Henrik Ibsen, A Dolls House

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Henrik Ibsen, A Doll’s House

Henrik Ibsen who is the author of A Doll’s House lived from the time period of 1828 to 1906. He is an exceptional Naturalist and is also a Norwegian dramatist. “Naturalism was inspired by the methods of science and the insights of sociology to focus on such issues as working-class unrest and women’s rights” (Matthews and Platt 538). He brought forth the idea of the “problem play.” This type of play involves dealing with social issues of this time period. In A Doll’s House, Henrik Ibsen depicts an ordinary couple who is married and towards the end Nora, the wife, realizes she is a doll just like when she was growing up with her father, and wants to find her own person and live the life that she desires. Nora sacrifices leaving her children and throwing in the towel for her marriage so this exploration can take place. Naturalism occurs copiously throughout the play of the marriage between Torvald Helmer and Nora Helmer.

The play starts off right away by showing the reader how Helmer does not think very highly of women, by treating Nora as a child. Throughout the novel, Torvald refers to Nora as his little lark or his squirrel. This type of diction that Torvald uses toward Nora proves how he speaks to her in such a childish way. Torvald also treats her like she is naive because he acts like he is her father by not wanting her teeth to go bad from eating sweets all the time. Helmer states, “Hasn’t Miss SweetTooth been breaking rules in town to-day?” Nora replies, “No; what makes you think that?” Helmer again nags her and asks, “Not been nibbling sweets?” Nora argues, “No, certainly not.”

Another quote from the play where Torvald talks about sweets is when he asks Nora, “Not even taken a bite at a macaroon or two” (Ibsen 7)? As a reader can see, Torvald converses through baby talk with Nora constantly and treats her like a two year old.

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Nora even suggests herself that Torvald acts as if Nora was just a doll and was there for entertainment only. “I mean, of course, when Torvald is no longer as devoted to me as he is now; when my dancing and dressing-up and reciting have palled on him; then it may be a good thing to have something in reserve” (Ibsen 17). She feels as though she is just there to be pretty and dance the tarantella whenever he wants her to.

Towards the beginning, Nora is talking with Mrs. Linde. Mrs. Linde is an old friend of Nora’s who is widowed and has come to seek work. It seems like Nora received money from prostitution, rather than the actual means of receiving the money. Mrs. Linde comments, “I don’t understand it at all, Nora.” Nora replies, “There is no need you should. I never said I had borrowed the money. I may have got it some other way. (Lies back on the sofa) Perhaps I got it from some other admirer. When anyone is as attractive as I am--” (Ibsen 16). This statement is suggesting to the reader that Nora sold herself for money, but that was not the case.

Nora is so submissive towards Torvald and does not really do anything to break that obedience, except for when the reader finds out later in the play about how Nora saved Torvald’s life. Nora took out a loan and paid for all of Torvald’s medical expenses over in Italy. Mr. Krogstad is a lawyer who works under Torvald and was the one who lent the money to Nora. This deal is secretly just between Nora and Krogstad because these types of deals are not allowed to take place. Helmer soon dismisses Krogstad, without knowing the truth about Nora and Krogstad, and a letter is sent out to Helmer about Nora borrowing money from him. Nora begs Krogstad to not send out the letter, as well as trying to convince Helmer not to check his mailbox in which the incredibly important letter sits. Helmer is so disappointed in Nora when he receives the letter and is humiliated at the same time. As the reader can see, this is a huge social issue during this time period. A woman is not supposed to be paying for big medical expenses or anything like that in general really. This is only a man’s job. Women are meant to take care of the children and keep the house tidy. The play becomes exceptionally chaotic, with all these misconceptions and scandalous secrets that have been kept all this time. The truth is finally coming out.

In the ending of the play, Nora stands up for herself for once and tells Torvald how things are going to be from now on. This is quite uncommon for a woman during this time period to carry out this kind of action. Nora states, “According to it [law] a woman has no right to spare her old dying father or to save her husband’s life. I can’t believe that.” Helmer replies back, “You talk like a child. You don’t understand the conditions of the world in which you live” (Ibsen 89). Helmer is obviously still treating Nora poorly and is upset with the whole situation. They continue their conversation with one another and Helmer brings up a point to Nora. Helmer says, “I would gladly work night and day for you. Nora-bear sorrow and want for your sake. But no man would sacrifice his honour for the one he loves.” Nora replies back, “It is one thing hundreds of thousands of women have done” (90). Nora responds with an extremely true statement and all Helmer can do is just call her a child once more. Nora eventually leaves him without any of Helmer’s personal belongings and tells him not to write her. She needs to be alone and figure out what is best for her in life.

The theme of naturalism is definitely repetitive throughout the “problem play.” Women’s issues are addressed as well as some general social issues of this time. Nora stood up for what she believed was right and pushed herself past the normal of this time period. She felt like she was doing the right thing for her husband, but that led to angry people, including Krogstad and Helmer. She did have to leave behind a husband and three children, but she needed to find out what she really wanted out of life.