytical Essay

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In A Doll’s House, by Henrik Ibsen, is a play about the personal revolution of a Norwegian housewife. Nora appears to be happy with mindlessly obeying her husband, until it is discovered that she has a secret debt that she has hidden from him. Krogstad, Nora’s loaner, threatens to reveal the debt to her husband. When it is inadvertently revealed, Nora realizes the lack of depth of her husband’s feelings for her and leaves their established household and family to find her own personal identity. The theme of A Doll’s House is that societal norms restrict personal freedom. Henrik Ibsen uses several different stylistic devices in A Doll’s House. The author’s choice of writing this piece as a play is to emphasize interactions between various…show more content…
It’s usually the mother’s influence that’s dominant, but the father’s works in the same way, of course. Every lawyer is quite familiar with it. And still this Krogstad’s been going home year in, year out, poisoning his own children with lies and pretense; that’s why I call him morally lost. (Reaching his hands towards her.) So my sweet little Nora must promise me never to plead his cause. Your hand on it. Come, come, what’s this? Give me your hand. There, now. All settled. I can tell you it’d be impossible for me to work alongside of him. I literally feel physically revolted when I’m anywhere near such a person (I…show more content…
Henrik Ibsen uses the description of the Christmas tree to match Nora’s efforts at maintaining her façade to please Helmer.
NORA (absorbed in trimming the tree). Candles here— and flowers here. That terrible creature. Talk, talk, talk! There's nothing to it at all. The tree’s going to be lovely. I’ll do anything to please you, Torvald. I’ll sing for you, dance for you—(HELMER comes in from the hall, with a sheaf of papers under his arm.) (I 726).
Nora is eager to please her husband by objectifying herself and subjecting herself to his belittlement. As the play progresses, however, the tree falls into disrepair, reflecting Nora’s abandonment of preserving the façade in favor of gaining her freedom.The image of the masquerade costumes is also used by the author to reflect Nora’s faith on the control from social norms.
HELMER From now on that’s what you’ll be to me— you little, bewildered, helpless thing. Don’t be afraid of anything, Nora; just open your heart to me, and I’ll be conscience and will to you both—(NORA enters in her regular clothes.) What’s this? Not in bed? You’ve changed your dress?
NORA. Yes, Torvald, I’ve changed my dress.
HELMER. But why now, so late?
NORA. Tonight I’m not sleeping (III

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