With A DOLL’S HOUSE Ibsen has paved the way for woman’s emancipation. Nora awakens from her doll’s role to the realization of the injustice done her by her father and her husband, Helmer Torvald.
“While I was at home with father, he used to tell me all his opinions, and I held the same opinions. If I had others I concealed them, because he would not have approved. He used to call me his doll child, and play with me as I played with my dolls. Then I came to live in your house. You settled everything according to your taste, and I got the same taste as you, or I pretended to. When I look back on it now, I seem to have been living like a beggar, from hand to mouth. I lived by performing tricks for you, Torvald, but you would have it so. You and father have done me a great wrong.”
In vain Helmer uses the old philistine arguments of wifely duty and social obligations. Nora has grown out of her doll’s dress into full stature of conscious womanhood. She is determined to think and judge for herself. She has realized that, before all else, she is a human being, owing the first duty to herself. She is undaunted even by the possibility of social ostracism. She has become sceptical of the justice of the law, the wisdom of the constituted. Her rebelling soul rises in protest against the existing. In her own words: “I must make up my mind which is right, society or I.”
In her childlike faith in her husband she had hoped for the great miracle. But it was not the disappointed hope that opened her vision to the falsehoods of marriage. It was rather the smug contentment of Helmer with a safe lie—one that would remain hidden and not endanger his social standing.
When Nora closed behind her the door of her gilded cage and went out into the world a new, regenerated personality, she opened the gate of freedom and truth for her own sex and the race to come.
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