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Britney Free

Theatre Appreciation

October 7th, 2019

A Doll’s House: An in Depth Look at Psychological Manipulation

Psychological Manipulation as Preston Ni, a professor in Communication, defines it is, “The

exercise of undue influence through mental distortion and emotional exploitation, with the intention to

seize power, control, benefits and/or privileges at the victim’s expense.” In Henrik Ibsen's A Doll’s House

Psychological Manipulation presents itself as something recurrent. It’s seen being used not just by those

we’d consider antagonistic such as Krogstad or Torvald, but also by Nora the protagonist of the play.

Psychological Manipulation and how the characters chose to interact with one another is deeply etched

into the foundation of A Doll’s House. Many of the characters in A Doll’s House stretch far past the realm

of healthy social influence into Psychological Manipulation via an imbalance of power in some way,

shape, or form.

The most forthcoming example of manipulation we see in A Doll’s House is portrayed through

Krogstad. Knowledge is power, and in A Doll’s House Krogstad knows this best. Krogstad uses the

information he’d gathered from the date on the loan Nora had taken out, and the date of her father’s death

and holds it over her head. He threatened to release the information if he didn’t get what he wanted. This

is an example of what many would consider blackmail, which is a form of manipulation. “Your father

died on the 29th of September. But, look here; your father has dated his signature the 2nd of October. It is

a discrepancy, isn't it?. . . Foolish or not, it is the law by which you will be judged, if I produce this paper

in court. . . But let me tell you this--if I lose my position a second time, you shall lose yours with me.” In

these excerpts from Act 1, it’s clear Krogstad is using his knowledge of Nora’s misdeed to gain control

over her power. Nora’s response to Krogstad’s threats show her as helpless in the position he’s put her in,

causing her to lie in an exchange with Torvald:

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“Yes. Has anyone been here?”

“Here? No.”

“That is strange. I saw Krogstad going out of the gate.”

“Did you? Oh yes, I forgot, Krogstad was here for a moment.”

In this exchange Nora shows vulnerability. She’s afraid to tell anyone or ask for help because she knows

what she’s done is wrong, and that is exactly the behavior that Krogstad is seeking. In act two we see the

result of Krogstad manipulation run it’s course as Nora asks for Krogstad to keep his position at the bank.

“Yes, dear, you must do as I ask; you must let Krogstad keep his post in the bank.”

Nora’s husband, Trovald, also uses Psychological Manipulation as a form of control over Nora.

He creates an unbalance of power through a multitude of means. For one, Torvald is man of the

household, something that was considered a norm in 1870’s, but nonetheless helped create a unbalance of

power between Nora and him. He made the decisions, he made the money, and he deprived Nora of

anything that would give her any power in their relationship. Nora didn’t even take care of their children,

the nurse Anne did. Though with these examples they were more societal norms playing into Torvalds

imbalance of power. They weren’t something Torvald fabricated himself, and thus while they certainly

played a factor in Torvald’s manipulation of Nora, they aren’t the focal point. The focal point is how

Torvald treats Nora, which could only be described as like a child or pet. He constantly speaks down to

her rather than on her level. “Come, come, my little skylark must not droop her wings. What is this! Is my

little squirrel out of temper? Nora, what do you think I have got here?” Pet names such as skylark,

squirrel, poor little Nora, and a multitude of variations of these is how Torvald constantly talks down to

his wife. Treating Nora as a child, he’s even banned her from indulging herself in sweets which can be

deduced from this example in act one:

“Hasn't Miss Sweet Tooth been breaking rules in town today?”

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“No; what makes you think that?”

“Hasn't she paid a visit to the confectioner's?”

“No, I assure you, Torvald—"

“Not been nibbling sweets?”

He does this and effectively keeps Nora in a cage so to speak. Even in the final act he continues

to employ his methodology to cage Nora. The only difference is that in the last act of the play

Torvald fails. Nora leaves despite his efforts. “You blind, foolish woman!” Torvald continues to

speak down to Nora viewing her beneath him. He goes to question her in efforts of getting her to

stay, telling her that it’s unheard of for a girl her age. “This is unheard of in a girl of your age!

But if religion cannot lead you aright, let me try and awaken your conscience. I suppose you

have some moral sense? Or--answer me--am I to think you have none?”

It isn’t just the more antagonistic characters like Krogstad or Torvald that manipulate.

Nora herself, the protagonist, the character that had fallen victim to Krogstad and Trovald’s

manipulation, manipulates others to do her bidding. I don’t think it’s of malicious intent but

rather having grown up as a manipulated tool she is under the impression that manipulation of

others is normal. An example of this is when she tells Dr. Rank that it was Mrs. Linde who

brought forbidden pastry into the house. Nora telling the truth in this situation would not make

Dr. Rank think any less of her, but she does so compulsively. She compulsively manipulates

others into seeing only the best of herself. Just another example is Nora swatting Torvald away

from the letter box as seen in this example:

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“What are you going to do there?”

“Only see if any letters have come.”

“No, no! don't do that, Torvald!

“Why not?”

“Torvald, please don't. There is nothing there.”

“Well, let me look. [Turns to go to the letter-box. NORA, at the piano, plays the first bars

of the Tarantella. HELMER stops in the doorway.] Aha!”

“I can't dance tomorrow if I don't practise with you.”

“[going up to her]. Are you really so afraid of it, dear?”

“Yes, so dreadfully afraid of it. Let me practise at once; there is time now, before we go

to dinner. Sit down and play for me, Torvald dear; criticise me, and correct me as you

play.”

Manipulation in A Doll’s House is a running theme and each of the characters’ use of

manipulation falls short in the end. Krogstad doesn’t get to keep his job, Nora leaves Trovald in

the end, and Nora ultimately causes rifts in her interpersonal relationships. I think in some light

Ibsen provides a well-constructed social commentary on manipulation that while in the short

term, yes, it does seem to work, but ultimately it led to a very dreadful downfall. Such as the case
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of Torvald. It also goes to exemplify that manipulation in many cases is a learned behavior from

the people around, in the case of Nora. It’s up to us as individuals to recognize signs and be well

equipped to combat one trying to take advantage of us, as Nora did in the final scene. Ibsen’s A

Doll’s House helps the reader recognize those signs and combat them.
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Works Cited

“14 Signs of Psychological and Emotional Manipulation.” Psychology Today, Sussex Publishers,

www.psychologytoday.com/us/blog/communication-success/201510/14-signs-

psychological-and-emotional-manipulation.

“A DOLL'S HOUSE.” A Doll's House, by Henrik Ibsen,

www.gutenberg.org/files/2542/2542-h/2542-h.htm.