A DOLL'S HOUSE Critique

 A Doll's House Overview

Written in 1879 by Norwegian playwright Henrik Ibsen Links to an external site. (1829-1906).  Though his plays suggest otherwise, Ibsen revered the state of marriage, believing that it was possible for two people to travel through life as perfect, happy equals.

 A Doll's House is a three act play about a seemingly typical housewife who becomes disillusioned and dissatisfied with her condescending husband.

Act One:Setting: It is important to note that the whole play takes place in one room and that until the last act, Nora is every scene.  She never seems to leave the room--everything comes to her.  She is literally trapped in domestic comfort.  Though there is a great deal of talk about morality throughout the play, Christmas is never presented as a religious holiday, and religion as a concept is later questioned by Nora in the third Act.  In fact, it is discussed primarily as a material experience.  This emphasis is similar to the general theme of the centrality of material goods over personal connection

            Women and Men: The play focuses on the way that women are seen, especially in the context of marriage and motherhood.  Torvald, in particular, has a very clear and narrow definition of a woman's role.  He believes that it is the sacred duty of a woman to be a good wife and mother.  Moreover, he tells Nora that women are responsible for the morality of their children. In essence, he sees women as both child-like, helpless creatures detached from reality and influential moral forces responsible for the purity of the world through their influence in the home.

The perception of manliness is also discussed, though in a much more subtle way.  Nora's description of Torvald suggests that she is partially aware of the lies inherent in the male role as much as that of the female.  Torvald's conception of manliness is based on the value of total independence.  In fact, he was an unsuccessful barrister because he refused to take "unsavory cases."  As a result, he switched to the bank where he primarily deals with money.  In other words, money and materialism can be seen as a way to avoid the complications of personal contact.  He abhors the idea of financial or moral dependence on anyone.  His desire for independence leads to the question of whether he is out of touch with reality. 

Images of women:  Nora, as a symbol of woman, is called a number of names by Torvald throughout the play.  These include "little song bird," "little featherhead," "little skylark," "little person," and "little woman."  Torvald is extremely consistent about using the modifier "little" before the names.  These are all usually followed by the possessive "my," signaling Torvald's belief that Nora is his.  This signals that he does not see Nora as an equal; rather, Nora is at times predictable and a silly dolls; at other times she is a captivating and exotic pet or animal, all created for Torvald. 

Light: Light is used to illustrate Nora's personal journey.  After the turning point of Torvald's claim to want to take everything upon himself and while she is talking to Dr. Rank, the light begins to grow dark, just as Nora sinks to new levels of manipulation.  When Dr. Rank reveals his affection, Nora is jolted out of this fantasy world and into reality and insists on bringing a lamp into the room, telling the doctor that he must feel silly saying such things with the light on.

The Dress: Nora's ball dress symbolizes the character she plays in her marriage to Torvald.  The Tarantella: A tarantella is a folk dance from southern Italy that accelerates from its already quick tempo and alternates between major and minor keys.  In its constant fluctuation, it is like Nora's character.  In Act II, it serves as Nora's last chance to be Torvald's doll, to dance and amuse him.  Also, the tarantella is commonly (and falsely) known as a dance that is supposed to rid the dancer of the bite of the tarantula.  Applied to the play, its use suggests that Nora is trying to rid herself of the deadly poison of an outside force, however fruitlessly.  Rather than alleviating the bite, though, the music and her life only continue to accelerate and spin out of control.

Tied to the discussion of men and women are the frequent references to Nora's father.  Throughout the play, there are references to Nora's father. . . Furthermore, Nora is frequently equated with him, from her actions (though people think he gave Nora and Torvald the money for their trip to Italy, it was actually Nora) to her disposition.

 

SUMMARY

Set around Christmas time, Christmas Eve. Nora Helmer Links to an external site. enters her home, truly enjoying life. An old widow friend from her past, Mrs. Linde Links to an external site., stops by hoping to find a job. Nora's husband Torvald recently earned a promotion, so she happily finds employment for Mrs. Linde. When her friend complains how hard the years have been, Nora replies that her life has been filled with challenges too.

