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In A Doll’s House, Ibsen uses symbolism (the tarantella dance) and stage directions (Nora’s frantic movements and later calm resolve) to reflect her emotional state and internal transformation.
In A Doll’s House and The Handmaid’s Tale, both texts explore gender roles and female agency, but while Ibsen critiques 19th-century domestic expectations through Nora’s gradual awakening, Atwood presents a dystopian exaggeration of patriarchal control that strips women of agency almost entirely.
Torvald (A Doll’s House) and Aunt Lydia (The Handmaid’s Tale) differ sharply: Torvald is well-meaning but patronising, upholding gender roles unconsciously, while Aunt Lydia is fully complicit and consciously manipulative, using religion to justify oppression.
Ibsen’s A Doll’s House was written in 19th-century Norway amid growing debates about women’s legal rights, while Atwood’s The Handmaid’s Tale emerged from fears of conservative backlash in 1980s America, particularly against second-wave feminism.