A Doll's House by Henrik Ibsen
The play, is about the unravelling of a family. Nora and Torvald Helmer believe they are happily married and on the brink of a blissful new phase of life: Torvald has been promoted to bank manager and their money worries are over. But Nora has a secret debt, incurred with good intentions and a forged signature, and with her husband's new power comes the threat of blackmail.
Over three acts the play culminates in a spectacular scene between the couple as Nora's lie is exposed and Torvald first blames, then forgives her and is finally abandoned as Nora recognises the truth of her situation. She accuses her husband, and her father before him, of having used her as a doll, and declares herself unfit to be a wife or mother until she has learned to be herself. Ibsen's final stage direction, of the door closing behind her, is one of the most famous ever written.
Since A Doll’s House first premiered in 1879, critics have been voicing opinions about the production. Although the historical and social context of Ibsen’s time varies greatly with that of today particularly the role of women critics have always found A Doll’s House to be relevant to society. In 1879, critics saw Nora’s actions as shocking and scandalous for a woman, whereas today, critics tend to see Nora’s actions as a way of reinforcing an individual’s right regardless of gender to protect themselves.
First of all , during Ibsen’s time, many critics were shocked negatively and positively by Nora’s character and her choice to abandon the pillars of upper-middle class society by leaving her family (or, put more simply, her ability to make a choice on her own). Some critics found A Doll’s House to be relatable as well as influential in potentially changing social norms. One review––written in 1879 for the Social Demokraten––reacted positively, proclaiming:
“Finally an event at The Royal Theatre, and an event of the first class! This play touches the lives of thousands of families; oh yes there are thousands of such doll-homes, where the husband treats his wife as a child he amuses himself with, and so that is what the wives become. . . Who, after seeing this play, has the courage to speak scornfully about run-away wives? Is there anyone who does not feel that it is this young and delightful young woman’s duty, her inescapable duty, to leave this gentleman, this husband, who slowly sacrifices her on the altar of his egotism, and who fails to understand her value as a human being” (Social Demokraten).
In saying that “there are thousands of such doll-homes,” it becomes clear to a modern audience that Nora and Torvald’s relationship was typical in a Norwegian, upper-middle class home in the late 19th century (Social Demokraten). This quote also indicates that Nora’s behavior was not common, and that this play presented a radically different viewpoint. According to the Social Demokraten, Ibsen not only presented a radical viewpoint, but one that audiences might have willingly latched onto.
However, other critics feared just that. Some critics responded negatively to Nora’s strength and independence, believing the ideas Ibsen presented mould negatively impact audience members. For example, Erik Vullum––a Norwegian Journalist––wrote in his 1879 review of A Doll’s House:
“I am thinking about the fact that it is Nora, that is, the woman, who acts as a spokesman both when it comes to the dissolution of the marriage and to entrusting the children she herself has borne to the care of a nanny. There is something indescribably unnatural in this, and therefore, in the final instance, artificial. Even if one can accept that there possibly may exist a woman who has done such a thing, one still feels dissatisfied to the utmost degree when it appears to be something that perhaps also has the sympathy of the author. If a woman, warped by a certain contemporary school of thought, can persuade herself that she is protecting her independence, freedom and honour by behaving à la a trumpet of doom over a dispirited husband and letting him sink down into his well-deserved ruin, there is no need for it in the female nature as such” (Vullum).
Given the expectations of women in the late 1800’s, Nora’s choice to leave her home was not something that was seen in upper middle class Norwegian society––and certainly not seen on stage. Vullum dismissing her as “unnatural” and deeming her actions “artificial” demonstrates how shocking Nora’s character was to audiences at the time (Vullum).
Other critics recognized the boldness of Nora’s departure as well. Amalie Skram, a Norwegian journalist writing in the 1880’s, saw A Doll’s House as a “warning,” suggesting that while audiences see Nora’s strength, they should not fail to notice the problems with her decision (Skram). Skram continued:
“When the woman first has risen, she will never let herself be stopped again. Like Nora, she will let the duties that her doll-life gave birth to fall dead