A Doll S House

A Doll’s House The first aspect I want to focus on is how archetypal Torvald is. In many ways, he’s a mirror to Stockmann in his utter devotion to his ideals, and inability to evolve to navigate the situations with which he is presented. I also find it interesting that the other Ibsen character his behavior most closely resembles is literally called a stock man. Nora’s decision to leave her family is widely accepted as a turning point for women in theatre, but much of it hinges on Torvald’s one-dimensional character and inflexibility when confronted with Nora’s past mistakes, and how quickly he shifts back to contentedness when saved: “Well, that’s done with. From now on happiness doesn’t matter; all that matters is saving the bits and pieces, the appearance” and “You mustn’t mind those sharp words I said – that was all in the first confusion of thinking my world had collapsed. I’ve forgiven you, Nora; I swear I’ve forgiven you” (438). This sharp and rapid shift back and forth shows Torvald for who he is: The stranger Nora claims him to be. I also find the character of Mrs. Linde to be remarkable in a few ways. While Nora is widely considered one of the first feminist characters in theatre, Mrs. Linde is often overlooked for her part in the story. The actions Nora took were indeed revolutionary for the time, so much so that Ibsen was forced to write an alternate ending in which she sacrificed what she stood for to protect the familial ideal of the “majority,” but I find it very remarkable how Ibsen shone a light on the ability of his patriarchal society to confine women into a childlike state, and leave them utterly helpless in the world. Mrs. Linde is an important tool for this point, not only acting as a contrast to Nora’s childlike outlook, but also as a way of humanizing Krogstad and in so doing putting more onus on society for the situation rather than on the shoulders of one “evil” antagonist. Her ‘sacrifice’ to Krogstad is what saves the day, and her insistence that the whole truth comes to light sparks the unavoidable conclusion. “No, Nils, don’t call the letter back…Helmer’s got to learn everything; this dreadful secret has to be aired; those two have to come to a full understanding. All these lies and evasions can’t go on” (435).