A Phoenix from the Ash: Henrik Ibsen's a Doll's House

Henrick Ibsen broke the ice with A Doll's House, a work he produced that addressed the issues of a woman's role within society and also fathered the modern drama. A work that initially attacked by critics, A Doll's House has been translated into nearly every language on the planet. A Doll's House embodies themes that at the time it was written were never dreamed of, but over time have become a reality. A critic, Lowenthal, once remarked that ". . . women fare badly in a society where economic and social functions are almost exclusively male prerogatives." Nora Helmer, the main female character, proves this statement to be false by taking two major life decisions into her hands and proves to her husband that women are not weak and should not be treated as inferiors.

Torvald Helmer, Nora's husband, represented the male figure in Lowenthal's statement concerning male prerogatives. But, as Beyer explained, ". . .he is a narrow-minded bourgeois citizen who was totally dependent on the estimation of others and on his own position." Torvald raises himself on a pedestal above his wife by treating her as if she was an inferior being. He referred to Nora as his "little lark" and "little squirrel." Torvald creates a father-like figure that resides over Nora, a figure that looks over and takes care of the helpless. Nora said to Mrs. Linde that "It was I who saved Torvald's life," but Nora didn't want Torvald to know her "secret." Nora took work to earn money to pay back the loan that saved her husband's life and also forged, illegally, her father's signature to obtain the loan. All this was achieved by an "inferior woman." Nora kept this "secret" for several years to keep her husband from an humiliating blow to his pride. To be in debt to a woman would hurt his honor and ". . . no man would sacrifice his honour for the one he loves."

Nora proved strength through another major decision, Nora decided to leave her husband and her children to find herself. She believed that Torvald and herself were, as Beyer put it, ". . . essentially . . . strangers to each other." For a woman of this time period it was extremely brave to leave her husband and children. It would cause her great dishonor, but she felt that it was necessary to leave. Nora found herself to be a doll in a doll's house. A lifeless, emotionless object that was molded to the makers specifications.

Nora Helmer took her life into her own hands. Nora was faced with two major problems that questioned her strength and worth. Residing beneath the "little squirrel" shell that formed the Nora Torvald knew was a beautiful creature that needed to hatch. This hatchling that broke through this shell of inferiority was a strong and self-sufficient being, a long awaited phoenix from the ash.