A Dolls House Feminism Essay

Although Nora is secretive about the crime she committed, which is forging her father’s name in order to borrow money; she does it to save her husband. During Act I when Nora is speaking to Mrs. Linde about someday revealing to Torvald about the secret loan Nora exclaims: “One day I might, yes. Many years from now, when I’ve lost my looks a little. Don’t laugh. I mean, of course, a time will come when Torvald is not as devoted to me, not quite so happy when I dance for him, and dress for him, and play with him.” (Act I, pg. 12). This quotation shows that even early on in the play Nora understands the reality of her marriage, and her existence to Torvald. Therefore, Act I is merely an introduction to the overall overarching theme of independence. Act I shows the obedient side of Nora, until later scenes when she reveals her independence. Torvald attempts to oppress his wife, but his actions do not stop Nora’s independent thoughts from forming.

A Doll’s House by Henrik Ibsen was originally considered by critics and scholars as a play about feminism. This is a believable idea as the play’s protagonist, Nora, goes through a personal journey where she realises that she is an independent woman and that she does not need a husband, especially like Torvald, to live. Nevertheless, many people believe that the play is more humanist than feminist. According to Ibsen, he wrote the story with a humanist eye. This point can be challenged by saying he certainly thought he was writing in a humanist eye, while instead, he was actually focussing on feminism, which is often considered a form of humanism. It is clear because he is solely focussing on the feminist aspects of humanism, rather than incorporate ideas of race, age or religion. Therefore, the play is surely feminist. This idea can be highlighted by talking about how Nora slowly acts more and more out of her gender role, how Mrs. Linde lives her life and how Nora has a complicated relationship with her children.

Torvald would never have thought she were capable of it, since during that era it was unrealistic of women to leave their houses but rather put up with the difficulties they faced. Ibsen highlights society's domineering outlooks of marriage and the interactions of two people naïvely pretending to be in love. Throughout the play Ibsen reveals the fragile attributes of his characters to help enhance the play-like nature of their relationship, the role of women, and Nora's course of self-discovery.

In the beginning, Nora acts and speaks like a child saying things like “Pooh!”(Act 1). Ibsen showshow he thinks dependant and uneducated woman are naive and almost childlike. Nora and Torvald’s relationship is almost exactly how her and her father’s relationship had been, with the man completely controlling Nora, and Nora acting like an obedient child. Nora had not been independent with her father and when she marries Torvald she is also completely dependant on him for everything she wants or needs. Both Nora’s father and Torvald coddle Nora and treat her like a delicate doll so she is never fully is independent. At one point in the play Torvald even admits he finds Nora more attractive because of her dependence on him. Christine Linde is

Nora begins to take offence to the words of Torvald. He refers to her as his most “prized possession”, and continues to say that he often imagines her as though she is his mistress, and she is a temptress. Nora continues to get offended, telling Torvald she doesn’t want any of this. Nora begins

Nora is outwardly submissive and always eager to please Torvald. By contrast, Torvald is a dominant figure that takes control over Nora’s life similar to the way a father would with his daughter. For most of the play, Torvald rarely calls Nora by her name, using pet names instead. For example, “my little lark,” “my squirrel,” and “little spendthrift” are used to describe Nora in the scene of the play (1251). The use of the word “my” emphasizes the control and ownership Torvald feels like he has over Nora’s life. Additionally, their relationship is characterized by a giving and receiving roles. However, the give and take is not shared equally enough. Nora remarks on this when she says, “But don't you think it is nice of me, too, to do as you wish?’ Torvald: ‘Nice?—because you do as your husband wishes? Well, well, you little rogue, I am sure you did not mean it in that way’” (1279). Nora is recognizing the inequality in her marriage when she tells Torvald that she is being “nice” when she follows his directions and cares for their family. This is crucial because Torvald disregards Nora by belittling her role in their marriage and making it seem as though she contributes nothing to their relationship. The interactions between Torvald and Nora emphasize the inequality in their

Henrik Ibsen's, A Doll's House is definitely a unique story written by a very intelligent, complicated writer. I believe he intentionally wrote the play in a manner which would lead every reader to draw his own conclusions. He forces us to find our own interpretation of the play in context with our personal lives and experiences with the opposite sex. The theme may be interpreted by many as a study of the moral laws that men and women are required to follow by nature. I believe it is primarily based on the gender stereotypes that determine the role of women in society.

