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Characterisation in a doll's house
A doll's house character analysis
A doll house characters analysis
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In A Doll’s House Henrik Ibsen writes the character Nora, to reflect a child, the reason he does this is to comment on gender stereotypes of the time this work was written, to portray women as powerless, dependent, and naive. Her actions and overall position in the play is what places her in a position of the child in this work, however in some ways this is Nora’s coming-of-age story, and Henrik uses Nora to comment on women’s placement and capabilities in their modern society. When the character of Nora is first introduced one of the first things we see her doing is eating macaroons, then hiding them when her husband Torvald. Her behavior in this scene possibly demonstrates a few things. First this demonstrates a lack of obedience towards her husband, Torvald, and a willingness to not do everything he tells her, which is the root of the main dilemma in this work. It also reaffirms her position as a child in this relationship. This scene is a classic example of a parent/child relationship that is often seen in real life, such as when a child steals a cookie from a cookie jar, then denies it. Nora even openly says in act two, that Torvald is almost a parental figure in her life, when she is talking to Dr. Rank. "Surely you can understand that …show more content…
Linde. “You are just like the others. They all think that I am incapable of anything really serious--”, When Mrs. Linde first judges her, she’s very quick to try to prove to her that she is more capable than she appears. This is when the audience first realizes Nora is more than what meet the eye. Despite her earlier behavior, she is the one that saved her husband 's life and been working off the
In Henrik Ibsen’s play A Doll House, Ibsen tells a story of a wife and mother who not only has been wronged by society, but by her beloved father and husband because of her gender. Nora left her father’s house as a naïve daughter only to be passed to the hands of her husband forcing her to be naïve wife and mother, or so her husband thinks. When Nora’s husband, Torvald becomes deathly ill, she takes matters into her own hands and illegally is granted a loan that will give her the means to save her husband’s life. Her well guarded secret is later is used against her, to exort Torvald, who was clueless that his wife was or could be anything more than he made her. However, Nora has many unrecognized dimensions “Besides being lovable, Nora is selfish, frivolous, seductive, unprincipled, and deceitful” (Rosenberg and Templeton 894). Nora is a dynamic character because her father and her husband treat her as a child and do not allow her to have her own thoughts and opinions, as the play progresses she breaks free from the chains of her gender expectation to explore the world around her.
A Doll House, a play written by Henrik Ibsen, published in the year 1879, stirred up much controversy within its time period because it questioned the views of society's social rules and norms. "Throughout most of history... Wifehood and motherhood were regarded as women's most significant professions... The resulting stereotype that 'a woman's place is in the home' has largely determined the ways in which women have expressed themselves" ("Women's History in America"). Ibsen places many hints throughout his play about the roles of women and how they were treated in his time. Nora is perceived as a typical housewife; maintaining the house and raising her children. However, Nora had actually hired a maid to do all of those typical housewife duties for her. Nora was naive, and ambitious. She hid many secrets from her husband. The way women were viewed in this time period formed a kind of barrier that Nora could not overcome. Women should not be discriminated against just because of their gender and within reason they should be able to do what their heart entails.
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
Imagery symbolically guides the process of self-emancipation for Nora, the protagonist of A Doll's House by Henrik Ibsen. Objects like the macaroons, the lamp, the Christmas tree, and costumes represent the movement towards freedom of a woman who was a victim of society. Ibsen painted Nora as a youthful and lovely creature who was brought through life treated as a plaything by both her father and then her husband, Torvald. She must break society's unwritten laws. Although the consequences of her actions are initially minor, they start her along the path towards crisis when she realizes her position and the injustice of it. Through Ibsen's use of symbolism, objects in the play echo her process of anguish to liberation.
However, it is also clear that Nora's simplistic approach to the world is not entirely her fault. Torvald's treatment of Nora as a small helpless child only contributes to Nora's isolation from reality. Just as Nora relates to the exterior world primarily through material objects, Torvald relates to Nora as an object to be possessed. The question becomes who is more detached from reality? Though Torvald's attitude pervades every word he speaks to Nora, his objectification of her is most evident in his use of animal imagery. He refers to her as his little "lark" and "squirrel"‹small harmless animals. Similarly, Torvald repeatedly calls Nora his "little one" or "little girl", maintaining the approach of a father rather than husband. Nora is fully dependent on Torvald, from money to diet (the macaroons); and, because she is so sheltered, her perception of the world is romanticized.
