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Portrayal of women in literature in the 1800s
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In Henrik Ibsen’s A Doll House the main character, Nora Helmer, shows us the story of a woman who has borrow money without her husband’s consent in order to save his life. Although this noble act would be admired by most, Nora has to keep it a secret from Torvald Helmer, her husband, as he would see it as a betrayal. The measures that Nora takes in order to keep the loan a secret, create circumstances that bring Nora—whose only duty is to serve her husband— to discover that her life can be more than just being an accessory to her husband. She becomes her own self. In her struggle to keep the borrowed money from her husband’s knowledge Nora begins a transformation from dependence of Torvald, to being self-efficient, self-worthy, and self-independent—qualities women of her time lacked of—because all, such as Nora never displayed a mind of their own. At the end, when Nora’s secret is revealed to Torvald and his reaction is to condemn her for borrowing the money, Nora realizes that she no longer fears her husband’s reaction; she is no longer worried of keeping appearances of what society says she should be as a wife, and mother. The secret that Nora tries very hard to keep hidden, gives her the opportunity to discover herself as an individual, and what she is capable of doing regardless the constraints of society. In fact, Nora’s first display of self-sufficiency happened when Torvald “fell deathly ill [and] the doctors said it was essential for him to travel south” (799) At the time Nora and Torvald did not count with money to make the trip, and knowing that Torvald would never agree to borrow money, Nora “was the one who raised the money” (801) She ingeniously managed to convince her husband to travel South without having to con... ... middle of paper ... ...She listened to Torvald ramble about her wrong doings and how embarrassing is for him, while “he never understood [her]” (842) With a determined look she tells him “I’ve been wronged greatly, Torvald—first by Papa, and then by you…I went from Papa’s hands into yours…Now when I look back, it seems as if I’d lived here like a beggar—just from hand to mouth. I’ve lived by doing tricks for you, Torvald” (843) Nora now knows all that she has ever done for her husband was out of duty; she had to behave a certain way because society dictated it that way. But the burden of keeping the loan a secret from her husband made her stronger; made her desire a position at equal footing as him “there has to be absolute freedom for [them] both” (846) Nora’s secret gave her the opportunity to discover herself as an individual and what she is capable of doing; she gain individualism.
Throughout her life Nora had spent her time pleasing the men around her, first her father and then Torvald. As the reality erupted that her marriage to Torvald was loveless and not salvageable, she ignored Torvald's demand that she not leave him. He even made attempts to sway her decision by insinuating they could go on in the house as brother and sister. Her need to be a valued human in society had prevailed over the dependent, frail, creature that once belonged to Torvald. She set out to find her independence in spite of the limitations that society had placed on women. Her displeasure had burned a path beyond her little, secure world and the burden of being a plaything was lifted.
At the beginning of the story Nora is very happy, and everything with her family is going great. Nora responds in joy when Torvald brings up all the extra money that he will bring to the family with his new job. But as the story goes on Nora says she is not just a “silly girl” as Torvald says she is. Torvald does not agree that she understands all the business details referring to debt that she incurred to take out a loan to preserve Torvald’s health. She thinks that if she knows all these things about business that she will think that Torvald will see her as an intelligent person that knows more than just being a wife. But the fact that she is willing to break the law just to show her courage for Torvalds health.
Nora Helmer was a delicate character and she relied on Torvald for her identity. This dependence that she had kept her from having her own personality. Yet when it is discovered that Nora only plays the part of the good typical housewife who stays at home to please her husband, it is then understandable that she is living not for herself but to please others. From early childhood Nora has always held the opinions of either her father or Torvald, hoping to please them. This mentality makes her act infantile, showing that she has no ambitions of her own. Because she had been pampered all of her life, first by her father and now by Torvald, Nora would only have to make a cute animal sound to get what she wanted from Torvald, “If your little squirrel were to ask you for something very, very, prettily” (Ibsen 34) she said.
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.
