A Doll House by Isben

Introduction

A Doll's House (Norwegian: Et dukkehjem; also translated as A Doll House) is a three-act play in prose by the Norwegian playwright Henrik Ibsen. It premièred at the Royal Theatre in Copenhagen, Denmark, on 21 December 1879, having been published earlier that month.

Character Analysis of Nora in A Doll House by Isben

At the beginning of A Doll's House, Nora seems completely happy. She responds affectionately to Torvald's teasing, speaks with excitement about the extra money his new job will provide, and takes pleasure in the company of her children and friends. She does not seem to mind her doll-like existence, in which she is coddled, pampered, and patronized. As the play progresses, Nora reveals that she is not just a “silly girl,” as Torvald calls her. That she understands the business details related to the debt she incurred taking out a loan to preserve Torvald's health indicates that she is intelligent and possesses capacities beyond mere wifehood. Her description of her years of secret labor undertaken to pay off her debt shows her fierce determination and ambition. Additionally, the fact that she was willing to break the law in order to ensure Torvald's health shows her courage.

Krogstad's blackmail and the trauma that follows do not change Nora's nature; they open her eyes to her unfulfilled and underappreciated potential. “I have been performing tricks for you, Torvald,” she says during her climactic confrontation with him. Nora comes to realize that in addition to her literal dancing and singing tricks, she has been putting on a show throughout her marriage. She has pretended to be someone she is not in order to fulfill the role that Torvald, her father, and society at large have expected of her.

Torvald's severe and selfish reaction after learning of Nora's deception and forgery is the final catalyst for Nora's awakening. But even in the first act, Nora shows that she is not totally unaware that her life is at odds with her true personality. She defies Torvald in small yet meaningful ways—by eating macaroons and then lying to him about it, for instance. She also swears, apparently just for the pleasure she derives from minor rebellion against societal standards. As the drama unfolds, and as Nora's awareness of the truth about her life grows, her need for rebellion escalates, culminating in her walking out on her husband and children to find independence.

Nora, seems like a bit of a ditz. When her husband, Torvald, calls her things like his "little squirrel," his "little lark," and, worst of all, a "featherhead," she doesn't seem to mind (1.5-1.16). In fact she seems to enjoy and even play into it. When Torvald first calls her a spendthrift, we're inclined to agree. So far, we've seen her give the porter an overly generous tip, come in with tons of Christmas presents, and shrug at the idea of incurring debt. Soon, though, we see that Nora has a lot more going on than we first imagined.

When Nora's old friend ...