By the end of Act Three, both Nora and Mrs. Linde have entered new phases in their lives. Nora has chosen to abandon her children and her husband because she wants independence from her roles as mother and wife. In contrast, Mrs. Linde has chosen to abandon her independence to marry Krogstad and take care of his family. She likes having people depend on her, and independence does not seem to fulfill her. Despite their apparent opposition, both Nora’s and Mrs. Linde’s decisions allow them to fulfill their respective personal desires. They have both chosen their own fates, freely and without male influence. Ibsen seems to feel that the nature of their choices is not as important as the fact that both women make the choices themselves.
Most modem readers like to call A Doll's House , a feminist play (or at least a play about women's right and dignity) because of many reasons. This is not to say that Ibsen was an "arrant" feminist, nor to say that the play is only about women. But it is about women, or in that neutral sense, a feminist play, because it deals primarily with the desire of a woman to establish her identity and dignity in the society. It is about the disillusionment of a wife about how she has been dominated and how her basic right, her right to be someone, has been ruthlessly destroyed in the name of love by her husband. The drama is about the real and a burning social issue of a revolution that had become essential for the society to progress. Not a small matter, the very title of the play is about the woman in it, and that title also emphatically suggests the treatment of her as if she was a lifeless doll. She has a house and now needs to search for a home, on her own.
There are many comic sections in the play—one might argue that Nora’s “songbird” and “squirrel” acts, as well as her early flirtatious conversations with her husband, are especially humorous. Still, like many modern productions, A Doll’s House seems to fit the classical definition of neither comedy nor tragedy. Unusually for a traditional comedy, at the end there is a divorce, not a marriage, and the play implies that Dr. Rank could be dead as the final curtain falls. But this is not a traditional tragedy either, for the ending of A Doll’s House has no solid conclusion. The ending notably is left wide open: there is no brutal event, no catharsis, just ambiguity. This is a play that defies boundaries.