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Historical Context in A Doll's House
"A Doll’s House", written by Norwegian playwright Henrik Ibsen, was first performed at the Det Kongelige or “Royal” Theater in Copenhagen in December of 1879. The play was incredibly successful from the start, but it gained immediate criticism for, what were at the time, highly controversial views on the institutions of marriage and family. Critics of Ibsen’s play felt that it threatened to dismantle traditional values of the Victorian household and workplace due to its advocating for reform of women’s rights. However, fans found something relatable, inspiring, and refreshing in its realistic, complex depictions of modern individuals and families.
Historical Context Examples in A Doll's House:
"odds and ends, needlework, crotchet-work, embroidery..." See in text (Act I)
In Ibsen's era, married women didn't work outside the home because it would've reflected poorly on their husbands as bread-winners and providers. If women needed to make money, they took in "odds and ends" like needlework, washing, copying, or the like. This made it harder for women to enter the workforce when they weren't married.
"two hundred and fifty pounds..." See in text (Act I)
The original English translator would've converted the Danish krone (crown) to the British pound when this scene was first translated. Adjusting for inflation is difficult in this case, but 250 "pounds" back in 1879, when the play premiered, would be upwards of 20,000 pounds today.
"pretty little hands..." See in text (Act I)
In the 19th century, when this play was written, women of Nora's social station weren't allowed to "work" in the proper sense. Nora wouldn't have done much of her own cooking and cleaning, thus sparing her "pretty little hands." Their softness is a source of pride to Torvald and a symbol of her inability to manage her own affairs.
"changed his mind at his wife's bidding—..." See in text (Act II)
Torvald suggests that part of his unwillingness to change his mind about firing Krogstad is because it will reflect badly on his reputation. At this time in history, a man who could be swayed by his wife’s (or any woman’s) opinions in business would have been considered weak. Torvald feels obligated to his decision, at least in part, because he is worried that his coworkers would view him as weak or less “manly.”
"Tarantella..." See in text (Act II)
The “Tarantella” is a lively and incredibly fast-paced Italian dance. Torvald is deeply attracted to Nora when she dances the Tarantella as it requires that Nora allow herself to be more free and spirited than in the home. Torvald keeps her under strict confines in the home, but he is captivated by her uninhibited side, a contradictory quality that might speak to the role of women in marriage at the time. Women were “supposed” to be refined child rearers, but also alluring when their husband wanted them to be.
"I have often wished that you might be threatened by some great danger, so that I might risk my life's blood, and everything, for your sake..." See in text (Act III)
Here, Ibsen calls attention to Torvald’s desire to save the “damsel in distress,” so to speak. Torvald wants to be a hero, and we can see this reflected in his actions towards Nora throughout the play. Consider his tendency to imagine her to be helpless—he views her as childish. For example in Torvald’s eyes, Nora is incapable of managing finances, but we know that she is actually quite capable of doing so. By highlighting this character flaw, Ibsen makes a larger commentary on how society, at this time, perceived women as being helpless and men as being the ones to save them.