How a Dollhouse Becomes a Broken Home.
A problem play, such as the one presented in the form of Henrik Ibsen's "A Dollhouse,"" is not meant to leave its audience with a warm, fuzzy feeling of resolution at its end. However, any traditionally crafted story usually leaves us with a sense that our protagonist has developed her character. At the conclusion of "A Dollhouse,"" the only change we really see is a change of scenery for Nora, because for all of her pleading, scheming, and tough decision making, she is still a doll, Torvald is still one-dimensional, and their relationship is still based on over-simplification and faulty communication.
Even taking into account the historical context of the story, Torvald's treatment of Nora is maddening at best. His regard for her as a squirrel, a child, a pet demonstrates that he does not believe her capable of dealing with adult matters such as finances and health crises. Instead, Torvald lectures her on posturing, child rearing, and even dancing. By story's end, when he is hit with the knowledge of Nora's complicated efforts "to save his life, he chooses to take aim and talk at her, rather than discussing her reasoning and emotional state when she made the choice she did. Though Nora finally finds the courage to confess everything to Torvald, and though she is seemingly breaking his heart by leaving, the last picture we have of Torvald is a successful, intelligent businessman who just doesn't get it.
Though Torvald is responsible for his own shortcomings as a husband, Nora contributes to them by playing the role of a spineless, mindless woman. Nora not only treats life as a game, she cheats. She demonstrates little regard for others as she forges her dead father's name, brags of her prosperity to her troubled friend Christine, and takes advantage of the love that the dying Doctor Rank shows for her. Throughout the story, Nora speaks as if she has the best intentions of others at heart, but her actions prove that she is motivated by self-preservation.