Nora discreetly explains that several years ago, when Torvald Helmer Links to an external site. was very ill, she forged her dead father's signature in order to illegally obtain a loan. Since then, she has been paying back the loan in secret. She has never told her husband because she knows it would upset him.

Unfortunately, a bitter bank employee named Nils Krogstad Links to an external site. is the man who collects the debt payments. Knowing that Torvald is soon to be promoted, he tries using his knowledge of her forgery to blackmail Nora. He wants to insure his position at the bank; otherwise he will reveal the truth to Torvald and perhaps even the police.

This turn of events greatly upsets Nora. However, she keeps the truth concealed from her husband, as well as Dr. Rank Links to an external site., a kind yet sickly old friend of the Helmers. She tries to distract herself by playing with her three children. However, by the ending of Act One she begins to feel trapped and desperate.

Act Two:

Throughout the second act, Nora tries to concoct ways to prevent Krogstad from revealing the truth. She has tried to coerce her husband, asking him to let Krogstad keep his job. However, Helmer believes the man possesses criminal tendencies. Therefore, he is bent on removing Krogstad from his post.

Nora tries asking Dr. Rank for help, but she is put off when Dr. Rank becomes too flirtatious with her and claims that he cares for her just as much, if not more, than her husband.

Later, the Helmers prepare for a holiday ball. Torvald watches Nora perform a traditional folk dance. He is disappointed that she has forgotten much of what he has taught her. Here, the audience witnesses one of the many scenes in which Torvald patronizes his wife as though she were a child, or his play-thing. (Hence, Ibsen titled the play: A Doll's House). Torvald constantly calls her pet names such as "my song bird" and "my little squirrel." Yet, he never speaks to her with any degree of mutual respect.

Eventually, Mrs. Linde tells Nora that she had a romantic attachment to Krogstad in the past, and that she can perhaps persuade him to relent. However, Krogstad does not sway in his position. By the end of Act Two, it seems that Torvald is bound to discover the truth. Nora is ashamed of this possibility. She contemplates jumping into an icy river. She believes that if she does not commit suicide, Torvald will bravely assume responsibility for her crimes. She believes that he would go to jail instead of her. Therefore, she wants to sacrifice herself for his benefit.

Act Three:

Mrs. Linde and Krogstad meet for the first time in years. At first Krogstad is bitter towards her, but she soon rekindles their romantic interest towards one another. Krogstad even has a change of heart and considers tearing up Nora's IOU. However, Mrs. Linde believes it would be best if Torvald and Nora finally confront the truth.

After returning from the party, Nora and Torvald unwind at home. Torvald discusses how he enjoys watching her at parties, pretending that he is encountering her for the first time. Dr. Rank knocks on the door, interrupting the conversation. He says goodbye to them, hinting that he will be shutting himself up in his room until his sickness finally wins.

After Dr. Rank's departure, Torvald discovers Krogstad's incriminating note. When he realizes the criminal act that Nora has committed, Torvald becomes enraged. He fumes about how Krogstad can now make any demand he wishes. He declares that Nora is immoral, unfit as a wife and mother. Even worse, Torvald says that he will continue to be married to her in name alone. He wants to have no romantic connection to her whatsoever.

The irony of this scene is that moments before, Torvald was discussing how he wished that Nora faced some sort of peril, so that he could prove his love for her. Yet, once that peril is actually presented, he has no intention of saving her, only condemning her actions.

Moments after Torvald raves like a madman, Krogstad drops another note saying that he has rediscovered love, and that he no longer wants to blackmail the Helmer family. Torvald rejoices, declaring that they are saved. He then, in a moment of sheer hypocrisy, states that he forgives Nora, and that he still loves her as his little "caged song bird."

This is a startling wake-up call for Nora Helmer. In a flash, she realizes that Torvald is not the loving, selfless husband she had once envisioned. With that epiphany, she also comes to understand that their marriage has been a lie, and that she herself has been an active part in the deception. She then decides to leave her husband and her children in order to find out who she truly is.

Torvald desperately begs her to stay. He claims that he will change. She says that perhaps if a "miracle of miracles" happens they might one day become suitable companions. However, when she leaves, slamming the door behind her, Torvald is left with very little hope.