Nora demands the lamp after Dr. Rank's confession to bring literal and metaphorical light to the situation. The lamp's light is real, but it also symbolizes the exposure of truth and societal expectations. Dr. Rank's confession of love puts Nora in an awkward position, and by bringing in the lamp, she forces him to face the truth and propriety of his actions.

Torvald's fascination with beauty reveals his shallow and capricious nature, emphasizing appearances over substance. His focus on Nora's looks and societal perception illustrates his superficiality. Throughout the play, his attitude remains largely unchanged; he reacts based on how situations affect his social image. Although there is a slight shift in his perspective in the final pages, it is too late and insufficient to signify genuine change. Torvald's character highlights societal emphasis on appearances.

Nora finally realizes that her marriage to Torvald is a loveless union, and she understands that a miracle must take place, in order for them to continue their relationship. Nora leaves Torvald at the conclusion of the play, because he cannot understand her need for more than just being his pretty "doll." She will either not return to this home or she will only return when she has had time to rethink her life and where she belongs in its scheme. Either way, Nora's final words suggest that the house is no longer an ideal place for her: Nora [as she picks up the doll]. Come! We are going out into the great world! It's you and I—we two together. ...

Two contrasting elements in A Doll's House are the behaviors and attitudes of the characters. The behavior contrast is evident between Helmer, who demeans and controls Nora, and Dr. Rank, who respects and loves her. This is shown through tone and dialogue. The attitude contrast involves Helmer's superficial concern for appearances, compared to Mrs. Linde's genuine compassion and understanding, highlighted by their interactions and dialogue dynamics throughout the play.

In A Doll's House, Nora lies about eating macaroons and taking out an illegal loan. Her lies about macaroons are seen as a rebellion against her controlling husband, Torvald, and can be justified as a means to maintain civility. Her larger lies about the loan, taken to save Torvald's life, are often viewed as justified due to the gendered social barriers she faced.

Torvald's illusion of Nora is that she is obedient and simple, that she could and would never deceive him. When he learns of her deception, the illusion is shattered, and he is disappointed in her and the danger her actions pose to him. Nora's illusion of Torvald is that he loves her in the same way that she loves him, that he is noble and has integrity. When she learns the truth, her love for him dissolves.

Nora's third stage of disillusionment occurs when she realizes that her marriage is superficial and her husband, Torvald, values his reputation over her sacrifices. Despite initially harboring hope that Torvald would appreciate her actions, his harsh reaction to her forgery shatters her trust and love. This realization leads Nora to understand her role as a "plaything" in her relationships, prompting her decision to leave Torvald and seek self-education and independence.

In Ibsen's play, Nora Helmer leads a double life by secretly borrowing money to save her husband Torvald's life, hiding her actions through lies and deception. Though her actions are socially unacceptable at the time, Nora's deception is driven by love and necessity. Her secret ultimately exposes societal lies and her unfulfilling marriage, prompting her to leave Torvald and reject the subservient role forced upon her by society.

The phrase "the most wonderful thing" in A Doll's House signifies Nora's hope for a miraculous change in her marriage. She dreams that her husband, Torvald, will understand and support her unconditionally, leading to a transformation in their relationship. Its significance lies in highlighting Nora's realization of the impossibility of such change, prompting her decision to leave and seek independence.

The masks and masquerading in "A Doll's House" symbolize the deceptive facades characters maintain, particularly Nora. These elements foreshadow her eventual realization and rejection of her false identity as a dutiful wife. The masquerade ball in the play highlights the theme of illusion versus reality, hinting at Nora's transformation and quest for self-discovery.