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Society's expectations in a doll's house
Society's expectations in a doll's house
Society's expectations in a doll's house
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Societal expectations during this time period generally restricted women from the liberties in which their male counterparts partook in. The ideal woman was one who was good natured, cultured, practiced philanthropy, a loving wife, and a devout mother. She managed her household while maintaining her poise and retaining her femininity as a woman. Ibsen creates his main character, for which his play “A Doll’s house” is named, to be the antithesis of the ideal woman. Nora herself may seem like the ideal woman from her facade. She is beautiful, and poses as a distinguished and childish woman. Only after reading the play for one’s self may the reader discover Ibsen’s criticism that he has so cleverly intertwined within his work. By creating his female lead to be a complete contradiction of the feminine ideal, we can see Ibsen’s feminist criticism of gender expectations. Nora is controlled by her husband Helmer on each and every aspect of her life. The men in that century were regarded as they control the women’s life. While on the other hand Glaspell in her play showed how all the women stood together and supported a murderer just so she could be free from prison showing us the feministic view of the society in those days. These two plays are an ideal pair as they show the power of women to construct an identity in the society, women’s interdependence on each other as well as a feministic approach to the society.
In “A Doll’s House” it is shown that “a woman's place was in the home, as domesticity and motherhood were considered by society at large to be a sufficient emotional fulfillment for females” (Abrams). For Nora, marrying Helmer certainly did not signify any type of internal character change. Nora marries Helmer but their marria...
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...that she can take care of the well-being of Helmer, while Mrs. Wright killed her own husband just because he killed her little precious bird that she dearly loved. It was for love that these two women committed crimes that were illegal. On one hand Nora was trying to lose the identity of her parents while not letting her husband’s controlling her feelings and emotions while on the other all the women tried to keep secrets from the men so that Mrs. Wright’s identity of being the murderer doesn’t come out. Nora lacks femininity, respect towards her elders, and craves to be self-sustaining yet is not realistically motivated till the end of the play. In every sense of the word, Nora contradicts almost every societal expectation for these reasons she can be seen as a witty outcry of feminism in which Ibsen clearly questions women’s gender roles during the Victorian Era.
In Henrik Ibsen’s A Doll House, a drama written in the midst of an 1879, middle-class, suburban Europe, he boldly depicts a female protagonist. In a culture with concern for fulfilling, or more so portraying a socially acceptable image, Nora faces the restraints of being a doll in her own house and a little helpless bird. She has been said to be the most complex character of drama, and rightfully so, the pressure of strict Victorian values is the spark that ignites the play's central conflicts. Controversy is soon to arise when any social-norm is challenged, which Nora will eventually do. She evolves throughout the play, from submissive housewife to liberated woman. It seems as though what took women in America almost a century to accomplish, Nora does in a three-day drama. Ibsen challenges the stereotypical roles of men and women in a societally-pleasing marriage. He leads his readers through the journey of a woman with emerging strength and self-respect. Nora plays the typical housewife, but reveals many more dimensions that a typical woman would never portray in such a setting.
In the beginning of the play it is evident; Nora is inferior to her husband, Tovald Helmer, in their marriage. Nora, like many women in the late 1800’s and early 1900’s, was taught that as a wife, she must be, “subordinate and submissive, and to act on the desires of man.” (Kiebuzinska) In the Helmer household, the reader is presented with a clear example of these acts of submission. Helmer sets the rule that Nora is not to eat macaroons inside or outside of the house. Nora seemingly accepts his rule when she replies with an obedient, I “would never dream of going against your (his) wishes.”(Ibsen 884) However, the reader is able to note that this decree does not set well with Nora. She understands the rule is only in place for the purpose of keeping her teeth pretty and insuring she meets the social expectations placed upon her. By eating a whole bag of macaroons, against her husband's wishes, Nora’s deep desire to construct her own life choices is present, no matter how small they might be. Ibsen uses this example of Nora to portray the control women wanted to have over their own lives and the changes they wanted to...
