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Development of women in 19th century
Development of women in 19th century
Women's oppression in literature
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Recommended: Development of women in 19th century
The expectations imposed upon Nora were created by society and her husband. In the nineteenth century women had few alternatives to marriage; they were not expected to step beyond their roles as housewife and mother. Females were confined in every way imaginable. Women were limited by their identities as it relates to society and their husband’s expectations.
On page 1571, Mrs. Linde says to Nora ‘A wife can’t borrow money without her husband’s consent.’ Mrs. Linde expects Nora has gotten the money through other means; either the lottery or other indiscreet means. It wasn’t expected that women with a little business know-how could derive ways to earn or borrow money. Torvald treats Nora like a doll. He calls her by all manner of names: squirrel, silly child, lark, songbird. The names he uses directly relates to how Torvald feels about her at the time. He tends to treat her views and opinions as less than important or trifling. Torvald doesn’t want Nora spending too much money at Christmas. Nora wants to borrow against his upcoming promotion and subsequent raise in salary. Torvald states on page 1565 ‘Are your scatterbrains off again? What if today I borrowed a thousand crowns, and you squandered them over Christmas week.’ On the rare occasion when Torvald gives her money, he is concerned that she will waste it on candy and pastry.
Nora asks Torvald what her most sacred vows are and he responds ‘And I have to tell you that! Aren’t they duties to your husband and children?’ Later on he states Before all else, you’re a wife and mother. Torvald states that her sacrifice for him was nothing. He states on page 1611 ‘I’d gladly work day and night, Nora, and take on pain and deprivation. But there’s no one who gives up honor for love. Torvald reveals his true feelings, which put appearance, both social and physical, ahead of his wife, whom he says he loves.
Nora states on page 1611 ‘you neither think nor talk like the man I could join myself to. When your big fright was over – and it wasn’t from any threat against me, only for what might damage you – when all the danger was past, for you it was as if nothing had happened. I was exactly the same, your little lark, your little doll that you’d have to handle with double care now that I’d turned out so brittle and frail.
Peculiar trait: On the surface Nora’s peculiar trait seems to be her obsession for money. Her internal peculiar trait is that she desires to become significant to her husband. She spends money on material objects to decorate their home and dress up the family. The impression of the home appears perfect, like a doll’s house.
When Nora decided to leave her marriage behind this ended up being a turning point in Torvald’s attitude to Nora. While at first he was convinced that she would not really go calling her actions insane and childish, he is now taking what she says seriously and even offering to change for her. This shows that there is a part of Torvald that does perhaps truly love Nora. Although Torvald doesn’t want her to go, the fact that he agrees to give her his ring and not argue with her shows that he finally respects her wishes and ability to make decisions for herself.
...ome from different worlds, yet they still share the same type of sadness and pain in their everyday lives. What Nora does is considered courageous in that time in history, where women were not treated as equals and were always looked down on and ignored. Women speaking out and taking matters into their own hands was unheard of and often risky. They want to be independent so they do what they believe is necessary to accomplish and reach their goals, so that they can once again be happy for eternity.
"Everything is relative" or so the flippant motto of the post-modern generation would say. Interestingly enough, this aphorism is brilliantly applied by Henrik Ibsen to enhance his characters in the acclaimed drama, A Doll’s House. Often, we see things relative to their surroundings, and as the contrast between objects heighten, each becomes more visible. Within the first act of A Doll’s House, we encounter Christine Linde, a childhood friend of the main character, Nora, and Dr. Rank, a friend of the family. Ibsen paints distinctive pictures of both Christine and Rank as individuals, and, having established them with the audience uses them as contrasts, or foils, for Nora and Torvald.
After telling her friend how she had saved her husband, Nora says: "When Torvald gave me money for clothes and so on, I never used more than half of it; I always bought the simplest things. . . . Torvald never noticed anything.
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.