Ibsen utilizes the boundaries of the “inexpensively furnished” (147) room to create Nora’s symbolic cage displaying how she is physically unable to leave the confines of the room and the role in which every 19th century wife must play. In Act I, Nora plays her façade of the frivolous “funny little spendthrift” (150) in an effort to seem as defenseless as the woodland creatures Torvald finds so endearing and subsequently patronizing. Nora’s quarantine is enhanced as she is called a “squirrel…skylark, and little bird” (150) by Torvald, infantilizing her character and consequently solidifying her inability to escape the confines of her assumed womanly role. Nora readily assumes the position of a subordinate and feeble woman to protect the illusion she perceives as a complete home in addition to avoid “[being] completely alone” (154). This absolute isolation in adherence to the role in which she has been nurtured to conform to is slowly deteriorating her character, which is displayed in the increased sporadic nature of “poor little Nora’s” (152) actions and her lack of ability to focus as the play progresses. Nora’s childlike behaviors steadily become more obvious as her fixated birdcage becomes increasingly suffocating, the discomfort with her current isolation grows and as her mask of perfection slowly disintegrates.

Gender and Biological Determinism Are men and women fundamentally different? Are the roles of the sexes determined from the very structure of their DNA? If so, does this correspond with those roles in modern society? These viewpoints - and the consequences of such viewpoints - are discussed in two opinion pieces in the newspaper the Guardian in late April of 2010, in a debate of nurture and nature. Natasha Walter, journalist and author of Living Dolls: The Return of Sexism, describes in her piece how woman are continuingly being outnumbered in the high public offices and positions; that our society reverting to the stage of being ruled primarily by men.

The relationship between Torvald and Nora is based on the assumption that women are beneath men. Torvald treats Nora like a girl would treat a doll. Torvald refers to Nora as his "lark," "squirrel," and his beautiful "songbird" throughout Ibsen's play, except when he is angry; then she becomes a woman. Elaine Baruch adds insight:

In preparation for Nora's dance at the party, we again see Ibsen showing us Torvald's and Nora's roles. "I can't get anywhere without your help."(Ibsen 91) "Direct me. Teach me, the way you always have."(Ibsen 91) Nora's lines reflect the "costume" that Torvald expects her to wear (and which she wears obligingly), that of the meek, subservient, childlike wife.

This contrast is evident within nearly all of Nora and Torvald’s interactions, such as his referring to her as ‘girl’ and his almost constant condescending tone

     Ibsen’s purpose for writing this piece is to entertain while pointing out an injustice. Through the events of the play, Nora becomes increasingly aware of the confines in which Torvald has placed her. He has made her a doll in her own house, one that is expected to keep happy and

There are two other major themes in this play, femininity and masculinity. Nora has often been given the title of one of modern drama’s first feminist heroines. She breaks away from a dominating and opressive marriage. Ibsen, denied that he had intentionally written a feminist play and preferred to think of it as humanist. This said though, the traditional roles of women and the price of them breaking tradition is a constant thread throughout the play. The men of this play, in many ways, are just as trapped by gender roles as the women. An example of this is the job that Torvald Helmer holds at the bank, chief. The men must be providers and alone must support the entire household. At the end of this play these traditional ideas are put to the test, when Nora leaves and Torvald must care for the children and be their provider.

This quote helps Ibsen make statement that women need to be mature and independent before having a family of their own. Nora, ultimately, ends up packing her bags and leaving her loved ones behind to become her own independent woman. Nora states, “ I can no longer content myself with what people say, or with what is found in books. I must think over things for myself and get to understand them”(885). Nora leaving her family to start this process of maturing and gain independence begins to take hold. At the end of the play Ibsen again emphasizes that Nora as she is now she is not the wife for Torvald or a mother to her children (Ibsen 887). She says, “ Good-bye, Torvald. I won’t see the little ones. I know they are in better hands than mine. As I am now, I can be no use to them” (Ibsen 887). This, once again, a statement that women need to mature and be independent before they are ready for a family of their own. Nora is a prime example of this as she leaves her husband and children behind to begin this process.