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Henrik Ibsen’s play A Doll’s House also encapsulates how the values placed within female submissiveness and subordination transcend time. In 19th century Europe, a woman who stepped out of her domesticated role in the home and entered the outside world of the labour force was censured. Torvald’s condescending manner when addressing Nora as “squirrelkin” or “songbird” ostensibly gives off the impression of being affectionate, however has paternalistic undertones which fix Nora’s inferior status in the relationship. Torvald’s displeasure at Nora’s agitated dancing of the tarantella commenting, “Not so violently”, ” It isn’t right” reflects how the patriarchal society of 19th century Europe suppressed a woman’s desire to fulfil her need for self-expression and lead a full and satisfying life. Nora questions the possessive attitude of men in “It pleased you, that’s all- the idea of loving me” which demonstrates how she challenges the social conventions that a woman must remain subordinate to men. Nora’s assertive exit at the end of the play undermines the role of women staying faithful to their husbands, challenging the norm that women will eventually submit to the male suppression of their independence and identity. Through Nora’s transformation from a woman, belittled and undermined by the males in her life, into a strong-willed and independent being, Ibsen’s A Doll’s House explores the tension between the individual and the society with set the behavioural standards.