...y the social convention, gives Nora the strength to abandon her’s. As Pythagorous once said, “Decisions are the hinges of destiny,” and with the help from her husband and society, Nora opened her door.
This shows that Torvald is more interested in Nora physically than emotionally. He feels that it is one of Nora's main duties as his wife to physically pleasure him at his command.
Torvald Holmer's refusal to borrow money displays the character of a proud and controlling man. Helmer provided the financial support for his family through hard work, not depending on others for money. When Torvald's law practice did not provide financially, he sought a job at the bank. After Helmer received a promotion at the bank, Nora felt they could now afford to be extravagant for Christmas. Nora says, "This is the first Christmas that we have not needed to economize." Torvald announces that his promotion is not until ". . . after the New Year," so Nora blurts out ". . . we can borrow till then." Helmer interprets Nora's spending of money as wasteful and foolish, telling her "That is like a woman! ...There can be no freedom or beauty about a home life that depends on borrowing and debt." Obviously Torvald earns and manages the money in the house, and he attributes Nora's lack of understanding of these matters to her gender. Torvald views a woman's place to beautify the home through proper management of domestic life, behavior, and appearance. Helmer demeans Nora about spending in calling her "sweet little spendthrift, but she sure uses up a deal of money . . . " After accusing Nora of being irresponsible with money, Torvald rejoices at her dependence on him stating, ". . . Is my little squirrel out of temper? ...what do you think I have here?" Nora exclaims, "Money!" Torvald finds merriment in watching her happy reaction to him giving her money, and Nora saying, ". . . Thank you, thank you, . . . " This illustrates the helplessness of Nora and her dependence on Helmer, causing him to feel in control.
From the very start I had an adverse reaction to the way Torvald treated Nora. He was very controlling over her, and often spoke to her in a demeaning manner as if she was a child. I was compelled to read this play because I wanted to know what would happen if and when Torvald discovered Nora’s secret. He taunts her about the money she spends, and questions her about eating sweets that he doesn’t think she should. He refers to her as a “spendthrift” (Ibsen 1107), and speaks as though she is required to get permission to spend money. His reaction to learning the truth about what she had done was quite harsh. He was so angry that he did not give her any chance to explain herself. He was very unreasonable until the moment when he learned that her transgression would not become public, and his honor and reputation would remain in tact. All that mattered to him was “saving the bits and pieces, the appearance” (Ibsen 1148). He believed that his forgiveness was all she would need, but it was his understanding and protection that she was looking for. I applaud her decision to leave him so that she can gain her independence. What she needed most for her happiness was to be free from his
Nora replies with “I don’t believe that anymore. I believe that, before all else, I’m a human being, no less than you – or anyway, I ought to try to become one… I have to think over these things myself and try to understand them” (Act 3. page 111). She also notices her entire life has been somewhat fake and a performance. She has acted the part of the happy, child-like wife to Torvald and before that she acted the part of the happy child-like daughter for her father.
Nora was a woman of the nineteenth century, which meant she had to yield to everything her husband does and says. “Nora, you know what I think about that. No debts! Never borrow!
...on as a disgrace to society because women are not expected to leave there husbands. Nora proved that she can withstand enormous amounts of pressure and that she is capable of doing things when she is determined. She is eventually freed from that doll ouse, as she calls it, and it allows her to leave without being afraid to learn about her and the world around her.
Nora, seemingly, has a strong male that fulfils her needs for belongingness and love throughout the novel. Torvald and Nora have a very affectionate relationship, with Torvald referring to Nora with names such as ‘little skylark’ and ‘squirrel’. Nora also seems to feel this love, as she frequently acknowledges how her husband loves her, even stating that the ‘time will never come’ when Torvald will stop loving her. Through this relationship, it is easy to see that Nora’s psychological needs for love and belongingness are fulfilled through her marriage. However, Nora does not wish to share the news of the loan with Torvald as she believes it would ‘completely wreck their relationship’; she needs someone else to become her confidante.
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...