Henrik Ibsen’s “A Doll’s House” is typically classified as a modern tragedy. While it may not adhere strictly to the traditional definition of tragedy, which often involves a protagonist of noble stature experiencing a downfall due to a fatal flaw, “A Doll’s House” does depict the tragic consequences of societal constraints and personal illusions.

Nora, after a battle between her heart and mind, finally comes to terms with who she is and realizes that she has been a victim of role play and that she has been under the tyranny of a patriarchal order, of rules and principles that subordinate women to unequal status with men. Nora, in the end, after thoughtful contemplation and a climactic turning point when she comes to full terms with her husband’s shallow love for her, decides that what she needs is most important and that she will no longer conform to society’s ideals about a women’s role in marriage; she decides that she must educate herself and strengthens her resolve to go on a pilgrimage, and to educate herself, to experience life outside of a house of dolls. She tells Torvald that she is leaving him and the children, that she is an unfit mother, and that Torvald has expectations that she is incapable of fulfilling. After her sincere and stern monologue to Helmer, she consummates her stalwart resolution—she shuts the door behind her and leaves the doll house, transformed and transfigured, enlightened by the events during the holiday season. She realizes she is no doll after all, and that she must find a real house, for a real person, a place that is ruled not by the will of men, but one with rules, regulations, and principles of living that are not mere shadows of past influences, but one’s that are caste in the light of an individual, unique women set apart from the statuesque frozenness of hollowed out puppets with stone hearts and minds. Nora, in the end, finds the chisel that chops away her lifeless shell and exposes her to the fresh air of true freedom — her true self finally emerges from the prison, unlocked with the key to her self-effacement. Nora demonstrates that she is not a naïve simpleton, shallow and sheltered, but that she has a mind of her own and that she has a strong character that cannot be isolated, restrained, or suppressed.
This shows Social Class inequalities:-
Class Distinctions
Economic Dependence

Gender Roles:-
Patriarchal Society
Female Empowerment:
Sacrifice and Duty

Ibsen critiques the institution of marriage as it existed in his time, portraying it as a relationship based on control and inequality rather than mutual respect and partnership.