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A doll's house critical analysis
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A doll house analysis essay
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A Doll's House
Often in literature characters are presented as victims of society. There are many examples of this in Henrik Ibsen’s controversial play, “A Doll’s House”. Written during the Victorian era, Ibsen’s play would have raised a lot controversy on the roles of males and females in society. The audience would have noticed the constant similarities between themselves and the characters that are presented as victims of society. A lot of the audience would have found the play shocking and disturbing.
Torvald, a character who is a typical Victorian era husband, with a sweet wife, three children, a nanny, a maid and a well paid job; would have represented a large percentage of the play’s male audience. Only people, who were well off as Torvald, could go to the theatre and have such luxuries, in that period of time.
Torvald is a victim of society, forced by the need to fit into society’s circle and to be classified as high in social status. Torvald is aware of the pressures of society and is willing to adhere to them. Although Torvald is a victim of society, it’s quite evident that he is happy and comfortable with the idea.
Torvald has everything he could possibly want, and everything society could possibly expect him to have, in life. A family, a beautiful wife, a home, a good respectable job, which has given him a higher status in society, a office of his own, to do his man to man business, and plenty of money so that he can spoil his pet, Nora. This is the major reason why Torvald does not want to do anything such as “touch any case that isn’t - well - nice” in case it affects his image and gives his name a bad reputation. Torvald would do anything to stop having to “cut costs to an absolute minimum” and “save every cent”, ever again. This is evident in the last scene when he tries to cover up Nora’s actions, so it doesn’t leave a bad mark against his name. “ I must try to buy him off somehow. This thing must be hushed up at any price.” (Act3, pg94)
Torvald tries his best to live up to every expectation society sets for him. The idea of maintaining a strong and crucial role in the family, is an image, which is important to Torvald. He feels if he maintains this image, he will be comfortably similar to everybody else, in society. As the male and husband of the family, he feels that it is his duty to be the breadwinner, the provider and...
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...ose what he had worked so hard to achieve. Krogstad talks about society as it were his life. “ Now I’m a shipwrecked man, clinging to a spar.” (Act3, pg81).
In the end of the play, we become aware that Krogstad isn’t a villain but just struggling in society, trying to get back some of the pride he has lost.
Dr Rank is probably one of the most upstanding characters represented in the play, because of his status being a respectable doctor. Along with his job comes a conception that he is a respectable and important person to society. It’s ironic that he is the result of society actions and is a victim to both his father’s actions and society. Dr Rank is dying of a disease which his father passed onto him, because he was doing what Torvald did and followed society’s trend and slept around with as many women as he please.
The exploration of the character’s choices in society, whether to follow the crowd or be an outcast, often displays them as victims of society. No matter how large or small, most of the characters in “A Doll’s House” are presented as victims. ‘A Doll’s House” magnificently illustrates the need for a change in society’s view of males and females in society.
Torvald is simply “preoccupied with work and money leading to a reduction of values from a moral to a material plane” (Literary Resource Center). Though, Torvald’s worries were not uncommon, many men upper class men were expected to have happy family lives. In the nineteenth century, women were not expected to make a living, providing for their families was a responsibility left for the man of the
...d children. The final mask of Krogstad that is seen is that of love and caring. In the end Kristine goes back to Krogstad stating that she always loved him and only left him because “I had a helpless mother and two small brothers. We couldn’t wait for you” (Ibsen, 1225). In the end it is Krogstad who has changed for the better, not Nora or Helmer. It is the very man that Torvald so easily condemned for his past mistakes.
Henrik Ibsen was the first to introduce a new realistic mode in theater when he wrote the play A Doll’s House. The ending of the third act of this play was not accepted due to the controversy that it caused during the nineteenth century, because in this era women were not allowed to act the way Nora did, but through women’s movements society slowly started to accept it.
Torvald is the typical husband of the time of the play. He tries to control his wife and expect her to submit to him. He manipulates her through many different ways. First, he calls her pet names such as "little lark" (3) and "squirrel" (4) and speaks to her in a condescending tone, as if she is a child. He then tries to control her habits so he will not let her eat sweets or spend too much money. In fact, all the money she gets comes from him. He demands that she is subservient and treats her as almost a dog later on in the play. At the end, when Nora's secret is out, he lashes out at her and kicks her out of the house. When he wants her back after he realizes that he will no longer get into trouble for what she did, she does not want to come back, he finally realizes that she does not love him anymore and that his manipulation of her is over. This leaves him in a pickle because he now has to take care of his children without Nora, hardly a good position for him.
The manner in which Torvald talks down to his wife and the apparent. unopposed acceptance of this by his wife, is evidence that, at least. Initially, power firmly rests in the grip of Nora’s husband. Nora’s language is full of indefinite, qualitative statements, demonstrated. especially when talking about Torvald's salary, however, when Torvald speaks.
