Hit enter after type your search item

The Role of Women in “A Doll’s House” and “Ghosts” Danielle St. George


The Role of Ladies in “A Doll’s House” and “Ghosts”

The role of females has changed considerably throughout history, driven in part by women who took risks in setting examples for others to follow. During the Victorian era, ladies were starting to take a stand for their rights. ¹ Even as they had problem with their anticipated roles as females, a couple of that handled to escape the needs and expectations of society. Playwright Henrik Ibsen strengthens the idea of women’s rights by producing 2 female characters that embody the battle for liberty from their restricted functions. In Henrik Ibsen’s plays A Doll’s Home and Ghosts, both Nora and Mrs. Alving deviate from the roles anticipated of Victorian women.

During the 19th century, females were expected to wed and remain faithful to their partners regardless of their situations. There was an “… exaggerated emphasis upon task, the injunction to stick with one’s spouse no matter what the circumstances …” (Hunt 111). However, Nora deviates from her anticipated role and responsibility as an other half by leaving Torvald at the end of A Doll’s Home. Her desires and her own joy are more important to her than the tasks to her partner, regardless of “… what individuals will say” (Ibsen 64). Though Torvald advises her that a person of her most sacred tasks is to him, Nora takes her bag and leaves him crying out her name as “the noise of a door shutting is heard below” (Ibsen 68).

In Ghosts, Mrs. Alving also leaves her husband despite what is anticipated of her. It is Mrs. Alving’s unhappiness that forces her to leave her other half during their first year of marriage; nevertheless, she returns to him after her priest and buddy Manders leads her “… back into the course of task …” (Ibsen 89). Though it is clear that Mr. Alving was not devoted to his wife and consumed exceedingly, Manders disregards his actions and goes on to lecture Mrs. Alving on her mission for happiness, similar to Torvald’s pointer of Nora’s tasks to him.

What right have we to happiness? No! we need to do our responsibility, Mrs. Alving. And your task was to cleave to the male you had actually chosen and to whom you were bound by a sacred bond (Ibsen 89).

Even believed it appears that their circumstances and social standings are the very same, the crucial difference between the 2 ladies is that Nora is not religious and Mrs. Alving very much follows and complies with the rules set out by the church. Upon leaving her husband, Nora disobeys just the guidelines set out by society, whereas Mrs. Alving disobeys the more consequential rules set out by the church. ¹ Along with being a spouse during the 19th century comes the function as a mom. It was believed that “ladies’s God-given role … was as partner and mother” and that “children were to be valued and nurtured” (Hartman 1). Abandoning her kids was undesirable behavior by a mom, and looked down upon by both males and females. By leaving Torvald, Nora also abandons her kids by not taking them with her. Instead, she leaves them with Torvald under the care of the maids.

In a less literal sense, Nora does not meet her function as a mom by instead offering the duty of the kids to the house maids. Rather than treating them as her children, she treats them as if they were dolls, having fun with them when it is convenient to her. When the children want Nora to play with them, she dismisses them with the housemaid and starts embellishing the Christmas tree.

Similarly, Mrs. Alving forfeits the duty of her child Oswald when she sends him away to Paris for schooling. Manders as soon as again lectures Mrs. Alving on what is anticipated of her by saying, “… you have actually forsaken your responsibility as a mom” (Ibsen 90). It appears that she picks not to fulfill her duty as a mom by putting Oswald in the care of strangers. Manders’ displeasure of her actions portrays what responses society would have to such a defiance of duty throughout the 19th century.

Even though both females select to hand over the duty of their children to somebody aside from themselves, they go about it in a really various fashion. Nora takes her responsibilities as a mother rather gently by only hiring her children when she is in the mood to have fun with them. Mrs. Alving, on the other hand, shelters her boy from the happenings within the house and therefore picks to send him far away so his childhood is not tarnished by the distress within the home.

As an other half and mom, a woman was to uphold the household’s honour and appearance ¹, which frequently involved keeping secrets about what went on behind closed doors. In A Doll’s House, the plot revolves around the loan Nora obtains in secrecy, and her attempt to conceal the reality that her dad’s signature on the bond is created. Nora makes sure that Torvald remains unaware of the loan in order to promote his honour as the home service provider. However, Nora exposes the trick to her good friend Mrs. Linde in an attempt to prove her understanding of “… the burdens and problems of life” (Ibsen 11), hence diminishing her hubby’s honour by implying that he can not support his family.

When Torvald discovers the loan and Nora’s forgery, he insists, “the matter needs to be hushed up at any cost” (Ibsen 60) which “… it must appear as if whatever between us were just as in the past” (Ibsen 60).

As an outcome of Nora’s secret, Torvald’s honour is at stake needs to the secret go out and end up being public understanding. Instead of promoting a good appearance, as she should, Nora leaves Torvald, diminishing the family’s honour as well as Torvald’s.

In Ghosts, Mrs. Alving need to keep to herself the reality that her partner impregnated the previous housemaid, whose kid is now working as her maid. Must the secret be exposed, her family name would be removed of the honour it has attained. In order to keep up an excellent look, Mrs. Alving keeps the family trick from everyone, including her own child Oswald.

Since of Manders’ remarks on her abandoned duties as a mom and wife, she exposes the trick to him in order to validate her previous actions. She then goes on to tell her boy and maid of the secret she kept all these years, exposing the truth at last. As an outcome, the honourable name Alving is stained with the act of extramarital relations and a kid born beyond marriage.

It was said during the nineteenth century that “a lady can not be herself in contemporary society” (Meyer 254), resulting in the role as “… the keeper of the home, the guardian of the moral pureness of all who lived therein” (Hartman 1). As the guardian, both females hide secrets and ultimately both of their intentions are to safeguard the household’s honour. Nora’s trick is to safeguard her and her partner’s social standing by ensuring that their financial problems are not exposed. Upon being confronted about exposing her trick, Nora leaves Torvald. Mrs. Alving’s trick, nevertheless, is to secure her and her husband’s honour and eventually her kid’s. Throughout their marriage, she never ever reveals this trick and does not reveal it to anyone till after the death of her spouse.

In Henrik Ibsen’s plays A Doll’s House and Ghosts, both female characters, Nora and Mrs. Alving, differ the functions of Victorian females. Both women are very dissatisfied and ready to disobey society’s expectations and guidelines, and for that reason suffer the effects of their actions. Their scenarios are comparable, yet the difference between them is that a person permanently leaves, while the other only briefly decides, but returns nonetheless. In both plays, Ibsen clearly shows that ladies in the Victorian era were exclusively responsible for the image of their household and husbands, and at all times needed to sacrifice their own desires and requires to fulfill society’s definition of a successful marriage and home. The discovery of these characters strengthens females’s rights throughout this time period, setting examples for females all over to follow and altering the function of ladies in years to come.

Works Mentioned

 ¹ Hartman, Dorothy. Women’s Roles in the Late 19th Century. 16 May 2005


This div height required for enabling the sticky sidebar