Role play appears to be the norm of the in A Doll’s House. Rather than being their own selves, the play’s protagonists pretend to be someone that others wish them to be. Nora is the one who stands out the most as a character whose acting is almost perfect, to the point that she seems to have two lives. Nora gives the impression of an obedient, money-hungry, immature wife to the viewer. Nora seems to only want money from Torvald in the first act. She does not waste much time in asking for money after telling Torvald what she just got for their kids in their first meeting. Even when asked what she wants for Christmas, she says money. Torvald treats Nora as though she were a child or even a horse, which is revolting, “my little songbird shan’t go trailing her wings now. Hmm? Is my squirrel standing there sulking?” (Page. 111). He seems to be conversing with a little girl. And he says it while handing her money, making their exchange feel like a grown grandfather handing money to his precious, beloved young granddaughter. Nora seems to be more of a cherished possession than an equal partner in marriage as a result of all of this. Nora is introduced to the reader as a simple-minded, faithful trophy-wife in this way by Ibsen. The audience is unaware, however, that this is just Nora’s position in the household.
Nora seems to finally grasp what she has seen and what needs to be done at this stage when Torvald is furious at her for what she has done when he discovers the debt he ows and Nora’s forgery. She now recognizes that she has not been herself since they have been married. She claims, “When I look at it now… I’ve lived by doing tricks for you, Torvald. But that was how you wanted it.” (Page. 182). She realizes now that she has become nothing more than a source of amusement for her husband, who will make her dance for him. And, as much as Torvald may have chastised her for her immature actions in the end, Nora points out that it was for doing the tricks and acting like a doll was what he admired in her.
Nora justifies her decision to leave the house by claiming that she has to think more about herself “But now I intend to look into it. I must find out who is right, society or me.” (Page. 185). Nora is now portrayed as a calm, conscious human being who understands that not everything one is told must be followed. She recognizes that there are aspects of culture and its traditional beliefs with which she may disagree, and which may be incorrect. Torvald then offers to teach her, but she declines because she realizes she must educate herself, or at the very least away from him. She also mentions that they never spoke serious things, which she thinks is why she believes he isn’t qualified to teach her, as well as the fact that he has looked down on her since they met.
Nora appears as a self-assured, strong-willed woman who knows just what she wants. Nora is not only Ibsen’s way of showing women’s strength of character, but she also helps to show women as human beings on par with men. Nora also mentions that, aside from the misconception of women as the lesser sex, some aspects of society. Nora’s presence in a double life demonstrates much of this. On the surface, she appears to be a sweet, fun doll to her husband, father, and even her friend Mrs. Linde, but it is only after they hear about her secret life that they begin to admire her for more than just a pretty girl. Nora can use her second life to show that she can work, that she can deal with a lot of pressures, and that she can do whatever she puts her mind to. This secret life is what eventually leads to her being saved from the doll house, as she refers to it, and encouraging her to research and think freely about herself and society.