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Nora Helmer, a character in Ibsen's "A Doll's House", is the prime metaphor of the Helmers' marriage. Being a "songbird", a "squirrel", and a "squander bird"; Nora flutters around her apartment under a mask of illusion, a helpless "creature" to please her husband. Nora's whole life has been a tree of deceptions branching up from its roots to its leaves, the leaves absorbing the most of life-her children. The metaphor in the title of Ibsen's "A Doll's House" suggests Nora has a childlike relationship with her father, her husband, her children, and even reality.

Nora's father and Torvald Helmer have basically the same duties; they play, provide for, and adore Nora. They see Nora as they want her to be, a pretty doll, not what she is. In the beginning of the play the reader sees Nora Helmer as shallow, much like today's "Barbie"; but as the play progresses, the reader sees a change in Nora as her dark secret comes to the surface and threatens her marriage. Only at the end of the play does Torvald know of her lies, before he reads Krogstad's letter he is oblivious and shows this when he gets upset about "an untruth" Nora told. Nora and Torvald's marriage has a foundation of lies. Torvald believes Nora when she says "You know I could never act against your wishes" and Nora believes Torvald when he says "Often I wish some terrible danger might threaten you, so that I could offer my life and my blood, everything, for your sake"; both of these statements being total opposites of the truth. Nora's father and Torvald see Nora as a child, a mere doll to play with and Nora spends most of her life playing that role.

Nora's three children who are raised by the Nanny, Anne-Marie. Anne-Marie, being a mother figure for Nora, takes care of the children until Nora wants to play with them. Nora sees her children as talking baby dolls, and treats them much like Torvald treats her. When Nora tires of playing with her "baby dolls", she passes them to Anne-Marie. Nora really doesn't recognize her children as real people until Torvald tells her how lies can poison them and the home. Not really understanding the effects it would have on her children, Nora shuts herself away. When the play ends, Nora leaves the children like a child would leave a doll after getting tired of playing with it. Nora's bond with her children is like a child's attachment to a doll.

In "A Doll's House" the characters are not totally in touch with reality. Nora doesn't understand the world outside of her home and how serious some lies can be. The transaction of money between Krogstad and Nora shows how naïve Nora is. Nora forges the signature of her dead father for her sick husband and breaks the law. She thinks the laws don't apply to her if the action was for love and tells Krogstad "the laws must be stupid" if they don't allow for saving her husband's life. Torvald, unlike Nora, knows about laws but knows nothing about his wife. Never having ever listened to Nora talk about her dearest friends, Torvald doesn't even know or care who Christine Linde is when she walks in the door. Even as Dr. Rank, a family friend, is dying Torvald doesn't want to accept his statements of death. Torvald and Nora Helmer each live in their own bubbles, shielding them from the truth and the world around them.

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Nora's relationships with her father, her husband, her children, and her life are that of a child shielded from the harsh realities of the world outside her home. From the "Barbie and Ken" relationship between the Helmers evolves a new relationship, one between Nora and herself. Being a child for so long, Nora wants to grow up and leave her bubble of lies; like Pinocchio she wants to become a real person.

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