Gender

A Doll’s House
Historical Context
Women's Rights
In 1888, married women in Norway were finally given control over their own money, but the Norway of Ibsen's play predates this change and provides a more restrictive environment for women such as Nora Helmer. In 1879, a wife was not legally permitted to borrow money without her husband's consent, and so Nora must resort to deception to borrow the money she so desperately needs. Ibsen always denied that he believed in women's rights, stating instead that he believed in human rights.

The issue of women's rights was already a force in Norway several years before Ibsen focused on the issue, and women had been the force behind several changes. Norway was a newly liberated country in the nineteenth century, having been freed from Danish control in 1814; therefore, it is understandable that issues involving freedom—both political and personal freedom—were important in the minds of Norwegians.

Poverty had already forced women into the workplace early in the nineteenth century, and the Norwegian government had passed laws protecting and governing women's employment nearly five decades before Ibsen's play. By the middle of the century women were granted the same legal protection as that provided to male children. Women were permitted inheritance rights and were to be successful in petitioning for the rightbto a university education only three years after the first performance of A Doll's House. But many of thebprotections provided to women were aimed at the lower economic classes. Employment opportunities for women were limited to low−paying domestic jobs, teaching, or clerical work. Middle−class women, such as Nora, noticed few of these new advantages. It was the institution of marriage itself that restricted the freedom of middle−class women.

Although divorce was available and inexpensive, it was still socially stigmatized and available only if both partners agreed. The play's ending makes clear that Torvald would object to divorce and so Nora's alienation from society would be even greater. There was no organized feminist movement operating in Norway in 1879.

Thus Nora's exodus at the play's conclusion is a particularly brave and dangerous act. There was no army of feminist revolutionaries to protect and guide her; she was completely alone in trying to establish a new life for herself.

Celebrations
Christmas was an important family holiday in Norway and was viewed as a time of family unity and celebration. Thus it is ironic that the play opens on Christmas Eve and that the Helmer family unity disintegrates on Christmas Day. Christmas Day and the days following were traditionally reserved for socializing and visiting with neighbors and friends. Costume parties such as the one Nora and Torvald attend were common, and the dance Nora performs, the tarantella, is a dance for couples or for a line of partners. That Nora dances it alone signifies her isolation both within her marriage and in the community.

Nora's forgery is similar to one that occurred earlier in Norway and one with which Ibsen was personally connected. A woman with whom Ibsen was friendly, Laura Kieler, borrowed money to finance a tap that would repair her husband's health. When the loan came due, Kieler was unable to repay it. She tried to raise money by selling a manuscript she had written and Ibsen, feeling the manuscript was inferior, declined to help her get it published. In desperation, Kieler forged a check, was caught, and was rejected by her husband who then sought to gain custody of their children and have his wife committed to an asylum. After her release, Kieler pleaded with her husband to take her back, which he did rather unwillingly. Ibsen provides Nora with greater resilience and ingenuity than that evidenced by Kieler. Nora is able to earn the money to repay the loan, and her forgery is of her father's signature on a promissory note and not of a check. Lastly, Nora is saved by Krogstad's withdrawal of legal threats and so is not cast out by her husband. Instead, she becomes stronger and her husband is placed in the position of the marital partner who must plead for a second chance. Ibsen provides a careful reversal of the original story that strengthens the character of the "doll" wife.