A Doll House Flashcards
(17 cards)
Author and date
Henrik Ibsen 1879
Nora Helmer
The protagonist of the play and the wife of Torvald Helmer. Nora initially seems like a playful, naïve child who lacks knowledge of the world outside her home. She does have some worldly experience, however, and the small acts of rebellion in which she engages indicate that she is not as innocent or happy as she appears. She comes to see her position in her marriage with increasing clarity and finds the strength to free herself from her oppressive situation.
Torvald Helmer
Nora’s husband. Torvald delights in his new position at the bank, just as he delights in his position of authority as a husband. He treats Nora like a child, in a manner that is both kind and patronizing. He does not view Nora as an equal but rather as a plaything or doll to be teased and admired. In general, Torvald is overly concerned with his place and status in society, and he allows his emotions to be swayed heavily by the prospect of society’s respect and the fear of society’s scorn.
Krogstad
A lawyer who went to school with Torvald and holds a subordinate position at Torvald’s bank. Krogstad’s character is contradictory: though his bad deeds seem to stem from a desire to protect his children from scorn, he is perfectly willing to use unethical tactics to achieve his goals. His willingness to allow Nora to suffer is despicable, but his claims to feel sympathy for her and the hard circumstances of his own life compel us to sympathize with him to some degree.
Mrs. Linde
Nora’s childhood friend. Kristine Linde is a practical, down-to-earth woman, and her sensible worldview highlights Nora’s somewhat childlike outlook on life. Mrs. Linde’s account of her life of poverty underscores the privileged nature of the life that Nora leads. Also, we learn that Mrs. Linde took responsibility for her sick parent, whereas Nora abandoned her father when he was ill.
Dr. Rank
Torvald’s best friend. Dr. Rank stands out as the one character in the play who is by and large unconcerned with what others think of him. He is also notable for his stoic acceptance of his fate. Unlike Torvald and Nora, Dr. Rank admits to the diseased nature (literally, in his case) of his life. For the most part, he avoids talking to Torvald about his imminent death out of respect for Torvald’s distaste for ugliness.
Bob, Emmy, and Ivar
Nora and Torvald’s three small children. In her brief interaction with her children, Nora shows herself to be a loving mother. When she later refuses to spend time with her children because she fears she may morally corrupt them, Nora acts on her belief that the quality of parenting strongly influences a child’s development.
Anne-Marie
The Helmers’ nanny. Though Ibsen doesn’t fully develop her character, Anne-Marie seems to be a kindly woman who has genuine affection for Nora. She had to give up her own daughter in order to take the nursing job offered by Nora’s father. Thus, she shares with Nora and Mrs. Linde the act of sacrificing her own happiness out of economic necessity.
Nora’s father
Though Nora’s father is dead before the action of the play begins, the characters refer to him throughout the play. Though she clearly loves and admires her father, Nora also comes to blame him for contributing to her subservient position in life.
Theme: The Sacrificial Role of Women
Ibsen shows that women across all social classes are forced to sacrifice their happiness, identity, and even their children to survive in a male-dominated society. Mrs. Linde gives up true love for financial security, while the nanny gives up her own child for work. Even Nora, though financially better off, must lie and labor in secret to protect her husband’s pride. Her ultimate decision to leave her children is a painful but selfless act meant to prevent them from being shaped by the same repressive system.
Theme: Gender Roles
The play criticizes rigid gender roles that restrict both women and men. Nora is treated like a child and must depend on her husband, while Mrs. Linde gives up love to meet economic expectations. Men, like Torvald, are also trapped—he cannot accept help or show vulnerability, and this leads him to lose the very relationship he values. By the end, Nora rejects these roles entirely, realizing they’ve prevented her from becoming a full person.
Motif: Nora’s Definition of Freedom
Nora’s view of freedom changes drastically throughout the play. At first, she believes freedom will come once she repays her secret debt and can fully focus on her family. But as her marriage begins to unravel, she realizes she’s never truly been free—she’s been controlled and treated like a doll. By the end, she seeks real freedom: the right to develop her own identity, beliefs, and purpose beyond the role of wife and mother.
Motif: Letters
Letters in the play are powerful tools of truth, revealing what characters try to keep hidden. Krogstad’s first letter exposes Nora’s secret and destroys the illusion of her marriage, while his second letter frees her from his blackmail—but too late to undo the damage. Dr. Rank’s calling card silently announces his death, sparing Torvald from facing anything “ugly.” Each letter shatters illusions and forces characters to confront reality, no matter how much they try to avoid it.
Motif: Torvald’s Ped Names for Nora
Torvald constantly refers to Nora using diminutive pet names like “skylark” or “little squirrel,” reflecting his view of her as cute, childish, and dependent. These nicknames, often laced with condescension, mask his need to control and infantilize her. Nora initially accepts them as affectionate, but they later symbolize the imbalance of power in their marriage. Torvald’s language reveals that he sees Nora more as a prized possession than an equal partner.
Symbol: The Christmas Tree
The Christmas tree symbolizes Nora’s role as a decorative, cheerful presence in the Helmer household. Like the tree, she is expected to be charming and beautiful, enhancing the home’s atmosphere. As the play progresses and Nora’s internal conflict grows, the tree becomes disheveled—reflecting her psychological decline. The tree’s decay mirrors Nora’s loss of innocence and growing awareness of her confinement.
Symbol: New Year’s Day
New Year’s Day represents the hope of a fresh start for both Nora and Torvald. At first, it symbolizes material progress and the chance for Nora to repay her debt and restore normalcy. But by the end, it marks a radical transformation: both characters must confront painful truths and begin entirely new lives. The symbolic “new year” becomes a metaphor for personal rebirth and the end of illusions.
Symbol: Tarantella Dance
The tarantella dance symbolizes Nora’s role as a doll performing for her husband’s pleasure. Torvald controls every aspect of her costume and movement, reinforcing his dominance and her objectification. However, Nora begins to subvert this control—dancing more wildly and using the rehearsals as cover to hide her secret dealings. The dance becomes a powerful metaphor for both her entrapment and her first steps toward rebellion.
