Doll\'s House Is a Three-Act

¶ … Doll's House is a three-act play by Scandinavian playwright Henrik Ibsen. It was performed one month after publication, in 1879, and controversial when first published because it was critical of the overriding cultural norms of 19th century marriage, had strong feminist overtones (at least it appeared that way), and really was a testament to the actualization of the individual over the group -- and against conformity. It turns out that the play had a basis in reality for Ibsen, that of a good friend of his. It remains one of the more popular of his plays for, like much of Oscar Wilde, it is critical of society at the time and, to many Europeans, scandalous. Like the main character's self-discovery, though, open-minded individuals appreciated the frankness and candor with which the play gave a snapshot of 19th century society (Unwin).

Analysis -- It is often said that the "truth shall set one free," actually a Biblical quote from John 8:32. In some cases this is accurate, but often there are consequences to knowing the truth, particularly within a marriage that is based on less than honest feelings, desires, and attributes. The play, A Doll's House, exploits the theme of truth and deception throughout the interaction between the married couples, demonstrates a woman's overall inequality in 19th century society, and yet eventually, through the process of uncovering more truth, allows the actualization of the main character, Nora, as she struggles for marital, financial, social, and even sexual freedom. These are not easy struggles, nor is uncovering the truth a particularly pleasant task for Nora. What is also interesting is the manner in which her struggle for truth exasperates many of the men around her, particularly her husband, who simply cannot fathom how a woman could need actualization.

The theme of deception really exemplifies the facade of Torvald and Nora's loveless marriage. We see that there is a kind of deprecation apparent in their dialog from the very start when Torvald calls her a "featherhead," a "spendthrift," and in a condescending tone, presumes to lecture her about money during the Christmas holidays (Ibsen, 12). It is as if Nora is a child, someone who has no brains, and even though she is his wife, must be talked down to, quizzed about details, and generally demeaned in every possible chance and way. We find, quickly, that their marriage is based on tradition, and we find through the conversation with Nora's friend, Kristine that there is an old secret about Torvald's past that even he doesn't know -- being the prideful man he is. Indeed, Nora remarks: "Speak low. Suppose Torvald were to hear! He mustn't on any account…" (21).

Even Kristen's marriage to her late husband reinforces the idea of deception in a marriage, and certainly emphasizes Nora's naivete:

Nora: You are just like the others. They all think I am incapable of anything really serious

Mrs. Linde: Come, come-

Nora: - that I have gone through nothing in this world of cares.

Mrs. Linde: But my dear Nora, you have just told me all your troubles.

Nora: Pooh! -- those were trifles (lowering her voice) I have not told you the important thing (20).

We see Torvald's side of the deception in Act Three after he learns of Nora's forgery and Krogstad's ability to expose her. The conversations Thorvald has had during the previous two Acts show us that he is really only attracted to Nora because of her beauty and the social status that will glean him in society. He notes, "From now on, forget happiness. Now it's just about saving the remains, the wreckage, the appearance," showing us that all he really cares about it he own social status and reputation, naught for Nora. Essentially, Nora's forgery is the epitome of their disenfranchised and deceitful marriage -- Nora's forgery proves Torvald not to be the fine, upstanding businessman he purports to be, but instead, a weak and immoral man that would rather hide than take responsibility. For instance, Nora states with an exasperated tone, "We have been married eight years. Doe it not strike you that this is the first time we two, you and I, man and wife, have talked together seriously?" (116).

Nevertheless, we should not just blame Torvald for the deception. Nora deceives as well, as we have seen, and even early on in the play when she makes her passionate plea to hire Krogstad's, knowing full well that she is not qualified for the position. Nora's relationship with Dr. Rank also reiterates how lies impact the plot and characters. When the doctor admits his love for Nora, the audience senses that Nora is flattered and even welcomes this attention, another detail that her fidelity to her husband is a sham.