Weintraub, Stanley. ""Doll's House" Metaphor Foreshadowed in Victorian Fiction." Nineteenth-Century Fiction 13: 67-69. Web. 6 Jan. 2011.
to discover and educate herself. She must strive to find her individuality. That the perception of woman is inaccurate is also supported by the role of Torvald. Woman is believed to be subordinate to the domineering husband. Instead of being the strong supporter and protector of his family, Nora's husband is a mean and cowardly man. Worried about his reputation he cares little about his wife's feelings and fails to notice many of her needs. The popular impression of man is discarded in favor of a more realistic view, thus illustrating society's distorted views. Ibsen, through this controversial play, has an impact upon society's view of the subordinate position of women. By describing this role of woman, discussing its effects, and predicting a change in contemporary views, he stressed the importance of woman's realization of this believed inferiority. Woman should no longer be seen as the shadow of man, but a person in herself, with her own triumphs and tragedies. The exploration of Nora reveals that she is dependant upon her husband and displays no independent standing. Her progression of understanding suggests woman's future ability to comprehend their plight. Her state of shocked awareness at the end of the play is representative of the awakening of society to the changing view of the role of woman. "A Doll's House" magnificently illustrates the need f...
During this time period, there was the stereotypical opinion that women should only be homemakers because they do not have the intellectual capacity to do anything more. The struggle for dominance between Torvald and Krogstad also brings to light Nora’s venture to have purpose. Ibsen uses her to comment on society’s gender roles. For the majority of the play, Nora plays her part as the ideal wife well. However, at times she portrays herself as being more than just a trophy wife. Her conflict with Krogstad reveals how innovative and unselfish she actually is. For instance, she does not spend all the allowance money Torvald gives her. In addition to saving a little of her allowance, she also does odd jobs to earn money. She does all of this in secret to pay off the loan to Krogstad. At first, Nora gives off the impression that she is a “spendthrift” and an airhead, but she proves herself to be a woman of perseverance and determination. The men’s struggle for dominance also reveals her marriage’s flaw. Torvald treats her like a doll he needs to take care of and show off to others. He underestimates her ability, similar to how society doubts that women can do more than just sit still and look pretty. His condescending demeanor towards her ultimately allows her to realize that she needs to leave him in order to be truly independent and live up to her potential. Like all women in society eventually realize,
In Henrik Ibsen’s, A Doll’s House, Nora struggles to achieve justice and her rightful place as a woman, mother, and wife, despite the hardships and mistreatment of her husband Torvald and her father. Throughout Nora’s life, she has faced hardships in order to survive as a normal person because of the mistreatment she received from the two men in life she ever loved; her father and her husband. The mistreatment of Nora’s father and husband has caused Nora to become and be an extremely weak individual. Nora is fearful to live the way she wants to because she no longer has an identity of her own. Despite the hardships and mistreatment Nora encounters, she still has extreme hubris. She wants everyone to recognize and believe that she is living a joyous and wealthy life. In search for Nora’s rightful place as a wife, mother, and woman, she must also search for her quest for justice. “[… ] When her image of herself and her domestic life is shattered she does what she feels she must to become a true person.” (Clurman154) Nora encounters many struggles in achieving justice and finding her rightful place in society.
When attending a masquerade, a person is expected to wear a mask. In fact, it’s looked down upon if a mask isn’t worn. But, what if for some people that mask never came off? In A Doll’s House by Henrik Ibsen, each character has constructed their own metaphorical mask that they set firmly in place every morning when exiting their bed. Each character: Nora, Torvald, Kristine and Krogstad all have masks that they put in place when speaking to each other. Throughout most of the play, it is clear that all of the aforementioned characters have multiple facades that they use when speaking to one another; often switching quickly as they begin speaking to someone else. Henrik Ibsen’s use of the masquerade serves as an extended metaphor to show the masks that the characters use in their everyday lives.
In the time this play was written, women had very few rights in public society. Ibsen reflects this by portraying Nora as having very few rights in the household. Torvald runs everything, and Nora has no say in how the house is run.
