Women's Roles in a Male Dominated Society: An Analysis of Nora's Roles in Ibsen's A Doll's House

Ibsen's play, A Doll's House, examines the roles of a woman in a male dominated society. Middle class, nineteenth century women were required to assume restrictive roles. Their duties include dutiful wife, childlike mother, and seductress. Although, at first Nora accepts these roles she eventually rejects them. Nora assumes the restrictive role of a childlike yet dutiful wife. In addition, Nora assumes the restrictive role of a seductress. However, she eventually rejects these roles.

Nora assumes the restrictive role of a childlike yet dutiful wife. William L. Urban notes, "being with Torvald Helmer was like being with her father" (2). Nora's father considers Nora "his doll-child" (63) and Torvald constantly refers to Nora as his "little squirrel" (4). Helmer's similarity with Nora's father reminds of her restrictive, childlike role. Because both men view Nora as a child, Nora believes she must restrain her true thoughts and behave as a child. Instead of nurturing her children, she plays with them. Nora furthers her childlike behavior by responding to Helmer as a mindless creature. Although Nora behaves as a child, she effectively executes her role as a dutiful wife. When Torvald's life becomes endangered she revives him by taking him to Italy. Urban notes, "It was her concern for his health that caused her to take out the original loan and forge her father's signature" (2-3). Because Nora lacks funds, she forges her father's signature to receive a loan. While forgery is illegal, Nora accomplishes her role of a dutiful wife. In spite of her childlike behavior, Nora assumes the restrictive role of a dutiful wife.
Nora also assumes the restrictive role of a seductress. She must restrain her true emotions to satisfy Helmer. Nora hides her thoughts when she puts on her black shawl. The black shawl symbolizes Nora's restrain of her thoughts. This shawl also cover's a revealing dress of Helmer's choice. Helmer is greatly attracted to his wife. Nora satisfies Helmer's attraction when she dances the Tarantella. While Nora dances, Helmer becomes overwhelmed with lust. Helmer views Nora in her dress as his "fascinating, charming little darling" (55). Urban notes "…his lust for Nora was stronger than his desire for social and economic status" (4). Because of Helmer's lust, Nora becomes the most important object in Helmer's life. Although Nora must restrain her true emotions, she successfully fulfills the role of a seductress.

Although Nora accepts these roles, she eventually rejects them. Nora believes she can provide a better way of life for herself rather than the restrictive roles currently placed upon her. Nora's rejection occurs when she leaves Helmer. She frees herself from all of the restrictive roles' obligations. Nora faces the truth in the relationship and Helmer's "doll is taken" (67). Nora leaves because she no long can withstand the restrictive roles and believes she can support herself. Urban notes "she already discovered how much fun it is to support herself" (3). Nora previously supported herself through sewing and knitting. Urban observes "Nora must go out into the world and educate herself" (3). Because Nora renounces Helmer and decides to provide for herself, she successfully rejects the restrictive roles.

While Nora at first accepts the restrictive roles of a childlike yet dutiful wife and seductress, she later refuses them. She no longer can accept women's roles in a middle class, nineteenth century setting. Nora possesses an enhanced vision for women in a male dominated society.

Works Cited

Ibsen, Henrik. A Doll's House. Four Great Plays by Henrik Ibsen.
Ed. And trans. R. Farquharson Sharp. 1958. New York:
Bantam, 1981. 3-68

Urban, William L. "Parallels in A Doll's House." Festschrift in Honor
of Charles Speel. 1997. 12 February 2005