In Henrik Ibsen’s “A Doll’s House”, Nora Helmer portrays the Victorian English archetype of the “angel in the house”, otherwise known as the “doll” metaphor. In the Victorian age, the social construction of gender roles was much more traditional than contemporary gender roles; women had a clear role in society of which they could not escape. A major focus of social construction is to uncover the ways in which individuals and groups participate in the construction of their perceived social reality. As society is revolutionized, people individualize, freeing themselves from the constraints imposed by traditional societies. Nora Helmer represents an antecedaneous model of a feministic viewpoint in an oppressed position. Trapped in her role of the “doll”, Nora struggles to break free, her actions precipitated by her husband, Torvald’s, actions. Weintraub, in his ““Doll’s House” Metaphor Foreshadowed in Victorian Fiction” critical essay, depicts Shaw’s work and proposes the idea that the male protagonist has an immense impact on the female protagonist’s automorphism as “the doll” and the decisions she makes. In Ibsen’s “A Doll’s House,” Nora’s characterization and ultimate decision to leave can be seen as a struggle against the combination of Torvald and Society’s pressure to conform.
Over the centuries, writers have used literature to show the societal status and the mind sets of the people in their era. ‘Antigone’, a Greek tragedy, and ‘A Doll’s House’, a highly controversial drama, inhibit the same thematic approach, depicting the oppression and submissiveness of women in male-dominated society and how they overcome their obstacles with firm will, inspiring millions of audiences from then till now. By Antigone’s character, Sophocles portrays a figure through whom he can express his faith in feminism in the 4th century. Likewise, Ibsen’s concerns about the position of women during the 19th century are beautifully breathed to life in ‘A Doll’s House’ through Nora’s transformation from a doll-like puppet to a human. Both of the writ...
Henrik Ibsen’s play A Doll House examines a woman’s struggle for independence in her marriage and social world. Through the use of character change, Ibsen conveys his theme that by breaking away from all social expectations, we can be true to ourselves. When Ibsen presents Nora Helmer, we see a “perfect” wife, who lives in a “perfect” house with a “perfect” husband and children. The Helmer children have a nanny that raises them. By having the nanny, Nora has the freedom to come and go as she pleases. Torvald Helmer, Nora’s husband, will begin a new job as bank manager, so they will be rich, which will make her “perfect” life even better. Torvald even calls Nora pet names like “my sweet little lark” (Ibsen 1567) and “my squirrel” (Ibsen 1565). These names may seem to be harmless and cute little nicknames, but the names actually show how little he thinks of her. “Torvald uses derogatory diminutives to address Nora” (Kashdan 52). Torvald talks down to her. Nora is “regarded as property rather than a partner” (Drama for Students 112). He isn’t treating her like a real person. In Torvald eyes, she isn’t an equal. “Nora is viewed as an object, a toy, a child, but never an equal” (Drama for Students 109).
He is a smug bank manager. With his job comes many responsibilities. He often treats his wife as if she is one of these responsibilities. Torvald is very authoritative and puts his appearance, both social and physical, ahead of his wife that he supposedly loves. Torvald is a man that is worried about his reputation, and cares little about his wife's feelings.
The problem in "A Doll's House" does not lie with Torvald alone. Though he does not help the situation, he is a product of his society. In his society, females were confined in every way imaginable.
Torvald is the only one in the family who works and provides for his family who needs to survive in their lifestyle. Because of this, Nora must always go and ask for money from Torvald, hoping for his acceptance of her using his income. Nora also had no possessions to her name because when a woman got married, all her possessions were considered under the control of her new husband.... ... middle of paper ...
The first thing that the reader will notice regarding gender is the title of the play “A Doll’s House”. This reveals to the reader, Nora’s and possible Torvald’s status within the play. Nora is unable to be herself as she is not seen as an equal in her marriage. Instead, she is something to be admired and flaunted. This need for her to be something that Torvald can show off. Both Nora and Torvald are living lives based on illusion. Torvald has made Nora his perfect little doll so that he can look good. She thinks that he is a person with incredible strength, she becomes disillusioned with him at the end of the play when he exposes himself as just a man. This paper will look at the way that society’s expectations of gender roles are perceived
The first character that we will look at is Nora. In the Doll’s House we are introduced to Nora who is happily married to Torvald. She responds affectionately to Torvald’s patronizing and teasing and doesn’t seem to object to her doll-like treatment. However we come to learn that Nora isn’t just the silly girl or childish woman Torvald calls her. Although Nora is well off financially, her issue lies with the way she is treated. The society at that time deems that Torvald is the dominant marriage partner, and as h...
“A Doll House” by Henrik Ibsen shows a passive women's development into an assertive and independent woman. The title of the play provides significant information to the reader. The doll house refers to the life of Nora and how she is treated by her husband, Torvald, and her father. Rather than treating her like a person, her husband and father treated her like a toy, only discussing trivial matters. The play also provides the reader with several symbols including money and macaroons.
Torvald is the personification of masculine authority of Ibsen’s context. He is a husband who is “proud to be a man”; and hence constantly patronizes Nora with 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 tr...