A Doll’s House also challenges the 19th century way of thinking about how women’s identities were determined by predefined roles within households resulting in feelings of suppression. The bourgeoisie men of 19th century Europe were socially conditioned to place obligations on their wives to uphold their reputation of their family and assume responsibility for all domestic affairs and difficulties. The emotive language when Torvald says “Almost always when people go bad young in life, the cause is a deceitful mother” reveals how women were expected to bear all responsibility for the children and familial affairs, which contrasts with Nora’s later decision to abandon this domestic life. Nora’s confrontation of social norms by prioritising her own self-respect and need to express her identity is revealed in the motif of clothing during her final conversation with her husband, “Changing. No more fancy dress.” This contrasts with Torvald’s patronising tone in “But no man sacrifices his honour for the lone he loves,” which implies that society has conditioned men to regard their reputation as more important than human emotions or interpersonal relationships. During her final conversation with Torvald, Nora’s assertion in “But I’m going to find out which of us is right, society or me,” further reinforces how she defies the social norm that a woman should dedicate herself to maintaining the public image of the household and marriage so as not to threaten the values of the male. Thus, A Doll’s House presents ideas reluctant to mainstream attitudes as Ibsen explores the need for resistance against society, especially the expectations of women, in order to move forward.