Nora has been a doll all of her life, fortunately, she has an awakening that kindles her passion for freedom. Torvald restricts her freedom. Torvald adorns Nora to his wishes and desires and basically strips Nora of her identity. Nora wants a happy marriage; hence, she appeases Torvald. When she is being blackmailed, she believes that Torvald will be her savior. However, Torvald’s selfish reaction to the news is Nora’s auspicious awakening. She knows that her marriage is a sham and that she does not know who she is. Nora leaves Torvald so that she can have the liberty to gain knowledge of the world and herself. Nora’s awakening has provided her with the freedom to fulfill her life.
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.
Nora and Torvald lack one of the key elements needed to make a marriage work. Good communication allows you to better understand your partners needs and to unite as a team to solve problems or comply. When Torvald got sick and the only thing to save his life was to move to the south; Nora found a way to procure the money and forged her father’s signature to obtain the loan. The most heroic action of her life is an unforgivable crime in the eyes of society. Nora has kept this a secret from Torvald. “A man who has such strong opinions about these things! And besides, how painfully and humiliating it would be for Torvald, with his manly independence, to know that he owed me anything! It would upset our mutual relations altogether; our beautiful happy home would no longer be what it is now.”(12) To pay back the loan, Nora has worked without her husband’s consent, staying up late nights copying, to earn money and saving a bit from what Torvald gives her. “Whenever Torvald has given me money for new dresses and such things I have never spent more than half of it; I have always bought the simplest and cheapest things.”(13) Without trust, honesty can never be obtained. There was poor communication throughout their entire marriage and only at the end, after eight years of being married d...
Quote from Torvald and the money. It immediately distinguishes the differences in gender roles and morals in Norway during the late 1800’s. While Nora is willing to give the porter twice what is owed, we assume she is full of holiday spirit; Torvald has a much more sensible outlook on financial concerns. While he jokingly calls her his little spendthrift, he asserts that her lack of understanding is a result of her gender “Nora, my Nora, that is just like a woman” (Ibsen). Torvald believes that her place in the home is simply ornamental, a trophy that serves as decoration for his home.
Weintraub, Stanley. ""Doll's House" Metaphor Foreshadowed in Victorian Fiction." Nineteenth-Century Fiction 13: 67-69. Web. 6 Jan. 2011.
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 ...
Nora was extremely ecstatic when she brought up her loan of four thousand, eight hundred kroner. She even describes the loan as something she is “proud and happy about” (1.316). Not only was Torvald’s wish of having no debt defied by Nora’s own action, but she has a sense of pride and believes that her actions were justified without any input from Torvald. Nora taking out the loan was her first step in approaching maturity and independence, and it instilled in Nora’s mind a need for an identity different from Torvald’s.
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 order to successfully borrow the money, Nora had to illegally sign for her father to receive the loan. Behind Torvald 's back, Nora forged the signature to ensure that the money would arrive before her husband became too ill. Mrs. Linde cautioned Nora that "a wife cannot borrow [money] without her husband 's consent" (Ibsen Act 1). Despite Nora being aware of this law, she pursued the illegal act anyway. This revealed that Nora was willing to anything out of the best interest for her husband. Nora reminds Mrs. Linde that it would be "painful and humiliating...if Torvald [knew] that he owed [her] anything. It would upset [their] mutual relations together" (Ibsen Act 1). Nora 's main focus is to make sure her husband maintains his male dominance within their marriage. This is the turning point in which the audience realizes that Nora is not solely abusing her marriage with Torvald for his money, but rather she is a driven wife is willing to risks to protect her
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
Societal problems prevail throughout the history of the world and exist within all countries, regions, and cultures. The controversial aspects in societies are based on a large variety of subjects, and have to be identified in order to cause societal change. Therefore, Realism is the portrayal of difficulties in societies that are depicted in everyday life, which includes common situations and actions. Realism allows authors to describe and emphasize the incompetence of some aspects within communities, while enabling writers to call for societal reform. Henrik Ibsen portrays and addresses the concepts of Norway’s society in the 19th century in A Doll House, which is a tragic play translated by Rolf Fjelde. Ibsen desires to challenge assumptions as well as rules of Norwegian life, and most importantly wants to depict society accurately, as he meticulously incorporates everyday life. Therefore, A Doll House represents a Realistic drama due to the issues involving women, illnesses, and laws within the play, while conveying Ibsen’s desire of controversy and change in Norway’s society.