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Analysis of Feminism in Henrik Ibsen's A Doll House
Analysis of Feminism in Henrik Ibsen's A Doll House
Analysis of Feminism in Henrik Ibsen's A Doll House
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“Feminism isn’t about making women stronger. Women are already strong. It’s about changing the way the world perceives that strength” (Pugachevsky). G.D. Anderson, the modern feminist who stated this quote, and Nora Helmer from Henrik Ibsen’s A Doll’s House share similar views regarding the strength of women: it is overshadowed by the world’s inability to recognize it. In his revolutionary play A Doll’s House, playwright Henrik Ibsen exceeds his years by breaching the controversial subject of women’s rights. Protagonist Nora Helmer is submissive to her husband Torvald and complies with everything he says. However, Nora has been keeping a secret from Torvald and only after revealing it does she find the strength to walk away from her toxic relationship …show more content…
For example, a woman should have respected her husband and his decisions and known that he would guide her through life’s trials. Because of this, when Nora attempts to present her argument and Torvald closes his ears, believing just as much as society does that she is not capable of making decisions, she simply embraces it, saying, “Whatever you do is always right” (Ibsen 64). She gives up her fight, showing that society holds Nora back from taking full advantage of her mental strength and competence. What if she has a valid argument? What if saving Krogstad’s job later benefits the bank? Torvald never has the opportunity to discover the answer to these questions because he is too consumed with what the world thinks is right and …show more content…
It demonstrates that at the time of this play, women needed to be healthy and not indulge in simple pleasures such as sweets. However, Nora wants those macaroons. Why does she need to “count her calories”? Who does she need to impress? Is she not already married? Unfortunately, her husband and his peers all believe she should still present herself in a manner that suits their desires, even if that means she has to relinquish the right to her favorite delicacy (Ibsen 7). This evidence is consistent with the fact that women were expected to make certain sacrifices in order to please social standards. Nora, although she conceals it from the world, is not one of those women. She refuses to sacrifice her macaroons with as much passion as she refuses to sacrifice her dignity, and if that is not strong, I do not know what
Throughout Act one, Nora’s most noticeable characteristic is her child like personality and her inability to understand the importance of honesty. As the play opens on Christmas Eve Nora comes home with an abundance of extravagant gifts for her family. She also eats some macaroons that she secretly bought that her husband doesn’t allow her to eat. When questioned about the purchase of the dessert by her husband Torvald Helmer, she denies it. Through this act of deception we are able to see that Nora, in denying buying and eating the macaroons is more like a child to her husband. In a normal husband-wife relationship, the wife would have admitted that she did in fact eat them due to the fact that they are on an equal playing field. In this case, Nora was scared to tell him in fear that she will be punished and get in trouble. The deception allows us into Nora’s mind to see that she hasn’t yet understood that if she stand up for herself and says that she did, that with time Torvald will stop treating her like one of his children but instead like the mother and wife that she is. Throughout the first scene yo...
Nora is a doll who has a “passive character with little personality of her own” (Wiseman). Her life is structured according to the whims of her husband. Torvald expects his wife to abide by his rules. Nora loves macaroons; however, Torvald forbids Nora to have macaroons. Although Nora disobeys the rule, she has to lie and blame Mrs. Linde for the macaroons just to appease her husband. The Helmers have been invited to a costume party. Instead of picking her own costume for the party, Nora says “[Torvald] couldn't you take me in hand and decide what I shall go as, and what sort of a dress I shall wear?” Nora’s freedom is so restrained that she cannot even choose a costume for herself. Torvald decides that she should dress up in a fish girl costume and perform the tarantella. “The costume and dance are part of T...
This simple question might seem harmless out of context, but in the play, this shows that Trovald is trying to controls her to the extent of controlling what she eats. The communication between the couple continues to be absent, and this pushes Nora to realize that her husband has taken her freedom from her. Miscommunication or the lack of communication is one of the top reason for couples to resort to divorce Nora notices the problem within the relationship, and decides to act on it by figuring out a way to do something behind her husband’s back that would bring her some benefit. In the play, divorce is not an issue, although Nora’s actions following her husband’s behaviors are something that could lead to a separation in today’s society. Later in the play Nora holds a conversation between herself and Krogstad, in this conversation it has shown that Nora has a turn of thought.
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...
Nora’s dishonesty towards her husband has him very fearful for her life and her marriage. This secret changes the audience’s views on Nora. The secret shows a burden that she should not have to face alone. Nora is paying this debt back that she did not ask for with her allowance and is working small side jobs. Nora has proven bravery and has shown the audience the definition of true sacrifice.
