Ibsen further demonstrates this through Nora’s desire to have some pennies, some financial power of her own. It is made clear in this conversation that Torvald has power over the household assets and through his reluctance to give Nora any money of her own and his disparaging explanation as to why, Ibsen further sets up the imbalance in power. However not all of the opening act focuses on Nora’s subservience, for example, the device of the macaroons is used to foreshadow the final climax of the play. The forbidden macaroons, that Nora furtively dines upon behind the disapproving Torvald’s back, is a demonstration that Nora is not completely in acceptance of her lack of power. The confectionery is the immediate manifestation of her desire for some form of power and control.
The audience’s perception of Nora as a submissive child-like figure, established by her relationship with her husband, is quickly destroyed by the arrival of Mrs. Linde. The initial balance of power lies with Kristine in this renewed relationship, as Nora appears envious of her individuality and freedom in having no commitments to a family. Yet, when Kristine declares ‘Nora, you’re a babe in arms,’ this catalyses the first revelation of Nora’s actual power to the audience. Ibsen reveals that despite her interactions with her husband, Helmer is well indebted to the actions of his wife, who unbeknown to him, are responsible for saving his life. Nora is elated at the fact that she is able to finally disclose her secret to someone, she then proceeds to declare that she has no need to reveal this to her husband as Torvald is already so devoted and so smitten by her current beauty. It is Nora’s false belief in the power she has over her husband, that when it is shown to be misplaced, she reaches the extreme of deciding to leave for ever.
The theme of power and control in the text is not merely demonstrated by one character over another, but also by society over the actions of Krogstad and Torvald in particular. Krogstad simply desires a position at the bank because ‘my sons are grown up for their sakes I want to be respectable again.’ He wants to have power in a society, where someone who has committed forgery and is well known for lying has none. This is further demonstrated by the quotation “What those spiteful men wrote about him in the paper, lies and slander. He’d have lost his job if you hadn’t been sent to enquire,’ as said by Nora as she warns Helmer of the consequences of firing Krogstad. This implies that public opinion also has a form of control in determining what the characters created by Ibsen can and can’t do. Similarly “if it comes out that the new manager changes his mind when his wife demands it,” as is said by Torvald, shows that society believes that giving into the desires of a wife is a sign of weakness, a sign of a distinct lack of power placed in the influence of a female party. The best demonstration, however, of society’s power over the characters is witnessed in the climax of the play. When Torvald is trying to justify his out-burst at Nora he declares ‘no man sacrifices his honour for the one he loves.’ Of course, what Helmer means is that he didn’t want to become stripped of all power and respect in society - the same fate that Krogstad had suffered. Helmer was not willing to give up this power and respect that his post as bank manager entailed and, bound by this, he was unwilling to perform the miracle Nora had so desired.
Other then the power of society over characters Ibsen also introduces the power of law and necessity as minor themes in the play. Mrs. Linde makes no denial of the fact that she married not out of love, but out of necessity to provide for her dying mother. By telling Nora of how little emotional commitment she had to her husband this shows Nora that, when the miracle doesn’t occur, she has no reason at all to stay with Torvald. Krogstad’s use of the power of the law to threaten Nora is also a commentary of Ibsen on society at the time. Nora’s belief that the reasons for which she forged the contract would be enough to save her from punishment (‘surely there must be laws about that,’) is possibly Ibsen’s way of speaking out against the lack of compassion the law shows for those in desperate need, or even against the fact that the power of law is seemingly far greater then the power of love between members of a family.
The final element, which is concerned with the issue of power, is its transition between characters throughout the play. Initially Nora believes she has power over her husband in two forms. One is his desire for her as, in her own description, she is ‘such a pretty little thing,’ and two, is the debt of gratitude he owes her for saving his life. By the conclusion of act three, it is clear that Nora has gained the power of independence, but the other two are no longer existent thanks to Helmer’s outburst and Krogstad’s letter. After shedding her fancy dress and re-appearing Nora states ‘I’ve changed,’ and from this moment on the infantilism she formerly showed and her inflated self-opinion leaves, and is replaced by a resolute decision and a lucid acceptance of her responsibility.
This is almost a complete contrast to the power shift experienced by Torvald. Initially he views his wife as a mere possession, a toy doll which he is able to show off at party’s to the admiration of fellow members of powerful society, ‘curtsy here curtsy there – and the vision of loveliness was gone as they say in fairy tales.’ However when this ‘possession’ of his shows any sign of independence and when he realises the consequences of her leaving, he is forced to make a series of desperate appeals to Nora’s religion, morals and marital duty in order to attempt to persuade her to stay.
The theme of power is a central issue in Ibsens ‘A Doll’s House.’ Through the presentation of power in the home, the power of society and the transition of control between characters Ibsen is able to create a commentary on the rights and values of a society devoid of many gender equalities that are present today. The change in Nora, from being under the power of Krogstad and Helmer to eventually leaving the house and the children was a ground breaking power shift to portray in the social setting of late 1880’s and it is due to this radical shake up in the community’s view on the power of independence that ‘A Doll’s House’ became arguable the most significant piece of Scandinavian theatre of all time.
