“A Doll's House” Analysis: The Role of Deception and Betrayal
A Doll's House literary analysis (essay)
Ibsen's "A Doll's House" is a thought-provoking play that tackles significant social issues such as gender roles, marriage, and societal expectations. Through the character of Nora, Ibsen presents a woman who is struggling to find her identity in a society that places strict limitations on women. Her journey towards self-discovery is both empowering and tragic, as it leads to her alienation from her husband and family. The play's nuanced depiction of Nora's relationship with her husband Torvald is a commentary on the power dynamics in marriages and how societal expectations can lead to the suppression of individuality. To present "A Doll's House" analysis, this essay explores these themes in depth, shedding light on Ibsen's masterful portrayal of the human condition in a society that limits individual freedom.
At the beginning of “A Doll's House” Nora is shown as a completely content person who has managed to centre her life around money. Nora says to the porter “Here’s a pound. No, keep it” when the porter only asks her to pay a “shilling”. The generous transaction between Nora and the porter that opens up the play promptly establishes money as one of the key themes central to the play. Nora gives her porter more than twice the amount of money, presumably because she is infused with the holiday spirit and does not understand how valuable money is. Furthermore, Nora is not reluctant in giving the porter extra cash which demonstrates how she does not see the value of money and acts recklessly as she easily gives it away. Fiscal irresponsibility is a prominent factor in the advancement of the plot in “A Doll's House”. It is Nora’s fiscal irresponsibility that catalyses the situation in which Nora’s household shatters. A feminist would argue that Nora resembles the bourgeois wife; irrational, naive and dependent on men in.
In the 1800s whilst Ibsen was writing his play, women did not have a place in society apart from their household and the domestic sphere. A bourgeois wife would be a woman who was able to marry a man with a successful job and pay and would spend her life taking care of her household and husband without any worry in regards to hardship. However, not only does Nora generously tip the porter, but she also just returned from a shopping excursion. She is spending her husband’s money lavishly as that is the only form of power and control she is able to have. A marxist would argue that Nora’s way of thinking and her outlook on life are both completely dominated by her materialistic, consumerist attitudes. Although Nora is able to spend her money, the generation and source of money still stems from her husband, a man. Money is part of a mans world and Nora is unable to earn that money for herself.
The title of the play “A Dolls House” carries connotations of young childlike behaviour, youth and an entity with authoritative control. In the play it is Nora is the doll who does not only belong to Torvald but is also on of society’s dolls. The play is also set in one single location “a room, comfortable and tasteful but not expensive” resembling the doll house that Nora has been trapped in. With Nora confined to this room until the last few scenes of the play the idea of restriction emerges. Although could just simply be in confinement because of her gender, she contains not much more power or significance than her children. This further equates her to being a child and shows her subordinate level in relation to her and Torvald. Nora has not only made herself believe that she is a child, she has also internalised her gender role. Nora buys her two sons a “sword” and a “horse”. The sword symbolises bravery, justice and authority whilst the horse suggest a feeling of dominance and freedom. Unlike the boys, Nora’s daughter Emmy only receives a doll and cradle.
Once again there is the image of a doll associated with a female character and the toys Emmy receive are preparing her for motherhood. Her rightful role in the society of her time. Nora then says that the gifts for Emmy are “nothing much”. The word “nothing” shows how the bulk of the money is spent on the boys rather than her daughter. From a young age females are not treated equally to men and thus inequality is embedded into their lifestyles as they grow older. Women in the 1800s did not have the right to vote, the right to complete education and thus are unable to flourish in the outside world the way men do.
Nora is also portrayed as a very childlike character and is constantly belittled by her husband. The stage directions of Nora “tiptoeing” across the room and “humming” show Nora’s childlike character. The action of “tiptoeing” suggests a sense of respect and fear as she is trying not to make any noise and disturb her husband. As she is not of primary importance to her husband she is to remain quiet and in the background. Nora is also associated with little creatures that her husband calls her such as “my little squirrel” or “my little squander-bird”. Not only is she objectified, but she is also dehumanised. Nora is seen as powerless and just like animal she is needed to be owned by someone and can’t be set free. She is seen as a trophy or an object of possession to Torvald to show off. This is shown as Torvald uses the possessive pronoun “my”. Just like a child, Nora is not independent and as a result of being treated as a child she exhibits the behaviour of one.
