The 19th Century was a resolute period for human rights as for women’s rights. In A Doll’s House, by Henrik Ibsen, the protagonist Nora is the emblematic Angel in the House, submissive to her husband, Torvald. Nora decides to ostracize herself from the society she’s always been a part of by leaving her children and her husband in the pursuit of a new life. The author, however, doesn’t ever address the events that happen after her exit, which leaves the reader with an ambiguous ending. The ending’s purpose is to have a rupture between Nora’s past and future, but still being realistic and showing that there are hopes for a return.
Nora has always been looked upon like a doll, by both her father and husband. She is responsible for the duties of the household and maintaining her husband’s happiness, even though she agonizes. Ordinarily, appearances sustain their marriage. To Torvald, Nora’s figure is only an accessory to his public life. It was the standard in the society and time she lived in, the husband 's fathers were there to protect and provide, they were the heroes writing the story. Therefore, Nora realizes that she doesn’t know who Nora is, she doesn’t know who Nora is, she doesn’t have an identity and decides to be her protagonist. “I have been your doll-wife, just at home, I was papa’s doll-child, and even the children have been my dolls,” accordingly, she has trapped in a vicious cycle that Nora herself allowed the building of. Furthermore, slamming the door means