This resolution however, plainly leaves out the very essence of the play that is, the realization of a woman that she doesn't deserve to be treated like a mere "doll", or a plaything. In Ibsen's Women, Templeton seems to have got with this libber critique of the play, dismissing those who would argue against it.
?implicit in the logical argument that would rescue A Doll's family line from feminist ideology is an unimpeachably sex-linked ideology whose base is tautological. Women's struggle for equal rights, it is claimed, is not a fit subject for tragedy or verse because it is insufficiently representative to be generally and thus literarily human. Now, if this is so, it cease only be because those human beings who are not women, i.e., men, already possess the rights that women seek, and are thus excluded in the other sex's struggle, which is, precisely, a struggle for equality with them (119).
So it is understood that A Dolls House must be read as feminist critique, that Nora remaining the house because she wanted equal rights, and that this makes Ibsen himself, a champion of the feminist movement.
Dumont and Shatzky call Nora an idealist, which may very well be true, as she is uncompromising in her ideals
Ibsen, Henrik. The Doll's House. Trans. Lord, Henrietta Frances.
Nora: Do you think they do? Do you believe that they would forget their sire if she went quite away? (78).
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