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Analysis essay on 'A doll's house' by Henrik Ibsen
Analysis essay on 'A doll's house' by Henrik Ibsen
Analysis essay on 'A doll's house' by Henrik Ibsen
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The play, A Doll’s House, by Henrik Ibsen is not only about the Helmers’ marriage, but also about the institution of marriage itself. There are three key points that appear in the play in which Ibsen highlights what detrimental effects could occur when a marriage is unequal. In the first act, we can observe and agree that within the Helmers’ marriage there is an imbalance of power. Helmer says to Nora, “What are little people called that are always wasting money?” To which Nora replies, “Sprendthifts—I know” (Abcarian, Klotz, and Cohen 165). In this scene not only is Nora practically begging Torvald to give her money, but then he constantly replies a belittling fashion. Torvald knows he is her only way of being able to have money and squeezes every bit of satisfaction out of having her beg him to give her some cash. Ibsen points out the imbalance of power in this scene by portraying Torvald as having the upper hand. In another part of the act, we catch on to the obvious fact that Nora is submissive but alongside has a manipulative demeanor. Nora declares, “Christine is tremendously clever at book-keeping, and she is frightfully anxious to work under some clever man, so …show more content…
Then Torvald arrogantly addresses Mrs. Linde and says, “Very sensible, Mrs. Linde” (Abcarian, Klotz, and Cohen 175). Nora simply caters to Torvalds ego to get her way. Her end goal was to get her
In the play, the audience sees it from Nora’s perspective. Nora is Torvald’s little squirrel, his little, insignificant squirrel. Nora is worthless to Torvald and she only realizes in the end how foolish she is to think that he will
“A Doll’s House” was written by Ibsen not only to bring attention to the suppression of women, but to bring attention to the other problematic aspects of marriage in the late 1800’s. Since the play was first performed in 1879 in Copenhagen, there was debate about the way that Ibsen portrayed the nature of the Helmer’s marriage (McFarland-Wilson, Knapp 140). Throughout the entire Western World in the 20th Century, the position of not only women, but the nature of marriage was up in the air. Ibsen was not a feminist; he was a realist, who loved to point out the injustices in society (Kashdan). Ibsen’s character clearly explains why he chose to center his writing on the overall picture of marriage, not just the neglect and unfair treatment that the women received.
Nora is the pampered wife of an aspiring bank manager Torvald Halmer. In a desperate attempt to saves her husband's life Nora once asked for a loan so she and her family could move somewhere where her husband could recover from his sickness. Giving the circumstances she, as a woman of that period, by herself and behind her husband forged her dad signature to receive the loan. Now, Nora's lender (Mr. Krogstad), despite her paying punctually, uses that fault as a fraud to pressure her so she could help him to keep his job in the Bank where her husband is going to be the manager. Nora finds out that Torvald would fire Mr. Krogstad at any cost. At learning this, Nora trembles for she knows Mr. Krogstad will tell everything to Torvald. She remains confident; however that Torvald will stand by her no matter what outcome. His reaction though is not what she expected and therefore here is when she realizes that she "must stand quite alone" and leaves her husband.
He uses many imperatives and speaks to her in the 3rd person. The difference in each characters’ use of language is a personification of the power they have in their relationship. While Nora uses general descriptors indicating a lack of finite knowledge. Torvald delivers commands in a belittling way, a constant affirmation. to his wife (and himself) that he is the man of the house, and.
Torvald is constantly referring to her through the use of pet names such as (quote pet names from book) and only ever refers to her by name when he is scolding her. Not only does Torvald see her as his doll, but also as her child (quote near end of story). By keeping Nora dependent and obedient to him, he plays the role of Nora’s second father. Nora eventually sees that her daughter is being treated in the same manner that she was her entire life, as a doll. In comes Mrs. Linde, Nora’s childhood best friend, whom she greats rather hesitantly.
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.
Torvald does act criminally toward Nora after reading the letter. He calls her horrible and degrading names and insulted her father. Torvald states that Nora may, at his whim, continue to live in the house, but can longer be trusted to raise the children. Basically, he is removing a mothers rights to her children. Although, the times allowed for such actions, it would still be considered criminal to treat a human being that way.