Other characters, however, such as Mrs. Linde and Krogstad, as well as Anne-Marie, play a part in defining gender roles in A Doll’s House. In this essay, I will discuss the ways in which Ibsen represents gender roles in A Doll’s House through the characters in his play and the differing views about feminism and gender roles in the play. At the beginning of the play, Nora and Helmer’s relationship appears to be a typical marriage in the 1800s. Helmer, as the man, is the head of the house and Nora is portrayed as the naïve, “spendthrift” wife who has no dealings with the financial situation of the family.
...her defiance to no longer comply with the gender constructions of society. Ibsen, therefore, criticises society’s compliance with the constructions of the culture and urges us to be more like Nora is at her epiphany. Lady Bracknell is memorable for her comically masculine traits and character. Not only does Wilde shatter our gender expectations, but ridicules the compliance of individuals in the performances that they make for society. Both plays raise questions regarding the submission of men and women to society’s presumptions and pressure regarding gender, and criticise individuals for conforming without asking questions. Each play makes us question our own performances for society and the performances of others in our lives. Nora’s realisation that she has married a construction is as unnerving now as it was to its contemporary audience because it forces us to look at our own behaviour and that of others around us, presenting us with a frightening and menacing awareness that we also may be existing in false and constructed lives.
Henrik Ibsen paints a sad picture of the sacrificial role of women throughout all social economical classes in his play “A Doll House”. The story is set in the late 19th century and all minor female characters had to overcome adversity to the expense of love, family and self-realization, in order to lead a comfortable life. While the main female protagonist Nora struggles with her increasingly troubled marriage, she soon realizes, she needs to change her life to be happy as the play climaxes. Her journey to self-discovery is achieved by the threat of her past crime and her oppressing husband, Torvald and the society he represents. The minor female characters exemplifying Nora’s ultimate sacrifice.
A Doll’s House by Ibsen is one of the most influential plays of our time. It shows how society was constructed for women in the 19th century, and continues to educate people about women’s rights. Independent thought, decisions and actions are all a part of being human, and Nora determined this through her journey to discover herself. It was not a mistake that Torvald read the letter, it was rather a blessing in disguise for Nora. This play can be interpreted in different ways and in various perspectives, but ultimately Ibsen created this play to attempt to show the inequality within the society he lived in at the time, which he shows by his representation of Nora Helmer; the angel that broke away from the house.
The characters of this play help to support Ibsen's opinions. Nora's initial characteristics are that of a bubbly, child-like wife who is strictly dependent on her husband. This subordinate role from which Nora progresses emphasizes the need for change in society's view of women. For Nora, her inferior, doll-like nature is a facade for a deeper passion for individuality that begins to surface during the play and eventually fully emerges in the ending. An example of this deep yearning for independence is shown when Nora tells her friend, Kristina Linde about earning her own money by doing copying. Nora explains, "it was tremendous fun sitting [in her room] working and earning money. It was almost like being a man" (A Doll's House, 162). Mrs. Linde is an inspiration to Nora, because Kristina has experienced the independence that Nora longs for.
Krogstad is one of the most complex characters from Ibsen’s A Doll’s House. Initially, Krogstad appears to be the villain of the play. Nora owes Krogstad a great deal of money. Krogstad uses the existence of her debt to blackmail Nora, threatening to inform her husband of her debt and her forgery if she does not use her influence to secure his position at the bank. Krogstad serves at a catalyst which brings about the central conflict of the play. However, Krogstad has other roles as well. Krogstad is a foil to Nora. He had been the exact same situation that Nora is in now. He had forged a signature to save the life of someone dear to him. Krogstad is also a foil to Torvald. Whereas Torvald continues to advance in society, Krogstad is at risk at losing his livelihood and reputation. In an unexpected twist, Krogstad becomes the hero of the play by the end. When love and hope is restored to him, he withdraws his threats against Nora and forgives her debt, saving Nora from suicide or from a life of ignominy.
He is a husband who is “proud to be a man”; and hence constantly patronizes Nora in a playful manner calling her “feather brain”, implying that as a feminine figure she is inferior to him. Although Nora is constantly chided as if she were a child, an audience with Ibsen’s context would see Torvald’s treatment of Nora as flattering and desirable.... ... middle of paper ... ... Once again, what conclusions modern feminists may draw from the play are shaped by their context.