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A dolls house analysis
A dolls house analysis
A dolls house analysis
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Henrik Isben?s A Doll?s House is the story of a man and a woman who have been married for eight years but are not really in love. Although at the first of the story we see a typical family, underneath there lies a dark secret. Torvald Helmer, the husband, is a lawyer who has been unsuccessful in the past because he would not accept a shady case. This has put the couple and their children in a great financial struggle and this forces him to turn elsewhere for employment. He ends up working at a local bank, putting an end to the family struggle. At the start of the story we see Nora Helmer, his wife, coming in from town with several small wrapped packages and a Christmas tree. She is a very childish acting woman but on the same note, she is also very deceptive and cunning. Nora has kept a secret from her husband ever since they moved from their last home. Torvald was very sick and Nora was pregnant with their first child. Nora?s father was on his deathbed as well. Torvald?s doctor confided in Nora that if Torvald didn?t move south then he was going to die. Since they hadn?t the money to do so, Nora takes it upon herself to borrow the money, which was not allowed solely by a woman. In order to get the loan she and her father had to sign the papers. Seeing her father?s condition, she forged his signature. She told her husband that the money was a gift from her father so he would not feel indebted to her forever. The money that Nora borrowed is almost paid off at this point and she was excited. Then the story takes a sudden turn. According to Maurice Valency, ?Nora as yet the earnest and innocent child who was sure there could be no harm in forging her father?s signature, provided her motives were good? (253). The man from who... ... middle of paper ... ...er inability to be trusted and all that had occurred. Bibliography: Works Cited Downs, Brian. Essay Date 1950. Twentieth-Century Literary Criticism, Vol. 37 pg 239-243. Isben, Henrick. A Doll?s House. 1879. Kirszner & Mandell. Literature Reading, Reacting, Writing. Fourth Edition. Harcourt College Publishers. Northam, John. Essay Date 1960. Twentieth-Century Literary Criticism, Vol. 37, pg. 249. Salome, Lou. Essay Date 1892. Twentieth-Century Literary Criticism, Vol. 37, pg. 226-231. Thomas, David. Essay Date 1983. Twentieth-Century Literary Criticism, Vol. 37, pg. 258-260. Twentieth-Century Literary Criticism, Vol. 8, pg. 140-141. Valency, Maurice. Essay Date 1963. Twentieth-Century Literary Criticism, Vol. 37, pg. 253 Weigand, Hermann J. Essay Date 1925. Twentieth-Century Literary Criticism, Vol. 37 pg. 233-235.
Ibsen, Henrik. A Doll House (1879). Trans. Rolf Fjelde. Rpt. in Michael Meyer, ed. The Bedford Introduction to Literature. 5th edition. Boston & New York: Bedford/St. Martin's Press, 1999. 1564-1612.
“A Doll House.” Literature: A Portable Anthology. Ed. Janet E. Gardner, Beverly Lawn, Jack Ridl, and Peter Schakel. Third edition. New York: Bedford/St. Martin’s, 2013. 850-908. Print.
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.
Ibsen, Henrik. "A Doll House." The Bedford Introduction to Literature: Reading, Thinking, and Writing. By Michael Meyer. 9th ed. Boston: Bedford of St. Martin's, 2011. 1709-757. Print.
Ibsen, Henrik. A Doll's House. Literature and the Writing Process. Elizabeth Mahan, Susan X Day, and Robert Funk. 6th ed. Upper Saddle River, NJ: Prentice, 2002. 916-966.
Ibsen, Henrik. A Doll's House. Literature and Ourselves. 2nd Ed. Ed. by Gloria Henderson, Bill Day, and Sandra Waller. New York: Longman, 1997
Ibsen, Henrik. A Doll's House. Ed. Stanley Appelbaum. New York : Dover Publications, INC. , 1879.
At the beginning of A Doll’s House, Nora Helmer seems stable in her marriage and the way that her life has panned out. She doesn’t seem to mind the her husband, Torvald, speaks to her, even if the audience can blatantly see that he is degrading her with the names he chooses to call her. “Hm, if only you knew what expenses we larks and squirrels have, Torvald” (Ibsen, 1192). Nora is notorious throughout Act I to play into the nicknames that Torvald calls her. She portrays that she is this doll-like creature that needs to be taken care of. Furthermore, we see that Nora is excited for her husband’s new job that will increase their income substantially. This is the first mask that the audience is presented with. As the play continues, Nora reveals yet another mask, this is a mask of a woman who so desperately wants to be taken seriously. The audience learns that Nora had previously taken out a loan to save her husband’s life. She proves that ...
Scott, Clement. "Review of 'A Doll's House." The Theatre 14.79 (July 1889): 19-22. Rpt. in Twentieth-Century Literary Criticism. Ed. Paula Kepos. Vol. 37. Detroit: Gale Research, 1991. Literature Resource Center. Web. 25 Mar. 2011.
Weintraub, Stanley. ""Doll's House" Metaphor Foreshadowed in Victorian Fiction." Nineteenth-Century Fiction 13: 67-69. Web. 6 Jan. 2011.
SparkNotes Editors. “SparkNote on A Doll’s House”. SparkNotes LLC. 2002. SparkNotes.com. 20 Mar 2011. http://Sparknotes.com/lit/dollhouse/themes.html.
Ibsen, Henrik. A Doll's House. Trans. William Archer. Boston: Walter H. Baker & Co., 1890. Gleeditions. Web. 12 April 2014
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.
SparkNotes Editors. “SparkNote on A Doll’s House.” SparkNotes.com. SparkNotes LLC. 2002. Web. 6 May 2010.
The literary work, A Doll’s House, was written by Henrik Ibsen and has been a historical work of literature since the late 1800’s. There are many themes through out the story that impose the different ideals of the 1870’s. Many of the characters reflect the time period through the positions they hold, the activities they do, as well as how they behave and act. Torvald Helmer and his wife Nora traditionally represent the upper-middle class in the way they present themselves, what types of activities they engage in, as well as what they do as an everyday task.