A Doll's House - key quotes

"A comfortably and tastefully, but not expensively furnished room"

"Backstage left, another door to Helmer's study" (Stage directions, 27)

As is typical of Ibsen's plays, the central characters of 'A Doll's House' reflect the concerns of the Victorian middle-classes, including a preoccupation with wealth and social status. Ibsen suggests that Torvald has made his own money and advanced up the social hierarchy, and the precarious nature of the Helmers' wealth within a capitalist society is reflected by their house.

Nora is isolated from her husband, as the door to Torvald's study acts as a physical symbol of their separation. This may reflect the contrasting roles of men and women within Victorian marriage, with men employed in the public sphere and women confined to the domestic sphere.

It is interesting that, in ADH, Torvald and Nora remain separate even within the female-dominated domestic space of the home. While the house should be a space of increased female power for Nora, the powerful image of the "two doors" illustrates the total powerlessness of women under the system of patriarchy and the intrusion of female space.

"Is that my skylark twittering out there?" (Torvald, 28)

"My poor, helpless little darling" (Torvald, 86)

"My frightened little songbird" (Torvald, 109)

Traditional views of women - Torvald infantilises, dehumanises, and patronises Nora throughout the play, viewing her as a traditionally weak, fragile, and intellectually inferior woman. While his language is often affectionate, the clear misunderstanding and infantilisation of his wife suggests a lack of love within their marriage.

"She takes from her pocket a bag containing macarons and eats a couple" (Stage directions, 27-28)

"Has my little squanderbird been overspending again?" (Torvald, 28)

"The squanderbird's a pretty little creature, but she gets through an awful lot of money. It's incredible what an expensive pet she is for a man to keep" (Torvald, 30)

The macarons act as a symbol of wealth and indulgent, depicting Nora's desire to spend as frivolous and insubstantial. This may emphasise a Victorian preoccupation with money, reflecting the growth of capitalist ideology within Victorian society.

However, as Nora hides her spending from Torvald, this acts as Nora's first act of secrecy and rebellion against her husband. Perhaps the macarons mirror the transgression that has already taken place prior to the action of the play, highlighting Torvald's inability to control Nora from the very beginning.

Torvald holds total economic control within the family as he monitors and attempts to limit Nora's spending, reflecting the lack of financial independence of middle-class Victorian women. Emphasises women's financial dependence on their husbands, as they would have been expected to give up employment upon marriage.

Furthermore, Nora is presented as her husband's property through Torvald's dehumanising comparison to a pet. This reflects the low status of women within marriage, as they were viewed as subordinate and essentially 'owned' by their husbands.

"When Torvald no longer loves me as he does now; when it no longer amuses him to see me dance and dress up and play the fool for him" (Nora, 42)

"My sweet little baby doll!" (Nora, 49)

"I passed from papa's hands into yours...I've been your doll-wife, just as I used to be papa's doll-child" (Nora to Torvald, 111)

The metaphor of dolls/dolls houses runs throughout the play - reflects the total control held by men within marriage and, more widely, patriarchal control within Ibsen's own society. Women are portrayed as powerless and dependent on their husbands, trapped by the 'doll's house' of marriage.

Nora's concern that Torvald's love for her will fade over time may reflect the value of youth and beauty in the status of women. Reflects an anxiety that women lose their value and desirability as they age and lose their beauty.

Transactional status of women - by the end of the play, Nora is able to recognise that marriage is no more than an economic agreement between men. She has been used as chattle in the agreement between her father and husband.

Nora: "Tell me, is it really true you didn't love your husband? Why did you marry him then?"

Linde: "Well, my mother was still alive; and she was helpless and bedridden...I didn't feel I could say no." (37)

"I have no pappa to pay for my holidays, Nora" (Linde, 38)

While Nora initially found love in her marriage to Torvald, Mrs Linde shares her experience of a loveless marriage borne out of economic necessity. Reflects the lack of economic freedom for women, forced to marry in order to look after their families due to the taboos associated with female work.

While Nora is comfortable and wealthy, Mrs Linde represents the alternative for women who are less lucky and affluent than Nora. She is forced first to marry and later to work in order to care for herself and her family.

