The play A Doll’s House created a social uproar upon its initial release because as much as it is a piece of dramatic theater it is also social critique. The issues the play criticized were largely the prevailing conventions of the era regarding the role of woman, including her roles as daughter, wife and mother/homemaker. A Doll’s House is the story of Nora Helmer, a woman who has been spoiled, sheltered and petted her whole life, much like a doll. She is treated like a virtual idiot by her father and when she marries her husband, he immediately treats her in a similar manner. Nora is filled with character qualities that cannot be contained by the artificial boundaries imposed upon her by the men in her life and society’s expectations for women during the era. Nora herself retained illusions about her husband as well. She did love him dutifully at one point and even committed forgery in order to save his life. However, even though Nora repaid the money when her husband discovers her act, his reaction hits Nora like a thunderbolt of recognition—she realizes that in the eight years they have been married her husband has never viewed her as a human being. He has seen her much more so as a doll, something that is a possession that exists only to be sheltered and petted. In order to make a statement about her own identity, Nora leaves her husband in order to find her true self. When she slammed the door on Torvald, she was slamming the door on many preconceived notions of women and their role in her era. Another playwright of the era, August Strindberg, admitted that the play’s artistic merit was also coupled with a profound social impact because of its enlightened realism, “Thanks to A Doll’s House, marriage was revealed as being a far from divine institution, people stopped regarding it as an automatic provider of absolute bliss, and divorce between incompatible parties came at last to be accepted as conceivably ...