A close reading of Henrik Ibsen’s dramas reveals that most of his critics and scholars capitalize on the playwright’s creation of rebellious female characters. Very little or nothing is often said about the hypocritical or pretentious lives led by the female protagonists that eventually leads to their rebellion. Sometimes, statements about the pretentious existence of these female characters are limited to hypothetical pronouncements. The hypocritical existence of women in Ibsen’s plays is probably due to the strict Victorian values the playwright satirizes in his works. The Victorian conventional norms like the respect of ‘’law and order,’’ the subordination of the woman in the family and society had very debilitating consequences on the female sex. In an attempt to respect these principles, women generally led inauthentic hypocritical lives. They put on social masks which were betrayed at some crucial point as the drama unfolded. This paper seeks to examine how Henrik Ibsen in A Doll’s House and Ghosts represents his female characters as individuals who lead a double existence, namely, that of appearance and reality. Women are portrayed as having a double consciousness, one which conforms to what is expected of them by the patriarchal society and another which is in consonance with their true natural inner selves. Reading the plays from the New Historicist and Feminist, perspectives, the study submits that societal norms and values constraint women to lead untrue non-self-fulfilling lives that are diametrically opposed to their real natural desires for self-assertion. The study also demonstrates that women, tired of societal unrealistic principles against them, generally shade off their unreal selves at some critical moment in the plays and reveal their real personalities. They rebel against obnoxious societal norms that inhibit their search for self-assertion and fulfilment.