Themes of A Doll’s House

The  Role  of Men and  Women in  Society

This play focuses on the ways that women are perceived in their various roles, especially in marriage and motherhood.  Torvald,  in particular,  has a  very clear but narrow definition of women’s roles.  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 childlike,  helpless creatures detached from reality on the one hand,  but on the other hand as influential moral forces responsible for the purity of the world through their influence in the home.

Ideas of  “manliness”  are present in more subtle ways.  Nora’s description of  Torvald suggests that she is partially aware of the inconsistent pressures on male roles as much as the inconsistent pressures on female roles in their society.  Torvald’s  own conception of manliness is based on the value of total independence.  He abhors the idea of financial or moral dependence on anyone.  His strong desire for independence may put him out of touch with the reality of human interdependence.

Frequent references to  Nora’s father often equate her with him because of her actions and her disposition.  Although people think he gave  Nora and  Torvald the money for their trip to  Italy,  it was  actually  Nora.  She has more agency and decision-making skills than she is given credit for. Nora seems to wish to enjoy the privileges and power enjoyed by males in her society.  She seems to understand the confinement she faces simply  by virtue of her sex.

Marriage  as  an Unequal Partnership

At the heart of  A  Doll’s House is the marriage between  Nora and  Torvald—one fairly typical of the era.  Is it a  good or exemplary marriage?  Is it an equitable relationship for the woman?

A  close analysis of the dialogue shows a  very unequal relationship with  Torvald holding all the power. In fact,  the interactions between husband and wife serve a  specific purpose:  they illustrate the banality of the discourse between the two.  Torvald does not address his wife regarding any subject of substance.  Instead,  he  bestows her with  pet names that  often  begin  with  the  personal  pronoun  “my” and  often includes the  diminutive “little”: “Is that  my  little  lark?” In this respect,  Torvald may think he is flattering his wife. However, he is reducing her to a  cute, harmless pet—one that is owned. And like a  pet,  Nora is expected to obey her owner/husband and his petty tyrannical rules:  she is forbidden from eating macaroons and must do so on the sly—which she resents.  Additionally,  when Torvald addresses  Nora,  he belittles her by constantly bringing up her lack of responsibility with money.  Depending on  the  translation,  Nora  is “spendthrift,” “prodigal”  and  “little  moneybags.” All of these terms,  spoken affectionately,  are passively aggressive.

A  Doll’s House has few stage directions indicating tone of voice,  so there is a  great deal of freedom in the manner in which the actor can play the part of Torvald.  He can be played like a  patriarchal tyrant or a  fatuous,  passive-aggressive sexist.  The second option is, perhaps,  the better choice;  Torvald’s utter obliviousness to his oppressive behaviour is a  driving force in the play.  He berates his wife for knowing nothing about worldly matters but,  ultimately,  is himself unaware of the measures she has taken to save his life.  Torvald is so self-centred that he continues to see his wife how he wants her to be or how she fails to be his ideal woman;  he never sees the actual woman she is.

Materialism