Although in Helmer 's eyes she will always be a "Little feather brain....a thoughtless woman....[and his] doll-wife," (A Dollhouse Act 3,173-287), Nora 's accusation of Torvalds 's inadequate love and apathetic dedication in their marriage finally gave her a platform to conclude the need for a pilgrimage and to find herself with in this world. She is an interesting and growing dynamic character. Oblivious to her husbands self indulged personality in the exposition of the play, Nora put her own dignity at risk in order to save her husbands life. Her intention of helping her family lead to forgery, debt, dishonesty, and eventually the fall of her family. In return, once Torvald is aware of her the crime she committed, his response "What good is it to me if you were out of the way?" represents his carelessness of his own wife 's
It is discernable as we notice, how Nora is treated by her husband, Torvald. Torvald gives no-regard to the intelligence of Nora and pictures her as an ornament that adorns his household. “…but our home has never been anything but a playroom, I`ve been your doll wife, just as I used to be papa`s doll child.” It is obvious that Nora does not have much control over her life and over any money “You might give me money Torvald…” Nora is quite intelligent and knows a thing or two about budgeting money, she has been able to pay her loan in small increments and at the same time buy things for her household. “I have had to save a little here and there, where I could, you understand.” Torvalds pride prevents her from reaching her full potential and doing something constructive in her
Linde brings great happiness to Nora’s life. Nora is able to trust and talk about anything to Mrs. Linde (even secrets such as borrowing money behind your husband’s back). When Nora and Mrs. Linde engage in conversation with each other it is as if Mrs. Linde is the voice of reason for Nora. In one scene, Nora tells Mrs. Linde , “ You’re like everybody else. You all think I’m incapable of doing anything serious…” Again, I feel sorry for her, but at this moment I assumed that maybe Nora is not as naive as I thought. She is able to recognize that people see her as a childish person. In another part of this scene she mentions to Mrs. Linde, ”Torvald has his pride. He’d feel humiliated-hurt even- if he thought he was indebted to me in anyway." Nora is afraid of how humiliated her husband would be if he found out his wife did something that overpowered him. Since Mrs. Linde she believes that it is absurd that Nora would do such thing to her husband. Mrs. Linde recognizes that women do not have the same rights as men, therefore realizing what Nora did for her husband seem to raise a red
Mrs. Linde, a childhood friend of Nora's, and Dr. Rank, Torvald's best friend, both arrive at the Helmer home at the same time. Dr. Rank retires to Torvald's study, and Mrs. Linde reacquaints with Nora. The two have not seen one another in about a decade. Nora acts very much like a naïve child throughout the conversation with her friend. She tells Mrs. Linde about Torvald's approaching appointment to bank manager and expresses how relieved she is that they will soon have all the money they...
After asking his wife if she understands what she has done Nora answers “[Looking squarely at him, her face hardening] Yes. I am beginning to understand everything” (835). This statement might be the key phrase of Nora’s realization. The double- meaning implies Nora’s understanding of the actual situation as well as her awareness that her marriage, even though it conforms with social expectations, is far from perfect. She now doubts the depth of her love for Torvald and becomes calm with comprehension as she begins to recognize the truth about her marriage. While she expects compassion for her sacrifice, she is none given. Instead of sacrificing anything to help Nora out of her predicament, Torvald is only worried about himself and appearances. It becomes very clear, after the second letter from Krogstad arrives, that her well-being always comes second “I’m saved. Nora, I’m saved! You too, of course” (836). Throughout the conversation with Torvald, Nora finally realizes, she needs to rearrange her life and priorities to be happy. This implies independence and self-awareness. While Nora finally understands the situation, she is in and what she needs to do but Torvald defines her new attitudes as madness “You’re ill, Nora; you’re feverish; I almost think you’re out of your mind” (840). “However, the characterization has been tied to the fact that she is breaking taboos or challenging conventions” (Langås 160). Torvald is still stuck in his fantasy world of how a wife should talk and act per his standard and the society he stands for. “Nora still has no way of knowing that she is not endangering her children with her presence and in the end, she feels impelled to leave, and her decision is less an act of defiance against her husband and society than an attempt to save the lives of her children” (Brooks
Nora Helmer is the character in A Doll House who plays the 19th woman and is portrayed as a victim. Michael Meyers said of Henrik Ibsen's plays: "The common denominator in many of Ibsen's dramas is his interest in individuals struggling for and authentic identity in the face of tyrannical social conventions. This conflict often results in his characters being divided between a sense of duty to themselves and their responsibility to others. " (1563) All of the aspects of this quote can be applied to the play A Doll House, in Nora Helmer's character, who throughout much of the play is oppressed, presents an inauthentic identity to the audience and throughout the play attempts to discover her authentic identity.
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.
Initially, Nora’s personality is labeled as immature yet also most times obedient in Torvald’s presence; she is always sweet-talking him for favors instead of communicating as an equal couple. This looks like Nora is using this as a mechanism to cope and try to forget her past misbehaviors. Another side of looking at this is looking at Nora as a sensitive woman, but sensible at the same time, and completely has no idea of how much she’s worth until the climax of the play. This is confirmed by how her husband, Torvald always calls her a “little skylark”, or a “little squirrel” and she is quiet and does not do anything about it which seems like she is content with it. Today, I am sure most women will be offended by such comments and the fact that Nora takes this kind of treatment, makes me think that she either has a low self esteem, or she is just ignoring he whole situation.
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.
...dlike mentality and needs to grow before she can raise her own children. Her defiance of Torvald, when he refuses to let her leave, reflects her epiphany that she isn't obligated to let Torvald dictate her actions. The height of Nora's realization comes when she tells Torvald that her duty to herself is as strong as her duty as a wife and mother. She now sees that she is a human being before she is a wife and mother and she owes herself to explore her personality, ambitions, and beliefs.