"He's [Torvald's] so proud of being a man - it'd be painful and humiliating for him to know that he owed anything to me" (Nora, 41)

"It was great fun, though, sitting there and earning money. It was almost like being a man." (Nora, 42)

"I am man enough to bear the burden for us both" (Torvald, 72)

Masculinity - Torvald embodies traditional views of masculinity, emphasising the stark contrast between conventional gender roles. Masculinity is aligned with employment, strength, and knowledge, juxtaposing Torvald's view of Nora as weak and helpless.

However, Torvald's masculinity appears to be completely dependent on his belief in Nora's femininity - he is emasculated and humiliated by her decision to take out a loan and seek employment.

"There's a moral cripple in with Helmer at this very moment" (Rank, 45)

Strict codes of morality and social etiquette among middle-class Victorian society - those who defied these rules were viewed as morally deficient and transgressive, and excluded from society. This is reflected by Torvald's treatment of Krogstad, who he condemns for forging a signature.

"How on earth could you imagine that I would have any influence over my husband?" (Nora to Krogstad, 53)

Victorian marriage - Nora's surprise at Krogstad's suggestion that she may hold any influence over her husband emphasises the total powerlessness of women within traditional institutions of marriage. The power is entirely in Torvald's hands. Reflects total male financial control, as well as the husband's ownership of property, possessions, and even children.

Krogstad: "The law does not concern itself with motives"

Nora: "Then the law must be very stupid" (57)

Discussion of social and legal inequalities, perhaps reflecting those of Ibsen's own society. As a woman, Nora is legally inferior to the play's male characters, most significantly reflected in her inability to take out a loan without male permission. Similarly, Krogstad's inferior social status puts him in a disadvantaged position, suggesting that both are characters who have been wronged by the law.

However, while Nora is able to recognise and question this injustice, Krogstad simply accepts the law. This highlights the key difference between these two characters, as Nora is presented as rebellious and assertive through her transgression of conventional expectations of femininity.

"An atmosphere of lies contaminates and poisons every corner of the home. Every breath that the children draw in such a house contains the germs of evil." (Torvald, 61)

"He's got a terrible disease - he's got spinal tuberculosis, poor man" (Nora, 66)

"Within a month I may be rotting up there in the churchyard" (Rank, 74)

Imagery of disease, poison, and death reflects a Victorian fascination with death and mortality, perhaps due to overcrowding and poor living conditions. Following the publication of Darwin's 'On the Origin of Species,' an improved understanding of evolution led to increased concerns about hereditary disease and genetic conditions. Focus on morality in ADH, as Torvald suggests that - like disease - evil/immorality can be passed down genetically and corrupt one's children.

Also emphasises the importance of motherhood within the roles of women, as Nora is primarily expected to educate and influence the children, rather than this role falling to their father.

"The Christmas tree stands, stripped and dishevelled, its candles burned to their sockets." (Stage directions, 63)

Christmas was a relatively new custom at the time that the play was written, acting as a symbol of the relative wealth of the Helmer family. A symbol of family happiness and unity, as a celebration of the traditional nuclear family structure.

Christmas - initially a German/Baltic tradition, spread across Europe during the Victorian period, reflecting growing globalisation.

The deterioration of the Christmas tree may act as proxy for Nora's slowly fading facade of an adoring wife and mother. Mirrors her transgression and the eventual disintegration of the Helmer family.

"Torvald wants me to go as a Neapolitan fisher-girl and dance the tarantella." (Nora, 65)

The Tarantella - physically demanding, working-class Italian women's dance, believed to cure a spider bite.

While the Tarantella allows Nora space to practice, enabling her to transgress her role and begin to assert some control on stage, this ultimately takes place at Torvald's request, reflecting total male control and domination under the system of patriarchy.

In the performance of the Tarantella, Nora is simultaneously sexualised and infantilised by her husband, reflecting the impossible and contradictory expectations placed on women.

"He must never see that letter. Tear it up" (Nora, 82)

"I'm going back into the bank, and it's going to be higher up" (Krogstad, 83)

Theme of secrecy and deception runs throughout the play, displaying the distrust and flaws in the marriage between Nora and Torvald. While Nora's secrecy is motivated by a desire to maintain Torvald's affection and retain her reputation, Krogstad's blackmail is motivated by ambition and a desire for self-advancement. Reflects a gender disparity - while men may work towards growth and advancement, women must fight for security/safety.