A grandiose sense of importance and uniqueness can be argued for Nora in the beginning of the play when she reunites with a friend she hasn’t seen in many years. Instead of allowing the friend to talk Nora rhapsodizes about her ideal life with her husband and children all while knowing about the hardship her friend has faced in recent years (Ibsen, 1731). Although this is a selfish thing to do to a friend; Nora is a secretive person afraid of allowing people to get close enough to see under the mask she wears every
While eating and lying about macaroons may seem trivial, why would one need to lie about a trivial matter? Not only does she lie about eating the macaroons to her husband but also once to Dr. Rank. The most serious deception is that of the loan that she took out in order to save her husband’s life. While this is an extravagant lie we can find it in ourselves to forgive Nora because her actions were selfless. Perhaps if Torvald could accept his wife instead of constantly feeling the need to control her she would not have lied to him. Once Nora reveals her deceptive act to Mrs. Linde we begin to see Nora’s character in a whole new light. One that is much more mature and determined than previously thought. It isn’t until Mrs. Linde accuses Nora of not knowing a hard day’s work that she finally reveals her greatest secret. It is through their common experience of sacrifice that unites them and brings them closer together
Nora was raised and socialized by her father. He kept her as a doll and never required or expected much from her. The same treatment continued from her husband Torvald. In a world where nothing is expected from Nora, it is easy to think she is spoiled. But, as many women of that time, she wanted to be seen for the smart and intellectual woman that she was. She basically saved her husband’s life but had to continue to act as Torvald’s fool. Sympathy for Nora is not only possible, it’s practically required.
However, as the story evolves, a different side of Nora emerges. She attempts to conform to society’s views of gender roles in order to keep her “beautiful and happy home” and fears that telling her husband about what she did will “completely upset the balance of [their] relationship” (891). ... ... middle of paper ... ... nd society, and the differences between Nora and Anne Marie, the nursemaid.
It is through these stage directions that Nora’s playful and slightly immature character is revealed. In Act One many of the stage directions written for Nora is her ‘shrieking’ , this overly excited, erratic behaviour is a common theme from Nora throughout the play and emphasises her immaturity and lack of sincerity, most likely stemming from not having the opportunity of independence. A slightly comical action of Nora’s in the play ‘A Doll’s House’ is when she ‘stuffs the bag of macaroons in her pocket and wipes her mouth’ . This could be compared to a child attempting to hide evidence from their parents either in guilt, or in fear of being caught doing something forbidden; for Nora this is brought about by the strict rules of Torvald. Nora also appears very whimsical and is found to be ‘lost in her own thoughts’ and ‘hums ‘. It seems as if she is blissfully unaware and oblivious of the troubles and misfortune her family is receiving and this highlights her role, not as an equal partner in the family but rather a doll on display. However it is not just the stage directions of Nora that give rise to her childish actions. A significant moment in the play that reveals why Nora acts like a child is when Torvald questions Nora about purchasing macaroons. The stage directions state that he is ‘wagging his finger at her’ , this is an action similar to one a parent would make when telling off a
Nora lived a life of lies in order to hold her marriage together. She kept herself pleased with little things such as telling Dr. Rank and Mrs. Linde, "I have such a huge desire to say-to hell and be damned" (Ibsen 59)! She did this just so she could release some tension that was probably building inside her due to all the restrictions that Torvald had set up, such as forbidding macaroons. The need for her to consume these macaroons behind her controlling husband's back was a way for her to satisfy her sense of needing to be an independent woman.
(Mrs. Linde and Nora) express their feelings of pride and fulfillment in helping their significant others by sacrificing themselves. Nora’s character is made more obvious to us by Mrs. Linde’s actions. Not only did Nora open her mouth about saving her husband‘s life, but she did it with the utmost pride. Claiming to have raised all the money herself she soaks in her self-importance. In Act 1, Nora seems to thrive on the pride she gets from borrowing the money. I suppose that she is feeling useful for a change.
At the beginning of the play, Nora is already seen defying Torvald’s wishes by eating some macaroons. Not only that, but when Torvald reminds Nora about last Christmas and how Nora “locked [herself] up every evening, till way past midnight, making flowers for the Christmas tree” (1.125-127). Nora told Torvald that she “wasn’t bored at all” (1.129). This small act of defiance towards Torvald might seem like nothing special, but it is a subtle hint that Nora no longer wants to be Torvald’s plaything. Another instance of defiance happens right after, when Nora discusses her loan with Mrs. Linde.
Nora Helmer was a delicate character that had been pampered all of her life, by her father, and by Torvald. She really didn't have a care in the world. She didn't even have to care for the children; the maid would usually take care of that. In every sense of the word, she was your typical housewife. Nora never left the house, mostly because her husband was afraid of the way people would talk. It really wasn't her fault she was the way she was; it was mostly Torvald's for spoiling her. Nora relies on Torvald for everything, from movements to thoughts, much like a puppet that is dependent on its puppet master for all of its actions. Her carefree spirit and somewhat childish manners are shown throughout the play with statements such as, "Is that my little lark twittering out there?" (1). "Is it my little squirrel bustling about?" (2). A lark is a happy, carefree bird, and a squirrel is quite the opposite. If you are to squirrel away something, you were hiding or storing it, kind of like what Nora was doing with her bag of macaroons. It seems childish that Nora must hide things such as macaroons from her husband, but if she didn't and he found out, she would be deceiving him and going against his wishes which would be socially wrong.
Nora has to secretly eat the macaroons while ensuring that her husband does not see the action, as Torvald forbids them and desires her to please him at all cost. Therefore, Nora possesses no liberty of action and symbolizes the lack of freedom within the lives of women.... ... middle of paper ... ...