Drama has always been taken as an objective and impersonal representation of life
Drama has always been taken as an objective and impersonal representation of life. It narrates the events that are taking place off the stage and makes comments on the morality of the actions presented in the scene. Precisely, drama forms the basis of social criticism, which has been regarded as the most crucial function of all art. Many scholars have depicted that apart from imitating actions in society, drama constitutes a powerful tool through which social conditions are determined. For instance, in “a Doll’s House,” Ibsen refers to puppets, playthings, and dolls all over the play to expose the constrained roles of women in his society and the tribulations that arise from an extreme imbalance of power between women and men in society as illustrated below.
The references are used to signify the conservative view of women’s roles by men, particularly in motherhood and marriage. It is clear from the play that Torvald perceives the sacred duty of a woman as being a good mother and wife. He is seen notifying Nora that the morality of their children remains to be women’s responsibility (Jones-Waddell, 2017). In reality, Torvald relates women as childlike, powerless creatures that are detached from realism but are influential moral forces dictating the purity of humanity through their manipulation in the home. This is demonstrated by several pet names that are used on Nora. Torvald calls her several pet names. He calls her “featherhead,” “songbird,” “squirrel,” “hunted dove,” and “skylark” (Ibsen, 1923). When she leaves him, he calls her a “heedless child.” All these metaphors are used to reflect on Nora, who symbolizes women’s apparent innocence, carefree nature.
Another significant application of the references is to expose the way men of A Doll’s House are trapped by traditional gender roles just as the women. The men feel like they are the providers and that it is their responsibility to bear the burden of sustaining the needs of the whole household. They think that they are the unquestionable kings of their personal castles. That is why Torvald regards Nora as his “pet” and “property” (Ibsen, 1923). In this context, Torvald argues that Nora is not responsible or smart enough to be trusted with the handling of money. The play also portrays how men are obsessed with a desire to accomplish a higher status characterized by respectability, unlike women. Women remain behind to support their men in the fulfillment of household chores and care of children. This is further revealed from the way Torvald acted when Nora told about the borrowing that she had made. Torvald’s first thoughts are for his reputation (Jones-Waddell, 2017). This signifies that since women are not supposed to provide for their families, they do not have to possess any money since it will be seen that they have taken the male role, and that may ruin their husbands’ reputation, as Torvald reveals.
The references also portray that women in this society are supposed to be submissive and obedient to their male counterparts. Men in Nora’s society do not think of women as proper adults simply because they are “women.” Moreover, Torvald also regards Nora as a bird. The “bird” reference signifies that birds, women, are typically of low maintenance, which Nora is not complying to. Nora seems unperturbed by the views of others about her, even regarding herself “little Nora” (Ibsen, 1923) She even promises that she would not at all dream of defying the opinions of her husband. Ibsen uses the references to show how men in this society diminish women’s significance. However, there are clues that Nora is not fully happy with the restricted position she has as a woman. Nora is pointed telling Torvald that he and her father regarded her as a doll-child by not allowing her to give her own opinions. According to Nora, such treatment discouraged her from growing, and she viewed it as an act of committing “a great sin” against her (“Class notes,” n.d.). Torvald’s pet names portrayed Nora as “little,” depicting that he perceives her as a child. The dissatisfaction illustrates that Nora or rather “women” seem to comprehend the confinement that they face simply by virtue of their gender.
Generally, the references are used to diminish women’s significance in Nora’s patriarchal society. Such treatment hinders women’s independence as women are even prevented from conducting their own businesses without authorization of male counterparts. Women in such situations end up divorcing for the sake of their freedom. This is depicted at the final episodes of the play as Nora opts to abandon her married life, regardless of being begged by Torvald that he will change.