When Nora tells Kristine her well kept secret, Nora portrays herself as the noble and selfless heroine that has saved her husband’s life. However, when Krogstad threatens Nora to reveal the secret, she answers, while on the brink of tears: “This secret- my joy and my pride- that he should learn it in such a crude and disgusting way- learn it from you. You’d expose me to the most horrible unpleasantness-” (Ibsen 1265). Nora’s self-satisfaction and idealistic dream stem from her secret. Moi writes, “Her secret is the source of her identity, the foundation of her sense of worth, and makes it easy for her to act the part of Helmer’s chirping songbird and playful squirrel. That she has aestheticized her secret- turned it into a thing of beauty…” (Moi 9). After realizing that her beautiful secret is in fact a crime, Nora feels tarnished by
Torvald is extremely cautious about how he is perceived by other people. He would do anything to keep his honourable image, even if it involves him doing something dishonourable. Another way the relationship between Nora and Torvald will end is from Nora’s desire for her own identity. Even though it might seem that without Krogstad’s extortion plan, Nora would have never developed her need for an identity, but she has shown signs of a new identity well before Krogstad tried to extort Nora from his job.
“I’ve been your doll-wife here, just as at home I was Papa’a doll-child” (Ibsen 1491). Henrik Ibsen’s A Doll House tells a story of scandal and deceit set in the Victorian era. Nora Helmer is married to Torvald Helmer and she feels more like his toy than his wife. Nora had to have Torvald to be able to do anything, because of when she lived. Nora borrows money behind her husband’s back (which is illegal at this time) and tries to cover up everything she has done. Ibsen employs the use of many themes and symbols in his A Doll House to show the reader just how Nora was a doll-child who evolved into a doll-wife.
She starts to play more attention to Torvald after Krogstad threatens to tell her secret. Nora realizes that Torvald only sees her as a child that needs his help with everything she does. As she said,” I have existed merely to perform tricks for you, Torvald. But you would have it so” (720). She comes to understand that she was merely a doll to him, and that’s all he’s ever going to want her to be. Once Krogstad reveals the secret she decides to leave Torvald when he fails to prove that he truly loves her. As she said, “when the wonderful thing did not happen; then I saw you were not the man I had thought you” (722). She wanted him to show her that he would protect her and instead he got furious at her.
In the play, Torvald also doesn’t trust Nora with money, when Nora wants money instead ...
In act one we see the way Nora behaves and the way Torvald treat Nora. In front of her husband Nora seams submissive and she also acts childish. When Nora goes to show him the things she had purchased for the children he hears her coming and he tells Nora “Is that my little lark twittering out there. Is that my squirrel rummaging around?” (Ibsen 794). Nora does not mind that Torvald has these pets name for her and she even calls herself these pets’ names. Nora tells her husband “Hm, if you only knew what expenses we lark and squirrels have, Torvald” (Ibsen 796). I believe that by Nora doing this she is giving Torvald the consent to continue calling her by pet names. In my opinion this is not a normal behavior for a marriage couple. But it seems like Nora did not care that Torvald treated her like a child or called her pet names, what was important to her was the money that Torvald was giving her.
Nora initially seems like an asinine, childish woman, but as the play progresses, we see that she is indeed intelligent, and strong. Eventually by the end of the play, Nora has become a strong-willed, independent thinker
Without love a relationship would never even begin. The basis for Nora and Torvald's relationship appears to be centered around love, but this was not exactly obtained. Torvald doesn't really love Nora in a mature way; he just looks at her as another child. He has many nicknames for his wife including "lark" and "squirrel" which are small animals and used as symbols of foreshadowing. By using these symbols, Torvald looks at his wife as being smaller than himself and therefore easy to control. He always refers to Nora as my something. "Is that my little lark twittering out there?" and "Is it my little squirrel bustling about?" (438) He emphasizes the my' which makes him think that he owns his wife and he is in control of her. Calling his wife names such as skylark', squirrel', and spendthrift', Torvald does not love his wife with the respect and sensitivity a man should. He gives Nora an allowance but thinks she spends it frivolously. "What are little people called that are always wasting money? It's a sweet little spendthrift. One would hardly believe how expensive such little persons are" (439) Here, Nora is referred to as a small subordinate creature once again. Torvald is so concerned about...