"Helmer...tries repeatedly to correct her, but she seems not to hear him. Her hair works loose and falls over her shoulders" (Stage directions, 88)

Themes of sexuality and transgression - in melodrama, loose and dishevelled hair could represent women's sexual availability and even madness. Another reflection of the strict rules and expectations placed on women.

Nora's act of rebellion conforms to Torvald's fantasy of Nora as a "Neapolitan fisher-girl," as he retains control within the play.

"Suppose we two shipwrecked souls could join hands?" (Linde to Krogstad, 93)

Linde: "There's no joy in working just for oneself. Oh, Nils, give me something - someone to work for"

Krogstad: "You're just being hysterical and romantic" (94)

"I need someone to be a mother to; and your children need a mother" (Linde, 94)

While the love has faded from the marriage between Nora and Torvald, the romance between Mrs Linde and Krogstad blooms and develops during the play, perhaps depicting an alternative form of marriage based on love and equality.

However, Krogstad's reaction to Mrs Linde reflects traditional views of femininity, aligning emotion and love with hysteria and madness, suggesting that they are unable to escape entirely from the expectations and perspectives of patriarchy.

Furthermore, their marriage is founded on a basis of convenience, as Mrs Linde is willing to act as a maternal figure to Krogstad's children. Emphasises the importance of motherhood within women's roles, and the fulfilment that this domestic/maternal role should bring them.

Nora: "Don't look at me like that, Torvald!"

Torvald: "What, not look at my most treasured possession? At all this wonderful beauty that's mine, mine alone, all mine." (99)

Torvald's ownership/possession of Nora reflects inequality within Victorian marriage, which allowed the man total control of his wife. Reflects wider male domination within a patriarchal society and the transactional status of women, viewed as commodities rather than people.

Torvald: "As you stand there young and trembling and beautiful...When I saw you dance the tarantella, like a huntress, a temptress, my blood grew hot...That was why I seized you and dragged you down here with me -"

Nora: "Leave me, Torvald! Get away from me!" (100)

Nora is both sexualised and infantilised by Torvald, as he blends aggressive/controlling language with patronising language. Creates a problematic and somewhat disturbing image of female sexuality.

While Nora attempts to use her attractiveness and sexuality to control the men within the play, she is clearly made uncomfortable by Torvald's sexual advances.

Male sexual violence - Torvald's language and actions are assertive and intimidating, and his belief that Nora owes him sex is concerning. While marital rape was never explicitly excluded from rape laws in Norway, across Europe marital rape was legal during the Victorian period, reflecting male sexual power within marriage.

Nora: "My duty towards myself."

Torvald; "First and foremost you are a wife and mother."

Nora: "I don't believe that any longer. I believe that I am first and foremost a human being, like you." (113)

Nora defies social convention as she decides that her duty to herself is more important than her role as a wife/mother. May reflect the gradual decline of social and legal inequalities for women, who were becoming less defined by motherhood.

Soon after ADH was first performed, the phenomenon of the 'New Woman' emerged, and Nora acts as a precursor to many of the features associated with the New Woman. Nora's pursuit of knowledge and independence from marriage is reflected by the New Woman's desire for female education, sexual liberation, and financial independence.

As she leaves the 'doll's house,' Nora steps into the male-dominated public sphere, assuming a traditionally masculine role and transgressing Victorian expectations of femininity. Torvald is left trapped within the 'doll's house' of his own creation, perhaps presenting men as victims of patriarchy.

"I don't want to see the children. I know they're in better hands than mine." (Nora, 116-117)

Acts as a reflection of Torvald's earlier assertion that the mother can corrupt/poison her children. Due to her lack of interest in a domestic role and her desire to escape her marriage, Nora no longer views herself as a suitable guide and educator for her children. Perhaps this character genuinely believes that she is benefitting her children by leaving them.

Contemporaries viewed Nora's decision to leave behind her children as deeply troubling and unjustified, as a woman's primary role was considered to be that of a wife and mother. This led to Ibsen's publication of an alternative ending, which aimed to satisfy traditional audiences, but which Ibsen viewed as a "barbaric act of violence" against the play.

Emphasises the gendered double standard, as society stigmatises the absent mother far more than the absent/uninvolved father.