Similar to the portrayal of Nora as the ideal bourgeois wife, Torvald Helmer is a respectable nineteenth century husband with professional occupations enabling him to earn a luxurious amount of money to support himself and his family. He views his wife as fully dependent on him and his knowledge. Because of this he uses patronising language when talking to Nora. He asks her “Has my little squander bird been overspending?” In a condescending tone. This is how he exercises his superiority and authority over Nora. Despite being engulfed into the consumeristic and materialistic world Torvald still exhibits very noble values allowing him to constantly hold a level of respect by the audience. Torvald explains how “a home that is founded on debts and bowing can never be a place of freedom and beauty”.
The word “debts” suggest the action of borrowing of money has occurred and this does not appeal to Torvald as he believe that in order to be a successful man he should not have to be dependent on other people to provide him money. It is his role to provide as a man to generate money. By borrowing money you are no longer in power. In the 1800s there was no welfare system in place and Torvald could see the detrimental and risky affect having debts could bring. The quote also acts as dramatic irony as the happy household Torvald believes he is in is actually founded on Nora’s debt highlighting Torvalds ignorance. A feminist would argue that Torvald believes that Nora is unable to understand money because of her gender.
The maturity level that Nora exhibits demonstrates the relationship between Torvald and Nora as more of a father daughter relationship rather than a husband and wife relationship. She whines at Torvald, demonstrates poor judgement and does not care about the consequences of her action. This is similar to the relationship between Linda and Willy in Arthur Miller’s "Death of A Salesman”. Both Torvald and Willy are victims of a capitalist and materialistic world where how much money one earns and makes defines a person. The pressures placed upon these males characters is what makes them insecure. However, unlike Linda acting as a paternal figure upon Willy, Torvald is the one who carries out the paternal figure. Torvald acts out scenes of punishment such as “taking her playfully by the ear”. Although the adjective “playfully” is present possibly suggesting enjoyment the words “takes her” suggest a sense of force. This symbolises the paternalistic masculine and authoritative attitude he has towards Nora.
Torvald’s world is also completely segregated from Nora’s. Physically this is shown in the setting by the feature of “Helmer’s Study” which completely isolates Nora from the business world and the world of men. The study acts a clear separation and barrier that Nora must not cross. Torvald does not bother to immerse himself into Nora’s world and claims the domestic sphere to consist of “useless things for the house”. The world “useless” brings negative connotation of irrelevance and shows how Torvald has no sense of appreciation towards what Nora does. Torvald only worries about his role as the breadwinner of the house.
While Nora may seem submissive towards Torvald, she is also very manipulative and deceptive towards him. She uses her feminine traits of beauty to sexually manipulate Torvald. She flirts with him as she “plays with the buttons on his coat”. This is similar to Keats poetry “La Belle Dame San Merci” where the noble knight is enchanted with the feary child’s beauty and is weakened and defeated because of her physical appearance and actions. Woman are said to be malicious because they use their beauty and sexuality to take advantage of men. Nora is also deceiving Torvald throughout the play by hiding her wrongful actions of borrowing money. This also creates dramatic irony as Torvald thinks he is smarter than Noras and does not need her help when in actual fact it is Nora who is smarter. From the start of the play there are hints of Nora’s deception which begin in small actions such as her indulging the macrons she was forbidden to eat. Just like any normalised father-daughter relationship Nora too misbehaves at certain occurrences and dismisses the rules implemented onto her by her paternalistic entity, Torvald.
Nora and Torvald as individual characters live up to the stereotypical view that society would have imposed upon them. Ibsen uses them as a way of criticising societies experience of how a female and male should be. The marriage of their household also reflects many of those of their time. Superficially, the opening act of “A Doll's House” demonstrates the loving relationship between Nora and Torvald portraying them as the idealistic perfect, loving, bourgeoise couple supporting each other. However, that is not the case as Nora senses her entrapment from the very beginning of the play and slowly begins to exercise her escape from the doll house society has trapped her in.
