A Doll S House As A Manifesto

A Doll’s House as Ibsen’s Feminist Manifesto
Henrik Ibsen's drama A Doll House is a firm declaration for female equality, especially on the social and personal levels. Ibsen uses the dialogue of his drama to reveal the qualities of his characters - this lucid characterization illustrates the transformations the protagonist, Nora, undergoes. The dynamism of Nora, her interactions with her husband and other male characters reveal Ibsen's feminist message. Nora at first submits to the dominance of her husband, Torvald, under the guise of love, but after finding her essence and inner-strength, she asserts her individuality, leaving Torvald and his suffocating home.
In addition, Torvald's objectification of Nora is flagrant and Nora's interactions with other male characters draw sharp attention to the tension in this relationship. Ibsen's A Doll House collectively asserts that women are equals on all levels; often their complexity is neither recognized nor respected by their male counterparts. These men will often attempt to confine women to domestic roles or reduce them to objects of sexual gratification.
Ibsen's dialogue between characters speaks for itself about prominent male attitudes toward women. "Little sweet-tooth hasn't by any chance been on a rampage today," "Can't have a pouty squirrel in the house," and "My wastrel is a sweetheart, but she does go through an awful lot of money." These quotes illustrate Torvald's objectification of Nora. He calls her little animal names and, consequently sees her as nothing more than one - a sweet, beautiful creature dedicated only to his pleasure and enjoyment. Ibsen is disgusted by Torvald's treatment of Nora. Thus, the dialogue imparts the intense strain in their relationship. Nora understands that she is more than an object, but she is unable to express it before her husband for fear of upsetting him and his little world. She submits and dilutes herself only because she has been offered no other option and sees no way out.
Nora is faced with a both an external and internal conflict in A Doll House; both of which result in her choice to escape from the restraints of her home. Initially, these conflicts trap Nora. She must find a way to quiet Krogstad and prevent Torvald from discovering she borrowed money to save his life, in addition to escaping the oppressive control of Torvald and forging an independent identity. Ibsen focuses intensely on these conflicts and the psychological and emotional effects they have upon Nora. At one point in the drama, Nora is afraid to see her children because Torvald delivered a philippic about Krogstad, positing that a lying parent poisons the minds' of a household's children. Nora knows she has lied to Torvald and does not want to corrupt her children. This puts her in a fragile mental state - she bounds through the house, preparing for Christmas, with paranoid mutterings issuing from her lips.
Nora's only confidante is Mrs. Linde, a childhood friend, who carefully listens to Nora's predicament. Ibsen uses Linde to point out that women who have made it to the workforce have still not broken the barrier of male dominance, having not truly rebelled against it. This is represented by Linde's story of privation and Linde's initial misperception of Nora as a capricious and unburdened woman. Nora's situation itself is utilized by Ibsen to comment further on the male dominance of society and the necessity that has developed for women to assert themselves as equals.
The dialogue of A Doll House is also used to characterize Nora through interactions with other males who do not represent the domineering forces that Torvald does. For instance, Dr. Rank is a sensitive and understanding gentleman and friend of the Helmer Family, who often listens to Nora discuss her life and feelings. Rank treats Nora respectfully recognizing her personal strength. Furthermore, Rank confesses his love to Nora while she comes to him for consolation during a highly stressful period of conflict between her and Krogstad. Nora rebukes Rank, though his expression of love was subtle and passive, and Rank respects Nora's denial and offers his help to her in any way. Moreover, Nora and Krogstad's communications depict Krogstad treating Nora economically as an equal and threatening her like any creditor would do to a male in that position. Krogstad threatens Nora with a fate that he himself experienced, recognizing her as an equal by expecting her to understand the complexities of the laws of society despite living in a sheltered home. Although Nora does not fully understand the transgression her heart has made against the law, it is all part of the transformation that supports Ibsen's belief in the fortitude and intelligence of women.
Nora begins the drama under the dominance of Torvald but at the end, she has asserted her personal sovereignty over her mind and body. Nora is portrayed as capricious and sly early in the play but only out of necessity. She is left with no option but to hide her actions from her husband, fearing his wrath. She could not bear to lose her husband at that time or be separated from her children. But as the play progresses and Krogstad comes closer and closer to revealing his deal with Nora to Torvald, Nora begins to realize that her duty is not to gratify her husband and care for the children. Her obligation is to establish herself as an individual and equal in the household. The only option that Torvald leaves her, because of his inability to look past his assumptions about women, is to leave the house indefinitely. Nora calmly asserts her wishes and expounds her reasoning shattering Torvald's world. He is flummoxed, distraught, and repented, but there is nothing he can do besides watch her go. She is her own person now. The transformation is complete.
Nora finally forces Torvald to recognize her equality. She refuses to force herself to gratify a man who only treats her like an object. The people surrounding her show her a world that exists outside of Torvald's dominance. Not only does Nora deal with being treated as an object of sex, but she fights a battle most men could not fight themselves without breaking down. She attempts to pay back an enormous loan to a shady creditor bent on keeping a job that Torvald is bent on filling with someone else. Originally, Nora could not bear the thought of Torvald discovering this deal, but she realizes that the discovery of it may be the only way that Torvald would recognize her as an equal. Unfortunately, Torvald reacts to the discovery like an impetuous child - only concerned with his own preservation. In addition, he places all of the blame on Nora and questions all her actions, instead of feeling indebted to her. Nora then takes the course of action she knows is necessary: she leaves. Thus, Ibsen has conveyed his theme, regarding the mental and emotional fortitude of females.